Today's Review: Alias Maria

The number of reviews written for FilmTotaal still grows:

Alias Maria - recensie

Director José Luis Rugeles has nothing but the best intentions with Alias Maria, but he tries a little too hard to show the full horror of being a young girl growing up in the FARC guerrilla movement. Of course there's little joy to be had and mostly despair to feel, but ninety minutes of watching nothing but misery without offering the tiniest shred of hope makes the audience equally miserable. We can do nothing but sit back and cry injustice about the horrors inflicted upon both women and children in the Colombian jungle, so we end up numb to the entire issue by the time the credits start rolling.

Part of our inability to feel for the plight of Maria, the young female protagonist who ends up pregnant in a society where babies are forbidden save for those of the man in charge, is first time actress' Karen Torres own inability to properly emote. It's laudable Rugeles opted for realism by using people who have lived through some of the same ordeals as their characters, but in terms of acting, it simply backfires. Torres' continuing stoic gaze and the few lines bestowed on her character throughout the piece, don't aid us in rooting for her or her unborn child. Like ourselves when watching this film, she simply undergoes everything that happens with little hope of changing her situation for the better. She and the other FARC guerrillas are like the ants Rugeles highlights throughout the piece: little soldiers with no discernible will of their own who fight and die for the only thing they know. In what few moments of reflecting upon their life Rugeles offers Maria and her fellow drones, contemplating a life outside the terrorist movement never seems to be considered a realistic option.

And their lives doesn't count for much as it is. Children are not allowed to be children here. If they can carry a gun, they are soldiers and so they fight. Same rules apply to them as to their older brothers/sisters in arms. Whoever refuses is shot on the spot, no matter their age. Needless to say, we witness quite a lot of death in Alias Maria. Rugeles doesn't go for excessive gore and violence, but there's still a few moments that show or at least suggest enough to make our stomachs turn. Children are obviously not spared. You'd think an organization that sees its losses mount on a daily basis would be happy with whatever new recruits babies eventually offer. But that's not the case, as baby noise proves to great a risk, even in the dense jungle. Rugeles' point that the FARC has no future, and nor do those who grow up in it, is hammered home quite adequately for his purposes, but at the end, we have simply grown as tired of all the suffering as Maria must be. But lucky us, we can simply leave all her misery behind us and go home...

Today's batch of mini reviews

Picking up where I left off, here's yet another batch of recently seen films that have not been critiqued on this my blog in sufficient detail and thus have to make do with a mini-review. The term 'missed movies' no longer applies here, since I have seen these films after my PC was returned to me and I was back online again. Truth is, now that I am writing for MovieScene and screening films for audiences at Provadja, next to my regular work at Pathé, I just don't have time for old-fashioned extensive reviews anymore. I am watching more movies than I can handle, so to say. Expect to see this type of mini-review more often and 2,000 word reviews less and less around here. It may not be a bad thing per se, considering word has reached my ears regarding modern man and his lack of time and interest for lengthy movie discussions. By keeping it short and simple I might actually attract more readers, even though one could argue my blog is dumbing down. Not to worry, I'm sure there's still many a long review to come (MovieScene reviews aside, though they're of medium length really), at least once I've caught up with mentioning all the films I've seen in the past months. Getting there, slowly but surely.

Lore: ****/*****, or 7/10.

Fascinating microcosmic (post) WW II tale from a German perspective, focusing on the plight of teenage girl Lore, shortly after Germany has capitulated to the allied forces. Lore has had a good life in a happy Nazi family until she finds her world shattered by the Führer's death and the downfall of the Third Reich. Her parents, being devout Nazis, have to run before the Allies catch up with them and are forced to leave their children behind in the process. Lore, a powerful performance by the young Saskia Rosendahl, has to trek her way with her younger brothers and sisters to distant Hamburg across newly occupied territory, dodging Russian forces and her own countrymen who have degenerated into lawlessness. Along the way she meets a young Jewish man, freshly released from Auschwitz, who uneasily teams up with them to their mutual benefit for mere survival. The movie does a great job of portraying the lost German generation that grew up in the Third Reich and didn't know better, but had to cope with their parents' atrocities and lies afterwards. The key issue for Lore is trust: she trusted Hitler and her parents unconditionally, only to be betrayed by their failure. Now she has to trust a man whom she has been raised to hate, despite the genuinely helping hand he offers (which quickly earns him the faith of Lore's siblings, who are just too young to understand the stakes involved). Matters are complicated further when she develops a strange, possibly romantic, attraction to the guy, something he may or may not be exploiting. To Australian director Cate Shortland's credit, the film is completely spoken in German. She also presents a great metaphor for puberty, when a child's world is changed completely as are its feelings for those it has always taken for granted, without getting overly preachy. However, a less lyrical and dream like quality, plus a little faster pacing, might have made her movie more accessible.

