DVD Review: Transit

We are living in frightening and twisted times, when a significant portion of the world’s population is once again falling for fascism, something that seemed unfathomable only a few years ago. And so stories of World War II have an even stronger appeal than normal. We need these stories to tell us how to avoid mistakes and horrors of the past. Transit is based on the novel by Anna Seghers, and takes place during the German occupation of Paris. One thing that is unusual and remarkable about Transit is that it takes the 1944 novel and places in a time that combines the early 1940s and the present, creating a sort of present where the past has never quite left. And while that might or might not have worked ten years ago, it feels just exactly right at this moment, and immediately pulls us into the world of these characters.

At the beginning of the film, we learn that Paris is being sealed off, and that the time to escape is now. In a café, Georg (Franz Rogowsi) is asked by a friend to take two letters to a writer named Weidel, but when he arrives at the hotel he learns that Weidel is dead, having taken his own life. “He caused me more trouble than the occupation,” the woman running the hotel tells him. Georg takes some of the writer’s things, including a manuscript. When he returns to the café, he finds his friend and the other patrons being lined up by the police, and soon is on the run himself. There are others in the same predicament, but it isn’t long before Georg is separated from them. The film drops us into this world, with no explanation of what has happened. Of course, no explanation is necessary. But with the current situation of the world, I began to wonder if at some point in the near future World War II movies will need to offer some exposition or backstory. While the world promised to never forget, it seems that many people have done just that.

Interestingly, approximately fifteen minutes into the film, we suddenly get a bit of narration, which takes a moment to get used to, this new voice, this other perspective. “Finally he had opened the writer’s bag. He began to read out of pure boredom.” The narrator becomes another character in the story. What is also interesting is how normal the world is. Cars pass by, people continue to live their lives, while a darker force gains control. And that is certainly how it is here in the United States right now, most of us going about our normal lives while immigrant children are dying in cages and ICE conducts massive raids and minorities live in fear. At one point in this film, illegals refuse to seek medical care out of fear of being arrested, something that is happening in our country now.

Georg makes his way to Marseilles, where things have not yet gone completely wrong. But there is the knowledge that whatever calm and normalcy may exist will soon be shattered. And this story takes place in that brief and uncertain time. When Georg goes to the consulate to turn in Weidel’s things in hope of receiving a finder’s fee, he instead finds that he is believed to be Weidel. He then sees a way out. He just has to arrange for transits for the U.S. and Spain because there is no direct passage to Mexico, the country that has expressed a willingness to take Weidel in. Things are complicated when a beautiful woman enters Georg’s life. The film ends up being a surprisingly intimate story, about loss of identity and trying to regain at least part of it through love. And it features some excellent performances.

Special Features

The DVD contains bonus material, including a feature on the making of the film. This feature focuses on an interview with director Christian Petzold, who talks about the process of turning the novel into the film. He talks about taking something that is set in the past, but shooting it in the present. “As if the ghosts of the past are running around in our present,” he describes it. He also talks about the film’s perspective, about the narrator. This feature also includes interviews with cast members Franz Rogowski and Paula Beer, as well plenty of behind-the-scenes footage. This is approximately twenty-four minutes. There is another interview with Petzold, in which he talks about his interest in films and about Transit. This one is approximately six minutes.

Also included is a Q&A with Christian Petzold for the Film Society at Lincoln Center. Unlike the previously mentioned features, this one is conducted in English. He talks about adapting the book, about using voice over and explains how the narrator is an unreliable witness. He also explains why he doesn’t like doing period pieces, and talks about why he usually uses female protagonists in his films. This is approximately twenty-six minutes. There is also an interview with Franz Rogowski which is conducted in English. He talks about his character and about the way the director works. He tells an interesting anecdote about being robbed and how that helped him connect to this character. This is approximately nine minutes. There is a shorter piece on Rogowski, featuring an interview and some snippets from his films. The film’s trailer is also included in the special features.

This DVD release also includes a booklet with notes by Christian Petzold, as well as a piece by Ignatiy Vishnevetsky and an interview with Petzold.

Transit was directed by Christian Petzold, and is presented in its original German and French, with English subtitles. It was released on DVD on July 9, 2019 through Music Box Films.

