In nineteenth century Texas, an eccentric German traveller buys a slave to assist in finding a band of outlaws. Django is amazed to find a mentor in Schultz, and the men continue as partners before setting out on a mission to rescue Django's wife from slavers in Mississippi. I can't explain why I hadn't yet seen Django Unchained - any trepidation about Tarantino films always seems to melt away in enjoyment from about the second frame, and this is no exception.
The ultimate blaxploitation western thriller buddy movie, Django Unchained might be ridiculously long, but because it's equal parts sheer joy, comedic over-dramatisation, and schlock horror, it's hard to mind much. In his usual
mocking tone, Tarantino manages to censure the violence of slavery and the mindset of pro-slavers, even as his hero commits atrocities in the name of
freedom.
It's not possible to separate Tarantino from the beautifully stylised gore which immerses his films - and perhaps now no one would want to - but it's worth noting he has also become a master of cinematic beauty, frequently collaborating with the same production designers and cinematographers to turn out increasingly incredible images. The detailed mis-en-scène, matched with spot-on dialogue and enthusiastically motivated performances from all cast, makes for touches of absolute brilliance and ensures you always know whose film you're watching.
Django Unchained is another well-realised entertainment piece from one of America's greatest auteurs, who's obviously telling us we ain't seen nothin' yet.
Though a hard-core Tarantino fan may find it seriously lacking in violence, Blazing Saddles addresses serious issues of racism and corruption with a similar style of over-the-top silliness. This is an heroic tale of a newly appointed Sheriff encouraging townsfolk who'd be happy to lynch him to stand up against a corrupt railways mogul, instead.
Tuesday 4 March 2014
Thursday 27 February 2014
Her
In the not-too-distant future, Theodore Twombley is an endearingly awkward office worker, still suffering the effects of his marriage breakup. An early adopter of a new operating system for his devices, he soon falls in love with Her - his personal Artificial Intelligence, which has named itself Samantha.
The concept may seem at first glance to walk a fine line between intriguing and off-putting - but it is brilliantly well executed in this examination of relationships, loyalty, and love between friends, confidants and lovers. From Spike Jonze's offbeat but somehow perfectly real script, to the careful, beautiful production design, Her is original to the nth degree.
By turns joyously funny, gauzily romantic and achingly lonely, the stellar performances and barely-there camera take us directly into the the heart of the story, in a world complete down to the last detail.
A meditation on communication and humanity in an advanced technological world, Her is a strange mixture of isolation and melancholic humour, yet it not only works, but somehow leaves you filled with hope for the future. A modern masterpiece.
Also featuring a future-Earth, themes of isolation and re-growth, and an unexpected but wonderful AI romance, is WALL-E, the tale of a broken Earth's deserted robot caretaker meeting an inter-galactic probe. If you haven't seen this breathtakingly beautiful, Oscar-winning animation, hie you to your nearest on-/offline video store!
The concept may seem at first glance to walk a fine line between intriguing and off-putting - but it is brilliantly well executed in this examination of relationships, loyalty, and love between friends, confidants and lovers. From Spike Jonze's offbeat but somehow perfectly real script, to the careful, beautiful production design, Her is original to the nth degree.
By turns joyously funny, gauzily romantic and achingly lonely, the stellar performances and barely-there camera take us directly into the the heart of the story, in a world complete down to the last detail.
A meditation on communication and humanity in an advanced technological world, Her is a strange mixture of isolation and melancholic humour, yet it not only works, but somehow leaves you filled with hope for the future. A modern masterpiece.
Also featuring a future-Earth, themes of isolation and re-growth, and an unexpected but wonderful AI romance, is WALL-E, the tale of a broken Earth's deserted robot caretaker meeting an inter-galactic probe. If you haven't seen this breathtakingly beautiful, Oscar-winning animation, hie you to your nearest on-/offline video store!
Wednesday 26 February 2014
Meek's Cutoff (2010)
Directed by Kelly Reichardt
Written by Jonathan Raymond
Stephen Meek is guiding three couples across wild, untamed and unmapped Oregon in 1845, the earliest days of westward expansion. When we meet them, the disillusioned settlers are wondering whether Meek is lost, or if he lied to them in claiming his alternative route, Meek's Cutoff, would be more direct and safer from Indian attack than the valleys of the Oregon Trail.
Deliberately joining the wagons in the midst of their journey and leaving before they arrive at any destination, this isn't some Hollywood story of triumphant pioneers overcoming hardship. Instead, Meek's Cutoff is a slow examination of trust and betrayal in people on the edge of reason, trapped in an inhospitable, alien landscape, filled with fear and doubtful as to whether they'll survive.
I imagine this was a film to have seen in the cinema, where the big screen and enforced stillness would have aided the subtle, low contrast, lingering shots and creeping feeling of isolation - despite the chosen 4:3 aspect ratio no longer being considered truly cinematic by most audiences. Unfortunately in this case, translation to a smaller screen meant a loss of detail and immediacy, and for me, a tendency to fall out of the film too easily.
