With A Vipers’ Pit (Is-Sriep Regghu Saru Velenuzi) enjoying a healthy run at Eden Cinemas, I thought I’d compile a little guide for prospective viewers before they take a chance on our political thriller-family drama-literary adaptation.
Response has been better than anything I had every hoped for: reviews ranges from ecstatic to ecstatically disappointed, but indifference was never the least bit part of the equation. For a low-budget debut based on a beloved book which attempts to treat national wounds, it’s just the kind of response you want.
So here’s a handily collated list of some previews, interviews and even reviews that the film has already amassed so far.
Starting from this Friday (6 August), those of you based in Malta can watch a film I wrote at Eden Cinemasin St Julian’s.
This is the first feature film script of mine to be produced, and suffice it to say that I’m excited about how audiences are going to react to our adaptation of Is-Sriep Regghu Saru Velenuzi (literal translation: ‘The Snakes Are Venomous Again’; our translation, ‘A Vipers’ Pit’) by Alex Vella Gera, a novel whose trajectory I’ve followed from a very early stage back in 2012.
Director-producer Martin Bonnici called me up to ask if I’d be on board with adapting the novel back in late 2015, by which point the book had been established as a landmark of contemporary Maltese literature. This had partly to do with its thrilling core conceit – a group of ultra-Catholic nationalist insurgents plan the assassinaton of firebrand socialist prime minister of Malta, Dom Mintoff, in the 1980s – but also for more formal reasons.
Vella Gera’s novel is written in the bilingual register which reflects how a large part of the Maltese population speak; a linguistic schizophrenia that stands in for the binaries of social class on the island. The middle classes speak English, the working classes speak Maltese. At least, that’s the boilerplate belief, which has of course always been more nuanced on the ground than on paper. Middle-class born Noel Sammut Petri decides to break with that tradition after a move to Brussels, insisting on speaking Maltese in Maltese company.
It may seem like a small detail, but it speaks volumes. Where the English-speaking Maltese are either coded as elites or subject to gentle (and not-so-gentle) ridicule for the most part, Vella Gera chooses to depict this reality honestly, filtering some of this understandable distaste through the now liminal figure of Noel.
It’s one of the many ways in which the book resists an earnest, try-hard attempt to flaunt an idea of Malteseness that can be packaged and sold, and it’s probably the reason why it felt so refreshing to so many. Despite the attention-grabbing Mintoff plot, at its core the story is about the emotional landscape of the people trying to navigate the uncertain morass that is Malta: an infant Republic in its early segment set in the 1980s – following Noel’s father Richard as he’s pushed to serve as triggerman for the Mintoff assassination – and an EU member state at the cusp of regime change in 2012.
Vella Gera himself told me as much while we were conducting an email interview about the book prior to its publication in 20 October, 2012. Here’s a quote that didn’t make the final cut:
“I wanted to steer away from narratives dictated by the political parties. In a way, this book is a direct challenge to that bipolarism. Not that I’m propagating a “third way”, which is really conservatism by another name. However, like Noel, I too am aloof from the tug of war of local politics, so if my book were to be “unofficially boycotted” I think in a way it would be a success because it would underline that aloofness and continued lack of understanding of where I really come from
“Obviously, I have my political opinions, which to a certain extent continue to validate that aloofness, because I find very little in Maltese politics to rejoice over. I wonder who Noel would vote for. Probably [Green Party] AD, or perhaps he wouldn’t vote at all, or then again, he’d vote Labour just to spite [his property magnate friend] Roger. But I never get into these intricacies, because I find them very dull to deal with […] Personally I tried to steer away from getting too specific about anything except the gut feelings of people, which is what I’ve always felt is missing in most Maltese political fiction. That gut feeling that cannot be brushed aside or censored, or made more palatable with a joke or a witty aside, or some satirical tone.”
Despite its many changes to the source novel, I also sincerely hope that our film adaptation manages to convey a similar commitment to the complex emotional spaces the characters occupy, in favour of safely packaged assumptions, and jingoism by any other name.
I’ve waited for the reviews to form a satisfyingly diverse cluster before putting this together, as it’s been an interesting couple of months at the movies. But here they are; some of my recent pieces of film criticism for MaltaToday, liberally cherry-picked and in no particular order.
Which is, of course, a total lie. Cherry-picking implies selection, and selection implies intention, which implies order of some kind.
In this case, we’ve see a few glittering diamonds in the rough just about rising up for air in an atmosphere suffused by entertaining, but equally suffocating, blockbuster fare.
“Though an epic send-off may have felt like a foregone conclusion Marvel Studio’s unprecedentedly long-running superhero saga, the mammoth achievement that’s ensued is certainly no casual fluke. Carefully calibrated to give each character and sub-plot their due while never short-changing its emotional content, Avengers: Endgame gives itself the licence of sizeable running time to tell a story that is part dirge, part mind-bending time travelling heist and part meditation on friendship and power. The cinematic landscape may have been changed by these colourfully-clad supermen and women in debatable ways, but the byzantine byways of its interconnected stories clicking so satisfyingly together is certainly no mean feat.”
“More ambitious and tighter than his barnstorming Get Out in equal measure, Jordan Peele’s second stab at film-making may have some rips at its seams, but in the long run makes for a thrilling feature with something to say. Satisfyingly structured and laced with nuggets of ambiguity that will burrow through the brain, it’s offers a full-bodied experience of genre cinema that feels sorely needed in a landscape oversaturated with superheroes and remakes.”
“Expanding on its world with a tightly-focused and clever simplicity that allows more than ample room for its trademark bloodbath-balletics to shine through, the third installment of the little action franchise that could continues to plough its way through the competition with violent, witty elan. A satisfying ride from start to finish, Reeves and Stahelski’s baby has grown up and taken the world by storm, while betraying zero signs of franchise fatigue so far.”
“Though lacking polish in certain areas and never quite managing to resist the temptation to stuff every frame with ‘local colour’, Limestone Cowboy remains an engaging and effective dramedy that successfully alchemises quirky Maltese mores into a feature of universal appeal.”
“While offering an unflinching and deeply upsetting gaze into the unequal power structures of capitalism both past and present, Happy as Lazzaro also manages to be a rich and rewarding fable, limned with a magical glow that keeps cynicism and hopelessness at bay. Mixing in a team of first-time actors and non-professionals with established names, Alice Rohrwacher creates something of a minor miracle, which is likely to remain resonant for years to come.”