De Ontmaagding van Eva van End: ****/*****, or 8/10.

Whaddayaknow, a good Dutch movie! Not surprisingly, considering director Michiel ten Horn used the fabulous work and style of Wes Anderson for inspiration, creating a definite Dutch counterpart of that particular auteur's work. All the typical Anderson ingredients are there (except for Bill Murray), including wacky characters, colourful visuals, dysfunctional family drama and a funky soundtrack. And decent writing of course. The Van End family members have a hard time connecting to one another and lead their own little lives in their own silly little worlds, until daughter Eva takes home a German foreign exchange student. The boy turns out to be the perfect human being, an angelic blond persona with great empathy for the whole world, whose healthy, altruistic life style soon creates havoc at his guest home as the whole family reacts differently to his presence and their natural balance is severely upset, exposing a few dirty family secrets in the process. And yes, Eva gets her cherry popped as the title indicates, though not in the way you would first expect. Solid acting, especially for Dutch actors, though of course young Austrian actor Rafael Gareisen leaves the greatest impression. The movie leaves ample room for both genuinely heartfelt drama and funny jokes and situations, some surprisingly edgy and politically incorrect. Ten Horn does a fine job of translating Anderson to a Dutch setting (unconsciouslyly or not, but it seems utterly unlikely he has never heard of his American inspiration), making the movie look distinctly Dutch but not feeling like any other Dutch film, all for the better. It's a real shame Dutch audiences prefer to watch crap like Verliefd op Ibiza and Het Bombardement over little gems like this, but it's good to know not all hope is lost for Dutch cinema thanks to talented directors like Ten Horn inspired by all the right people.

Zero Dark Thirty: ****/*****, or 8/10.

Kathryn Bigelow continues to critique America's army following her big Oscar breakthrough The Hurt Locker (2009). This time she focuses on the hunt for Osama bin Laden by the driven and resourceful female CIA agent Maya (excellent bit of acting on Jessica Chastain's part), inspired by true events, not all of which have been formally disclosed. Maya gets increasingly obsessive over the Agency's inability of locating Bin Laden and soon makes it her personal job to see the hunt come to an end, especially after dear colleagues of her die in related terrorist bombings. The climactic chopper showdown at Bin Laden's villa where a team of Navy SEALs has to quietly fight its way through the building to claim its prize was one of the most rewardingly suspenseful scenes of 2012. And to Bigelow's credit, the face of the Al-Qaeda leader was never even shown, clearly stating the movie is not so much about the man himself, as about Maya's long road to get to him. The movie's merit as a genuinely good film was overshadowed by the controversy surrounding Bigelow's explicit portrayal of torture of terrorist suspects at the hands of American agents: no doubt such crossing of political and ethical lines took place historically, but Bigelow was said to condone it. However, Bigelow makes no statement of her own, just showcasing events as they supposedly happened. The torture could have proven to be instrumental in tracking the most wanted man alive down in the long run, but she presents it as just another part of the bureaucratic machinery: a frightfully gruesome part though, revealing more than we would want her to reveal on the subject, and as such already indicating torture sure is no fun. Nevertheless, she was denied a well deserved Oscar or two: Zero Dark Thirty's only win was for Sound Editing, an award the movie had to share with Skyfall in a rare 'tie' situation at the Academy.

