Unweaving The Rainbow

23 04 2012


The Kid with a Bike, Dardenne Brothers, Dardennes, Le Gamin Au Velo

'The Kid with a Bike'

Warning: like a car built in the 1980s, the article below may contain spoilers.

The latest film from the Dardenne brothers, The Kid with a Bike (Le Gamin Au Vélo), was out in UK cinemas last month. The story of a young boy’s search for parental affection after being abandoned by his feckless father, it continues the brothers’ run of intense, character-driven dramas set in the post-industrial Belgian town of Seraing, where they grew up.

A hallmark of the Dardennes’ work – perhaps even its defining feature – is their adherence to a kind of gritty but humanistic realism. They’re big fans of Britain’s Ken Loach and, like Loach, they try to present working class characters and their problems in a straightforward, unmannered way, eschewing most of the usual conventions of Hollywood-style film-making.

So although we can see that the titular kid with the titular bike (Thomas Doret) has been dealt a rough hand in life, the directors avoid sentimentalising his predicament. In fact, he spends much of the film testing the sympathy that we, and the woman who decides to care for him (Cécile de France), feel for him, attacking people who are trying to help him and getting involved in petty crime.

In general, The Kid with a Bike is powerful stuff, but one scene in particular almost ruined the film for me. Recruited by an older boy to mug a convenience store owner, the tiny Cyril (for that’s his name) rushes towards a much bigger, taller man and knocks him unconscious by swiping once at his midriff with a baseball bat. The unfortunate shopkeeper lies silent and unbloodied at Cyril’s feet, before emerging later in the film displaying none of the ill effects (bruising, mental trauma) that one might associate with having been knocked unconscious. In the same scene Cyril goes on to knock out a second person in the same way, but in the resulting legal proceedings gets off with a slap on the wrist and a fine.

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3 09 2009
Christ, it's 'Antichrist'!

Christ, it's 'Antichrist'!

When did you last walk out of the cinema? That’s a question often asked of film directors, critics and other cineastes. Well, personally, I can say that I’ve never walked out before the end of a film. I’ve sat through cranium-numbing Godard cine-essays, I’ve braved the worst of Jim Carrey, Steve Martin and Adam Sandler, I’ve stood manfully on the deck of the sinking Gucci-designed steamer that was Sex and the City: The Movie, all the while saluting and determined to stay until the bitter end.

You see, if you leave early you might miss something important. You might miss the best bit of the film! You might miss the one beautiful and profound moment of truth that the film-maker has to communicate to the world. And so, even if I have my doubts, I always stay put until the final credits roll.

Except… well, maybe once I did walk out. It was at The Showroom Cinema in Sheffield, in 2002, I think. The film was Audition by Takeshi Miike. In mitigation, I have to say that my sudden exit had nothing to do with the quality of the film. No, it had more to do with the rush of blood to my head and the queasy feeling in my stomach.

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