filmbore pick of the week - Frozen River

Frozen River 

Director: Courtney Hunt
Screenplay: Courtney Hunt
Starring: Melissa Leo, Misty Upham, Charlie McDermott
Year: 2008
Language: English
UK rental release: October 2009

IMDb
LoveFilm
Rotten Tomatoes

I predominantly review non-English language films on this site, but for the last two weeks I've discussed pictures in the language of "Blighty" with the UK indie modern classic Made In Britain and the excellent recent Irish release, What Richard Did. So, I thought that, before venturing back into the realms of feature films not of my native tongue, I should pop over the Atlantic to the United States and take a peek at another English speaking drama of worth. And the first that came to mind was the cool and moving Frozen River.

Ray Eddy (Melissa Leo, The Fighter, Red State) is desperate. A working class mum from a trailer park near the US-Canadian border, she's struggling to provide for her family. And, with hard times ahead and Christmas just around the corner, she wants to give her loved ones more than just a good yuletide season, but a better life.

Her husband has disappeared without a trace. A new double-sized trailer is due for delivery, but as man with a gambling problem he's gone off with all of the money required to pay off what's left to receive their new home. Ray's eldest son, T.J. (Charlie McDermott, from US TV series The Middle fame) is still in school but he wants to drop out to get some work, feeling as man of the house that he should do whatever he can to help their financial crisis.

Ray is goes out to try and do her best to locate her husband. While on the trail to find him she chances upon Lila Littlewolf (Misty Upham), a local Mohawk from the nearby reservation. Lila is driving her husband's car around, claiming the key's were in the ignition. In trying, unsuccessfully, to claim the vehicle back, the pair of them team up in an attempt to smuggle an illegal immigrant across the border from Canada to the US. And the best way to achieve this feat...is across the frozen river of the reservation!

Ray's first smuggling mission goes swimmingly, and she's overawed by the money she can earn. She goes back to Lila and makes a pact with her to keep crossing the ice to bring in more people over from Canada. But each time their tires set foot on the ice, they're getting closer and closer to catching the attention of the local border patrol.

But there's more going on in Lila's life than appears at first. A secret that she cannot bear to admit, sometimes even to herself, fuels a fire in her Ray. And as the trafficking gets trickier for the pair, Ray will walk over fire and ice to do what's right. 

There's undoubtedly one key drive to this entire film in my opinion...is all about the realness. Courtney Hunt (who now works more in TV) breathes such authenticity in this, her debut as a writer and director.

Shot with plenty of hand held action, the picture is personal and intimate. There's a vein of honesty strewn throughout the tale thanks to Hunt's great script writing, and the excellent performances from the cast, yet the true reason for this story's effortless journey to the centre of your soul is carried through the weight of it's direct, sometimes simple and minimalistic method of filming. Soft tones, jarring mid shots, and locked off wide shots of the landscape of the reservation, there's a persona in the images themselves.

This sturdy, characteristic template is fed further through the sheer blinding white of the ice, and the cool, blue surroundings. Even though it's set near Christmas, there's an autumnal feel throughout thanks to the slight lighting and tone used in every shot, generating warmth through the lens while still recognising a barren quality; both vibes typifying our lead's sense of love for her family, but loneliness and despair through her hardship. 

Melissa Leo is sensational in this. Receiving an Academy Award nomination, from this performance you could see that she would earn the gong some day (of which she did, rightfully so, for her stellar portrayal in The Fighter). With one glance, or a brief word, she is able to encapsulate an array of emotions at such microscopic levels, drawing you in to her execution of Ray Eddy from her initial fretful close up to her last stand as the strong mother is. 

Even though she is the heart and pain of this tale, the rest of the cast are tremendous too. As a young actor, Charlie McDermott is touching as T.J., trying to stand up as the man of the house, while still too personally affected by the mess left behind by his missing father. But the winner here is Misty Upham, who delivers the character of Lila with many layers. In parts she appears young and naive, switching to cold and tough survivor, then wise and caring friend. The gentle but absolute way in which she delivers Lila adds extra heft to the dynamic between her and Leo, which is vital to the chemistry that pins this tale together.

