jpmccusa-1
Iscritto in data ott 2005
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Recensioni8
Valutazione di jpmccusa-1
After moving to the countryside to help with their youngest son's asthma, a young Czech family finds that the two older boys, adopted Romanys, suffer some racial prejudice in their new village. This stress puts pressure on the parents as well, and the whole family comes under the strain. This is possibly the best -- or rather, most realistic -- film I've ever seen concerning a household of three or more preteen youngsters. As the director has a few adopted Romany children of her own, it is clear that this is a true work from the heart.
The kids are not angels, as their mother quite rightly points out, nor is there any reason why they should be... but they are clearly beginning to thrive in their adopted family as they come to terms with what effects adoption -- and race -- can have on their family.
In addition to the plot and the downright brilliant characterizations by the older boys, the camera work and scenery is exceptional as well. A very early scene shows clearly what is going on here: we see a church steeple with clocks mounted on different sides of the steeple---showing very different times. Thus, we realize that the film shows both the effects (and remnants) of the past and glimpses of the future both of the family and of the modern Czech Republic.
The kids are not angels, as their mother quite rightly points out, nor is there any reason why they should be... but they are clearly beginning to thrive in their adopted family as they come to terms with what effects adoption -- and race -- can have on their family.
In addition to the plot and the downright brilliant characterizations by the older boys, the camera work and scenery is exceptional as well. A very early scene shows clearly what is going on here: we see a church steeple with clocks mounted on different sides of the steeple---showing very different times. Thus, we realize that the film shows both the effects (and remnants) of the past and glimpses of the future both of the family and of the modern Czech Republic.
One of the great real tragedies of the human condition is the regrettable fact that what children are used to, they regard as "normal".
This context is not just relevant in cases of physical or sexual abuse. In this fine family film "En Som Hodder", we share the sorrows of Hodder Emanuel Jacobsen: he barely remembers his late mother, and when she comes to him in his dreams, he doesn't even know her and thinks she is a fairy. All his classmates treat him with detached contempt, eventually trying to lure him into suicide. His father works night, and the man can scarcely relate to his son at all, try though he might.
I said that we share Hodder's sorrows, but that's not quite true: Hodder doesn't quite realize that he misses his mother terribly and that he is desperately, desperately lonely---though we can see this all too clearly.
Fortunately for him, his irrepressibly charming innocence enables some people with problems to see that Hodder can be a true friend, in a land and time where true friends are rare and valuable.
This context is not just relevant in cases of physical or sexual abuse. In this fine family film "En Som Hodder", we share the sorrows of Hodder Emanuel Jacobsen: he barely remembers his late mother, and when she comes to him in his dreams, he doesn't even know her and thinks she is a fairy. All his classmates treat him with detached contempt, eventually trying to lure him into suicide. His father works night, and the man can scarcely relate to his son at all, try though he might.
I said that we share Hodder's sorrows, but that's not quite true: Hodder doesn't quite realize that he misses his mother terribly and that he is desperately, desperately lonely---though we can see this all too clearly.
Fortunately for him, his irrepressibly charming innocence enables some people with problems to see that Hodder can be a true friend, in a land and time where true friends are rare and valuable.
This quirky drama from Russia has a lot to offer, though its oddness makes it hard to determine exactly what its target audience might have been.
Rita is a naïve 18-year-old from the sticks who has come to Moscow to meet up with the man who impregnated her a few months earlier. Unfortunately, his name and address was written on a piece of paper in her luggage, which was promptly stolen upon her arrival in Moscow. Thus, she is a bit at loose ends, and going back home is clearly not an option.
She is befriended by street-kid Ernest ("Nemoy" in the credits), whose nickname of "Mute" comes from his way of making a living---wandering around the city wearing a cardboard placard proclaiming his (nonexistent) disability while looking for handouts. This irrepressible kid of 14 or so lives on his own in a greenhouse (hence the English title for the film: "The Greenhouse Effect"). He is saving up so that he and an older friend "Greek" can go live with the latter's grandparents in Greece.
Most of the film concerns the various adventures of Rita and Ernest as they fashion a day-to-day living on the margins of society. It isn't easy, but Ernest's good-hearted optimism makes every mundane event seem a minor adventure.
The camera work in the film is often distinctive, as we see many scenes of modern Moscow as the life of the city goes on around the pair, with no apparent trickle-down effect to give us hope that their lives might come to have some hope or meaning. As events play themselves out, not a lot changes for the better, though hope remains.
One is tempted to look for some sort of message in a film like this, and, to be fair, it's kind of hard to find one. The best I can come up with is that the film shows quite clearly that teenagers are probably somewhat more likely to progress into a rewarding and viable adulthood if they are under the care and influence of warm, responsible, and loving adults. Since there are almost none of these sorts of people to be found in the film, the point should be clear.
Rita is a naïve 18-year-old from the sticks who has come to Moscow to meet up with the man who impregnated her a few months earlier. Unfortunately, his name and address was written on a piece of paper in her luggage, which was promptly stolen upon her arrival in Moscow. Thus, she is a bit at loose ends, and going back home is clearly not an option.
She is befriended by street-kid Ernest ("Nemoy" in the credits), whose nickname of "Mute" comes from his way of making a living---wandering around the city wearing a cardboard placard proclaiming his (nonexistent) disability while looking for handouts. This irrepressible kid of 14 or so lives on his own in a greenhouse (hence the English title for the film: "The Greenhouse Effect"). He is saving up so that he and an older friend "Greek" can go live with the latter's grandparents in Greece.
Most of the film concerns the various adventures of Rita and Ernest as they fashion a day-to-day living on the margins of society. It isn't easy, but Ernest's good-hearted optimism makes every mundane event seem a minor adventure.
The camera work in the film is often distinctive, as we see many scenes of modern Moscow as the life of the city goes on around the pair, with no apparent trickle-down effect to give us hope that their lives might come to have some hope or meaning. As events play themselves out, not a lot changes for the better, though hope remains.
One is tempted to look for some sort of message in a film like this, and, to be fair, it's kind of hard to find one. The best I can come up with is that the film shows quite clearly that teenagers are probably somewhat more likely to progress into a rewarding and viable adulthood if they are under the care and influence of warm, responsible, and loving adults. Since there are almost none of these sorts of people to be found in the film, the point should be clear.