In a way, Meek's Cutoff is a brilliant behind the scenes B-roll of pioneer journeys - a realistic portrayal of the privations undergone on the incomprehensibly arduous wagon trains, but as a contemplative look at complex human emotions and loyalties, I felt a little under-directed, a little lost. It's entirely possible that was the point.
Also based on a true story, Into the Wild examines a completely different pioneer spirit: an American college graduate in the early 1990s who removed himself from society and disappeared into the wilds of Alaska. His attempt to throw off modern societal constructs and live his own way are thought-provoking, the film (reviewed on this blog here,) is beautifully made, and still haunts me.
Written by Jonathan Raymond
Stephen Meek is guiding three couples across wild, untamed and unmapped Oregon in 1845, the earliest days of westward expansion. When we meet them, the disillusioned settlers are wondering whether Meek is lost, or if he lied to them in claiming his alternative route, Meek's Cutoff, would be more direct and safer from Indian attack than the valleys of the Oregon Trail.
Deliberately joining the wagons in the midst of their journey and leaving before they arrive at any destination, this isn't some Hollywood story of triumphant pioneers overcoming hardship. Instead, Meek's Cutoff is a slow examination of trust and betrayal in people on the edge of reason, trapped in an inhospitable, alien landscape, filled with fear and doubtful as to whether they'll survive.
I imagine this was a film to have seen in the cinema, where the big screen and enforced stillness would have aided the subtle, low contrast, lingering shots and creeping feeling of isolation - despite the chosen 4:3 aspect ratio no longer being considered truly cinematic by most audiences. Unfortunately in this case, translation to a smaller screen meant a loss of detail and immediacy, and for me, a tendency to fall out of the film too easily.
In a way, Meek's Cutoff is a brilliant behind the scenes B-roll of pioneer journeys - a realistic portrayal of the privations undergone on the incomprehensibly arduous wagon trains, but as a contemplative look at complex human emotions and loyalties, I felt a little under-directed, a little lost. It's entirely possible that was the point.
Also based on a true story, Into the Wild examines a completely different pioneer spirit: an American college graduate in the early 1990s who removed himself from society and disappeared into the wilds of Alaska. His attempt to throw off modern societal constructs and live his own way are thought-provoking, the film (reviewed on this blog here,) is beautifully made, and still haunts me.
Tuesday 25 February 2014
12 Years a Slave
What can one say about 12 Years A Slave, that the title and reviews have not already said? This is a disturbing representation of twelve years in the life of Solomon Northup, a free African American ripped from his comfortable life by slavers, and sold into bondage in the deep south.
Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.
The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.
Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.
Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.
Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.
I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.
Of course, it's a film everyone should see, but it's not a pleasant experience, perhaps because it is so utterly raw. As depicted here, Solomon is not a hero. It's possible he became one, later, in the years he spent campaigning for the abolition of slavery, involved in the underground railroad, and authoring the book which became the basis of the film - but in these twelve years, he's at first attempting to explain, and then merely to survive. Of course he is, otherwise he would have been killed, and his story would never have been told.
The most powerful force in the film is the utter helplessness of Solomon's situation. He's a strong, independent man, used to the friendship of his neighbours and the ability to make his own decisions. He's not meant to be there - but no one will hear him, and even if they did, how can he justify his identity making him more deserving than his fellow slaves? His moral quandaries and natural spirit result in an horrific sequence which neatly juxtaposes daily atrocities with daily life.
Finally, an end comes - again made more powerful by how extremely pared back it is: there's no outcry, no procession, and as we find out in the end titles, no prosecution - a conclusion which jarrs with our notion of what is due to Solomon, and a brave choice, in keeping with the difficult tone of the film.
Praise has been heaped on 12 Years a Slave, and its many wins during awards season have attested to the reaction it provokes, but it's almost impossible to deconstruct whether that's due to the artistry of the film, or the issues it so well presents. Inflamed opinions make it somewhat dangerous even to try, but I do agree it is essential viewing.
Everyone should feel guilty, watching this film. Not for collusion in the oppression of Solomon Northup in Louisiana nearly two hundred years ago, but because this still happens. There are human beings being exploited around the world today, their lives made a misery for profit they will never share in: and all of us are still walking past, with our heads down, to avoid becoming targets ourselves.
I can't think of another film like 12 Years A Slave. There simply isn't one - this is no Lincoln, or Django Unchained. I am sure the reasons there are not more American films about slavery are myriad, and all of them contentious. However, should you wish something to compare with 12 Years A Slave, try The Pianist, which delves in to the dire situation of a young Polish musician caught in the Holocaust, and provides a bleak examination of what it means to beat the odds, and what it costs to survive.