The relationship between Ray and Lila is cataclysmic at first, each of them distrusting of the other's motives. Yet, their connection morphs subtly as the story progresses - not so much in a form of sisterhood but through airs of respect for each other. This seems a more genuine and believable approach than the obvious way in which other dramas butter-coat friendships that emerge through strife. Both are born fighters, dealt a poor hand in life, so as a unit their mutual understanding allows them to push further into the seedy world of trafficking, and in crossing the iced river with more courage at each attempt.

This frozen beast that separates the two countries represents more than just an unnoticed pathway for immigrants to enter the US border. The fragility of ice represents the risky nature of what they're involved in. Yet, on a deeper level it stands for so much more than that. It endures as a barrier between Ray and Lila's need for a better future, while mirroring the coldness of their actions and the starkness of their situations. And where they brave the river with less caution after each mission, the river appears less ominous every time. Their unlikely accord strengthens them both as individuals.

Through our two female leads, even though from different cultures, the film addresses their mutual loneliness and struggle to survive, all fuelled by their maternal instinct to provide for their children at whatever the costs. When struck by hard times, it makes you question the lengths you will go to in order to protect and care for the ones you love.

In an industry where we are overwhelmed with a plethora of dramas to choose from, it's sometimes difficult to see the icy wood for the fur trees. Frozen River is one of those personally affecting films that, unfortunately, slips by unnoticed. However, if you are one of the fortunate few who have seen this wonderful piece, or hopefully will be soon after reading this review, you'll be hard pressed to find a film out there like it. And, in a period where the movie is chock full of sci-fi, comic book and fantasy, sometimes we just need to feel something real...and Courtney Hunt couldn't have made this any more real if she tried!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - What Richard Did

What Richard Did

Director: Lenny Abrahamson
Screenplay: Malcolm Campbell
Starring: Jack Reynor, Roisin Murphy, Lars Mikkelsen, Sam Keeley
Year: 2012
Language: English
UK rental release: April 2013

IMDb
LoveFilm
Rotten Tomatoes

Back in the UK last week, now skipping over the water to our neighbours in Ireland. We may be on different soil this time round, but we're keeping to real drama in the excellent Irish indie, What Richard Did. 

We open on three guys in a car. Our driver, Richard (Jack Reynor, Dollhouse) is joshing with his passenger friends - they all seem like a normal bunch of lads. A bit of a character, and captain of the local rugby team, Richard is the alpha male of his clan. Not in any kind of brash, cocky, controlling way mind you but in a cool, laid-back, respecting manner.

 

It's the summer between school and university and they want to celebrate. They set off to the beach house that Richard's family own to start welcoming in the break and a new phase in their life. At the beach, Richard has his eyes on a girl. He looks on longingly, until braving an approach. On meeting Lara (Roisin Murphy, of Misfits - TV series fame) there's clearly some chemistry between them. Nevertheless, she is there with her own man, Conor (Sam Keeley, This Must Be The Place) who's a fellow team mate of Richard's.

They are all invited to Conor's 18th birthday party. On the night itself, Conor is far too wasted to carry on needs to go home. This give Richard the opportunity to seduce Lara. They begin an exciting new relationship, to the heartbreaking detriment of Conor's own feelings. Yet, as their love story unravels, paranoia starts to slip in, and Richard starts to question the strength in their new pairing.

Another summer party summons the gang, but Richard is getting increasingly troubled with Lara's attitude around other men, especially when near to Conor. Tension builds further after he nips outside for some air and can't get back in to the house. Later at the same party, when Richard is reunited with Lara, an unexpected event results in a catastrophic outcome, and starts to send Richard down an unexpected path.

