I'm not familiar with director Dominik Moll, but I must say that I'm readily impressed with his work here. I recognize in 'The monk' a distinctly visual approach to storytelling that recalls the most celebrated artistry of the silent era; if this picture forswore sound and verbal dialogue in favor of intertitles the result would be much the same. Moll's arrangement of shots and scenes, Patrick Blossier's cinematography, Francois Gédigier and Sylvie Lager's editing (emphatically including transitions), the very deliberate use of lighting - all these elements point to a high-minded flair for rich imagery that even at its best just hasn't been the same since the adavent of talkies. This is only accentuated in those moments when shots and scenes pass before us without any especial sound or dialogue - the feature communicates the wealth of what it must merely with what greets our eyes. My commendations to Moll and everyone else involved, including co-writer Anne-Louise Trividic, for it's a very precise and calculated manner that 'The monk' adopts; the commitment is admirable, and the result is exceptional even before we take the content into account.
That content is itself abundantly flavorful. Several different story threads meet us from the outset, with no readily apparent connection between them except that directly or indirectly, each swirl around the monk Ambrosio, a man of strident faith who finds sudden struggle. Yet common themes present all the while of a conflict between human desire and spiritual devotion, will versus temptation, poison both literal and figurative; the strictures of zealous religious fervor, superstition, or stringent social norms and values, all of which stress punishment and suffering (in one form or another) as virtues; and more. Even as these threads remain apart, and only scarcely and gradually intersecting, one is just as terrifically absorbing as the next, and exquisitely executed. For as much as 'The monk' endeavors to do in these 100 minutes, Moll and Trividic nevertheless give us vividly complex characters, and intense, cutting dialogue; vibrant scene writing that fiercely commands our attention; and overall notions of plot that are stupendously compelling, and even haunting, and not just satisfying as a viewer but altogether rewarding. Whether or not one might say that the feature is totally perfect, I don't think there's any arguing that the execution of each component part is perfectly tremendous.
Such excellent unquestionably includes the gorgeous, remote filming locations in Spain, and the production design and art direction. The costume design and hair and makeup work are splendid, all serving to cement the period setting; those sparing effects that are employed look fantastic. As suggested, the entirety of the technical craft is wholly magnificent, fetching from one aspect to the next, and I also love Alberto Iglesias' original score - as tense and frankly spellbinding as every moment it accompanies, the music helps to solidify an unexpectedly dark air that hangs over 'The monk' as the narrative drives deeper and harder. To that end, it could well be said that this is in no small part a psychological drama, obliquely exploring the terrible, tangled weave of Ambrosio's mind as he falls further from his ideals. Consider this slant in combination with the plot, Iglesias' themes, and some specific images that are either abnormal in their own right, unfamiliar to the point of abnormality to modern audiences, or even just simply utilized to very particular ends, and there's even an underhanded yet unmistakable intonation of (psychological) horror to the proceedings as they become more and more harrowing and grim.
And - and! - all this is to say nothing of the cast! I can think of no other words with which to describe the acting, for the performances, too, are perfect. Vincent Cassel, Déborah Francois, Joséphine Japy, Catherine Mouchet, and all other presenting offer up profound, gratifying range, nuance, personality, physicality, and otherwise skill that shows beyond a doubt what fabulous actors they are. Their contributions are but on the icing on the proverbial cake for a feature that from the very start is quietly mesmerizing - and which, bit by bit, only grows ever more bewitching, if not downright bleak. All those themes and story ideas which bear varying levels of connection throughout the length slowly amalgamate into a boiling morass of building pressure and a tantalizing pull, becoming more forceful severe all the while. The payoff is extraordinary, with the last twenty minutes or so especially eliciting reactions of astonishment - but also, as a viewer, abject giddy delight at the fruit that the seeds have finally borne.
