A Hidden Life

 

Written and directed by Terrence Malick, A Hidden Life is the story about Franz Jagerstatter who is an Austrian farmer and devout Catholic who refused to fight for the Nazis during World War II as he would later be beatified by the Catholic Church. A historical drama that is based on diaries and notes on Jagerstatter’s life that includes his time with wife Franziska, the film is a look into a man whose silence and questions about humanity makes him a target for those who are appalled by his actions as Jagerstatter is portrayed by August Diehl and his wife Franziska aka Fani is played by Valerie Pachner. Also starring Mathias Schoenaerts, Jurgen Prochnow, Maria Simon, and the final film appearances of Bruno Ganz and Michael Nyqvist. A Hidden Life is an intoxicating and ravishing film from Terrence Malick.

Set largely in the small mountainside village of St. Radegund, Austria from 1939 to August of 1943, the film revolves around the life of Franz Jagerstatter as a farmer who tends his family land with wife Fani as well as their three young daughters, his mother, father-in-law, and sister-in-law Resie (Maria Simon) as World War II begins as he refuses to fight for Nazi Germany due to his principles and questions into why should anyone kill another person? It’s a film with a simple premise as it play into a man with strong beliefs as he copes with what he’s being asked as he would also be aware of the horrors of war just as his village is being swept up by the ideology of nationalism. The film’s screenplay by Terrence Malick is a largely straightforward affair as he returns to a traditional three-act narrative following a period of loosely-based films with no scripts. Notably as much of the script is based on corresponding letters, notes, and diaries from Jagerstatter and his wife where Malick maintains this narrative of a man holding on to his faith and his devotion to God during a tumultuous time that is World War II.

A common trait in Malick’s work is in the voice-over narrations as the film is told through both Franz and Fani with the first act being about their life together at St. Radegund as farmers raising three young daughters with Franz briefly leaving to do basic training until France’s surrender to Germany where he is sent home. Yet, his return home to his farm life is brief as the war rages on where able-bodied Austrians have to swear an oath of allegiance to Adolf Hitler and the Third Reich as it’s something Franz just couldn’t do. Even during his time in basic training, he saw images that haunt him as he goes to his local priest in Ferdinand Furthauer (Tobias Moretti) for guidance as the priest does give Franz a chance to speak with Bishop Joseph Fleisser (Michael Nyqvist) for advice but doesn’t get anything that will help him. The film’s second act play into Franz trying to decide on what to do as he and his family become ostracized over his beliefs as he would go to prison and await his fate with Fani dealing with the verbal abuse of many locals despite the help of a few.

Malick’s direction is definitely rapturous in not just in his overall presentation but also in maintaining something spiritual in the world he’s in. Shot on various locations in northern Italy near the Alps with some parts shot at the Studio Babelsberg at Postdam, Germany and the meeting with Bishop at Brixen, Austria. The locations for St. Radegund is a character in the film where Malick’s usage of wide and medium shots of its mountain ranges, skies, trees, grass, and wheat fields really play into this idyllic world that is simple and almost disconnected from the world of the cities as if they’re not distracted by its chaos. Shot on various styles ranging from these gliding tracking shots on Steadicams or in these hand-held camera shots with wide lenses that gets a lot of coverage of the rooms or locations these characters are in. Malick does play into a world where everyone knows everyone and treat each other with kindness and decency but then news about World War II and Austria being swept up by German nationalism of the Nazis where everything changes.

The constant imagery of nature does play into the tone of the story where the usage of dark rain clouds and dark colors do emphasize what is to come and how dark the world becomes with Franz and Fani both becoming ostracized for their beliefs. Malick does maintain that intimacy in the direction as it relates to the love between Franz and Fani through medium shots and close-ups as well as through their corresponding letters in the film’s second and third acts. Notably with Franz going to different prisons in Enns and later Berlin where he would meet his fate on August of 1943 as there are individuals, including a judge, (Bruno Ganz) at Franz’s trial who understands what he’s doing yet are aware of the consequences he is facing. Malick also would infuse stock footage that include rare home movies from Adolf Hitler and images of trains as it play into some of the narration about the dilemma that Franz is dealing as well as some of the abuse that Fani would go through.

