Blindness reviews

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OscarGuy
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Post by OscarGuy »

I don't know why anyone hated the movie. It was a stark and disturbing look at the nature of humanity. I thought it was quite good. But, I'll reserve more detailed analysis for my review.
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Post by Mister Tee »

As BJ says, this is the sort of movie that depends on reviews -- serious movies have no built-in audence the way teen comedies or action movies do. It's nothing to do with Julianne Moore; it's Manohla Dargis and the other critics who hated the movie. Rachel Getting Married is doing swell, and I don't think it's just Anne Hathaway (otherwise Havoc would have done alot better).
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Post by OscarGuy »

That's our movie tomorrow. I was actually surprised to find others wanted to see it, but post-apocalyptic kind of stuff does tend to interest our people...but I'm sure they'll hate it. I don't know how I'll feel, but I won't read reviews to see how I should feel about it before I see it.
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Post by The Original BJ »

Well, to be fair, those reviews aren't helping the film at all. This is the kind of movie I bet a lot of us around here would be excited about seeing -- I, for one, thought the premise/director/cast made it seem right up my alley -- but after reading one lethal review after another, I sure didn't go out of my way to see it this weekend.
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Post by barrybrooks8 »

Blindness is tanking. It didn't even muster one million on opening day, yet American Carol AND Religulous both did on less screens. I went on a Friday night 7pm show and there were probably only twenty people there. I should have known. Julianne Moore is still one of those actresses that the general could-care-less-about-awards public is unaware of. When I said to co-workers I was going to see Blindness, I received reactions of "what's that?" and "who's that?" I think I'll just drown myself.
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Post by barrybrooks8 »

I enjoyed it quite a bit. I was disturbed, yes, and it left me longing for more. I think I will read the book.
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Post by kaytodd »

I read and liked the book as well. These people weren't quarantined because they were blind. It was because they were suffering from an extremely contagious disease that was spreading unchecked and those who had not yet gotten it were panicked. If the disease caused deafness or covered one's body with painful boils I think a quarantine would be in order. The white blindness was a good idea and made for beautiful prose. I am looking forward to the film.
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Post by FilmFan720 »

There were protests for the book along the same line, too. I am almost finished with the book, and boy are these people missing the mark on the piece. It is a phenomenal book. My wife is a teacher of students who are blind or visually impaired, and very protective of them, and she is looking forward to the film. Not all advocates are idiots:)
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Post by OscarGuy »

It's only not a "clever allegory" because he doesn't get it. And boy doesn't he get it. I haven't even seen the movie and I know the purpose of a scene like that. It's ignorance like this that really make political correctness the most lame and annoying thing ever dreamed up by the need to please all the people all the time.
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Post by rolotomasi99 »

why are people so stupid?


Blind Activists Plan Protest Of Julianne Moore Movie

BALTIMORE — Blind people quarantined in a mental asylum, attacking each other, soiling themselves, trading sex for food. For Marc Maurer, who's blind, such a scenario _ as shown in the movie "Blindness" _ is not a clever allegory for a breakdown in society.
Instead, it's an offensive and chilling depiction that Maurer fears could undermine efforts to integrate blind people into the mainstream.
"The movie portrays blind people as monsters, and I believe it to be a lie," said Maurer, president of the Baltimore-based National Federation of the Blind. "Blindness doesn't turn decent people into monsters."
The organization plans to protest the movie, released by Miramax Films, at 75 theaters around the country when it's released Friday. Blind people and their allies will hand out fliers and carry signs. Among the slogans: "I'm not an actor. But I play a blind person in real life."
The movie reinforces inaccurate stereotypes, including that the blind cannot care for themselves and are perpetually disoriented, according to the NFB.
"We face a 70 percent unemployment rate and other social problems because people don't think we can do anything, and this movie is not going to help _ at all," said Christopher Danielsen, a spokesman for the organization.
"Blindness" director Fernando Meirelles, an Academy Award nominee for "City of God," was shooting on location Thursday and unavailable for comment, according to Miramax. The studio released a statement that read, in part, "We are saddened to learn that the National Federation of the Blind plans to protest the film `Blindness.'"
The NFB began planning the protests after seven staffers, including Danielsen, attended a screening of the movie in Baltimore last week. The group included three sighted employees.
"Everybody was offended," Danielsen said.
Based on the 1995 novel by Nobel Prize winner Jose Saramago, "Blindness" imagines a mysterious epidemic that causes people to see nothing but fuzzy white light _ resulting in a collapse of the social order in an unnamed city. Julianne Moore stars as the wife of an eye doctor (Mark Ruffalo) who loses his sight; she feigns blindness to stay with her husband and eventually leads a revolt of the quarantined patients.
The book was praised for its use of blindness as a metaphor for the lack of clear communication and respect for human dignity in modern society.
Miramax said in its statement that Meirelles had "worked diligently to preserve the intent and resonance of the acclaimed book," which it described as "a courageous parable about the triumph of the human spirit when civilization breaks down."
Maurer will have none of it.
"I think that failing to understand each other is a significant problem," he said. "I think that portraying it as associated with blindness is just incorrect."
The protest will include pickets at theaters in at least 21 states, some with dozens of participants, timed to coincide with evening showtimes. Maurer said it would be the largest protest in the 68-year history of the NFB, which has 50,000 members and works to improve blind people's lives through advocacy, education and other ways.
The film was the opening-night entry at the Cannes Film Festival, where many critics were unimpressed.
After Cannes, Meirelles retooled the film, removing a voice-over that some critics felt spelled out its themes too explicitly.
Meirelles told The Associated Press at Cannes that the film draws parallels to such disasters as Hurricane Katrina, the global food shortage and the cyclone in Myanmar.
"There are different kinds of blindness. There's 2 billion people that are starving in the world," Meirelles said. "This is happening. It doesn't need a catastrophe. It's happening, and because there isn't an event like Katrina, we don't see."
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Post by Mister Tee »

