A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

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Showing posts with label Kamelia Grigorova. Show all posts
Showing posts with label Kamelia Grigorova. Show all posts

Friday, May 30, 2025

The Grey Zone (Tim Blake Nelson, 2001)

Allan Corduner and Kamelia Grigorova in The Grey Zone

Cast: David Arquette, Michael Stuhlbarg, Daniel Benzali, Allan Corduner, Steve Buscemi, Harvey Keitel, Kamelia Grigorova, Mira Sorvino, Natasha Lyonne, Jessica Hecht, Brian F. O'Byrne. Screenplay: Tim Blake Nelson, based on his play and a book by Miklos Nyiszli. Cinematography: Russell Lee Fine. Production design: Maria Djukovic. Film editing: Michelle Botticelli, Tim Blake Nelson. 

In basing his film (originally a play) on the memoirs of Miklos Nyiszli, a Jewish physician who aided Josef Mengele in his hideous experiments at Auschwitz, Tim Blake Nelson makes one grave mistake. Instead of making Nyiszli the focus of the film, he chooses to scatter the narrative among others imprisoned at the death camp. One of the strengths of Steven Spielberg's Schindler's List (1993) was its use of Oskar Schindler as a pivotal figure, and Son of Saul (László Nemes, 2015), a much better film about the Sonderkommandos, the Jews who did the dirty work for the Nazis at the camps, is centered on the dilemma of one man. The Grey Zone remains a harrowing film, but it's easy to get lost as it shifts from the discovery of a girl found alive in one of the gas chambers to the plotting that results in the destruction of one of the crematoria.