Phil_Giordana_FCD wrote:Gefan wrote:treestump wrote:
Dealing with some Americans inability to understand *anything* about the world outside of America is often funny :). An American woman once told me that she would *never* visit Europe. I asked why not, saying that there are beautiful places, culture, languages, food. She told me "I saw a film called Hostel, and American people get kidnapped and tortured, and that's what happens in Europe! It's not safe in Europe, so I'm staying in the USA where it's safe!".
I can't stand Eli Roth (although I think Hostel was fairly intelligent and interesting) but here I have to sympathize with him.
Here's a quote from Roth reacting to criticism of his film from (perhaps understandably) offended Slovaks;
"My film is not a geographical work but aims to show Americans' ignorance of the world around them."
Maybe he'd feel vindicated by that woman's new-found terror of Europe, who knows?
We drove through Slovakia in 2007 during a tour, and mostly had a grim glimpse of Bratislava. I have to admit that whatever one sees from regular traffic lines is not really nice (those kids gangs? yes, they exist). Hostel made me quite angry and distressed. Pointless "kill for the fun of killing" shit, but very well executed. And then we saw the factory's chimneys...
We did wait another 100 kms before we stopped for a driver's pause. Thanks Eli!
Lots of nice people there, though.
Phil,
I should clarify the defense of Hostel - it usually gets me into trouble.
In general, the whole "torture porn" sub-genre I find repulsive. The fans of it genuinely disturb me (which was tricky when I had a close friend - now, alas, deceased - who was one of them). The success of that interminable series of Saw films which appear to exist solely to expand the frontiers of creative cruelty seem to me to suggest that Bin Laden might have had a point about western culture.
Having said all that, I thought Hostel was more than competently done and had somethings to say.
First, it was queasily believable and played very well with the sense of the locals knowing something the outsiders did not.
As an exploration the ultimately de-humanizing potential of capitalization it was shrewd and Roth (who's Jewish) I think knew what he was doing with the image of the smokestacks on the edge of the Eastern European town belching out oily black smoke that no-one wants to discuss.
Had the suits been willing to go with the original ending (it's available on Youtube) you'd have had something very, very powerful. A hero so brutalized it's suggested he is now capable of the most unthinkable crime and a human monster who is shown to be capable of deep familial love.
In the end , I don't care that much about defending the film (or Roth, who I think is, on balance, a jackass). I want to clarify that
in general I'm not a fan of that sort of thing (quite the opposite) but, in this specific case there were extenuating circumstances.