In trying to cover his tracks, his friends, even Lara, want nothing to do with him. He has no choice but to enter a new realm of being since the incident...at a time where he is supposed to figure out what type of man he is going to become.

 

Loosely based on Kevin Power's book "Bad Day In Blackrock", What Richard Did was the most successful movie in Ireland throughout 2012. This is a lot to live up to, I know, but I was thoroughly impressed with the confident and temperate nature of the piece. It starts with a calm, patient pace, as both our leads start to fall for each other, unaware of the impending dilemma about to face them.

This wouldn't have been realised without the performers at hand, and the predominantly young cast are terrific; natural in each other's company & flawless in their own realism. This is a real actors film. Even the smaller roles are handled with deft attention to detail, and all of the leads are sensational. There's not a bad thesp in the entire picture! 

But at the centre of it all is Jack Reynor, who brings tension and brutal emotional agony with an untainted, delicate delivery. He's the key of nearly every scene of the movie. Without giving to much away, Reynor's transformation through the tale of Richard is astounding. He is effectively the same person throughout, but there is a maturity and steeliness that develops just under the surface. His inner turmoil just seeps through the surface - just enough to keep you guessing in his next actions. Shame. Paranoia. Guilt. Fear...all bundled up in a subtle portrayal by Reynor, while not forgetting how electric he is in other moments.

A key central scene that demonstrates this is of a touching discussion between Richard and his father, Peter (Lars Mikkelson, Flame and Citron), which is truly striking. The performances from the two men in this heartbreaking moment, as Peter starts to digest what his son bears on him, grabs you right in the gut, shaping the rest of the picture.

This opens the window into the mind of young men when their world is overturned in a heartbeat. It makes you aware of how you might act in this situation. Richard's relaxed but protected demeanour may be guarded enough but has the potential for destructive outcomes further down the dark path, both internally and externally. Whether you rely on instinct, gut feeling or reason, what would be the right choice of action? Paired with this, it taps into the regularly attempted thematic routes of cause and effect, and of how we are victims to our own blind decisions and their consequences. Yet, thankfully, this thesis is progressed through the conduit of truism as opposed to the usual spiritualist take on fate and destiny.

It also questions motive: motive to do what's right against motive to protect yourself and those close to you - especially when you are the cause of pain and loss. Through this angle it addresses the humanity ripped open for attack when bearing responsibility. It doesn't ignore how heavy burdens can wear you down, while beautifully illustrating that exposing weaknesses in your stamina actually reveals strength of judgement when you least expect it.

Through these events, as Richard slowly morphs, so does the overall vibe of the piece through the cinematic techniques used. With a combination of locked off shots and Steadicam, which jerk and swoop with a little more intensity as the tale unfolds, there's a noticeable template to the whole look of the picture.

Natural outdoor light is used to it's advantage, with some subtle manipulations in some of the closer shots, casting profiles subtly to create a template for the whole look of the film. With some wonderfully pleasant use of lens flares off the looming sunlight in parts, an altogether ambient palette coats all of the scenes across the entire picture.

The combination of docu-feel shots. south Dublin locales and natural lighting give the whole piece a crisp motif. There's a purity to the film; untwisted by the invasion of sensationalism. The gentle but penetrating approach to the source material is clear-cut and engulfing...and I can't see how it could have been made any other way!

I fear that What Richard Did will become one of those hidden gems that unfortunately stays hidden. A lack of promotion could render it invisible to most viewers, yet of a lot of the films I review I see this as one of the most approachable I've written about in ages. It taps into animalistic tendencies and moral groundings with a tender hand, and will reach into anyone who might chance upon it on a random late-night movie festival. The alternative? Watch it by choice, and do the right thing and tell your friends!  

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

filmbore pick of the week - Made In Britain

Made In Britain

Director: Alan Clarke

Screenplay: David Leland

Starring: Tim Roth, Eric Richard, Bill Stewart, Terry Richards, Geoffrey Hutchings

Year: 1982

Language: English

UK rental release: February 2006 (DVD)

IMDb

LoveFilm

Rotten Tomatoes

After a couple of months of globe trotting, I'm returning to the shores of my own country this week. I feel it's the right time to unearth one of UK's greatest hidden gems, the TV film play Made In Britain.

