Mothering Sunday (2021 Eve Husson)

A half an hour into this I asked Q if she thought anything would actually happen. By the time it does, we're ahead of the film, and have already guessed it, and looking forward to the next episode of Trigger Point. The story of one day in the life of a maid in 1924 and how it changes her would have made a great 20 minute short. It's so slow.. Not that I have anything against a slow film like a Malick or Tarkovsky... It's just this is irritatingly slow.

In Alice Birch's adaptation of Graham Swift's novel, Odessa Young plays the maid who rendezvous with Josh O'Connor, then spends much of the film wondering around the house in the nude. Meanwhile her employers, Colin Firth and Olivia Colman, await the youth at a lunch in Henley. His parents have lost two other sons in the war, the others have also lost two and Colman is overwhelmed by grief. Firth expresses his by a kind of forced bonhomie, but he cares about the girl, perhaps as he's lost everything - in the best moment, he is glad she's leaving to go and work in a bookshop. I also liked the very slow scene in which she serves a group of friends - including Josh - at dinner. So it's not a bad film by any means, just... too long by an hour and ten minutes. And lacking in energy. Glenda Jackson, who plays the older version, was paid by the second.

DP was Jamie Ramsay, editor Emilie Orsini, music Morgan Kibby.

With Sope Dirisu, Emma D'Arcy, Patsy Ferran, Emily Woof.

Birch wrote Lady Macbeth and Normal People. You know, the more I think about it, I really didn't mind it. It does manage to actually tell an entire life story, so it's not one day. Maybe I just wasn't in the mood. Perhaps I'll catch it again when it surfaces on Channel 4 (who made it with the BFI).

I have to say the DVD cover presents a most unflattering image of Ms. Young:

The Lady from Shanghai (1948 Orson Welles & scr)

The most amazingly directed and edited film, it looks like Hitchcock on speed. And this was after the studio had toned down some of Welles' 'wilder' inclinations. It's so very distinctive in its overlapping dialogue and sudden bursts of energy. The cutting makes you edgy. Time and time again you're struck by the way a scene is shot or edited. It's interesting that cameraman Charles Lawton isn't known for much, yet this looks stunning - you can only infer that Welles made it look like that (same comment applies to editor Viola Lawrence). (To be fair, and possibly because of delays caused when Hayworth fell ill, it should be mentioned that it was also shot by Rudolph Maté and Joe Walker.)

Welles shoots ex-wife Rita Hayworth lovingly; she gives a great  performance. Also most eye-catching are Everett Sloane, Glenn Anders, Ted de Corsia, Erskine Sanford. Location shooting in Acapulco and San Francisco adds flavour. Scene in Chinese theatre amazing, so too is the sequence just before the Hall of Mirrors. It actually has a very bitter ending - most unusual - though that adjective applies to the movie as a whole, which is often shot from very low down. Peter Bogdanovich describes it as a feeling of vertigo, that you're constantly on the edge. Aquarium scene also stunning.

Previous jottings here.

Nowhere Special (2020 Uberto Pasolini & scr)

More of a producer, normally, though he also wrote and directed Eddie Marsan Still Life. This, the third in a triple bill of films today about characters with children who are in some way conflicted about them, is the most touching, as dying dad James Norton has to determine what's to happen to his little boy when he's gone - it faces him with agonising choices. His occupation as window cleaner is a nice device as it lets him see into other lives. And the young social worker assigned to him would seem to share his concerns about the unsuitability of most of the foster parents they visit.

Norton and four-year-old Daniel Lamont are wonderful together, and are often in long takes. It made Norton seriously think about having kids. With Eileen O'Higgins (Misbehaviour, Brooklyn), Niamh McGrady, Siobhan McSweeney, Stella McCusker.

Pasolini based it on a newspaper article he'd read.

People Places Things (2015 Jim Strouse & scr)

Dedicated to all the director's students. He did Grace Is Gone in 2007. Enjoyable and funny.

Jemaine Clement, Stephanie Allynne, Michael Chernus, Jessie Williams, Regina Hall (who did not win the Oscar for Beale Street - that was Regina King), Gia Gadsby, Aundrea Gadsby. Original artwork by Gray Williams.

