☆ ☆ ☆ ☆
The
Return (2003) – A. Zvyagintsev
Andrey Zvyagintsev’s very first feature
shows him to already be a master of film craft, something which has since been
reinforced by 2014’s Leviathan and this year’s Loveless (which I am still
looking forward to watching). Although I
am not sure the Tarkovsky comparisons are fully warranted (except that he is
Russian and shoots a great landscape), there is no denying that Zvyagintsev
does know how to create suspense and tension through a well-executed script and
careful attention to character development.
Here, two young brothers, aged 12 and 14 (perhaps), are shocked by the
sudden return of their long absent father, whom the younger son can’t recall at
all. The father immediately takes them
on an overnight fishing trip during which he acts increasingly menacing and
harsh; soon the overnight trip extends to become a longer journey, full of rain
and hardships. A terrible sea voyage in
a rowboat features prominently, ending on a secluded, perhaps deserted, island
where the boys must confront their hostile father. Thinking back to Tarkovsky, he was famous for
including the four elements in his films, sometimes all in the same shot (see
Stalker or The Mirror, for examples); perhaps Zvyagintsev may have also tried
this here (there is a tremendous amount of wind and rain plus campfires and at
least one ditch being dug). Other
reviewers suggest that The Return contains metaphysical and mythological themes
or Freudian ones (in which the sons must overcome the father to, if not to obtain
the mother, at least to become men); I didn’t pick this up but it would also
suggest a Tarkovsky influence. What I
did see was a tremendously acted film, especially by Ivan Dobronravov (the
stubborn younger son), and one that was almost unbearable in its sense of foreboding
threat. As a father of two sons, I may
have observed the boys’ relationship more carefully (and felt more tense as a result!). A sinister nail-biter, if you are in the
mood, and a beautiful looking one to boot.
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