Film Reviews by AL

I've read quite a few reviews of Werckmeister Harmonies and it appears that, unless you are Roger Ebert (https://www.rogerebert.com/reviews/werckmeister-harmonies-2000), it's impossible to write about the film without sounding like a terrible pseud, so I'm not going to attempt to. I've listened to director Bela Tarr taking about the film and he isn't particularly elucidating about it either. It's not a film to be picked over and analysed, it's a film to be watched and enjoyed. It has a very particular rhythm and flow to it which is immersive, it reminded me of listening to the band Current 93 (oh God, I sound like a terrible pseud), you feel like once you've started you never want to stop. There's something that just keeps propelling the music forward and it's the same with the 'story' (such as it is, it doesn't really matter) in Werckmeister Harmonies, you just want to keep on watching. Tarr has caught something very special in the film, he working on an entirely different plane from most filmmakers, he's in touch with something beyond the everyday, the corporeal. I don't know what it is, I don't think Tarr really knows what it is, but there's something thrilling and mesmirising about it. At 2hrs 25mins, it's shorter than the latest John Wick film. What have you got to lose? Watch it. you won't regret it.

I was prompted to rent the movie due to comedian Robin Ince's enthusiasm for the film which he's shared in his Uncanny Hour podcast. Although it's an interesting premise and Donald Pleasance turns in a striking, funny, slightly knowing post-modern sort of performance, I was a bit bored and underwhelmed by the film. The plot peters out at the end alarmingly and I was left feeling a bit bemused by the whole thing. The 'famous' 7 minute tracking shot is impressive and the rest of the film could have done with a similar amount of style and imagination. Christopher Lee's one scene cameo is just barmy. If you want to see Pleasance in a cult film, go for Wake in Fright which is fantastic.

Despite Fassbinder's astonishing work rate, I don't think he ever made a bad movie and Veronika Voss rates with the best of them. The black and white photography is just stunning, the story is gripping and the central performances are wonderful. I'd love to see this on the big screen at some point.