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Screen Trek - An Intersection of Movie Reviews, Articles, Essays and Conversation

Screen Trek - September 2009

BALIBO: A TALE THAT NEEDS TO BE TOLD

September 28th 2009 07:29
Anthony LaPaglia in Balibo
Anthony LaPaglia turns in a powerful performance as doomed newsman, Roger East, in Balibo.

In a bumper year for Australian films none has garnered as much attention as Balibo. The story of six Australian journalists ruthlessly murdered during Indonesia’s 1975 invasion of East Timor has aroused a fresh wave of local interest in the incident, with an Australian Federal Police probe now being launched to investigate the war crimes.


The film follows seasoned Australian newsman, Roger East (Anthony LaPaglia), during the closing days of 1975, when he set out from Darwin for East Timor at the behest of a young Timorese politician, Jose Ramos-Horta (Oscar Isaac). East Timor was in the process of gaining its independence from Portugal, and Ramos-Horta had designs on East becoming the head of the new nation’s media bureau.

But East Timor’s freedom was anything but guaranteed, with Ramos-Horta himself acknowledging the evidence that Indonesia was preparing for an East Timorese invasion. And Roger East had concerns other than his new job at the head of the media bureau, launching virtually a one-man investigation into the disappearance of five Australian journalists from Balibo, an East Timorese village on the border with Indonesia, three weeks earlier.

Balibo sticks with East as he travels from Darwin to Dili and then on to Balibo, but also sketches out the story of the five murdered journalists – contemporarily known as the ‘Balibo Five’ – in a series of flashbacks. Cleverly delineating the two timelines from each other, cinematographer Tristan Milani has filmed the Five using equipment similar to the news cameras of the time, lending the sequences a grainy, documentary-like feel that’s in stark contrast to the crisp stock applied to East’s story.


It’s a technique that works to a large degree, allowing director/screenwriter Robert Connolly and editor Nick Meyers to quickly flip between the two timelines, although the design of the screenplay necessitates that the Five are barely more than brief sketches of the real individuals.

Instead, Connolly and co-writer David Williamson have wisely decided to make this East’s film, charting his journey as one of professional and personal redemption. It lends Balibo a careful focus, even if necessitating the skimming over of other interesting issues regarding the Indonesian invasion of East Timor, such as the Australian government’s involvement (or lack thereof – you be the judge) in the affair and the deeper political situation of the island nation.

As Roger East, Anthony LaPaglia is quite brilliant. When not in front of the camera, the US-based LaPaglia speaks with a broad American accent, but its hard to imagine when he’s onscreen: there’s something distinctly Australian about the actor, a haunted physicality that makes him absolutely compelling to watch. He’s in his element as East, latching on to the potent grist supplied by Connolly and Williamson.

Balibo Five in Balibo
Illustrations of their nationality didn't spare the Balibo Five from a grisly fate.

In support, Oscar Isaacs is also excellent as Ramos-Horta, capturing the young man’s cheeky but assertive charisma perfectly, while the five murdered journalists are almost overdosed on acting talent through Damon Gameau, Gyton Grantley, Mark Winter, Nathan Phillips and Thomas Wright.

Even if Connolly’s palpable rage at what happened to these innocent men sometimes drifts towards the maudlin – particularly in an overworked closing sequence – this remains gripping stuff. The filmmakers’ work at bringing this story to the screen is brimming over with passion, but remains invigoratingly entertaining throughout, which is a credit to the craftsmanship on display. Detailing a dark corner of Australian history, Balibo is essential viewing for any Australian.

Check out the trailer for Balibo below:


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DUPLICITY: PLAYING ITSELF

September 22nd 2009 06:16
Julia Roberts Clive Owen Duplicity

Screenwriter Tony Gilroy has had such a prolific recent career behind the typewriter it’s little wonder he started branching out into directing. And he’s made a half decent fist of it too: 2007’s Michael Clayton was a cleverly cold corporate thriller, packing a crisp originality. In fact, the only problem with Michael Clayton was the quality of its writing. Gilroy penned a story about redemption based upon a character whose past you knew too little about.

A similar problem haunts Gilroy’s latest directorial effort, Duplicity. This is slick stuff, and its romantic spy caper slant is significantly different to Michael Clayton, but it’s let down by structural problems that slowly strangle the life from this initially giddy piece of celluloid.

