Rather too many neat lessons delivered to us here, Peter Bowker having adapted John Lanchester's novel - plot actually is a little bit silly come denouement time though we enjoyed the journey.
Pakistani family rather too neatly presented in various shades of muslim world: Adeel Akhtar (Four Lions) is the nice shop-owner, family includes Danny Ashok. Best character in the whole thing is the no-nonsense mother (particularly in scene where armed police want her to lie down) perfectly played by Shabana Azmi.
Toby Jones and Diana Rigg's daughter Rachel Stirling. Au pair Zrinka Cvitesic befriends builder Radoslaw Kaim.
Gemma Jones, Lesley Sharp, Robert Emms (Kick-Ass 2, The Selfish Giant), Alexander Arnold (Skins).
The beautiful Wunmi Mosaku is briefly romanced by Kobna Holdbrook-Smith. (2017: she won BAFTA for playing Damilola's mum.)
Bryan Dick investigates.
Zac Nicholson (The Honorable Woman) shot it and the music was by Dru Masters.
Thursday, 10 December 2015
That Touch of Mink (1962 Delbert Mann)
Doris Day falls for Cary Grant but doesn't want to sleep with him...So what? Get a suite with two rooms for Christ's sake. Surely attitudes were more advanced than this in 1962? Much toing and froing to Bermuda ensues, whilst Gig Young and Audrey Meadows fret about everything. It isn't very well written but scrapes by on star charisma.
Film doesn't need CinemaScope at all, unless for the sole purpose of showing the full length of a Boeing 747. Russell Metty lights some of his 'Bermuda' night scenes very colourfully.
John Feidler is in it briefly.
Film doesn't need CinemaScope at all, unless for the sole purpose of showing the full length of a Boeing 747. Russell Metty lights some of his 'Bermuda' night scenes very colourfully.
John Feidler is in it briefly.
Tuesday, 8 December 2015
The Secret Life of Bees (2008 Gina Prince-Blythewood)
Evocatively shot (by Rogier Scoffers in Panavision) adaptation of Sue Monk Kidd's bestselling novel, the director's only previous film being Love and Basketball.
Marked by splendid performances from Dakota Fanning, Jennifer Hudson, Queen Latifah, Alicia Keys, Sophie Okonedo and Paul Bettany. Also with Tristan Wilds, Nate Parker.
Marked by splendid performances from Dakota Fanning, Jennifer Hudson, Queen Latifah, Alicia Keys, Sophie Okonedo and Paul Bettany. Also with Tristan Wilds, Nate Parker.
Carry On Screaming (1966 Gerald Thomas)
I had only just been thinking how the brother in Fargo reminded me of Oddbod in this.
Almost gave up, so much were Harry H Corbett, Jim Dale and Peter Butterworth overacting. Then things improve with Fenella Fielding (a sort of pantomime Joan Greenwood) and Kenneth Williams (who I guess was in a way a latter-day Clifton Webb).
Also quite liked appearances of Bernard Bresslaw as implacable butler, Charles Hawtrey as a cheerful toilet attendant, Jon Pertwee as dotty Scottish scientist, Angela Douglas as girlfriend. Joan Sims is in terrifying fishwife mode.
Almost gave up, so much were Harry H Corbett, Jim Dale and Peter Butterworth overacting. Then things improve with Fenella Fielding (a sort of pantomime Joan Greenwood) and Kenneth Williams (who I guess was in a way a latter-day Clifton Webb).
Also quite liked appearances of Bernard Bresslaw as implacable butler, Charles Hawtrey as a cheerful toilet attendant, Jon Pertwee as dotty Scottish scientist, Angela Douglas as girlfriend. Joan Sims is in terrifying fishwife mode.
Lessons in Love (2014 Tom Vaughan)
Pierce Brosnan, Selma Hayek, Jessica Alba, Malcolm MacDowell.
Fairly conventional story but entertaining enough.
Fairly conventional story but entertaining enough.
Monday, 7 December 2015
The Dark Corner (1946 Henry Hathaway)
I can't profess to know much about Henry Hathaway but he has pulled this film noir off really well, aided by superb photography from Joe MacDonald. I noticed the loud traffic noise in the office of Mark Stevens and Lucille Ball, then the piano practising at the apartment, finally realising there's no music score but all natural sound. Also liked the girl with the whistle.
