Watching this, I was thinking, what was that other terrific movie I saw that dealt with the interpenetration of Turkish and German cultures, and then I remembered it was Head-On, from 2004, and then I found that Akin directed that, too! This one’s a bit less visceral, but it’s just as affecting and intelligent. This is a young director to watch.
It’s too bad that Washington D.C. is so far away from Kabul. If the flight between them were as brief as the one between Hamburg and Istanbul, I think the world would be a different place.
Well, you have to have a serious predisposition for these two madmen to find any pleasure in this, and if you do have the predisposition, you’ve probably already seen this. It’s somewhat about the relationship between two quite thoroughly co-dependent collaborators, but it’s also a “making-of” documentary about Aguirre and Fitzcarraldo, which is a lot of fun for nuts like me.
Lumet is a hero, of course, if (at 167 minutes) a little insistent. What we have here is a set of tropes that have become extremely familiar: the bad cop decides to inform on the other bad cops, but doesn’t really become good, quite. Good performances all around, but nothing extraordinary.
Almost unbearably delightful. It took me four nights to watch this. More than 30 minutes at a time was too overwhelming. A deeply decadent movie. It’s hard to know how to talk about it. It’s a crystalline analysis of Italian fascism, but it’s also such a carnival for the eye . . .