07-20-09, 05:43 PM
Strange events happen at a rural school in the north of Germany during the year 1913, which seem to be ritual punishment. Does this affect the school system, and how does the school have an influence on fascism?
Official Site (http://www.sonyclassics.com/thewhiteribbon/)
07-20-09, 06:05 PM
Haneke? I'm there with bells on. Can't wait.
07-20-09, 09:25 PM
Haneke? I'm there with bells on. Can't wait.
07-21-09, 04:25 PM
Haneke? I'll be there opening day.
07-22-09, 04:46 PM
His films are always something special. I will def be there.
07-23-09, 05:16 PM
Brief review from the film's Criterion Forum thread (http://www.criterionforum.org/forum/viewtopic.php?f=7&t=9862): ....Shot in black and white and set in what appears to be nineteenth-century rural Germany (the precise date is a crucial late revelation), it initially looks as though Haneke has come over all Bergman and Dreyer on us - there are a great many scenes of a thin-lipped pastor (who could easily have been played by Gunnar Björnstrand) icily admonishing his various charges in a small church straight out of Winter Light, and the stunning compositions (Christian Berger was the DOP) have more than a hint of Nykvist to them.
But it's a Haneke film through and through, mixing icy verbal confrontation (the scene in which the doctor systematically takes his long-term mistress apart is particularly hard to watch) with an abiding impression of unspeakable cruelty about to be meted out - though the children are thrashed behind a forbiddingly closed door, their cries of distress sound horribly authentic. I'm deliberately not going to reveal too much, though - this is a film whose impact comes from the gradual accretion of tiny, sometimes barely perceptible details, with Haneke often cutting at the precise frame where something seems about to be revealed.
(I hear this is getting an English voiceover in the US, though the version I saw was in the original German. I doubt it will make much difference - it's not much of a stretch to imagine the narrator having moved to an English-speaking country and it might even accentuate the abiding L.P. Hartley "the past is a foreign country" impression).
08-15-09, 08:44 AM
International Trailer (http://www.slashfilm.com/2009/08/14/the-white-ribbon-international-movie-trailer/)
09-04-09, 04:54 PM
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11-18-09, 12:49 PM
No dubbing apparent from the trailer.
01-09-10, 11:40 PM
There's no dubbing. Saw this today in a packed house. As usual, Haneke doesn't disappoint.
01-10-10, 03:20 AM
I'm dying to see this film.
01-10-10, 09:25 AM
Jan 25th at the E street in DC and prob soon after that at the Charles in Baltimore
One of the year's best films.
01-15-10, 06:07 PM
I waited a day after seeing this before writing this review. I knew it'd be in the range of 3-5 stars, but this is a film that left me incredibly unsettled, so rich and complex I felt like I needed time of digest. Haneke's Palme d'Or winner, a stunning technical achievement, is frustrating in the best of ways: in the way, to give a sense, a movie of the mainstream like Fincher's "Zodiac" might be. The narrative poses a ceaseless string of questions with an astoundingly precise, formal austerity, but its that Haneke doesn't provide any easy answers and leaves audiences pondering the implications of the uneasy ones that lends the movie it's haunting, unnerving power.
The film is all over the place physically across this village, somehow at once giving a holistic picture of life in the village, yet never revealing the true nature of things that are occuring: it's in this way that Berger's cinematography is so effective -- in the incredible attention to detail, yet a compositionally near-perfect use of shadow and object to obscure and repress. The audience never seems to get the full picture, resulting in an undeniable implaceability of some higher understanding, but this affords The White Ribbon an equally undeniably compelling and perhaps profound grip, both during the film and in the hours and days after seeing it. Time will tell if my estimation of this movie grows. In the best sense, it's a great movie to be engrossed by, but a difficult movie to truly love.