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Monsieur Lazhar: Heartwarming French-Candian Film
He promptly charms the somewhat cynical principal Ms. Vaillancourt (Proulx), who at first is a little hesitant to his slightly mystical presence, and soon takes over the 'broken' classroom. The film’s heart also lies with the two students who were unfortunate enough to discover the body. Alice (Nélisse) is a bright-eyed, straight A student, who deals with her own troubles of an absent parent on daily basis. The tender-looking Simon (Néron) suffers a level of guilt for his teacher's demise and is a problematic student as a result.
The task at hand is one of many challenges for M. Lazhar. Nevertheless, with his own personal suffering set aside, its details slowly unravel throughout the film; he takes the kids under his caring wing and slowly starts guiding them to the truth.
The plot sounds a little dark and gloomy, yet writer-director Philippe Falardeau manages to uplift it in the most submissive fashion. Regrettably, the same cannot be said for some American filmmakers who have attempted to develop a similar approach to their filmmaking; there are no surges of unnecessary emotional outpours and there seems to be a legitimate sense of people filtering their pain through their daily routine. The story is evenly- paced and crisp, much like the cold wintery days of Quebec. Falardeau's directing relies heavily on the gentle still shots of his leading man and it was clear that the actor's beaming grin and sad eyes are the main source of the success that this film endured. The Canadian filmmaker's soft and naturalistic touch to every scene complements the tone of Monsieur Lazhar; giving the film a real edge and a hint of realism.
Fellag's interpretation of M. Lazhar is a delightful surprise. Though slightly old-fashioned in his teaching methods, trying to get to grips on a modernised education system, Lazhar is portrayed as loyal and caring. From beginning to end, we are embraced with his warmth and affection. The same can be said for the outstanding performances by both child actors, Alice and Simon. The level of maturity and the profound strength they bring to their roles is nothing short of mesmerising.
Even though there are a couple of stories left untold and never really get the chance to develop into anything, Monsieur Lazhar succeeds in what it was meant to be; a gentle film with strong impact.
The score, as the sole source of sound, contributes as much to the story as the visuals do; it is sublime and not overpowering or overwrought in the slightest, while the editing is ridiculously entertaining and pretty inventive. The film has all the hallmarks of a classic and not because it’s black and white. It’s the kind that begs to be seen with people, not alone on a crummy laptop screen, as half of the fun lies in sharing the experience and the emotions with others.
Titled from a popular term which describes the early transfer of a young offender from a juvenile detention facility to an adult penitentiary, Starred Up is by no means an easy watch. However, as much as it is difficult to digest at times, there is a certain poetic beauty behind its seemingly violent and destructive quality that makes it difficult to look away from.
Shot within the walls of an abandoned Belfast prison, the film opens with troubled nineteen-year-old Eric Love (O’Connell) undergoing an embarrassing admittance process, involving a complete body strip down, as he’s transferred into an adult reformatory.
Immediately marked as a “single cell, high risk” type detainee, it doesn’t take long for Eric – whose frequent and violent outbursts got him relocated there in the first place – to stir up trouble and make enemies both with fellow inmates and security guards.
After a mistaken attack on another inmate lands the young delinquent into the disciplinary hands of the law, Eric is soon approached – and rescued – by the in-house therapist, Oliver Braumer (Friend), who believes that he can help the young man rehabilitate.
Unfortunately, getting to the root of Eric’s problems - and getting him to open up - is no easy task and Oliver - together with the other rehabilitating convicts - often find themselves the targets of both verbal and physical abuse. To top it off, Eric has to find a way to learn to share the walls of his new confinements with his estranged father, Nev (Mendelsohn), who is currently serving a life-sentence in the same prison.
Penned by first-time screenwriter Jonathan Asser – a former prison psychotherapist whose own experience with the British penal-system adds a hefty dose of authenticity and realism to the film – Starred Up, told through a series of wordless and violent expositions, is fuelled with gripping intensity which is hard to shake off. Relying on action, rather than words, the uniqueness – and the heart - of the story lies with the father-son narrative, whose bonding difficulties are depicted through the oppressiveness of life in prison.
Contributing to the movie’s relentless and uncompromising approach to despair and violence, O’Connell – mostly known for his role in the British TV-series Skins and recently seen as the lead in Angelina Jolie’s war-drama Unbroken – is an absolute standout; feral and unpredictable, his performance carries the film, while Mendelsohn is equally superb as a man whose persona and motives are seemingly hard to read.
Powerful, emotional but never too sentimental, Starred Up is a true British-prison drama classic whose quietly yielding power and passion for storytelling will leave you feeling captivated and moved.