Beautiful People

In contemporary London, five stories with refugees from former Yugoslavia are presented in a chaotic and mixed way, some of them with points of contact. The best and funniest story is about a drugged hooligan who travels to Rotterdam with two addicted friends to watch a soccer game between Netherlands x England. After the game, when England lost it, in the airport, he is so drugged in heroin that he sleeps inside a box of international aid to Bosnia. The box is dropped by parachute in the front of the war, and our `hero' wakes-up in the middle of a battle. He meets a young boy, who becomes blind, and helps people in an improvised hospital of the United Nations before coming back home. There is the story of a cinematographer who gets a kind of syndrome due to the horrors he witnessed in the war, specially the amputation of a leg without any resources. There is another story about a fight between a Croat and a Serbian, beginning in a bus and ending in the hospital in London. There is a story of a raped young woman who gets pregnant. Her husband wants that her English doctor makes an abortion. By the other hand, the doctor is full of personal problems with his wife. There is a romance between a refugee from former Yugoslavia and a daughter of a conservator English politician. The way the stories are presented looks like a documentary, or the news on television, and is very different. The movie does not present clichés and has lots of English black humor. I myself loved it. My vote is nine.

Title (Brazil): `Beautiful People'

I went to the theatre cold, had heard nothing about Beautiful People beyond its title. I was fairly unimpressed with the first part of the movie; the opening scenes from the tussle of the bus were elegaically constructed and did serve as the 'running' commentary for the film, but other scenes were set up quite stodgily: the Conservative family with the renegade child (I did enjoy the element of class consciousness in the hospital scene where she hesitantly asks for help from the nurses); the father stuck with the kids when their mother leaves (because he's such a prat?); the artistic and neglectful mother... the stuff of many British films and almost every Sunday night teleplay. What lifts Beautiful People is its awareness, and consequent subversion, of this predictable British fare. From the second the skinhead wanders in a fairytale-like trance into a trolley of supplies destined for Bosnia, the film busts the genre wide open. This happenning gives the film permission to explore the stories to their possible happy resolutions. If only a racist skinhead could get his face pushed into the lives some of those he ignorantly attacks! The scene at the end, where the racists are reading a bedtime fairy story to the blinded Bosnian child is our cue that this part of the film has, indeed, been nothing more than a fairytale. All fairytales are a gory story with a moral twist from which children learn how life is. And so with the intent of this film. The daughter of a Conservative minister would never marry a refugee so he could stay in the country, and the family would certainly not accept such a marriage - think of the scandal! Yet, once the barrier of British realism has been rent asunder by the skinhead's fall into Bosnia (not quite Wonderland!), this becomes possible. The realism remained with the war scenes, and I think these are what we are supposed to have lodged in our minds when we leave the theatre. I can't imagine the real Bosnia was much different to this. The final message I took from the film is: if you had experienced it, then you would be craving for happy endings too. I liked it. I forgot how lumbering the first part of the film was once the filmmaker gave herself permission to dispense with realism. I left the theatre thinking very deeply about the conflict in Bosnia; which was as it should be.

"Beautiful People" spreads it's story of the effect of the Bosnian conflict on Brits and others thinly over a broad and varied cast of characters with the feel of a documentary in spite of considerable implausibility. Mostly shot in the UK sans any Hollywoodesque appointments, this film weaves several very short and loosely interconnected stories into it's sometimes harsh, sometimes humorous fabric. "Beautiful People" - which are scarce in this austere film - leaves little room for audience empathy but is replete with ironies. The film will play best with those who appreciate British cinema.

To me, this is one of the greatest tragedies of 1999. A nice cast and intriguing story have the potential to elevate this to a great piece of work, yet it fails on a couple of fundamental levels. First, _Beautiful People_ is overburdened with cliches: the immigrant who wants to know "the meaning of life," the mortal enemies who have the same shoe size, etc. I found these excessive to the point that they triggered my gag reflex. Second, and more damaging to the film, it is edited extremely poorly. There are simply too many characters and storylines for this director to handle well. By the time a particular storyline comes around again, the audience has completely forgotten it. (Incidentally, this multiple character and storyline trick can be pulled off with great success- Paul Thomas Anderson did a superb job in _Magnolia_). The film does have its high points, in particular the spectacular performance by Charlotte Coleman. Not bad, but that's about all one can say.

I love British movies - most of them, at least - and this one was no exception. It was on late night TV, and the mention of Charlotte Coleman's name amongst the cast convinced me to stay up to watch it. Most everything which could be said about it has been said.

For me, it left me with a lot to think about. It was not a stab at realism, but had a strong impact all the same. I quite enjoyed the somewhat chaotic, circular storytelling style, as the viewer is reacquainted again and again with some characters, as they stumble through their lives.

My favourite set-up was the hospital bed companion of the Serb and Croat - himself a Welshman who hates the English, and is in hospital having been blown up with an incendiary device he was buying - to blow up English property, no doubt. He's forever trying to stop the Serb and Croat from killing one another, completely oblivious that his own blind prejudice - whilst justifiable - is destructive, and mirrors their own.

A must-see for fans of British film.