Just like The Wizard of Oz, The Sound of Music has ingratiated itself in pop culture to the point of ridicule. From spinning through the hills with automatic weapons to constant sitcom references, it's very difficult to avoid The Sound of Music or people breaking into song "The hills are alive…". This is just a testament to the popularity of the musical, which in its time was a massive box office sensation with many people returning to the cinemas to watch it again and again. The brilliant and unforgettable soundtrack drives dazzling colours and epic vistas of the Austrian Alps as the ever-enchanting Julie Andrews waltzes into our hearts. It garnered 10 Oscar nominations in its year, winning five of them including best picture. A crowd pleaser, this Rodgers and Hammerstein musical has all the right ingredients for a feelgood movie whether you sing along or not.
Jagveld is an outback crime thriller based on the novel by Deon Meyer, which tracks the journey of a young woman, who is pursued by a gang of drug smugglers after she witnesses them killing a traffic officer. Byron Davis makes a directorial debut working with a notable South African ensemble in Leandie du Randt, Neels Van Jaarsveld and Tim Theron, with support from Tertius Meintjes, Albert Maritz, Edwin van der Walt and Bouwer Bosch.
Jagveld is in the same league as Beyond the Reach and Desierto, as a cat and mouse hunt unfurls over a dry and dusty landscape. While similar, Meyer's story has a fresh twist turning the prey into a wiley predator as we get up-to-speed with a Tomb Raider style heroine. It would have been much edgier if the film had hinged on current socio-political issues in South Africa with a similar bent to Desierto, but it's more concerned with kicking ass and driving its vengeful brand of feminism, despite the overt sexualisation of its lead.
The casting of Leandie du Randt, makes it seem like the part of Emma was written with her in mind, taking us from her pre-school teacher job and pacifist mindset into much darker and dangerous terrain. While being blonde and wearing hot pants puts her in a box, it's her hiking boots, MacGyver temperament and tough-as-nails determination that makes the character relentless and complex like Bambi with an AK-47. While Neels van Jaarsveld is dealing with a fairly stereotypical Western style villain, he oozes cool menace, looks imposing against the skyline and it would've been great if they'd unpacked the character of Bosman more. Tertius Meintjes adds his weight as Emma's father, who could warrant a spin-off film, while Tim Theron looks like he spent a lot of time bulking up and while breaking new ground as a bad guy, adds brute force as the second-in-command, Piet.
"Have you seen this boy?"
Jagveld is a low budget production, but it's incredibly resourceful, leaning on the talents of its posse and using the desolate outback terrain to good effect. The visuals are compelling, taking notes from epic Westerns as tracking and survival tactics come into play. Unfortunately, Jagveld gets bogged down by inconsistencies, far-fetched story ideas and fundamental flaws. A smaller crew of criminals would've given us a chance to know the henchmen and leaders better, giving depth and realism preference over body count.
It's promising yet tonally-challenged, starting like an indie crime thriller and then deviating into a Tarantino-style action comedy caper, never completely comfortable in its own skin or with its overarching vision. While suspenseful, a few unintentional laughs and some cheesy one-liners loosen and break the grip. The intensity is dissipated by comic relief as it moves from a cold-blooded thriller in the vein of Desierto into the pulp kingdom and comic book stylings of Hollywood. Contrivances and a few missteps spoil its arthouse ambitions, yet it remains entertaining as a lightweight "skop, skiet en donner" thriller.
Part of the joy is in watching the cast turn to their dark sides, and while a mixed bag, its refreshing and admirable to see a trickier genre film emerge from South Africa. The twists-and-turns keep it loosely compelling if you're able to just roll with it and the father-daughter back story keeps it emotionally present like a reverse version of Taken. The screenplay is flawed and some of the dialogue is clunky, but Jagveld is a fun ride if you liked Beyond the Reach and Desierto.
Spling reviews Jagveld, Jackie and Miss Peregrine's Home for Peculiar Children as broadcast on Talking Movies, Fine Music Radio. Catch Talking Movies on Fridays at 8:20am and Saturdays at 8:15am every week on Fine Music Radio.
Nocturnal Animals tells the story of a wealthy art gallery owner who is haunted by her ex-husband's novel. Juxtaposing the cold, artistic reality of a divorcee, now remarried and alienated, with the dusty, gritty world of a self-reflecting novel, we experience a dark, disconcerting and tense atmosphere.
Tom Ford's A Single Man is a conventional drama by contrast... both films have style, both are enhanced by strong performances, except it seems as though Ford is taking a page from David Lynch . Switching between a surreal reality and a novel reflecting a symbolic rehash of a failed relationship, we try to make sense of a woman's current turmoil and the events that led to her divorce.
This drama is loaded with first-class actors. While Amy Adams and Jake Gyllenhaal essentially drive each of their worlds, they're supported by Michael Shannon and Aaron Taylor-Johnson. Adams delivers a strong performance as a jaded woman suffering pangs of nostalgia, a role that underlines her Oscar nomination for Arrival. Gyllenhaal has established himself as a dependable and bankable actor, whose dark drama empire continues its steady expansion with a more vulnerable turn in Nocturnal Animals.
"You are baby, you are."
Shannon is the real deal... an actor who's so committed to the craft that it's become a battle with himself rather than awards season. Then, to top off an already strong ensemble we have Aaron Taylor-Johnson who's almost unrecognisable in the kind of dangerous and unwieldy performance you'd expect from someone of Sam Rockwell's calibre.
While Adams and Gyllenhaal deliver the sort of quality performances we've come to expect from them, the scene-stealing is left to Shannon and Taylor-Johnson. Shannon's small town "Sheriff" role is beautifully controlled and he slips into the performance behind the moustache and drawl of a seasoned campaigner. Taylor-Johnson is more unpredictable, delivering a wacky performance, which leaves us on edge as he commandeers one of the film's most suspenseful scenes. His despicable, self-contained and psychotic alter-ego keeps the atmosphere electric.
We're mesmerised by the visuals and entranced by the vivid performances, but this is a case of style over substance. Ford's visual poety is compelling and he creates some truly tense moments, but the storytelling does seem somewhat scattered like the last traces of a dream. The experimental slant and unsettling violence certainly keeps you on edge, but the story doesn't hold together as beautifully as the visuals would have you believe. It's a must for Lynchland fans and will appeal to fans of the strong ensemble, who deliver maniacal charm and fire.