“God grants us the grace…to love someone.”

No one makes as poignant and as powerful a movie about adolescent love better than the French directors. Jean Delannoy`s 1964 classic This Special Friendship (Les amitiés particulières) is a prime example supporting that argument.

This is a review of a similarly themed film:  Christophe Malavoy`s The Fire That Burns (original title: La ville dont le prince est un enfant).

Adapted from the 1969 three-act play (later to become a novel) The Boys, by the French author Henry de Montherlant, the film relates the story of the passionate romantic relationship between two young pupils of a Catholic boarding school in France and the jealousy of a teacher (the Abbé de Pradts).

The narrative of the film is so close to that of This Special Friendship that it must be noted that the author of the play found inspiration in his own life as a student in a Catholic boarding school. That, and his friendship with Roger Peyrefitte (the author of This Special Friendship), could explain why the two novels’ stories (and their screen adaptations) share so many common traits.

Sixteen-year-old Sevrais (Naël Marandin) and 11-year-old Souplier (Clément van den Bergh) share a special friendship. They meet in secret and exchange small tokens of friendship, little gifts and romantic words in letters — always marked with “to be burned“ – aware that, while their relationship is not uncommon, it’s frowned upon and forbidden by the strict school authorities. To make matters worse, one of the teachers, the Abbe de Pradts, sees the young Souplier as his protégé (and fixation) and doesn’t want his own influence on the affectionate youth to be being interfered with.

When Abbe de Pradts discovers the relationship between his pupils, his jealousy is awakened, and he starts plotting a cruel plan to stop it.

Initially screened on French TV back in 1997, The Fire That Burns was then released as a DVD in 2003. The film’s cinematographic and aesthetic qualities are so high that they generate a desire for a repeat viewing of the entire film or scenes from it.

A choir performance, and acceptance of Sacramental bread, the flight of a paper plane or an intimate moment and passionate kiss – regardless of the nature of the scene the director chooses to focus on — they are filmed in such a professional manner that it makes the story feel more true to life than ever.

When it comes to cinematography, the attention to detail makes the difference.  Small props and imaginative use of lighting, shades, and reflections create a sense of depth or intimacy that intensifies the essential natures of the young actors’ character development throughout the story.

Regarding an evaluation of the actors’ performances, the fact is that the story manages to capture — not only the attention of but also the mind of — the viewer of the movie. It inspires strong emotions of sympathy (or anger or antipathy) for the film’s protagonists.

Clément van den Bergh, who plays young Souplier (fans of the Coming-of-Age genre may recall his lead role in Class Trip), delivers an authentic performance. Thanks to his emotive facial expressions, one is truly able to recognize the mischievous nature of his character as well as provide him with the playfulness, innocence and vulnerability for which children of his age are known.

The same comment is also valid for Naël Marandin (with whose character I have more reason to identify) – whose friendliness, love, anger and agony are easily recognized and felt by the moviegoer.

The film’s director, Christophe Malavoy, undertakes the film’s third main character – Abbe de Pradts. His character acts as an antagonist to the young pupils in love but observing his actions as right or wrong, the viewer attains a moral lesson – of what God and love really are.

The Fire That Burns portrays young love, characterized by intensity, exclusivity, and intimacy that few other films offer. Although there are no inappropriate scenes in the entire film, some people (sadly) would find its story controversial.

When Sevrais and Souplier ardently gaze at each other, such a gaze is rare in today’s cinema. Modern films follow strict guidelines of what is and what is not acceptable to portray (which often results in fear, bullying and stigmatization).

DVD Trailer

Friendship, love, rivalry, obsession are among the issues addressed in The Fire That Burns. Both Sevrais and Abbe de Pradts want to be seen as role models for the young Souplier to positively influence his growth and development. Despite the best intentions, the disastrous consequences seem inevitable (then and even more so nowadays).

A must-see film by all means!! I was not able to identify a single flaw in the storytelling – cinematographically or otherwise.  That is why I highly recommend the film to audiences of all ages.

Production photos of the 1971 theatrical play are available at ASP@sia

The Fire That Burns (1997)

In short

Friendship, love, rivality, obsession are among the issues addressed in The Fire That Burns. A "must see" film!!

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Reader Rating3 Votes

5

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AMAZON

The 2021 American thriller, The Djinn, is a perfect example of a full-featured movie that could be much more effective as a short film. However, its good-looking poster artwork and enticing tagline, “what is done cannot be undone”,  promised much more than the film was able to deliver to its audience.

The flick’s premise is simple, with its cliché ridden–plot, props, and production design as a whole. Dylan Jacobs (Ezra Dewey) is a twelve-year-old mute boy who has recently moved into a new house with his father (Rob Brownstein).