Blu-ray Review: What We Left Behind: Looking Back At Star Trek: Deep Space Nine

While folks are getting excited about the upcoming Star Trek: Picard series, a new documentary gives us an opportunity to take another look at an earlier series. What We Left Behind: Looking Back At Star Trek: Deep Space Nine, which was co-directed by Ira Steven Behr, showrunner for Deep Space Nine, presents a wonderful and enjoyable look at what was the most distinct and unusual of all the Star Trek series, Star Trek: Deep Space Nine, which ran for seven seasons in the 1990s. Unlike Star Trek: The Next Generation, which took me a few seasons to appreciate, Star Trek: Deep Space Nine excited me right from the start. Partly that was because of its cast, which included Avery Brooks (known for his character Hawk from Spencer: For Hire and its spinoff, A Man Called Hawk) and René Auberjonois (known at that time for his work on Benson, but whom I especially loved in the films M.A.S.H. and Where The Buffalo Roam). But the show also had a different feel from the other Star Trek series. I maintained then, as now, that Deep Space Nine had some of the absolute best Star Trek episodes, and really only faltered when it stepped onto the Holodeck (which I still consider the most pointless and horrible contrivance in the Star Trek universe). This series featured the most well developed and intriguing characters, as well as continuing story lines, both of which added to the show’s appeal.

This documentary itself has quite a different vibe from most documentaries. It actually opens with a goofy jazz song about Deep Space Nine, and then a few words from Andy Robinson (who played Garak on the show), reminding us that “Memory can be faulty, and emotion often obscures clarity.” Certainly an unusual opening for a documentary. The film then gets into the criticism of the show, with several of the actors reading critiques from Star Trek fans, some of them rather cruel. People were upset back then that the show wasn’t about exploration, as the other series were, and also because of the show’s darker tone. But the characters too were criticized. Ira Steven Behr mentions how the criticism hurt the actors at the time. Most of the cast, including those with supporting roles, are interviewed in this film. Avery Brooks, Alexander Siddig, Nana Visitor, Armin Shimerman, Terry Farrell, René Auberjonois, Colm Meaney, Michael Dorn, Andy Robinson, Wallace Shawn, Cirroc Lofton, Casey Biggs, Penny Johnson Jerald and Bill Mumy are among the actors interviewed. They present lots of cool anecdotes, such as about rehearsals at Armin Shimerman’s home, and about Avery Brooks (I particularly love that bit about his changing of his delivery of “old man” when referring to Dax), and about the makeup. René Auberjonois (who payed Odo) says, “It was an intensely uncomfortable makeup to wear.” Andy Robinson mentions being claustrophobic and how the wig made him feel “sealed in.” The actors also talk about the long days, and Wallace Shawn even recounts a time when he fell asleep on camera.

Key crew members are interviewed also, including writers, directors, producers, production designers and makeup supervisors. Michael Okuda (scenic art supervisor) reveals that the original design for the space station “was largely based on an oil rig, with some terracing from a shopping mall.” Interestingly, a key part of this documentary is the writing of the first episode of a hypothetical Season 8, where the writers discuss what has happened to each of the main characters. At first I thought the writers sitting around talking about a potential episode was a bit silly. But I seriously got into the tale they were telling, as if I were watching the episode. I started guessing what they might come up with, what direction the story might take. And then the damn thing ends in a cliffhanger. Okay, guys, call me and tell me about the hypothetical second episode of Season 8 please. This component is yet another that makes this an unusual documentary.

We also hear from the fans, who talk about the show’s strong female characters. The series’ continuing story lines are also addressed, something which at the time was unusual. Then each episode of a show was a self-contained story. The documentary doesn’t get into detail on too many specific episodes, but it does touch upon the episode “Far Beyond The Stars,” and so rightly draws the connection to the racism prevalent in our nation today, racism of our president and his followers, racism that seems to grow more pronounced every week. The documentary also discusses how the series was able to deal with other political and social issues, such as the cost of war. The documentary ends as it began, with a song about Deep Space Nine. The documentary’s title, by the way, is a reference to the series’ final episode, “What You Leave Behind.”

Special Features

The Blu-ray contains several special features, including a short introduction to the bonus material by Ira Steven Behre, about why certain things were cut. “A Brief History Of Deep Space Nine” is about the idea behind the show, with a bit about casting and the story line. There are also a lot of deleted scenes, including material on specific episodes and moments from the show (I love the anecdote about the argument between Avery and René, and of course the bit about the tribbles episode), and about key production positions, and about some of the makeup for the show. Many of these deleted scenes include interviews with cast members. In one of my favorite deleted scenes, Armin Shimerman and Max Grodenchik talk about their auditions. The deleted scenes total approximately forty-eight minutes.

