Simon Magus

SIMON MAGUS is about appreciation of poetry and words…about the impossible being magically possible…about the change of fate…about God having a hand in it all without humans knowing it before hand…about encountering love, courting love, the action of taking the time to give and willing to receive love. (There is no Hollywood syrupy love or sentimentality. It's more in a subliminal order of things.)

I especially like one of the camera approaches director Hopkins and cinematographer Nicholas Knowland used. When there are segments completely without dialogs, and the camera is just panning from face to face to face, quietly stops at scenes: in front of Sarah's window, outside of the Squire's house…the lens spending moments with each of the characters. It intimately lets us 'see' into their inner worlds…their struggles and delights. It is atmospheric (with subtle complementary score in the background).

The fate element somehow reminds me of ("Winter Sleepers" and "Run Lola Run") Tom Tykwer's stories/films, where fate is front and center. Here, Ben Hopkins (using a costumed drama setting of the late 19th Century vs. Tom's present day environment) has let fate weaves its way around this web of human feelings among the village inhabitants - our five central characters. Dovid (Stuart Townsend) the young dairy farmer courting widow Leah (Embeth Davidtz) the baker. Sarah (Amanda Ryan) the young woman, who recently returned to the village from the city, is scholarly literate and a match to Rutger Hauer the Squire, who values words and literature over materialistic ends. Of course, ("Flirting" and "Shine") Noah Taylor's Simon, who appears absolutely unpleasant, untidy, unclean and eccentric in every way, yet he, too, has a heart and core within (so we are reminded through the course of this fable that appearance is not everything). The folks around were unable to 'see' the Simon within - except for the priest, someone outside of the Jewish community, who patiently helps Simon to disentangle his soul and mind - what a divine slate of hand opposite the Devil (portrayed briefly by Ian Holm in a Rutger Hauer's Blind Samurai garb in wide-brimmed straw hat) and the villainous Maximillian (Sean McGinley as the greedy, scheming business man of wealth lost in immorality).

"Simon Magus" may not be for everyone (NFE). It just might need some patience and faith in the unfolding of the story - certainly not without suspense (when evil treachery lurks). As the Squire observed that people are so busy with business and means that appreciation of the affairs of the heart is compromised, take some time away from the flurries of things and sit back and open your heart to the wonderful ensemble cast and the talented production that realized Ben Hopkin's tale.

P.S. The railway issue briefly reminded me of Michael Winterbottom's "The Claim," and the mostly low-light cinematography reminded me of master Roger Deakins' photography in the Coen brothers' "O Brother, Where Art Thou?"

This is the sort of film a mature, healthy British film industry needs to produce if it is to be remembered for anything more than gangster movies and low brow comedies. I don't know anything about producer-writer Ben Hopkins, but he's clearly an outstanding talent. The story is a simple and almost predictable one, but the world in which it takes place--Silesia, 1890, perhaps? --is one we aren't used to seeing on film. I'm not doing the film sufficient justice by describing it as a Jewish folk tale told in the best traditions of Hammer films, but Nicholas Knowland's magnificent cinematography is reminiscent of Bray's best efforts. Noah Taylor is superb in the title role and is ably supported by a host of fine television actors. Strongly recommended.

I've just watched the last 15 minutes of SIMON MAGUS for about the fourth time-- Sundance shows it all the time, and maybe that channel's programer intends to give it the exposure it should have had, years ago. One imagines Director Hopkins is a spell-binder-- to have coaxed the exceptional cast onto an under-financed backwoods Welsh location, and then gotten them on the same wavelength despite trepidations about looking silly in shtetl-garb and forelocks. Ordinarily I am deeply aversive to holy-fool fictions-- yet this one made me privy to an ethnic communal memory; the end-credits express thanks to Isaac Bashevis Singer, and one imagines him loving it (a 1972 documentary on him had the same mixture of tomfoolery and elegy). A tone-deaf earlier commentator decried the sound-track-- will bet you'll sit all the way through the scroll of names, listening to the last variations on a score that, like everything else about this film, is a lovingly precise devotional.

I saw it behind beautiful cinematography and inspired atmosphere, behind the great performance of Noah Taylor as a hopeful story about generosity, as a splendid parable and wise illustration of the Hassidic story. A film about devil, errant ma, comunity, rallway station and wise noble man passioned by poetry. About love and terrible hate, about generosity and the sacrifice fixing everything. A great film, profound useful to see it time by time for understand the nuances of profound, real, authentical faith.

Surprisingly I liked it... The thing is that the Jewish community is shown only in 2 ways: the first one is that jews are represented as some sort of evil (a.k.a. the Nazis propaganda), or they are shown as sweet & loving people who are degraded by the rest of the world... how ever in this movie jews are actually shown like... people... who can be jealous, happy, sad, mean.. & some of them don't like their religion... that's the good part...

What I didn't like about the movie is the temp... by maybe it's just me, & if the movie would be "faster' it would lose its entire charm...

& I have to say that I just loved the ending.....