Think Children of the Damned, Children of the Corn, Children of Men. Think childishly in order to believe that Haneke's ripoffs of Carl Dreyer atmosphere and Ingmar Bergman sexual hysteria are at all original.
Watching these people I could not fathom that they were actors. The scenes are very real and engrossing, the cinematography startlingly beautiful and the story both delicate and powerful. A slice from a world we have left behind, but are still drawn to.
Haneke has always been obsessed with fascism, but like the kids in Funny Games, the evil used to simply fall out of the sky, or materialize like a bad dream. It's a credit to his growth as an artist, then, that White Ribbon is instead about the transference of fascism between generations - or perhaps, its birthing pains. The film is about secrets, sure, but when the adults speak it's no secret why their children act the way they do. Gorgeous and horrifying stuff.
egitim, baski, sinsi cocuklar (birinci dünya savasi oncesi bir alman köyünde bir doktorun bir tuzaga takilip düsmesi ve sonrasinda benzer olaylar yasanmaktadir. Köyde ki otoriter aile yapisi, toprak sahibi baron ve gizli cinsellik (ensest) gibi konulara dikkat cekmektedir. tuzaklar cocuklar tarafindan kurulmaktadir. ogretmen olayi fark eder film agir.
Even with all of it's defects, Hanekes' assiduous work here is hardly in vain; many of the themes ( He couldn't even keep up with all of them.) that at times are haphazardly injected into this somewhat of a conjectured film are latent at best and a mildly woven lacuna at worst. It had an occasionally resolute yet overwrought effort attempting to achieve the infallibility of Bergman's majesty, but it's slight enough to not have to elicit any rueful sentiments for Haneke.
Shows Haneke's growth as a director but not as a writer. It's beautiful, but its themes are simplistic and conveyed in as heavy-handed a manner as they were in Funny Games. He needs to find a subtler touch to match his appropriately haunting aesthetic.
A narrative form that delivers a horizontal image of a range of characters, White Ribbon is dark and creepy, in ways, but never feels exploitative. Why are these things happening? I'm not sure. The kids are being taught how to act proper, punished if they don't adhere to the rules. But the adults are hypocrits. They break their own rules. It's a film about authority and what it feeds, which is where the time-period comes in.
Like all Haneke, this is a slow-paced, beautifully composed piece that will leave the viewer with more questions then answers. However, Ribbon seems much more character driven (rather then idea driven, which I think a lot of his other films are), giving it, as other reviewers have noted, a decidedly Bergman feel.
I have the feeling that "The White Ribbon" is a love it or hate it experience. I firmly fell on the side of 'love it'! There is no doubt watching this film is a commitment, & a grueling one at that! It will either grab you within the first 10 minutes, or you will spend 2 & a bit hours desperate for it to end. Understated but disturbing this is a beautiful, haunting, brilliantly performed movie. Its open-endedness will leave some feeling robbed & others just with intriguing questions.
A story of cruelty, fear and violence set to some of the most beautiful black and white cinematography I've ever seen. This movie is a bit of a departure for Haneke in how much he gives us to work with. Don't get me wrong, his trademark ambiguities are still there and this is still a challenging movie, but the narration fills us in on a lot of detail which many of his other films don't do. This feel like a more restrained, mature, and refined Haneke.
This is perfect piece of art, but also a way how to get 100 years back in time for 2 hours - the movie was realistic in each detail. But it is also very depressive - not for people like me who prefer to relax with a movie. BTW. the genres are not correct in movie description - the war and mystery are not important in this movie.
This beautiful film unravels with the wonderfully eerie setting and ponderously slow gait of a Gothic fable, but makes the unfortunate choice of omitting integral structural elements. The current ending is a cheap trick that asks the viewer to answer the plots conundrums whilst shedding shallow allusions to the great war. While I can appreciate hanging threads, I felt this particular plot would have benefited from being tied off.
It deals with some heavy themes and the black/white lets the viewer see the story building up from some distance. But even at that distance this film is unsettling and captivating, much thanks to the solid acting. That being said, the ending felt rushed.