The Year of Living Dangerously (1982)

Let me dispense of babble up front before the meat and potatoes. Nick Nolte did Guy Hamilton better in Under Fire. Nonetheless. If you are a Weir fan, you are a Weir fan. Except for the nauseating Witness, I am. How many Spottiswoode fans are there? Don't want to rehash---there are a thousand AWESOME reviews at this site. Michael Murphy will never get his due. I want to hone in on the neglect ( a couple posters got it) of the Gibson-Weaver sizzle. Having Sigourney laugh her ass off during most of the courtship was starling and brilliant. Reminded me of what real people do...Guy Hamilton chain-smoking during opera music thinking of her was priceless...their "blue-drink" afternoon, mesmerizing; him cornering her her at an embassy party then crashing curfew to that unforgettable score: unforgettable. A poster, quite a few entries below, mentioned what you remember in Wier's films long after it's over is the romance. Somewhat true. How do you explain Gallilopi? Regardless, this is a dangerous film with unforgettable cinematography and acting. And the romance rules! Politics outside your own realm of personal understanding are as dangerous as romance, but this film artfully understands this. In fact, that's probably the point. I love to see this once a year to remind me how good movies can be.

Fmovies: I had forgotten what it is to inhabit the frame, that is to be immersed not only in the world these characters experience but in the sensations made available in it. To feel a draught of air or the scorching heat.

Peter Weir here in his best period reminds me again. His fascination in this period with the otherworldly is firstly Australian, that of a man awed by the mysteries of an alien, ancient landscape that trumps comprehension, outlasts our follies and dreams, then foremostly mystical, implying a communion with worlds beyond.

In this world answers are denied us, and we can only hear vague echoes of the questions we have asked. This is Picnic at Hanging Rock as well as The Last Wave and The Year of Living Dangerously, the tingle of excitement and fear before this enormous complexity to which we are only small and transient. The Hanging Rock here becomes Jakarta.

These visions of Jakarta, a veritable jungle of humanity teeming with passions and cruelties, he presents from a point of view that communicates alienation and fear. When our white characters venture out into the crowded slums, human misery reaches out at them with filthy gaunt arms. All this he doesn't merely document for the sake of political discourse, he stylizes as an experience meant to stir things in the soul. This also outlines Weir's limitations; that these visions are perhaps too tawdry, the savages noble and the gnomes magical.

All this in mind, the film is best experienced for me as a spiritual journey. But towards what?

A dwarf is our guide through this, an ominpresent being that seems to create the story we are watching, an avatar of the filmmaker's consciousness. He narrates our hero's arrival, then makes him see his limits by offering him his folly, the desire for an exclusive story. In a poignant scene early in the film, holding shadow puppets before a canvas screen, he reveals to him a fundamental tenet of Buddhist thought. How desire clouds the soul so that reality itself becomes concave.

This is not always perfect of course, Peter Weir is no Antonioni after all. Our hero eventually gives up the big scoop to pursue love, but this is accomplished through violence perpetrated to him rather than a personal realization that comes from having experienced the folly of the mind (which Antonioni brilliantly dismantles for us in Blowup). Lying halfdead on a filthy bed somewhere in Jakarta, he remembers the wise words of how desire blinds the soul, but is none the wiser.

He doesn't willingly give up anything, which is to say even if his precious tape recorder (the tool by which he records the world, seeking "truth") is snatched from him in the airport at the last moment, he has essentially lost nothing that he doesn't carry inside of him.

Perhaps this is the film's apogee then, that faced with a chaos and violence which outlasts them and reveals them to be small and diminutive, mere specs of sand in the cosmic beach, the characters of the film stubbornly remain the same, having brushed off that encounter only as an exciting, dangerous escapade into the dark side.

The weather reflects that chaos in Weir's films, acting as an agent of transience whereby the world is shown to be in constant flux and motion. But the characters are phazed little by this, anxious to pursue their desires and enact their little charades of meaning. When a tropic downpour suddenly rains down on them, they laugh and play in it.

But if Weir's fascination

How anyone could have seen this movie and not recognized the depth of its social commentary and personal integrity is beyond me. This movie is written with power and intelligence, is performed impeccably and directed with cinematic genius. If you have not seen this movie, take time out to be touched in your head and heart.

The Year of Living Dangerously fmovies. I watched TYLD after a prof recommended it in grad school. I had to rent it from an obscure-movies rental place in Alexandria, Virginia and I now own the picture.

There are three elements, mixed together, that make TYLD superb, rich cinema. First, it captures the feel of westerners living abroad, the cluster of expat personalities that you find were you to live or work abroad.

Second, it is one of the best love stories ever crafted, with a "fleeting end of summer feel" between Mel Gibson and Sigourney Weaver. They are both young; Weaver is stunningly gorgeous. Their romance ends almost as abruptly as it begins. We've all been there.

The movie also captures an awesome historical moment and is fascinating Cold War history. The movie is flawless.

The film is wonderfully sensate, alive and filled with exotic beauty and deep passions.

The colors, textures and sound have a dimensionality that draws the viewer right into the scene, the place the time... when it rains, the viewer can feel the rain, when the hero, Guy is being drowned in a dream, the viewer senses the suffocation...

The chemistry between Mel Gibson and Sigourney Weaver, as young lovers in exciting times, is breath-taking!

But Linda Hunt is the biggest gem in the movie, playing a little man named Billy Kwan. She is incredibly credible in this role. Few female actresses can believably pull-off playing a male character, but Hunt did it so well that, at first, the viewer feels a familiarity with the person playing Billy without realizing he is being played by a woman. When I realized it, I was totally amazed. Hunt is a great actress well-deserving of the Oscar she won for the portrayal.

The film is evocative and enthralling. And so alive, so utterly alive!

_The Year of Living Dangerously_ has and is everything a film should be.

I just caught TYOLD again on PBS, not having seen it for perhaps ten years. Wonder of wonders, compared to many other films of the early '80s, this one is just as riveting as it was when I first saw it and doesn't look like it has aged a minute. In addition I am picking up many nuances of the film that I had never seen before.

What I know, and knew, about the tribulations of Indonesia in the 1960's is contained in the reels of this film. The subject matter is so far outside of the typical Western/American perspective that it is amazing that the film got made. Gibson is very good as Guy Hamilton, and his performance is much more lean and energetic than what he has done since - he hadn't had years of Hollywood gloss and Lethal Weapon familiarity to file down his performances into the predictable boxes they have become. Sigourney Weaver is elegant, although her English accent is never really convincing and sometimes disappears altogether. Linda Hunt's portrayal of Billy Kwan is astonishing and won her a well-deserved Oscar in an incredible gender-switching performance that was inspired casting.

One thing I never noticed before was how Billy placed each of the three main characters in their perspective as the Indonesian puppets he explains to Guy. Arjuna, the hero who can be fickle and selfish (Guy). The princess he will fall in love with (Weaver's character). And the dwarf, who carries the wisdom for Arjuna (Billy Kwan).

I haven't much more to say about this film aside from how much I admire it and recommend it to anyone who hasn't seen it. Beautifully shot, well paced, with good performances and about an interesting and important subject matter, it is well worth your time.