Political Hanky-Panky
Saylesí ëSilver Cityí Depicts Murder Mystery Involving Election
by Ky N. Nguyen
From my recollection, the last U.S. presidential election year in 2000 didnít have nearly as many movies focused on American politics. In 2004, the titles include the documentaries "Control Room," "Fahrenheit 9/11," "The Hunting of the President," "Outfoxed: Rupert Murdochís War on Journalism," "Uncovered: The War on Iraq," "Bushís Brain," "Letís Get Frank," "Hijacking Catastrophe" and "Going Upriver: The Long War of John Kerry."
Distinguished American independent writer-director-editor John Sayles ("Sunshine State," "Limbo," "Men with Guns," "Lone Star") adds to this mix the fictional "Silver City," Saylesís most overtly political film yet. Yet it still succeeds as entertainment, beautifully photographed by Haskell Wexler. Sayles presents a murder mystery wrapped around an election for Coloradoís governor.
A thinly veiled caricature of President Bush, Dickie Pilager (Chris Cooper) is a bumbling gubernatorial candidate whoís supported by his father Judd, a U.S. senator (Michael Murphy). Chuck Raven (Richard Dreyfuss), a Karl Rove-like figure, pulls the strings of the puppet governor wannabe. Despite back
ing from corporate polluters, Dickie proclaims protection for the environment, speaking slowly in short bursts.
When a dead body is found in a lake, scruffy private investigator Danny OíBrien (Danny Huston) takes on the case. Nora Allardyce (Maria Bello), an investigative reporter whoís Dannyís ex, smells fishiness. Other key characters include Noraís lobbyist fiancÈ (Billy Zane), Dickieís political patron/mining millionaire (Kris Kristofferson), and Dickieís estranged sister Madeleine (Daryl Hannah).
In the grand style of Robert Altman, Saylesís carefully structured plot manages a sprawling cast of liberals and conservatives. It demonstrates how everyoneís connected Ö and implicated in our societyís woes. Sayles shows admirable restraint by not offering a pat solution, illustrating the entangled web as it is.
"Silver City" (English; 129 min.) is now playing at AFI Silver Theatre, Cinema Arts Theatre, Cineplex Odeon Shirlington, Landmarkís Bethesda Row and E Street Cinemas, and Loews Georgetown.
ëInfernal Affairsí: The Resurrection
Andrew Lau and Alan Makís "Infernal Affairs" was pulled after being originally scheduled as the closing night film of the Freer Gallery of Artís recent Hong Kong Film Festival. Reportedly, Miramax didnít plan a U.S. release for the 1992 critical and box office sensation, intending an English remake by Martin Scorsese instead. Fortunately, the Cantonese version is now hitting 200 screens across the nation, perhaps bolstered by Miramaxís current record-breaking success with the Mandarin-language "Hero" (also starring Tony Leung Chiu Wai).
Leung plays an undercover cop in a triad, while Cantonese pop star Andy Lau (not the director) is a triad mole whoís infiltrated the police. Their already stressful double lives becoming increasingly tenuous as each organization becomes aware of the spy in its midst.
As the cauldron slowly boils, the film moves steadily along with a gripping mood, juxtaposing entanglement with disengagement. The principals act in their typical, recognizable styles. Andy Lauís character is flamboyant, with a hearty lust for life. Leungís low-key portrayal quietly reveals a palette of emotions.
Andrew Lau, acting as cinematographer, shoots "Infernal Affairs" with remarkable luminance and mesmerizing images. Unlike other Hong Kong action movies overflowing with violence, itís applied sparingly with increased effectiveness, sometimes shockingly so. The film nearly swept the 2003 Hong Kong Film Awards and has garnered additional prizes worldwide.
"Infernal Affairs (Wu Jian Dao)" (Cantonese with subtitles; 101 min.; scope) is now playing.
ëReconstructioní: Alternate Universe
Danish filmmaker Christoffer Boeís debut, "Reconstruction," can certainly be viewed as a success. At Cannes 2003, he took home the Camera díOr (for Best First Film) as well as Best Feature in A Certain Regard. The gimmicky "Reconstruction" elevates the typical cinematic suspension of disbelief required of the viewer.
Alex (Nikolaj Lie Kaas of "The Idiots") and his girlfriend, Simone (Marie Bonnevie of "Jerusalem"), are taking a Copenhagen subway ride home. Entranced by a Swedish-speaking stranger, Aimee (Bonnevie as well), Alex follows her off the train and spends the night with her. The next morning, Alex finds that his apartment has vanished and nobody remembers him. Thereís no explanation.