The story is almost like Mr & Mrs Smith without the steroids or the glowering irony. Julia Roberts and Clive Owen play competing agents, Claire Stenwick and Ray Koval. Formerly government operatives – her CIA, him MI6 – and briefly lovers, the two now find themselves on opposite sides of a corporate war between rival pharmaceutical companies. As the underhanded competition between their respective employers heats up over a revolutionary new product, professional loners Claire and Ray engage in a series of schemes and double-crosses while contending with the fact that their mutual attraction could ultimately jeopardise their goal of fleecing either their employers or each other.

It’s quite clever stuff initially, with Gilroy using a growing concern about the practices of big pharmaceutical companies as a background for an efficient set up. The early scenes race along, and Claire and Ray’s encounters zing with electricity, a credit to Gilroy’s skills as a director.

But as the film wears on it also wears out. A big problem is the increasing frequency of flashbacks to previous meetings between the protagonists. Required to a certain extent for the purposes of exposition, from the middle of the film onwards they begin to drain the narrative of its early propulsion, and by the final third the audience is perhaps preparing for a lynching.

Not helping is Gilroy’s obsession with the double and triple crossing. At a certain point the device itself becomes predictable, and the later revelations are more likely to incite groans rather than gasps, with the final twist depressingly predictable.

All this skulduggery manages to derail the protagonists also. Claire and Ray are never standing on any solid ground as characters so it becomes hard to invest in their scheming, gaming ways. At certain points, you can’t be sure that they’re anything more than a couple of arseholes simply trying to out screw the other out of millions of dollars, and while this may keep the audience guessing, it also keeps them at arm’s length. In this respect, there are times when Duplicity becomes a grim reminder of the tortured Closer, in which Roberts and Owen first starred together.

Julia Roberts Clive Owen Duplicity
Julia Roberts and Clive Owen will always make for an appealing couple.

Thankfully, it’s that star power that often sees Duplicity through its weaker moments. There’s no denying the energy of Roberts or Owen, with the former putting her subtle powers of expression to good use. Owen, on the other hand, hasn’t had this much fun in ages. Having in recent times been stuck playing grim and grizzled protagonists, it’s enjoyable seeing him stretch his charm out in the sun; it’s an under appreciated part of his charisma. The two leads are supplied with plenty of able support, particularly from the precise Tom Wilkinson and livewire Paul Giamatti as the competing Big Pharma bosses.

Further helping the film are the impressive technical merits – including some classy cinematography from Robert Elswit – and a wealth of subtext. Indeed, Duplicity has plenty to say about the demented nature of modern relationships, both at the personal and corporate level. It’s a nice touch, giving the proceedings some sober underpinnings despite the often-madcap nature of their slick surface.

It’s perhaps this intelligence the film attempts to bring to the table of modern Hollywood that deserves a pat on the back. But in its quest to run rings around the audience, Duplicity ends up distancing itself from them instead, leaving it with a second half that fights an uphill battle for a viewer in serious danger of no longer caring.

Check out the trailer for Duplicity below:


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Werner Herzog Encounters at the End of the World
There's some unbelievable photography in Encounters at the End of the World.

Nobody can deny the existentialism that seems to inhabit the films of Werner Herzog. Whether it’s his infamous feature Aguirre, The Wrath of God or a documentary such as Little Dieter Needs to Fly, Herzog continually feels the need to play on, speak to, and reframe the human condition.

And yet Herzog’s documentaries are very different to his feature films. While releases such as Aguirre or Fitzcarraldo are frightening in their scope and intensity, Herzog’s non-fiction films tend to be personal and intimate, right down to the director’s droll, conspiratorial narration.

Encounters at the End of the World is another of these often-fantastic documentaries, Herzog using a trip to Antarctica to riff on his and others’ thoughts on the meaning of life and the future of the human race.

Invited by friend and underwater diver/photographer, Henry Kaiser, Herzog and his crew travel to the US Antarctic community of McMurdo Station. Located on the permanently iced-in Ross Island, the station is the headquarters of the National Science Foundation, and its population of just over 1000 inhabitants provides an ample sample of professional dreamers and fringe dwellers, just the type of people the filmmaker seems so interested in.

