There’s a powerful intensity to the presentation of this film, which is essentially a courtroom drama. Partly that comes from the fact that it is pretty much confined to a single room, where wife Viviane (co-writer/director Ronit Elkabetz) is attempting to obtain a divorce agreement (or gett) from her husband Elisha (Simon Abkarian). The room has a bland, clean starkness, and there are only a few camera set-ups possible to capture the two benches where Viviane and Elisha sit with their respective counsels, and the three judges who sit listening to their arguments. But a lot of the intensity is to do with the mismatch between the unchanging solemnity of this bureaucratic setting and the absurdity of Viviane’s situation, which unfolds over five years, with frequent titles indicating the passage of months between appearances. It’s not just that divorce seems normalised to modern Western viewers, it’s that the religious demands of the Israeli society within which the Amsalems live place all the burden onto the wife, with the husband largely unpunished for making little effort to mount a defence. There are no grandstanding speeches (when Viviane’s lawyer or she herself attempt anything of this nature, they are quickly shut down by the stern men who sit in judgement), it just quietly goes about documenting the manifest absurdities of the process, meanwhile hinting at details of the couple’s life together and the reasons for her actions.
FILM REVIEW Directors/Writers Ronit Elkabetz and Shlomi Elkabetz | Cinematographer Jeanne Lapoirie | Starring Ronit Elkabetz, Simon Abkarian | Length 115 minutes || Seen at home (streaming), London, Sunday 3 January 2016
As my knowledge of popular Indian cinema is still in its infancy, my understanding from commentary I found on the internet is that this film is a Bollywood (i.e. Hindi language) debut from Punjabi director Smeep Kang, but otherwise bears the stylistic imprint of films from that part of the world (the north-west of the country and Pakistan). It stars Punjabi singer Gippy Grewal as dashing divorcee Rajbir looking to remarry the sensible lawyer Gurpreet, though the actor playing her (Tina Ahuja) almost fades into the background, since most of the comedic to-do is given over to Rajbir’s philandering boss Ajit (Dharmendra, a stalwart of both Hindi and Punjabi cinema) and his ex-wife Neha (Geeta Basra), a colourful figure who is set on Rajbir’s alimony payments. There’s little point in me trying to recount the plot, which involves all kinds of slapstick endeavours by Rajbir to set up Neha with a new husband (not to mention playing match-maker and breaker with Ajit, Ajit’s wife, the local police sergeant, and others). Even the film seems to whizz through the various possible pairings with undue haste and little attention to believability, stopping entirely at one point, as is customary, to fit in what amounts to a music video. It’s probably a stretch to have set up the almost 80-year-old Dharmendra as a charming lothario, much though he’s looking good for his age, and too many of the slapstick setpieces are a stretch even for a script this slapdash. Added to this the comedy musical cues start to get wearing over the length of the film. That said, it coasts through on the photogenic charm of its leads, making it difficult to take against it too strongly.
NEW RELEASE FILM REVIEW Director Smeep Kang | Writers Smeep Kang, Shreya Srivastava and Vaibhav Suman | Cinematographer Manoj Shaw | Starring Gippy Grewal, Geeta Basra, Dharmendra | Length 105 minutes || Seen at Cineworld Ilford, London, Thursday 16 July 2015
This is a short review, as again I’ve let myself get behind in my write-ups at this busy time of year…
FILM REVIEW || Director/Writer Hirokazu Koreeda | Cinematographer Yutaka Yamazaki | Starring Koki Maeda, Oshiro Maeda | Length 128 minutes | Seen at home (Blu-ray), London, Monday 16 December 2013 || My Rating excellent
I think it’s clear at this point that Japanese director Hirokazu Koreeda likes to make films about kids and their families, like a rather more sensitive rendering of the themes of earlier Steven Spielberg movies. His Like Father, Like Son was one of my favourite films at this year’s London Film Festival, and this previous film (only released in UK cinemas earlier this year) is also a delight. Both films feature families split apart — in this case by divorce — but I Wish takes the children as its protagonists, lending it also a sense of real child-like wonder.