Benny's Video

'Benny's Video' is a genuinely unsettling film whose premise concerns a scene that is particularly disturbing and visceral. The film concentrates on Benny, a seemingly sociopathic teenager, and his regimented, staid parents known simply as 'Mother' and 'Father'. Benny lives a materially charmed life, having an array of electronics bought for him by his affluent middle class parents. This technology allows him to indulge in his interest, or rather obsession, with videos, both watching and recording them.

The film's message is a relevant one, it suggests that the media has a detrimental, and in this case fatal, desensitising effect. However, it suggests this in a rather hyperbolic fashion. The film loses its credibility through how explicitly and rather insularly it conveys its message. In my opinion, it's clear that Benny is a warped individual with an innate lack of remorse, no film or news report can rid someone of their senses to the point of sociopathy. Benny is a contemptible person, and he's purposely constructed that way, but he isn't someone who's the product of desensitisation; his cold, empathy devoid persona is that of a genealogically tarnished mind.

Narratively speaking, the film's first hour or so engrosses you with its unpleasantness and realism. The film places the viewer in a 'what if?' situation that's somewhat reminiscent of films such as 'Deliverance', but it isn't as resonant owing to the abhorrence of the film's events, the psychopathy of Benny and the steely reserve of his parents. During the last 40 minutes of the film, there is something of a pacing problem, I felt the film lost the edge and tension it had created; this isn't a particularly pressing issue, but the film certainly felt longer than 105 minutes.

I found 'Benny's Video' to be a fundamentally flawed film; it would've worked if it had a more balanced, rational message at its core. Some lobbyists, in the haze of their ignorance and typically political agendas, would vehemently agree with this film. I am of the opinion that there is a substantial difference between watching something and doing something. Violent media can, at the very most, be a mere substitutional factor amongst many factors that could somewhat exacerbate the pace of an unhinged, unwell mind.

"Benny's Video" focuses on a maladjusted teenager who is obsessed with technology, particularly video recording and television. He is largely ignored by his upper-class parents who feed his obsession by arming him with the latest and greatest technology, until mom and dad are forced to confront a shocking act of violence he commits.

For anyone who knows Michael Haneke's filmography even on a tertiary level, they will be aware of his bleak depictions of society and frank, unembellished representations of human depravity. This earlier work from the director has his trademarks all over it, and is bolstered by strong performances from Arno Frisch as the disturbed Benny, with Angela Winkler and Ulrich Mühe giving disturbing and calculated performances as his emotionally detached parents.

While the film gets off to a rather startling beginning, some will find the midsection and conclusion to be a bit slow; although they may be correct in pointing out slight pacing issues, the latter part of the film allows the character dynamics between parent and child (and parent and parent) to be expanded upon, and what is perhaps most shocking about it is that the audience grows to develop some sympathy for Benny despite his sociopathy; his parents, less so. There is also a notable contemplation of technology and its function in society that underpins the screenplay.

All in all, "Benny's Video" is an effective, disturbing film that speaks more to the brokenness of the family unit than it does of the malignant outcomes that may arise from it. Certainly not for the lighthearted, but it offers a drab and uncompromising window into the dark. 8/10.

Not as accomplished and tight as some of Hanekes other movies. Some episodes in the latter part of the movie could have been shortened (the vacation), and gives the movie overweight towards the end. A chilling first act, but the climax negates what has been happening all along. It raises important issues and is worth watching, nontheless.

What makes BENNY'S VIDEO so disturbing is threefold:

#1- Benny (Arno Frisch) himself. We get the definite impression that something isn't quite right about him from the beginning. Mr. Frisch plays Benny with cold, lifeless ease. He is just going through the motions of everyday existence. When the unthinkable occurs, it's very matter-of-fact, like brushing crumbs off a table.

#2- Benny's parents (Angela Winkler and Ulrich Muhe). They are almost as mindless as their son. After watching the video, their reaction is, while not altogether unexpected, jaw-dropping nonetheless.

#3- Director Michael Heneke, who keeps everything clinical and icy. He shows us a psychopath in a "normal" environment, just doing the daily routines. The shocking parts are presented as mere interruptions in the daily grind. The motives of all concerned are what bring out the true terror. There are no masked maniacs here, only upper class people forced to deal with an "unfortunate" problem.

A classic film about the horror of indifference and self-preservation...

If it is supposed to be a Haneke film, it does have a couple of pitfalls. It is not Haneke's best, perhaps because maybe he felt the pressure to top Der Siebente Kontinent. As someone said previously, it is rather heavyweight towards the end.

As a film without regarding who directed it, it is very good. It provides you with a raw documentary vision of a boy and his voyeuristic trend towards violence. It is rather simple yet, an amazing idea. Benny could be the boy living next door and, in fact, he is. He is not frightning on a "I know what you did last Summer" fashion. He is _truly_ frightning because he is a normal kid. And I do know a few like him. The ones I know never actually murdered anyone but, perhaps they simply didn't do it because they are afraid. Benny hasn't come to terms with that moral feeling yet and perhaps he never will.

On a metaphorical sense, it is the best portrait (along with Der Siebente Kontinent) of present day Austria, at least the Austria I see at some September rainy Vienna weekends...