Sometimes there are films which are just so good that one flaw doesn't *really* matter. The problem with The Trap (which is Serbia's entry to the Oscars this year) is that the flaw is an absolutely huge one. It reminds me very much overall of Pierrepoint (also known as The Last Hangman), which starred Tim Spall, where a huge contrivance in the final third spoilt what had been up until that point a fantastic film. Here the problem is manifested two-fold as the acting is absolutely out of this world, it's amazing, but the contrivance occours 1/3rd into the film and it does shackle the film and prevent it from being the absolute modern classic it should have been.
The set up of the story is a couple, Mladen and Marija, discover their boy has a heart problem and needs an operation otherwise he'll die. The problem is the operation has to be done in Germany, isn't covered by the insurance and will cost 26,000 Euros. Even if they sold everything they could only raise 5,000 so they put an advert in the paper. The only response comes from a man who offers Mladen all of the expenses if he kills someone for him.
So where is the contrivance? 35 minutes into the film Mladen sees the man he's supposed to kill and it turns out he's the husband of a woman he knows, Jelena, whose daughter plays with Mladen's son in the playground. It is a real groan moment and from then on you can feel the screenwriter's hand in the scenes even though they're wonderfully acted.
I cannot praise the acting in this film enough. Nebojsa Glogovac as Mladen is stunning, he runs the gamate of emotions and wears the burden of all that is piled onto his character brilliantly. Marija is played by Natasa Ninkovic and she is beautifully natural, her reactions are pitch-perfect. Anica Dobra's Jelena is an awesome supporting turn, one scene in particular is just ridiculously impressive - I could imagine Naomi Watts playing the role if they ever did a Hollywood remake and I doubt even she would achieve what Dobra did with the role.
The direction is absolutely top-notch, the editing slick, smooth and rhythmical, the cinematography seamlessly shifts between meticulously composed shots in terms of framing to more docu-feel hand held technique. The only problem in this film is the script and the contrivance that runs throughout the narrative. It makes it very difficult to lose yourself in the natural flow of the story when you keep realising all the extra emotion is only there because the writers are piling it on. As if the basic moral conflict of your child's life vs. someone else's isn't powerful enough, they have to add a personal attachment to the other side? Ugh. I know this is adapted from a novel but that doesn't stop Roman Polanski cutting out the more ridiculous contrivances when he adapts.
In any area of filmmaking be it acting or direction or editing or whatever, the technique must be as hidden as possible. This is no different for a screenplay. All too often people reduce a screenplay to dialogue, but structure and characterisation are just as key. This film has a major structural flaw as the drama, after the opening act, is augmented by a hugely contrived scenario. This does not cripple the film, it's SO well made, so skillfully executed and performed it will always remain at least a very good film because there is so much to like. But that they hadn't spoilt this potential masterpiece by trying too hard and overdoing it. It's still strongly recommended as the acting alone is must-see but when the film is this good, the disappointments within take on more importance and this is a brilliantly done, if ultimately tainted film.