Afghanistan: The 20-Plus-Year War
by Andrew Sarris
Jung (War) in the Land of the Mujaheddin was made by Italian filmmakers
Alberto Vendemmiati, Fabrizio Lazzaretti and Giuseppe Petitto, and had its North American
premiere at the 2001 Human Rights Watch International Film Festival, where it received the
festivals Nestor Almendros Award for courage and commitment in human-rights
filmmaking. Filmed over several months from 1999 to 2000, this understandably chaotic film
focuses on an Italian surgeon and a war correspondent who join forces to set up an
emergency hospital in northern Afghanistan, a country engulfed in war for more than 20
years.
The Taliban took over the country in 1996, and they seem to be on their
way out in 2001. Yet Jung is nothing if not timely, relevant and resonant in its
heroic humanism in the face of the seemingly endless suffering of the people in this
war-ravaged land, and one cannot find much political enlightenment in this often gruesome
depiction of the victims of war. How a nation should be fed and governed is not the first
priority of the films hospital-enclosed humanitarians. What is actually accomplished
here is truly Herculean, but it is only the beginning of the huge task that remains. The
film takes place before Sept. 11, 2001, but its shocking that we have known and
cared so little about Afghanistans travails during the last two decades.
To Mamet or Not to Mamet?
David Mamets Heist, from his own screenplay, can be liked
or disliked because of David Mamet or in spite of him. Then again, it may depend on how
tired you are of caper films. I find the two robberies here too complicated as cinematic
spectacles to generate any suspense. Gene Hackman can sell me just about anything he
wants, but Mr. Mamet inflicts extra burdens on him as the unflappable thief who gets the
big payoff at the end at the cost of his young wife (Rebecca Pidgeon) and a loyal
confederate, Don Pincus (Ricky Jay). He also kills his mob nemesis, Bergman (Danny
DeVito), and retains the respect of his sidekick, Bobby Blane (Delroy Lindo). I
couldnt believe any of it on any level, though it could be described as
"fun."
Waking the Dead
Linda Yellens The Simian Line, from a screenplay by Gisela
Bernice, based on a story by Ms. Yellen and Michael Leeds, begins on a Halloween night in
Weehawken, N.J., where four couples are gathered in a festive spirit at the home of
Katherine (Lynn Redgrave) and her younger lover, Rick (Harry Connick Jr.). The party is
first enlivened and then disrupted by the surprise entrance of Arnita (Tyne Daly), a
fortuneteller whom Rick has impishly invited for "entertainment." The evening
ends badly, with Arnitas prediction that "one couple will be finished by the
end of the year."
Thanks to Ms. Yellens casual mise en scene, we dont
immediately realize that two of the guests are ghosts: Edward (William Hurt) is
Katharines grandfather, who died 80 years ago, and Mae (Samantha Mathis) is a
flapper from the Roaring 20s who has chosen to live her afterlife as spiritedly as
she lived her candle-burning-at-both-ends existence in the house next-door to
Katharines.
The other guestsunfortunately less interesting than the
ghostsare Sandra (Cindy Crawford) and Paul (Jamey Sheridan), a two-career couple
yearning for the big break that will land them both in Manhattan, and Marta (Monica Keena)
and Billy (Dylan Bruno), Katharines Generation X rock n roll lodgers who
are forced to grow up when Marta has to take custody of her son, little Jimmy.
In the end, Arnitas dire prediction applies only to Edward and
Mae, who were never a real couple anyway. Yet Mr. Hurt and Ms. Mathis achieve a more
poignant rapport to the end than any of the other couples. Its partly the characters
and partly the performers who are responsible for generating more feelings in the
afterlife than the films Weehawken Six achieve in here and now. |