Displaying items by tag: Vicki Krieps

THE SURVIVOR

US, 2021, 129 minutes, Colour.

Ben Foster, Billy Magnussen, Vicki Krieps, Peter Sarsgaard, Danny DeVito, John Leguizamo, Dar Zuzovsky, Paul Bates.

Directed by Barry Levinson.

The Survivor is well worth seeing.

This is the story of a Holocaust survivor, Harry Haft. While the film opens in 1963, Haft obviously a survivor and having prospered in some ways in the United States, the main action of the film takes place in 1949. And, within this framework, many flashbacks, filmed in black and white, the concentration camp. Audiences who appreciate the films which go back into the concentration camps, will find this most telling.

The film has been directed by veteran Barry Levinson, Oscar winner for Rain Man, writer of many films and then very successful as a director. And he is working with a complex screenplay effectively written by Sydney born Justine Jule Gilmer, whose early work was for Australian television, McClouds Daughters, Packed to the Rafters. The Survivor is her first film screenplay and he has written another screenplay about Irena Sandler, the Polish Catholic who rescued so many Jews from the ghetto

This is also a sports film. Harry Haft was separated from his girlfriend when she was taken to the camps, he surviving, chosen by an SS commander, played by Billy Magnusson, to find bouts for the entertainment of the Nazis, betting, and this is a great entrepreneurial success. These flashbacks also give the opportunity for audiences to see the harshness of life in the camp, the fights, and the final explanation by the commander about his attitudes towards the war and Nazi philosophy as well as a final confrontation between the two.

In 1949, Haft continues some boxing training and wants to fight against rocky Marciano despite his often lack of success in the ring. Very strong supporting cast for the training includes John Leguizamo as well as Danny DeVito, working for Marciano, but Jewish sympathies and taking time off to prepare Haft so that his defeat would be so devastating.

And there is the human story, Haft determined to find his lost girlfriend, encountering a young woman who works in a company searching out identities. They go out together, her supporting him, often exasperated with him, eventually marrying him.

Which means that this is a very strong film in terms of the Holocaust and Jewish tradition. But it is also a strong film in terms of the American sports world. And, in 1963, there is a very sad ending but one of affirmation for Harry Haft. The film is based on a book written by his son.

1. Based on a true story? A book by Harry Haft’s son?
2. The title, the concentration camps, Harry’s motive for survival, the United States, the boxing world picture and survival, surviving in the US?
3. The time frame, the opening in 1963, the range of flashbacks and their insertion, Poland and the concentration camps in black and white, 1949 and the boxing world in colour, 1963? The musical score, the Jewish melodies, hymns and chants?
4. The performance by Ben Foster, such loss of weight for the concentration camp scenes, putting on weight for the later 1940s and the 1960s episodes? The intensity of the performance, audience interest, like and dislike, sympathetic and unsympathetic?
5. The framework of the 1960s, audience knowing that there was some kind of happy development?
6. Harry, Polish Jew, with Leah, idyllic, her throwing stones, the arrest, her disappearance, Harry and his quest to find her, with the agency in New York, with Miriam, his angers and intensity, memories, yearning?
7. Harry in New York, his best friend, the boxing world, the gyms, his fights, friends, trainers? His defeats? The intensity of the boxing sequences? His wanting to fight Rocky Marciano, to get his name mentioned in the press, that Leah might see it (and the irony from the 1960s when she says she did see the write-ups but did not make contact)? The approaches, the discussions, the scepticism, finally getting the bout?
8. Harry and his training, the trainers and their personalities, working with him, the techniques, the importance of the dancing movements and his abilities? His visit to Marciano’s camp, the meeting with Charlie Goldman, Polish Jewish background, the warnings, ousting him, but having the camp with him, doing the training, that he should lose better and with more dignity that he might have? The importance of the fight, the result?
9. Harry, his moods, falling out with his friend?
10. The issue of the journalist, wanting his story, his friend wanting to keep quiet? The journalist and his questioning, Harry and his moods, the flashbacks, the story and the publication? The journalist watching the fights? And his promising to get information on Leah?
11. The importance of the flashbacks, the black-and-white photography, Harry and Leah her arrest? In the camp, amongst the many, the cumulative effect of the flashbacks and the narrative of his life in the camp, his friend and saving him? The parades, the hunger, the hard work, Harry and his attack? Schneider seeing him?
12. The significant events for Harry, Schneider patronising him, training him, the fights, to entertain the SS, the betting? The first fight, Harry and his reluctance, the appeal of the opponent for him to die with dignity, beaten, shot? The body taken away? The sequences of bodies, wagons, into the holes?
13. The consequences for Harry, Schneider and his character, smart and smooth, exploitative, yet some soft touches, the conversations, the training, the various bouts, his success, having to prove himself? The long sequence of the 30 rounds, the exhaustion, Harry and his reputation? The Jewish prisoners watching, the band playing, Harry and his being disliked, making his way through the crowd, for the celebration of Yom Kippur?
14. The insertion of the flashbacks of various stages in the story of the 1940s, the buildup to Harry, the possibility for escape, the confrontation with Schneider, his death?
15. Miriam, at the office, his insulting the head despite all the work, Miriam talking with him, going out with him, the boxing, his harshness, her being insulted, his pursuing her? Over the years, the marriage, her giving up her job, her character, her life with him?
16. The 1960s, the family, the shop, his work, the fruit? The children? His harshness on his son, thinking the son soft, wanting to train him, not telling him the story about his life?
17. The Germans, reappearing, the information about Leah? The family on holidays, at the beach? Miriam anxious? Harry, going off, the encounter with Leah, her life, her health, the discussions, his son watching? 20 years of Harry’s wanting to know her whereabouts, and finally meeting to say goodbye? And explaining his story to his son?
18. Harry living longer, his wife even longer, his children, and his son writing the story?

