revenge

Revenge

payal — Fri, 29 Oct 2010 08:00:00 +0000

Revenge sketches the transformation of Jhumur, an educated, ambitious Bengali lady who after marriage transforms into a meek, obedient wife. Taslima Nasrin has portrayes Jhumur as a strong yet submissive woman who married Haroon for love and is bewildered to see the change in her husband’s attitude after the wedding. The book keeps us pondering on the ideas of right and righteous acts.

When Jhumur married Haroon, little did she know that the life she dreamed would remain in her fantasies. Haroon was just another orthodox husband with little respect for her dreams or ambitions; he expected her to do the cooking for the entire family, despite having maids to do the same. He insisted her to cover her head and was not allowed to stand in the balcony or travel alone or to her parents’ place. He defined Jhumar’s life by setting a code of acceptable behavior befitting a daughter-in-law rather than seeing her as a woman yearning for his love and companionship.

When Jhumur conceives after six weeks of marriage, Haroon forces her to abort, as he does not believe that the child is his. This was the ultimate betrayal to Jhumur. Her husband had destroyed the truth, trust, and purity of their relationship. Jhumur realizes that she hates him and webs plans to get revenge by falling in love with Afzal, the painter living downstairs. Their mutual attraction leads to physical intimacy, and Jhumur plans to have a child fathered by Afzal. She connived by avoiding her husband during her ovulation period and keeping a physical relationship with Afzal.

By the time Jhumur becomes pregnant for a second time, Haroon is a totally changed man. He excludes her from all household chores and involves her opinion in all the decisions. He believes the child to be his beyond any suspicion and acts like a doting father, taking care of all the baby-related chores.

Jhumur’s life changes also. She no longer has to cover her head, is allowed to travel alone to meet up with her old friends, and decides to work as a eacher. Haroon no longer controls her and accepts her as an intelligent woman strong enough to make her own decisions.

Taslima Nasrin has narrated the emotional turbulence that Jhumur suffers after marriage very vividly. Jhumur faces a myriad of emotions, from the bliss of being married to the man she loved to the shock knowing his abusive nature to her insecurities and helplessness to realizing she didn’t love Haroon anymore. Jhumur opts out of divorce, as she had seen how divorced women are treated by her society. (Even their parents treat them worse than the maid.) She accepts that her life and fate is tied with Haroon, but she can’t let him off the hook for the distrust he had shown her.

Nasrin tried to portray Jhumur as a determined modern woman, though occasionally one can feel the contradiction in the character. Jhumur hates her husband well enough to have a child from another man, yet she says she doesn’t hate him enough to leave him. She decides to free herself from the traditions, yet she is traditional enough to consider marriage was for life and couldn’t live with the “disgrace of divorce.” Other than slight discrepancies in setting boundaries to Jhumur's thoughts, the novel is an uncomfortably wonderful read.

Written by: Sunitha Jayan, October 29th 2010

Manhater

admin — Wed, 11 Aug 2010 00:01:00 +0000

Directed by Anthony Doublin

Canyon Falls Productions

I recall visiting a horror movie convention soon after Kill Bill had come out. Nearly every film production table had at least one "sexy lady getting revenge" movie poster predominantly on display. Attractive female murderers are the perfect shortcut to fulfilling violence and sex in films. Over the years, the number of "lady revenge" movies has dwindled.

However, there are a few stragglers being produced, like Manhater. Manhater is described as "horror... with a good, unique story," but to consider it a horror film is questionable. Instead, I consider it a supernatural film with a Dr. Jekyll/Mr. Hyde plot, punctuated with gore and nudity.

The story is neither good nor unique. The plot is, well, this: An abuse survivor takes a magic potion from a witch, and the potion makes a demon appear. The demon kills all the men that hurt the woman, but the witch is actually involved with the woman's rapist. The rapist wants to control the demon and has a glowing necklace that he holds while talking gibberish at the demon. Yes, you read correctly.

First, kudos to the crew and performers who stuck it out until the end! I wonder if they were paid; hopefully, they were at least fed lunch. Some of the performers went by aliases in the credits. Were they embarrassed to be in this film? Also, the film score earned "Best Original Soundtrack at Idyllwild," though I hardly noticed it.

This film’s creators don't seem to have valued good production in any form. The camera work varies anywhere from poor to acceptable quality. I noticed camera shakes, awkward movements, and questionable shots. The lighting is sometimes off or completely absent. There are a few outdoor scenes in pitch-black darkness. The audio doesn't always sync up with its source. Lips are moving without sound at times, like in poorly dubbed kung-fu films. The editing is unclean. Many cuts did not mesh well with others or were abruptly cut off.

The makeup is better meant for a theatrical stage, not a film screen. Big, false eyelashes are distracting and corny on movie performers. Also, at one point, a woman has paintbrush stripes on her cheeks for blush. The acting talent ranges from non-existent to lukewarm. These performers would have shone more if they were given character roles with more than one dimension. The characters are unrealistic, unlikable, or both.

Also, there is a Token Black Female Best Friend in this film. You know, in predominantly white films, we sometimes see a black female best friend who has no real personality other than to act as a cheerleader for the (usually bitter) white female protagonist (as in the film Julie and Julia). The story gets more ridiculous by the second, the plot holes are vast, and the dialogue is vapid. The special effects, while respectable on such a low budget, are pretty dorky.

