I don't think it's unfair to say that compared to many other films of Louis Malle, to some extent this feels relatively ordinary. Early scenes of exposition are well done but unassuming; the setting, characters, and all facets of the visual presentation, splendid as they are with all due commendations to the crew, are common compared to those of his other works, such that at a glance one might reasonably see this as belonging to most any filmmaker. Yet even if 'Alamo Bay' doesn't leap out of the gate to make a big impression, there's no questioning its excellence - nor that there's a ferocious undercurrent of unease and tension, right from the start, that is after all in keeping with the captivating airs Malle's pictures tend to carry in one fashion or another. Even before the plot really kicks up, and ever more so thereafter, the film overflows with horrid, appalling racism of every variety, misogyny, conspiracy theories, and the most terribly regressive of all sociopolitical views. The nearest point of reference to come to mind is 'American History X,' save for that this mixes its violence and terrorism in with a false veneer of civility and the complicity of law enforcement. Add in willful misunderstanding of geopolitics and wholesale swallowing of the worst propaganda, and by any measure the result is astonishingly ugly, neck and neck with the most cringe-worthy elements of 'Pretty baby' or 'Murmur of the heart.'
Difficult as the subject matter is, what can also surely be said of 'Alamo Bay' is that, characteristic of Malle no matter what he's doing, it is completely unflinching. The filmmaker never balks from the darkest and most dire of drama, or whatever a narrative or scene may require, and neither do his cast or crew. Screenwriter Alice Arlen has penned a portraiture of the most grim, hateful underbelly of the United States, with every inch of the screenplay oozing and reeking of the most foul ichor and only scant glimmers of light amidst the bleakness. It's a great credit to all involved, down to everyone in the supporting cast, that they unremittingly give of themselves to tell this story, even if that means depicting the worst people in the world. I don't know that Ed Harris has ever portrayed so despicable a character - to be honest, I didn't know he was capable of it - but his performance as Shang is as full as any he has ever given. I'm less familiar with Amy Madigan, yet she gives a stalwart show of acting as Glory, defined by wonderful poise and nuance, that stands toe to toe with her husband. Much the same could also be said of Ho Nguyen, whose turn as determined Dinh is a terrific complement to Madigan's admirably bullheaded businesswoman; it's between the two of them that the feature can claim its welcome pinprick of hopefulness. I suppose I shouldn't be surprised, as Malle always seems to bring out the very best in his collaborators, but still I'm taken aback by just how superb the acting is.
Ry Cooder, meanwhile, operates quietly in the background, lending considerably to the dreary atmosphere. His isn't a name that bears the same level of recognition as many of his fellow film composers or musicians generally, yet his work is always fantastic. His dynamic themes carry tinges of both the Texan South where the tale takes place, and the lands of Southeast Asia where important characters hail from, and range from light fare to establish the scenario to somber, almost ambient chords portending the far grittier aspects. I freely admit that I'm not super familiar with Cooder; for whatever I've heard from him, what I know best is his work on 1986 blues coming-of-age drama 'Crossroads,' which is certainly a far cry from a saga of immigration and white supremacist terrorism. With that said, 'Alamo Bay' is certainly deft illustration of the breadth of his skillset, and I'm so pleased with it.
By all means, this is well made across the board - cinematography, editing, direction; production design, art direction, hair and makeup, and so on. I would assume no less. Yet here perhaps is the biggest difference between this and Malle's other features, which is that where, elsewhere, every last detail can be scrutnized and elevated for praise, in this case it's more that a specific few parts stand out most. It's Arlen's screenplay, for one, and the acting, for another. And as much as Malle deserves congratulations in a technical capacity as director, otherwise 'Alamo Bay' is much more about the uncompromising unity of vision with which he assembles the movie and those working alongside him, the deep investment subsequently fashioned for the viewer, and the powerful, often uncomfortable feelings that the viewing experience elicits. Ultimately I think this film is just as perfect as anything else in the man's oeuvre, it's just that the focus is slightly shifted from what we've seen in, say, 'Au revoir les enfants' or 'Lacombe, Lucien.' But then again, isn't that only further demonstration of how masterful a creator Malle was?