Monday 17 February 2014
Dallas Buyers' Club
It's 1985, and Ron Woodroof is a wiry, rodeo-lovin' electrician living the good life, up to his eyeballs in girls, gambling, drugs and alcohol - until the accidental discovery he's HIV positive. Struggling against medical ignorance, prejudice and the legal system, Ron forms the Dallas Buyers Club while searching for medication to help his condition.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
The story touches on a slew of hotly debated issues, including gay rights, the AIDS epidemic, the USA's Food and Drug Administration approval process and Big Pharma's motives, so it's not at all surprising that Dallas Buyers Club has stirred up controversy as well as awards buzz. However, I think many viewers are focussing on their own agendas, and missing the point of the film entirely.
Dallas Buyer's Club is a small story set against an important historical moment. It's not the story of the fight against AIDs - it's the story of a man ejected from the life he knows, and forced to completely change his behaviour and beliefs if he wants to survive. Matthew McConaughey plays Ron with a cheeky swagger, allowing us to follow this somewhat repulsive character as he at first tries to outwit his disease, and then embraces knowledge and medication which will help him, and others, live with it.
Yes, it's a redemption tale, of sorts - but that does not devalue the film, nor lessen its emotional sensitivity or realism. Funny, nuanced, and exceedingly well-performed by its two leads, Dallas Buyers Club may have a few flaws, but it's a wonderfully watchable film and should be highly recommended.
Enjoy true, one-man-against the world stories? Milk follows the political career of Harvey Milk, the businessman-turned-activist who became the first openly gay man elected to public office in the United States. Featuring a stunning performance from Sean Penn, an incredible supporting cast, and a wide range of viewpoints on equal rights.
Friday 14 February 2014
Parade's End
Set in early twentieth century England, during possibly the greatest period of change in modern times, Parade's End follows young gentleman Christopher Tietjens, struggling to uphold his exacting moral standards against a developing love triangle and a rapidly industrialising world.
The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's End. The beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.
The central love story hangs on three very different types, each brought to life in a nuanced performance. Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect. Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic. Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.
The small scale of their story is set against the sweeping change which characterised the period. A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.
As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.
Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office? For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.
The British are exceedingly good at nostalgic representations and adaptations of their own history, looking to the past in remembrance of a better, more noble time, and that melancholic mood is perfectly encapsulated in Parade's End. The beautifully paced narrative and a lingering camera allow the viewer time to think, which rewards an audience engaged with the characters rather than indulging passive viewing.
The central love story hangs on three very different types, each brought to life in a nuanced performance. Sylvia, played by Rebecca Hall, is a tempestuous, adulterous society woman, far brighter than many of the men she toys with for amusement, but for propriety yoked to a husband she cannot at first respect. Valentine, (Adelaide Clemens,) only a few years younger, has the advantage of education rather than breeding, and dares to have ambitions beyond the home and political opinions of her own - yet of the two, she's the naive romantic. Anchoring the story is Christopher, masterfully portrayed by Benedict Cumberbatch as the very essence of the stiff upper lip, determined to preserve the parade of nobility despite damaging consequences, even his own impending ruin.
The small scale of their story is set against the sweeping change which characterised the period. A variety of supporting players force choices and loyalties, taking the story by turns to epic heights and farcical lows through the pre war years to the large-scale destruction of The Great War, which serves as the ultimate symbol of the clash between old and new.
As an incredibly well designed, beautifully shot and gorgeously costumed extravaganza, Parade's End deservedly joins the ranks of classic costume dramas, but to my mind it's the haunting themes which have made it such compelling viewing.
Parade's End featured several outstanding comic moments - did you also love the wry scene in which a frustrated Tietjens, attempting to outfit his troops, is given the run-around by the War Office? For a whole patchwork of bureaucratic nonsense, try the abrupt change of pace demanded by the film adaptation of Joseph Heller's WWII masterpiece, Catch 22 - a wholly comedic yet entirely heartbreaking illustration of the futility of war.
Wednesday 12 February 2014
Are We Officially Dating?
Meant to be a comedy, Are We Officially Dating? follows three New York guys who've made a pact to stay single after one of them suffers a break up. Cue crazy testosterone-fueled adventures! Except, not. It turns out their idea of staying single is achieved not by spending time with their mates, but by spreading themselves through a "roster" of girls with no expectations, providing sex-on-tap without complications like, you know, talking.
The film has been released in Australia and New Zealand with the more optimistic working title from the screenplay, rather than the prophetic US That Awkward Moment: that moment being almost the whole film, but also referring to the point at which one partner starts to think sleeping together equals relationship, and must therefore be dumped.
Of course, the heart-warming message of the film is that each of the guys finds someone he enjoys spending time with, and starts to grow up - but because he's loyal to his friends and the safety net of their pact, is "forced" into all sorts of denials and problems which screw up the budding relationship. Through this terrible turmoil, (spoiler alert!) the guys realise female companionship isn't so bad, and luckily, because they've had the great taste to pick such cool chicks, all they have to do is suffer a little physical discomfort while making apologetic gestures - and no matter what he's put her through, the girl will take him back!
