The Patience Stone

Golshifteh Farahani and Hamidreza Javdan in The Patience Stone

A movie for every day of the year – a good one

 

 

19 August

 

Afghanistan independence, 1919

On this day in 1919, King Amanullah Khan declared Afghanistan a sovereign and independent country. His country had been at war with the British since May of 1919, in what is now called the Third Anglo-Afghan War. Until it started, the British had been attempting to keep Afghanistan out of the Russian military sphere by paying the Afghans huge amount of money. However, the Afghans had been taking money from the Russians too, playing one side off against the other. The First World War had changed everything. For one thing it had made Afghanistan realise that with the British at war and the Russians busy with a revolution, it could be an independent country in its own right. After the assassination of the pragmatic Habibullah, his successor Amanullah sought to enhance his claim as Amir against Habibullah’s brother, Nasrullah, by invading British India. The British won the conflict, but with twice the number of men lost. In the peace treaty that was signed between them, the British gained assurances that the border between Afghanistan and India, the Durand Line, was settled, and also stopped paying a subsidy to Afghanistan. Afghanistan gained its independence.

 

 

 

The Patience Stone (2012, dir: Atiq Rahimi)

What do women know that men never know? That’s the story behind The Patience Stone, a confessional drama based on the Persian tale about a stone you can confide in, happy it will never tell a soul what it has heard. Here the stone is a man, but he’s comatose and so has no idea that his wife is pouring out her heart and soul to him, partly to pass the time, partly to assuage the fear she feels at being trapped in an Afghani village being torn apart by factional fighting, partly through frustration. At first she doesn’t say much, talks about the passing of the day, trivial jobs that need doing, his condition, their marriage… and once she hits this point it is as if a small dam has been breached and it all starts coming out.
One woman talking to herself, it could easily get boring, except that writer/director Atiq Rahimi builds these soliloquies carefully, so they become increasingly frank, increasingly shocking, and they also start to cohere into the story of the woman’s life: how her sister was given away by her father to pay a gambling debt; how when her husband was away his brothers would secretively watch her bathe and would masturbate. And Rahimi punctuates the soliloquies with two visitations. The first is by the woman’s aunt, a more worldly woman, the full extent of whose worldliness won’t become apparent until much later on in some shock reveals. The second is a group of soldiers who blunder in looking for spoils of war and find a beautiful woman. And she, to protect herself, tells them she is a prostitute, knowing that being unclean in their eyes might save her from gang-rape. It works. But later, guilty and stuttering, the youngest and most handsome of the men returns with money clutched in his sweaty hand, to conduct some business.
In stark contrasts Rahimi reveals what the life of the woman (played by Golshifteh Farahani, her character credited only as “the woman”) is like without the presence of men, and then again with it. No polemic is necessary, all is entirely clear. She is a chattel.
There are more revelations and more twists than you might think possible from what is almost a one-handed, single-person film. But the drama is bolstered by Farahani’s careful paying out of this woman’s character, revealing her nature bit by bit, her luminous eyes and darting voice managing more expression than most actors can manage with everything at their disposal. You can see both why she is a sensation in Persian-speaking parts of the world, if only to audiences – she’s officially a persona non grata in Iran, thanks to films like this. The cinematography by Luc Besson’s DP, Thierry Arbogast, helps too, adding a slick sheen to locations that, to western eyes, are usually associated with dust, dirt and the squalor of the developing world. It confounds expectations, in other words. Which, in many ways, is the whole purpose of the film.

 

 

Why Watch?

