jimparrett
While one may argue that the ending is a little bit Hollywood, the movie itself is not. Featuring a stunning performance by ten-year-old Han Thi Pham, the movie stays with the viewer long after the credits roll.I won't tell you the plot; there isn't much of one. The art of this movie is not so much about story as it is about human beings, their relationships with one another and how a little faith and a whole lot of belief can bring us all together.There's not a wasted note here. The music, improbably an electric guitar, never overwhelms and is used with taste so rare with modern directors. You are invited to flow along with the story and live as if you are an onlooker on the streets of Saigon.But all this wouldn't work without the brilliant understatement of its centerpiece, Han Thi Pham. Working without much expression, the actress uses her voice to convey emotion. The perfection and purity of her motives may seem suspect to many Westerners but in the setting of this story the result in at once sad and uplifting.The script is crisp, the camera work utilitarian and the direction never more than what is needed. This is movie making the way it should be. It is a film perfect for repeat viewings, such is the depth of emotion and simple story-telling.
sekander
Its hard to imagine a country that has been through more heartache and tragedy than Vietnam over the last 100 years. Occupied by the French, then the Americans, then the Russians....the mere fact of their survival points to a strong, national character and the movies coming out of this country over the last 15 years or so all have a strong moral compass and a soul rarely seen in Western films these days. Continuing in the fine tradition of films like The Scent Of Green Papaya, Cyclo, Three Seasons, etc., Owl and the Sparrow is an absolute jewel. Its hard not to be touched by the gritty, 3rd World reality forced upon children who have no time to be kids. The suffering of the Vietnamese people over the last 100 years has imbued them with a dogged determination to overcome at all odds and the little 10 year old girl, Thuy, who is the main focus of the movie, shows that grit and determination while still retaining the adorable charm of a child. And I don't like kids!!!!!Enough people have commented on the plot line and the technical aspects before. Suffice to say this is a feel-good movie of the first order. If you are not emotionally all in by the end of this movie, better check your pulse.
giapvu
As I apprehensively waited these last few years to watch this film, I realize how unfair I've become based on fear of an all too familiar let down by another filmmaker, who, for the most part by and - as large as our tiny community is - create such derivative cinematic tripe of obvious contrivance that's usually riddled with unapologetic bias. After watching this film, I was not only blown away by the exquisite lighting and bold composition, but also was mesmerized by the beautiful story that seemed to be exploring the oftentimes insidious nature of power and the hero's who refuse to be victimized by it. The Owl And The Sparrows wonderful characters triumph in the end and the subtle journalism of contemporary Vietnam demands the critical viewer to think beyond the happy ending, to listen for the barely audible sounds of change and to embrace what is inherently true.Stephane Gauger should be added to the small list of great directors.
fertilecelluloid
"The Owl and the Sparrow", the first feature from Stephane Gauger, who also wrote the screenplay and shot it, is an effective drama about a young orphan girl, Thuy (Pham Thi Han), who escapes from her uncle's factory and lives on the streets of Saigon. There, she befriends a kind zookeeper and a flight attendant. Various dramas flare as young Thuy becomes involved in matchmaking, fleeing from the police, and helping an elephant survive. The film's strengths are in its writing and performances. The young lead actress is extremely good, delivering a mature, layered, inspired performance. What lets the film down, especially during its first half hour, is the camera-work. It is unnecessarily jerky and often out of sync with the momentum of the emotions. When we're being drawn into the film's heart, we're also having to deal with motion sickness. Jerkiness does not equal edginess. The material here is strong, so strong, in fact, that it does not need shots of photographic adrenalin. Thankfully, the camera calms down and the rest of the movie is highly watchable and allowed to proceed without interruption. Hopefully, Gauger will trust the material and the performances next time. Still, this is a fine achievement.
AD
