> REVIEW
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The Snows of Kilimanjaro (2011)
A working class fable…
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By Helen Adkins | September 2012
DIRECTOR: Robert Guédiguian
WRITER(s): Robert Guédiguian / Jean-Louis Milesi / Victor Hugo (source)
Marseille dock worker and straight-as-a-dye union rep Michel (Jean-Pierre Darroussin) selflessly enters himself into a union redundancy ballot and finds himself laid off with little hope of employment. But no matter. He’s nearing retirement anyway, blissfully married to Marie-Claire (Ariane Ascaride), and while the two are by no means rich, they are comfortable enough. Michel will be able to help out more with his beloved grandchildren and relax in the evening sun. As he says ruefully to his wife: “we are now bourgeois”.
Their bubble is abruptly burst when two masked gunman break into their home during a card game with Marie-Claire’s sister and husband, also a socialist dock worker. The four are tied up for a night and robbed of money and travel tickets to Tanzania, given to them at Michel’s leaving party. Days later, Michel is further devastated when he discovers one of the gunman was a young man he worked with, also laid off on the same day.
Michel duly reports his discovery to the police, and watches from a distance as Christophe (Grégoire Leprince-Ringuet), the assailant, is violently arrested and imprisoned, leaving the two young brothers he’d been caring for since their itinerant mother abandoned them.
Having condemned a young man to a possible fifteen years in prison and two young children to a life in care, Michel now must battle with his conscience and socialist principals. Was this his fault? Did he handle the lay-offs at the Docks in the right way? Should he have turned the man into the police? And is he really as ‘good’ as he’s always believed he is?
While his family and friends are far less sympathetic to the plight of Christophe and his brothers, particularly his own children, Michel embarks on a quest to right his perceived wrong. Unbeknownst to him, his wife also follows her own path to ensure the futures of the two young boys.
Those who know Guédiguian’s films will be familiar with his Marseille working class settings in which he examines ordinary people’s lives, and raising political questions anchored in social reality. In this case, The Snows of Kilimanjaro is inspired by the poem by Victor Hugo, How Good are the Poor? in which Guédiguian asks just this. Are we really as good as we think?
The two principal leads are beautifully performed by Guédiguian regulars Darrousssin and Ascaride, a couple united in their beliefs, striving to do right and fighting against those around them to keep their socialist principals intact.
Pertinent themes indeed, and yet the resulting drama is often underwhelming. Michel and Marie-Claire’s journeys persistently lack tension and are far too easily resolved. Marie-Claire, in particular, barely wavers from her saintly countenance as she sets the world to rights and saves lives. Scenes between her and Michel lack passion or drive as a result.
The film’s resolution is satisfying to an extent, although a little contrived, failing to address several niggling questions that arise as a result. With a peculiar, ill-fitting soundtrack, The Snows of Kilimanjaro is nonetheless a thoughtful and poignant watch, if a touch preachy and simplistic.
Script…………………………………………………………………………………………….
Based on Victor Hugo’s poem, How Good are the Poor? Guédiguian and Milesi’s
narrative structure is solid, but strangely lacking in tension. 3
Direction………………………………………………………………………………………..
Guédiguian’s warm visuals are aided by fine, moving performances from Ariane
Ascaride and Jean-Pierre Darroussin as a couple striving to retain their socialist
principals. 3
Verdict…………………………………………………………………………………………..
Preachy, ponderous and lacking in tension at times, The Snows of Kilimanjaro
remains an involving and thought-provoking socialist parable. 3
