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The Princess and
the Warrior 2001 |
Review by Jonathan Cornwell |
Directed by Tom Tykwer
R, 129 min. (violence, profanity, sexual situations) |
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Starring: Franka Potente, Benno Furmann, Joachim Król, Marita Breuer, Lars Rudolph, Melchior Beslon, Jürgen Tarrach
Producers: Stefan Arndt, Maria Köpf
Screenplay: Tom Tykwer
Distributor: Sony Pictures Classics
Released: 6/22/01 (Limited) |
Rating:
  (out of ) |
Sometimes the pressure to live up to expectations is too much for today's burgeoning directors. Tom Tykwer, however,
does not fall into that category. After thrilling audiences with his 1999 art-house hit Run Lola Run, eager fans awaited his
next effort. That's where The Princess and the Warrior comes in, and, in many respects, this film exceeds those
expectations, even making the argument that it surpasses Lola. Surreal, pondering, affectionate and thought-provoking,
The Princess and the Warrior dazzles with saturated cinematography, stark contrasts within its characters, and a belief that
fate determines our reality. It uses an intermingling storyline to grab our attention, then holds it by asking more questions
than it answers without becoming heavy-handed or manipulative. Attractive and engaging, it's effectiveness is apparent
when you're able to look back at the journey you've just taken.
While Lola used bright-red hair, thrill-ride action sequences, and an ever-tightening spiral of inevitability, this film is more
genial, thematic and grandiose in its ideas and actions. There's a sense of wonderment not just from its characters, but also
from its director, Tykwer, who is asking some of the same questions that are posed in his film. It's a complex vignette
of refined characters that continually push onward in search of answers that probably don't exist. In some ways, the film
is a masterpiece of the sublime - set against the backdrop of Wuppertal, Germany, the story is able to expand from city
to countryside with ease, enabling it to provoke the questions it apparently renders important to its message.
The story is, well, complex. Some will become frustrated and give up (invariably returning to their brainless romantic
teen comedies), but for those willing to try, it's worth the concentration. Sissi (Franka Potente of Lola) is a nurse
at a psychiatric hospital that wonders if there's anything more to life than she's already been given. One day, she's
hit by a truck, and, while lying underneath it dying, breathing her last breaths, a man, Bodo (Beno Furmann), suddenly
appears, performs a crude tracheotomy with a straw thereby saving her life, and then mysteriously disappears. Months
later, Sissi is still haunted by the images of Bodo, as she believes his appearance is somehow more than just a mere chance;
instead, fate intervened and it's message to her is to find him. After much difficulty, she finds him, only to be rebuffed and
heartbroken at his callousness. Determined, she continues to pursue him until another event causes Bodo to forgive his
past and embrace his future.
The pivotal moment of the film occurs during the breathtaking sequence of the accident, Sissi's demise, and her hero.
Cleverly filmed, we are there with Sissi trapped under a truck, her last apparent breaths unfolding, and then the life that is given back to her. While Bodo
is saving her, he breaths life into her lungs, and all she can think about at that moment is how her lungs are "stinging because
of a peppermint" that Bodo has just savored. She realizes this is the man meant for her, and, looking into his eyes, she
seems confident she's made a connection with him, whether he realizes it himself or not. This is the point at which the film
really begins.
Bodo is a character that is haunted by his past. Unable to let go, his inability to hold down jobs and a strained relationship with
his brother are the result of unhealed wounds. When confronted with love, he's not only afraid, but resolute in his decision
to elude the possibility of being hurt again. After a botched robbery attempt and hiding in a hospital for the psychologically-impaired,
he begins to see why Sissi is special. Slowly, once he realizes he can't run forever, he begins to appreciate, then
accept Sissi's advances. It's a restrained acceptance, but a step in the right direction.
Surprisingly, Potente's performance surpasses her effort in Lola because of its depth, feeling, and transforming
character. It doesn't require the energy of Lola, but it does need a sense of wonderment and emotional instability, something
Potente has proven she's capable of providing. The quality of her work will not go unnoticed by mainstream Hollywood, and
she should begin appearing in more American films in the near future (as evidenced by the upcoming The Bourne Identity).
Furmann is also solid as Bobo, a tortured soul that needs comforting through the power of love. His chemistry with Potente
is obvious and inviting, allowing the film to grow beyond its boundaries.
The Princess and the Warrior, although undeniably well-crafted, will be misinterpreted and misunderstood by many who see
it. You have to be willing to look beyond simple storylines and surface appearances, and dig a little deeper into what the film
is asking you to explore. If you take the time to make an effort, you'll be amazed at the genius that lies just beneath the surface of an
otherwise confusing film. It's a rich, moody film that wraps its arms around you and coaxes you to respond honestly. It's
a film that's not to be missed.
© 2001 Jonathan Cornwell
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| Masterpiece - Classic; Movie perfection |
| Excellent - A Must See; One of the year's best films |
| Good - Highly Recommended |
| Fair - Worth seeing |
| Average - Viewable, but not recommended |
| Below average - View at own risk |
| Poor - Avoid at all costs |
| Very poor - An embarassment to the film industry |
| Zero | Awful - One of the worst films ever made |
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