Michael Kohlhaas

Some people might not feel comfortable with this film, which is not surprising. It does move with a very slow pace and it is a movie about values. The question is, do you want a movie that might feel like a lecture to you? It isn't of course, but I would understand if some viewers would feel like that.

Mads is playing as strong as ever and the character is complicated, but has a strong sense of righteousness. Something that has been the downfall for many people. And standing up for yourself or others is not that easy. It's easier to just back down and take it, than to stand up and fight. But is it worth it? There are quite a few questions that you might ask yourself after watching this movie, because it does not answer everything for you ...

AGE OF UPRISING: THE LEGEND OF MICHAEL KOHLHAAS is an interesting film about a mini revolution that took place in historical France. It's often a beautifully shot film, breathtakingly so at times, and it features a typically strong performance from Mads Mikkelsen in the lead role. Mikkelsen plays a sympathetic figure, a man who becomes oppressed to the extent that he has no choice but to fight back.

The problem with AGE OF UPRISING is that it goes out of its way to be as slow and arty as is humanly possibly. There's an hour's worth of plotting and incident dragged out to two hours, and boy, does it drag. Each scene plays out for far too long, and everything seems to be deliberately subdued and painstakingly detailed. Now, I do appreciate all of the lovely scenery, and having seen this in high definition I can say it's a visually stunning film.

But movies are about more than the visuals, and in that respect AGE OF UPRISING disappoints. The traditional storyline is a familiar one and nothing much happens that hasn't been seen elsewhere. In the end you can only sit back and enjoy it to a degree - and roles for the likes of Bruno Ganz help - but without getting more fully invested in a more involving movie.

I concur with many of you that this movie was way to long, slow and anticlimactic.

Pictorially it was beautiful but there was so much lost potential with this film that was left omitted.

It contained lots of chatter and religious doctrine about turning your cheek, etc from a church at that time was about as ruthless as royalty in feudal times.

It started out with great expectation but ended with sad disappointment.

I had thoroughly enjoyed Mads Mikkelsen in the Pusher, and his role as Michael Kohlhaas was great.

In the end the director needed to tighten the film belt by a few notches to have made this movie a good movie.

like a clock. precision, strange beauty, delicate mechanism. the acting, the landscape, the script. as pillars of an admirable work who remains the novel by Kleist but it has the gift to be more than an inspired adaptation. a film about justice and sin. and a splendid role for Mads Mikkelsen who gives to his character not only the traits of the novel but something special, powerful, entire convincing. the grace to use the nuances of Michael Kohlhaas, the wise manner to use the silences, the force of gestures, the beautiful measure who discover the essence of tragedy, the presence of Roxane Duran who reminds, in same measure, Elisabeth I and the young Elisabeth II, the performance of Melusine Mayance, the speech of Denis Levant who remains the perfect definition of the root of tragedy are the details who transforms an adaptation in useful support for reflection about great themes.

What would you do if the legal system didn't support you or your rights? What would you do if you tried to take someone to court for compensation for something that was taken from you, and then, because of this, your family is dealt a terrible blow? Knowing you have no way to legally seek justice, would you take matters into your own hands? And once you have taken the law into your own hands, do you simply become as bad as the original aggressor? This is not something most of us have to worry about, if we live in country where rule of law is upheld. But in 16th century Europe (and in some parts of the world even now) not everyone could rely on the law.

This movie asks us to explore these questions and more. It doesn't provide us with the passive experience of sitting there and having the story, the moralities, the emotions, fed to us, as so often happens in films. It presents the material to us, and ask us to decide on who is right or wrong, who is at fault, and maybe to ask us what we might do in the same situation.

Visually, it is sumptuous, organic, exquisitely beautiful. Rugged mountain vistas, timber, earth, stone and leather. And let's not forget that it has Mads Mikkelsen as the lead character, speaking French and riding horses. This is a combination that is hard to beat, for sensory appeal. I don't speak French so I have no idea how his Danish accent is accounted for in the film, but his steely stares to the horizon and his drive for justice, and the consequences that follow, are powerful to watch.

This film is definitely on the art-house side of film-making, and probably wont appeal to those who want everything delivered to them, but asks us powerful questions about rights and wrongs, actions and their consequences, while delivering a beautiful visual experience.