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| Race relationships in Europe vividly captured in a single shot (actors Daniel Auteuil and Juliette Binoche in foreground) |
Beginning as a clinical, psychological and social study of a respectable European, it ends as a study of a larger segment of contemporary Europe. It reminds you of the early works of Fassbinder—-only in Michael Haneke's production values are more sophisticated. The camera becomes a character—-a major one at that--reminding the viewer that s/he is watching cinema at several junctures and that s/he is part of the entertainment process. You constantly ponder if the movie is providing truth or lies (or something in-between) 24 frames-per-second. The fixed-medium range shots that open and close the film indicate the stand of the director--clinical and distanced from the story he unfolds. We notice that what we are seeing, might not be completely true. Antonioni did this in Blow up decades ago.
The director Haneke carefully distances himself from a situation where he could resolve the issues for the viewer—-he prefers to leave that job to the viewer. The entertainment continues after the film is over.
Caché is a study of European colonial guilt and race relations. It probes complacency of the financially secure classes. Escape from reality comes from closing curtains, shutting off the outside world and consuming sleeping tablets. At another level, the film explores the attitudes of three distinct generations towards social relationships. Here is a conversation that exemplifies this in the film:
The director Haneke carefully distances himself from a situation where he could resolve the issues for the viewer—-he prefers to leave that job to the viewer. The entertainment continues after the film is over.
Caché is a study of European colonial guilt and race relations. It probes complacency of the financially secure classes. Escape from reality comes from closing curtains, shutting off the outside world and consuming sleeping tablets. At another level, the film explores the attitudes of three distinct generations towards social relationships. Here is a conversation that exemplifies this in the film:
Georges (Daniel Auteuil) to his mother: Isn't it lonely if you can't go out?His mother (Annie Girardot) replies: Why? Are you less lonely because you can sit in the garden? Do you feel less lonely in the metro than at home? Well then! Anyway, I have my family friend...with remote control. Whenever they annoy me, I just shut them up.
Haneke uses graphic shocking violent scenes to jolt the audiences when they least expect it. He seems to enjoy the process. His strength is not in his cinema (Director Stanley Kubrick, in comparison, was brilliant at this game). Hanneke's strength lies elsewhere—eliciting fascinating performances from his cast. Daniel Auteuil, Juliette Binoche, Maurice Benichou and Annie Girardot are simply fascinating to watch.
The film's strength also lies in the disturbing subject. Many of us have something in our past that we wish to hide. It is conscience that nags us to believe that there was a witness to a wrongdoing--a witness who cannot be buttonholed. This is what makes the film tick.
The film's strength also lies in the disturbing subject. Many of us have something in our past that we wish to hide. It is conscience that nags us to believe that there was a witness to a wrongdoing--a witness who cannot be buttonholed. This is what makes the film tick.
P.S. Director Haneke deservedly won the Best Director Award at the Cannes film Festival for this film. The film also won the Best Ecumenical Film Prize at the Festival.
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