A dictator late for his own funeral

The Dictator: ***/*****, or 6/10

At least there's one thing to be said for dictators: they make for bizarrely colourful characters, and their regimes often feature such ludicrous rules of conduct the rest of the world cannot do anything but wonder just how seriously these tyrants should be taken. It seems like a natural ingredient for a comedy, though given the subject matter most people don't dare to make a feature film out of it. Charles Chaplin's The Great Dictator, already 72 years old, still rules supreme as the number one example as to how a brutal oppressive government can successfully be made fun of, though after WW II Chaplin admitted in hindsight he would not have made the movie had he known just how atrocious Hitler's reign of terror had been, making the film taste sour when watching certain scenes spoofing situations that in reality would have cost hundreds of lives. It can be said The Great Dictator was made too early, making it a light take on history that had yet to occur. The opposite now happens with Sacha Baron Cohen's latest raunchy comedy, simply called The Dictator, which, when compared to recent history, feels it was released a little too late to feel like it's truly up on current events.

The dictator is question is Admiral-General Aladeen (of course performed by Cohen), Supreme Leader of Wadiya (a fictional North-African country), who was born in power thanks to his father who violently seized control. Having ruled his nation since the age of seven, Aladeen is a typical 'spoiled brat' type of overlord, who views his country as his own private playground and has everybody who disagrees with him executed without mercy. Aladeen does whatever he feels like doing, including hosting and competing in the Wadiyan Olympics, which he wins by shooting his fellow contestants, as well as sleeping with celebrities who prostitute themselves for substantial fees (and the movie makes it clear there's a lot of those, which makes for the funniest roles both Megan Fox and Edward Norton have ever played). Like any rogue nation, Wadiya has its own nuclear programme, which according to a loudly snickering Aladeen will only be used for peaceful purposes. Of course, the UN won't fall for his not so convincing performance, so he's requested to address its representatives in New York or face air strikes. And thus, Aladeen heads to the USA, the birthplace of AIDS as he calls it, to ease the international community.

Warning! Here be spoilers! So far The Dictator doesn't seem much unlike Cohen's previous projects, Borat and Brüno, both of which also opened with a string of fairly random scenes applied to establish the film's main character and the bizarre world he inhabited, leading to a trip to the States that made the protagonist come into conflict with American extremities and himself, in yet more loose scenes that felt mostly like separate sketches instead of a progressive narrative. The Dictator however has a more consistent storyline. Soon after arrival at his New York hotel – where they charge an outrageous 20 dollars for Internet! – Aladeen finds himself victim of a conspiracy and carried off for torture and vicious death, only to be replaced by his most recently installed doppelganger, a very simple minded goat herder whose only job it is to be shot in the head. The plot against his life is planned by his uncle Tamir, who means to use the decoy Aladeen to move Wadiya towards a democracy only to sell off its oil reserves to foreign contractors and get excessively rich in the process, over the backs of the Wadiyan populace. Tamir is played by Ben Kingsley, a seemingly surprising bit of casting considering his unwavering status as one of the world's greatest actors, someone who most people would never expect to see in a raunchy comedy like this. However, for every masterpiece like Schindler's List or Gandhi, Kingsley has done a Thunderbirds or Love Guru, revealing he's up for anything if the money is right, not unlike the Megan Foxes of the celebrity world this film also pokes at with hilarious results.

Due to his experience in torture, Aladeen escapes his imprisonment only to be left on the streets of New York to fend for himself. When trying to get into the UN building he meets Zoey, a bisexual feminist activist (played by Anna Faris made unrecognizably boyish) who offers him a job at her eco-collective, where every employee is a political refugee, offering Cohen the full potential to make politically incorrect fun at every conceivable ethnic, gender or demographic minority. In the New York neighbourhood of Little Wadiya, Aladeen also meets Nadal (Jason Mantzoukas), the former chief of his nuclear program who he thought he had executed for disagreeing over the shape of Wadiya's first nuclear missile (Aladeen wanted it pointy, since a rounded shape would make it look like a giant flying dildo). In exchange for returning to his old job, Nadal agrees to help Aladeen get back to power. Though it seems rather gullible of a scientist sentenced to death to trust the one who gave the order, Nadal and Aladeen work together more effectively for story purposes than Aladeen does with Zoey, who's cooperation seems mostly an excuse for dirty gags, many of them funny, all of them sexist, racist or generally offensive (as we're used to from Cohen). However, in the latter case, the comedic result is much more convincing, while Mantzoukas unfortunately proves himself to be inexperienced when it comes to the gift of timing, making many of the funny situations he participates in sadly miss their mark.