Malick also showcase some of these fanatical moments of nationalism that definitely echo a lot of what had been happening in the U.S. in the late 2010s as it is clear that there is some political subtext that Malick has brought yet he chooses to state his views in a subtle and silent manner. Even with Franz being someone who is just asking simple questions that local leaders to those up in the higher echelons of the government at the time refuse to answer. Yet, Malick does something remarkable towards the end of the film that does have a near-three hour running time for a story that is simple as it says a lot about those who aren’t willing to ostracize nor take sides of anything by just being decent. Even as something as simple as faith being the one thing that allows a person to be grounded and ask these questions during a dark time of inhumane events happening as this one man stands up for his beliefs as well as be human in these horrific times. Overall, Malick crafts a touching and evocative film about an Austrian farmer who refuses to pledge his allegiance to Nazi Germany during World War II through an act of silent defiance.

Cinematographer Jorg Widmer does phenomenal work with the film’s cinematography with its emphasis on natural lighting as it helps capture the lush colors of green trees and forests as well as many of the natural surroundings with some low-key artificial lighting for some of the interiors as it is a highlight of the film. Editors Rehman Nizar Ali, Joe Gleason, and Sebastien Jones do brilliant work with the editing with its stylish usage of jump-cuts to play into some of the emotional elements of the film as well as some rhythmic cuts to play into the conversations. Production designer Sebastian T. Krawinkel, with set decorator Yesim Zolan plus art directors Steve Summersgill and Bryce Tibbey, does brilliant work with the look of the farm as well as some of interiors of the town as well as the prison interiors. Costume designer Lisy Christl does fantastic work with the costumes from the blue dress that Fani wears when she meets Franz for the first time as well as a lot of casual look of the people at St. Radegund and the Nazi uniforms of the times.

Hair/makeup designer Waldemar Pokromski does terrific work with the look of the characters in the hairstyle of the times as well as the facial hair in some of the male characters in the film. Visual effects supervisor Antoine Durr does nice work with the visual effects as it is largely bits of set dressing in some of the locations. Sound editor Brad Engleking does excellent work with the sound in not just capturing a lot of the natural elements of the sound such as the sharpening of the scythe as well as the locations and in the voice-over narrations. The film’s music by James Newton Howard is marvelous for its somber yet broad orchestral music score that adds to the drama while music supervisor Lauren Mikus helps provide a soundtrack that feature several classical music pieces Georg Fredric Handel, Avro Part, Johann Sebastian Bach, and Antonin Dvorak.

The casting by Anja Dihrberg is superb as it feature some notable small roles and appearances from trio of Ida Mutschlechner, Maria Weger, and Aennie Lade as Franz and Fani’s daughters, Amber Shave and Barabara Stampfl as younger versions of the two elder daughters, Karl Markovics as the mayor of St. Radegund, Johan Leysen as a church painter, Johannes Kirsch as a miller who is one of the few that treats Fani with kindness despite the behavior of the community, Franz Rogowski as a crazed local who lives in the woods, Mark Waschke as a kind blacksmith, Maria Stadler as an old widow that Fani helps out who later helps her in return, Alexander Fehling as Franz’s trial lawyer, Sophie Rois as Fani's aunt, Jurgen Prochnow as a military officer, Maria Simon as Fani’s sister Resie, and Karin Neuhauser as Franz’s mother who would resent Fani over her Franz’s decisions only to see the cruelty of her townspeople. Ulrich Matthes and Tobias Moretti are excellent in their respective roles as Fani’s father and the local priest Father Furthauer who are both supportive of Franz and Fani. Matthias Schoenaerts is fantastic in his small role as an Austrian official who tries to help Franz and to not get him in trouble while Michael Nyqvist in one of his final film roles is brilliant as the Bishop Fleisser who talks with Franz though he doesn’t give any answers possibly to not upset the Nazi regime.

Bruno Ganz is amazing as the trial judge who takes the time to understand what Franz is doing as he is also aware that the man has chosen his fate as it’s a somber performance from Ganz in one of his final film appearances. Finally, there’s the duo of August Diehl and Valerie Pachner in phenomenal performances in their respective roles as Franz and Franziska “Fani” Jagerstatter with the former as the farmer who refuses to fight for Nazi Germany based on principle as he also asks questions as he holds on to his faith as Diehl just displays a sense of humility and wonderment of a man standing up for his beliefs. Pachner as the latter has this air of grace in her performance as a farmer’s wife trying to raise her daughters and do all the farming duties as she dealt with the struggle of doing it by herself or with her sister as it’s just a radiant performance as she and Diehl just have this touching chemistry as they’re a major highlight of the film.

