LFM Reviews The Whale: Revenge from the Deep

By Joe Bendel. The development of electricity and fossil fuels greatly improved the western standard of living, but it was even better news for whales. Demand for whale oil largely evaporated, but considerable damage to the whale population had already been done. By 1820, the Essex whaling ship had to venture far out into the Pacific Ocean to find their quarry, leaving them in a highly vulnerable position when disaster struck. Based on the misadventure that inspired Melville’s Moby-Dick, the Essex’s last voyage is now the subject of Animal Planet’s first scripted dramatic special, The Whale: Revenge from the Deep, which premieres on the network this Wednesday.

Old man Thomas Nickerson was a green cabin boy on the Essex and lived to tell the tale in flashbacks to his interlocutor and the audience. Although he lived on Nantucket, he was still considered an outsider by most of the crew. Initially, he finds more acceptance from the freed African American laborers than the crusty old “deckers.” However, first-time Captain George Pollard, Jr. takes a shine to the lad, perhaps out of solidarity. The demanding first mate Owen Chase grudgingly admits the boy rises to each challenge he gives him, but remains cold and aloof.

Still, things seem to be looking up when the Essex finally lands its first kill of their frustrating cruise. Ominously though, the hunters soon become the prey, when the freshly harpooned whale’s companion starts pursuing the Essex. Nobody aboard fully understands how serious the situation is, until it is too late. With the Essex crushed into kindling, a rag tag group of survivors, including Nickerson, Pollard, and Chase, will try to navigate three of the Essex’s twenty-foot whaleboats to civilization.

Although whales play a critical role in Revenge, they largely exit the stage at the midway point, leaving the desperate humans to their own folly devices. While Animal Planet viewers might expect something like the early beta version of Moby-Dick, it is actually a rather harrowing shipwreck story.

From "The Whale: Revenge from the Deep."

Tightly helmed by Alrick Riley within his British television budget constraints, The Whale gives viewers a vivid sense of the life-and-death struggle to survive on the high seas in open boats without provisions or any means of communication. While the whale attack effects pale in comparison to films like Life of Pi, the makeup team does first rate work representing the ravages of sun and elements. Frankly, it hurts just to look at their massively chapped lips and blistered faces.

Martin Sheen does his ancient mariner thing well enough, narrating as the old haunted Nickerson, while Charles Furness is convincingly earnest and over-awed playing his younger self. Nonetheless, John Boyega will likely get top-billing in future re-packagings, once viewers see him in the forthcoming Star Wars film. As Bond the cook, he exhibits the strong presence that made him a breakout star in Attack the Block, but it is still very definitely a supporting part. Frankly, Jonas Armstrong and Adam Rayner really carry the film as the complicated rivals, Chase and Pollard, respectively.

One thing comes through loud and clear in Revenge. If you ever see a whale bum-rushing your masted sailing ship, it means trouble. Although Animal Planet is presenting it in conjunction with their R.O.A.R. wildlife conservation campaign, the film itself wisely avoids an overly preachy tone. Pretty good for a television historical, The Whale: Revenge from the Deep airs this Wednesday (11/26) on Animal Planet.

LFM GRADE: B

Posted on November 24th, 2014 at 12:15pm.

LFM Reviews The Newly Restored The Cave of the Silken Web @ MoMA

From "The Cave of the Silken Web."

By Joe Bendel. Is it too early to nominate persecuted human rights attorney Pu Zhiqiang for next year’s Nobel Peace Prize? Ai Weiwei’s former lawyer certainly would be a deserving recipient, but the Norwegian parliament might be a little gun shy about acknowledging another Chinese human rights activist given Beijing’s hyperventilating response to Liu Xiaobo’s 2010 Nobel honor. However, a 1927 silent “ghost-spirit” film previously considered lost might have rebuilt some diplomatic bridges (so why not burn them up again?). An incomplete but highly watchable print discovered in the National Library of Norway has since been restored and restituted to China, where hopefully they will keep better track of it this time. Fortunately, the entire world will now have opportunities to see Dan Duyu’s The Cave of the Silken Web, which screened during MoMA’s annual To Save and Project festival of film preservation.

Dan’s Web was one of the first partial adaptations of the mammoth epic The Journey to the West and a leading early example of the mystical ghost-spirit genre. Obviously, it was a hit. After all, the Shaw Brothers did not remake flops. It also encompasses a section of the novel that arguably parallels elements of Homer’s Odyssey, such as Calypso and the Sirens.