Most problematic, this film begins with a rape scene. It's obviously fake, but still graphic, and insensitive to both performers and viewers alike. If a movie absolutely requires such a scene, then it needs to do it with understanding and discretion. Later in the movie, the survivor talks to the abuser; not just once, but often, and in a mildly annoyed tone more appropriate towards someone who owes her money, not someone who has brutally assaulted her. She even accepts an invitation to join him alone in his house.

The writer of this film clearly does not understand the seriousness of sexual assault, instead confusing it with edgy sex. The fact that he botched this topic, as well as the film’s overt objectification of women and senseless gore, proves that Manhater is just another cheap combo platter of sex and violence to be devoured by stupid people.

Written by: Jacquie Piasta, August 10th 2010

Micmacs

admin — Fri, 21 May 2010 08:00:00 +0000

Directed by Jean-Pierre Jeunet

Sony Pictures Classics

After running through a gauntlet of elevators and security guards at the Sony Tower in midtown Manhattan, I entered a small screening room to see the French film Micmacs. Micmacs follows a group of ragtag junkyard denizens as they attempt to help a newcomer in their midst get revenge.

The story opens with Bazil (Dany Boon) receiving word that his father has died after stepping on a landmine in the Moroccan desert. Bazil is effectively orphaned, as his frail mother winds up institutionalized. Several decades later, Bazil is working his shift at the local video store when a random act of violence gets him a bullet in the head.

Bazil returns home from the hospital—bullet in skull—only to find out that he has lost his housing and his job. Suddenly homeless, Bazil scrapes by as a street performer. He crosses paths with Slammer (Jean-Pierre Marielle), a life-long criminal who was pardoned after the guillotine failed to take his head off. Slammer takes Bazil to the junkyard run by Mama Chow (Yolande Moreau). Bazil becomes part of a group that includes, amongst others, Remington (Omar Sy), a Congolese ethnographer; Buster (Dominique Pinion), a man desperate to make it into the record books; and Elastic Girl (Julie Ferrier), a contortionist with more than a friendly interest in Bazil.

Shortly after his “adoption,” Bazil happens across two gigantic buildings that bear the logos of the weapons that destroyed his life. Vowing to get even, Bazil and his new friends work to deceive two unscrupulous arms dealers (Nicolas Marie and Andre Dussolier).

While I watched Micmacs, I couldn’t help but compare it to an earlier Jeunet film, Oscar-nominated Amelie. Both films have a zany charm, presenting gentle dreamers given to surrealistic fantasy sequences. Bazil and Amelie lost parents at tragically young ages, like old movies, distract themselves with silly questions, and anxiously avoid romantic attachments. The plots of both films are driven by coincidences and fortuitous events, have quirky characters who achieve their ends by (repeatedly) breaking into other people’s homes, and present comical sex scenes. In fact, three of Micmacs' cast members also appeared in Amelie.

Unfortunately, Micmacs doesn’t work as well as Amelie did, which I chalk up to an inappropriate tone. While Amelie was basically a romance, Micmacs touches upon corporate greed, international arms dealing, terrorism, and even genocide. To make matters worse, the arms dealers come off like caricatures, despite Jeunet’s efforts. A much darker tenor would have been more suitable for this film.

Micmacs was funny, but not hilariously so. The word that kept coming to mind during the screening was “cute,” and I found myself fidgeting despite the 104-minute run time. I anticipate that Micmacs will have a respectable run in certain American theaters; however, I would suggest that anyone interested in this film wait for the DVD.

Written by: Ebony Edwards-Ellis, May 21st 2010

The 3 Marias

admin — Tue, 17 Jul 2007 22:55:00 +0000

Directed by Aluizio Abranches

First Run Features

The 3 Marias, a gritty 2002 Brazilian film directed by Aluizio Abranches, revisits the age-old theme of revenge, but with a delightful empowering twist. The film opens with haunting opening credits, and the story begins with a rather cryptic yet powerfully operatic scene. The plot then steamrolls forward, introducing the victims of unwelcome murder, and off we go. It’s a whirlwind tale of a woman, wronged by an ex-lover, who happens to be her late husband’s archenemy, imploring her three daughters to avenge the cruel and corrupt death of their father and two brothers. Filomena Capadocio (Marieta Severo) is greeted with the news of her husband and sons’ deaths and immediately springs into action passing on three commands to her three daughters: to find a hit man each to kill the three men who murdered their family.

The death of one of the characters (I will not give the details away) is quite powerful, reminiscent of the martyrdom of St. Lawrence. The film is rife with references to Christianity, specifically Catholic tradition and imagery, with the use of the number three and overt references to biblical tales.

The women in the film seem to represent female stereotypes, which, at first, was off-putting; I assumed these women would be portrayed more as superficial caricatures, but once the credits rolled, I was happily mistaken. Filomena plays the role of the forlorn widow, however, she exhibits a much stronger, empowered personality of a family matriarch. The oldest daughter, Maria Francisca (Julia Lemmertz), was introduced as a prissy, little lady who wears heels while traversing the difficult and rocky terrain of the desert. The middle daughter, Maria Rosa (Maria Luisa Mendonca), is seen as meek and emotional, and the youngest daughter is pigeonholed as a tough, stand-offish vixen with exposed cleavage and a penchant for hard looks. These superficial introductions to the characters are shattered, however, at the end of the film, when each of the girls exhibit qualities contrary to her stereotyped persona, which drives home the point that these women are not merely the “gentler” sex, but wholly humans.

Written by: Erin Murphy, July 17th 2007