THE DEAD DON'T HURT

US, 2024, 129 minutes, Colour.

Vicki Krieps, Viggo Mortensen, Solly McLeod, Garrett Delahunt,.W. Earl Brown, Danny Huston, Shane Graham, Rafel Plana, Atlas Green, Ray McKinnon.

Directed by Viggo Mortensen.

Now veteran actor, Viggo Mortensen, became a household name when he appeared in the Lord of the Rings trilogy as Aragorn. Mortensen is not only an actor, he is a writer, musician, composer, and has brought all these talents to directing The Dead Don’t Hurt.

In fact, the setting is in the West during the American Civil War. However, the action takes place on the Nevada border and the war itself seems distant. Which means that the film is set in the West, its saloon, gamblers, sheriff, shootouts, but the story is told in such a way that it could take place at any time.

The film opens, significantly because of his title, with a death. There is also a violent shootout in the streets, a court case, a lynching execution. But we have to pay attention because the film moves both forward and with flashbacks, important for the audience to gauge which is which to appreciate the characters and the dramatic development. Sometimes this is something of a challenge.

But, in the flashbacks, we are introduced to Olson, Scandinavian background, arriving in a port, eager to make his way in America. But, the audience has also had a long introduction to a young girl, Vivienne, French background, her father executed by the British, a forthright young girl with an imagination (including a Knight in armour coming to visit her, a scene with which the film opens and will recur). Olson and Vivienne hit it off immediately, some comeuppance to an arrogant young suitor in the town, and they travel to the Nevada border, setting up house, Olson a capable builder, working for some of the money men, profits from gambling, in the local town.

Vivienne is played by Vicki Krieps, the core of the drama and our emotional response.

Audiences need to keep checking on the timespan. After a while, there is a visit and plea from a recruiting agent for serving in the war, Olson, despite Vivienne’s protests, volunteering to go, absent for many years, some letters getting through, some not.

At the dramatic centre of the film is Vivienne’s coping during Olson’s absence, the working in the local bar, hired by the moneyed man, but aggravated by his irresponsible sociopathic son. There are dire consequences for everyone concerned and, gradually, the storytelling arrives back at the violence in the streets, and at the death and dying scene we first saw.

As expected, ultimately, this is also an avenging Western.

The film is intriguing, playing with the audience’s appreciation of characters and story, the interplay and tension between the past and the present – and, with the death, the irony of the title and its implication that The Living Do Hurt.