Trevor (Tim Roth, Reservoir Dogs, Rob Roy, Pulp Fiction) is a 16 year old skinhead...and he takes no shit! He's racist, unfazed, disruptive and violent, leading a life of his own making and sticking it to the man. He steals whatever he wants, be it cassettes or cars, and smashes up shops with no remorse and no respect for the law. 

As we open on our story, he's facing court action for some of his jaunts. He sees no shame in his conduct - he's even proud of his "accomplishments". He's sent to an assessment centre by his social worker, Harry (Eric Richard, of the The Bill - TV Series fame) who believes that there's more potential in the young lad.

As soon as Harry get's Trevor set up as a resident at the centre, the upstart gets busy on kicking up a fuss. Not happy with his room, his bed, his income, and sweating about getting work (as recommended by the magistrate who convicted him), he's already at loggerheads with the centre's warden, Peter Clive (Bill Stewart, Copying Beethoven, G.B.H. - TV Series) who's a little perturbed with him arriving in the first place. Nevertheless, he's starts directing Trevor to act the right way. His intentions are obviously righteous, but Trevor just sees him as another nuisance.

Despite the Swastika tattoo emblazoned on his forehead, he makes an unlikely friendship with his room mate, Errol (Terry Richards), taking him out on some of his unlawful deeds. En route, he heads down the job centre, disgruntled by the poor selection of employment available. Leaving before applying for any jobs, he pauses for a beat and responds in his own way...with a brick through the job centre window!

But all is not what it seems. Trevor rebellious streak isn't through an inability to be educated, or a lack of knowledge or talent. In fact, he's incredibly bright and capable of great achievement. He's in for a reality check when faced with the centre's superintendent (Geoffrey Hutchings, Topsy Turvy, Wish You Were Here). Through the aid of a blackboard and diagrams he illustrates where Trevor fits in society if he continues down his bleak path, in an attempt to shock him in the right direction.

Patronised by the superintendent's attempt to break through to him, he brushes the comments aside. Yet, the centre don't lose hope and continue to support. Will he listen to those that want to guide him and tap into his true potential, or will he continue to stick two fingers up to the world in his stand against the system?

Made as part of the "Tales Out Of School" series, Alan Clarke (director of The Firm and Scum) delivers this nod to the punk era on a virtually zero budget. Originally a TV movie, it has found cult status over the years, especially through it's re-release on DVD seven years ago.

This is partly thanks to the documentary style realism that the picture carries, delivered by the trusted hands of cinematographer, Chris Menges' (known for his work in films such as Kes and The Killing Fields). His reliable Steadicam techniques are swooping and energetic, focusing on Roth nearly the entire time and keeping a simmering sense of electricity throughout the whole picture. The fluidity to his methods creates an identity that imbues the tale with a sense of interactivity, placing you directly into every moment.

The second reason for it's popularity comes down to the quotable script. David Leland, who went on to write another British homemade classic, Mona Lisa, doesn't hold back in crafting a body of text that jolts in it's Pitbull grip. Said jaws of anguish are mostly chewed by our lead Trevor who, thanks to Roth's portrayal, takes a firm chunk out of the despotic  nature of his peers.

It's this lack of respect for authority, held so purely and defiantly by Trevor, that thematically pins the story together. Through the vision of this disobedient soul, who's anarchistic tendencies are difficult to consent to, we are transported in an instance into his skewed view of what it means to British. His relaxed racist bent, and an instinctual need to revolt camouflages our lead, only parting at brief moments to highlight his deeper need for both escapism and his own self-control.

