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Film
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The Beautiful Country
The second English-language feature of Norwegian TV commercials whiz Hans Petter Moland is yet another study of complex family dynamics.
Wednesday, July 20, 2005
By Kevin Biggers
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Sony Pictures Classics
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Moland (l), with Nguyen
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When the Vietnam War ended in 1975, the American soldiers left, leaving scores of Vietnamese women behind, bearing drossy marriage certificates and unwanted children as wistful reminders of their American G.I. lovers. The soldiers returned home and a majority, if not all of them, never contacted their Vietnamese family again. Regardless of how prevalent this phenomenon actually was, a phrase was born aimed at Vietnamese children with American fathers: bui doi, meaning ‘less than dust.’
The Beautiful Country begins in 1990 with its protagonist Binh (Damien Nguyen) trudging through each day in a world that seemingly does not want him. His only solace is a picture of himself with his mother and American father. After being forced to leave his current home, Binh searches for his mother, Mai (Chau Thi Kim Zuan), whom he discovers in Saigon working as a servant in a pristine domicile for a fascist woman and her ill-willed son.
When a fatal mishap in the house forces Binh to flee for his life, he takes his little half-brother Tam (Dang Quoc Thinh Tran) along for the journey to America. After landing in a Malaysian refugee camp, Binh and Tam meet a prostitute named Ling (Bai Ling), who manufactures a way for the three to set out on a journey to America. However, escaping the walls of the camp prove to be a lot easier than the numerous obstacles they’re about to face.
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Sony Pictures Classics
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Episode III cut-out Bai Ling
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For a journey with such large scope, it is only fitting that The Beautiful Country is such a thorough film. Norwegian director Hans Petter Moland, possibly sacrificing any hope for financial success, ensures that the film proceeds proportional to the speed of a real-life journey.
However, do not be mistaken; there is no fat on this film. Every scene factors into either the narrative or the thematic value of the story. And each scene is complimented by breathtaking cinematography that shines brightest when the trio is at sea. DP Stuart Dryburgh is able to capture the enormity of the sea and more importantly, the odyssey of Binh.
While the film’s critics will say there is an excessive amount of establishing shots, it is nonetheless a beautiful film to look at. On the other hand, one legitimate demerit is the script, which diminishes the overall quality of performances. Binh, who seems like an innately quiet, peaceful young man, flails about in erratic tantrums at very awkward moments.
At times, Binh’s stoic emotions are beautifully conveyed by Damien Nguyen. At other times, Binh’s actions are completely bewildering and out of place. The supporting performances are all complimentary to the film. Tim Roth, who plays the brash captain of the illegal-immigrant tanker, makes remarkable use of his limited screen time, although the script decisions on his character are questionable.
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Sony Pictures Classics
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The always fascinating Roth
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Ling Bai comes close to playing the stereotypical hooker-with-a-heart, but is able to break the mold and give Ling an ironic beauty. Nick Nolte, meanwhile, who appears at the end of the film, plays his character with bittersweet grace.
The title The Beautiful Country is completely open for interpretation. It would appear that for all intents and purposes to refer to America. However, one character refers to Vietnam as ‘the beautiful country,’ and Roth’s character scoffs at the possibility of America being labeled as anything beautiful. The final scene offers the best interpretation of the puzzling title, showing Binh in his own ‘beautiful country,’ cementing the idea that ‘beauty’ differs from person to person.
But the awkward plot problems and overly sentimental dialogue prevent The Beautiful Country from being a great film. Nonetheless, it is well-shot film, with an interesting story and magnetic characters. The film is in its second week of limited release, currently playing in just over a dozen art house theaters.
And on a final note, it is baffling how this film received an ‘R’ rating. There is barely any objectionable material — no profanity, no nudity and little violence. To place the film in the same MPAA rating as Wedding Crashers and The Devil’s Rejects for ‘some language and a crude sexual reference’ is confounding to say the least.
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