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Movie Review: In harrowing ‘Zone of Interest,’ the Holocaust's evils are cloaked in mundanities

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Movie Review: In harrowing ‘Zone of Interest,’ the Holocaust's evils are cloaked in mundanities

It’s just a woman trying on a fur coat alone in her room, and sampling a lipstick. It’s just a few friends discussing toothpaste orders over coffee in the kitchen. It’s just a housewife showing off her new garden and children’s pool, or a dad taking his kids fishing in a river.

The crucial context is that these scenes are occurring only a stone wall away from the gas chambers and crematoriums of Auschwitz. And it’s their very mundanity that makes them evil — the “banality of evil,” to use Hannah Arendt’s well-known phrase. In his meticulous and harrowing film “The Zone of Interest,” writer-director Jonathan Glazer has found a way to convey evil without ever depicting the horror itself. But though it escapes our eyes, the horror assaults our senses in other, deeper ways.

How does one even begin to depict the Holocaust? The question has challenged filmmakers for eight decades. Attempts to humanize the horror often lose sight of the scale of the genocide. And efforts to do justice to the unimaginable scale can lose sight of the human suffering.

Glazer has chosen a different route. Shooting, incredibly, on location, his entry point is an ordinary German couple trying to build a prosperous life for their family. It just happens to be at Auschwitz. And it just happens to be Rudolf Höss (Christian Friedel), the notorious real-life former commandant of the camp, and his wife, Hedwig (Sandra Hüller, brilliant in a terribly difficult role).

Höss spends his days overseeing the “processing” of trainloads of people, most sent directly to the gas chambers. Then he comes home, where he and Hedwig eat dinner, celebrate birthdays, read their kids bedtime stories, make plans for a spa holiday.

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Or they go on picnics, which is where we begin, on an idyllic afternoon, the Höss family picking berries and sunning themselves. As darkness falls, they head back to their pristine two-story villa on the camp’s outskirts (in what the Nazis called the “zone of interest”).

It takes a while before we see the telltale signs: the camp watchtower, and later the flames blackening the sky. But we do hear sounds. Awful sounds. Dogs barking. Gunshots. Cries of fear, yelling. And the ugly roar — is it the belching chimney, or the arriving trains, or both? It all melds together, and you can’t get it out of your head. (Mica Levi wrote the chilling score.)

Hedwig surely hears all this. And so, we wonder what she’s thinking as she takes a nice fur coat into the bedroom and models it in the mirror, finding it to her liking, and ordering her maid to repair the lining.

The subtext, not spelled out: The coat, and lipstick in the pocket, is from a Jewish prisoner, no longer alive. Soon we hear chatter over coffee in the kitchen, about toothpaste. Hedwig has found a diamond hidden in a tube — those prisoners are crafty, she says — and so she is “ordering” more toothpaste, again turning the mundane into the truly hideous.

Nearby, between Rudolf and some visiting businessmen, the chatter is perhaps more consequential, yet just as incongruous. They are discussing a more efficient model of oven — the best mass cremation system money can buy, you might say. The words “burning,” “cooling” and “reloading” are heard; the word “murder” is not.

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Life continues: An outing with the kids on a tranquil nearby river in a new kayak, Dad’s birthday gift, leads to an unexpected unpleasantness. Standing in the river fishing, Höss realizes that human remains are floating by.

Yet Hedwig Höss loves her home. She proudly shows off her growing garden, with its small swimming pool and wooden slide, to her visiting mother, who murmurs supportively: “You’ve really landed on your feet, my child.” Hedwig is proud. Her husband calls her “the Queen of Auschwitz,” she notes.

Adapting loosely from the Martin Amis novel of the same name, but choosing a real-life protagonist, Glazer spent years combing through records to piece together the Höss family history, and built his set for their home some 200 yards from where the real one stood.

The meticulousness with which Glazer and production designer Chris Oddy render this home — with its baby blue-colored beds in the kids’ room, only feet from putrid camp barracks — is an achievement. Glazer also has set up multiple surveillance-style cameras, tracking different pieces of action, and the effect is that of a documentary, with dialogue that often feels unscripted.