Hollywood Reporter (more in line with the emerging consensus):


Do you suppose an apocalyptic fable would ever possess any lightness or even rogue humor? No, social disintegration and degradation are the order of the day, and Fernando Meirelles' "Blindness" is no exception.

There is an extraordinary visual plan and considerable cinematic challenges to overcome for the Brazilian filmmaker ("City of God") in adapting Nobel laureate Jose Saramago's 1995 novel to the screen so there is much here to quicken the pulse and engage the mind. "Blindness" is provocative cinema. But it also is predictable cinema: It startles but does not surprise.

An appreciative critical response will be needed stateside for Miramax to market this Brazilian-Canadian-Uruguayan co-production. Other territories may benefit from the casting of an array of international actors with some boxoffice draw.

The script by Don McKellar bears witness to a mysterious plague of blindness, a "white" disease in which people's eyes suddenly see only white light. As a cosmopolitan city struggles to cope with the horrifying fallout, a panicked government orders the immediate quarantine of those infected. The herding of shunned people into prison-like camps clearly provokes images of any number of 20th-century atrocities.

The film follows a few characters into a filthy, poorly equipped asylum where social order swiftly breaks down into gang conflict between republicans and royalists, between democracy and dictatorship. The republicans have a ringer though. The wife (Julianne Moore) of a doctor (Mark Ruffalo) -- an eye doctor in a deliberate irony -- can actually see but tells no one.

As in "Lord of the Flies" or even "Animal Farm," the order that establishes itself is elitist, corrupt and lethal. A bartender (Gael Garcia Bernal) in the next ward is soon demanding valuables, then sexual favors for the distribution of the food, which he unaccountably controls. His ringer is a nasty old man (Maury Chaykin), blind from birth, who knows how to navigate in the world of sightlessness.

First comes acquiescence by the other wards, then rapes, murders and finally rebellion. Only then do the prisoners discover the guards have long disappeared. The entire world is caught in the throes of this plague. The ragged survivors stumble into a city of starvation and brutality.

Meirelles bathes the screen in a kind of white overexposure and other times a blurriness to convey the terrifying sense of dislocation and fear. You see the characters -- and the digusting filth they do not -- yet feel their helplessness when the screen jars or distorts your vision.

For this part, screenwriter McKellar creates two points of view -- initially that of the sighted wife, who tries to create order without giving away her ability to see, then switching occasionally to a man with an eye-patch (Danny Glover), whose philosophical commentary on metaphorical blindness expresses an authorial point of view.

One considerable problem with the first viewpoint is the character's slowness to act. She could easily have prevented any number of murders and rapes (including her own). Her failure marks an inexplicable failure of both nerves and morals that warps this not always convincing fable. And Glover's intellectual postures amid such physical distress come off as slightly pompous, perhaps cruelly so.

This philosophical coolness is what most undermines the emotional response to Meirelles' film. His fictional calculations are all so precise and a tone of deadly seriousness swamps the grim action. (Only a Stevie Wonder song and a line about volunteers raising their hands draw laughs.) Even the eventual lifting of the state of siege, while a welcome ending, has the arbitrariness of an author who has made his point and simply wants to sign off.

Removing a fable from the comfort of the printed page to the photo-reality of film can sometimes lead to its own kind of blindness.
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Post by Mister Tee »

The Guardian, out of step, loves it.