Hilarity aside, the audience expects Cohen to make at least some political comments when it comes to dictatorships in an age where one after the other bites the dust. In this regard, The Dictator seems to have been produced a little too late to feel in any way relevant. Many of the much despised people Cohen, either implicitly or explicitly, refers to in this movie, have fallen victim to the results of their own tyranny by now, including Osama Bin Laden, Khadaffi, Charles Taylor and Berlusconi, yet the movie presents them, either in character or only in dialogue, as still active, or even still alive. Though the movie opens with an 'in memoriam' to Kim Jong-Il, this feels like a simple last-minute addition, done mostly to make the film appear to be more up with the times than it eventually turns out to be. The Dictator, alas, is revealed to be an already outdated project by the time it hit movie screens. Of course, there's still plenty of dictators left presently, but none of these remaining tyrants are either well known enough, disturbing enough or simply funny enough to be made (ab)use of in The Dictator, not even in late post-production additions like Jong-Il. It seems all the cool dictators have already passed away, or at least been forced to step down, just before Cohen could effectively spoof them in his hommage to oppressive regimes.

And an hommage it is, even if only for comedy's sake. In the end, Aladeen succeeds in foiling uncle Tamir's evil schemes, publicly tearing Wadiya's new constitution to pieces in front of the UN delegation, resulting in a speech applauding the many virtues of dictatorships over democracies, of course referring to America's insidious and slow, but poignantly present move towards the former in the recent decade, in which we again spot Cohen just missing the appropriate time frame in which to state his 'j'accuse', considering the level of repression in the USA has at least diminished under Obama compared to the Bush doctrine. While the anti-Jewish, anti-Islamic and anti-gay slurs Cohen revealed as ever present in American in his previous projects, seem ever prevalent (this movie resorts to exposing them too, to a minor extent), his views on America's level of democratic decline seems at the least outdated, undermining the point he makes on America appropriating anti-democratic behavior which it critiques in other nations (that is, if you feel Cohen ever bothers to make such points, which is also debatable). Like the way Cohen praises the wonderful grotesqueries of tyranny a little behind schedule, so to arrive his allegations towards the “American regime” too late to make them feel all that relevant to audiences. Oh well, at least we still have the jokes.

And at least in terms of comedy The Dictator delivers some positive results. Of course, many remarks and situations result in extremely crude, deviant sexual gags, as we've come to expect from Cohen, nor would we have it any other way by now. Some of them are genuinely funny despite their obviously adult content – why this movie only got a '12' certificate in the Netherlands is beyond me – while others are glaringly embarrassing to watch, including a woman giving birth and Aladeen coming to her aid by accidentally jamming his fist up her butt. Fortunately the cringe-worthy moments form a minority, while several instances of great humour undoubtedly will prove memorably hilarious, and quotable for years to come. The greatest gags involve Wadiyan life under Aladeen's rule, like many words having been replaced by the term 'aladeen', including 'positive' and 'negative', resulting in confusion when a doctor informs his patient of 'aladeen news' since he's 'HIV-aladeen'. Plus, we'll never forget the sight of a wall adorned with thousands of photos of Aladeen posing with a celebrity he has had sex with (including Oprah Winfrey and Arnold Schwarzenegger). Whatever point The Dictator has missed thematically, it compensates for the most part in terms of humour.

Overall, The Dictator will certainly never reach the status of an undying classic like The Great Dictator did, despite both films missing the mark historically. Even if the former had reached theatres, say, a year earlier, it would still contain various painfully unfunny gags taking the momentum out of the overall picture (which is already running short with only 83 minutes). However, like Borat and Brüno before it, the film also contains enough good jokes to make it a decent enough watch, and it proves that with every vile dictator gone, the world of comedy remains a little less colourful.