As for what happens over the wall, we see Höss there only once, in tight closeup. Hedwig certainly never crosses over. “They’ll have to drag me out of here,” she says, when her husband tells her they’re being transferred out. And she demands successfully to stay at Auschwitz, with the children. “We’re living how we dreamed we would,” she says. (Glazer found evidence from a former gardener that such a conversation happened.)

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The film ends just as Höss learns — in what amounts to a promotion — that he’ll return to Auschwitz to step up the Final Solution with the annihilation of Hungary’s Jews, arriving at the rate of 12,000 a day.

And the real-life Höss did return, to implement more mass murder (he was later executed for war crimes), and to his wife, who’d found a way to grow beautiful flowers regardless of what was happening on the very same soil.

Surely few of us can imagine modeling a fur coat ripped from a doomed prisoner. But what Glazer is trying to tell us with such scenes — and also in his jolting final minutes — is that history is full of examples of ordinary, unremarkable people finding ways to block out the suffering of others. And that if we always assume we are so vastly different, we may be losing the chance to learn from the past.

“The Zone of Interest,” an A24 release, has been rated PG-13 by the Motion Picture Association “for thematic material, some suggestive material and smoking.” Running time: 105 minutes. Four stars out of four.

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Wicked movie review: Cynthia Erivo and Ariana Grande waltz into our hearts in this gravity-defying extravaganza 

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Wicked movie review: Cynthia Erivo and Ariana Grande waltz into our hearts in this gravity-defying extravaganza 

Cynthia Erivo, left, and Ariana Grande in a scene from the film ‘Wicked’
| Photo Credit: UNIVERSAL PICTURES

She did not eat grass as a child nor is she seasick, insists the green-skinned Elphaba (Cynthia Erivo) in Wicked, the movie adaptation of the Broadway musical which in turn was inspired by Gregory Maguire’s 1995 novel, ‘Wicked: The Life and Times of the Wicked Witch of the West’.

After Maleficent, which looked at the Sleeping Beauty story from the antagonist’s point of view, here is another revisionist look at the famous wicked witch from the other side of L. Frank Baum’s 1900 novel ‘The Wonderful Wizard of Oz’.

For those who came in late (like in all those Phantom comics), director Jon M. Chu (Crazy Rich Asians) provides a précis of events where Dorothy liquefied the Wicked Witch of the West and went home to Kansas down the Yellow Brick Road with her dog Toto, The Cowardly Lion, The Tin Man and The Scarecrow. As the people of Oz celebrate the death of the Wicked Witch, the Good Witch, Glinda (Ariana Grande), joins in.

When one of the good people of Oz asks her about the Wicked Witch, Glinda admits to knowing her and it is time for a flashback. Elphaba was the daughter of the Governor of Munchkinland, Thropp (Andy Nyman). The colour of her skin, thanks to her naughty mum (Courtney-Mae Briggs), meant Elphaba was always rejected and made fun of by those around her.

Wicked 

Director: Jon M. Chu

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Cast: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Peter Dinklage, Michelle Yeoh, Jeff Goldblum

Runtime: 160 minutes

Storyline: The story of how a misunderstood little green girl became the all-powerful Wicked Witch of the West

She feels responsible for her paraplegic younger sister, Nessarose’s (Marissa Bode) condition too. When she comes with her father to drop Nessarose at the stately Shiz University in Oz, her father insists she stay to see Nessarose is properly settled in. The Dean of Sorcery, Madame Morrible (Michelle Yeoh), sees Elphaba’s power and proposes to teach her to control her magic. Glinda or Galinda as she is known then, is pretty, pink and popular. While she wants to study sorcery under Madame Morrible, she is not prepared to have Elphaba as a roommate as suggested by Morrible.

Despite the initial hiccups, the two very different girls become friends, bonding over a wild party at the Ozdust Ballroom. Elphaba is sensitive to the undercurrents at Oz including the fact that animals are being excluded and losing their voice as the history professor, a goat named Doctor Dillamond (Peter Dinklage) reveals. The campus is in a tizzy when the handsome and determinedly shallow Winkie prince, Fiyero Tigelaar (Jonathan Bailey) joins Shiz. Though Elphaba dreams of meeting and impressing The Wonderful Wizard of Oz (Jeff Goldblum), so that she can ask him to change her skin colour when she finally does meet him, that is not what she asks for.