 

  • Golshifteh Farahani’s sensitive performance
  • The Moroccan locations (standing in for Afghanistan)
  • Thierry Arbogast’s cinematography
  • A festival and awards favourite

 

© Steve Morrissey 2014

 

 

The Patience Stone – Watch it now at Amazon

 

 

 

 

3 March 2014-03-02

Sandra Bullock in Gravity

Out in the UK This Week

 

 

Gravity (Warner, cert 12, Blu-ray/DVD/Download)

By now you will already know whether the Oscar-winning Gravity is the sort of film you want to watch, or watch again. It’s had so much publicity and so many reviews that there’s no point adding anything. So I’ll just tell you that I got stuck getting up out of my chair watching this film. I was going to pause it and grab a drink and as I was halfway up the debris from the space satellite struck space-walking rookie astronaut Sandra Bullock, blasting her off into almost certain annihilation. Something like 20 minutes later I was still in the same position, crouched in an extreme lean-forward, almost not breathing. That tense. Other things? The way the film constantly instructs us in Newtonian physics – Bullock grabs a fire extinguisher to douse a fire and the equal/opposite reaction blasts her backwards with rocketlike force. George Clooney’s seasoned cheesy senior astronaut plays the Hollywood hero stereotype like Heifetz on his Stradivarius. Talking of which, the soundtrack swerves what I usually refer to in my notes as the “bloody strings”. I love Emmanuel Lubezki’s cinematography – has anyone since Kubrick shot space this clean and white/black? And it’s surely no coincidence that Bullock is often shot in the same way that Kubrick shot the space child, with light spilling over the edges. Gravity is one of the rush of “single person in jeopardy” movies right now – Tom Hanks in Mr Phillips, Robert Redford in All Is Lost, Martina Gedeck in The Wall. Why that? Maybe a realisation that corporate capitalism doesn’t seem to come running when you’re back’s to the wall – unless your wallet’s open? Best sci-fi film of the last 10, 20, 30, years. Easy.

Gravity – at Amazon

 

 

 

 

The Patience Stone (Axiom, cert 15, DVD)

A beautiful Afghan woman looks after her husband, who is comatose thanks to a bullet lodged in his head. Most of her fellow villagers have fled what is close to being a war zone. But she can’t go, because he can’t be moved. So, isolated, fearful, she talks to him though he can’t hear her. At first it’s about the worries of the day, increasingly about her hopes and fears, eventually about her dissatisfaction with her marriage to him, a man on the cusp of old age. She talks about her background, how her sister was given away to a man by her father to pay his gambling debts, the woman’s lot in a male dominated society. The woman is visited by militia men, and to avoid being raped tells them she’s a whore. One of them, the stutterer, comes back later, and offers her money, desperate to sample the wares he believes she is hawking. And here’s where Atiq Rahimi’s already interesting and sparse film – for most of it just a couple of actors, one with his eyes closed – starts to edge into unexpected territory. Unlike the Saudi film Wadjda, which took an “isn’t it awful” approach to the situation of women in Islam, The Patience Stone is keen to explore both sides of the coin – what Islam denies but also what it supplies. Some people won’t feel entirely happy with this, with where this woman – her character is credited simply, totemically, as “the woman” – ends up. But this denial of an easy ending is really what the film is all about.

The Patience Stone – at Amazon

 

 

 

Dead of Night (StudioCanal, cert PG, Blu-ray/DVD)

This five-part 1945 horror film from the Ealing studio is credited with being the grand-daddy of the compendium films, a genre still very much alive, on the evidence of V/H/S and its like. Four of Ealing’s finest directors contribute – Alberto Cavalcanti (twice), Charles Crichton, Basil Dearden and Robert Hamer. Of the four filmettes, the most famous is Cavalcanti’s The Ventriloquist’s Dummy, a creepy tale in which a sweating Michael Redgrave is increasingly upstaged by his wooden dummy, who seems to want to run off with a rival ventriloquist. It’s good, but more effective is Robert Hamer’s The Haunted Mirror, a remarkably simple story about a mirror whose reflection shows a scene of a different room, a different life from that of the room it’s currently hanging in. They’re all fine campfire tales in fact, and the atmosphere of over-egged storytelling is enhanced by the cast of slightly stagey actors. Add to that the scenes of relentless cigarette smoking, the huge amounts of tweed involved in the tailoring of all concerned and Dead of Night is as evocative of a bygone age as rickets. And the way that Basil Dearden fuses the stories together, with a linking narrative that finally pays off handsomely in a weird Powell and Pressburger finale, makes for an entirely satisfactory entertainment, even at this extreme distance.

