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Archive for August, 2016

Logan Lehman, Sarah Gaddon

Logan Lerman, Sarah Gaddon

“INDIGNATION”  My rating: B

110 minutes | MPAA rating: R

As a producer and/or writer of most of Ang Lee’s films, James Schamus has established a reputation for intelligent —  even intellectual — filmmaking.

Now the CEO of Focus Features has made his directing debut, and as you’d expect from the man who wrote an entire book about one of the most confounding and polarizing films ever — Carl Theodore Dreyer’s emotionally arid “Gertrude” — it is brainy, challenging and not a little perplexing.

“Indignation” is based on Philip Roth’s 2008 novel, and a more faithful adaptation can hardly be imagined. Even to the point of duplicating things in the novel that have little hope of working on film.

Logan Lerman (“The Perks of Being a Wallflower,” “Fury”) is Marcus, a New York Jew who has landed a scholarship to Winesburg College in Ohio.

The year is 1951 and as long as he remains a student in good standing, Marcus can avoid the draft that is gobbling up his childhood friends for Korean cannon fodder. Staying in school is, for all intents, a life insurance policy.

But he finds Winesburg’s middle-American ethos and white Protestant outlook disconcerting. For starters, Marcus is assigned a dorm room with the only other two Jews  on campus who aren’t members of the Jewish fraternity.  These three individualists — one is probably gay, the other antisocial — form their own little ghetto.

And then there’s the weekly chapel requirement, which demands that all students show up to hear the campus chaplain drone on about Jesus.

Here’s the thing about Marcus.  Though he knows relatively little of the real world — he’s a virgin, he’s never worked outside his father’s butcher shop — he’s a borderline genius. And with that comes a degree of arrogance and, well, indignation at the way he’s being treated.

Things look up when he meets blonde coed Olivia (Sarah Gadon), whom he takes to a fancy dinner (Escargot! This son of a kosher butcher has never dreamed of such excess) and who rewards him afterward with a matter-of-fact blow job.

Marcus is so stunned, his moral compass so bent by this experience that he immediately ends the relationship.  Although he can’t resist standing outside her dorm late at night trying to find Olivia’s window.

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inno“THE INNOCENTS” My rating: B+

115 minutes | MPAA rating: PG-13

Religious faith, political ideals, ignorance, charity, war, extreme human cruelty…there’s hardly a big topic that isn’t touched on in “The Innocents,” writer/director Anne Fontaine’s terribly sad and quietly riveting film set in rural Poland in the months after the end of World War II.

In the dead of night Mathilde (Lou de Laage), a French Red Cross nurse working with the survivors of German POW camps, is summoned to an ancient convent. There she discovers one of the holy sisters in labor.

The Mother Superior (Agata Kulesza) resents that an outsider has arrived to witness the order’s shame. She would prefer to have the patient die in childbirth. God’s will, and all that.

Nevertheless, Mathilde swears to keep the secret and performs a Caesarian section. Later the convent’s Number Two, Sister Maria (Agata Buzek), explains that the Mother Superior fears that the ignorant local populace would shun the nuns if word of the birth got out. It could mean the end of the convent.

One can only imagine how the locals would react if they knew that at least seven of the sisters are pregnant, and that virtually every resident — including Mother Superior — was raped repeatedly by Russian soldiers who seized the neighborhood nine months earlier.

“They should have killed us,” one of the sisters laments.

Set in a bleak winter landscape and filmed with a washed-out palette in which flesh tones provide the main source of color,  “The Innocents” uses this situation to study the various ways in which we deal with the injustices of an often-cruel world.

Mathilde, for example, is an atheist and a Communist (ironic, given that she narrowly escapes being gang raped by a squad of Soviet troops at a roadblock). But she is also a humanist and a healer, so she risks nighttime returns to the convent, which is quickly becoming a primitive maternity ward.

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