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Cynthia Erivo, left, and Ariana Grande in a scene from the film ‘Wicked’

Cynthia Erivo, left, and Ariana Grande in a scene from the film ‘Wicked’
| Photo Credit:
GILES KEYTE

Wicked works wonderfully well on so many levels. It is a study of what makes people do the things they do, or think the way they do. It is a look at what is considered normal and what creates a villain, all the while celebrating the joys and tears of being different.

Wicked is a musical, with gloriously choreographed songs and an action film with breathtaking stunts. The sets, physical and CGI, are eye-popping, especially the library with its books (rare and medium rare as Glinda helpfully points out) stacked in gigantic wheels — wish Fiyero did not step on books though. The girls’ room, the Ozdust Ballroom, the Emerald City, the weird and wonderful train that takes Glinda and Elphaba to Emerald City, and many more, are all glorious sonnets to the imagination.

Erivo and Grande own their roles, singing, dancing and dueling with gusto while Bailey is delightful as the callow, charming Prince. Yeoh is grandly inscrutable and there is special joy in watching Goldblum do a jig. The 160 minutes of Wicked slip by in a Technicolor flash and the fact that there is Part II, coming out in 2025 puts a jolly song in one’s heart.

Wicked is currently running in theatres

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Movie Reviews

Mechanic Rocky Movie Review – Gulte

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Mechanic Rocky Movie Review – Gulte

2.5/5


2 Hr 36 Mins   |   Action, Drama   |   22-11-2024


Cast – Vishwak Sen, Meenakshi Chaudhary, Shraddha Srinath, Sunil, Naresh, Harsha Vardhan, Hyper Aadi, Harsha Chemudu & others.

Director – Ravi Teja Mullapudi

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Producer – Ram Talluri

Banner – SRT Entertainments

Music – Jakes Bejoy

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After delivering a successful film, Gaami & not so successful film, Gangs of Godavari this year already, Vishwak Sen came up with his third film of the year, Mechanic Rocky, an action comedy film under the direction of debutant, Raviteja Mullapudi. Meenakshi Chaudhary & Shraddha Srinath did the female lead roles and Jakes Bejoy who scored a hit recently with Saripodhaa Sanivaaram, scored the music for the film. It’s a crucial film for producer Ram Talluri who delivered a disaster with Matka last Friday. Did Vishwak Sen score a hit with Mechanic Rocky? Did the debutant director deliver a memorable film? Did Ram Talluri get a sigh of relief? Let’s figure it out with a detailed analysis.

What is it about?

Nagumomu Rakesh Aka Mechanic Rocky (Vishwak Sen) works as a mechanic and driving teacher at his father’s (Naresh) garage. Ranki Reddy (Sunil), a real estate settlement goon agrees to grab Rocky’s lake-view garage and hand it over to a businessman for ₹25 lakhs. Rocky makes a deal with Ranki Reddy for ₹50 lakhs and asks him to give him ten days to adjust the money. While Rocky & Ranki Reddy making the deal, he gets a call from Maya (Shraddha Srinath) who says Rocky’s father has a two-crore insurance policy in his name and Rocky will now get the two crore as his father passed away. Will Rocky get the two crore money? Who is Maya? What is her connection with Priya (Meenakshi Chaudhary)? Forms the rest of the story.

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Performances:

Vishwak Sen as Rocky Aka Nagumomu Rakesh did a decent job with his performance but he looked odd as a student during the college episode in the first half. The film has two female leads and both of them have good character arcs.

Meenakshi Chaudhary as Priya who takes responsibility for her family after her father and brother passes away, did perform well. Shraddha Srinath got a meaty role as Maya and utilised it so well. It is safe to say that she is the best performer in the film out of all the other actors. Senior actor Naresh’s comedy worked to an extent. Sunil, Harsha Chemudu and Hyper Aadi were wasted in insignificant roles. Harsha Vardhan and Raghu Ram Ambadapudi (MTV Roadies Creator) are just decent.

