16 Feb The Brothers Bloom (2008)

Yes I say, Yes Yes (No)

The structure here selects one of the few models we have for dramatizing inner complexities. The grand problem is that people are fascinating, but we need a narrative skeleton to ‘see‘ into them. One choice is to take a standard narrative device and open it. The standard device is the detective film, where an on-screen character takes action and uncovers truth, sharing it with us. The ‘con‘ twist on that is that we are cast among the unknowing. It is a powerful shift.

In the usual con form, the viewer is not specifically represented in the film, but the writer is.

This variant has a con partnership of two brothers. One writes the life of the other, so successfully that the one written is void of a self. The ‘writer‘ decides to write an anti- reflexive story to fix this, and this is what we witness. The writer literally needs to die. The thing is surrounded by references to James Joyce, who invented the intent (at least) of writing himself away.

It surely is cleverly constructed and has some attraction just on that score. But alas, this is yet another example of where narrative insight does not produce narrative power. The film does not engage. It lacks magic and we do not enter the opening that has been made. It is easy to blame the actors, but the filmmaker just lacks the skill.

But, I would advise you see this because of Rinko Kikuchi. I have not been seeking her out, yet. But I sure stumble into her work in viewing great films. She may be Japan‘s best living actress, now trying to carry that into non-Japanese forms. So far, the roles have been friendly, and here she simply radiates.

Her role is as the silent observer and demolition expert. She places herself in a vague sexual relationship with the writer-brother, just by walking into the narrative. She must die as well, and blows herself up to ‘trigger‘ the end. She wears strawberry blond hair.

Posted in 2011

Ted’s Evaluation — 2 of 3: Has some interesting elements.

IMDB