The special features also include a discussion by the documentary’s producers led by Ira Behre, in which they talk about the film and in particular the HD aspect of it with regards to footage from the original program. Those taking part are David Zappone, Luke Snailham, Kai De Mello-Folsom and Joseph Kornbrodt. This is approximately fifteen minutes. Also included is more footage with fans of the show, as well as a short piece on the 2017 Variety photo shoot with the cast, and the documentary’s trailer.

What We Left Behind: Looking Back At Star Trek: Deep Space Nine was directed by Ira Steven Behre and David Zappone, and is scheduled to be released on Blu-ray and DVD on August 6, 2019 through Shout! Factory.

Blu-ray/DVD Review: The New York Ripper

The early part of the 1980s was such a great time for horror and thriller movies, and thus for horror movie fans. I wasn’t yet allowed to see those movies in the theaters, but thanks to my grandparents and home video, my appetite for these films was sated on a regular basis. And now seems the perfect time to revisit Lucio Fulci’s The New York Ripper. After all, our country has in many ways turned repulsive, and reality and the future are looking grim, so this film perhaps more than ever seems to reflect our society, or at least our feelings about it. And besides, it is now available uncut and uncensored in a new 4K restoration, and looks incredible. Apparently, quite a bit of the film was cut before, for IMDB lists the movie as being 85 minutes, and in this set it is 93 minutes. The new 3-disc Limited Edition release includes the film on Blu-ray and on DVD, with plenty of bonus material (which is on both discs, by the way). The third disc is a CD of the soundtrack. Also included is a booklet with a piece by Travis Crawford on the film.

In the opening scene, a dog fetching a stick returns to its owner with a severed hand. I love the push-in on the dog owner’s face, right up to his eyes, before the reveal of the hand. Then that gross hand remains on screen throughout the opening credits, preparing us for a film that will not shy away from gore. But there is also some humor, albeit dark, in the film’s first scenes, particularly in the character of the nosy landlady. It is from this character that we learn about the victim, which is a nice touch. I love that this is a big deal for her, but couldn’t possibly be more routine for the police. Then when a pretty woman rides her bicycle right into a parked car, she apologizes to the car’s occupant, saying “I was thinking of Boston.” I love that, being from Massachusetts myself and considering Boston to be a far superior city to New York. “You women should stay home where you belong,” the guy tells her. “You’re a menace to the public.” He sounds like a Republican. But on the ferry, she meets someone even worse. Interestingly, we get the scene from the killer’s perspective. I know that’s a way to avoid revealing who the killer is, but it has a strong effect on the viewer. Because as she is looking at us, we feel anxious, nervous for her, wishing we could urge her to get away, to get away from us. And her death is not quick. As I mentioned, this film does not shy away from gore. And it’s more powerful, because it’s more realistic and gritty.

The film includes a lot of great details that make the action, story and characters believable. For example, it is that tough misogynist that finds her body, and the detective investigating the case comments that the man was crying in the men’s room after finding her. And when the cop seeks the help of a psychological profiler, that expert immediately asks about getting paid, which just rings true. There is no altruism in the world of this film. After he agrees to help, he tells the cop in a rather pleasant voice “You let me have all the data and we wait for him to butcher another girl.” It’s a twisted world, and the killer seems just one element of it.

For me, the film gets even more intriguing when it gets to the theater with the live sex acts. For at this point, we think we are with the killer, and when he sees a woman, we assume she’s the next victim. But the film does something interesting here. It focuses on the woman, as she takes out a portable tape recorded to get an audio recording of the sex she is watching. She is not there just to be a victim, but rather has her own thing going on. When she begins to masturbate, we nearly forget the man is even there at all. To me, this woman is the most interesting character. We learn that she is married, and that her husband collects these tapes that she makes, an unusual marriage for sure. She puts herself in dangerous situations, like letting herself be tied to a bed by a stranger. And this time she may have picked the wrong stranger. That entire sequence is incredibly suspenseful, in part because her performance is so good.

The film is masterfully shot. I love the scene where the cops are going through the suspect’s apartment. We see everything from a cop’s perspective while we hear the woman who owns the place complaining about the tenant and about the police intrusion. It feels real and gritty. And even the gory moments are well framed. This is a movie that is definitely worth revisiting, particularly with this new uncut and restored edition. And it has a wonderfully depressing ending.