Usual sardonic kind of screenplay by Jay Dratler and Bernard Schoenfeld from a story by Leo Rosten.
William Bendix is the man in the white suit, with Clifton Webb and Kurt Kruger, Cathy Downs as the femme fatale.
Usual sardonic kind of screenplay by Jay Dratler and Bernard Schoenfeld from a story by Leo Rosten.
William Bendix is the man in the white suit, with Clifton Webb and Kurt Kruger, Cathy Downs as the femme fatale.
Love, Rosie (2014 Christian Ditter)
Despite obviously being mad about one another, Sam Claflin and Lily Collins repeatedly miss the opportunities to get together, adapted by Juliette Towhidi (Death Comes to Permberley, Calendar Girls) from Cecilia Ahern's novel.
Jamie Winston has something of an underwritten part - we want to see her in the lead. And with Suki Waterhouse, Tamsin Egerton, Lorcan Cranitch, Ger Ryan.
There is - by the way - no Kerala Gardens in London nor a Kerala Gardens Indian takeaway so I guess these are some sort of in-joke.
Jamie Winston has something of an underwritten part - we want to see her in the lead. And with Suki Waterhouse, Tamsin Egerton, Lorcan Cranitch, Ger Ryan.
There is - by the way - no Kerala Gardens in London nor a Kerala Gardens Indian takeaway so I guess these are some sort of in-joke.
Sunday, 6 December 2015
Changeling (2008 Clint Eastwood)
Perfectly adequately reviewed here. Fascinating seeing it after Perdition, in the colour pallette and the way Tom has learned from Conrad.
A Royal Night Out (2015 Julian Jarrold)
Written by Kevin Hood and Trevor da Silva, featuring Canadian Sarah Gadon and Bel Powley as the princesses, Rupert Everett and Emily Watson as mum and dad. A sort of Carry On After Hours, with splendid and timely cameos from Roger Allam (this sequence is really the film's highlight) and Ruth Sheen. Jack Reynor is our troubled airman, with Jack Laskey and Jack Gordon as the pair's errant chaperones.
Trainwreck (2015 Judd Apatow)
Written by and starring Amy Schumer, and nice to see Bill Hader in a leading role, From the outtakes you realise that this is partly an improvised film, thus the 'extended version' we're also offered, and the three editors that are involved in finding the right bits - honestly, can you imagine Wilder and Diamond working this way? Still, the results are undeniably funny.
John Cena is the muscle-bound gay, Tilda Swinton unrecognisable as bitchy editor, Brie Larson the sister, Hitch's mate Norman Lloyd, LeBron James and Colin Quinn as Dad, with Daniel Radcliffe and Marisa Tomei in hilarious film-within-film about dog-walker.
So, yes.
Arguably the funniest line comes when she clears out her flat and gives a cardboard box to beggar Dave Attell, who responds:
"Booze! Drugs! And a place to live!"
John Cena is the muscle-bound gay, Tilda Swinton unrecognisable as bitchy editor, Brie Larson the sister, Hitch's mate Norman Lloyd, LeBron James and Colin Quinn as Dad, with Daniel Radcliffe and Marisa Tomei in hilarious film-within-film about dog-walker.
So, yes.
Arguably the funniest line comes when she clears out her flat and gives a cardboard box to beggar Dave Attell, who responds:
"Booze! Drugs! And a place to live!"
Saturday, 5 December 2015
The Fall of the Roman Empire (1964 Anthony Mann)
You have to admire Robert Krasker's fine, sombre Ultra-Panavision (whatever that is) photography. What part of Spain is this chilly-looking region? (It's the Sierra de Guadarrama in Segovia, not a million miles from Madrid). And Dimitri Tiomkin's score is also rather wonderful.
Old films on this scale are impressive - the attention to detail in the costumes, the 1500 horses that had to be looked after, made to behave etc. But despite the incredible recreation of Ancient Rome, watching an army parade into it is not dramatically interesting. (The set was at Las Matas, used again in A Funny Thing Happened on the Way to the Forum and apparently then torn down. What a fucking waste. The feeling of standing in it must have been fantastic (it was exactly to scale with the real city) and could have been a great tourist attraction.) The 'thinking man's epic' is actually quite dull.
