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29 Jan

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Movie Title: Two Brothers
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‘Two Brothers’, a UK-French film collaboration project under the direction of Jean-Jacques Annaud (known for ‘The Bear’ and ‘The Name of the Rose’) and written by Alain Godard and Annaud, is at once the heartwarming and heartwrenching legend of two Bengal tigers, While the advertising makes it seem like a Disney-esque film, this is not really one for younger children, so parents should beware. In today’s world there are many people who are not particularly nice toward wild animals; a hundred years ago, the time period during which this was spot, there was even less regard for the colossal animals of the jungle, seen as objects for sport and amusement rather than creatures of integrity in their absorb good. I went with two adults, one of whom felt it principal to leave the theatre for a brief while; there were children expose in the theatre, and again I saw parents taking their children out at some of the more troublesome scenes – unfortunately, many didn’t return for the tickled ending. This is a sizable film, worth five stars without doubt, but alas, the marketing is nasty, and would catch a single star from me.

Guy Pearce plays the ‘great white hunter’ character of McRory, a world-famous hunter-explorer of European origin and fame, a known author as well as second-class Indiana Jones, looking for what will sell benefit in the London auction houses — he changes from animal skins and tusks to statues and antiquities. There are no other actors of wide fame, but all do a gracious job, from the Westerners in the French Indochine to the locals, from tribal persons to high potentates. All seem to have reasons to be against the tigers, set a few, who eventually advance round and support the tiger brothers through their troubles.

The true stars of the film, of course, are the tiger cubs Kumal and Sangha, in addition to the other tigers, including the mother Tigress and the large Tiger Father. The lead trainer, Thierry Le Portier, a fellow Frenchman to Annuad who worked on ‘The Bear’, and trainer Randy Miller stated that 30 tigers in all were passe, and one of the biggest efforts was to have tiger cubs available — they grow so hastily, they might not be the same size over the course of shooting. In the demolish, the effects and training were ravishing, and given the kinds of harrowing treatment the tigers were to have received (usually, thankfully, unbiased off-screen), one truly hopes the ‘no animals were harmed in this production’ pledge at the demolish was in earnest.

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The space is a twisty one, following the two tiger brothers who are separated early, and each have different adventures (not all of them nice, and many downright disturbing) until they are reunited in a festival, when they are able to recapture their kinship and their brotherly playfulness. The movie has the obligatory overjoyed ending; I was on the verge of tears from frustration and sorrow at different points of the film, but the only time I actually did shed a sail was as the sunlight pierced the tell-tale marker on one of the tigers (and those who glimpse the film will understand this, but I don’t want to give away the ending) .

The settings in Cambodia and Thailand are natural settings, unexcited undisturbed jungles in many areas, and the temple settings as the home of the tiger family is a improbable contrivance. The Angor Wat Temples, now very favorite tourist destinations, had to be closed to such traffic during the filming. The music is dramatic and roguish as appropriate, but very mighty in the background; rarely did I peep the music for the visuals.

A fabulous film in many ways, it is a statement for humane treatment of animals. Unfortunately, this sometimes involves disturbing scenes of mistreatment, which again makes this a film not for young children. Parental discretion and previewing is advised.

An absolutely exquisite movie, and a very bewitching record. Definitely a movie I will be recommending to everyone. As writer/director Annaud has commented, and as anyone who knows animals can shriek you, tigers are shiny, emotional creatures and the premise of “Two Brothers” is simple: the tigers want to live their lives in peace. The movie does not sugar-coat the intention tigers have been treated (not that there is any on-screen gore) and so may expose to be an emotional roller-coaster for the sympathetic. Hopefully the richness and skill of the storytelling will near out and produce even more people sympathetic to their fellow creatures.

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“Two Brothers” is beautifully photographed, and very knowing in its depiction of the tigers. They even got the tigers’ vocalizations right–tigers have more of a vocabulary than most movie makers seem to know about, but Annaud got it just.

Favorite scenes: The woman reading typical early-20th-century “tall game hunting adventures” to her son while he and the tiger cub snooze happily side-by-side, and the central human’s personal epiphany when he realizes that the animals he’s been hunting can mediate and like.

“Two Brothers” asks that you initiate your heart, and it rewards you greatly if you do. It absolutely deserves being called a “family movie”.
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