The Machinist [Blu-Ray]

To be honest with you, I am slightly disappointed with myself that it has taken me so long to get round to buying this DVD, given that I saw (and adored) the film on the day it was released in the cinema. I am, however, glad that I watched this again AFTER watching American Psycho - otherwise I would have totally condemned Bale as an actor. Recognisable only by his voice, Bale is totally convincing as the insomniac machinist in this film. Full marks (and five stars) must be awarded to this film on the strength of his performance alone.I won't go into the synopsis of this film, as the thirty-three people who have reviewed this before me have done that job more than admirably. I will, however, comment on a couple of the positives that make this film a must-see. Having seen this film before, I wasn't really watching it for the (albeit outstanding) storyline, moreover I was watching it for the same reason that we all watch "Sixth Sense" again* - to pick up on the subtle clues that I missed the first time round. Although technically not clues, I must comment upon two of the outstanding features of the film: the cinematography and the ghost-train scene. The film is largely shot in a blue-grey (film noir?) setting - a stroke of genius which accurately reflects the whole mood of the story-line. The "washed out" colours not only serve to disguise the fact that the film was shot in Barcelona, but also represent how "washed out" Bale's character must feel having not slept for a year. Secondly, the ghost train is one of those scenes that you see in film that will haunt you long after you have watched it - not because it is scary as such, but because it is so close to reality (think of the reason "why" the scene where the girl cimbs out of the TV in "The Ring" is so frightening - because we can identify the TV as a household appliance that we use everyday). I have been on some good ("Terror Tomb" at Chessington World of Adventures) and some very bad (Brighton beach) ghost-trains - but never any that are good because they are so bad. Although the character's that he sees on the way around the track on the ghost-train are cheap-looking, the fact that they resonate so much with Bale's state of mind makes them so effective.The product placement in this film was also very effective and is generally only noticeable on the second time of watching - keep your eyes open for Dostoyevsky's "The Idiot" lying on the coffee table - not there (as a previous reviewer has said) to make the character look pseudo-intellectual, but no doubt placed there because he feels that he is becoming "The Idiot" as his sanity slips away. I also noticed at the climax of the film that Bale is wearing a t-shirt with the logo "Justice Brothers" on it - a nice touch considering how the film ends.--------------------------------------------------------------------------

Brilliant film. Slater at his best.

I am a big fan of Christian Bale & I think he was superb in American Psycho & the Prestige among others, he is an exceptional method actor... To lose the weight he did then to put it all back on in time for Batman Begins takes some doing & it is very impressive although his image in the film is disturbingYou really do have to think about this film & try to fit the pieces together but it all comes together in the end & the story line is superb, despite all his flaws & issues throughout the film & the reason for his insanity & insomnia you do actually really feel for the protagonist Trevor Reznik(Bale)The ending completely shocked me & it is very impressive, I thoroughly enjoyed this filmHighly Recommend

"A little guilt goes a long way." So says Trevor Reznik to the waitress in the airport café at midnight.Christian Bale, who lost 63Ibs to play the part, is Trevor Reznik, the machinist in the title. He's the worker who cannot sleep, whose life is a daze, the man slowly tortured by his own living dream. Why is he so emaciated? Why cannot he sleep? Why is he plagued by sinister tricks of the mind? So many questions; what are the answers? I'm not going to spoil it by giving them here, but suffice to say that his colleague Ivan is not all that he seems. (Bale appears in every scene and his commitment to the film is clear. How he failed to be nominated for his role is beyond me.)The movie opens at its ending (so keep your eyes well-peeled). A languid pace is prevalent from the start. In his commentary, director Brad Anderson admits to Hitchcock being a direct influence in the making of this clever film - "the last Hitchcock movie never made". The colours are often dark, almost black/white in places with many of the colours leached out; much of it was shot at night. Sinister and curious tropes appear, such as the game of hangman, photographs from a past that was not lived, memory problems, paranoia, nosy old landladies, and cars coloured red. Just what is real and what is not? (The very useful director's commentary will point out clues that you may have missed.)The Hitchcockian feel extends to the score, written by a Spanish composer but in the style of Bernard Herrmann. There are repetitive harp figurations and deep long breathing in the strings; even the sound of the theremin is resurrected. Anderson says that the film is "a parable about guilt". It's not a horror movie; rather it is a dark drama a la Kafka. Indeed, the screenwriter was inspired by Kafka and Dostoyevsky, and there are references to the latter in the film: Reznik is reading "Crime and Punishment" (nudge, nudge: clue!).Because Brad Anderson had difficulties raising money in the States for his movie, it was shot in Barcelona and Andorra. But you'd never guess! This was such a surprise to me when it was explained by the director in his commentary. This explains the presence of the Spanish composer, the Spanish DoP, the French production designer, and so on. The team has performed marvels in translating the production into a convincing American milieu from a European base.As well as the director's commentary, the extras also include a 25-minute interview with Brad Anderson, a 25-minute "making of" (with interviews with the actors and some of the production team), and some deleted scenes.

There is a touch of film noir to THE MACHINIST, and a lot of Alfred Hitchcock, but mostly it is a very good mystery story that attempts to throw you off the scent by a series of shocks. The "hero", brilliantly played by Christian Bale, is obviously not a well-man, but why? How much of what we see is happening, and if it is happening is what we are seeing the actual event? Those of you driven mad by CACHÉ with its missing clues and multi-answer ending will find THE MACHINIST much better value. It shows you everything but in Eric Morecombe style not necessarily in the right order. This is a thoroughly good film if you like working out puzzles; the music is especially effective, and the acting universally excellent.