Such a concoction of personas would be difficult for any young actor to handle but at 21 years of age, in his official acting debut, Tim Roth is already an acting tour-de-force. He drives the entire picture with this sensational performance. Seeing him in such a stripped down role in his earlier years, it easy to envision how he would inevitably become such a respected global actor: his natural ability to strike fear, to make you question your own perspectives and judgements, how he handles dialogue - all of these tools of the acting trade, that would take some performers years to master, are already fully formed in the young man. He's a domineering presence. His moment that follows the, now renowned, lesson from the superintendent demonstrates this purely, where such a brilliant monologue steals the scene only for him to snatch it straight back with gusto.

Speaking of that scene in particular, it's fair to say that it's the central channel to the whole movie. It comes so early on in the film but stays with you for the entire picture while you ponder over Trevor's decisions, whether rebellious or vaguely relenting.

Those of you partial to a little hip-hop (like myself) will recognise some of the dialogue as sample by London's Skinnyman for his Council Estate Of Mind album (a true British album taking influence from a true British film!). For the first 8 minutes of this vignette, Geoffrey Hutchings as the superintendent owns the room effortlessly even in the company of Roth. Perfectly delivered in this brief appearance, its a prime example of great British writing and exemplary execution of the text. There's a mutual air of both cockiness and understanding, which is an incredible mix to portray, but it's handled beautifully by Hutchings making it a seminal scene in indie film making as a whole, let alone just this film.

As he lays out the scenarios and choices for Trevor, building a structure for his life as well as the tale, his lengthy shots in front of the lens between snappy responses from Roth are like mini monologues. It's eloquently pieced together and it's difficult to argue with the logic put forward (which Trevor inevitably does, of course!). 

In fact, it's this illuminating chapter of the TV play that made we want to select this film as "pick of the week" initially. There's no disputing the noticeable talent in the young Roth, the excellent performances from the rest of the cast, not forgetting the gritty UK vibe, but this scene in particular commendably elevates the entire story.

This is how drama was made in the UK in the late 70s and early 80s: raw, stark, unrelenting, harsh and cruelly emotive. We still see such veins of the real and dark in today's TV dramas, plus the odd film now and them, but there something iconic about this era of small British film making that sticks true...these pieces demonstrate the real UK. They say "Forget the stereotypical English gent that seems to be pinned to our culture...it's this straight up, no nonsense, brash and confident attitude that fuels the backbone to this nation". As terrifying, or as inspirational, as these characters may be, here in GB we recognise them all...love them or hate them.

Frustratingly short, but intense throughout, Made In Britain deserves it cult status. It pierces it's way through with it's relentless truism. And, instead of relying on the suspected wall-to-wall violence you'll think you'll be receiving, you'll be presented with acting brilliance and tense dramatic build-up, all controlled by the unbound manner of a startling debuting lead.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

May Overview/Ray Harryhausen tribute

End of a season, a bonus week and farewell to a legend!

Still not the weather peeps! Nor is this about a belated Christmas payout! But don't get me wrong...to finally swear in long awaited UK Summer with a pocket full of cash wouldn't go amiss right now, but alas I have not had this fortune.

However, I have had the luck of getting a new job (I was out of work for a wee while) starting a new era for myself, making me very busy and giving me back some much needed self esteem. Also, this meant a delay in the overview of last month and overlooking a deserved farewell to a much loved effects genius, which I have made up for with a note below.

So, without further ado, lets remind ourselves of what happened in May:

Pick of the week - Recap

Not only did I finish off the horror season with some uniquely brilliant films, but timing has worked in our favour again to give us 5 reviews instead of the usual 4...

Continuing the scare-fest I needed to pick something from the Asian contingent. Ignoring the obvious J-horrors I opted for the beautiful Korean thriller A Tale Of Two Sisters. Based on a Korean folk tale, this stunning piece will move you and chill you in one sitting. Breathtaking!

Portmanteau films next. So, I braved the recent collaboration by a number of lesser-known filmmakers, V/H/S. I was pleasantly surprised. Fair enough, it is for true horror fans, but it's difficult to ignore how brave some of these tales are, and the originality in some of the vignettes.