The ex's house looked like it was in some blindingly expensive bit of New York (seemingly Brooklyn); his place in Astoria, Queens, looked a bit more affordable (a two bed apartment is $365,000 for example).

"I guess you stopped talking, and I got used to the silence" a good line.

Liked the credit for re-recording at Dead Aunt Thelma's Studio!

To Each His Own (1946 Mitchell Leisen)

Charles Brackett's fabulous weepie, co-written with Jacques Théry. Olivia de Havilland won her first Oscar as the aged anti-social spinster and her younger self, dealing with baby born to dead flyer father. She's great. Apart from Roland Culver, and John Lund, most of cast unknown. Mary Anderson is the friend who adopts the baby, Phillip Terry her husband. Griff Barnett the father, Victoria Horne the nurse, Virginia Welles (the son's fiancee), Frank Faylen, Bill Goodwin (bootlegger), Willard Robertson.

Photographed by Daniel L Fapp, score by Victor Young. Paramount.

Film provides definition of audience-pleasing finale. We loved it.

Mitch had to warn the crew that O de H was in makeup so they wouldn't think she'd gone to seed. I wonder if she should have launched a perfume brand 'Eau de Hache' (or whatever 'H' is in French - try Googling that one).

Don't Look Up (2021 Adam McKay & co-scr)

Overlong, funny, wry, trenchant black comedy about a crisis threatening the earth, and the dull-witted response of the government, the media and the public. Leo Di Caprio is the slightly awkward scientist, Jennifer Laurence his outspoken comrade, Meryl Streep the President and Jonah Hill a sarcastic and incompetent Chief of Staff. Mark Rylance is the Zuckerberg figure who's actually the most powerful person in the country ('Bash Media' is credited as the film's production company!) He has developed an algorithm that predicts exactly how you will die!

The Ariana Grande number should have been cut entirely, it slows the film down, which at 2 hours 18 is too much. In fact now I think about it, cut all the Ariana Grande stuff. With Cate Blanchett, Tyler Perry, Rob Morgan, Timothée Chalamet, Himesh Patel, Melanie Lynskey (who looks more familiar than she has a right to).

Photographed by Linus Sandgren (didn't even notice it and thus need to watch again), exceptional editing from Hank Corwin, music by Nicholas Britell.

Spunky Laurence: "Unless you're taking me to the Bat Cave, fuck you for putting this hood on me."

Cate Blanchett and Tyler Perry make great shallow news presenters

My Son (2021 Christian Carion & co-scr)

Carion wrote and directed Joyeux Noel - about the temporary truce between armies in 1914 - in 2005, which was BAFTA, César and Oscar nominated. He first made Mon Garçon in 2017, in which Guillaume Canet and Mélanie Laurent did not know the script, in six days. He repeats the experiment here, with just James McAvoy in the dark. Of course that can't have been it entirely; for example the moment he realises there's no room for his son in the step-father's house is so critical they couldn't chance it that he wouldn't notice. Anyway it becomes very tense. The director clearly valued his composer Laurent Perez Del Mar, who gets third billing, but DP Eric Dumont and editor Loïc Lallemand are equally important contributors. With Claire Foy, Tom Cullen, Gary Lewis.

The Highlands come over as majestic, sombre and cruel.

Hotel Portofino (2022)

1926. Year of jazz and Fascism. Bland series begins blandly - Anna Chancellor being fed 'lemonade', cook crying as no food has been delivered, owner's son shagging the maid. And people keep saying 'How did you find your room?' ('It was at the top of the stairs where you said it would be') / 'How do you find Lucien?' ('I go to his room and there he is') / 'How do you find Italy?' ('With a map') etc.

Pretty pretty Portofino and sunshine keep it going (and a zuppa de pesce). Actually it was filmed in Opatija, Croatia.

A 6-part Britbore original, a sort of Downton in Italy, written by Matt Baker (Professor T). Rather clearly left open for season 2.