Stephen Boyd is lacking. Alec Guinness is brilliant as usual (e.g. scene where he bargains with Death). Christopher Plummer (at times looking oddly like Joaquin Phoenix, who played the same character in Gladiator), James Mason, Sophia Loren, Anthony Quayle, Mel Ferrer, John Ireland (in ridiculous 'barbarian' makeup).
What was Rome doing in England? Why bother?
The battle scene in the forest which I remember so clearly as a youngster wasn't that impressive - showing actually that pulling off a complex big-scale battle scene like this is not an easy thing to do, but the resultant chariot race between Boyd and Plummer is expertly staged, no doubt thanks to the direction of former stuntman Yakima Canutt - it's the best bit in the film.
You can't help feeling there's something a bit gay about the relationship between Boyd and Plummer.
Old films on this scale are impressive - the attention to detail in the costumes, the 1500 horses that had to be looked after, made to behave etc. But despite the incredible recreation of Ancient Rome, watching an army parade into it is not dramatically interesting. (The set was at Las Matas, used again in A Funny Thing Happened on the Way to the Forum and apparently then torn down. What a fucking waste. The feeling of standing in it must have been fantastic (it was exactly to scale with the real city) and could have been a great tourist attraction.) The 'thinking man's epic' is actually quite dull.
Stephen Boyd is lacking. Alec Guinness is brilliant as usual (e.g. scene where he bargains with Death). Christopher Plummer (at times looking oddly like Joaquin Phoenix, who played the same character in Gladiator), James Mason, Sophia Loren, Anthony Quayle, Mel Ferrer, John Ireland (in ridiculous 'barbarian' makeup).
What was Rome doing in England? Why bother?
The battle scene in the forest which I remember so clearly as a youngster wasn't that impressive - showing actually that pulling off a complex big-scale battle scene like this is not an easy thing to do, but the resultant chariot race between Boyd and Plummer is expertly staged, no doubt thanks to the direction of former stuntman Yakima Canutt - it's the best bit in the film.
You can't help feeling there's something a bit gay about the relationship between Boyd and Plummer.
Road to Perdition (2002 Sam Mendes)
Hanks in tough (though not exactly nasty) mode amidst sea of acting talent encompassing Paul Newman, Daniel Craig, Jude Law, Stanley Tucci, Jennifer Jason Leigh, Ciaran Hinds and the young Tyler Hoechlin. Adapted from the graphic novel by Max Allan Collins and Richard Piers Rayner by David Self but owes everything to Mendes and Conrad Hall's visual style (the latter won his third Oscar posthumously) which references Edward Hopper:
One of the studio execs said of Conrad that you could take any frame and blow it up into art - that is particularly true of this film which is one of the best shot by anyone ever. (And Clint's Tom Stern is the chief lighting electrician, and must have been studying the master at work closely.) It also has a terrific Thomas Newman score. Sam's own favourite.
I particularly like the moment in the bank hold ups montage where we see Hanks trying to get into the car and we're forced to look at the very left corner of the screen to (try to) see what happens. The two key shots using reflections are outstanding, as is the Hanks machine-gunning finale shown with music but no sound.
Great editing too by Jill Bilcock (The Young Victoria, Moulin Rouge).
One of the studio execs said of Conrad that you could take any frame and blow it up into art - that is particularly true of this film which is one of the best shot by anyone ever. (And Clint's Tom Stern is the chief lighting electrician, and must have been studying the master at work closely.) It also has a terrific Thomas Newman score. Sam's own favourite.
I particularly like the moment in the bank hold ups montage where we see Hanks trying to get into the car and we're forced to look at the very left corner of the screen to (try to) see what happens. The two key shots using reflections are outstanding, as is the Hanks machine-gunning finale shown with music but no sound.
Great editing too by Jill Bilcock (The Young Victoria, Moulin Rouge).
Saving Mr Banks (2013 John Lee Hancock)
Last seen. Kelly Marcel has since written the poorly rated 50 Shades adaptation.
Thompson: "You're the only American I've met who I liked."