Special Features

This three-disc set contains a lot of bonus material. There is an audio commentary track by Troy Howarth, author of Splintered Visions: Lucio Fulci And His Films. He offers plenty of information about the production of the film and those who worked on it, as well as about Italian cinema in general. He talks about Fulci’s appearance in the film, and about the various reactions to the movie, and its reputation.

There are also several interviews. The Art Of Killing is an interview with co-writer Dardano Sacchetti, conducted in Italian, with English subtitles. He talks about his working relationship with Fulci, and the process whereby he came to work on this particular project, and there is some humor to his perspective. He also mentions the influence that the Catholic Church has had on Italian cinema, which is interesting. Also interesting is that he doesn’t go see horror movies. This interview is approximately twenty-nine minutes. Three Fingers Of Violence is an interview with actor Howard Ross, conducted in Italian, with English subtitles. He tells some humorous anecdotes about shooting in New York, and also talks about holding his hand a certain way to create the three-fingered effect. This interview is approximately fifteen minutes. The Second Victim is an interview with actor Cinzia de Ponti, conducted in Italian, with English subtitles. She talks about her audition and her experience during the production. This interview is approximately twelve minutes. The Broken Bottle Murder is an interview with actor Zora Kerova, conducted in Italian, with English subtitles. She talks about shooting the sex scene, and about working with Lucio Fulci. This interview is approximately nine minutes. There is a second interview with Zora Kerova, this one from a decade ago. It is approximately nine and a half minutes. In this one too she talks about the sex scene, saying it was probably the most difficult scene she’s ever had to do. She also recounts anecdotes from other film sets.

The Beauty Killer is an interview with Stephen Trower, author of Beyond Terror: The Films Of Lucio Fulci. It’s called The Beauty Killer, because that was the original title of The New York Ripper. He gives a lot of information on the production of the film, including thoughts on the characters and on some of criticism of the film. This is approximately twenty-two and a half minutes, and is conducted in English. Paint Me Blood Red is an interview with poster artist Enzo Sciotti, conducted in Italian, presented with English subtitles. He discusses how he got into his career, and gives a bit of information on how he works, and tells some funny anecdotes about certain jobs. This interview is approximately seventeen minutes, and includes shots of several of the posters he created. There is also a short piece on the New York locations for the movie, and how they’ve changed. The special features also include the film’s trailer and a photo gallery of poster art and other promotional materials.

The set’s third disc, as I mentioned, is the film’s soundtrack, with music composed by Francesco De Masi. The disc contains seventy minutes of music, including some excellent pieces like “The Ripper” and “Suspense And Murder.” There is one song with vocals, “April Night,” which features some nice percussion.

This three-disc limited edition of The New York Ripper was released on June 25, 2019 through Blue Underground.

Blu-ray Review: The Captain

The Captain tells the incredible and yet true story of a German soldier who defects from the army just before the end of World War II and finds an officer’s uniform, which at first brings him warmth, satisfying his immediate need, then a sense of safety, and then something more. It stars Max Hubacher as Willi Herold, the young soldier who poses as a captain.

When the film opens, we see Herold running toward us from a distance, weaving about in an attempt to avoid the bullets aimed at him from soldiers in a truck that follows him. Adding to the insanity is the presence of another soldier in the truck blowing a bugle as if this were some kind of hunting party, some kind of celebration (which is twisted, to be sure, and something that is revisited with greater force later in the film). It’s an intense opening, particularly when Herold gets to the woods and hides, the others so close. The camera stays with him so that, like Herold, we do not know if the soldiers have spotted him, if he is going to be killed in the next moment. But he survives and soon comes across an abandoned vehicle, and inside finds a uniform, which he quickly dons in order to get warm. Moments later, as he juggles some fruit he found in the truck, he sings to himself, “This is too good to be true, like a miracle.” And of course that is exactly our worry too.

When Freytag (Milan Peschel), a lone soldier, arrives and, seeing Herold’s uniform, salutes him, Herold gets the idea that this uniform might provide more than just warmth. As nervous as he is, Herold takes some joy in his performance, in fooling others. It’s not just for survival’s sake that he pretends to be an officer, but he derives some pleasure in it as well, which is wonderful. It’s also a relief for us, for it gives us a little respite from the tension and terror. Plus, it makes us like the character even more. What is interesting, however, is that when they reach an inn, Herold clearly expects his uniform will command the respect of those present, but it has the opposite effect, which gives him pause. After all, this is the end of the war, so he is going to find different reactions to his uniform, which makes things even more harrowing. The uniform can get him out of danger, and can also put him in danger.

