DVD Review: Martyrs: Catherine Begin, Robert Toupin, Morjana Alaoui, Mylene Jampanoi, Pascal Laugier: Movies & TV
DVD Review: Martyrs: Catherine Begin, Robert Toupin, Morjana Alaoui, Mylene Jampanoi, Pascal Laugier: Movies & TV
Product Description
Lucie, a 10 year old girl, is found wandering in the streets, bruised and bloodied. Unable to say who did this to her, or why, she is placed in a hospital where she meets Anna, another young girl who had been abused. Fifteen years later, with Anna s help, Lucie sets out to get revenge on her attackers. When she believes she has found the couple who abused her, she confronts them …and that is when the terror truly begins.
Into The Heart Of Darkness,
By PDC “PoeBoy”
(USA) -
I freely admit I had dangerously high expectations going into this film, having read SO many positive reviews (and some rabidly negative ones as well — as this is one of those love-it-or-loathe-it experiences), but I’m happy to say that, for me, ‘Martyrs’ lived up to every bit of the hype, and then some.
The problem is that, for most people, they are simply NOT going to be anticipating what this film actually IS, as opposed to what they’ve been led to BELIEVE it is. Namely, though it contains many ASPECTS typical of the genre, ‘Martyrs’ is NOT really a “horror film” in the usual sense.
Don’t get me wrong, though — the film certainly IS horrifying at times, on a number of different levels. And it has a kind of nightmare poetry which continues to haunt me.
‘Martyrs’ also manages to convey an overwhelming sense of cumulative dread and a hellishly pervasive sense of cold, heartless, systematically calculating evil. But it actually has a lot more in common with Gaspar Noe’s uncompromising ‘Irreversible’ and the dark lyricism of Franju’s ‘Eyes Without A Face’ than it does with films like ‘Saw’ or ‘Hostel’.
For, while it does have some extremely disturbing violence and gore, it’s somewhat less extreme in that respect than either ‘High Tension’ or ‘Inside’ — two other notable examples of the new wave of French horror cinema.
But ‘Martyrs’ affected me far more than any of the above-named films (excepting ‘Irreversible’ and ‘Eyes…’ ), because of the IDEAS being dealt with and because of Pascal Laugier’s remarkably artful handling of his material, aided tremendously by the harrowing, raw-nerved excellence of the acting, as well as the superb cinematography, editing, music, and make-up effects.
Indeed, ‘Martyrs’ is an “art film” in many ways. In fact, at a couple points it actually elicited tears from me — not my typical response to most horror films — as well as a few genuinely appalled exclamations of “Oh my God… Oh my God…”, such was the level of my empathy and identification with the main characters and their ordeal.
In fact, it was this aspect of the film which enabled me to get past what would otherwise have been a big stumbling block for me, in terms of conventional movie logic — i.e. the critical caveat of illogical behavior on the part of the characters when faced with a dangerous or potentially dangerous situation and NOT getting the hell OUT of there! In fact, at a very key point in the narrative, not only do the two main characters refuse to extricate themselves from a very risky and potentially dangerous locale, they positively LINGER there for what seems like DAYS!
Now, normally this would have had me crazy and screaming in frustration at the seeming stupidity or obtuseness of the characters. But, miraculously, in the case of ‘Martyrs’ I hardly even registered any of this because of the particular relationship dynamic of Lucie and Anna and their unique personal/psychological histories. In other words, given the very particular qualities of these two women, a specific case could be made for what would otherwise have seemed infuriatingly inappropriate behavior.
I find it both apt and reassuring that Laugier has referred to his film as the “anti-’Funny Games’”, referencing Michael Haneke’s deeply unpleasant, repellently grueling exercise in audience participation/endurance. For while ‘Funny Games’ was also not a horror film in the exploitative/commercial sense, neither did it have, for me, the inherent spiritual aspects or, dare I say, compassion, which make me willing to return to ‘Martyrs’, whereas I never feel myself eager to play more ‘Funny Games’.
But, more than anything, ‘Martyrs’ lingers in my mind as a deeply sad, disturbing, and ultimately moving meditation on the theme of pain and transcendence. And though I can see many viewers recoiling from the experience, disgusted by its brutal savagery and depressed and offended by its seeming nihilism (with the emphasis on “seeming”), I find that the film’s intriguing ambiguities and moral questions make for a rich cinematic tapestry, reflective of both heaven and hell. And yet, paradoxically, it is perhaps the film’s unnerving ability to convey a world of bottomless evil and merciless cruelty that kept me from giving ‘Martyrs’ a full five stars. Almost as though a part of me would feel guilty in doing this — as if that would be akin to giving my implicit endorsement or tacit approval of the film’s pitch-black heart of darkness.
Perhaps, Mr. Laugier, you did your job a bit TOO well!
Be that as it may, clearly this film has a lot more on its mind than simply grossing out or traumatizing its audiences, though it certainly managed that, as well, during some of its controversial festival screenings. Yet I would still hesitate to recommend it to most people I know. ‘Martyrs’ is, decidedly and emphatically, NOT a film for everyone.
But, for those looking to be challenged as well as shaken — for those willing to be taken to deeply uncomfortable places and shown terrible things in new and unexpected ways — for those yearning to FEEL a visceral response again after years of mindless, numbing “movie-violence”… For all these people ‘Martyrs’ will be a welcome, if not necessarily pleasant experience, leaving them with something to actually THINK about once the end credits have rolled.