And watch the trailer here:

http://trailers.apple.com/trailers/paramount/thedictator/

Braveheart

Rating: *****/*****, or 10/10

Excellent historical epic regarding the 13^th century Scottish rebellion against England led by William Wallace. When his beloved wife is brutally sexually assualted and executed by English soldiers, Wallace goes berserk against his cruel overlords and starts a full scale war, driving the English armies of the merciless king Edward I (Patrick McGoohan) from Scottish lands in several epic battles (the production of which included some of the first cases of CGI used for massive battle scenes), though he finds himself hindered by uncooperative backstabbing Scottish noblemen who care more about their own stature and wealth than about the fate of their oppressed people. Warning! Spoilers! Fortunately Wallace has a secret admirer in the wife of the English crown prince, princess Isabelle (Sophie Marceau), which soon turns into a very romantic and genuinely heartfelt doomed love affair. Mel Gibson both directs and stars in this motion picture, and does an exceptional job at both, winning the film five Academy Awards. His disturbing interest later in life for overly long torture scenes (resulting in torture porn movie The Passion of the Christ) is already evident in Wallace's gruesome death scene. Though Gibson isn't particularly nuanced when it comes to his portrayal of the English (all creepy, violent butchers) and takes some poetic license with recorded history, he makes up for it with a truly gripping and ultimately tragic story of a man who lost everything and turned that loss into a quest for vengeance and a desire for freedom, inspiring his people to fight for theirs. Accompanied by one of the most beautiful (and ever popular) musical scores in film history, this is quite simply one of the great masterpieces of the nineties and a precursor to the return of the popularity of historical epics (setting the stage for Gladiator to fully break out the genre again).

Starring: Mel Gibson, Sophie Marceau, Brendan Gleeson

Directed by Mel Gibson

USA: Icon Productions, 1995

Saw II

Rating: ***/*****, or 6/10

Het gemartel gaat door

Wanneer wordt de grens tussen geraffineerde horror en ordinaire martelporno overschreden? Die vraag drong zich op toen de film Saw vorig jaar de bioscopen bereikte. Het verhaal over twee mannen die vastgeketend zitten in een gore kelder, met de keuze om dood te hongeren of hun voet eraf te zagen om te ontsnappen, was schokkend, duister en bij vlagen letterlijk misselijkmakend, maar het viel niet te ontkennen dat de film uitstekend geschreven was, de nodige intrigerende plotwendingen bevatte en in het algemeen een goed gemaakte griezelfilm was. Aangezien de low budget-film voor een appel en een ei gedraaid was en een behoorlijk grote winst binnenhaalde, is het geen verrassing dat binnen korte tijd een tweede deel volgens dezelfde formule gemaakt is, want dat is tegenwoordig de regel in de filmindustrie. En dus gaat het martelen door...

Psychopaat Jigsaw is terug. Dit keer beperkt het lijden zich niet tot twee mensen, maar ziet een groep van acht zich in een vergelijkbare situatie geplaatst. Tezamen worden zij wakker, opgesloten in een vies en leegstaand huis, zonder te weten hoe ze daar gekomen zijn. Via bandrecorders krijgen zij Jigsaws regels te horen: het huis wordt langzaam gevuld met een dodelijk gas en de groep heeft slechts twee uur de tijd om te ontsnappen, tenzij ze injecties met antiserum te pakken kunnen krijgen die door het huis verspreid zijn. Om bij het antiserum te komen moeten ze echter eerst de dodelijke vallen die Jigsaw voor ze klaar heeft staan omzeilen. Zullen ze lichaamsdelen opofferen om in leven te blijven? Zullen ze samenwerken om te ontsnappen of is het ieder voor zich?

Het zijn dezelfde vragen die de eerste film stelde, en wat dat betreft verschilt Saw II weinig van de voorganger. De hoofdattractie wordt hier uiteraard gevormd door de nieuwe vallen die de schrijvers bedacht hebben om hun personages mee om zeep te helpen. En we hebben weinig met hen te doen, want het zijn voornamelijk criminelen en randfiguren, gestuurd door puur egoïsme en zelfbehoud. Dus kijken we rustig toe en wachten we op de volgende macabere uitvinding waarmee dit zootje ongeregeld zich geconfronteerd ziet. De één verbrandt levend, de ander bloedt langzaam dood, het is weer dolle pret! Toch blijft het oprecht intrigerend welke ziekelijke machinaties de schrijvers nu weer bedacht hebben...