So we meet a former corporate banker who’s now the community bus driver, and a philosophy student who operates a forklift. There’s also a cell biologist who take a profound fascination in the microscopic horrors he studies and a fantastic conversation with a reticent penguin researcher that leads to one of the film’s more poignant moments. Throughout, Herzog proves himself as interested in the mental and philosophical goings-on of the workers themselves as he is in the environment they tackle day-in, day-out.

Continually using references to and images of Ernest Shackleton’s doomed Antarctic adventure of 90 years ago, Herzog raises questions about the changing way in which we view the world and the sustainability of human life on the planet. Almost everyone he talks to shares these grand concerns, even if they don’t express it quite so explicitly.

Werner Herzog Encounters at the End of the World
Not everything's so grim at the South Pole.

And there seems to be no better place to consider such issues than the frozen steppes of Antarctica. The surface of the continent seems so barren, and yet it’s teeming with life. Underwater, all sorts of strange creatures are captured by Henry Kaiser’s beautiful, drifting shots, his work framed by the icy catacomb that engulfs him and his fellow divers. Peter Zeitlinger takes care of the more traditional photography, and his seemingly symbiotic link with Herzog translates to the screen as he captures both the interview subjects and intimidating scenery with a quick but sure hand.

Herzog himself is a highly adept interviewer. He never lets the boffins of this strange environment get overly self-indulgent and instinctively knows when an interview has run its course. He’s both inquisitive and respectful, but also sometimes a little cheeky, and it’s perhaps this delicate mix that breaks open his subjects so easily.


Throughout, the fantastical scenery and colourful characters are strummed along by a fleet-footed score from David Lindley and Henry Kaiser, which switches from the profound to the playful in an instant.

And it’s that careful balance of elements that makes Encounters at the End of the World such a fantastic documentary. It effortlessly spins the viewer into Herzog’s web; the inquisitive philosophy, dramatic imagery and otherworldly music providing a hypnotic beat that remains in the brain long after the final credits have rolled.

Check out the trailer for Encounters at the End of the World below:


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Errol Morris Standard Operating Procedure
Abu Ghraib gets the Errol Morris treatment in Standard Operating Procedure.

Ever since his 1988 film, The Thin Blue Line, documentary maker Errol Morris has seemingly been concerned with the hazy nature of the truth. Morris is obsessed with how one individual’s interpretation of a set of events can differ so wildly from another’s.

[ Click here to read more ]
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UP IN 3D: PIXAR'S GOLDEN RUN CONTINUES

September 10th 2009 08:47
Pixar's Up
South American odd couple: Russell (Jordan Nagai) and Carl (Ed Asner) looking for adventure south of the equator.

For almost 15 years Pixar have been on a golden run. Since the release of Toy Story in 1995 the animation studio has been an out of control road train, their artistic nerve and verve seemingly unstoppable (despite the slight fender bender that was Cars).

[ Click here to read more ]
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Jeremy Renner in The Hurt Locker
Jeremy Renner's Sgt. James inspects the aftermath of an oil tanker explosion in The Hurt Locker.

David Simon has a lot to answer for. Having rendered just about every modern police procedural film irrelevant with his excellent television series, The Wire, he’s now done the same thing with the Iraq War.

[ Click here to read more ]
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THE DE LOREAN LIVES!

September 3rd 2009 06:41
De Lorean Back to the future

If you’re talking cinematic icons, they rarely come greater than the De Lorean. Bob Zemeckis is an endlessly talented filmmaker, and his penchant for a cracking story was matched by some truly innovative production design in Back to the Future. When you watched the film as a kid you wanted a De Lorean, particularly if it was laying down trails of fire and coming back from its travels along the time-space continuum covered in ice.

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RETROSPECT: THE THIN BLUE LINE (1988)

September 1st 2009 06:20
Errol Morris The Thin Blue Line
Falsely accused: Randall Dale Adams tells his story in The Thin Blue Line.

Ask any artist about the major motivation behind their craft, and the chance to make a difference in the world is usually high on the list. It’s particularly true of documentary makers, those humble toilers of the motion picture industry, who so often survive on curled cheese and sweaty doughnuts as they attempt to sniff a story from the morass of everyday life.

[ Click here to read more ]
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