He soon begins to amass he own unit. It is interesting that we really know nothing of the man’s background. We are on his side without really knowing anything about him, other than he deserted the German army. But when he gets to a German prison camp, pretending to have orders from the Fuhrer himself, and is joined by a man eager to rid the camp of prisoners, things become even more twisted. And at a certain point we can no longer remain on Herold’s side, for he really takes his assumed position to heart. It’s interesting that Freytag, the first soldier who joins him, ends up being the moral center of this picture, the one we really feel for. And even he fails us. And that makes us wonder how we ourselves would do in this kind of situation, for there is no character who will let us off the hook.

Toward the end of the film, there is a celebration, where women sing, “Such a miracle comes only once and not twice,” reminding us of the beginning when Herold first found the uniform and sang about it being a miracle. And indeed, even though this later scene is the only other one to find him actually happy, we are aware that the end must be near. For his happiness here comes upon the heels of so much death. This is a powerful film. And with a sick sort of nationalism once again on the rise, this film is even more frightening than it might otherwise be. Be sure to watch the closing credit sequence, for in it Herold and his strange band arrive to attack us in the present, a sort of delightful touch.

Special Features

The Blu-ray contains a commentary track by the film’s director, Robert Schwentke. The commentary is done in English, and is quite good, providing a lot of historical context, particularly with regards to German perspectives. He mentions that the film is based almost entirely on the actual court file. He also talks about conventions of German films that address the subject of World War II.

The special features also include An Evening With Robert Schwentke, which is footage from a Q&A with the director that took place in Chicago. He talks about the real story of Herold, about the end credits sequence, and about the film’s music and cinematography. Some of what he says here covers the same ground as the commentary track. This feature is approximately thirty-two minutes. There are also interviews with cast members Max Hubacher, Milan Peschel, and Frederick Lau, as well as producer Frieder Schlaich. These total approximately twenty-seven minutes.

From Storyboard To Screen: The Escape shows the progression of the opening sequence from the original storyboards to the final scene, and includes production photos of the tree where Herold hides as well as behind-the-scenes footage of the sequence being shot. This is approximately twenty-nine minutes.

The special features include a deleted scene that takes place at the prison camp, beginning with Hansen burning files. It is sort of an extension of the scene with Herold getting his pants tailored. There is also a music video, using footage from the film, as well as the movie’s trailer.

The Captain was directed by Robert Schwentke, and was released on Blu-ray on January 8, 2019 through Music Box Films. It is presented in its original German, with optional English subtitles.

Blu-ray Review: Hagazussa

Hagazussa is a haunting, suspenseful and compelling film about a woman who lives alone in the mountains, a woman that is believed by others to be a witch. Taking place in the fifteenth century, when witchcraft was a somewhat common belief, this film features an excellent and fearless performance by Aleksandra Cwen as Albrun, a woman who has been traumatized, isolated, and who ends up delusional and deadly.

The film opens with footprints in deep snow, the camera slowly pulling back until a figure pulling an empty sled enters the frame. It is an eerie image, but then we see that it is a young girl who pauses to let her mother catch up to her. As it gets dark, an old man greets the woman, telling her she should hurry home. They make it home, but the woman is still on edge, telling her daughter to hide. Outside their home, the mother sees three strange, masked figures with torches. Interestingly, it is they who accuse her and her daughter of evil, saying, “You should be burned down, you witches.” While gathering wood the next day, the woman collapses in the snow. Her daughter tries to take care of her, but the woman’s condition worsens. She becomes delusional and more like an animal, to the point where she terrifies her young daughter. These early scenes are done with very little dialogue, which adds to the creepy and frightening vibe of the film, and helps to punch up the feeling of isolation which pervades the story.  