Left alone one night, Dylan starts exploring the house and stumbles upon a weird antique book with the peculiar title:  Book of Shadows. In the book, Dylan reads a passage that promises that if one completes a simple ritual, it will summon a demonic spirit of desire known as Djinn, who will grant one wish for anyone who manages to survive an hour in his presence. Curious and enthralled, Dylan decides to give it a try hoping that the Djinn can fulfil his greatest desire and grant him a voice of his own.

From this moment on in the film, viewers should buckle up alongside Dylan as he experiences an evening of fright and survival. Or at least that’s what one would hope for and expect anyway. But, unfortunately, the many flaws in the film soon become apparent. The story drags on and on, the space in which the action takes place is very confined, and the happening itself causes a sense of boredom, which is not even salvaged by the filmmaker’s predictable attempt at waking up the viewer with the help of jump scares.

The only redeeming quality of the film is the acting of the young Ezra Dewey, who practically carries the whole movie, appearing in just about every scene and showcasing his acting talent by portraying a mute boy relying on the emotions reflected on his face.

But, unfortunately, it all feels like a game of Hide and Seek with the Djinn, which could have worked in a 15-minute film, but was utterly boring in the 82 minutes of screen time devoted to the plot.

The Djinn feels like an R rated Home Alone, but the truth is you’d be better off watching Home Alone once again rather than wasting your time watching this film.

Trailer

The Djinn (2021)

In short

Despite superb acting by its young protagonist, The Djinn is a too long attempt at being scary that would have been better as a short film.

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2

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Attaining perfect obedience? Can this be an honourable goal for anyone? Is a goal worth pursuing?!? …

The Mexican director Luis Urquiza explores various horrid ways to lose one`s innocence, sacrificing the latitude to make one’s own decisions and betray trust.

Based on real events, the story in Perfect Obedience focuses on the experiences of 13-year-old Julian (Sebastian Aguirre), who attains attendance at a seminary to prepare him for the priesthood. The first scenes convey a sense of idealism — as if to portray the bliss of childhood, surrounded by people who genially care and love you.

Like in Pedro Almodovar’s 2004 film Bad Education (which also has a similar narrative), the blissful depiction of innocence and happiness is achieved through the use of lighting, attention to details and choice of locations. Immersed in this heavenly atmosphere, the viewer is being prepared for the protagonist’s inevitable loss of his ideal world….

a goal no one should pursue ….

Initially, I was led to believe that the film would be inspirational – like the 1962 film Almost Angels – the difference being that the young protagonist in Perfect Obedience is to become a priest instead of a member of a renowned choir.

Julian joins the seminary and faces challenges common to children facing a change in their lives, such as a new school and new acquaintances – some friendly, others not. That`s life! While separated from the external world, the boys who study for the priesthood have the exact wishes and desires as any other kid, which often leads them into mischief. In this regard, I’m reminded of another film about youth in a religious environment: Peter Care`s The Dangerous Lives of Altar Boys.

The priests who form the seminary faculty appear ready to offer spiritual help and guidance and teach religion with a passion. They encourage the young boys to be courageous and express themselves freely. Yet, it becomes clear that the ultimate goal of some is to attain the perfect obedience of their pupils.

Even before watching the film, the viewer may become wary of what the term “perfect obedience” means upon seeing the quote from the Bible featured on a poster prominently displayed on the film’s cover. From Matthew 7:15, “Beware of the false teachers–men who come to you in sheep’s fleeces, but beneath that disguise, they are ravenous wolves”.

In addition to the beautiful cinematography, one of the best features of this film is its soundtrack, which offers a diverse selection of vibes that accompany the scenes: religious hymns, melancholic piano, Spanish Rock and even a song performed by The Rolling Stones. Add to that the film`s theme – a song that bears much of the responsibility for the sense of uneasiness in the viewers …

Perfect Obedience Trailer

Perfect Obedience is not lacking in clichés in addressing its controversial subject matter. But the film doesn’t make its judgements but instead leaves such moral judgments to the viewer. One doesn’t realise it, but the stronger emotions and reflections on what is shown occur after rather than during the film’s screen time. There is nothing graphically shown in the film but, rather, only implied. The finale, so unlike the typical happy endings of most American productions, ensures that the viewer will become disturbed …yet willing to make a contribution toward change.

While Perfect Obedience is not poignant and heart-wrenching like Aisling Walsh`s 2003 film Song for a Raggy Boy,  it intrigues enough to keep the viewer’s attention — making use of philosophical and religious thoughts introduced as voice-over narrative. Sebastian Aguirre’s character is present in almost all of the film’s scenes since the story is mainly presented through his eyes – following his loss of innocence on his way to achieving perfect obedience. It’s a goal no one should pursue ….

Perfect Obedience (2014)

In short

The story of a 13-year-old boy who attains attendance at a seminary to prepare him for the priesthood.

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