With Natasha McElhone, some other people... Not too convincing: Mark Umbers, Adam James (Yank), Imogen King, Lorenzo Richelmy, Claude Scott-Mitchell, Elizabeth Carling, Oliver Dench, Lily Frazer. Louisa Binder acquits herself as the nanny. Pasquale Esposito is the baddy.

As We See It (2022 another Jason Katims thing)

And it's about autism again, which I guess must have some personal association for Mr. Katims. Three young adults live together in LA: computer genius Rick Glassman, trusting and hyper Sue Ann Pien and insular Albert Rutecki (who actually are all on the spectrum), their Life Coach is Sosie Bacon (Mare of Easttown). With Chris Pang (Crazy Rich Asians, Palm Springs), Joe Mantegna (Searching for Bobby Fischer, Alice, Celebrity).

A short eight-parter, we enjoyed it, it slips down easily, and hope another series will be commissioned. Universal Television / Amazon Studios.

The Responder (2022 Tony Schumacher)

Modeled on Schumacher's own experience in the Liverpool police. Conflict absolutely abounds here in all directions. Burned out copper Martin Freeman (great accent and performance - obviously - when is it anything else?) has a drug dealer as his best friend (Ian Hart), was busted from detective by a vengeful Warren Brown, is trying to (a) look out for and (b) find stolen drugs from wayward young Emily Fairn (good), has huge mental issues in that his dad was a monster (encountered in therapy with Elizabeth Berrington), isn't finding the time or love for his family (MyAnna Buring and daughter, the unlikely named Romi Hyland-Rylands) and has to work with rule-book newcomer Adelayo Adedayo (good) AND has to look after dying mum in care home Rita Tushingham. The night, action, gallery of dysfunctional, sad characters had me thinking of Bringing Out the Dead more than once. Touches of humour welcome if not essential - 

- wry dialogue like -

"My advice. Take some time off. Get some sleep. You look like shit."
"You live in a bin."
"Take it or leave it."

Plus delightful Liverpudlian colloquialisms like "Give yer head a wobble" (= think again).

Sweetest moment - Fairn trying to get her bag back, Freeman grabs her, turns into a big hug, he telling her not to write herself off. It finishes, but the open end suggests another series.

With Josh Finan (also good as slightly thick drug dealer). David Bradley, Victor McGuire, Christine Tremarco ('doctor', The Rotters' Club, Good Cop), Mark Womack (Good Cop), Marji Campi (Brookside), Dave Hill (tons of TV, recently After Life, All Creatures, Porridge), Matthew Cottle ('Father Liam Neeson'). Yes, talking of Father Liam Neeson, that's quite a scene, and when the drunk lies there saying his life is a fake, you can see Freeman thinking 'Well that's my life'.

Look at this merry jumble (it was shot in lockdown, thus the streets of Liverpool are so quiet, but nevertheless): Directed by Philip Barantini (1&5), Tim Mielants (2), Fien Troch (3&4). DPs Johan Heurlin Aidt (1), Matthew Lewis (2&5), Seppe Van Grieken (3&4); editors Danielle Palmer (1), Alex Fountain (2&5), Jay Patel (3), Donovan Jones & Alex Fountain (4). Distinctive music from Mark Herbert. Series producer Rebecca Ferguson. The playout track is 'Pilgrim' by Fink, which gives it the right note. 'From small beginnings come big endings'.

Where Danger Lives (1950 John Farrow)

Surgeon Robert Mitchum falls for suicidal Faith Domergue. When he thinks he's accidentally killed her husband Claude Rains, and suffers concussion, the inexorable nightmare has begun... My 'RKO Story' sadly doesn't list how the audience reacted to it, but spares time to detail how bad Domergue's (debut) performance is. Poor old Bob - as weary and bashed in as I think I've seen him. (Another way to put this is it's a fine performance.)

Charles Bennett's screenplay has a rich gallery of laughing yet dodgy car salesmen, pawnbrokers, theatre owners, and most amusingly an Arizona town of bearded men who force the couple to get married... She's crazy, by the way... Bennett contributed to Blackmail, The Man Who Knew Too Much, The 39 Steps, The Secret Agent, Sabotage, Young and Innocent and Foreign Correspondent.