It tries hard to make you think it's funny, and never raises more than a snigger, but the saddest thing about Are We Officially Dating? is the filmmakers obviously believe they've created strong, feisty women for their three bros. It shouldn't have to be pointed out to them that a few quippy lines and some kooky behaviour added to a sex toy doesn't actually make it a woman. None of the girls here have any agency or even friends of their own: they're islands in a world of men, their choices limited to resisting a guy for a while, waiting for him to call, or leaving him for another man.
Are We Officially Dating? is a misfire - too soppy for guys, but too deeply misogynistic for anyone but a (hopefully very young) guy to find funny. Officially, don't see it.
If you're looking for a silly, formulaic date movie good for girls and guys, don't watch the above. Friends with Benefits starring Mila Kunis and Justin Timberlake has its weak points, but is a movie about fear of commitment that's actually both funny and romantic.
The film has been released in Australia and New Zealand with the more optimistic working title from the screenplay, rather than the prophetic US That Awkward Moment: that moment being almost the whole film, but also referring to the point at which one partner starts to think sleeping together equals relationship, and must therefore be dumped.
Of course, the heart-warming message of the film is that each of the guys finds someone he enjoys spending time with, and starts to grow up - but because he's loyal to his friends and the safety net of their pact, is "forced" into all sorts of denials and problems which screw up the budding relationship. Through this terrible turmoil, (spoiler alert!) the guys realise female companionship isn't so bad, and luckily, because they've had the great taste to pick such cool chicks, all they have to do is suffer a little physical discomfort while making apologetic gestures - and no matter what he's put her through, the girl will take him back!
It tries hard to make you think it's funny, and never raises more than a snigger, but the saddest thing about Are We Officially Dating? is the filmmakers obviously believe they've created strong, feisty women for their three bros. It shouldn't have to be pointed out to them that a few quippy lines and some kooky behaviour added to a sex toy doesn't actually make it a woman. None of the girls here have any agency or even friends of their own: they're islands in a world of men, their choices limited to resisting a guy for a while, waiting for him to call, or leaving him for another man.
Are We Officially Dating? is a misfire - too soppy for guys, but too deeply misogynistic for anyone but a (hopefully very young) guy to find funny. Officially, don't see it.
If you're looking for a silly, formulaic date movie good for girls and guys, don't watch the above. Friends with Benefits starring Mila Kunis and Justin Timberlake has its weak points, but is a movie about fear of commitment that's actually both funny and romantic.
Wednesday 5 February 2014
Frozen
Not only visually stunning, Disney's latest animated spectacular Frozen is already being lauded as a modern classic. It's a thoroughly enjoyable tale, which manages the tricky combination of being true to its genre while simultaneously subverting audience expectations.
Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.
At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!
Keen to see another Disney movie with a modern twist? Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.
Filled with warmth despite the incredibly well-realised icy setting, Frozen takes the requisite Disney characters and tropes, from Princesses and Princes to singing sidekicks, loyal retainers to mythical creatures, selfish maneuvering to acts of true love, and subtly adds comic twists and dramatic turns, creating a truly fresh action adventure with a relevant message.
At its heart, Frozen is a simple story about the bonds of family, and the importance of being true to yourself - yet the beautifully escalating action creates an epic feel, and the viewer is carried along with the show, careering through the blizzard to the required resolution, which though sentimental, comes from a surprising direction which ultimately makes the film more satisfying - Elsa and her sister Anna are definitely not your average princesses!
Keen to see another Disney movie with a modern twist? Enchanted stars Amy Adams as Giselle, the impossibly sweet heroine beloved by the prince she's just met, who is suddenly sucked from her animated world and sent to live in real life New York City.
Tuesday 28 January 2014
American Hustle
The cuckoo in this award season's nest is American Hustle, a big, glossy, mess of a crime caper, stealing Oscar buzz from the more serious dramatic contenders with its smart writing, incredible performances, style and humour.
On one level, the film goes for larger-than-life, and featuring flamboyant performances from practically the whole cast, looks like it was as much fun to make as it is to watch. Despite a slightly over-long running time, American Hustle holds attention with witty, fast-paced dialogue and over the top glamour - the seventies never looked so good!
Despite the polish, this isn't style over substance: there's an appealingly seedy flavour, a gritty truth behind the slickness, which ensures comparisons to The Sting 1 rather than Ocean's Eleven - and just in case you hadn't picked up on the tone, one of the characters spells it out, in a soliloquy to nail polish!
It's exactly this sense of comic self-awareness which makes American Hustle such a great viewing experience. Because we like them, our sympathies are firmly with the criminal protagonists, even when they're pulling off sleazy cons: so when the drama escalates, the laughs keep the roller coaster on the rails, in this topsy-turvy world where the crooks are more ethical than the cops, a mistress is a more loyal partner than a wife, and a politician facing charges is the most honest person in the room.
A life of crime beginning to appeal? There's a completely different pair of confidence tricksters in Dirty Rotten Scoundrels, a comedy starring Michael Caine and Steve Martin competing for attention, (and money,) along the French Riveria.