Evenals in deel één werkt de politie hard om Jigsaw (een uitstekend grimmige Tobin Bell) te pakken te krijgen. Dat gebeurt al aan het begin van de film, waarop blijkt dat zijn nieuwste spel al in volle gang is. Inspecteur Matthews (een gefrustreerde Donnie Wahlberg) ziet zich gedwongen de zieleroerselen van de gek aan te horen, want zijn zoon is één van de acht slachtoffers. Dat het joch (de irritante Erik Knudsen) een arrogante kleine etter is, blijkt voor de vader minder relevant dan voor de kijker, voor wie het slechts kanonnenvoer van hetzelfde kaliber als de andere gevangenen is.

Het interessantste aspect van Saw II ligt in de conversaties tussen de wanhopige vader en de psychopaat, waarbij we diens beweegredenen eindelijk ten volle leren kennen. Jigsaw is een terminaal kankerpatiënt en in de waan dat de meeste mensen het leven niet ten volle waarderen en het verspillen. Daarom laat hij hen door zijn beproevingen heengaan, zodat ze na afloop hun leven meer zin geven. Echter, met zo'n boodschap blijft het merkwaardig dat veel van zijn slachtoffers in situaties terechtkomen die ze eigenlijk nauwelijks kunnen overleven. Maar in vergelijking met andere psychopaten uit de filmgeschiedenis (denk Leatherface, Freddy Krueger of Michael Myers) heeft Jigsaw meer diepgang en karakter dan we gewend zijn voor horrorfilms van dit expliciete en misselijkmakend niveau.

Jigsaws naderende einde ligt echter vanaf deel één al vast, maar de plotwending in Saw II biedt garantie voor de toekomst van de serie die zo nog vijf delen verder kan als het geld blijft binnenstromen, zoals het voor de eerste film deed. Het is echter oppassen dat Saw niet in hetzelfde herkauwen vervalt als het heersende cliché van dit type bloederige horrorfilms stelt. Immers, de originele films in franchises als A Nightmare on Elm Street, Halloween of Friday the 13^th mogen dan wel klassiek genoemd worden, de andere delen van deze reeksen zijn door de meeste mensen al terecht vergeten. Saw II houdt zich in vergelijking nog sterk, maar de valkuil van het genre lijkt onvermijdelijk.

Saw II doet de eerste film nog eens dunnetjes over, maar dan met meer dodelijke vallen, meer slachtoffers en vooral meer gore (in het laatste opzicht hoofdzakelijk meer dan nodig). De plottwists blijven gelukkig redelijk origineel en de boodschap van de moordenaar is niet helemaal ontoepasselijk, waardoor de film net boven de doorgaans lage standaard blijft die vervolgfilms in het horrorgenre meestal typeert. Desondanks is het duidelijk dat de serie zich hoe langer hoe meer op het lugubere vermaak van de inventieve dodelijke vallen gaat concentreren. Waar Saw een briljante instant klassieker in het genre bleek en Saw II een redelijk vervolg op het origineel, zal de formule rond Saw III – uiteraard al aangekondigd – inderdaad vervallen zijn tot zinloze martelporno. Wat dat betreft mag de zaag er nu al ingezet worden om de serie dat lot te besparen...

Rescue Dawn

Rating: ****/*****, or 8/10

Cursus hoopvol overleven met Christian Bale

Christian Bale is een man van extremen. Nadat hij zichzelf volledig uitgehongerd en uitgemergeld had voor The Machinist moest hij zichzelf qua spieren fors oppompen om Batman te spelen in Batman Begins. Nu mag hij hetzelfde kunstje een tweede keer uithalen om de gemaskerde wreker opnieuw te vertolken in The Dark Knight, nadat hij zich eens temeer tot levend skelet heeft gereduceerd voor Rescue Dawn. Of een dergelijk ritme gezond genoemd kan worden is nog maar zeer de vraag, maar het geeft wel aan dat Bale zijn vak als acteur serieuzer neemt dan het merendeel van zijn collega-steracteurs.