A Hidden Life is an outstanding film from Terrence Malick that features great performances from August Diehl and Valerie Pachner. Along with its ensemble cast, radiant cinematography, majestic music soundtrack, themes of faith and beliefs against the ideas of evil, and gorgeous locations. The film is definitely a drama that showcases faith in a positive way as it also play into a kind of act of humanity against something as inhumane as war and fanatical nationalism. In the end, A Hidden Life is a magnificent film from Terrence Malick.

Terrence Malick Films: Badlands - Days of Heaven - The Thin Red Line - The New World - The Tree of Life - To the Wonder - Knight of Cups - Voyage of Time: The IMAX Experience - (Voyage of Time: Life's Journey) – Song to Song - (The Way of the Wind)

© thevoid99 2020

John Wick

Directed by Chad Stahelski and David Leitch and written by Derek Kolstad, John Wick is the story of a former hitman who goes on a journey of vengeance following an attack of his home which led to the death of his puppy given to him by his late wife. The film is a simple tale of vengeance that plays into a man who was just trying to get his life back on track only to go all-out on those that made him mad as Keanu Reeves play the titular role. Also starring Michael Nyqvist, Alfie Allen, Adrianne Palicki, Bridget Moynahan, John Leguizamo, Ian McShane, Dean Winters, and Willem Dafoe. John Wick is a thrilling and mesmerizing film from Chad Stahelski and David Leitch.

What happens when a former hitman consumed with grief over the loss of wife and then has his dog killed by a mob boss’ son who would also steal his 1969 Ford Mustang? Well, if that man is John Wick. It will take an army to stop a monster that just woke up and is in the kind of pain that no one wants to endure. While it is a simple revenge film of sorts, it’s really about a man that is coping with loss as he had spent years trying to clean up his life and not kill for anyone in the world of crime. The loss of his wife would have a major impact on him as the final gift she gave him was a puppy as it was that glimpse of hope that he wouldn’t have to grieve alone. Instead, the son of a mob boss he used to work for would fuck things up not just for himself but his father who realizes that he’s absolutely fucked.

Derek Kolstad’s script doesn’t just explore a man’s grief as he goes into a quest for vengeance but also a look into a past he had tried to walk away from as it’s one that is cold and violent but has changed into something that is more civil but with those who lack ethics. Wick is a man of the old school as his old boss Viggo Tarasov (Michael Nyqvist) describes him as someone that kills the Boogeyman. In some ways, Wick is a monster that had been tamed into a human being through his wife where he didn’t have to think about killing or be part of a crime world. Due to the actions of Viggo’s son Iosev (Alfie Allen), Wick is forced to go back into the world he wanted to leave where he is aware that there’s a bounty on his head but he is carrying a lot of pain in him as it makes him unstoppable. Wounding him just slows him down as he’s focused on vengeance as Kolstad’s script is aware of the rules but also into the fact that some just don’t grief is something not easily curable.

The film’s direction by Chad Stahelski and David Leitch is quite stylish in a lot of respects where much of the visuals and compositions definitely owe a lot to film noir. Shot largely on location in New York City and New Jersey, the film does take its time to flesh things out where it does open with a wounded Wick crashing a SUV as he struggles to get help while he looks into his phone that contains a video of his late wife. It establishes what kind of man he is as well as the fact that for all of his actions as a hitman and doing all sorts of things. There is good in him and losing the one person that humanized him is hurtful where the direction knows where to place the camera and not go for anything conventional in terms of the compositions such as how the camera is lined-up against the actor in a frame. The usage of wide and medium shots don’t just help capture the atmosphere of some of the locations including a few clubs and places that Viggo runs but also in the usage of close-ups where some of the dramatic tension occurs that include a meeting between Wick and Viggo. The film’s climax is quite elaborate as it isn’t just a thirst of vengeance but also a showdown in the old ways where the usage of wide shots and close-ups really come into play. Overall, Stahelski and Letich creates an exhilarating and gripping film about a former hitman on a quest for vengeance.

