NYFF: 'Jauja' Loses Viggo (And The Audience) In The Wilderness
Saturday, October 4, 2014 at 3:32PM NYFF continues with Michael C on Jauja starring Viggo Mortensen
Lisandro Alonso’s Jauja does so many things that critics complain films don’t do, I feel obligated to love it. It has a rich sense of atmosphere. It’s thoughtful. Alonso composes his frames beautifully, and he has the patience to hold on them until every last ounce of meaning has been wrung from the image. It does all this and more, so why was it that by the halfway point I was hoping the projector would break down so I could bolt for the exit?
I think it has to do with the fact that Jauja is made with near total disregard for the audience, and I don’t mean its glacial pacing. If a film is going to be this impenetrable, in fairness, it should contain enough ideas to occupy the audience’s mind while the action on screen is making the slower parts of Gus Van Sant’s Gerry look like Jurassic Park. Jauja contains ideas enough to support your average short film. There’s only so much symbolism about colonialism one can extract from Viggo stumbling alone and confused through the Argentinean wilderness, and for me Jauja’s pulse dies about the fifth time he pauses to refill his canteen. Jauja doesn’t illuminate or challenge so much as it gathers a group of potential story elements into a bundle, ties that bundle to a balloon and then watches placidly as the whole thing floats off into the distance. Not even a late film swerve into the surreal is enough to jolt a heartbeat back into the proceedings.
Most of the film’s ideas (and 90% of the plot) are frontloaded into the film’s opening act. Details are sketchy but we can be sure that Viggo plays a Danish army captain traveling with his beautiful 15-year-old daughter, Ingeborg, to South America in the late 1800’s. He’s a surveyor, there to aid the military’s attempts to carve civilization out of the wilderness, but that mission quickly takes a backseat to the job of shielding his daughter from the swarm of military men who take an immediate and unwholesome interest in her. When Ingeborg runs off with a handsome young soldier Viggo grabs his saber and sets off into the Argentinean wild after them in what appears to be the start of a dark chase movie but is actually a plunge into an existential void.
Jauja must be working for some viewers since it won the FIPRESCI Prize at Cannes. It certainly plays with the confidence of a film that turned out exactly as its maker intended. Outside the rarified air of the international festival circuit Jauja would probably be most at home as an installation projected on the wall of a modern art museum where patrons can be free to ponder Viggo speaking Danish and staggering over rocks until they feel they have gotten everything out of it they are going to get. (15 to 20 minutes is sufficient). As a movie, it reminds me of the classic intellectual defense of “You have to listen to the notes he’s not playing.” To find Jauja a rewarding experience you have to appreciate all the movie Alonso did not make.
P.S. It’s pronounced “How-huh” and it refers to the Spanish term for an idyllic utopia. How this relates to the film, like everything else in Jauja, is a bit tough to pinpoint. Jauja screens Tuesday October 7th (9 PM) with Viggo in attendance for a Q&A and Thursday Oct 9th (6 PM)
Jauja, Lisandro Alonso, NYFF, Reviews, Viggo Mortensen
Reader Comments (8)
But oh, Viggo...
this was my only walkout of the fest. But it wasn't really the movies fauit. I think after weeks of seeing art films I just didn't have the patience for it and i hadn't been sleeping well. I needed something more mainstream that particular day and moods when you're viewing things are sometimes stronger than you'd like. so i opted out.
But it has been trippy to hear Viggo speak in all these diffferent languages in movies. he's such a p polyglot.
"To find Jauja a rewarding experience you have to appreciate all the movie Alonso did not make."
I had totally the opposite experience. It's precisely what was there on the screen that was arresting.
Since seeing Los Muertos back in 2004, Alonso had been my least favourite human being on Earth. It was only the rave reviews at Cannes that convinced me to tackle Jauja. And man, am I glad I did: I was mesmerised throughout.
Approaching it purely as a narrative probably wouldn't be satisfying - it's more of an immersive, sensory experience with astounding colours and compositions and a very vivid sense of place. The characters - like the story - are opaque but that said, I found Viggo's predicament quite simple and engaging on a basic narrative level. Or at least I did for about an hour. Then the film takes an esoteric turn and I admit I lost my emotional connection to it from the cave scene onwards but I still found it transporting and - at least in a puzzle-way - engaging to the end.
Thanks, Goran. I know this film is working wonders for some viewers and I am curious what they would argue I missed. I tried reading some positive reviews but most of those basically described it without supplying any insight, i.e. that it's slow, surreal, light on plot.
Yeah, I was a bit disappointed reading the reviews after seeing it because none of them really came up with an interesting interpretation/framework for the last 20 minutes. And I really feel like there's something interesting there, albeit just out of my grasp.
Meantime, one other thing I loved: how the landscape became such a threatening place - even in those wide open vistas it felt like someone could pop out any second and commit unspeakable violence.
I'm just generally a sucker for stories where man is dwarfed/driven insane/destroyed by the elements.
I agree the film evoked that wonderfully. My problem was one of scale. I felt like all I had to get out of that scenario and Jauja just kept repeating the same thing for the long, looooong middle section. I compare that to something like Meek's Cutoff which had similar dynamic but which kept me glued to the screen the whole time, thinking about all the unspoken elements building under the surface.
Nathaniel, you do know that Viggo is half Danish, right? So Danish comes pretty naturally to him. But how he speaks Spanish and French fluently
I've no idea...
what Paul Outlaw said.