And speaking of adjectives, considering its been a while since I’ve posted any entertainment, I wanted mention the highly stylized Romanian film Police, Adjective.
I’ve read countless of perplexing reviews by film critics whipping out complex linguistics to describe a simple story. Sure, it’s great that the film centres around words and their dual meanings, but why use “solipsism” when talking about a scene? Are you trying to discombobulate (confuse) me into seeing – or not seeing – the film? For the record, I have not seen the film yet, but if it’s what I think it is, then it’s one of those feature lengths that are short of talking but high on suspense. But not the kind of suspense you’d expect.
I’ve been a hardcore foreign film fan since I was little. Sure, subtitles always helped, but the settings and body language were driving forces behind the plot. The intensity in the actor’s eyes, the shrivel of the mouth, the decadent village setting, that stone house, forest, wherever the characters resided. Even when they were comedies, there was something haunting about the ambiance. The only North American films I ever remember having somewhat of that effect were David Lynch ones.
Police, Adjective centers around a police guy named Cristi living an ordinary life in a post-communist Romanian town. He’s been assigned the mundane task of cracking down on a high-school joint smoker and his supplier. But Cristi doesn’t want to bust the kid because it doesn’t seem necessary, besides, with Romania’s newly implemented democracy, the laws will be like the rest of western Europe, anyway. But he can’t not do his job, because he’s apart of a new society still haunted by a regimented, old school system. What’s interesting is Cristi’s fascination for words, and their semantics (meaning) juxtaposed (placed side-by-side) with the moral dilemma behind this supposed situation.
Y’know, something damn well tells me you don’t have to live in post-communist countries to understand the point of this film. Those of us stuck in the middle (born in the late `70s to mid-`80s) to immigrant, or hard pressing families in particular are battling this semi-oppresed state of existence; condescending grandparents, ruthless parents, relatives and co-workers, even neighbours. Why else are so many people crying about the state of affairs we live in today?
I’ll write a personal review once I’ve finally seen the film. Stay tuned…