Content warnings are very necessary for the strident racism and terrorism that are part and parcel of the storytelling, and in some smaller measure, also domestic violence, nudity, and alcohol. This will not appeal to all viewers, and even setting that aside I can understand how it won't come off equally well in the eyes of all who appreciate it. For that matter, I'd be lying if I said I wasn't a Malle fan girl; I've yet to see any of his full-length features that I haven't adored, so take my words with a grain of salt if you will. All I know is that whatever I thought 'Alamo Bay' might be, in my opinion it's it's even better, far and away better, easily joining the company of his most highly acclaimed titles. It gets oh so dark, yes, but with that the filmmaker does what he does best. Keeping in mind the nature of the content, as far as I'm concerned this is well worth seeking out, however you must go about it.
Difficult as the subject matter is, what can also surely be said of 'Alamo Bay' is that, characteristic of Malle no matter what he's doing, it is completely unflinching. The filmmaker never balks from the darkest and most dire of drama, or whatever a narrative or scene may require, and neither do his cast or crew. Screenwriter Alice Arlen has penned a portraiture of the most grim, hateful underbelly of the United States, with every inch of the screenplay oozing and reeking of the most foul ichor and only scant glimmers of light amidst the bleakness. It's a great credit to all involved, down to everyone in the supporting cast, that they unremittingly give of themselves to tell this story, even if that means depicting the worst people in the world. I don't know that Ed Harris has ever portrayed so despicable a character - to be honest, I didn't know he was capable of it - but his performance as Shang is as full as any he has ever given. I'm less familiar with Amy Madigan, yet she gives a stalwart show of acting as Glory, defined by wonderful poise and nuance, that stands toe to toe with her husband. Much the same could also be said of Ho Nguyen, whose turn as determined Dinh is a terrific complement to Madigan's admirably bullheaded businesswoman; it's between the two of them that the feature can claim its welcome pinprick of hopefulness. I suppose I shouldn't be surprised, as Malle always seems to bring out the very best in his collaborators, but still I'm taken aback by just how superb the acting is.
Ry Cooder, meanwhile, operates quietly in the background, lending considerably to the dreary atmosphere. His isn't a name that bears the same level of recognition as many of his fellow film composers or musicians generally, yet his work is always fantastic. His dynamic themes carry tinges of both the Texan South where the tale takes place, and the lands of Southeast Asia where important characters hail from, and range from light fare to establish the scenario to somber, almost ambient chords portending the far grittier aspects. I freely admit that I'm not super familiar with Cooder; for whatever I've heard from him, what I know best is his work on 1986 blues coming-of-age drama 'Crossroads,' which is certainly a far cry from a saga of immigration and white supremacist terrorism. With that said, 'Alamo Bay' is certainly deft illustration of the breadth of his skillset, and I'm so pleased with it.
By all means, this is well made across the board - cinematography, editing, direction; production design, art direction, hair and makeup, and so on. I would assume no less. Yet here perhaps is the biggest difference between this and Malle's other features, which is that where, elsewhere, every last detail can be scrutnized and elevated for praise, in this case it's more that a specific few parts stand out most. It's Arlen's screenplay, for one, and the acting, for another. And as much as Malle deserves congratulations in a technical capacity as director, otherwise 'Alamo Bay' is much more about the uncompromising unity of vision with which he assembles the movie and those working alongside him, the deep investment subsequently fashioned for the viewer, and the powerful, often uncomfortable feelings that the viewing experience elicits. Ultimately I think this film is just as perfect as anything else in the man's oeuvre, it's just that the focus is slightly shifted from what we've seen in, say, 'Au revoir les enfants' or 'Lacombe, Lucien.' But then again, isn't that only further demonstration of how masterful a creator Malle was?
Content warnings are very necessary for the strident racism and terrorism that are part and parcel of the storytelling, and in some smaller measure, also domestic violence, nudity, and alcohol. This will not appeal to all viewers, and even setting that aside I can understand how it won't come off equally well in the eyes of all who appreciate it. For that matter, I'd be lying if I said I wasn't a Malle fan girl; I've yet to see any of his full-length features that I haven't adored, so take my words with a grain of salt if you will. All I know is that whatever I thought 'Alamo Bay' might be, in my opinion it's it's even better, far and away better, easily joining the company of his most highly acclaimed titles. It gets oh so dark, yes, but with that the filmmaker does what he does best. Keeping in mind the nature of the content, as far as I'm concerned this is well worth seeking out, however you must go about it.