A very sad postscript to a very sad film:
Benoit Lestang, a close friend of the director, and the man who contributed the film’s jaw-droppingly powerful special make-up effects, committed suicide shortly after the film’s completion. He did get to see the film prior to his death and apparently was proud of his work and moved to tears by the film. As to the specific reasons for his tragic decision, little has been spoken or written about that. And, given the film’s specific subject matter, one could all too easily be drawn into the temptation of making inappropriate connections and drawing conclusions, which I shall assiduously avoid.
Laugier himself has been very candid about his own personal feelings, both in regard to the emotional devastation of losing his friend, as well as the fact that the creative genesis of ‘Martyrs’ sprang from a long period of Laugier’s own depression. And he has indicated that, in some ways, the film was perhaps his response to that depression — partially expiating it through channeling his own darkness and pain into that of the film’s theme and characters.
Suffice it to say, ‘Martyrs’ will provide a lasting and worthy final monument to Mr. Lestang’s extraordinary gifts as a supremely talented artist and craftsman. And it is precisely that artistry, in conjunction with that of Laugier and the rest of his remarkable team, that resulted in startling images of strange and terrible beauty. Images which, like the film itself, continue to linger in the mind long after the final curtain.
Peace be with you, Benoit.
Disturbingly brilliant!.,
By Puzzle box “smockey_421″ (Kuwait) -
As a committed horror freak I have to say that it’s a rare occasion when I tense up after watching a horror film, and this brilliant film had me feeling this way, it was edgy and quite an intense experience. The French right now seem to be dominating the horror scene and Hollywood with it’s pathetic remakes (the overriding trend nowadays!) could not even compete, let’s face it they’re not even in the same league. Frequently in the horror genre, a new film will become the latest trend or rave of the moment and be praised to such an extent that viewer expectation inevitably leads to disappointment when the film is finally seen. Now that I’ve been privileged to see Pascal Laugier’s Martyrs I’m pleased to say that on this occasion my expectations were not just exceeded, they were completely blown away. Martyrs is unlike anything I’ve ever seen. Impossible to compare to anything else really, the film’s description of “multiply Inside by Frontier(s) and Switchblade Romance” simply doesn’t do justice to Laugier’s masterpiece.
Closer in tone to Gaspar Noe’s Irreversible and Takashi Miike’s Audition, Martyrs surpasses them all and the way it manages to disturb and crawl under the skin was just great, for those of you who want to see that kind of thing then you’re going to love it. Those who don’t like disturbing violence made in a serious manner should probably avoid this. The film was constantly unsettling, frequently unflinchingly and gut-wrenchingly violent and gory, this is horror cinema at it’s most challenging and in my opinion was the best horror film of 2009, French horror has been pushing the boundaries for some time now. What at first seems to be a fairly standard revenge thriller very quickly becomes something altogether different. I don’t want to reveal any more of the plot than is absolutely necessary because the less said the more of an impact the film will have. It begins with the escape of Lucie (Mylène Jampanoï), a young girl who has been subjected to horrific physical and mental (but not sexual) abuse. We are shown her relationship with Anna (Morjana Alaoui), another patient at the institution the severely traumatised Lucie is sent to who becomes her only friend. The film then flashes forward 15 years and depicts the terrible revenge Lucie takes on the family she believes to have been responsible for her situation. In one particularly sick and disturbing scene has Lucie bashing a woman’s head in with a hammer, then cutting her self with a knife to rid herself of her horrific vision of a dead woman.
I was reasonably sure I knew where Laugier’s story was going but I couldn’t have been more wrong, the plot twist in this film was terrific and had my jaw drop several times. Perfectly paced, totally gripping, with a pair of magnificent gutsy performances from the two lead actresses, this is a film I would highly recommend to horror fans with a strong stomach and a love of ground-breaking extreme horror cinema and those sick of mainstream Hollywood rubbish. Definitely not for the faint of heart as I heard that the film almost got an x-rating and that some audiences in France were leaving the theaters in disgust. Inevitably Martyrs is going to be lumped into the torture-porn sub-genre with the likes of Hostel and Captivity. Don’t be fooled though, Martyrs is so much more. Despite the violence the film seems to ooze with class, style and a bit of sadness and melancholy, and I found it incredibly moving. It also has one of the most thought-provoking conclusions the genre has ever produced. Overall this is one of the most important horror movies in decades. Like I said if you’ve seen Takashi Miike’s, Gasper Noe’s and Clive Barker’s films and know how ultra violent and yet still thought provoking those films were then you might like this.
A PHILOSOPHICAL SHOCKER - A VERY RARE FILM.,
By Paulo Leite (Lisbon, Portugal) -
This is truly a remarkable horror experience. A very rare catch that could only be made in Europe.
Young Lucie escapes from captivity and grows up tormented by her experiences. She is continuously haunted by a creature that preys on her. At the institution where she lives, she befriends another girl, Anna. Fast forward 15 years and Lucie discovers the people who tortured her as a child. She gets her revenge with the help of Anna… who’s in for the discovery/experience of a lifetime.
It all seems pretty vague, I know, but I do not want to spoil the ending - which is by far one of the most fascinating endings I’ve ever seen - because it is, perhaps, the most ironic ending ever for a horror film!
The philosophical nature of the plot - that becomes clear halfway through is beautifully written and calculated and the Mademoiselle character is truly frightening! Contrary to what people may say, the violence and gore presented here - although over the top - is NOT gratuitous. They serve the narrative. The violence and gore are essential to what the characters in the plot are trying to achieve. And it is up to the viewer to endure it.
The ending will simply leave everyone with their mouth open… and make clear the ultimate irony.
This is a film that, somehow, could never have come up in Hollywood. The Europeans have done it again!
Nobody today makes horror films like the Europeans. This film is unique!
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