BROKEN ENGLISH
A film review by James Berardinelli
Copyright 1997 James Berardinelli
RATING (0 TO 10): 6.0 Alternative Scale: **1/2 out of ****
New Zealand, 1996 U.S. Release Date: 5/2/97 (limited) Running Length: 1:30 MPAA Classification: R (Profanity, sex, violence) Theatrical Aspect Ratio: 1.85:1
Cast: Aleksandra Vujcic, Julian Arahanga, Rade Serbedzija, Marton Csokas, Madeline McNamara, Elizabeth Mavric, Jing Zhao, Li Yang, Temuera Morrison Director: Gregor Nicholas Producer: Rogin Scholes Screenplay: Gregor Nicholas, Johanna Pigott, Jim Salter Cinematography: John Toon Music: Murray Grindlay and Murray McNabb U.S. Distributor: Sony Pictures Classics
BROKEN ENGLISH deals with clashing cultures in New Zealand, "the bottom of the world." There's an energy in this film, the first from director Gregor Nicholas, that demands to be noticed, but it's not enough to overcome the weaknesses of a predictably shallow, derivative script. The only new ingredient in BROKEN ENGLISH's approach to racial intolerance and strife is that the tension is between immigrant Croatians and native Maoris. The basic story, however, is familiar, and the characters aren't sufficiently well-developed to captivate an audience.
A secondary aspect of BROKEN ENGLISH addresses a father's obsessive need to control the lives of his children. Like SHINE's Peter Helfgott, Ivan (Rade Serbedzija) is determined to keep his family together at all costs, and is willing to use violence to thwart any non-Croatian who shows an interest in either of his daughters. However, where Armin Mueller-Stahl was able to fashion a multi-dimensional portrait of a torn man, Ivan is a distressingly flat villain. Early in the film, there are shades to his personality, but, as the story progresses, he becomes progressively more of a one-note character, and any grudging sympathy we might have for him is destroyed by the time we reach the overly melodramatic climax.
The premise is not inherently unpromising, despite (or perhaps because of) certain similarities to that of ONCE WERE WARRIORS. Accompanied by his immediate family, Ivan has fled the battlefield of his native country, Croatia, to settle in Auckland. There, he earns his living by growing and distributing marijuana. His youngest daughter, Nina (Aleksandra Vujcic), falls in love with Eddie (Julian Arahanga), a Maori cook who works at the restaurant where she's a waitress. Eventually, Nina moves away from home, but Ivan's disapproval of Eddie isn't the only reason. In order to help a Chinese friend gain residency status, Nina (who is a citizen of New Zealand because her mother was born there) agrees to a marriage in name only. Ultimately, Nina wants to integrate all aspects of her life into one cohesive whole, but her attempts to reconcile with Ivan lead to violence and grief.
Nicholas doesn't offer anything revolutionary in his approach to warring cultures, and the story of two lovers defying tradition and family wishes is older than ROMEO AND JULIET. In fact, the basic themes and framework of BROKEN ENGLISH have been explored more effectively in films like MISSISSIPPI MASALA and DOUBLE HAPPINESS. Racial purity and isolation are the issues here. Wanting his grandchildren to be full- blooded Croatians, Ivan despises the idea of interracial breeding. This is the kind of narrow-minded bigotry that begins race wars and leads to attempted genocides.
The main actors turn in solid performances. Veteran Rade Serbedzija, best-known to American audiences from BEFORE THE RAIN, is terrific at portraying rage, but somewhat less successful at conveying pain and loss. The sensual Aleksandra Vujcic is surprisingly effective for a non-professional in her first role. Julian Arahanga smolders as Eddie, and while he and Vujcic don't have perfect chemistry, they steam up the screen during one particularly hot sex scene. Some of the supporting players (Marton Csokas, as Nina's brother, in particular) aren't impressive. Temuera Morrison (the male lead from ONCE WERE WARRIORS) has a small part as Eddie's brother.
BROKEN ENGLISH -- the title refers to the common language that immigrants must speak in order to communicate -- was filmed with a great deal of energy and color. As absurd as the climax is, it's still peculiarly compelling, if only because there's so much raw violence and hatred percolating on-screen. Unfortunately, the characters don't hold the same fascination as the visual and visceral elements, and, as a result, the trappings of BROKEN ENGLISH are almost more interesting than the actual story. So, instead of being an equal to ONCE WERE WARRIORS, BROKEN ENGLISH is a faint, fleeting shadow.
- James Berardinelli e-mail: berardin@bc.cybernex.net ReelViews web site: http://www.cybernex.net/~berardin
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