We then jump to several years later, when Albrun is now an adult, with an infant of her own, living in the same cabin where she grew up. We are treated to some absolutely beautiful shots of the mountains, which work in contrast to the actions of the people in the area. Some boys taunt and torment Albrun as she struggles to carry two buckets of goat milk, throwing rocks at her and calling her a witch. One woman, Swinda (Tanja Petrovsky) seems to come to her aid in that moment, and then later visits Albrun. The innocent, shy smile on Albrun’s face when she believes she has a friend is incredibly touching, and we think maybe things will be all right for her. But it isn’t long before things turn against her once more. In one of the most arresting scenes of the film, Swinda whispers in Albrun’s ear, “It is disgusting how all of you stink.” Her tone is strangely seductive, and the two of them are lying on the grass together, as a man gets on top of Albrun. It is an incredibly powerful scene, masterfully shot. And it is after that that things begin to get strange and frightening. It is a film whose style and imagery will remain with you for a long time.

Special Features

The Blu-ray contains a commentary by the director on certain scenes, including the opening. He talks about the pace, saying he likes to work with long opening shots. I was surprised to learn that Celina Peter, who plays the young Albrun, had never acted before. He also comments on the scene when young Albrun is frightened by her mother, and on that incredible sequence when Albrun eats an hallucinogenic mushroom. Eye drops were used to dilate her pupils in that scene. There is also commentary on the film’s final sequence, when Albrun’s mind has deteriorated. Approximately a third of the film contains commentary.

The special features also include a deleted scene, with optional commentary by the director. This scene would have come after Albrun crawls out of the swamp, and features the old man from the opening sequence. It’s better that this scene is cut, so that Albrun’s isolation is complete at that point. She is totally alone in her world. Also included are a music video by MMMD, which incorporates footage from the film, and the movie’s trailer. The final bonus feature is Interferenz, a short film by Lukas Feigelfield, which features Aleksandra Cwen in a supporting role. This film is approximately forty-nine minutes.

Hagazussa was directed by Lukas Feigelfeld, and was released on Blu-ray on April 23, 2019 through Doppelganger Releasing. It is presented in its original German with optional English subtitles.

DVD Review: Memoir Of War

I’ve long been fascinated with World War II and stories from that time. And these days, when our own nation is perilously close to authoritarianism and Nazis march openly in the streets with the support of our president, these stories feel even more important than usual. Memoir Of War tells an incredibly personal story of writer Marguerite Duras in the days of the Nazi occupation of France, and features a tremendous performance by Mélanie Thierry.

The film begins in April of 1945, as Marguerite waits for her husband Robert to come home. She watches the soldiers return, but does not find him among them. She tells herself he could show up at any time without warning. “Many such things do occur,” she says in voice over. And for a moment, she even believes he has returned, or imagines how she’ll react when he does. The film then takes us back to June of 1944, as Marguerite waits in a room where many other women are seated. We see soldiers escorting a woman out; this woman and the others remain silent. It is frightening, particularly how mundane, how orderly it seems. And the film doesn’t tell us precisely what is happening with these people. It isn’t until a man finally addresses Marguerite that we learn she is there because her husband has been arrested, and she has brought a parcel containing some things for him. The man tells her he’ll see what he can do.

I love that the film immediately immerses us in this uncertain world, its camera work and style (as much as its subject) making us feel as nervous as Marguerite must feel. As we try to get our bearings, we become attached to her, to her perspective. She receives a phone call, telling her that her husband has been moved, but we hear only her side of the conversation, and so must rely on her reactions for information. When she meets this man, a Nazi collaborator named Rabier (played by Benoît Magimel), who obviously has an interest in her, she begins a strange and dangerous association with him, in order – at least at first – to get information regarding her husband. Marguerite is part of the Resistance, and the others decide it would be beneficial for her to continue to meet Rabier. “Lie as little as possible,” she is advised. It is interesting that Marguerite does not allow herself to display too much emotion, even as she reasons that with the Allies advancing, the Germans will likely begin executing their prisoners.

The film keeps us close to Marguerite, in part through the use of voice over. These are thoughts that she also writes down, addressing them to Robert. “I’m afraid I’ll be killed. I’m ashamed to be alive. I feel if I don’t die, I’ll see you again.” It is eerie how in many ways life seems to go on as before, with children playing in one scene, the camera keeping them in the foreground, so that we view Marguerite through them. The film is suspenseful. And yet, in some ways Marguerite seems removed from her own life, watching herself get ready to meet Rabier, and writing her thoughts down, her life becoming a story, herself becoming a character. The film contains a lot of interesting shots. For example, when we learn of the liberation of Paris, we see Marguerite alone, on her bicycle, so that even the biggest events are brought down to a personal level, to her individual experience, separate from that of others. What is also interesting is that the liberation of Paris from the Nazis is not the film’s climax. In fact, it is only the halfway point of this unusual film. For the war is not over for her, as she continues to wait to learn of her husband’s fate. Even as the world around her – now so foreign – celebrates. The film tells a story that is powerful and personal.

