Dir.
John Malkovich, 2002, Spain/US, 133 mins
Cast:
Javier Bardem, Juan Diego Botto, Laura Morante, Elvira Minguez, Marie-Anne Berganza, Oliver Cotton, Alexandra Lencastre
In a Latin American country in the recent past, a terrorist groups wreaks havoc in the name of their revolutionary leader, 'Ezequiel'. Dead dogs are found hanging from lampposts with placards around their necks proclaiming the end of the present order, and bombings and kidnappings are escalating. In the capital, police detective Augustus Rejas (Javier Bardem), an ex-lawyer who joined the force in search of "a more honest way" of practising the law is assigned to the case. However, not only must Rejas track down the elusive Ezequiel, he must also struggle to resolve the conflicts in his own life.
The Dancer Upstairs is a crime thriller, but director Malkovich discards the hard-boiled cop cliches. Rejas is disturbed by the violence in his country (both that of the guerillas, and of the state he must protect), and he and his young sidekick (nicely played by Juan Diego Botto) are subject to fear and indecision. Whilst Bardem has the stature of any Hollywood action hero, it is the idealistic Rejas' emotional life - the frustrations of being overruled by his corrupt superiors and the disappointments of a lonely marriage - that Malkovich gives most room. Yet there are no angry outbursts or heartfelt disclosures in Nicholas Shakespeare's intelligent, and frequently witty, script. Instead, Rejas' disillusionment is subtly expressed through his anxieties about his daughter's prospects as a dancer. "Is it a good life?" he asks her teacher Yolanda (Laura Morante), wanting to ensure for his child that which he has failed to find for himself. Poignantly, it is in meeting the ballet teacher to discuss Laura's future that Rejas sees a chance for his own happiness.
Malkovich's film directing debut is a stylish and engaging mixture of thriller, drama and romance. Adapted from Nicholas Shakespeare's own novel of the same name - itself based on the real-life terrorist attacks of 'The Shining Path' in Peru - he creates a vivid picture of a country in turmoil. There are necessarily moments of brutal violence, and through dexterous camerawork (Jose Luis Alcaine), and smart editing, the terrorist attacks retain their shock value throughout the film. There are also delicate touches with dance and music used to good effect, and moments of great tenderness, most notably in the closing scene. However, despite its length, a number of the film's elements (the social background of the attacks, Rejas' visit to this native village) are not fully explored. Though Morante does well as the dancer Yolanda, the role is underwritten, and the multiple plot twists might be perilously distracting, were it not for the central portrait of Rejas, which consistently retains our interest.
Indeed, this brilliant study - the powerful and nuanced performance of Bardem no doubt benefiting from Malkovich's theatre-directing experience - makes the above criticisms seem petty. The Dancer Upstairs is an impressive debut for Malkovich, which enables Bardem to deliver one of the standout performances of the year.
Elizabeth Griffin |
