THE BANISHMENT
Russia, 2007, 150 minutes, Colour.
Konstantin Lavronenko, Maria Bonnevie, Alexsander Baluev.
Directed by Andrei Zviaguintsev.
There is a tradition in Russian literature and cinema that length offers no difficulty, is almost a requirement. A contemporary world finds little time for Tolstoy or for classic films that run for more than two hours. The Banishment runs to two and a half hours. It offers time for contemplation and for reflection – which is well worthwhile.
Andrey Zviagintsev made a great impact in 2003 with his Venice winner The Return (winner of SIGNIS, Ecumenical and Templeton awards), a beautiful but sad film about a father reuniting with his two sons. This follow-up is a very confident film, beautifully directed and photographed, naturalistically and convincingly acted, a film of great craft in the Russian tradition. There will be no difficulty in critics talking about the Tarkovsky influence, not only in the film’s look and landscapes but also the plot and its metaphysical dimensions of reflection.
It is also a film of Russian melancholy, focussing on what seems an idyllic family consisting of father, mother, son and daughter. They move from a dingy industrial city into the old family home in the remote countryside and all seems wonderful until the wife changes everything by speaking about eight, almost emotionless words: that she is pregnant. Her husband’s anger leads to recriminations, to hasty decisions and to issues of abortion which have tragic results.
The director, however, makes one big move towards modernity in storytelling. Just when you think the film is ending with an extraordinary tracking shot of water flowing and nourishing the ground, the film moves to another 30 minutes or so, going back in the narrative to give more detail and explanations of why the tragedies happened. Ultimately, this is more satisfying as it offers psychological and some metaphysical considerations on lack of communication and love.
However, as the history of Russia shows, and the final scene of women singing, raking in the harvest, life must go on.
1.The impact of this film? Russian? Universal? Themes and style?
2.The Russian tradition, length, well crafted, locations and beauty, melancholy, time for contemplation, sound engineering, electronic music, the musical score, the choir?
3.The structure: linear, the change before the end, the long flashback, explanation? The ending?
4.The title? To whom did it refer? Based on William Saroyan’s The Laughing Matter?
5.The opening and the mood, the landscapes, the time, the car, the countryside, the roads, the city, the industrial area, the rain? Mark and his bullet wound, seeking Alexsander(*?), the bond between brothers, taking out the bullet, not getting a doctor, resting, not wanting to see Alexsander’s family? The discussion about the ancestral home and selling it?
6.Alexsander, his work, away from home, in the city, the decision to go to the family home, lying with his wife, contemplating? The train ride, the long walk to the house, fixing it up, letting in the light, the detail of ordinary things, the dry creek, the sheep, the walnut tree, the different rooms, food and cooking, idyllic? The picnic under the tree?
7.Viktor, the phone call, the grandfather, the visit, the friendliness, the children, the bonds between the families?
8.Alexsander as a character, quiet and intense, reliable, emotional, interior? His bonds with Mark? With his son? With his wife and daughter? The episode with their tears, the non-communication, the end of the day, Vera and her talking about being drunk, telling him bluntly about the pregnancy?
9.The effect on Alexsander, going for a walk, phoning Mark, getting the lift with Max, the explanation, borrowing his car? Not going, the return, the tensions, not talking, unhappy?
10.Mark, his character, a gambler, losing his family? The bond with his brother? Advice about the abortion? Mark saying that whatever decision made was correct and right? The quick moves, the phoning for the abortionist, Vera, her grief, passivity, her worry about the child, saying that Kir would become like his father and uncle? Agreeing to the abortion, the abortionist’s arriving, the procedure, the children away with Viktor’s family, the jigsaw puzzle and the Annunciation and the conception of Jesus? The reading from 1 Corinthians 13 about love? The abortion, Alexsander and the after-effect, changing his mind, sorry?
11.Vera, her happiness, unhappiness, the child, the pregnancy, saying that it was not Alexsander’s? Her giving up, allowing the abortion? Asleep, the coma, the doctor arriving, the truth about the pills, the pregnancy test results, the letter? Mark and his collapse, heart trouble?
12.The funeral arrangements, Alexsander wanting to look at his wife, the burial itself, the priest, the church (and the previous visit to the grandfather’s grave in the cemetery)? Mark’s death?
13.The doctor and his role, the certificate about Vera’s death, telling the truth about Vera, warning Mark, getting the ambulance, closing the house?
14.The portrait of the children, their age, normal, playful, the friendship with their cousins?
15.Alexsander, getting the money and the gun, driving, through the rain, waiting for Robert, the gun?
16.Robert and Vera’s phone call to him, audience suspicion?
17.The river, the water flowing down, the long tracking shot – an ending for the film?
18.The sudden flashback, so long, Robert, his character, the truth, Vera and the initial overdose, her phone call to him, making her sick, helping her recover, staying with her? The talk? The children going to the circus, Kir and his breaking the doll’s head? Their return, Kia’s suspicions?
19.Vera and her talk, communicating with Robert, the background of her marriage, Alexsander’s child, the test results, Max delivering them, her pregnancy, writing the note, not wanting Robert to tell the truth? Her death wish? The philosophic implications of unhappiness, communication, loss of love?
20.The finale, Alexsander and the children, a future?
21.A film of beauty, tragedy? Russian melancholy? The final sequence in the fields, the women at work, the song – life going on?
