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Fri 11 Nov 2009It's not a black and white case
...says DONALD CLARKEin his Screen Writercolumn
If you know anything about Michael Haneke’s The White Ribbon, you probably know that it’s in black and white. The poster has that telltale mercury gleam, and almost every review spends time mulling over the severe perfection of the glassy images. Sehr gut. Monochrome suits the starkness of the narrative and, with its implied nod towards antique photography, helps lure us back to the early part of the last century.
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