Talking Pictures

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The Man Who Cried 2000.

Posted by keith1942 on April 12, 2014

The-Man-Who-Cried-2000-

This film scripted and directed by Sally Potter seems an unintentional and ironic revisiting to a sub-plot in her previous film The Tango Lesson. In that film we see the lead character [played by Potter] negotiating with Hollywood types over a film project – she finally abandons the unequal struggle.

Unfortunately she has not followed the lesson of that film. The majority of the films in the Bradford International Film Festival’s retrospective have been fine, even brilliant. This one rather lets the side down. Whilst it is a |UK/French co-production the presence of a number of Hollywood stars firmly places the film.

I had a bad feeling about this film early on. An onscreen title read ‘Russia 1927’. Now the bourgeoisie have finished celebrating the failure of the socialist revolution in the Soviet Union it seems that they want to pretend that it never happened. As far as I could make out from the limited plot and dialogue information the setting is actually in the borderlands between the young Soviet State and the new Polish State.

The main narrative follows a young Jewish girl who, after her Cantor father emigrates to the USA, is forced to flee a pogrom. She ends up in London. In the late 1930s she moves to Paris and works as a dancer. When the Nazis arrive and start rounding up Jews she flees again. This time it is to the USA where she finally finds her lost father, the man who cries at the end of the film.

The plot and characters are fairly clichéd, with occasional fanciful touches. The young Jewess Suzie is played by Christina Ricci who seemed to me out of her depth with this character. John Turturro plays an Italian opera singer Dante and Johnny Depp plays a gypsy César: both perform creditably with fairly clichéd characters. All three are outshone by Cate Blanchett as dancer and ‘gold-digger’ Lola. Harry Dean Stanton as the father Felix was probably grateful for only having two brief onscreen appearances.

The film does have high production values. And Potter displays her skills in the use of mise en scène and music. In fact the film works best as an operatic telling. Potter is also well served by the cinematographer Sacha Vierny and Production Designer Carlo Conti. Generically it falls into a cycle of films that dramatise the European holocaust. But this is an area where I think a director like Stephen Spielberg is better equipped to present in mainstream conventions. Moreover, the film lacks the edge of a feminist critique that is usually found in Potters’ work.

I hope Sally Potter, after this experience, will remain in independent productions. She is definitely skilled at narrative features, but it is in the less conventional and even unconventional telling that I feel she is most effective. Some directors, like Steve McQueen or Jane Campion, move fairly easily between the independent and mainstream worlds of the film industry. Other artists with a very distinctive approach suffer from such a movement. One thinks of filmmakers, for example Euzhan Palcy, who made striking independent films and then found their distintive voices muzzled in the mainstream.

 

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