Turning a deeply serious, controversial incident in recent German history into a bouncy, beat-the-odds character comedy is a brave move. Thanks in large part to the extrovert likability of German-T…
” just about gets away with it. But that’s as far as its bravery goes. Having expended all its creative energy on that one tonal dice-roll, the film proceeds by the numbers, with the messy, provocative real-life miscarriage of justice it chronicles tamed to march to the merry beat of the inspirational true-story genre.
Initially, Rabiye only knows her son has disappeared, and becomes increasingly frantic in her attempts to find him. When she and her husband Mehmet , a worker at the local Mercedes factory, are finally informed of Murat’s fate, Rabiye sets about securing his release, little realizing this process will take years.
David-and-Goliath stories abound in Hollywood cinema, so much so there’s even a subgenre featuring indomitable women, often mothers, tenaciously refusing to pipe down and accept the injustices of the status quo. As with the most celebrated exemplars, like “Erin Brockovich,” “The Blind Side” and “Philomena,” “Rabiye” mostly exists as a showcase for its leading lady, and Dresen’s film duly brought Kaptan an acting award at the Berlinale.
Dresen, whose 2011 film “Stopped on Track” brought him the Cannes Un Certain Regard prize, made his name with punchy dramas marked by deeply authentic performances. Working in a whole different register here, the director feels noticeably less at home, most palpably so when literally not at home: The U.S.-set sections, when Rabiye and Docke take their fight to Washington D.C., are among the film’s most unconvincingly artificial. For example, Rabiye’s cause is taken up by a U.S.
France Dernières Nouvelles, France Actualités
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