In the year preceding the start of World War I, a small German village is quietly rocked by a series of cruel events (crimes against the seemingly innocent) committed by unknown culprits in Michael Haneke’s The White Ribbon. The town’s children are both potential victims and suspects as the twisted natures of their parents’ sins are soon laid bare. In the midst of paranoia and gossip (though not as pointedly delicious as Clouzot’s Le Corbeau), a kind schoolteacher woos a sweetly naive nanny, a baron’s marriage disintegrates, a steward’s family crumbles, a pastor spares no rod and a doctor commits the greatest of sins. Originally conceived as a mini-series, there are many narrative threads and characters to keep track of, and Haneke provides glimpses into the varied lives of the different classes at work in the village and constructs something akin to a psychological case study of the personality types on display. One wonders how much more some of the stories would’ve opened up had Haneke the luxury of six or more hours to weave his tale.
The biggest problem with a Michael Haneke film is that it’s a Michael Haneke film. Continue reading →
I wish my confirmation had been as fun as this kid's bar mitzvah!
We’re Very Serious Men
They had made it quite clear, hadn’t they, these Coen Brothers, that they didn’t much care about their audience’s expectations. Hell, spare for Marge Gunderson in Fargo, they had never much cared for their characters either. While they looked down on their subjects, they often looked right through those who watched…those faithful who tolerated the abominations that were Intolerable Cruelty and The Ladykillers only left to be confounded by the philosophical nonsense wrapped in the ultra-slick throwback genre packaging of No Country for Old Men. Sure, we laughed at the hatchet job that was their star-studded Burn After Reading…but where had that magic gone? Where were those brothers who had brought us Miller’s Crossing and Barton Fink and Fargo? Had they really sold themselves out to those who had embraced The Big Lebowski as their magnum opus? Oh, why had you forsaken us, Coen Brothers? Where had you gone? What did we do to deserve this? We didn’t do anything!