In all honesty I didn't know quite what to expect when I first sat to watch; it was Cassel's involvement that drew me in, but I knew nothing otherwise. For as simply as the picture began, it's safe to say I wasn't prepared for the marvelous depths it would plumb, nor the heights it would achieve. My words were perhaps too modest before; in my opinion there's no "whether or not" - I think 'The monk' is totally perfect. Writing, direction, acting, all facets of the production, from unassuming start to grand finish this is sharp, engaging, and outright dazzling. It's wonderfully rich in all regards, striking all the right notes even if it takes its time to do so. What else to even say at this point? I've exhausted my capacity to speak coherently about this movie; 'The monk' is brilliant, and far more and better than I ever could have hoped sights unseen - a must-see, earning my highest and most enthusiastic recommendation. Bravo!
That content is itself abundantly flavorful. Several different story threads meet us from the outset, with no readily apparent connection between them except that directly or indirectly, each swirl around the monk Ambrosio, a man of strident faith who finds sudden struggle. Yet common themes present all the while of a conflict between human desire and spiritual devotion, will versus temptation, poison both literal and figurative; the strictures of zealous religious fervor, superstition, or stringent social norms and values, all of which stress punishment and suffering (in one form or another) as virtues; and more. Even as these threads remain apart, and only scarcely and gradually intersecting, one is just as terrifically absorbing as the next, and exquisitely executed. For as much as 'The monk' endeavors to do in these 100 minutes, Moll and Trividic nevertheless give us vividly complex characters, and intense, cutting dialogue; vibrant scene writing that fiercely commands our attention; and overall notions of plot that are stupendously compelling, and even haunting, and not just satisfying as a viewer but altogether rewarding. Whether or not one might say that the feature is totally perfect, I don't think there's any arguing that the execution of each component part is perfectly tremendous.
Such excellent unquestionably includes the gorgeous, remote filming locations in Spain, and the production design and art direction. The costume design and hair and makeup work are splendid, all serving to cement the period setting; those sparing effects that are employed look fantastic. As suggested, the entirety of the technical craft is wholly magnificent, fetching from one aspect to the next, and I also love Alberto Iglesias' original score - as tense and frankly spellbinding as every moment it accompanies, the music helps to solidify an unexpectedly dark air that hangs over 'The monk' as the narrative drives deeper and harder. To that end, it could well be said that this is in no small part a psychological drama, obliquely exploring the terrible, tangled weave of Ambrosio's mind as he falls further from his ideals. Consider this slant in combination with the plot, Iglesias' themes, and some specific images that are either abnormal in their own right, unfamiliar to the point of abnormality to modern audiences, or even just simply utilized to very particular ends, and there's even an underhanded yet unmistakable intonation of (psychological) horror to the proceedings as they become more and more harrowing and grim.
And - and! - all this is to say nothing of the cast! I can think of no other words with which to describe the acting, for the performances, too, are perfect. Vincent Cassel, Déborah Francois, Joséphine Japy, Catherine Mouchet, and all other presenting offer up profound, gratifying range, nuance, personality, physicality, and otherwise skill that shows beyond a doubt what fabulous actors they are. Their contributions are but on the icing on the proverbial cake for a feature that from the very start is quietly mesmerizing - and which, bit by bit, only grows ever more bewitching, if not downright bleak. All those themes and story ideas which bear varying levels of connection throughout the length slowly amalgamate into a boiling morass of building pressure and a tantalizing pull, becoming more forceful severe all the while. The payoff is extraordinary, with the last twenty minutes or so especially eliciting reactions of astonishment - but also, as a viewer, abject giddy delight at the fruit that the seeds have finally borne.
In all honesty I didn't know quite what to expect when I first sat to watch; it was Cassel's involvement that drew me in, but I knew nothing otherwise. For as simply as the picture began, it's safe to say I wasn't prepared for the marvelous depths it would plumb, nor the heights it would achieve. My words were perhaps too modest before; in my opinion there's no "whether or not" - I think 'The monk' is totally perfect. Writing, direction, acting, all facets of the production, from unassuming start to grand finish this is sharp, engaging, and outright dazzling. It's wonderfully rich in all regards, striking all the right notes even if it takes its time to do so. What else to even say at this point? I've exhausted my capacity to speak coherently about this movie; 'The monk' is brilliant, and far more and better than I ever could have hoped sights unseen - a must-see, earning my highest and most enthusiastic recommendation. Bravo!