Masterpieces
are often not all that they're cracked up to be. Take "Hard to
Be God," the final film of Russian auteur Aleksei German, which he
worked on for the last fifteen years of his life, and was completed
after his death. Based on a science-fiction novel from the same writers
behind the source material for Tarkovsky's "Stalker," the film tells
the bleak story of a scientist sent to live incognito among the
inhabitants of the planet Arkanar, where humans are still stuck in the
Middle Ages. Despite his best efforts, our hero, Anton (Leonid
Yarmolnik) cannot help but become involved in this world's unfolding
history. With that kind of pedigree, "Hard to Be a God" was destined to
enter the cinema pantheon one way or another.
I
saw the black and white, nearly three hour film over the weekend. And
yes, it was clearly made by a skilled director with a clear,
uncompromised vision. But good grief, what a vision. German creates a
medieval hellscape of putrid misery, full of mud and filth, and then
shoves his camera in uncomfortably close so that the awfulness of it is
inescapable. For three hours. Anton putters along, being subjected to
the onslaught while navigating an almost incoherent plot involving
Arkanar's warring factions and a missing doctor. I gather from what
I've read about the source material that there's quite a bit of
political and social commentary that's been completely lost on the way
to the screen. The director seems far more concerned that we get the
full visceral impact of the squalor and despair that ensuring that his
narrative is comprehensible.
I've never been
worn down by a film like this. Though similarly lengthy and stark, Bela
Tarr's creeping existential dread and Andrei Tarkovsky's meditative
long shots were absorbing and enriching. "Hard to Be a God" just made
me increasingly disgusted by the whole experience the longer it went
on. I'm glad I didn't see this one in a theater, because the ability to
take breaks from the viewing experience was vital. At the same time I
can appreciate the shot compositions, the lighting, and what I could see
of the art direction under all the rain and excrement. As antagonizing
as the film is, there's no denying how artfully all the ghastliness has
been presented. So I can see how some critics are making the case that
this film lives up to Aleksei German's towering reputation and deserves
a place among the Russian cinematic greats. But good grief, I can't
imagine many people actually wanting to subject themselves to this film
too often.
Wim Wenders' latest
documentary, "Salt of the Earth," also contains uncomfortable material
and disturbing images. However, it's a far, far more tolerable
watch. It's the latest and perhaps the best of the director's profiles
of other artists. Here Wenders' subject is Sebastião Salgado, a
Brazilian social photographer best known for capturing images of
humanity in extreme circumstances - famine victims, refugees, mine
workers, and the like. Wenders joins Salgado on one of his
globetrotting expeditions, capturing the artist at work while delving
into a retrospective of Salgado's long career. The film also touches on
his family life and other projects, like Salgado's conservation efforts
with the Instituto Terra. "Salt of the Earth" makes great use of
Salgado's photographs, but the man himself is the film's best resource,
whose lifetime of experiences have shaped a truly remarkable human
being.
Wenders' style is similar to that of his
fellow New German Cinema alum, Werner Herzog, presenting everything
through a very personal lens. Wenders provides some thoughts on Salgado
through narration, but he doesn't put nearly as much of himself in the
film as Herzog would, preferring to let Salgado speak for himself,
especially about his work. Here I should caution that the subject
matter is challenging, as Salgado's photographs document human suffering
and depravity in great detail. Viewing some sections can be
very difficult. However, there is always clear, measured, and
thoughtful commentary to keep the horrors in perspective. The final
third of the movie, featuring Salgado's work with the natural world,
also provides a good counterweight, allowing the film to end on a more
hopeful note.
I've seen "Salt of the Earth"
referred to as a particularly difficult and harrowing watch, but after
"Hard to Be God," it felt like a breeze. Perhaps I'm not intelligent or
open-minded enough to appreciate Aleksei German's work the way I
appreciate Wim Wenders,' but somehow I feel that both directors got
exactly the response out of me that they intended.
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