Cinematographer Jonathan Sela does excellent work with the film‘s stylish cinematography with its usage of lights for many of the interior settings at night including the clubs as well as some of the warehouses in the way it uses filters to set a mood. Editor Elisabet Ronalds does nice work with the editing with its usage of montages but also in creating a sense of tension in the way the suspense is built along with dazzling fast-cuts to play into the intensity of the action. Production designer Dan Leigh, with set decorator Susan Bode and art director C.J. Simpson, does fantastic work with the look of the nightclub that Viggo owns as well as the other places as well along with the look of Wick‘s home. Costume designer Luca Mosca does wonderful work with the costumes from the suits the men wear to the look of a female assassin Wick doesn’t like.

Visual effects supervisor Jake Braver does terrific work with some of the visual effects where it has elements of set-dressing as well as moments for the film‘s intense and elaborate action scenes. Sound designer Alan Rankin and sound editor Mark Stoeckinger do amazing work with the sound in capturing the atmosphere of the locations and the impact of the violence that adds to the intensity of the film. The film’s music by Tyler Bates and Joel J. Richards, with additional work from Scott Tixler, is superb for its mixture of eerie electronics with elements of hip-hop rhythms that play into the world of crime while music supervisor John Houlihan brings in a soundtrack that features a mixture of music from hip-hop and rock from T-Bo, the Candy Shop Boys, and Marilyn Manson.

The casting by Jessica Kelly and Suzanne Smith is incredible as it features some small yet notable appearances from David Patrick Kelly as an old cleaner friend of Wick, Randall Duk Kim as a hotel doctor, Lance Reddick as a hotel concierge, Bridget Regan as a bar mistress in Addy whom Wick knows, Kevin Nash as a club bouncer who also knows Wick, Clarke Peters as a hotel neighbor that Wick knows, and Bridget Moynahan as Wick’s late wife Helen who largely appears in flashbacks yet has this unique presence that adds to Wick’s humanity. Other noteworthy small roles include Ian McShane in a superb performance as the hotel owner Winston whom Wick knows where he would give him some keen advice while John Leguizamo is excellent in his brief role as the chop-shop owner Aurelio who realizes what Iosef had done as he would later give Wick his car back knowing that the world is about to get fucked. Dean Winters is brilliant as Viggo’s right-hand man Avi who essentially handles all of the business as he becomes worried about what Wick will undo.

Adrianne Palicki is fantastic as the assassin Perkins as a woman that has a history with Wick as she has no qualms in killing him unaware that she is way in over her head as far as Wick is concerned. Alfie Allen is amazing as Iosev Tarasov as the son of a mob boss who thinks he’s tough when he’s really just a punk-ass spoiled little shit who has no idea of who Wick is. Willem Dafoe is phenomenal as Marcus as an old-school assassin who takes the contract offered by Viggo yet is sort of this guardian angel figure for Wick as he is also the man that helped him out of the world of crime. Michael Nyqvist is remarkable as Viggo Tarasov as a mob boss who realizes what his son has done where he tries to protect him while trying to protect his empire and deal with Wick personally. Finally, there’s Keanu Reeves in a spectacular performance as the titular character as a man who is consumed by grief and rage following the loss of his wife and dog as it’s a role where Reeves doesn’t need to say much as he allows his actions and quiet demeanor do a lot of the talking as it is one of career-defining performances.

John Wick is a sensational film from Chad Stahelski and David Leitch that features an incredible leading performance from Keanu Reeves. Armed with a fascinating premise, an amazing ensemble cast, and thrilling yet violent action sequences. It’s a film that manages to be more than just a neo-noir revenge thriller but also a study of grief and loss in the eyes of a man who was just regaining his humanity. In the end, John Wick is a rapturous and exhilarating film from Chad Stahelski and David Leitch.

Related: John Wick: Chapter 2 - John Wick: Chapter 3-Parabellum - John Wick: Chapter 4 - (Ballerina (2024 film))

David Leitch Films: Atomic Blonde - Deadpool 2 - (Fast & Furious Presents: Hobbs & Shaw) - (Bullet Train)

© thevoid99 2016

The Girl with the Dragon Tattoo (2009 film)

Based on Stieg Larsson’s novel, Man som hatar kvinnor (The Girl with the Dragon Tattoo) is the story of a journalist trying to solve an unsolved murder more than 35 years ago for a billionaire. The journalist hires a researcher who aids him in the investigation that leads more troubles and intrigue to find out who killed this young girl. Directed by Niels Arden Oplev and script adaptation by Nikolaj Arcel and Rasmus Heisterberg, the film is the first part of a trilogy of films relating Larsson’s novels known as the Millennium Trilogy. Starring Noomi Rapace, Michael Nyqvist, Sven-Bertil Taube, Peter Haber, Lena Endre, Bjorn Granath, Ingvar Hirdwall, and Peter Andersson. Man som hatar kvinnor is a gripping and stylish thriller from Niels Arden Oplev.