The legendary monk Xuanzang had commenced his pilgrimage to India in search of sacred Buddhist texts but he was waylaid by the Spider Queen and her six Spider Hotties in her titular cave. Ordinarily, they would just eat forlorn travelers, but since Xuanzang has the cachet of a monk, the queen intends to marry him. It will be up to his baffled companions, the Monkey King, Pigsty, and Friar Sand to save him from such an un-horrifying fate.

It is easy to laugh at Web’s effects in the post-Avatar era, but at the time it was probably really something to show a woman transforming into a spider. Reportedly, Web also featured nude scenes (that do not survive in the Norwegian print), so it must have been quite a spectacle indeed. Frankly, it is rather charming to see a major silent era filmmaker testing the limits of what film can do. It is also great to have another example of Chinese silent superstar Yin Mingzhu vamping it up as the Spider Queen. Eighty-seven years later, in a print that still carries the scars of time, we can still see her “It-Girl” presence.

Someone ought to program a sequential festival of films based on Wu Cheng’en’s Journey, encompassing the radical stylistic diversity of the animated Monkey King: Uproar in Heaven and Luo Li’s arthouse modernization, Emperor Visits the Hell. It would be great to add Web’s silent eccentricity into the mix. Yet, its vibe is not so very different from Stephen Chow & Derek Kwok’s gleeful cosmic beatdown, Journey to the West.

Web has enormous cultural significance, but it has the extra added bonus of being great popcorn fun. At MoMA, it was paired with China and the Chinese, Part 2, an eighteen minute Benjamin Brodsky newsreel from 1917. It is more of a historical curio, but the footage of the eight year-old acrobat-contortionist still draws an enthusiastic audience response. Highly recommended for fans of arachnid femme fatales and Journey to the West movies, The Web of the Silken Cave should hopefully have many more public screenings in the future at silent movie and Asian themed festivals.

Posted on November 24th, 2014 at 12:14pm.

LFM Reviews Dukhtar @ The 2014 South Asian International Film Festival

DUKHTAR Trailer from Zambeel Films on Vimeo.

By Joe Bendel. Zainab is supposed to be the child-bride daughter of a child-bride mother. At just fifteen years old (frankly, not so very young by Islamist standards), Allah Rakhi (meaning “God protects”) was married off to a much older tribal chieftain. Now her ten year old daughter is to be a peace-offering to any even older rival clan leader. Refusing to consign her daughter to a fate worse than her own, the mother flees with her child into the mountains in Afia Serena Nathaniel’s Dukhtar, Pakistan’s official foreign language Oscar submission, which screened at the 2014 South Asian International Film Festival.

Allah Rakhi’s initial escape is rather clever, but she does not have much a plan after that. She really has nobody to turn to, since her “husband” has prohibited any contact with her family since their marriage. Since Zainab is now considered the property of creepy old Tor Gul, both clans are out to capture her and kill her mother. That would be their idea of “honor.” Into this misogynist tribalism drives trucker and former mujahidin veteran Sohail. At first, he is reluctant to shelter the fugitive women, but he soon becomes their ardent protector. They will need him.

Let us be clear, nobody is terrorizing Allah Rakhi and their daughter because they are upset about drone strikes or resent America’s friendship with a democratic state like Israel. No, it is simply the thing to do for its own sake. This is a harrowing depiction of institutionalized misogyny and the pain and desperation it causes. Yet, as bracing as Dukhtar is, Nathaniel’s symbolic imagery often has a poetic beauty. She and her cinematographer tandem of Armughan Hassan and Najaf Bilgrami also vividly capture the vast splendor of the mountain vistas, so the film isn’t just a slap in the face.

Nathaniel gets a critical assist from her leads, who are surprisingly subtle, but still deeply expressive. It is particularly powerful to watch Samiya Mumtaz convey all the fear, confusion, and anger Allah Rakhi has been forced to guardedly bottle up. She also forges some ambiguous but genuinely touching chemistry with Mohib Mirza’s Sohail, who handles his own significant character development arc rather sure-footedly. Even young Saleha Aref is quite grounded and believably restrained as Zainab.

Watching Dukhtar leads one to abandon all hope for Pakistan, but the mere fact they submitted it for Academy Award consideration (and the likely attention that comes as a result) could be considered a hopeful sign. Despite a rough patch here or there, Dukhtar is a compelling narrative, featuring several mature, well-balanced performances. It is an important film for multiple reasons that demands a wider audience. Enthusiastically recommended, Dukhtar screened as part of this year’s SAIFF.

LFM GRADE: B+

Posted on November 24th, 2014 at 12:14pm.