All caught in the glare of Nick Musuraca's camera, underscored by Roy Webb. Nice Cadillac they had, too...

Ellipses City...

Ed. Yes - you're just being silly now.

Didn't recognise Maureen O'Sullivan. Admittedly she did have a mask on some of the time. She was married to the director, John Farrow, and had several children, including one Mia... J. Farrow made The Big Clock.

Death to 2021 (2021 Jack Clough / Josh Ruben)

A stalwart cast take the piss out of the year; lead writer is Ben Caudell, with seventeen other writers then credited (no joke).

Hugh Grant, Lucy Liu, Tracey Ullman, Stockard Channing, Cristin Milioti, Diane Morgan, Samson Kayo (scientist), William Jackson Harper.

Like last year, I laughed a lot; can't remember at what, especially, though liked the comment about the 6 January terrorists who were both being criminals and good citizens at the same time by providing evidence of their crime by taking all the footage. And the Olympics: 'Perfect people's trade show.'

Ozark - Season 3 (2020 Bill Dubuque / Mark Williams)

I'm quite enjoying this series, Jason Bateman and Laura Linney trying to out-manoeuvre each other, Julia Garner fiercely loyal and blunt. Janet McTeer is heavily involved. Plus Laura's unstable brother Tom Pelphrey, a counsellor, Pedro Lopez the crime boss, and pregnant FBI agent Jessica Frances Dukes..

Welcome notes of relief in episode 9:

Julia Garner and Charlie Tahan

And no, you will not find any alligators in Missouri lakes.

Five Graves to Cairo (1943 Billy Wilder)

Written by Wilder and Charles Brackett, who was also associate producer. His diary relates how Billy would spend time with editor Doane Harrison (Oscar nominated) on the desert hotel set planning shots for the next day, that Franchot Tone gave a bit of an insipid performance, that Miklos Rozsa's score had to be turned down a bit following previews. Acting honours go to Anne Baxter (The Magnificent Ambersons, The Razor's Edge, O. Henry's Full House, All About Eve) and Akim Tamiroff, who provides the heart to that last graveside scene. With Eric von Stroheim, Peter van Eyck, Fortunio Bonanova, Miles Mander, Ian Keith.

Billy's direction of his second film is assured, clever; John Seitz's cinematography outstanding (Oscar nominated).

And of course the writing is fantastic - that the waiter turns out to be a German spy - the body in the cellar - and lines like:

"If the circumstances we find ourselves in weren't so peculiar, I might turn you over my knee and spank you... with abandon."
"Thank you for your interest."

Mr. & Mrs. Bridge (1990 James Ivory)

The novels of Evan S. Connell 'Mrs. Bridge' and 'Mr. Bridge', have been condensed into one by Ruth Prawer Jhabvala, under a cunning new name. Paul Newman is quite unlike his usual self as self-contained, stuffy lawyer; Joanne Woodward equally good as somewhat confused wife. Children are Kyra Sedgwick, Margaret Welsh and Robert Sean Leonard, maid Saundra McClain, friend Blythe Danner, with Simon Callow as a German psychiatrist.

Usual team: Tony Pierce-Roberts, Richard Robbins, Humphrey Dixon.

Has a slightly abrupt and unusual ending, otherwise enjoyable and interesting. Liked the storm outside the country club, and he refuses to go to the cellar.

That's the original A Star Is Born they go to see - I didn't recognise it.

Ronin (1998 John Frankenheimer)

He has a thing for shooting climaxes in busy stadia; thus The Manchurian Candidate's finale in Madison Square Gardens, Black Sunday at the Super Bowl, and here we have a thrilling end scene in an ice skating rink (Katarina Witt is the Olympic ice-skater featured).

Despite the Japanese myth evoking the Ronin, J.D. Zeik (re-written by David Mamet's) script is more about the action, and a delightful MacGuffin in the shape of a mysterious silver case of which, like the ones in Kiss Me Deadly and Pulp Fiction, we never see the contents. Then its about the Group, particularly a strange loyalty that exists between Robert de Niro and Jean Reno (both excellent), and inner betrayal. The team are Natasha McElhone, Stellan Skarsgaard, Skipp Sudduth and Sean Bean, with Jonathan Pryce in a murky background, and Michael Lonsdale a useful friend of Reno.