1. The title? Evocative? The opening, Vivienne and her death, the flashbacks, her life and death?
2. A variation on Western themes? The era of the Civil War? The Nevada border? Migrants, experiences of war, our, mining, gambling, our in the West?
3. The location photography, the beauty, the desert, rivers, ports? The musical score?
4. Setting of mood with the opening, the Knight in armour, in Vivienne’s dream, his reappearing during the film, echoes of Joan of Arc, his appearing, reassuring, at her death? Focus on Vivienne’s face, Olsen and his grief?
5. The violent episode in the town, at Weston Jeffries, cold, calculating, arrogant, the shootings, the death of Billy? The response of the Mayor, going to the grave, Olsen burying his wife, Vincent present, the story of the violence in the town?
6. Court case, the victim for the killings, the religious righteousness of he judge, the woman in the court defiant, guilty verdict, the hanging? Olsen observing and leaving?
7. Olsen and Vincent leaving, riding through the countryside?
8. Audiences adjusting to the time sequence, the bulk of the film being flashback, the story of Vivienne, French, her parents, the war, her father hanged? In the Port, the relationship with the wealthy man, his treatment of her in the restaurant, her defiance, her attraction to Olsen, talking, going off with him, taking him to the house, the art gallery? Forming a bond?
9. Olsen in the town, his background, war? Travelling with Vivienne, the land, setting up, his building talent, working on the other barns? Vivienne upset at first, the flowers and trees, their life together? Her going to work in the bar, the older Jeffries and his power, the discussions with the mayor, the financial deals, the gambling, the adjacent houses, prostitution? The manager of the bar, some integrity? Weston Jeffries in the bar, his arrogance? The violent episode with Weston Jeffries and the piano player, the song, the brutality, commanding him to play? Vivienne and later support of the pianist, his family, the daughter, learning French?
10. Olsen, the Civil War, the recruiter in the bar, his deciding to join the Army, Vivienne and her upset, his leaving? Away for so many years, the letters, some received, some not?
11. Vivienne, managing, the house, her independence, at the bar? Weston Jeffries following her, her cat in cutting, the violent rape, the aftermath, in the bar?
12. Her pregnancy, giving birth, the child, the years passing, the bond between mother and son? Life in the town? Olsen and his eventual return, the important sequence revealing the child, Vivienne quietly spoken, Olsen and his response, leaving, in the river, swimming? His anger at Jeffries?
13. The boy, his manner, with Olsen, the acceptance, the building and Olsen showing his son how to hammer? The possible good life?
14. The request for Olsen to become sheriff, the discussion with the Mayor, his office? Billy and his delivering the letters, his becoming the assistant? But the audience knowing from the beginning what was to happen?
15. Vivienne, illness, syphilis, from Weston Jeffries, the dangers, her death and her vision? The burial?
16. Olsen and Vincent, riding, the encounter with Weston Jeffries, the guns, the confrontation, Olsen throwing the knife, overcoming him?
17. The story continuing, Olsen and Vincent arriving at the ocean, contemplating the ocean? Sadness, regrets, hopes?

THE THREE MUSKETEERS: PART 1, D’ARTAGNAN/ LES TROIS MOUSQUETTIERES, D’ARTAGNAN 

France, 2023, 121 minutes, Colour.

François Civil, Vincent Cassel, Romain Duris, Pio Marmai, Eva Green, Louis Garell, Vicki Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Eric Ruf.

Directed by Martin Bourboulon.

The novels by Dumas, pere et fils, excited 19^th-century readers – and were popular around the world. Audiences revelled in the stories of the Musketeers, of the Man in the Iron Mask, the Count of Monte Cristo.

And there have been many film versions, swashbuckling in the 1930s with the Ritz Brothers, the spectacular MGM treatment in 1948, Richard Lester’s several films, action with some comic touches, American productions in the 90s, the 2000s. And, now, a spectacular French version, no expenses spared. And, it was released in two parts.

The first part of the film focuses on D’Artagnan, his origins in Gascony, confidence, riding to Paris, brashness, duels and encountering the Musketeers themselves. But, he is eventually embraced by them, finally becoming a musketeer himself. He is played very genially by François Civil. And, there are French film veterans as the of the musketeers, Vincent Cassel as Athos, Romain Duris as Aramis, Pio Marmai, less prominent in the films but jovial, Porthos.

At the beginning of each of the film is there is quite some explanation of the political background, the 1627 setting, clashes between Catholics and Protestants, the king wanting peace. There is also the complication of the relationship of the Queen with the Duke of Buckingham, her giving him her necklace as a memento, the king demanding to see it, the expedition to England by Milady and the confrontation with D’Artagnan.

There is also the story of the lady in waiting, Constance, her devotion to the Queen, the recovery of the diamonds in time, and data falling in love with her.

The King is played by Louis Garell in a quite uncharacteristic rule. Vicki Krieps is the Queen.

It is one is introduced in the first film, played with suave intensity by Eva Green. In the first film, she falls from a cliff in England when confronted by D’Artagnan, She features in the beginning of the second part, links with Cardinal Richelieu, getting a written pardon from him, but then being captured, D’Artagnan confronting her, her stealing documents to indicate who is the traitor in the war. Then she disappears but returns, confronting Athos and the memories of her past, further intrigue, to the Duke of Buckingham, unmasked, escaping and pursued until the final confrontation in flames with D’Artagnan.