After being disgraced for accusations against billionaire financier in Hans-Erik Wennerstrom (Stefan Sauk) and set to serve time in prison, journalist Mikael Blomkvist (Michael Nyqvist) is asked by another billionaire in Vanger Corporation head Henrik Vanger (Sven-Bertil Taube) to investigate the disappearance of his niece Harriet (Julia Sporre) nearly 40 years ago that Mikael knew as a child. Henrik reveals that he has received another framed flower thinking it’s from her killer as Mikael decides to take part of the investigation before his incarceration. Meanwhile, a 24-year old hacker named Lisbeth Salander (Noomi Rapace) has continually been hacking into Mikael’s computer while dealing with the fact that her finances are in the control of her new guardian in sadistic lawyer Nils Bjurman (Peter Andersson).

At the Vanger estate, Mikael meets Harriet’s brother Martin (Peter Haber) and their cousin Cecilia (Marika Lagercrantz) to know more about the Vanger family as they all remain quite secretive. While looking at the pictures of Harriet during a Children’s Day parade in 1966, he notices something in the picture where Harriet was looking at someone while a couple behind her had taken photos behind her. When Henrik Vanger suffers a heart attack, Vanger’s lawyer Dirch Frode (Ingvar Hirdwall) realizes that Mikael is going to need more help in the investigation as Mikael received an email from Lisbeth about the secret codes found in Harriet’s copy of the Bible. Lisbeth and Mikael team up as the two uncover something much bigger relating to the deaths of women back in 1949.

Thinking that the murders are all connected to some form of anti-Semitism since Harriet’s father and a couple of her uncles were part of the Nazi supporters. They realize that Harriet must’ve discovered something and was probably killed for it as Mikael and Lisbeth grow close together as they discovered that one of the women killed had worked for Harriet’s uncle Harald (Gosta Bredefeldt) whom Mikael believed was the one shooting at him. Believing that he might be the killer, the two decide to uncover Harald’s traveling records where a discovery is made about these deaths and what happened to Harriet.

The film is about a man and an odd yet troubled girl trying to catch a killer for an ailing old man that has happened some 35 years ago. During this journey, the journalist and researcher embark into a dark world of murders and secrets that involve the disappearance of this young girl and the secrets of this girl’s family. Throughout the entirety of the film, there’s character studies not just about the journalist but this unique researcher who has a large dragon tattoo on her back as well as body pierces and is a very aggressive woman with a dark past. The two become an unlikely pair in their investigation where they eventually become unconventional lovers to the dismay of the Vanger family.

The film’s script by Nikolaj Arcel and Rasmus Heisterberg is quite unconventional for the way the story is told. The first half has a very unique narrative that cross-cuts between the differing worlds of Mikael and Lisbeth where the latter is still surveying his files by hacking into his computer. Mikael is a once-respected journalist whose career is shattered due to a story where accuses a billionaire stealing money as he’s been found guilty for libel. In taking this job for a man that is in search for the disappearance of his beloved niece, it gives Mikael the chance to restore his damaged reputation as he later gets more than he bargains for.

Then there’s this strange young woman who is a professional hacker but prefers to be on her own with a laptop while not wanting to take shit from anyone. Still, her finances are handled by guardians who take care of her due to her own troubled past where she has to endure the cruel abuse of a sadistic lawyer. Yet, she always finds a way to deal with things as in her interest towards Mikael’s report about this missing young girl. She would become an unlikely help to his investigation where the two become this unique pair despite their differences and an unlikely sexual attraction.

The script’s second half is about the investigation and the relationship between Lisbeth and Mikael where they would uncover about what happened to this girl but who did these mysterious killings. It’s a mystery and thriller that takes its time to figure out what really happened and why it took such a long time for the investigation to unfold as a retired investigator (Bjorn Granath) would later help out uncovering the mystery.