Despite the roads of Paris and Nice being strangely empty most of the time, the film features some outstanding chase / action scenes, particularly the one that does have lots of cars in it, a jaw-dropping chase going the wrong way round the Peripherique, which is an outstanding bit of orchestration, stunt work and brilliant driving, put together brilliantly by Tony Gibbs (and, assisting, Sherrye Gibbs - more later). Robert Fraisse's Steadicam team also a big asset.

Not as brilliant or powerful as The Man C, but a most entertaining thriller.

The Big Steal (1949 Don Siegel)

Good Mexican-set (and filmed) thriller, essentially a prolonged cross-country chase, in which we work out who Mitchum is and why he's chasing Patric Knowles, and why William Bendix is chasing him. With amusing interventions from Mexican Chief Inspector Ramon Novarro. Jane Greer proves she's no slouch behind the wheel. Loved the moment when Greer stops her car to consider the route, then Mitchum pops up out of her boot. "What do you think you're doing?" she asks, not unnaturally.

Screenplay 'Geoffrey Homes' - the pen name for author Daniel Mainwaring, with novels like 'Build My Gallows High' (filmed as Out of the Past) - and Gerald Drayson Adams, from the story 'The Road to Carmichael's' by Richard Wormer.

Shot by Harry Wild and music by Leigh Harline (for a change). RKO.

1946 - what a great year for films!

The Killers. Notorious. The Big Sleep. The Best Years of Our Lives. Cluny Brown. My Darling Clementine. The Dark Corner. The Chase. La Belle et la Bête. Three Strangers. The Postman Always Rings Twice. Great Expectations. The Dark Mirror. Somewhere in the Night. Cloak and Dagger. Gilda. The Stranger. Bedlam.

Still... 1947... Out of the Past, It Always Rains on Sunday, Johnny O'Clock. Miracle on 34th Street, The Lady From Shanghai, The Ghost and Mrs Muir, Hue and Cry, The Ghosts of Berkeley Square, Black Narcissus, They Made Me a Fugitive...Not quite  as good, somehow.

Rules of the Game (2022 Ruth Fowler)

There's a death at the headquarters of soon-to-be-listed Fly Dynamic, but we don't know who it is until the end of episode three (of four). There's an early moment in this where someone talking about the company says 'No one ever leaves', to which you think 'How come?' but that question is never answered. It sounds most unlikely, as does new HR boss Rakhee Thakrar (Sex Education, The Girl Before) drinking whisky in her boss's office. Also the murderer would definitely have left DNA etc. etc. and there are too many plots, like Thakrar's abusive boyfriend. Maxine Peake though is enjoying playing role of ruthless boss. With Ben Batt, Kieran Bew, Alison Steadman, Zoe Tapper, Callie Cooke, Susan Wokoma.

Out of the Fog (1941 Anatole Litvak)

Noirish crime drama, well acted, in unusual setting of Brooklyn docks, where vile John Garfield is putting the squeeze on poor fishermen John Qualen and Thomas Mitchell, whilst having the audacity to turn the head of the latter's daughter, Ida Lupino, who wants out. Actually even when she learns her father is paying protection from the violent thug, she still wants him (well, the money, the life). It's quite a gritty screenplay by Robert Rossen, Jerry Wald and Richard Macauley, from Irwin Shaw play, evidenced by Mitchell's malingering and bitter wife, and the following quotes:

"I turned from factory worker to bootlegger in eight minutes."

And -

"How can you be so hard? What have you got inside of you?"
"I got education inside of me, baby. An education I learned on the break rods and bread lines and the pool rooms and the beer parlours and the big cities. I got rocks inside me, baby."

Not without humour, also, e.g. the woman who wants to marry Qualen, the bankrupt Russian in the steam room (George Tobias). Great, tense ending. With Eddie Albert, Aline MacMahon, Jerome Cowan (DA), Robert Homans (copper), Jimmy Conlin. Moodily photographed by James Wong Howe on Warner Bros sets, music (uncredited) Heinz Roemheld.