PIFF Report: Part 3
Our report from the 34th Portland International Film Festival continues.
The Whistleblower
Canada / English / 16mm (2.35:1) / 112min / Directed by Larysa Kondracki
Larysa Kondracki’s feature debut, The Whistleblower, is based on the true story of Kathy Bolkovac (Rachel Weisz), an American police officer who stumbles upon a far-reaching human trafficking ring in war-ravaged Bosnia. Her investigation turns deadly when she discovers that UN officials, diplomats, and independent contractors (similar to Black Water) are a part of the very organizations they are meant to combat. Kathy collects overwhelming and shockingly conspicuous evidence of payoffs, kidnapping and the enslavement and torture of thousands of young women. In order to save the lives of these girls, Kathy risks everything to expose the truth.
On paper, all the pieces seemed to be in order for a ripping good political yarn. Unfortunately, the film itself is rather weak. Kondracki’s script (with Eilis Kirwan) is lousy with clunky TV cop show dialogue and cloak and dagger scenarios that are shabbily executed. There are moments of brilliance in her direction, but she too often lets aesthetic interests run away with the film. This distracts from the performances and loosens the film’s dramatic grip.
Another issue is the casting of Rachel Weisz in the lead. I’m great fan of Weisz, but she’s miscast here. I can’t say whether this was due to Weisz’s misinterpretation of the character or wrongheaded direction from Kondracki, but from the moment she appears on screen, there’s something off about the way she carries herself. She has no presence of authority like I would expect from a veteran police officer. Ideally, I think the role would have been better served with an unknown—though I must admit that I kept picturing Vera Farmiga. The film has an impressive supporting cast, including Vanessa Redgrave, Monica Bellucci and David Strathairn, but even those reliable performers felt outside of the subject’s harsh reality.
Cameraman: The Life and Work of Jack Cardiff
United States / English / HDV (1.78:1) / 86min / Directed by Craig McCall
Craig McCall’s documentary celebrates cinema through the life and work of Jack Cardiff, one of the most gifted cinematographers in the history of film. Cardiff has had immeasurable influence on modern filmmakers and many of cinema’s most indelible images, from The Red Shoes to The African Queen, were products of Cardiff’s art and ingenuity. He was an artistic innovator, a pioneer of color filmmaking, an accomplished painter and photographer (he took one of my favorite pictures of Audrey Hepburn), and even a successful director.
Cardiff began his career as a child actor in 1918 and continued until his death in 2009. In the film, Cardiff recalls his work with enthusiasm and wit, offering stories and anecdotes from a lifetime spent on set. He speaks candidly about working with some of the business’s biggest names, like Hitchcock, Houston, Bogart, and Dietrich (who Cardiff explains would have made a great cameraman). And a gallery of peers and admirers, such as Martin Scorsese and Kirk Douglas, offer insight into Cardiff’s style and character. Cameraman: The Life and Work of Jack Cardiff is a lovely tribute to a important artist. I loved every minute of it.
The crimes illuminated in The Whistleblower represent a serious epidemic in the world today. There have been several documentaries that cover this subject, but narrative features reach more audiences, so, if only for that reason, I do hope the film makes it to American screens. I couldn’t have enjoyed Cameraman: The Life and Work of Jack Cardiff more. It’s a lovingly produced documentary about a man who made magic out of light and color.