The narrator, Aimeeís novelist husband August (Krister Henriksson of "Faithless") is self-reflective: "It is all film, it is all a construction. But even so, it hurts." The touching performances of the three principals make the pain palpable. The filmís abstract cinematography shows a dark, sparsely lit metropolisóemphasizing the cold fantasy motif.
"Reconstruction" (Danish and Swedish with subtitles; 90 min.; scope) is now playing at Landmarkís E Street Cinema.
ëRed Lightsí: Danger!
"Red Lights" is the latest fine addition to the venerable French psychological thriller genre. Antoine (Jean-Pierre Darroussin) is a balding, middle-age insurance salesman unhappy with his existence. He wants to "be free" and "live like a man." Heís emasculated by his stylish wife HÈlËneís (Carole Bouquet) successful law career.
Picking up their kids from summer camp in Bordeaux, the couple fiercely quarrel during traffic (an always ominous signpost) on the highway from Paris. Opposing HÈlËne, Antoine takes a detour. Threatening to take the train, HÈlËne vanishes at a rest stop. Searching for her, Antoine rashly picks up a hitchhiker (Vincent Deniard), despite suspecting that he may be an escaped convict.
Adapted from a novel by Georges Simenon, the suspenseful examination of marital strife is directed by CÈdric Kahn. He creates a distinctly otherworldly environment, full of semiotics. Missing pieces of information and dark, Hitchcockian humor add to the foreboding sense of alienation.
"Red Lights (Feux Rouge)" (French with subtitles; 105 min.) opens Fri., Oct. 8 at Cinema Arts and Landmarkís E Street Cinema.
Ky N. Nguyen is the film reviewer for The Washington Diplomat.
Repertory Notes
Korean Cinema Yesterday, Today and Tomorrow, the largest Korean film series in the United Statesóand perhaps outside of Koreaócontinues at the Freer Gallery of Art, the American Film Institute (Kennedy Center and Silver Theatre), the Avalon Theatre, the Hirshhorn Museum, and the National Museum of Women in the Arts.
(202) 357-2700, www.asia.si.edu/events/films.asp)
(202) 785-4600, www.afi.com/onscreen/nft/nft.aspx)
(301) 495-6700, www.afi.com/Silver)
(202) 966-6000, www.theavalon.org)
(202) 357-2700), hirshhorn.si.edu/programs/films.asp)
(202) 783-5000, www.nmwa.org/calendar)
The National Gallery of Art presents a retrospective of German expressionist master F.W. Murnauís silent films. The Silent Orchestra (Carlos Garza and Rich OíMeara) accompanies the famed German studio UFAís productions of "Faust" (Oct. 16), "The Last Laugh" (Oct. 16), and "Nosferatu" (Oct. 17). Murnauís Hollywood-made "Sunrise" (Oct. 2 to 3) is frequently named on lists of the top 10 films of all time.
(202) 842-6799, www.nga.gov/programs/film.htm)
The Latin American Film Festival continues through Oct. 3 at the AFI Kennedy Center and Silver Theatre. The Films of Elio Petri, a largely forgotten but influential Italian director, run through Oct. 19 at both venues. The 270-minute 1981 restored version of the silent classic "Napoleon," featuring Carmine Coppolaís new score, screens at the Kennedy Center (Oct. 23 to 24). The Silver Theatre also presents theatrical re-releases of Italian director Gillo Pontecorvoís "The Battle of Algiers" (Oct. 22 to 28) and "Queimada! (Burn!)" (Oct. 15 to 28). The latter is part of a Marlon Brando retrospective.
The 2004 DC APA (Asian Pacific American) Film Festival runs Oct. 7 to 16. The opening night film and reception at the Hirshhorn Museum features "Take Out," by Shih-ching Tsou and Sean Baker. The closing night film at the Freer Gallery of Art (Oct. 16) is "The Magical Life of Long Tack Sam, by Canadian director Anne Marie Fleming.
(apafilm.org)
The 9th annual Arabian Sights film series runs Oct. 15 to 24. From the organizers of Filmfest DC, the festival explores social, religious and political issues of the region. Several directors will discuss their films in person.
(202) 628-FILM, filmfestdc.org)
The 14th annual Reel Affirmations Film Festival runs Oct. 14 to 23, primarily at the Lincoln Theatre and the DC Jewish Community Center.
(202) 986-1119, reelaffirmations.org)
óKy N. Nguyen |
