Ireland / Spain / Belgium / France 2009 Directed & Written by: Danis Tanovic Novel by: Scott Anderson Produced by: Marc Baschet, Cedomir Kolar, Alan Molony Cinematography: Seamus Deasy Editing: Francesca Calvelli, Gareth Young Music: Lucio Godoy Cast: Colin Farrel, Jamie Sievers, Paz Vega, Kelly Reilly, Branko Djuric, Christopher Lee
You know when you go to an art museum, and you’re walking around in the hopes of absorbing some culture? You’re tilting your head, stepping back, and stepping in to get a closer look. You try to focus on the brush strokes, the genius use of a limited palette, the realism, the craftsmanship, and the attention to smallest detail. But after a while, you realize that all you’re looking at are duplicates of the same thing – usually a painting of “beauty” or some religious issue. Sure, the work is still art, but the originality is usually not there. It can’t be helped. As commissioned artists, it’s their style that brings the audience back, not necessarily the subject.
TRIAGE is a piece likewise. It’s a story of lost and found in the midst of war. It’s an anti-war story coated in the form of personal tribulations. When the lesson of war isn’t found in the war itself but the remnants of those that are attached to those that were lost.
“Triage” is the process of doctors prioritizing patients by giving assessment of their injury level. Today, this process is given to insurance companies.
Colin Farrell plays the lead (Mark Walsh). He hasn’t been in the spotlight for some time. His personal life has been very quiet – no hookers or drunken movie starlets on the menu. His appearances have been limited, on-screen and off. It seems like he’s crafting himself to be a serious actor’s actor. He lost a lot of weight to play the part: skinny, longhaired, bruised and dirty. Actually, maybe that’s just how he’s becoming in real life.
Christopher Lee gives a stellar performance. At the age of 86, he’s going strong with tons of dialog, a foreign accent, and attire that put him in the league of an Armani idol man.
Collin Farrell is traumatized from war; comes home messed in the head. Christopher Lee is the master that puts young Farrell back on the path of self-worth and reality. And, with Paz Vega thrown in the mix, the film paints a nice picture of the “love lost, self found” scenario.
The story’s well told. The photography is direct. The players are honest. The film is…zzz.
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