The Cannes film festival opens tonight with a film that makes us experience the most chilling and dizzying high anxiety. Blindness is an apocalyptic nightmare adapted from the 1995 novel by Nobel laureate José Saramago and directed by Fernando Meirelles, who finds in it the brutal exposition of shanty-town jungle law we saw in his 2002 movie City of God. The film is superbly photographed by Cesar Charlone.
In an unnamed city of the near future, a terrifying epidemic of "white blindness" - the sufferers seeing only milky white light - spreads like wildfire. The infection's ground zero is a Japanese businessman (Yusuke Iseya) who staggers sightlessly from his luxury automobile which is promptly stolen by an opportunist thief who also goes blind. The man finds himself in the offices of an eye doctor (Mark Ruffalo) who is also treating a high-class prostitute (Alice Braga) in the business of servicing clients in a hotel, with the help of a discreet barman (Gael García Bernal). All go blind and from this nexus, the disease spreads.

The blind are herded into containment camps, guarded by armed cops in anti-infection masks who dump food there and tell prisoners to organise distribution themselves. A Lord of the Flies situation develops in the horrible chaos, but Ruffalo's Doctor has a crucial advantage in this cauldron of the damned. His wife (Julianne Moore) can secretly see.
The city of the blind opens its inhabitants' eyes to their former civilisation's brutality and indifference. What is fascinating to see is how the blind prisoners are admitted to the quarantine camp in the order in which they made fleeting contact in the preceding narrative: a pharmacy clerk, a cop, a hotel maid, all connected via the fleeting and heedless contact of the modern, uncaring city, and now joined in a chain of terrible significance.

As the shuffling inmates become used to their blindness, they experience a crisis prefigured by Berkeley's 18th-century dictum about being and being perceived: they see no one and no one sees them. Do they exist? Did they exist before? Other inmates, however, see a new equality or democracy in blindness: young and old, ugly and beautiful, all are levelled.

And all the time Julianne Moore, exiled from the community of suffering, must endure a vision of horror from which everyone else is spared.

Blindness is a drum-tight drama, with superb, hallucinatory images of urban collapse. It has a real coil of horror at its centre, yet lightened with finely judged touches of gentleness and even humour. It reminded me of George A Romero's Night of the Living Dead, John Wyndham's Day of the Triffids and Peter Schaffer's absurdist stage-play Black Comedy, showing humanity groping in the darkness. This is bold and masterly film-making from Meirelles: popular entertainment with challenging ideas.
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Post by dws1982 »

Jeffrey Wells was apparently mixed on this, but I haven't found his review online.

Screendaily is mixed, but likes Julianne Moore and Alice Braga:

In Blindness, Fernando Meirelles valiantly attempts to pin down Nobel laureate Jose Saramago's largely metaphorical work of fiction for the big screen: by giving the audience eyes on a world suddenly hit by a plague of blindness. The result makes for a traumatic viewing experience, but never does Mereilles convincingly illuminate the wrenching fear of his source material.

The laudably-ambitious Brazilian director hurls every visual trick in his considerable book at the challenges inherent in making a visual experience out of blindness. The result illuminates the dreadful plight of Julianne Moore's central character, the only person left in an un-named city who can see the self-created horrors which rapidly befall the unseeing human race. And in a performance which will surely draw awards attention, the actress proves more than up to the task. However, other characterisations feel foreshortened as the story is compressed. Meirelles seems to struggle to find a tone, and Blindness fatally lacks tension before it tips over into bizarre final-act sentimentality.

With the heft of Focus' international sales infrastructure, Miramax as domestic distributor and the pedigrees of all the principals involved, Blindness will find an audience, possibly in pre-awards season, with enthusiastic marketing. But the film will not launch accompanied by overly-positive notices, and audiences may find the result not sufficiently illuminating to justify watching the degredations onscreen

Unsettlingly, Danny Glover's narration encapsulates the conclusion – the final lines - of the novel as DoP Cesar Charlone's desaturated images – red is a standout colour initially – capture the onset of the disease. "I don't think we went blind," he says. "I think we always were." Obviously, the audience isn't going to be trusted to make that conclusion, which isn't a good sign. Sitting at a traffic light, The First Blind Man (Iseya; this is a Japanese co-production with Gaga and Asmik Ace involved) suddenly finds his vision has clouded over in a milky white colour.