On one level, the film goes for larger-than-life, and featuring flamboyant performances from practically the whole cast, looks like it was as much fun to make as it is to watch. Despite a slightly over-long running time, American Hustle holds attention with witty, fast-paced dialogue and over the top glamour - the seventies never looked so good!
Despite the polish, this isn't style over substance: there's an appealingly seedy flavour, a gritty truth behind the slickness, which ensures comparisons to The Sting 1 rather than Ocean's Eleven - and just in case you hadn't picked up on the tone, one of the characters spells it out, in a soliloquy to nail polish!
It's exactly this sense of comic self-awareness which makes American Hustle such a great viewing experience. Because we like them, our sympathies are firmly with the criminal protagonists, even when they're pulling off sleazy cons: so when the drama escalates, the laughs keep the roller coaster on the rails, in this topsy-turvy world where the crooks are more ethical than the cops, a mistress is a more loyal partner than a wife, and a politician facing charges is the most honest person in the room.
A life of crime beginning to appeal? There's a completely different pair of confidence tricksters in Dirty Rotten Scoundrels, a comedy starring Michael Caine and Steve Martin competing for attention, (and money,) along the French Riveria.
1 The Sting was also nominated for ten Academy Awards, and came away with seven, including 1974's Best Picture, Best Original Screenplay and Best Director. ↩
Sunday 26 January 2014
Saving Mr Banks
Everyone knows how the story is supposed to go: an author writes a bestseller, a film studio acquires the rights, and hey, presto: bestseller becomes blockbuster. Sometimes, though, getting to that point isn't so simple, and Saving Mr Banks brings us behind the scenes of some very tricky negotiations - Walt Disney's efforts to secure the Mary Poppins film rights from her creator, P.L Travers, (Mrs.)
Although of course, that's not entirely true. We're actually behind the scenes of negotiations scripted beautifully for the characters of Walt Disney and Mrs Travers, with several layers of adaptation at work behind them.
The filmmakers, who had access to the originals of the recorded conversations featured in the film, have freely admitted that their P.L is a spoonful-of-sugar creation herself, because likeability could otherwise have been an issue. It does seem everyone who worked with her thought Mrs Travers a cantankerous old b., but the film comes up with reasons and excuses for her behaviour, (otherwise known as flashbacks,) rather than actually delving in to the frequently exclaimed fact that for twenty odd years Disney pursued her relentlessly, refused to take no for an answer - and that when he'd finally backed her into a corner, either overruled or ignored her final conditions to the sale. Now who's "difficult"?
But they had a script, the purpose of which is to become a film, and the other half of the equation is that although Saving Mr Banks was written independently, the only studio that could possibly have made it was Disney. So, while there's an impressive amount of attempting-to-be-true-to-life leniency with their iconic founder's image, (Disney smoked!) it's obvious we're getting a toned down, shaped up, family friendly image here, too.
Frequent moments of comic gold are mined by Emma Thompson's prickly P.L Travers, a fish out of water who's trying to cope by depriving the other fish of water, too. Tom Hanks injects Disney with just a little too much affability to really be a good guy, which is a nice touch, hinting at deeper conflicts. All in all, though, this is a romp, and enjoyable as such: everybody's favourite film about everybody's favourite magical nanny!
Hollywood does tend to get its own way a lot of the time. For a dark, gloriously cynical look at a writer lured to his destruction in the City of Angels, get sucked into the world of Barton Fink, an early classic from the Coen Brothers.
Although of course, that's not entirely true. We're actually behind the scenes of negotiations scripted beautifully for the characters of Walt Disney and Mrs Travers, with several layers of adaptation at work behind them.
The filmmakers, who had access to the originals of the recorded conversations featured in the film, have freely admitted that their P.L is a spoonful-of-sugar creation herself, because likeability could otherwise have been an issue. It does seem everyone who worked with her thought Mrs Travers a cantankerous old b., but the film comes up with reasons and excuses for her behaviour, (otherwise known as flashbacks,) rather than actually delving in to the frequently exclaimed fact that for twenty odd years Disney pursued her relentlessly, refused to take no for an answer - and that when he'd finally backed her into a corner, either overruled or ignored her final conditions to the sale. Now who's "difficult"?
But they had a script, the purpose of which is to become a film, and the other half of the equation is that although Saving Mr Banks was written independently, the only studio that could possibly have made it was Disney. So, while there's an impressive amount of attempting-to-be-true-to-life leniency with their iconic founder's image, (Disney smoked!) it's obvious we're getting a toned down, shaped up, family friendly image here, too.
Frequent moments of comic gold are mined by Emma Thompson's prickly P.L Travers, a fish out of water who's trying to cope by depriving the other fish of water, too. Tom Hanks injects Disney with just a little too much affability to really be a good guy, which is a nice touch, hinting at deeper conflicts. All in all, though, this is a romp, and enjoyable as such: everybody's favourite film about everybody's favourite magical nanny!
Hollywood does tend to get its own way a lot of the time. For a dark, gloriously cynical look at a writer lured to his destruction in the City of Angels, get sucked into the world of Barton Fink, an early classic from the Coen Brothers.