Bale speelt in Rescue Dawn de rol van Dieter Dengler, een Amerikaans piloot van Duitse komaf die in 1965 boven Laos wordt neergehaald tijdens een geheime missie tegen de Vietcong. Hij overleeft het neerstorten maar wordt vervolgens tot krijgsgevangene gemaakt, gruwelijk gemarteld en maandenlang in een gevangenenkamp vastgehouden, waar hij lotgenoten aantreft die daar al jaren vastzitten en zowel psychisch als lichamelijk afgestompt zijn. Uiteindelijk weet hij zijn kameraden over te halen een gewaagde ontsnapping uit te voeren, maar daarop blijkt het overleven in de jungle minstens zo zwaar en afmattend als het kampleven te zijn.

Onder regie van Werner Herzog vertolkt Bale Dengler met zijn gebruikelijke kwaliteit. Hoewel zijn fysieke gestalte ongetwijfeld de meeste aandacht trekt levert hij ook in de overige facetten van zijn optreden een geslaagde prestatie af. Bale speelt Dengler als een wat naïeve, dromerige knul die het hele conflict rond Vietnam maar weinig kan schelen, laat staan dat hij weet wat er überhaupt aan de hand is: vliegen, dat is waar het hem om te doen is. Zijn jongensdroom om piloot te worden is eindelijk uitgekomen, slechts om tijdens zijn eerste missie al tot een vroeg einde te komen. Vervolgens moet hij de vele folteringen van zijn bewakers het hoofd bieden. Ondanks de hoeveelheid narigheid die Herzog ons hierbij toont blijft Bale de rol van charmante optimist spelen, in plaats van te vervallen in zijn gebruikelijke rol van mompelende zwartkijker die in zijn werk doorgaans de boventoon voert. Dengler blijft erbij dat hij zal ontsnappen, overleven en terugkeren, ook al hebben zijn medegevangenen die hoop allang opgegeven. Toch weet hij hen ervan te overtuigen een poging te wagen.

Naast Bale spelen ook Steve Zahn en Jeremy Davies een overtuigend spel als Denglers gebroken kampgenoten. Vooral voor Zahn mag dit opmerkelijk genoemd worden, aangezien hij zich doorgaans getypecast ziet als komische sidekick (Sahara, Employee of the Month). Desondanks weet hij zich tegen de verwachtingen in te handhaven als de volledig afgematte Duane, die uiteindelijk met Dengler de jungle (waarvoor het oerwoud van Thailand een prachtig decor vormt) in vlucht. Hij weet de verslagenheid en desillusie van hoop door twee jaar gevangenschap, evenals het sprankje vertrouwen op een goede afloop dat Dengler in hem inspireert, voortreffelijk neer te zetten. Davies (Solaris, Dogville) echter speelt de rol van Duane's tegenpool, de instabiele Gene die blijft volhouden dat het beter is af te wachten tot het gezelschap vrijgelaten wordt en sabotage van Denglers vluchtpogingen niet schuwt. Ook hij levert een tour-de-force af en zet een personage neer dat door zijn lafheid al snel onze sympathie verliest, hoewel we zijn standpunt volledig begrijpen: een mislukte vluchtpoging van een enkeling kan immers de dood van alle gevangenen betekenen.

Voor regisseur Herzog is het onderwerp van Rescue Dawn niets nieuws. Al in 1997 produceerde hij de documentaire Little Dieter Needs to Fly, waarin hij Denglers martelgang uit de doeken deed. Als zodanig lijkt Rescue Dawn voor hem een herhaling van zetten, maar we vergeven het hem, want met deze tweede variatie op het thema levert hij een spannende en aangrijpende film af die zich moeiteloos kan meten met diens voorganger, alsmede met andere geslaagde Vietnam-films. Desondanks is het waarschijnlijk dat niet iedereen de inhoud van Rescue Dawn volledig kan appreciëren: de film bevat schokkende scènes van marteling en ontberingen. 'Waterboarding', mieren, stront, mitrailleurs en wormen eten: Bale krijgt het allemaal over zich heen (en lang niet alles is in scène gezet) maar weet het te doorstaan zonder de hoop te verliezen. In die zin is Rescue Dawn een lofbetoon aan de overlevingsdrang van de optimist: Dengler vliegt, verliest zijn vleugels en krijgt te maken met onvoorstelbare wreedheden, maar niets zal hem ervan weerhouden opnieuw te vliegen en zijn droom te leven. Met een dergelijke hoopvolle boodschap is niets mis. En die prachtige beelden van het Thaise natuurschoon krijg je er gratis bij.