To end the season and comment on my disgust of like-for-like remakes I had to write about Let The Right One In. One of the finest films of the last decade, Tomas Alfredson's sweet delving into the psyche of a bruised and lonely child is so touching, while still embracing it's dark chills.

Back to basics, and the documentary The Imposter felt like the right fit. The near unbelievable true story of a man who seeks a new identity and takes it too far will shock you. It's a startling insight into the minds of families and loners, and a tale you won't forget quickly.

And a bonus review for May. Run Lola Run was very fashionable on its release in 1998 but it deserves re-approaching for its humour, thrills, scenery and fascinating story mechanism that'll hook you in on the first twist and keep you up with the pace until it's enjoyable ending!

And with a Top 10, the horror didn't stop there!

Yes, there had to be another list to top my Top 10 Scary Rabbits the previous month. 

But where can I go from there...well, missing out on my favourite horror sub-genre, Zombie flicks, I had to look down that route. Then began the long, drawn out affair of deciding who the Top 10 Zombie killing humans are. And it was difficult, I have to tell you. 

I'm happy with this final list, however, and await your comments and jibes on the selection.

In memory of Ray Harryhausen.

On May 7th 2013, the world of cinema lost one of its great. Ray Harryhausen pioneer numerous methods over the decades, all in the name of wowing and amazing us. But of course, he is most famous for creating a new technique of stop-motion animation, "Dynamation".

Learning from the godfather of stop-motion, Willis O'Brien, Harryhausen fell in love with the technique after watching his soon-to-be-master's work on the legendary King Kong (1933). After succeeding as the protege to O'Brien, he went on to break further effects barriers with incredible outputs throughout the 50's, 60's and 70's. 

For the movie-educated among you, you'll be familiar with his astonishing and iconic work in the Sinbad movies (50's - 70's), Jason And The Argonauts (1963) (who can forget the skeleton army!) and of course, Clash Of The Titans (1981). His genius in animation still floods and empowers methods that are still used to this very today, and he has had such influence on some of the biggest directors around, such as Spielberg, Lucas and Cameron; testament to his impact on the cinematic landscape.

Now, there are numerous tributes to Ray Harryhausen, chronicling his landmark effects moments. But, as this is filmbore I want to do something a little different. His favoured view in the movie world has birthed some wonderful homages to a man who has influenced many, and has allowed him to experience some joyous cameos (like Beverly Hills Cop III and Burke And Hare, to name a couple), especially in the latter years of his life. Below, I've listed a few of these for your entertainment, in order to demonstrate how loved he was by others and to illuminate the lighter side of a man who was always behind the scenes - but with his character, should have always been in front of it!

UFO homage

 


 
In a season 8 episode of The Simpson, they reference the surprising shot that Harryhausen animated in Earth Vs. The Flying Saucers...


 

Above is a still from the original scene. And to the left, The Simpsons riff...

 The voice of the Polar Bear Cub in Elf

With a small influenced stop-frame animation during the first act of the hilarious Christmas romp Elf, the North Pole wildlife bid farewell to their human-statured little helper. The polar bear cub is voiced by none other than our beloved Harryhausen, still having impact on animated effects in a new way.

 The new pay homage to the old

Even major animation house Pixar respect the animating auteur. Mike "Googly Bear" Wazowski takes birthday girl Celia to a restaurant, where he famously finds the little human girl they call Boo.

And the name of that restaurant?...Harryhausen's!

Tim Burton, of course...

 

Clearly, from the material that we've seen from Burton over the years, you can that beyond the gothic he is purely a fan of stop-motion animation. He lets us know that we a secret message early in his film Corpse Bride. Look closely and you'll notice the brand of the piano he plays early on has the brand "Harryhausen"

Doctor, Doctor, Doctor....

