Director/Coscreenwriter: Erik Poppe
By Marilyn Ferdinand
Here there be spoilers.
A Thousand Times Good Night is likely to have a large audience because its stars are the luminous Juliette Binoche, who has been in some very good pictures indeed, and Game of Thrones hottie Nikolaj Coster-Waldau. Norwegian director Erik Poppe has crafted a fine-looking film that is well paced and watchable, and he’s thrown in some arty images of slow-motion near death that add tasteful cachet. But like Binoche’s patented ability to cry on demand, this film has a trick or two up its sleeve, and the insidious message for women that it delivers, while seeming to say the opposite, may be overlooked if someone does not speak up. That someone would be me.
The film revolves around Binoche’s character, Rebecca, a war photographer who infiltrates an Afghani insurgency that uses women as human bombs to wreck terror on the opposition. She photographs the odyssey of one bomber beginning with a mock funeral that offers her the oblations she will be denied after her mission because there will be no remains to bury. Rebecca drives with the bomber to a market in Kabul, where she makes the driver let her out. An instinct to keep photographing draws the attention of the police. Rebecca feels that the nervous bomber will press the button too soon and warns the bystanders in the market to flee. She is, of course, right. After emerging in a daze from the bombing, Rebecca pops off a few more frames, and then collapses, her punctured lung bringing her close to death.
Her marine biologist husband Marcus (Coster-Waldau) flies to Afghanistan to bring her back to their home and two daughters in Ireland. Shortly after arriving home, Marcus tells her that as soon as she is on her feet, he and the girls are leaving her. His reason is that they are all terrified that she will be killed on the job, and they can’t live with the tension. Rebecca tells her editor that she is through doing combat photography, but when her teenaged daughter Steph (Lauren Canny) wants to go to a “safe” refugee camp in Kenya with Rebecca as part of a school project, Marcus agrees. Of course, the camp is attacked, Rebecca’s work instincts kick in, Marcus finds out about it a few days after they come back, and he kicks Rebecca out of the house. Marcus is a lost cause, but can Rebecca win back her children’s affection? Will she return to war photography as the only place she has left? Will she enroll in Adrenaline Addicts Anonymous and be reunited with her family, taking it one day at a time? What’s a woman to do?
The sexist bias of this film should be obvious to anyone, but adding children to the mix will sufficiently camouflage the issue for many audience members for whom society has provided a handy default position for women set to “mom first.” If the subject of this film were Frank Capa or Ernie Pyle, we’d expect the wife and kiddies to suck it up for the greater good. Indeed, we expect that of military families every day. But when a woman’s passion, talent, and ambition take her away from her family, when her love of humanity sometimes outstrips her mother love, wifely love, or even her love of her own life, then Houston, we have a problem. Rebecca is ballsy (yes, manlike ballsy) enough to accept the risks, but Marcus decides not just for himself, but for the children that she has to choose; after some two decades together, she finally gets hurt, and he can’t deal. When Rebecca senses something is wrong, she asks if there is another woman. Well, you know what—I think there was or this change of heart after so much time actually makes no sense.
The film moves on to explore the relationship between Steph and her mother, one in which Steph comes to accept and admire the work her mother does. Rebecca gives her a camera in Kenya and encourages her to experiment with it. After the marriage bust-up, Steph invites her mother to see her African project at school. It ends up being a tribute to her mother and the harsh truths she exposes—indeed, her photos of the attack in Kenya garnered better security for the refugee camp, so we know she’s doing important work that gets results. So, yes, the film wants to assure us that war photography is good.
But Poppe just has to beat Rebecca up one more time. Rebecca returns to the insurgents in Afghanistan to take some final photos to wrap the story up. Why she has to see another suicide bomber prepare herself is unclear, except as a way to get to the moral of the story Poppe wants to emphasize in case we hadn’t learned our lesson about the greatest calling a woman can aspire to. Rebecca raises her camera to photograph a young girl being fitted with explosives and starts to cry. She can’t take even one photo, so overcome is she that a terrible ideology is now sacrificing girls. The underlying message, however, is that Steph may end up following in her mother’s footsteps. What a horrible fate that would be.
The title, A Thousand Times Good Night, comes from the balcony scene in Act Two of Romeo and Juliet, one of the most romantic moments in all of dramatic literature. Its choice for this film is a confusing one, offering mixed messages about love. On the one hand, Rebecca has a private life filled with people who love her and whom she loves. On the other hand, Rebecca’s love for humanity tugs her away from them time and time again. I think it’s clear which love director Poppe thinks is more appropriate.
A Thousand Times Good Night shows Saturday, October 12, 3:00 p.m, Monday, October 14, 8:15 p.m., and Wednesday October 16, 12:40 p.m. at the AMC River East 21, 322 E. Illinois St. in Chicago. www.chicagofilmfestival.com
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