Giamatti: "May I ask why?"
Thompson: "No, you may not."
Hanks and Thompson are both great - inspired casting, great chemistry.
Thompson: "You're the only American I've met who I liked."
Giamatti: "May I ask why?"
Thompson: "No, you may not."
Hanks and Thompson are both great - inspired casting, great chemistry.
Friday, 4 December 2015
She's Funny That Way (2014 Peter Bogdanovich)
Begins very much in Woody Allen vein, unmistakably becomes a PB bedroom comedy à la What's Up Doc.
The cameo of Quentin Tarantino - lover of They All Laughed - is a lovely touch.
Despite the attractiveness of both Imogen Poots and Owen Wilson, you can't help but feel Jen steals the film.
The bitchy interviewer is Melvyn's granddaughter Illeana Douglas and the escort agency is run by Entourage's Debi Mazar (they're both Goodfellas alumni).
The cameo of Quentin Tarantino - lover of They All Laughed - is a lovely touch.
Despite the attractiveness of both Imogen Poots and Owen Wilson, you can't help but feel Jen steals the film.
The bitchy interviewer is Melvyn's granddaughter Illeana Douglas and the escort agency is run by Entourage's Debi Mazar (they're both Goodfellas alumni).
Tuesday, 1 December 2015
Father Goose (1964 Ralph Nelson)
Written by Charade's Peter Stone, with Frank Tarloff, from a story by S.H. Barnett. Cary Grant and Trevor Howard are on good form, Leslie Caron's character is annoying (in reward for saving their lives, she promptly bans him from drinking). Still, that sparring and the gradual thawing of relationships all round make the film fun, and there are one or two tense moments as well.
Shot by Charles Lang, on a Jamaican island standing in for the South Pacific version.
Shot by Charles Lang, on a Jamaican island standing in for the South Pacific version.
Monday, 30 November 2015
Films of the Year 2015
Make Way for Tomorrow. Amazingly grown-up Hollywood film anticipates Tokyo Story.
What We Did on Our Holiday. Unique, fresh, laugh out loud funny.
Texasville. As good as the original.
She's Funny That Way. The master back at work, giving us films we really need, with a fantastic performance from Poots.
The Imitation Game. Superbly acted scandalous true story.
Sword of Honour. One of Will's most successful films.
St. Vincent. Sweet film with our beloved veteran Bill Murray. "It is what it is."
My Blueberry Nights. Stylish beyond description, with amazing performances that give the film real depth.
Wild. Reese fabulous in most involving (true) story.
The Theory of Everything. Manages not to be depressing, two equally good lead performances.
Life of Pi. Just jaw-droppingly creative.
Black Narcissus. It gets better each time, film is way out there!
Went the Day Well. Incredibly tough, hard-hitting, brilliant drama still after all these years.
Inherent Vice. Very seventies, very funny, Joaquin's growing hugely in our estimation.
Election. Revisiting early Payne is a joy.
Deconstructing Harry. Wonderfully different; enormously funny.
Un Flic. For its mood, and that amazing (and funny) train scene.
Lone Star. Just so interesting and totally unexpected.
La Belle et la Bête. Pure Cocteau magic, a unique experience in cinema.
That Uncertain Feeling / Trouble in Paradise. Lubitsch seems to get better with every viewing. 'Keeks!'
The 39 Steps. You forget just how good it is, one of the very best of the British years.
Broken / London Road. Rufus Norris knocks us over with impressive debut about kids, then hits us over the head with the most utterly original musical ever made. For a theatre director he's most interestingly cinematic.
Aloha / Vanilla Sky. Cameron's made another wonderful, humane, timeless classic, but the rediscovery of 'the one that got away' is fantastic too.
Mary and Max. Quite remarkable animation leaves strong impression.
Man Up. Very fresh date-movie.
This is England '90. Beautifully balanced between horror and sweetness, this semi-improvised series has lost none of its visceral power.
Magnolia / Punch-Drunk Love. Paul Thomas Anderson rediscovered in the gripping and unusual epic; but his Sandler 'comedy' is equally fascinating and original with bonkers music score,
McCabe and Mrs Miller. Sensational early Altman in his distinctive style, enriched by just amazing photography.
