The Yellow House is a cinematic illustration of the
power of a simple story. It is a moving film about
how a family reconciles with the loss of their only
son.
The
flm starts on a tragic note with two middle-aged parents
receiving the news of the death of their son, Belkhacem,
a draftee in the country's military. The father, Mouloud
Boulem, sets off on a long quest to reclaim the body,
but must face several obstacles before he can retrieve
and bury his son. The viewer would hope that this
struggle and the performing of the final rites would
bring solace to the family but the mother is inconsolable.
Through various attempts to help the mother overcome
her grief, the family is able to unite and come to
terms with their loss.
The
simple narrative is able to strike an emotional chord
because of the striking use of irony. Director Amor
Hakkar often juxtaposes a tragic instance with a celebration;
for example the opening scene contrasts the the news
of Belkhacem’s death with a marriage procession.
In the most moving sequence of the film, we watch
Belkhacem’s taped message to his family, in
which, as if speaking from the grave, he talks of
coming home soon.
The
simplicity of the narration is reflected in the filming
as well. The film moves at a slow pace with a large
number of scenes shot in single takes. Long takes
of Mouloud Boulem driving his tractor through the
dusty roads communicate the slow passage of time.
The music, either free-voice or with the single accompaniment
of a string instrument, makes an impact because of
its simplicity. Evocative shots of the stunning landscape
and the interplay of darkness and light are well executed.
The
film also contrasts moments of intense action with
those of pensive reflection. The day is meant for
dealing with chores and responsibilities and the nights
are reserved for remembrance and grief. Long shots
and extreme long shots capture the physical action
and family interactions while close-ups are used when
the characters are mournful or contemplative.
Some
of the performances let the film down. The hysterical
breakdown of the mother upon hearing of her son’s
death is unconvincing and at times the father appears
more fed up than heart-broken. There are times when
comic interruptions break the flow of the film.
The
film also vaguely hints at the callous attitude of
the State. Here is a person who has died in the line
of duty and yet the authorities treat the family treated
shabbily. On another occasion, the Mayor of the town
is boasting about how electricity is supplied to the
entire town, when this family’s application
for electricity is unattended. But the film's criticism
is not explicit and the State is often redeemed by
the acts of certain individuals such as a policeman
who offers Mouloud a light to illuminate his drive
in the night.
The
story-line of The Yellow House is not daringly innovative;
neither does it push the envelope in its treatment
or by taking a rebellious political stand, but the
film is still a worthwhile watch, if just to experience
a simple narration of a moving story.
Ananya
Dutta
©FIPRESCI 2008
