The Screen Addict Recommends โ€“ ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ (๐Ÿฎ๐Ÿฌ๐Ÿฌ๐Ÿด)

in WORLD OF XPILAR โ€ข 8 days ago

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While reading Ed Zwickโ€™s wonderful memoir ๐—›๐—ถ๐˜๐˜€, ๐—™๐—น๐—ผ๐—ฝ๐˜€ ๐—ฎ๐—ป๐—ฑ ๐—ข๐˜๐—ต๐—ฒ๐—ฟ ๐—œ๐—น๐—น๐˜‚๐˜€๐—ถ๐—ผ๐—ป๐˜€, it occurred to me that I had only seen ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ once, probably immediately upon release.

๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ is a perfect example of what I call a Forsaken Film โ€“ out of sight, thus out of mind.

Ironically, the fact that few people talk about ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ today, has nothing to do with the filmโ€™s quality. Nevertheless, it is somehow all but erased from our collective cinematic memory.

Mind you โ€“ Iโ€™m not claiming ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ is ๐˜ง๐˜ฐ๐˜ณ๐˜จ๐˜ฆ๐˜ต๐˜ต๐˜ข๐˜ฃ๐˜ญ๐˜ฆ. This characterization applies only to big-budget, star-studded direct-to-platform movies we donโ€™t remember watching the minute the end-credits roll (๐Ÿฒ ๐—จ๐—ป๐—ฑ๐—ฒ๐—ฟ๐—ด๐—ฟ๐—ผ๐˜‚๐—ป๐—ฑ? ๐—ฅ๐—ฒ๐—ฑ ๐—ข๐—ป๐—ฒ? ๐—ง๐—ต๐—ฒ ๐—š๐—ฟ๐—ฎ๐˜† ๐— ๐—ฎ๐—ป? Anyone? ANYONE???)

I call this phenomenon โ€œStreamnesiaโ€, courtesy of Jim Cahill.

Streamnesia however, doesnโ€™t apply to ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ. Zwickโ€™s film was made almost 20 years ago, long before the deluge of mediocrity washed over us. ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ is raw, brutally honest and utterly compelling. Furthermore, having revisited the film last night, I can confirm ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ is anything but a fleeting experience.

So, why didnโ€™t Zwickโ€™s pic โ€œstickโ€?

Itโ€™s a mystery to me.

Again, the elements are definitely all there โ€“ a stellar cast (Daniel Craig, Liev Schreiber and Jamie Bell among many others), a gripping story (four Jewish brothers escape into Belarusian forests and fight the Nazis), and an A-list crew (Zwick, James Newton Howard, Pieter Jan Brugge to name but a few).

๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ was made for a modest $30 million, which Zwick and his team somehow stretched to look like at least $100 million. I canโ€™t imagine that kind of cost-effectiveness in todayโ€™s bloated production-climate.

Sadly, the efficiency wasnโ€™t rewarded at the box office. ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ barely broke $50 million worldwide, which means there was no profit after marketing and the cinemasโ€™ share.

This got me thinking.

A lot of the dialogue in ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ is not performed in English with a Russian accent (like in most Hollywood films) but in ๐˜ข๐˜ค๐˜ต๐˜ถ๐˜ข๐˜ญ Belarusian. This is of course highly commendable, but also a bit distracting. Could it be that this creative choice hurt the filmโ€™s broader appeal?

Frustratingly, ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ isnโ€™t wildly available on streaming platforms either. The film was independently produced, and distributed mostly through local distributors. Rights are therefore fragmented, which makes dealmaking unappealing for streamers who prefer global rollout for high-profile films.

No second life in streaming for ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ, it seems... At least not for now.

This is why once again, I turned to the trusty DVD for my revisit of ๐——๐—ฒ๐—ณ๐—ถ๐—ฎ๐—ป๐—ฐ๐—ฒ. A physical copy isnโ€™t easy to come by though โ€“ your best bet is probably Amazon or eBay for a used disc.

But donโ€™t let this deter you! Seek it out, get your fix & thank me later.

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