Topic started by virumaandi (@ cache91.156ce.maxonline.com.sg) on Tue Oct 5 20:46:20 EDT 2004.
All times in EST +10:30 for IST.
Finally, the quintessential body of cinema: the body of the actor. An outstanding performance by Pietro Sibille is substantial to the accomplishment of Josué Méndez's Días de Santiago, a stunningly vivid Peruvian reworking of themes and style of American films dealing with the post-Vietnam trauma, relocated and translated to the altitudes of Lima. Always playing on the verge between retention and sudden fits of anger, Sibille gives body to the memorable portrait of a young war veteran parted between a frustrated desire of integration and the primal instinct for violence. Equally, the charming humour and surreal mood of Dito Tsintsadze’s pleasantly destabilizing Schussangst seem to irradiate from the lanky and slim body of its virgin-pure lead Fabian Hinrichs. But in every respect the most spectacular contribution of the body of an actor to the essence of a film comes from Virumaandi by and with Indian superstar Kamal Hassan. Politically committed yet unrestrainedly contagious entertainment, Virumaandi is literally brought to life by the vigorous and fearless bravura of Hassan, in wonderfully achieved imbrications of author, actor and character that provide the most prominent example of how a film could become an extension of its author's body.
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