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‘Two Brothers’, a UK-French film collaboration project under the direction of Jean-Jacques Annaud (known for ‘The Bear’ and ‘The Name of the Rose’) and written by Alain Godard and Annaud, is at once the heartwarming and heartwrenching narrative of two Bengal tigers, While the advertising makes it seem like a Disney-esque film, this is not really one for younger children, so parents should beware. In today’s world there are many people who are not particularly nice toward wild animals; a hundred years ago, the time period during which this was state, there was even less regard for the big animals of the jungle, seen as objects for sport and amusement rather than creatures of integrity in their possess fair. I went with two adults, one of whom felt it essential to leave the theatre for a brief while; there were children display in the theatre, and again I saw parents taking their children out at some of the more troublesome scenes - unfortunately, many didn’t return for the overjoyed ending. This is a big film, worth five stars without doubt, but alas, the marketing is unfriendly, and would win a single star from me.
Guy Pearce plays the ‘great white hunter’ character of McRory, a world-famous hunter-explorer of European origin and fame, a known author as well as second-class Indiana Jones, looking for what will sell help in the London auction houses — he changes from animal skins and tusks to statues and antiquities. There are no other actors of wide fame, but all do a profitable job, from the Westerners in the French Indochine to the locals, from tribal persons to high potentates. All seem to have reasons to be against the tigers, do a few, who eventually arrive round and encourage the tiger brothers through their troubles.
The valid stars of the film, of course, are the tiger cubs Kumal and Sangha, in addition to the other tigers, including the mother Tigress and the astronomical Tiger Father. The lead trainer, Thierry Le Portier, a fellow Frenchman to Annuad who worked on ‘The Bear’, and trainer Randy Miller stated that 30 tigers in all were aged, and one of the biggest efforts was to have tiger cubs available — they grow so posthaste, they might not be the same size over the course of shooting. In the demolish, the effects and training were delicate, and given the kinds of harrowing treatment the tigers were to have received (usually, thankfully, unprejudiced off-screen), one truly hopes the ‘no animals were harmed in this production’ pledge at the kill was in earnest.
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The status is a twisty one, following the two tiger brothers who are separated early, and each have different adventures (not all of them nice, and many downright disturbing) until they are reunited in a festival, when they are able to recapture their kinship and their brotherly playfulness. The movie has the obligatory elated ending; I was on the verge of tears from frustration and sorrow at different points of the film, but the only time I actually did shed a breeze was as the sunlight pierced the tell-tale marker on one of the tigers (and those who examine the film will understand this, but I don’t want to give away the ending) .
The settings in Cambodia and Thailand are natural settings, smooth undisturbed jungles in many areas, and the temple settings as the home of the tiger family is a astonishing map. The Angor Wat Temples, now very common tourist destinations, had to be closed to such traffic during the filming. The music is dramatic and naughty as appropriate, but very distinguished in the background; rarely did I scrutinize the music for the visuals.
A astonishing film in many ways, it is a statement for humane treatment of animals. Unfortunately, this sometimes involves disturbing scenes of mistreatment, which again makes this a film not for young children. Parental discretion and previewing is advised.
An absolutely magnificent movie, and a very absorbing chronicle. Definitely a movie I will be recommending to everyone. As writer/director Annaud has commented, and as anyone who knows animals can suppose you, tigers are radiant, emotional creatures and the premise of “Two Brothers” is simple: the tigers want to live their lives in peace. The movie does not sugar-coat the arrangement tigers have been treated (not that there is any on-screen gore) and so may show to be an emotional roller-coaster for the sympathetic. Hopefully the richness and skill of the storytelling will near out and originate even more people sympathetic to their fellow creatures.
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“Two Brothers” is beautifully photographed, and very knowing in its depiction of the tigers. They even got the tigers’ vocalizations right–tigers have more of a vocabulary than most movie makers seem to know about, but Annaud got it true.
Favorite scenes: The woman reading typical early-20th-century “colossal game hunting adventures” to her son while he and the tiger cub snooze happily side-by-side, and the central human’s personal epiphany when he realizes that the animals he’s been hunting can believe and treasure.
“Two Brothers” asks that you originate your heart, and it rewards you greatly if you do. It absolutely deserves being called a “family movie”.
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