Essential Killing (2010) – A Film Review
Trace any thorny historical conflict back far enough and you could well find that its origins lie in Cain slaying Abel, Romulus killing Remus, or Set murdering Osiris. Similarly, in Things to Come (1936), the people have continued to fight long past the point where they can remember who the original enemy was or why the war even started to begin with. Indeed, in this film from Jerzy Skolimowski, we are plunged headlong into such a confusing and hostile world. Ostensibly borrowing from the so-called War on Terror in terms of Taliban fighters, water-boarding, and extraordinary rendition, there is virtually no dialogue in this film, never mind any of an expositional nature. Accordingly, all that we cab surmise about Mohammed (Vincent Gallo) is that he can handle weapons, is prepared to kill, is adept at survival measures, and has an enormous will to live, despite all of the pain, terror, and exhaustion that he is suffering from.
Indeed, what Essential Killing represents is an hour-long flight through the frozen forests of an unidentified part of Northern Europe. Mohammed does what he has to do in order to stay both alive and ahead of his pursuers. Although far from devoid of confrontations and other memorably dramatic events, the monotony of the landscape, the speechless nature of the protagonist, and the general stillness of the piece do challenge one’s ability to stay interested in this work. Therefore, despite one or two comic scenes that ensure that this is not an entirely austere work, it is best to think of this offering as being a visceral existentialist drama that affords the viewer plenty of time to ask questions regarding what he or she is witnessing. Moreover, the ambiguous ending is also a surprisingly tender one, as a voiceless human being becomes the first to show genuine generosity and compassion to another. It amounts to a single ray of hope in a world where the life of any individual counts for less and less in the face of State power.
“Therefore, despite one or two comic scenes that ensure that this is not an entirely austere work, it is best to think of this offering as being a visceral existentialist drama that affords the viewer plenty of time to ask questions regarding what he or she is witnessing.”
This is avery vivid piece here Longman, and combined with the simultaneously posting of JAFB’s own capsule review at THE SEVENTH ART:
http://theseventhart.info/2011/03/26/ellipsis-36/
I am more than intrigued. It’s true I am leery of Vincent Gallo, though far more as a director than an actor (THE BROWN BUNNY is one of the worst films on record) but Skolimowski is a major figure. His DEEP END of course is his most celebrated work, and he’s appeared as an actor in some films (including Cronenberg’s EASTERN PROMISES)
27 March 2011 at 18:06
I agree with your overall assessment of Mr. Skolimowski. However, what JAFB calls a “lukewarm” reaction is also a fair call.
I strongly suspect that we will have your definitive thoughts on this one before the end of the year!
28 March 2011 at 06:35
Longman, This is a pretty terrific capsule review here, the kind I’d like to write.
I, too, thought the film was lukewarm.
I’m sure Skolimowski wanted to say something strong about the War on Terror, but by not being specific anywhere in the film, he only elicits a more apolitical response. I think this is detrimental.
Cheers!
27 March 2011 at 18:14
Thanks JAFB, even if you challenge Sam for overly generous praise!
I agree that the director grounds this film clearly enough in events of the past decade to overlook them here. At the same time, it is a distillation of this global affair right down to a few sparse human components.
Have you seen ROUTE IRISH yet? Its an entirely different work in many respects. Yet there is this same notion of fighting in a far-off land being brought right back into the heart of Europe.
I will read your review later today when I may try to expand on what I mean by the above a bit better!
28 March 2011 at 06:41
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No, Longman, I’ve been wanting to see ROUTE IRISH for some time now. Didn’t like LOOKING FOR ERIC though.
Cheers!
28 March 2011 at 17:12
I now remember LOOKING FOR ERIC as being harmlessly diverting. Recall being irked about something in it at the time though. Now forgotten, however!
28 March 2011 at 21:51
This film was a huge missed opportunity. Too many convenient moments used to propel the “narrative” forward. Sequence after boring sequence of Gallo acquiring food. Laughable.
2 May 2011 at 20:03
Och, if you haven’t seen a lot more laughable than this, JJ, you haven’t lived! Still, I know what you are getting at.
3 May 2011 at 23:55