Day: June 17, 2013

By Joe Bendel. They do not teach you how to negotiate with pirates in MBA courses, but perhaps they soon might. After all, this film is inspired by two real life incidences of Danish cargo ships taken hostage by Somali pirates. The negotiation process will be an ordeal both for the captive crew of the MV Rozen and their CEO in Tobias Lindholm’s edge-of-your-seat thriller, A Hijacking, which opens this Friday in New York at Film Forum.

Mikkel Hartmann is retiring from seafaring to spend more time with his family. Ordinarily, he serves as the ship’s cook, but when hijackers commandeer the vessel, they use him to communicate with the corporate office. He will be talking to Peter C. Ludvigsen, a media darling CEO with a knack for negotiating hard terms. However, bringing back his crew will be the greatest challenge of his career.

The company would willingly pay the ransom demanded, but according to their consultant (played by real life hostage negotiator Gary Skjoldmose Porter) it is not that simple. If they immediately pay-up, the pirates are likely to thank them for the “down  payment” and promise to get back to them regarding the full balance. Instead, Ludvigsen must convince them they are getting every last cent they can possible extract from the company. Counter-intuitively, protracted negotiations are in the best interests of the men and the firm. Of course, it will not be a pleasant experience for any of the Danes.

Scrupulously realistic, Hijacking acts as a bracing corrective to the cathartic satisfaction of action movies. It is simply not realistic to expect Roger Moore’s Ffolkes to launch a high seas rescue mission. The logistics are too complicated and life is too cheap for hostage takers. The film is also likely to run afoul of the professionally offended, because it portrays the Somali pirates as a callous, violently erratic lot. Nor does it whitewash their Muslim faith. Of course, that is precisely the reality sailors such as the Rozen crew must live with every day.

Cranking up the tension like a vice, Lindholm puts so much pressure on his characters they almost turn into diamonds. This is an exhausting nail-biter of a film, but somehow it seems far quicker than its ninety-nine minutes, despite the agonizing nature of the drawn out months-long negotiation. That is just great filmmaking.

There is also a truly award-worthy performance from Søren Malling as Ludvigsen. It is a brilliant depiction of the mighty humbled, precisely because of his genuine humanity. Never clichéd, Malling’s work is easily the most compelling big screen portrayal of a business leader in years (if not decades). In fact, Hijacking features strong ensemble work all around, most definitely including Abdihakin Asgar as Omar, the pirates’ devilishly manipulative negotiator. He is an unforgettable villain (though “villain” might not be a strong enough term).

The pirates might come from mean circumstances, but Lindholm never apologizes for their crimes. Instead, the victims of A Hijacking are Hartmann and his crewmates. Clear headed and relentlessly gripping, it is easily the pick of the week and might be the best theatrical release of the year, so far. Highly recommended, A Hijacking opens this Friday (6/21) in New York at Film Forum.

LFM GRADE: A

Posted on June 17th, 2013 at 12:53pm.

By Joe Bendel. If her uncle had not been such an idiot, Elizabeth II never would have been Queen. Due to his dubious judgment, his brother’s daughter will soon ascend to the throne. The caddish Johnny Spence half-jokingly describes the days leading up to her coronation a period of monarch-less anarchy. It will indeed make a fitting backdrop for Charles Sturridge’s completely Anglicized adaptation of Daphne Du Maurier’s The Scapegoat, which airs in syndication on participating PBS stations, including Chicago’s WTTW this coming Saturday night.

John Standing has just been downsized out of a job as a boarding school teacher. With no family to support and lacking any significant ambitions or prospects, he sets out on a vaguely defined walking tour. Stopping at a seedy public house, he is startled to come face to face with his dead ringer, the wastrel Johnny Spence. After a night of imbibing with the charming but overbearing Spence, Standing is surprised to wake up and find the man has absconded with his anonymity, leaving him to take his position of wealth and privilege.

Unfortunately, Standing soon deduces that the Spence family fortunes are sagging. His doppelganger was hoping to save their glass foundry with a Hail Mary business deal, but he rather doubts the playboy pulled it off. However, he is quite charmed to meet the man’s spirited young daughter (Mary Lou, a.k.a. Piglet) and his nervous wife Frances. Conversely, he is quite uncomfortable around Nina, Spence’s sister-in-law with whom he seems to be having an affair with. Yet nobody seems to suspect his reluctant impersonation, not even his resentful brother Paul or their morphine addicted mother, Lady Spence. Frankly, the family might just be better off with the new and improved Johnny Spence, but the old one is still out there, up to no good.

Produced by ITV, Scapegoat is a nifty little thriller that had a spot of film festival play before its American television run. Transferred from the south of France to post-war Britain, Sturridge’s adaptation is tightly paced and uses the impending coronation as a clever metaphor. As the director of most of the beloved Brideshead Revisited miniseries as well as the masterful A Handful of Dust, Sturridge has a keen feel for Twentieth Century British period pieces. He displays a nice touch with Scapegoat, combining a Downton-esque vibe with film noir-ish elements.

Logically, Sir Alec Guinness (the master of multiple parts) had first crack at the Standing/Spence role in Robert Hamer’s 1959 feature film. Yet, Matthew Rhys (now probably best known for FX’s The Americans) steps into his shoes admirably well. In fact, this might be his strongest small screen work, eclipsing his suitably brooding John Jasper in The Mystery of Edwin Drood. His Spence is charismatically wicked, but he also makes a convincingly confused and depressed everyman as Standing. Alice Orr-Ewing is a bit vanilla as poor Frances, but Andrew Scott (Jim Moriarty in Sherlock) adds some edgy energy into the mix as Paul Spence. Yet Sturridge’s wife and Brideshead co-star Phoebe Nicholls occasionally upstages everyone as the smart-than-her-employers housekeeper, Charlotte.

Altogether, The Scapegoat is quite cinematic by television standards. Handsome looking and intelligently written, it is definitely recommended for fans of Brit mysteries and literary dramas when it airs on select PBS stations later in the month.

LFM GRADE: B+

Posted on June 17th, 2013 at 12:52pm.