One of the more popular scenes of 80's Chevy Chase and Dan Ackroyd comedy Spies Like Us is the moment our bumbling agents are introduced to a number of doctors, one of which and you'll notice is played python-ite Terry Gilliam. But also, looming tall amongst them is Ray Harryhausen as Dr. Marston.

Ray Harryhausen (1920 - 2013) R.I.P.

If you have anything else to share of Ray Harryhausen, please add your thoughts in the comments section below.

And don't forget you can tweet me @filmbore, post on my Facebook page here or you can email me directly at overview@filmbore.co.uk.

filmbore pick of the week - Bombón: El Perro

Bombón: El Perro

Director: Carlos Sorin

Screenplay: Santiago Calori, Salvador Roselli, Carlos Sorin

Starring: Juan Villegas, Gregorio, Walter Donado, Rosa Valsecchi, Mariela Díaz

Year: 2004

Language: Spanish

UK rental release: October 2005

IMDb

LoveFilm

Rotten Tomatoes

We're pouncing over to the other side of the globe this week, lifting our paws out of Germany and bounding our way into the Americas with a lovely film from Carlos Sorin, Bombón: El Perro.

Unemployed mechanic, Juan (Juan Villegas) is in hard times. At 52, he is struggling to get any more work, hunting around for a job at other petrol stations. He has no other choice but to sell knives to the public to make ends meet. He handcrafts every handle in its own unique way, but with cheap blades coming in from Brazil nobody interested in his beautifully carved wares.  His predicament means he is having to live with his daughter (Mariela Díaz), her partner and his grandchild.

Juan is a generous soul. He may have no finance to gift, but he shares his kindness to all those who cross his path. He helps a damsel in distress en route to getting a new water pipe for his daughter's sink. Checking over her broken down vehicle, he offers to tow her 150 km back to her ranch. At the lady's abode, she and her mother are astounded by his kindness and he is offer him the chance to adopt one of the farm's animals. The Dogo Argentino dog, a bright white hound bred for hunting big game, is large and majestic beast, and he reluctantly accepts the offer.

The dog is huge, towering above him in the car on the way home. Called Lechien (which actually it isn't...he discovers later that it is, in fact, Bombón) he's stubborn and moody, commanding a daunting presence. And, on arriving home, he discovered that his daughter doesn't want the dog there.

A man sees him around with his new pet, impressed by his size, and offers him a few shifts on security at his warehouse. Not panning out as it should, he departs to visit the local bank, which provides a fruitful encounter. The manager recognises the pedigree of Lechien and advises Juan to enter him in dog shows, passing on a contact in the business.

Lechien's heritage is an advantage, opening the door to the recommended trainer, Walter (Walter Donado). This dog-crazy man has had some success in the past and offers his services. Walter is exuberant and passionate, a contrast to Juan. He is in awe of Lechien, and sees a great future in this new team.

 

In fact, everyone sees Lechien as a commodity, but Juan looks into the dog's eyes and sees more than just cash flow...he sees his soul.

 

This wonderful Argentinian indie picture by Carlos Sorin was made on a limited budget and had help with funding by the Instituto Nacional de Cine y ArtesAudiovisuales, or INCAA. Over the years, this organisation has helped numerous unknown pictures reach the Argentine market, and at times their assistance has helped promote some movies to a larger audience, a little like the film I'm talking about this week.

Even one a shoestring budget however, there's no disputing the evident class and dignity in this charming piece. Part of this is thanks to a heart-warming theme which is perfectly paired with this gentle, touching story and was composed by the director's son, Nicolas Sorin. Carlos works closely with all of his crew, but his strong relationship with his son helps to fuel methods to generate some of the music BEFORE the film is made. That way Carlos can listen to a partly crafted score while filming in order to generate mood.

 

This really works too, in the raw, intuitive sense that this film generates as you experience it. With the backdrop of Patagonia, we get to see rural side of this country's surroundings as opposed to the standard, tourist elements normally shown. You're there in an instant, swimming in both its barren and other-wordly beauty.