A seemingly-charitable bypasser, the Thief (screenwriter McKellar), drives him home only to abandon him on a level crossing and steal his car. His wife (Kimura) brings him to an opthamologist (Ruffalo), who can find no reason for the sudden onset of blindness. He tells his wife (Moore) about it over dinner. By the next day, everyone has been stricken with the exception of Moore, including all the patients in the Doctor's waiting room (Braga, Glover) and the people they encountered as well.

Initally, the Government (led by health minister Sandra Oh in an incongruous cameo) reacts by confining the "contaminated" in a dilapidated former mental health facility guarded by a trigger-happy military; here, things abruptly deteriorate. Adapting this, McKellar has a lot of material to compress and he pretty much follows the densely-packed novel faithfully, forcing a breakneck pace. Gael Garcia Bernal makes an entrance as King of Ward Three, an atavistic thug who Bernal plays as if he had the entire film at his disposal for a layered characterisation: he doesn't.

A brutal gang rape seen is not as horrific as it needs to be; the peril of the starving inmates caught between Ward Three and the military seems lost in artful lighting. A whimsical score almost sabotages the tone; multi-accents in an anonymous city (partially shot in Montevideo) should feel appropriate but feel like an old-style concession to producing partnership status.

Highlights include Moore and Ruffalo's delicately-nuanced relationship, and Alice Braga is perfectly cast as the Woman With Dark Glasses. But as Blindness stumbles to a close, it is liberally and literally showered with sentimentality – a jarring change from what has gone before. And by the end it is clear than that Glover's voiceover was actually necessary; because Mereilles has lost sight of the novel's central tenet.

----------------------
A mixed notice from The Telegraph:

The 61st Cannes festival began with a bang. Followed by horns, then yelling, then chaos.

Blindness, directed by Fernando Meireilles from a novel by Portuguese Nobel Prize-winner Jose Saramago, is set in an unnamed city whose inhabitants are suddenly plagued by a 'white blindness' that leaves them hysterically flailing and crashing across streets newly alien to them.

They're hustled into an asylum in which there's no attempt at rehabilitation and whose inmates risk being shot if they try to break out. The only source of hope lies in an unnamed character played by Julianne Moore: she pretended to be blind so that she wouldn't be separated from her optician husband (Mark Ruffalo).

The film, scripted by Don McKellar who directed the excellent pre-millenial story Last Night, seems at first to be another apocalypse drama in the vein of Children of Men and I Am Legend.

But, largely at the behest of Saramago who vetoed adaptations that dwelled too much on violence or neo-zombie head-ripping, it goes to great lengths to emphasise the philosophical and spiritual implications of the contagion.

Too much so on occasion: during a conversation about agnosticism over supper, Ruffalo uses the unforgivable words "etymologically speaking" to Moore. Elsewhere, Danny Glover's voiceover keeps spelling out questions that the audience is already asking itself.

Blindness recalls late-60s films such a Robert Downey Sr's Pound in which a cross-section of characters is penned together with cruel and sometimes comic results. These are laboratory dramas in which the ability of human beings to organize themselves for the common good is tested - often with bleak results.

Here, a state of near-savagery soon emerges, with Gael Garcia Bernal playing a pistol-waving demagogue who forces female inmates to offer their bodies in return for food. One of his most effective sidekicks is a softly-spoken brute who was born unsighted: in the kingdom of the blind, the long-term blind are kings.

Blindness is one of a clutch of recent films, last year's Cannes-heralded The Diving Bell and The Butterfly among them, that tries to envisage the world from the perspective of the unsighted. At times, there is jagged, panicky movement; at others, the screen is filled with drifting, abstract patterns.

The cinematography alternates between bleached out wooziness and super-sharp pointillism. These moves, as well as the awkward sound design and the camera's shifting point of view, are overdone.

As always, it's impossible to take one's eyes off Moore who is so adept at playing roles in which her strength seems brittle, almost masochistic. Alice Braga, a prostitute who is one of the inmates that Moore and Ruffalo befriend, is also a stand-out performer.

They do well to save a film that, in trying so hard to be faithful to the novel, falls prey to tone-deafness.
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Post by Mister Tee »

And, if this represents the dominant view, the year's first serious disappointment. Variety's take:

Blindness

A Miramax Films (in U.S.)/Focus Features (international) release of a Focus Features Intl. presentation, with the participation of Telefilm Canada, Movie Central, Fiat, Ontario Film & Television Tax Credit, BNDES, C&A, Canadian Film or Video Production Tax Credit, of a Rhombus Media (Canada)/O2 Filmes (Brazil)/Bee Vine Pictures (Japan) production. (International sales: Focus Features Intl., London.) Produced by Niv Fichman, Andrea Barata Ribeiro, Sonoko Sakai. Executive producers, Gail Egan, Simon Channing Williams, Tom Yoda, Akira Ishii, Victor Loewy. Co-producers, Bel Berlinck, Sari Friedland.
Directed by Fernando Meirelles. Screenplay, Don McKellar, based on the novel by Jose Saramago.

