Michael Kohlhaas

The above summary was provided by my lovely wife as she watched the movie with me. While I wouldn't have exactly phrased it that way, it is to the point and I cannot deny this does, in an odd way, encapsulate what the movie "Age of Uprising: The Legend of Michael Kohlhaas" is for the average viewer. It's a shame, because I had expected more from this film since it stars a very exciting actor, the Danish man of many talents, Mads Mikkelsen--a guy you probably recognize but whose name you might not.

Mikkelsen has received a lot of attention in the States lately with his performance as the lead in the TV series "Hannibal". His portrayal of the serial killer is far different from earlier ones--with a much more thoughtful and sophisticated persona than other Hannibals. Before this, he received a lot of publicity as one of James Bond's villains in "Casino Royale". However, I have known about him long before this, as he's been a star in Danish films for some time--and I really love Danish movies. Interestingly, here in "Age of Uprising", Mikkelsen speaks French--not English or Danish. My daughter (a HUGE fan of "Hannibal"") did some research for me about this and found that the actor also speaks German and Russian! Wow...he certainly isn't a dumb guy! But, he's simply done many better films than this particular one.

The film is based on the true story of Hans Kohlhase---a 16th century rebel who, for a time, plagued Germany. His life was the basis of a novel by the German author Heinrich von Kleist and the story was first brought to film in 1969 as "Michael Kohlhaas--der Rebell" (starring the British actor David Warner).

When the story begins, a nobleman seizes some horses belonging to the merchant, Michael Kohlhaas. He had no legal basis for doing this but to make matters worse, he savagely sent his dogs on Kohlhaas' servant and then mistreated the horses severely. In response, Kohlhaas sued the nobleman. Unfortunately, back in the day, life wasn't necessarily fair- -and Kohlhaas' case was thrown out of court. Soon, Kohlhaas' wife is murdered in retribution for the lawsuit. With no other apparent choices other than to just accept this injustice, Kohlhaas and his men go on a vigilante crusade--dispensing their form of justice through the countryside. What's next? Well, you could watch the film...or just read Wikipedia. Unfortunately, I'd recommend the latter. Why? Because the story IS an interesting case of class warfare and should have been exciting--sort of like a German version of "Braveheart". Unfortunately, it's not. The film is tedious and extremely bereft of life when it should have been inspiring and exciting. The musical score is extremely stark and minimalistic--adding to the tedium that you see on the screen. The movie manages to make the least of the great source material.

The bottom line is that I loved Mads Mikkelsen's work...just not this particular film. My advice is to try watching his best films--such as his Oscar-nominated movies "The Hunt" and "After the Wedding" as well as "Flame and Citron". These are truly exceptional and show off Mikkelsen's immense talents to their fullest.

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.

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 ...

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.

In this day and age of fast scenes and bloody gore, apparently this movie left some critics calling it dull and lifeless. Not me.

The measured pace was right for this film. It's simplicity was correct and fitted the era. By simplicity, I mean the lack of 'Hollywood-ised' scenes that we're used to seeing about peasants, barons and queens.

If you're a thinking person who enjoy very good actors, a movie that travels at a pace that reflects an actual story about human beings, social justice and conflicts, irony and dilemma, the stuff of life, this is a powerful and intense drama.

As always, anyone who fights for what is right, is never seen in a perfect shade of black or white.