Yet a large part of the film's looks come down to the shooting techniques of our director and his Cinematographer and friend, Hugo Calace. Relying on close hand-held Steadicam shots, using multiple cameras with numerous takes, these methods feed into a recipe that provides us with some wholesome scenes. It arrives with a "feel of the real", which is kept throughout the entire picture, and is paired with free flowing dialogue that accentuates the natural, genuine vibe.

This also gives it a near docu-film feel, grounding the story and raising it's approachability. In particular, the competition scene is so "fly on the wall" in it's production: picking up brief expressions from audience members, partial shots of groomed dogs, ingested with the bustling sounds of howling pooches and their stressed out owners. You'll forget that this is a totally, manufactured production set and mistaking it for a real event - it's the signature piece of the film.

One key angle in the film's production to help endorse and generate a more indigenous vein is the decision to film lots of takes, and I mean loads! Taking a plethora of responses and perspectives, this allow for further character generation in the editing suite. This approach draws raw character traits and creates real human moments.

This achievement would not be possible without the correct means of casting. Carlos has placed non-professional actors in the roles in order to bring a natural charm and, one can assume, the opportunity for these unknowns to shine. Juan Villegas actually not just the name of the character but of the actor too. In fact nearly all of the characters play their own name for further realism

Nothing gets more real than nature though. Real name Gregorio (and listed in my starring roles, as you can see),  the casting of the dog as Bombón was genius. Personally, I've grown up with Rottweilers and have had the fortune to know two dogs with such rich, while different personalities (R.I.P. Gino & Brook). I've come to understand that canine expressions have a real delicate manner about them, with just a pinch of panache, and Gregorio has personality by the bowlful! Everything, from gently patronising double-takes, to perplexed rousings, to joyous barks; this Dogo Argentino has natural charisma.

Normally animals steal the show, yet it's hard to takes your eyes off our lead. Juan Villegas is a subtly expressive actor, with his eyes always telling a different story to the rest of his features. It's a sad face, with a perpetual smile. Yet, sometimes he lets both facets of his expression influence each other when reacting to events around him, sometimes hiding his true feelings, while other times letting slip his inner pain. Such an enigmatic performance in its compact and concise way illuminates the character from his first moment on screen, right up to his very last. 

His marvellous performance enthuses an interesting character, humbled by his plight and with an air of dignity about him. Maybe it's pride that centres him. Or is it the drive to survive that keeps him grounded? Through Juan's loss of work, it rings true and strong in this current climate, while thankfully reminding us that there are joys in this life between the darkness that bring more wealth then money; joys that can save us and bring hope.

He's also jolly at points, especially when re-united with his old garage colleague. Banter comes natural to him, laughing at his situation along with his friend without a care in the world. This addresses the loneliness of the character, who's apparently stronger in his resolve and manner when with others.  This helps to add more gravitas to the importance of him winning back his self-esteem through his new canine friend. 

Sometimes, companionship can be represented most purely when shown as the instinctual relationship between a man and his giant dog. There's real warmth to this picture, and this is most realised in the relationship that grows between Juan and Lechien. And, this touching partnership feeds into one of the most uplifting and humorous re-unions you're likely to see between any individuals, let alone between human and pet.

Peel back the quirky humour and you'll reveal a melancholic tapestry. Nearly all the characters that surround Juan are destitute, lost, torn or forced to resilience. But the burdens of them all seem to draw to our modest hero. Yet, amidst the lows that surround our lead, the film is enlightening in both the inner strength of Juan and a charming sweet, and strangely comical, ending that will give you a grin like a prize winning mastiff!

Bombón: El Perro throws up themes of dignity, rejection and trying to find a place in this world against the odds. Beneath these themes, however, this buddy move with a difference (look out for a Top 10 coming soon!) effortlessly taps into your soul, not a grip, but with a hug. This calm, yet moving, picture is an easy, breeze-drifting film that you can melt into with ease.

 

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