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A30 PEOPLE & ARTS
Tuesday 9 OcTOber 2018
Norwegian massacre '22 July' is brilliantly handled

By MARK KENNEDY victims at a summer camp,
Associated Press meanwhile, are laughing,
Anders Behring Breivik hugging and clumsily put-
probably thinks "22 July " is ting up tents. Later, Green-
about him. He's the violent grass will highlight the gun-
narcissist whose actions are man's fate — a closed cell
at the heart of the film, but in artificial light — while the
Breivik is really the enigma survivors are outside in twi-
in its center. No, "22 July" is light, the camera spinning
about everyone other than 360-degreees to show the
Breivik — and that is a re- glorious Norwegian snowy
markable cinematic feat. landscape.
This powerful, must-see film On that fateful day, Breivik
— written and directed first set off a car bomb out-
by Paul Greengrass — ex- side the government head-
plores several of the lives quarters in Oslo, killing eight
altered when right-wing people and wounding doz-
extremist Breivik went on ens. He then drove to the
a deadly rampage in Nor- island of Utoya, where he
way in 2011, killing 77. How opened fire at a summer
this could this hatred hap- camp of the left-wing Labor
pen in the heart of prosper- Party's youth wing. Green-
ous Scandinavia? That's the This image released by Netflix shows Isak Bakli Aglen, left, and Jonas Strand Gravli in a scene from grass does not film these se-
subtext. "22 July," a docudrama about the 2011 Norway terrorist attack. quences moodily or evoc-
Greengrass is on the most Associated Press atively. They are brutal and
slippery of slopes here — the fear is palpable. "Come
showing a mass murderer's the first third of "22 July" lays employing a shaky cam book "One of Us" by Asne out, you Marxists!" the gun-
violence without glorifying out the horror of July 11, and rapid-fire editing and Seierstad to make "22 July." man screams on his hunt-
it and letting the gunman 2011, and the rest of the those techniques are per- The writer-director shows ing spree. "I have started a
explain himself without movie tracks how both a fectly suited for examining real artistry in framing both war," he later announces.
feeding supremacist ha- terribly wounded survivor, this real, frightening mo- the gunman (a frightening In the aftermath, we watch
tred. He threads the needle Viljar, (a stunning Jonas ment. His other films deal- Anders Danielsen Lie) and what Viljar goes through
brilliantly. His film becomes Strand Gravli ) and a lawyer ing with real events include his victims as opposites. The — multiple brain surgeries,
more than the sum of its for the gunman (a superb "Captain Phillips, "Bloody opening sequences show a fake eye, relearning to
parts: It's a celebration of Jon Oigarden) struggle in Sunday" and "United 93?," Breivik alone and silent, walk. He wants to walk un-
multiculturalism. its aftermath. and Greengrass leaned on preparing his attack with assisted to the gunman's
Shot like a documentary, Greengrass is known for Norwegian actors and the icy precision. His soon-to-be trial. q

Steve Perry breaks long silence

with 'Traces' album

alike singer on the internet age love with an unerringly
and, last year, Journey's in- precise opening line — "I
duction into the Rock & Roll know it's been a long time
Hall of Fame, Perry and his comin'." Perry has said the
prolonged absence have song was meant to evoke
been often on our minds. a high school reunion and
"Traces" is Perry's first solo — along with "We're Still
album since 1994 and, cli- Here" and "Sun Shines Gray"
ched as it may sound, it re- — it's the one that most re-
ally is a very personal work sembles a Journey track.
with some songs that would "In The Rain" is the album's
This cover image released by have sounded out of place tour de force but sans any
Fantasy Records shows "Trac-
es," the latest release by Steve on a Journey record. Made bombast, one of Perry's
Perry. in part to fulfill a promise most emotional vocals
Associated Press to his partner who suc- supported by a restrained
cumbed to breast cancer piano-and-strings arrange-
By PABLO GORONDI in 2012, "Traces" is domi- ment emphasizing its an-
Steve Perry, "Traces" (Fan- nated by ballads in many guish: "You got me even
tasy Records) guises by someone whose though you're gone."
Steve Perry has been away quasi-operatic voice made On "Easy To Love," Perry's
for quite a while but he's him one of their most mem- lead vocals have just a
never really been gone. orable interpreters. touch of Rod Stewart's gruff-
From the unforgettable use Launching with the first ness while his backing vo-
of "Don't Stop Believin'" on single, "No Erasin'," imme- cals are satin smooth and
the last "The Sopranos" epi- diately injects "Traces" with George Harrison's "I Need
sode to the way his former nostalgia through an up- You" is transformed into a
band found a new, sound- dated recreation of a teen- heartfelt soul ballad.q