Beauty

This film is without a doubt the most shocking film I have ever seen. It's difficult to say just how the writer/director came about doing this film but a couple of things come to mind. I could not help think of the way Hitchcock would prepare the viewer for a shocking scene by almost lulling the viewer to sleep so that when the big scene takes place you practically jump from your seat and go running for the nearest exit. I'm thinking of Psycho, of course. Here, a virtually identical event takes place and there was no exit for me to run to so I had to stay in my chair and sit out perhaps the most horrific scene I have ever witnessed in a movie or in real life. It is shockingly presented and you sit there frozen thinking to yourself this can't be happening. Everything that happens before the big scene and everything that happens after are completely out of context with the big scene itself and the writer/director has done this precisely the way Hitchcock did it in Psycho. There is an element of abstraction that really hits you hard and you just cannot stop thinking about what you have just seen. In fact, the more I think about this film the more I realize how torn and twisted men are when it comes to lust and the flesh and that the biggest struggle men have is overcoming their sexual desires especially when they are twisted and sick as in this fellow's case. It really is impossible for women to fully grasp just how horrific it is for men in many cases to overcome the flesh and to behave in a humane and decent way. Men are tortured there is no question about it and the man in this film is a perfect example of how wrong a man can go even though on the surface he lives a good life.

Beauty is a generally well-made movie about the ugly consequences of sexual repression in an intensely, violently homophobic society in South Africa (although it could just as well have been set in the United States or most other countries). The movie's few serious flaws--Deon Lotz is not believable as a gay man, even as a severely closeted and homophobic gay man; and Charlie Keegan is nowhere near the beauty the movie makes him out to be--in a way aren't really flaws at all, because those incongruities reinforce the fundamental impossibility of anything approaching health and sanity in such a perverted society. The true perverts are the homophobes, and this movie exposes them and portrays the hypocrisy, depravity and violence of their lives with great power and clarity.

The characters are bilingual; the movie's dialog is about 30% English and 70% Afrikaans, often switching back and forth several times within a single multi-person conversation. That would be okay if either both languages were subtitled (the best solution) or if the English were not spoken with a pronounced South African accent--but instead they chose to subtitle ONLY the words spoken in Afrikaans.

Often I found myself wondering why the subtitles suddenly stopped in the middle of a conversation only to realize too late that they were speaking English now so I was supposed to know what they were saying; then they would switch without warning back to Afrikaans and the subtitles resumed.

That's a big mistake, it would have been easy to avoid, and it's unacceptably and unnecessarily distracting. When the same voice alternates between Afrikaans and Afrikaans-accented English, a non-bilingual listener can't make the instantaneous adjustments required to understand every word. It would have cost them practically nothing to subtitle the English too, but they didn't. It became slightly less a problem later in the movie just because I got used to it, but it never ceased to be a distraction. That's the main reason I deducted a few stars.

For no apparent reason it has taken me 3 years to get around to watching this film. I wish I had waited 3 years more. After reading about all the acclaim this film received as an "art film" I cannot help but wonder if I had just finished watching the same movie.

More so, I am amazed that none of the critics that reviewed this film could just have said that in fact it was a really badly written movie to which a single person might be able to memorize all the lines of the entire script.

There is nothing memorable about this film except for the consistent bleakness from start to the literally downward spiraling end.

You don't need to be an intellectual to understand obsession, or the need to dominate and hurt without cause. We have all crossed paths with angry and regretful people. Yet as a viewer it is hard to understand why no effort was made to project this struggle with more credit to the intelligence of the viewer.

I hate that this film falls in the gay and lesbian genre. It is more about violence and bigotry than homosexuality.

I can't help feeling like this film was written somewhere between the opening of a cheap bottle of whiskey, someone's last fifty rand and passing out on the floor.

My goodness, one hour and forty minutes of watching paint dry. The amount of material in this film could have been disposed of in an hour or less.

It's just boring, boring, boring. And then we get to the "incident" referred to in the plot outline. Well, that such a severe and serious incident seemed to have no consequences at all was simply not on the cards.

I was fortunate in having a version that subtitled the English parts as well as the Afrikaans. If I'd had just the Afrikaans parts subtitled, as some have mentioned happened when they watched, I would have given up.

No one in this film was remotely sympathetic, not the main character and his dysfunctional family, not his friends or secret friends, not the "Beauty" of the title who wanted to take advantage without paying the price.

It's difficult to give details without turning this into spoilers, but the later events of the film could not conceivably have been engendered by repression and being closeted. It doesn't work on the psychological, social or cinematic level. And as for the ending, were we meant to be sympathetic? I wasn't.

Honestly, don't bother.

Oliver Hermanus's 'Beauty' is a harsh film, the story of a repressed gay man in a loveless (straight) marriage prone to intermittent bouts of sexual violence. The way it is filmed is designed to echo the sense of loneliness in his life: lots of long, still shots that emphasise just how little is really going on, except for his brooding obsessions. In fact, I can't remember the last time I watched a film in which background noise is so prominent: I can see why it was shot in this way, but the on-going hum does get annoying after a while. There's only so long one wants to watch, and listen to, nothing much happening in a sawmill or cafeteria. In the end, the reductionist animal-ism of the protagonist makes it impossible to sympathise with him; indeed, his relentless calculation makes him seem chilling rather than tragic, and in consequence the film feels unpleasant rather than sad.