Hell (2005)

Very well executed

Sorry, this movie sucks

Don't Believe the Hype

Funny, strange, confrontational and subversive, this is one of the most interesting experiences you'll have at the cinema this year.

After seeing this great film on the big screen I had to think of the composer Salieri as shown in the film "Amadeus" (based on Peter Shaffer's play). There he says about the perfection of Mozart's music that it would neither be possible to take one note away nor to add one. The same applies for me to "L'enfer"/"Hell". From start to finish every detail is absolutely spot on. There was no question for me if I should buy the DVD when it came out or not. It has a special place in my collection and I show/see it only with friends who really can appreciate a good and meaningful film with depth to it.When looking at the information on this website about the writers of the film I can see why often giving credits to the writing can be problematic. As the DVD has as an extra background information and clips about the making of L'enfer I seem to remember from it that the fantastic director had a lot of input into it. At least one of the main actresses commented that he actually recreated the script and made it his own. Though he might not have done this in written form his handwriting is all over the end-product. This, and also in many other ways as you can find out when you watch the DVD extras yourself, makes it such a beautiful "round" piece of art.Art is done by artists, and therefore great art is created by great artists. This director belongs definitely to the latter. He didn't even attempt to make it a "Kieszlowski film". Much better, he made it absolutely his own. Kieszlowski would have been proud of it (what, on the other hand, I unfortunately can't say at all about the "prequel" Heaven by my fellow country-man Tom Tykwer). For me it is therefore also the best memorial for that great and important Polish director who died so prematurely.

I found this film to be visually beautiful and totally satisfying on that level. The story (already well documented here) is a bit more melodramatic than I had hoped...considering that Kieslowski (whose film I treasure) was the originator of the concept.The saturated color throughout the film...the subtle, wordless way in which Danis Tanovic uses images to say far more than words can...is as haunting as anything I've seen in movies for many a year....probably not since Kieslowski's own work.It seems a crime that this movie has not been released in theaters in the U.S. A real deprivation. I would urge lovers of film as art to buy the available DVD. You'll find it rewarding.

Apologies for the summary line, which I simply cannot resist. The first two of the late, legendary director Kieslowski's legacy of the trilogy which, he presumably was going to make himself, were acquired by two highly respected directors. Tom Tykwer (Lola Rennt) made "Heaven" a few years ago and Danis Tanovic (No Man's Land) made "Hell" (L'Enfer) last year.One thing immediately noticeable about L'Enfer is style. Director Tanovic seems very fond of using vertical shots (reminding me strangely the stabbing scene in "Psycho" – not the shower scene, of course). It was a while ago when I watched "No Man's Land" but I don't recall similar shots. This may be viewed as director Tanovic's versatility in employing the camera, as in the 360 degree shot that accentuate the protagonist's emotion. Also used quite extensively is silhouette, to various degrees, showing a dark object against light in the background. Coincidence or not, director Tykwer also used silhouette in "Heaven", but the impact of that scene is so dumbfounding that by comparison, silhouette scenes in L'Enfer are only pale shadows.While Heaven has flashes of controversial and provocative ideas as well as rich symbolism throughout, Hell stays on traditional, sometime even melodramatic ground, leading us through a web of tragic human traits – doubt, infidelity, selfishness, to mention just a few. The use of Medea, the tragedy of tragedies in Greek mythology, as the subject of a college project is not incidental. The elements of misunderstanding, deceit, vengeance and unforgiving stubbornness underpin the tragedy surrounding the three sisters haunted by a nightmarish childhood experience.Sophie, tormented by her gnawing resentment of an unfaithful husband, is played by Emmanuelle Beart who will be remembered by those who have seen Ozon's "8 women" as the subtly sexy maid Louise. Attractive and unsophisticated Anne (Marie Gillian) is hopelessly attached to her professor who has a daughter about her own age. Subdued Celine (Karin Viard) is left with the task of providing occasional company to their partially incapacitated mother, wheel-chair bound and unable to talk (but can write). Appearance of what appears to be an unlikely, handsome suitor turns up dark hidden secrets that was the common root of the tragic heritage of the sisters. More I'll not reveal.Hell is well crafted, beautifully shot, capably acted and provides keen insights that will be reflected on. And yet, it just lacks that innovative spirit that puts Heaven one notch above it.

Danis Tanovic continues his Oscar worthy ways with L'Enfer.A complete departure from the film that "No Man's Land" is, L'Enfer is visually beautiful with intricate interwoven plot lines.The film starts out seemingly slow, a jumble of scenes with no obvious relevance or message starting with the opening title sequence. Yet as the film unfolds, early scenes come increasingly into focus, with ever intensifying clarity of understanding and pertinence.The primary cast including Emmanuelle Beart, Karin Viard, and Marie Gillain, are brilliant, all showing top performances.Will Tanovic receive another Oscar nod for L'Enfer? Probably not, but this film is certainly deserving of attention.