Alix Lambert's approach couldn't be more direct, as there is no narration, and no explanatory text, and subjects' responses are not paired with questions or statements from the filmmaker. Interspersed at times with archived footage from many years past, 'The mark of Cain' consists simply of remarks from interviewees - mostly inmates, but also prison staff or other professionals - footage of tattoos and institutions, and overlaid text introducing the subjects. There are unlikely rays of sunshine to appear in the form of a few cats that are seemingly kept as de facto pets, but otherwise the movie is more than a little dour as it showcases correctional facilities and those within. For all that, as simple and straightforward as this documentary is, it's unquestionably fascinating as an unembellished peek into Russian prisons.
Ostensibly a feature detailing the specific, specialized tattoos that adorn Russian prisoners' skin, and their meaning, the scope of Lambert's project is actually wider than that. While tattoos are a soft focus, in the same breath that these are exhibited and discussed, we also hear how the subculture has changed over time. Moreover, large swaths of the picture examine the institutions generally, and the horrid conditions therein, giving a dire impression of "life on the inside." One can immediately draw comparisons to prison systems elsewhere in the world, including the United States - the particulars may differ in some measure, but the overall effect is much the same. It's definitely interesting to glimpse this extra-small corner of the world and everything it entails, not least of all the loosely systematized, unsanctioned bodily artwork that effectively constitutes an unofficial policy of identity, order, and hierarchy.
This documentary is enjoyable, and is edited together very well, and worth a look for those with an appetite for sundry topical areas. I think it could stand to be a bit better, though, in at least one notable way. The matter-of-fact approach to the feature, letting the people and imagery speak for themselves, cuts down on excess and gives the essential content more time to shine. That - or, as is true here, more details of the topic can be broached to give a more well-rounded perspective thereof. However, while prison tattoos are more or less the inspiration behind the film, so much attention is given to other aspects of Russian prisons that the core is kind of watered down. At the same time, were 'The mark of Cain' intended all along to give a more expansive view, it doesn't feel like any one idea is explored fully enough to be entirely satisfying. All this to say: were the project more tightly focused on any one element, tattoos especially, it could have gone into greater depth, and would have been improved for it, and it wouldn't have been necessary to completely drop the other proverbial flavors to round out the movie.
That's my opinion, anyway, but maybe I'm nitpicking. In any event, even if subjectively flawed, the material here is certainly engaging. We get sufficient information in 70 minutes on every bit touched upon to pique our interest in an area that one could spend many more hours delving into. I think that alone marks 'The mark of Cain' as a success; if the worst that can be said of a title like this boils down to "it could go deeper," then I'd say Lambert did her job pretty well. Of course anyone who has difficulty abiding documentaries won't have their minds changed, and it's worth accentuating that the space the filmmaker is showing to us isn't exactly rosy. What it all comes down to, though, is that for anyone with interest in the subject matter, documentaries, or as far as that goes simply learning or cinema in all their varieties - or, let's be honest, David Cronenberg's 'Eastern promises' - then this is a quick, deserving watch.
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