Doctor's Wife - Julianne Moore
Doctor - Mark Ruffalo
Woman With Dark Glasses - Alice Braga
First Blind Man - Yusuke Iseya
First Blind Man's Wife - Yoshino Kimura
Thief - Don McKellar
Accountant - Maury Chaykin
Boy - Mitchell Nye
Man With Black Eye Patch - Danny Glover
Bartender/ King of Ward Three - Gael Garcia Bernal


By JUSTIN CHANG
The personal and mass chaos that would result if the human race lost its sense of vision is conveyed with diminished impact and an excess of stylish tics in "Blindness," an intermittently harrowing but diluted take on Jose Saramago's shattering novel. Despite a characteristically strong performance by Julianne Moore as a lone figure who retains her eyesight, bearing sad but heroic witness to the horrors around her, Fernando Meirelles' slickly crafted drama rarely achieves the visceral force, tragic scope and human resonance of Saramago's prose. Despite marquee names, mixed reviews might yield fewer eyes than desired for this international co-production.
Saramago, who won the Nobel Prize for literature in 1998, long resisted the idea of having his 1995 masterwork (translated from Portuguese into English in 1997) adapted for the bigscreen. Meirelles, tackling his second literary property (after 2005's "The Constant Gardener"), has proven the Portuguese writer's instincts to be sadly correct. A horror tale, a bleak allegory and a chronicle of human suffering as consoling as it is devastating, "Blindness" emerges onscreen both overdressed and undermotivated, scrupulously hitting the novel's beats yet barely approximating, so to speak, its vision.

A deliberately unspecified but primarily English-speaking city is experiencing an outbreak of what becomes known as the "white sickness," causing stricken individuals to lose their eyesight, seeing nothing but white rather than darkness. First to succumb is a driver (Yusuke Iseya) who suddenly goes blind behind the wheel; his condition also afflicts his wife (Yoshino Kimura), the doctor (Mark Ruffalo) who examines him and several other patients at the latter's office, just for starters.

The only one who proves inexplicably immune to the rapidly spreading contagion is the doctor's wife (Moore), who conceals this fact so as to accompany her husband to the abandoned mental asylum where the blind are placed under government quarantine. As the wards become crowded with internees, guarded by soldiers ready to fire at anyone who tries to escape, "Blindness" paints a despairing picture of humanity under siege.

Yet where the novel derived its power from a gradual, painstakingly detailed account of deteriorating conditions inside the prison, Meirelles resorts to visual shorthand and montage. In a manner more expedient than plausible, food grows scarce, the corridors become strewn with human waste and a violent faction, led by one gun-toting refugee (played by Gael Garcia Bernal), begins demanding payment of the most humiliating kind from the female internees. Tastefully shot and staged, the rape scene disturbs but also exemplifies the film's willingness to flinch from a work that, on the page, is utterly unflinching.

Burdened with the ability to see the world going blind and mad around her, the doctor's wife, acting as a stand-in for the audience, takes violent, decisive action that triggers a breakout from the asylum. Moore gets ample opportunity to show both unrestrained tears and clenched resolve as the woman who bravely leads a small group to freedom, including her husband, the first blind man and his wife, a beautiful young woman (Meirelles vet Alice Braga) and an old man (Danny Glover). Latter also provides incessant voiceover narration that, accompanied by the intrusive, dirge-like wailing of the score, tries in vain to fill in for the philosophical asides, wry humor and gorgeous epiphanies of Saramago's voice.

Foregoing the vibrant, furiously overheated visual style he brought to "City of God" and "The Constant Gardener" (the editing, by "City of God's" Daniel Rezende, is noticeably less frenzied), Meirelles adopts a cooler but, in its own way, no less fussy aesthetic. He often floods the screen in luminous white to mimic the sensation of blindness, at other times bathing his characters in the stuff so they appear to be, in one's words, "swimming in milk." This deliberately artificial effect gives the film a stagy, self-conscious air, a feeling only heightened by the book-inspired conceit of not giving the characters names.

Tule Peake's production design impresses with the transformation of the sterile mental ward to squalid ninth circle of hell, and Meirelles' vision of the outside world, littered with rubbish as extras stagger blindly about, is no less convincing. Pic was lensed in Ontario, Brazil and Uruguay, and appropriately enough, the city in which it's set looks both vaguely familiar and effectively otherworldly.




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