Kapò

Ana karakterin psikolojisindeki kırılmalara eğilen sert bir film olabilecekken, bir anda -lüzumsuzca- melodram olmaya karar veriyor. Bu durum da sıradanlaştırıyor filmi. Oysa oyunculuklar, sinematografi vs. gayet başarılı.

Interesting that this film's reputation is due to Rivette's criticism as much as its own merit. He contended that Kapo's form betrays its function, turning it immoral, and centered this argument on a beautifully framed suicide sequence. It's a perceptive critique, even agreeable, but I also think it misrepresents the majority of this admittedly inconsistent film; nearly-neo-realist, morally complex, and yet not as tough to stomach as perhaps it should be, diluted by inappropriate genre tropes.

Pontecorvo's concentration camp film sports some complex morality, decent-to-good performances (particularly Riva), and stunning photography. It takes place in a work camp, not a death camp, and so isn't as brutal as most Holocaust movies we're used to today, but it's still rather powerful. Unfortunately the waters are muddied by an awkward romance thread. I'd also say that some of the changes Edith goes through are pretty abrupt, and it seems vaguely propagandistic. Still worth a watch, though.