Dead of Night – at Amazon

 

 

 

 

For Those In Peril (Soda, cert 18, DVD)

George MacKay has the big head and good looks of a star in waiting. He was a convincing romantic foil in How I Live Now, and is called on to do a less heroic sort of acting in this Scotland-set narrative about the lad who is branded a Jonah after he survives the loss of a boat at sea. The sole survivor. Everyone else dead, including his brother. Director Paul Wright’s film then delves into the psychological disintegration that this loss brings about, playing moody tricks with the camera, providing strong dislocatory imagery and painting a powerful picture of the nastiness of the small rural community when it turns against someone – shades of The Wicker Man. But mostly he just follows the lad around as his behaviour becomes more erratic. As well as the easier job of acting increasingly weirdly, McKay is also required to externalise internal emotion. And he does it admirably in a drama that could do with a touch more action to accompany the moody intensity.

For Those in Peril – at Amazon

 

 

 

The English Teacher (Kaleidoscope, cert 15, DVD)

One of those films that just ends and you look around the room in a “wha?” attitude, The English teacher stars Julianne Moore as the teacher, Michael Angarano as the former pupil she is now helping to stage a play he’s written. He has maturity issues, confidence issues, daddy issues. Those, and her hang-ups – commitment seems uppermost – ensure that this comedy has plenty of fuel to keep it going. Or it would if writers Dan and Stacy Chariton were more certain of what exactly they’re trying to create. With performers like Moore, support from a peerless Nathan Lane as a camp drama teacher, Greg Kinnear as the uptight dad of the not-quite playwright, plus a deadpanning Jessica Hecht and Norbert Leo Butz as a master/blaster head teacher and her deputy, and with everyone playing at megaphone level, director Craig Zisk seems to be leading us in the direction of farce, or at least a comedy of manners. Then… I don’t even know what. It’s as if the Charitons suddenly decided to head for a happy ending, and pronto. Which is all very nice – and I’m not knocking this film in terms of performances, the odd fun joke, it even has Lily Collins doing a superior entitled bitch turn. But something’s not right when a film sets off in one direction but ends up somewhere else, without any announcement. Was it re-edited or re-written on the hoof because someone got cold feet? To try and win the Collins demographic? No idea. Mystifying.

The English Teacher – at Amazon

 

 

 

 

Devil in the Woods (Kaleidoscope, cert 15, DVD)

Fans of Stephen Moyer’s True Blood appearances will not be disappointed if they come to Devil in the Woods expecting looney tunes. Mr Moyer delivers, as the dad who takes his family off to the woods, but is already rolling his eyes before he’s got the 4×4 started. By the time dad and family have reached The Barrens (the film’s alternative title) where the Jersey Devil is rumoured to disport him- or herself, Moyer is glowering like a crazed preacher, his body language suggests he needs restraining and the entire film is leaning towards the ridiculous. Then director Darren Lyn Bousman, famous for doing a few of the Saw sequels, gets busy, cranks up the camera, speeds up the storytelling, wheels out the odd monster, drafts in the forces of law and order, and subjects the family – quaintly they’re called the Vineyards – to demonic attack. It being a horror film there’s got to be a busty babe in a white T shirt somewhere in the mix. This being a film starring a middle aged man, the busty babe is his middle aged wife, played by Mia Kirshner. Is 37 middle aged? Well it’s not 17, is it? I liked this aspect, the milf-y final girl, an attempt to construct a different sort of horror universe, all part of some project hatched by the film’s co-producer (Stephen Moyer) to brand the film’s star as hot, perhaps. I also liked Moyer’s mad performance which aims for the sky and wildly overshoots. It’s really the funnest thing in this otherwise novelty-free, f-grade horror held together almost entirely by froth.

Devil in the Woods aka The Barrens – at Amazon

 

 

 

 

 

 

© 2014 Steve Morrissey