The second part highlights the Civil War, the siege of La Rochelle, the various factions, the staging of the battles, hand-to-hand fighting, the bombardment of the British ships.

There is pathos at the end of the film, Constance allowing Milady to escape but then a hood over her head, taken to be hanged, D’Artagnan intervening but unable to save her.

There is the possibility for the story to be continued as Athos, returning home, finds one of Milady’s earing is in her son’s bed…

1. The long popularity of the Dumas’ novels, the many film and television versions? 21^st-century version? A French interpretation? The contrast with so many of the Hollywood versions?
2. 1627, initial explanations, Louis XIII, religious wars, power, Cardinal Richelieu, Protestants, factions? Links with Britain?
3. The visuals of the film, costumes and decor, buildings, interiors and exteriors, vastness? Yet the ordinary parts of the city, dirty, crowded? The sumptuous court sequences, the Cathedral wedding? Atmosphere of the period? The musical score?
4. Audience knowledge of the Three Musketeers, the characters, their stories? Athos and his Protestant background, older? Aramis and his ecclesiastical connections? Porthos as jovial? The younger D’Artagnan, his origins, proving himself, becoming a musketeer? All for one and one for all?
5. The title of part one, D’Artagnan? Age, appearance, his father’s background, his ambitions, looks, riding the horse? Arrival in Paris, over-eager, challenging the three men, the duels? Moving, the fights, the Three Musketeers? The episode with the coach, the Countess, the message, the killings, the fights? The presence of Milady? Beginning of further intrigues?
6. D’Artagnan, the encounter with Constance, the attraction, the offer of lodging, her work at home, her presence in the court, with the Queen? D’Artagnan’s attraction, falling in love? His becoming a go-between? Constance, her personality, the court, fending off D’Artagnan? The issue of the necklace?
7. The King, status, personality, relationship with his brother, relationship with the Queen, her affair with the Duke of Buckingham, his suspicions, the advice of Cardinal Richelieu, his religious stances, the urge to war against the Protestants? His personal manner and behaviour?
8. Cardinal Richelieu here and his ambitions, his allies, bridges, aristocracy? Plot against the Queen? Milady and her writing notes, the death of the Countess, her taking her place, the meeting with D’Artagnan, his overhearing, her attack on him, his escape?
9. The jovial musketeers, D’Artagnan as a cadet, their admiring him? The situation with Athos, the dead woman, his being arrested, tried, Protestant, condemned to death?
10. The Queen, deceived by the note, the arrival of the Duke of Buckingham, the relationship, the memento of the necklace? The attack, the fights, the Duke and the Queen, his departure?
11. The King, suspicions about the necklace, wanting to see it? going to England, disguised the ball, with the Duke, the seduction, taking the necklace? D’Artagnan commission to go to England, at the ball, with the Duke, the pursuit of Milady, the chase along the cliffs of Dover? Her falling into the English Channel?
12. The tension, D’Artagnan returning, the Queen substituting a necklace, the demand of the King, Constance receiving D’Artagnan, the kiss, the necklace, the reaction of the king? Of Cardinal Richelieu?
13. The King’s brother, planning, the arranged marriage, the ceremony and the Cathedral? The Protestants, the release of Athos? Their being disguised as monks, the choir? The ceremony? The shot, Athos and the warning, the King’s life saved? The fighting, the arrests? The king deciding to go to war against the Protestants?
14. Athos and his being pardoned, D’Artagnan officially becoming a musketeer?
15. The sinister characters, overhearing, the violence, the attack on Constance?
16. The suspense and the film to be continued?

THE THREE MUSKETEERS: PART 2, MILADY LES TROIS MOUSQUETTIERES, MILADY 

France, 2023, 121 minutes, Colour.

François Civil, Vincent Cassel, Romain Duris, Pio Marmai, Eva Green, Louis Garell, Vicki Krieps, Lyna Khoudri, Jacob Fortune-Lloyd, Eric Ruf.

Directed by Martin Bourboulon.

The novels by Dumas, pere et fils, excited 19^th-century readers – and were popular around the world. Audiences revelled in the stories of the Musketeers, of the Man in the Iron Mask, the Count of Monte Cristo.

And there have been many film versions, swashbuckling in the 1930s with the Ritz Brothers, the spectacular MGM treatment in 1948, Richard Lester’s several films, action with some comic touches, American productions in the 90s, the 2000s. And, now, a spectacular French version, no expenses spared. And, it was released in two parts.