DVD Special Features

On Image And Sound is an interview with some of the key crew members who worked on the film, conducted in French. The crew members are all in the same room together, rather than being interviewed separately. They talk about shooting the film like a documentary, without start marks or rehearsals, and with little direction. They also talk about certain scenes, such as that of the soldiers returning. This featurette is approximately nineteen minutes.

From Melanie To Marguerite contains footage of Mélanie Thierry rehearsing her part, delivering some of the voice over dialogue, receiving direction. This is approximately eleven minutes. The special features also include costume and camera tests, as well as three deleted scenes. In one of the deleted scenes, Marguerite tries to cut in line to see her husband, and learns of the Normandy landing. The film’s trailer is also included.

Memoir Of War was directed by Emmanuel Finkiel, and was released on DVD on January 8, 2019 through Music Box Films. It is presented in its original French, with optional English subtitles.

DVD Review: Becoming Astrid

Pippi Longstocking was first published in Sweden in 1945 and has been a delightful and important part of countless children’s lives since then. Becoming Astrid tells the story of the youth of that book’s author, Astrid Lindgren. This is a beautiful and engaging film, and features an absolutely phenomenal performance by Alba August as Astrid.

The film opens with Astrid as an old woman opening her mail, receiving birthday wishes from children, including a cassette on which a child asks her, “How can you write so well about being a child when you haven’t been one for so long?” The movie then takes us back to her teen years, where she is with her family in a church and not quite paying attention to the sermon. Afterward, she asks her siblings, “Where would you rather live, Sodom or Gomorrah?” And we immediately like her. Her vibrant and perhaps unconventional personality is apparent from the beginning, when she – being ignored by the boys at a local dance – asks the girl seated next to her to dance, and then dances by herself with joyful abandon. And when her mother allows her brother Gunnar to stay out an hour later because he’s a boy, Astrid argues, “But you always say that we’re all equal before God.”

Astrid works on her family farm, but when her father mentions that the editor of the local paper is looking for an assistant, Astrid jumps at the opportunity. One thing I love about these early scenes is seeing how supportive the family is, and also how they are able to take joy in their work (in the potato scene, for example), scenes which allow for a greater contrast and heartbreak later. There is joy and excitement as Astrid begins her work at the paper, getting her first writing assignment to cover the new train. But she also finds herself learning about more adult aspects of life, and soon is becoming an adult herself, her childhood suddenly at an end when she herself is with child. Her second ride on a train is not as pleasant for her as her first, going away until she has the baby. The scene where her mother finds out she is pregnant is heart-wrenching, and Astrid is suddenly so quiet and meek, a devastating change for her.

As I mentioned, Alba August gives an outstanding performance. From the beginning, she is adorable, with a delightful innocence, a sense of a play, and a big heart. But it is when her character is faced with tougher aspects of existence that she really shines. And that is not to say that the rest of the cast is lacking in any way. The entire cast is excellent, but August in particular delivers a memorable and effective performance. Becoming Astrid is a sweet and beautiful film that might inspire you to write or do something else meaningful and wonderful with your life. I don’t mind admitting that this movie had me in tears at times. By the way, occasionally, throughout the film, we get voice over work from children writing to Astrid about her books, and we see the connection between Astrid’s life and what the children find noteworthy about her work. That’s a really nice touch, particularly for those of us who grew up reading and hearing her stories.

DVD Special Features

The DVD contains some bonus material. Learning From Astrid is a short featurette with Alba August and Pernille Fischer Christensen. Pernille talks about the origin of the idea for this film, and Alba speaks about who Astrid was as a person, and the impact her fictional characters had on her childhood. The interviews are in English. The special features also include footage from the press conference at the Berlinale film premiere, with Pernille Fischer Christensen, Alba August, Henrik Rafaelsen and other key cast and crew members. They talk about the preparation and research for this film, about the casting, and about the effect Astrid Lindgren’s work has had on them. Pernille is asked about the letters that are read throughout the film. This is approximately twenty minutes, and is also in English. A photo gallery and the film’s trailer are also included.

Becoming Astrid was directed by Pernille Fischer Christensen, and was released on DVD on March 19, 2019 through Music Box Films. The film is presented in its original Swedish, with optional English subtitles.