Bonnie and Clyde. Has lost absolutely none of its power and nimble energy, and a key film of American cinema.
Stranger on the Third Floor. Because it's just so damned different and interesting.
Four Lions. Astonishing in that it can make its terrifying subject matter so hilarious.
Ghost Dog: The Way of the Samurai. Totally cool in every way, funny, stylish, thought-provoking.
And of course the usual selection of Wilders, Leans and Hitchcocks, The Descendents (again), Up In the Air (again) etc.
Also, special mention to Gemma Chan in Humans.
What We Did on Our Holiday. Unique, fresh, laugh out loud funny.
Texasville. As good as the original.
She's Funny That Way. The master back at work, giving us films we really need, with a fantastic performance from Poots.
The Imitation Game. Superbly acted scandalous true story.
Sword of Honour. One of Will's most successful films.
St. Vincent. Sweet film with our beloved veteran Bill Murray. "It is what it is."
My Blueberry Nights. Stylish beyond description, with amazing performances that give the film real depth.
Wild. Reese fabulous in most involving (true) story.
The Theory of Everything. Manages not to be depressing, two equally good lead performances.
Life of Pi. Just jaw-droppingly creative.
Black Narcissus. It gets better each time, film is way out there!
Went the Day Well. Incredibly tough, hard-hitting, brilliant drama still after all these years.
Inherent Vice. Very seventies, very funny, Joaquin's growing hugely in our estimation.
Election. Revisiting early Payne is a joy.
Deconstructing Harry. Wonderfully different; enormously funny.
Un Flic. For its mood, and that amazing (and funny) train scene.
Lone Star. Just so interesting and totally unexpected.
La Belle et la Bête. Pure Cocteau magic, a unique experience in cinema.
That Uncertain Feeling / Trouble in Paradise. Lubitsch seems to get better with every viewing. 'Keeks!'
The 39 Steps. You forget just how good it is, one of the very best of the British years.
Broken / London Road. Rufus Norris knocks us over with impressive debut about kids, then hits us over the head with the most utterly original musical ever made. For a theatre director he's most interestingly cinematic.
Aloha / Vanilla Sky. Cameron's made another wonderful, humane, timeless classic, but the rediscovery of 'the one that got away' is fantastic too.
Mary and Max. Quite remarkable animation leaves strong impression.
Man Up. Very fresh date-movie.
This is England '90. Beautifully balanced between horror and sweetness, this semi-improvised series has lost none of its visceral power.
Magnolia / Punch-Drunk Love. Paul Thomas Anderson rediscovered in the gripping and unusual epic; but his Sandler 'comedy' is equally fascinating and original with bonkers music score,
McCabe and Mrs Miller. Sensational early Altman in his distinctive style, enriched by just amazing photography.
Bonnie and Clyde. Has lost absolutely none of its power and nimble energy, and a key film of American cinema.
Stranger on the Third Floor. Because it's just so damned different and interesting.
Four Lions. Astonishing in that it can make its terrifying subject matter so hilarious.
Ghost Dog: The Way of the Samurai. Totally cool in every way, funny, stylish, thought-provoking.
And of course the usual selection of Wilders, Leans and Hitchcocks, The Descendents (again), Up In the Air (again) etc.
Also, special mention to Gemma Chan in Humans.
Marvellous (2014 Julian Farino)
Written by Peter Bowker (Capital and Occupation), himself a former special needs teacher, apparently inspired by an article in The Guardian about Neil Baldwin, won the BAFTA.
Toby Jones leads (this is a real chuckler), Gemma Jones (who it seems has taken over our TVs lately) his mum, Tony Curran the manager, Nicholas Gleaves the priest and Greg McHugh (from Fresh Meat) the university friend.
Very amusing and charming. Photographed by David Odd.
Toby Jones leads (this is a real chuckler), Gemma Jones (who it seems has taken over our TVs lately) his mum, Tony Curran the manager, Nicholas Gleaves the priest and Greg McHugh (from Fresh Meat) the university friend.
Very amusing and charming. Photographed by David Odd.
Indiscreet (1958 Stanley Donen)
Norman Krasna adapted his own 1953 play for the screen, shifting the location from New York to London. It's apparently Cary Grant's favourite of all of his films (unsubstantiated) and he and Ingrid Bergman are jolly good (he was 54, in answer to my wife's question).