Technicalities:

Jakes Bejoy’s background score is a mixed bag. It was good at a few parts and was out of sync at a few parts. His songs are forgettable. The film has a total of five songs and none of them worked. The cinematography by Manoj Reddy Katasani is adequate. There’s nothing much to talk about his work. Anwar Ali’s editing should have been much better. He should have edited at least fifteen to twenty minutes of the film, especially in the first half. SRT Entertainment’s production values are decent. Debutant director, Raviteja Mullapudi should have avoided adding unnecessary commercial elements to a plot that has a very good potential to become a good thriller.

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Thumbs Up:

Core Plot of The Film
Two Twists In The Second Half

Thumbs Down:

Routine Template-Driven Screenplay In The First Half
Boring Songs
Poorly Written Dialogues
Unnecessary Action Episodes
Climax

Analysis:

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‘Your phone number won a lottery’, ‘You have received a parcel from abroad, ‘Click on the link to check your CBIL/Credit score’, etc., almost all of us must have got calls or E-Mails or messages from fraudsters who say one of the aforementioned things to loot money from us. As mentioned in the movie, around twenty-thousand such crimes are happening in India every day.

The debutant director, Raviteja Mullapudi took a very relatable point of crime happening by targeting middle-class people in India, as the core plot and he added a couple of good twists to the plot that worked well. But, in an attempt to include commercial elements, he lost the plot completely in the first half. The first half of the film tests your patience with a routine template-driven screenplay with three songs, two fights, a beaten-to-death hero & villain track and a romantic track. Everything in the first half looks forced and dragged forever.

Even in the second half, when the core plot is unfolding interestingly, he included a celebration song between Vishwak Sen & Meenakshi Chaudhary that comes across as a speed breaker to the proceedings. After a good sixty minutes in the second half, the director chose to end the movie very routinely with an action sequence and poorly written ‘punch’ dialogues that are uttered by the hero.

The core plot of the film should have been worked as a proper thriller film with a crisp runtime and tight screenplay but the director’s attempt to make it an ‘Action & Romantic & Comedy & Thriller’ film worked against it. Just like most of Vishwak Sen’s films, Mechanic Rocky also has a lot of curse words throughout the film.

Overall, the core plot of Mechanic Rocky has a lot of potential but the overall feel of the film is spoiled by unnecessary commercial elements and runtime. Given the potential of the core plot, Mechanic Rocky will end up remaining as a missed opportunity.

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Mechanic Rocky – Lost In Commercialization

Rating – 2.5/5

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GLADIATOR II Review

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GLADIATOR II Review
GLADIATOR II is Director Ridley Scott’s long-awaited return to Ancient Rome. General Maximus and Lucilla’s son, Lucius, returns to Rome as a gladiator. He’s intent on exacting revenge against the Roman general who killed his wife in a battle in another land. However, the general is now married to his mother and is involved in a plot to overthrow the evil twin emperors now ruling Rome.

GLADIATOR II is an exciting, spectacular, sometimes inspiring adventure. It has some great dramatic twists that propel the movie’s message promoting liberty over tyranny. In the end, the hero rallies the people against the tyranny of the two emperors. The movie also has a Christian character who heals the wounds of the gladiators. He makes a reference to forgiveness and salvation in one scene. However, the movie has lots of strong action violence, including some very bloody scenes. GLADIATOR II is more historical fiction than historical drama. It’s not historically accurate. Also, a male character makes a lewd joke about sometimes having homosexual relations. Finally, there are references to Roman pagan beliefs. So, MOVIEGUIDE® advises extreme caution.

(BB, PP, ACAC, C, Pa, FR, Ho, L, VVV, S, N, A, M):

Dominant Worldview and Other Worldview Content/Elements:

Strong moral worldview supports liberty and general republican virtues against imperial tyranny, plus a Christian character is a former gladiator who has become a physician who binds up the gladiators’ wounds and befriends the hero and speaks about forgiveness and salvation in one scene, with some Roman paganism/hedonism and hero has dreams of his recently dead wife getting on the boat with the ferryman to the afterlife, and the evil twin Roman emperors dress effeminately, and another villain jokes about having been with men as well as women in one scene;

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Foul Language:

Two “d” words (one is old-fashioned);

Violence:

Some very strong such as a bloody beheading in the arena, and lots of strong violence such as lots of sword fighting, gladiators fight off a bunch of vicious baboons, Roman armada storms a walled city with lots of war violence, woman shot with an arrow and plunges off wall onto sandy and rocky beach, many people hit with arrows, gladiators fight off another gladiator riding a large charging rhinoceros, gladiators fight a sea battle in the Coliseum, bloody murder, etc.;

Sex:

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No sex scenes, but the evil twin Roman emperors dress effeminately, and another villain jokes about having been with men as well as women in one scene (these things seem to reflect the decadence that was Ancient Rome), and two scenes of marital couples kissing;

Nudity:

Some upper male nudity images in battle scenes and gladiator scenes;

Alcohol Use:

Some wine drinking;

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Smoking and/or Drug Use and Abuse:

No smoking or drugs; and,

Miscellaneous Immorality:

Revenge but it’s overcome by forgiveness and sacrifice, gambling on gladiator battles.

GLADIATOR II is Director Ridley Scott’s long-awaited return to Ancient Rome, in a story about General Maximus and Lucilla’s son, Lucius, returning to Rome as a gladiator, intent on exacting revenge against the Roman general who killed his wife in a battle in another land. GLADIATOR II is an exciting, spectacular, sometimes inspiring adventure with some great dramatic twists and a message promoting a libertarian republic over tyranny, but it has some very strong violence and doesn’t strive for total historical accuracy, so extreme caution is advised.

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The movie opens with Lucius as a young, high-ranking, married soldier in the North African kingdom of Numidia, the Roman Province which later became the home of St. Augustine. A Roman general named Acasius leads a Roman armada against the capitol city on the shore. The city is no match for the Romans. They soon overrun the city and take Lucius prisoner after Acasius orders an archer during the battle to shoot his wife who was firing arrows from atop the city’s walls.

Lucius is turned into a gladiator, who’s bought by a former gladiator named Macrinus. Macrinus is a clever man who’s ingratiated himself with the Roman elite, including the twin emperors, Geta and Caracalla. Macrinus takes Lucius to fight in the Coliseum in Rome.

Lucius swears revenge against Acasius. He’s determined to find a way to kill the man who killed his wife. His mother, Lucilla, as the daughter of a respected former emperor, is still part of Roman royalty and watches the gladiator battles from the royal box. She recognizes the mannerisms of his father in Lucius, who’s going by his adopted Numidian name. Years ago, Lucilla had sent her son away, to hide him from people in Rome who would like to kill the son of General Maximus, who’s in the line to become Emperor. Now, however, Lucilla also happens to be the wife of General Acacius, the man who Lucius wants to kill.

Lucilla meets secretly with her son. However, Lucius is angry she abandoned him and sent him away. So, he refuses to acknowledge her.

Meanwhile, her husband, General Acacius, is sick of the ruthless war mongering of the twin emperors. He’s actually consorting with other dissidents, who are intent on overthrowing the twin emperors. Lucilla and her friend, Senator Gracchus, secretly support the General’s rebellion.

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These conflicts eventually come to a head, leading to an exciting finish.

GLADIATOR II is an exciting, spectacular, sometimes inspiring adventure. It has some great dramatic twists that propel the movie’s message promoting liberty over tyranny. In the end, the hero rallies the people against the tyranny of the two emperors.

That said, some may feel that the intensity of the first movie, which centered on the conflict between Russell Crowe’s heroic general and Joaquin Phoenix’s ruthless Emperor, is lacking. The sequel transfers that intensity to Paul Mescal as the young hero, Pedro Pascal as the General, and Denzel Washington as the ambitious and devious businessman.

Some of GLADIATOR II is historically accurate. However, the movie condenses the history of the twin emperors, including the dates of their deaths, which happened years apart. Also, Lucilla actually died in 182 AD, well before the timeframe of this movie. So, GLADIATOR II is more historical fiction than historical drama.

GLADIATOR II has lots of strong action violence involving battles between armies and gladiators. For example, there’s the big battle in the beginning and gladiator contests involving vicious baboons, a gladiator riding a large rhinoceros, and gladiators on two ships engaged in a sea battle inside the Coliseum. Some of the violence is very strong and bloody, and some of it is tragic when favorite characters die.

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Finally, one character in the movie makes a lewd joke about having intimate relations with women and occasionally a man.

So, MOVIEGUIDE® advises extreme caution.

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