Can't believe I waited this long to see a film that will certainly be on my 2009 Best-Gay-DVD's-of-the-Year list for GreenCine -- perhaps at the top of it -- even though it was released to DVD in 2008. As big a fan as I was of Lionel Baier's earlier (2004) Garçon stupide, I still arrived unprepared for the difference that two years can make: bigger budget, wider scope, more professional look. As a filmmaker, Baier, who plays himself in STEALTH -- which was titled Comme des voleurs (à l'est) in the original French -- is still the inquisitive, questioning, unsatisfied heart of both films. Yet here, perhaps because the latter film appears to deal with Baier and his family (whether it is in any way a truthful account, I do not know), he and all the characters around him -- family or not -- take on the importance of life, real rather than reel. And though there is much humor and irony in his movie, by its end I found myself surprisingly moved, oddly satisfied, and even a bit exalted by the experience.
Movie criticism (mostly foreign films, documentaries and independents: big Hollywood product hardly needs more marketing), very occasional interviews from James van Maanen, now 80 years old, who began his late-career movie reviewing for GreenCine, then took the big blog step over a decade ago. He covers new movies, video releases, and occasional streaming choices. You can reach him at JamesvanMaanen@gmail.com
Saturday, April 25, 2009
Coming late to Lionel Baier's STEALTH
Can't believe I waited this long to see a film that will certainly be on my 2009 Best-Gay-DVD's-of-the-Year list for GreenCine -- perhaps at the top of it -- even though it was released to DVD in 2008. As big a fan as I was of Lionel Baier's earlier (2004) Garçon stupide, I still arrived unprepared for the difference that two years can make: bigger budget, wider scope, more professional look. As a filmmaker, Baier, who plays himself in STEALTH -- which was titled Comme des voleurs (à l'est) in the original French -- is still the inquisitive, questioning, unsatisfied heart of both films. Yet here, perhaps because the latter film appears to deal with Baier and his family (whether it is in any way a truthful account, I do not know), he and all the characters around him -- family or not -- take on the importance of life, real rather than reel. And though there is much humor and irony in his movie, by its end I found myself surprisingly moved, oddly satisfied, and even a bit exalted by the experience.
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