Wednesday 22 January 2014
Philomena
An emotional British/Irish drama directed by Stephen Frears, based on a heartbreaking true story, and featuring Judi Dench in the title role, the film adaptation of Philomena was destined for attention. And it is a solid enough drama, worth a watch - it's just that the film is so clearly less valuable than its components, the combination of which ensured it was catapulted into awards contention anyway.
That's not to say Philomena doesn't give you a giggle or encourage a few tears while uncovering a story which deserves to be told, but it does beg the question: what story is it trying to tell? A number of important issues, worthy of exploration, are thrown up in the course of Philomena's journey to find her long-lost son - yet the film skims over them. At times it seems the story is guided by the emotive Oscar nominated score, rather than the other way around.
The culture clash between sweet, disenfranchised Philomena and the arrogant journalist, Sixsmith, is played out for laughs, rather than a lingering symptom of the class system which is partly responsible for Philomena's troubles in the first place. A meal is made out of Sixsmith's emotional growth, but said 'growth' boils down to scenes of him tolerating conversation he doesn't enjoy and the massive sacrifice of deciding (twice!) to accede to Philomena's wishes, which (twice!) she's naturally already aligned to match his. Not much of an evolution.
Wrapped at the core of the film is fact that women and children were treated extremely badly by institutions like the Catholic Church, which ruined lives and created tragedies under the guise of helping the vulnerable. But the Church does not have a monopoly on causing pain: the ongoing efforts of these mothers and their children to find each other should certainly be recognised, as should human rights abuses all around the world.
The difference in this story, and where the film could have elevated itself on its own merits, is the attitude of Philomena Lee to her personal experience. She comes to a conclusion stunning in its simplicity, which could have been the whole point of the film - but it's wasted, the important moment immediately numbed by cheap emotion, then comedic babble. It's hard not to be cross with a film which could have been even better than its reputation, but which, despite laughing at pop culture, still chose commercial sentimentality over considered reflection.
Another well-regarded film based on a true story and featuring Judi Dench is Iris, a love story through life, which is not an easy watch, but features superlative performances from four fantastic actors all at their very best. Co-starring Jim Broadbent in an Oscar-winning role, supported by Kate Winslet and Hugh Bonneville.
That's not to say Philomena doesn't give you a giggle or encourage a few tears while uncovering a story which deserves to be told, but it does beg the question: what story is it trying to tell? A number of important issues, worthy of exploration, are thrown up in the course of Philomena's journey to find her long-lost son - yet the film skims over them. At times it seems the story is guided by the emotive Oscar nominated score, rather than the other way around.
The culture clash between sweet, disenfranchised Philomena and the arrogant journalist, Sixsmith, is played out for laughs, rather than a lingering symptom of the class system which is partly responsible for Philomena's troubles in the first place. A meal is made out of Sixsmith's emotional growth, but said 'growth' boils down to scenes of him tolerating conversation he doesn't enjoy and the massive sacrifice of deciding (twice!) to accede to Philomena's wishes, which (twice!) she's naturally already aligned to match his. Not much of an evolution.
Wrapped at the core of the film is fact that women and children were treated extremely badly by institutions like the Catholic Church, which ruined lives and created tragedies under the guise of helping the vulnerable. But the Church does not have a monopoly on causing pain: the ongoing efforts of these mothers and their children to find each other should certainly be recognised, as should human rights abuses all around the world.
The difference in this story, and where the film could have elevated itself on its own merits, is the attitude of Philomena Lee to her personal experience. She comes to a conclusion stunning in its simplicity, which could have been the whole point of the film - but it's wasted, the important moment immediately numbed by cheap emotion, then comedic babble. It's hard not to be cross with a film which could have been even better than its reputation, but which, despite laughing at pop culture, still chose commercial sentimentality over considered reflection.
Another well-regarded film based on a true story and featuring Judi Dench is Iris, a love story through life, which is not an easy watch, but features superlative performances from four fantastic actors all at their very best. Co-starring Jim Broadbent in an Oscar-winning role, supported by Kate Winslet and Hugh Bonneville.
Tuesday 14 January 2014
August: Osage County
With a cast of luminaries and a screenplay of crackling dialogue, (adapted by Tracy Letts from his award-winning play,) family drama August: Osage County was surrounded by awards buzz while still in production.
Unfortunately, when released, the hype died down and the critical reviews piled up... I think understandably. It's a difficult film to describe, especially since I did have such a good time watching it.
The characters, (gathering for a family reunion, of sorts,) are stylised caricatures, yet somehow weirdly true to life. And the things they say! I honestly don't think I've ever heard such incredible dialogue in a modern movie, with the rapid-fire delivery of perfect insults reminiscent of a forties screwball - except that here, the gloves are off and the swear jar's been smashed to pieces.
The ensemble cast inhabit their roles well, with several standout performances, (ironically enough most of the cast showing up the leading lady, whose flashy, overinflated performance has notched up another Oscar nod anyway, because, hey, it's Meryl Streep.) The characters' shifting alliances, tendency to the macabre and constant friction are a deliciously saucy blend.