I love the fact there was so little traffic going through London Airport that you'd actually get to know the passport official. (Or is this just a film thing? Wikipedia tells me that passenger traffic for 1953 reached one million.)
And where's Cleopatra's needle?
Classy support from Phyllis Calvert, Cecil Parker, Megs Jenkins and David Kossof, shot by Freddie Young, edited by Jack Harris and scored by Richard Rodney Bennett.
I love the fact there was so little traffic going through London Airport that you'd actually get to know the passport official. (Or is this just a film thing? Wikipedia tells me that passenger traffic for 1953 reached one million.)
And where's Cleopatra's needle?
Classy support from Phyllis Calvert, Cecil Parker, Megs Jenkins and David Kossof, shot by Freddie Young, edited by Jack Harris and scored by Richard Rodney Bennett.
Sunday, 29 November 2015
Sabrina (1954 Billy Wilder)
When you need something top quality...
"There'll be an awful scandal and the market will go down."
Wilder claims not to know Audrey Hepburn and William Holden were allegedly having an affair.
Hepburn was very fresh - just after Roman Holiday. She has such a distinctive voice.
It's a marvellous jewel of a film, photographic-wise. Every shot looks like it's from Vogue magazine.
Wilder: Charles Lang was very good. He's still very, very strong. Lang sort of walked around, always, with the same look on his face: squinting, filled with thought, as if he were looking at the world, not just the movie, and thinking "What kind of exposure is this? What exposure is the world?" He was in the upper class of photographers, along with LaShelle. He was on time, a wonderful collaborator, and I loved him.
Crowe: Any advice for shooting a picture in black-and-white?
Wilder: Get yourself an ageing master cinematographer.
'Conversations with Wilder', Cameron Crowe, 1999.
Scenes with Marcel Hillaire are hilaire.
"There'll be an awful scandal and the market will go down."
Wilder claims not to know Audrey Hepburn and William Holden were allegedly having an affair.
Hepburn was very fresh - just after Roman Holiday. She has such a distinctive voice.
 |
| Audrey Hepburn Estate Collection |
Wilder: Charles Lang was very good. He's still very, very strong. Lang sort of walked around, always, with the same look on his face: squinting, filled with thought, as if he were looking at the world, not just the movie, and thinking "What kind of exposure is this? What exposure is the world?" He was in the upper class of photographers, along with LaShelle. He was on time, a wonderful collaborator, and I loved him.
Crowe: Any advice for shooting a picture in black-and-white?
Wilder: Get yourself an ageing master cinematographer.
'Conversations with Wilder', Cameron Crowe, 1999.
 |
| Charles Lang in 1936 |
Walk the Line (2005 James Mangold)
So, the long anticipated Walk the Line - not a very cinematic or interesting film, best perhaps when it's tightly showing Joaquin Phoenix and Reese Witherspoon on stage. Weirdly the film to me doesn't really seem to come alive until the last twenty minutes (the performance in jail, followed by their last duet where he proposes). I love Reese, but I'm not sure her performance was Oscar-worthy (she was up against Judi Dench in Mrs Henderson Presents, Felicity Huffman in Transamerica and Keira Knightley in Pride and Prejudice); in fact I'd have to particularly praise Ginnifer Goodwin as the first Mrs Cash.
Didn't find Michael McCusker's nominated editing that exciting either, nor Phedon Papamichael's widescreen cinematography, so all in all it was a bit of a disappointment. Also the sound is mixed so badly that you can't hear what Joaquin is mumbling / whispering, then the music hits you like a force ten quail.
It also seemed to go on for ever.
The sign visible at an early concert - "Ring in Case of Fire" - is I guess a little subtle reference.
Didn't find Michael McCusker's nominated editing that exciting either, nor Phedon Papamichael's widescreen cinematography, so all in all it was a bit of a disappointment. Also the sound is mixed so badly that you can't hear what Joaquin is mumbling / whispering, then the music hits you like a force ten quail.
It also seemed to go on for ever.
The sign visible at an early concert - "Ring in Case of Fire" - is I guess a little subtle reference.
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