The first part of the film focuses on D’Artagnan, his origins in Gascony, confidence, riding to Paris, brashness, duels and encountering the Musketeers themselves. But, he is eventually embraced by them, finally becoming a musketeer himself. He is played very genially by François Civil. And, there are French film veterans as the of the musketeers, Vincent Cassel as Athos, Romain Duris as Aramis, Pio Marmai, less prominent in the films but jovial, Porthos.

At the beginning of each of the film is there is quite some explanation of the political background, the 1627 setting, clashes between Catholics and Protestants, the king wanting peace. There is also the complication of the relationship of the Queen with the Duke of Buckingham, her giving him her necklace as a memento, the king demanding to see it, the expedition to England by Milady and the confrontation with D’Artagnan.

There is also the story of the lady in waiting, Constance, her devotion to the Queen, the recovery of the diamonds in time, and data falling in love with her.

The King is played by Louis Garell in a quite uncharacteristic rule. Vicki Kireps is the Queen.

It is one is introduced in the first film, played with suave intensity by Eva Green. In the first film, she falls from a cliff in England when confronted by D’Artagnan, She features in the beginning of the second part, links with Cardinal Richelieu, getting a written pardon from him, but then being captured, D’Artagnan confronting her, her stealing documents to indicate who is the traitor in the war. Then she disappears but returns, confronting Athos and the memories of her past, further intrigue, to the Duke of Buckingham, unmasked, escaping and pursued until the final confrontation in flames with D’Artagnan.

The second part highlights the Civil War, the siege of La Rochelle, the various factions, the staging of the battles, hand-to-hand fighting, the bombardment of the British ships.

There is pathos at the end of the film, Constance allowing Milady to escape but then a hood over her head, taken to be hanged, D’Artagnan intervening but unable to save her.

There is the possibility for the story to be continued as Athos, returning home, finds one of Milady’s earing is in her son’s bed…

1. The long popularity of the Dumas’ novels, the many film and television versions? 21^st-century version? A French interpretation? The contrast with so many of the Hollywood versions?
2. 1627, initial explanations, Louis XIII, religious wars, power, Cardinal Richelieu, Protestants, factions? Links with Britain?
3. The visuals of the film, costumes and decor, buildings, interiors and exteriors, vastness? Yet the ordinary parts of the city, dirty, crowded? The sumptuous court sequences, the Cathedral wedding? Atmosphere of the period? The musical score?
4. Audience knowledge of the Three Musketeers, the characters, their stories? Athos and his Protestant background, older? Aramis and his ecclesiastical connections? Porthos as jovial? The younger D’Artagnan, his origins, proving himself, becoming a musketeer? All for one and one for all?
5. Continuation of the story? The focus on Milady? The continued story of D’Artagnan? Of the Musketeers? Of the King and the Queen? Of the religious wars?
6. Athos and his story of his wife, the betrayal, branding, her being hanged, his visit to his son, promise to return after the war? Audience awareness of Milady, the issue of the Queen’s diamonds, the confrontation with D’Artagnan, her relationship with Richelieu? Are being captured and imprisoned? The confrontation with D’Artagnan, his thinking she was Constance, the escape, the pursuit, her documents and the identity of the mastermind?
7. Contact with Richelieu, going to England, the confrontation with the Duke of Buckingham, Constance recognising her, her arrest? Constance coming to see her, unwilling to give her a knife, Constance in the change of clothes, her escape?
8. Athos finding out the truth, the confrontation with her, his love, her drawing the knife, the Musketeers arriving in time, Athos letting her go, D’Artagnan pursuing her, in the burning building, the final fight, her death?
9. The civil war situation, Protestants and Catholics, the king wanting peace, his brother leading the battle, thanking his brother, in action? Betrayal?
10. The battle sequences, the staging, La Rochelle, the battlements, the cannon, the British ships and their destruction? The hand-to-hand fighting?
11. The role of the Musketeers, the role of de Treville, involvement, the fighting, undercover, the betrayals?
12. The background story of Aramis, his sister, her pregnancy, going to confront the father, temptation for a duel, the cabin, his death, the presence of Porthos, going back to his sister, her place in the conference, tending the wounded, his wounds, falling in love with her? The happy ending? Aramis and his reaction, celebrating the wedding?
13. The various factions, Chalais and his betrayal, with milady, with Constance, the King’s brother killing him?
14. D’Artagnan, visiting the Queen, searching for Constance, the Queen and her relationship with the King, memories of Buckingham, sending Constance to him?
15. The trial, the entry of the Musketeers, the revelation of the truth, the pardon, the condemnation of his brother?
16. The story continuing – and Aramis finding Milady’s earing in his son’s room…?