It's just that this fine sauce covers a pretty rancid story. The frequent dramatics can only disguise the rapid downward descent in tone for so long, before it's a dark whirlpool dragging everyone down. Perhaps that was the point, or perhaps there are layers in the stage play missing in the film - but I found certain plot reveals repugnant in their unbelievability, and the obvious back-engineering to make various issues more palatable had the opposite effect.
Despite this, there's just something about August: Osage County that's worth a visit, whether it's the cathartic bliss of Julia Roberts losing her shit so spectacularly, visions of the sweltering heat of the Oklahoma plains, ("a spiritual affliction, like the Blues"), or the realisation there's no human on Earth who hasn't been screwed up by their parents.
Not sold, or looking for a dysfunctional family movie that's a little less Chinatown, and a little more Parenthood? Try recent classic Little Miss Sunshine, a Best Picture nominee and the winner of the 2007 Oscar for Best Original Screenplay.
Unfortunately, when released, the hype died down and the critical reviews piled up... I think understandably. It's a difficult film to describe, especially since I did have such a good time watching it.
The characters, (gathering for a family reunion, of sorts,) are stylised caricatures, yet somehow weirdly true to life. And the things they say! I honestly don't think I've ever heard such incredible dialogue in a modern movie, with the rapid-fire delivery of perfect insults reminiscent of a forties screwball - except that here, the gloves are off and the swear jar's been smashed to pieces.
The ensemble cast inhabit their roles well, with several standout performances, (ironically enough most of the cast showing up the leading lady, whose flashy, overinflated performance has notched up another Oscar nod anyway, because, hey, it's Meryl Streep.) The characters' shifting alliances, tendency to the macabre and constant friction are a deliciously saucy blend.
It's just that this fine sauce covers a pretty rancid story. The frequent dramatics can only disguise the rapid downward descent in tone for so long, before it's a dark whirlpool dragging everyone down. Perhaps that was the point, or perhaps there are layers in the stage play missing in the film - but I found certain plot reveals repugnant in their unbelievability, and the obvious back-engineering to make various issues more palatable had the opposite effect.
Despite this, there's just something about August: Osage County that's worth a visit, whether it's the cathartic bliss of Julia Roberts losing her shit so spectacularly, visions of the sweltering heat of the Oklahoma plains, ("a spiritual affliction, like the Blues"), or the realisation there's no human on Earth who hasn't been screwed up by their parents.
Not sold, or looking for a dysfunctional family movie that's a little less Chinatown, and a little more Parenthood? Try recent classic Little Miss Sunshine, a Best Picture nominee and the winner of the 2007 Oscar for Best Original Screenplay.
Tuesday 7 January 2014
The Lost Weekend
Handsome, up-and-coming writer Don Birnam is being taken away for the weekend, but at the last minute, manages to dodge his attentive girlfriend and long-suffering brother. The people who care about him out of the way, The Lost Weekend belongs to Don's true love: alcohol.
With a screenplay adapted from Charles R. Jackson's semi-autobiographical novel and Billy Wilder directing, The Lost Weekend became a smash hit, despite its formerly taboo subject - and it has stood the test of time remarkably well.
The success is in large part due to the film's uncompromising take on an alcoholic's behaviour. Brilliantly portrayed by Ray Milland in an Oscar-winning performance, Don is a man broken by his desire for liquor and willing to go to any lengths for a drink - yet his descent into cunning manipulation, petty thievery and thuggery never becomes silly or mawkish, and the use of stylised monologues and flashbacks to allow the audience access to his thoughts is clever, without being melodramatic.
Barely striking a false note, (the exception perhaps being the film's slightly suspect but understandable conclusion,) The Lost Weekend was something quite different for Wilder, but as the Best Director, Actor, Adapted Screenplay, and Best Picture Oscars attested, it was exceedingly well done.
For crazed, comedic, and darkly melancholic take on addiction, look no further than cult 80's film Withnail & I. Withnail and his roommate are actors struggling for recognition, living in a scuzzy flat and abusing any substance that comes their way. Featuring an utterly electrifying performance from Richard E. Grant as the self-destructive Withnail.
With a screenplay adapted from Charles R. Jackson's semi-autobiographical novel and Billy Wilder directing, The Lost Weekend became a smash hit, despite its formerly taboo subject - and it has stood the test of time remarkably well.
The success is in large part due to the film's uncompromising take on an alcoholic's behaviour. Brilliantly portrayed by Ray Milland in an Oscar-winning performance, Don is a man broken by his desire for liquor and willing to go to any lengths for a drink - yet his descent into cunning manipulation, petty thievery and thuggery never becomes silly or mawkish, and the use of stylised monologues and flashbacks to allow the audience access to his thoughts is clever, without being melodramatic.