Niels Arden Oplev’s direction is very entrancing to the way he presents the film with lots of wide shots of the various locations in Sweden including stylish compositions such as Lisbeth’s confrontation against Bjurman. The film, like a lot of thrillers, takes its time to set-up the characters and the mystery that surrounds the film. Over the course, clues start to appear little by little as Oplev creates dissolving montages of both Lisbeth and Mikael going over the investigation as computers play big parts to the film. The sense of style along with very straightforward compositions of intimate scenes including intense shots of Lisbeth in her motorcycle gives the film an edge that isn’t like a lot of thrillers. Overall, Oplev creates a truly smart and harrowing thriller that doesn’t go for conventions.

Cinematographer Eric Kress does an excellent job with the film‘s cinematography where a lot of the island exterior scenes and flashback scenes as it features a somewhat de-saturated look for its sunny colors while a lot of the nighttime exteriors and interiors are more stylish and eerie to enhance the film’s mood. Editor Anne Osterud does a wonderful job with the editing in creating stylish dissolve montages for some of the scenes involving computers along with a few fade-outs to help move the story forward. Production designer Niels Sejer does a superb job with the set pieces created such as Martin‘s posh home and the framed flowers that Henrik keeps getting.

Costume designer Cilla Rorby does a fantastic job with the stylish 60s clothes some of the characters wear for the flashback scenes and pictures along with the more punk-Goth look of Lisbeth. Visual effects supervisor Tor-Bjorn Olsson does a nice job with minimal visual effects scene used such as some of the intense action scenes in the film such as Lisbeth‘s motorcycle chase. Sound designer Peter Schultz does a brilliant job with the sound work to complement the natural sounds of the forest locations to the engine rev of Lisbeth’s motorcycle. The film’s orchestral score by Jacob Groth is very good as it features a smooth but heavy theme to play up the suspense and drama that unfolds throughout the film.

The casting by Tusse Lande is terrific for the ensemble cast that is created that includes appearances from Lena Endre as Mikael’s former lover/editor Erika Berger, Michalis Koutsogiannakis as security officer Dragan, Stefan Sauk as the billionaire Mikael tries to target early in the film, Tomas Kholer as Lisbeth’s fellow hacker friend Plague, Gosta Bredefeldt as Henrik’s reclusive brother Harald, Marika Langercrantz’s as Henrik’s niece Cecilia, and Julia Sporre as Henrik’s missing niece Harriet. Other notable supporting roles include Bjorn Granath as retired police investigator Morell who helps Lisbeth and Mikael in filling in clues for the investigation along with Ingvar Hirdwall as Henrik’s lawyer/Lisbeth’s boss Dirch Frode.

Peter Haber is wonderful as Harriet’s charming brother Martin while Peter Andersson is brilliant in a dark, creepy role as Lisbeth’s new guardian in the sadistic Nils Bjurman. Sven-Bertil Taube is excellent as Henrik Langer, an aging billionaire who asks Mikael’s help in the investigation while dealing with his own health issues. Michael Nyqvist is great as the journalist Mikael Blomkvist who leads the investigation into finding out this girl while dealing with the fact that he’s been disgraced as he faces a new, dark challenge. Finally, there’s Noomi Rapace in a phenomenal role as Lisbeth Salander with her fiery attitude and calm persona in the way she uncovers codes and figure things out better than most people. It’s a real breakthrough role for the Swedish actress as she has great chemistry with Nyqvist while proving to be a truly intense character that isn’t afraid to play a dark yet complex character.

Man som hatar kvinnor is a mesmerizing yet thrilling film from Niels Arden Oplev that features top-notch performances from Noomi Rapace and Michael Nykqvist. The film is definitely a cut above a lot of conventional thrillers for the way it plays out the mystery while taking its time to let the clues be revealed. It’s also film that is very engaging while not willing to be pretty due to the graphic violence that appears in the film. In the end, Man som hatar kvinnor is a superb thriller from Niels Arden Oplev.

Millennium Trilogy (Swedish): (The Girl Who Played with Fire) - (The Girl Who Kicked the Hornets’ Nest)

Millennium Trilogy (U.S.): The Girl with the Dragon Tattoo

© thevoid99 2011