With a mere matter of moments into Arnaud des Palliéres’ 16th century set, Palme d’Or nominated Age of Uprising, an uncomfortable, disquieting atmosphere is created, and it’s a tone which then takes precedence over the rest of the movie. Here is a feature that opts for a more subtle, naturalistic approach over a typically overstated, gung-ho style that often blights period dramas.
Based on a true story, Age of Uprising is set in the South of France, as we delve into the life of a horse dealer Michael Kohlhaas (Mads Mikkelsen), who lives a comfortable life with his wife (Delphine Chuillot) and young daughter (Mélusine Mayance). However Kohlhaas is a man of principles, and when he’s disrespected by a lord in a dispute over two of his horses – his wife heads over to the palace to argue his case, but is brutally murdered in her attempt. Our protagonist is then forced into seeking revenge, and intends to form an army of rebels to spark up a violent rebellion on behalf of the people.
Above anything else, Age of Uprising is a human tale, of a wronged man seeking answers – and revenge – for the brutal treatment of his family. However des Palliéres doesn’t glorify the big set pieces, and this film avoids needless sword fights and battle sequences, instead challenging the human psyche and how a decent man can react in such a way when tragedy befalls his family. In many instances, we don’t even see the violence that exists, as we’re left to imagine it ourselves. This is a real character study of this one man, and if he doesn’t witness a pivotal moment (such as his wife’s murder), then neither do we. It’s always fascinating to see human emotion conveyed so astutely and intelligently in a film set hundreds of years ago, tying us to the time so effectively. Meanwhile, the picturesque setting of the French mountains compliment the narrative perfectly, as the uninhabited landscape provides a tranquility to a film otherwise brutal and barbaric, while the vast wilderness adds a chilling idleness to proceedings.
Following on from the likes of Valhalla Rising, A Royal Affair and King Arthur – Mikkelsen certainly seems fond on a period piece. Which is fortunate, because he brings a humility to any era. The Dane can play inherent affability as sincerely and earnestly as he does cold and evil-spirited. In this particular instance, it’s a steady blend of the two that makes his performance so commendable, as despite his good nature, he needs to have this dark streak within him to believe he’s capable of this act of vengeance. He plays the everyman so well and with such subtlety, and you bestow your faith in him – a faith that never once waivers. He doesn’t enjoy seeking revenge, but feels he has to, showing off a reluctancy that makes him an antihero of sorts. Similarly to The Hunt, he’s downtrodden and on the back foot – and Mikkelsen manages to evoke so much sympathy. In the meantime, Denis Lavant offers a short yet stunning display as The Theologist, illuminating the screen as he plays a role who represents the doubt that exists in Kohlhaas’ mind, and the religious guilt he bears.
Age of Uprising may be emotionally detached at points, and somewhat difficult to invest in, but des Palliéres should be lauded for avoiding the genetic tropes and cinematic conventionalities of the revenge plot genre. The film benefits as a result – making it all the more genuine and empathetic.
[Rating:3/5]