Barely striking a false note, (the exception perhaps being the film's slightly suspect but understandable conclusion,) The Lost Weekend was something quite different for Wilder, but as the Best Director, Actor, Adapted Screenplay, and Best Picture Oscars attested, it was exceedingly well done.
For crazed, comedic, and darkly melancholic take on addiction, look no further than cult 80's film Withnail & I. Withnail and his roommate are actors struggling for recognition, living in a scuzzy flat and abusing any substance that comes their way. Featuring an utterly electrifying performance from Richard E. Grant as the self-destructive Withnail.
Monday 6 January 2014
Ordinary People
A must-watch due to its pedigree as the
winner of Best
Picture, Director, Adapted Screenplay and Supporting Actor at the 1981
Academy Awards, I hadn't actually any idea what Ordinary People
was about until reading the synopsis on the case. It was with a slight
sense of dread I wondered what I was letting myself in for, but I was
rewarded with something subtly remarkable.
Robert Redford's directorial debut is a quiet drama, packed with explosive moments. Pacing slowly through the opening, Ordinary People allows the audience to piece together its subject matter one strained conversation or nightmare flashback at a time, until it's apparent we're exploring a changed family dynamic after a tragic death.
Naturally, it's emotional, but the authentic tone and sensitive handling avoids melodrama or sentimentality. The characters truly are ordinary, next door types, (albeit in a very nice neighbourhood!) with real worries and problems, ripped apart by their differing ways of dealing with their grief.
Delving into the ways they handle their feelings and examining guilt, avoidance, over-compensation, openness and deflection, Ordinary People takes place in a time when it wasn't "nice" to talk about your problems, and brings to the fore the need for communication, even when it's hard to talk. A brilliant take on grief and depression.
If Ordinary People looks at grief and communication amongst teens and adults, sweetly nostalgic Stand By Me does the same for children. Again, it's the loss of an older brother overshadowing the story, but in this case, it's twelve-year-old Gordie's friends who pull him through.
Robert Redford's directorial debut is a quiet drama, packed with explosive moments. Pacing slowly through the opening, Ordinary People allows the audience to piece together its subject matter one strained conversation or nightmare flashback at a time, until it's apparent we're exploring a changed family dynamic after a tragic death.
Naturally, it's emotional, but the authentic tone and sensitive handling avoids melodrama or sentimentality. The characters truly are ordinary, next door types, (albeit in a very nice neighbourhood!) with real worries and problems, ripped apart by their differing ways of dealing with their grief.
Delving into the ways they handle their feelings and examining guilt, avoidance, over-compensation, openness and deflection, Ordinary People takes place in a time when it wasn't "nice" to talk about your problems, and brings to the fore the need for communication, even when it's hard to talk. A brilliant take on grief and depression.
If Ordinary People looks at grief and communication amongst teens and adults, sweetly nostalgic Stand By Me does the same for children. Again, it's the loss of an older brother overshadowing the story, but in this case, it's twelve-year-old Gordie's friends who pull him through.
Saturday 4 January 2014
To Sir, With Love
Set at a tough high school in London's East End, at the tail end of the swinging sixties, To Sir, With Love is tagged as heavy-hitting social drama. It stars Sidney Poitier as a out of work engineer who takes a temporary teaching post to tide himself over, and singer Lulu, as one of the class, performs a soaring theme song of adolescent angst and gratitude.
I was amused to find the film much less dramatic than I had expected. That's not to say it doesn't address tough issues - it does, and they are still current, the characters negotiating violence, racism, sex, poverty, and death, as well as the difficulty of being taken seriously by adults. The issues of growing up, then, haven't changed much since 1967 - but the behaviour presented as so shocking is sweetly dated - the dreadful teens seemed to me almost sweet by today's standards!
However, this is a film with great heart, and Poitier's teacher-turned-advisor gaining the respect of his class, giving wayward youths lashing out against their own helplessness a sense of personal responsibilty, and even provoking change in a fairly reactionary community, is a lovely thing to watch.
A good teacher - student relationship can be hugely important in a teenager's life. That relationship in Half Nelson begins when a troubled student discovers her charismatic young teacher struggles with a drug addiction. A deft blend of social commentary, sensitive performances and hopeful spirit.
I was amused to find the film much less dramatic than I had expected. That's not to say it doesn't address tough issues - it does, and they are still current, the characters negotiating violence, racism, sex, poverty, and death, as well as the difficulty of being taken seriously by adults. The issues of growing up, then, haven't changed much since 1967 - but the behaviour presented as so shocking is sweetly dated - the dreadful teens seemed to me almost sweet by today's standards!
However, this is a film with great heart, and Poitier's teacher-turned-advisor gaining the respect of his class, giving wayward youths lashing out against their own helplessness a sense of personal responsibilty, and even provoking change in a fairly reactionary community, is a lovely thing to watch.
A good teacher - student relationship can be hugely important in a teenager's life. That relationship in Half Nelson begins when a troubled student discovers her charismatic young teacher struggles with a drug addiction. A deft blend of social commentary, sensitive performances and hopeful spirit.
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