Thursday, 6 November 2014

Station Screening - The Hundred Foot Journey



Synopsis

Forced to flee their Indian homeland for political reasons the Kadam family figure they’ll be safer in a picturesque village in the south of France. They have reckoned without the formidable Madam Mallory (Helen Mirren) though. M. Mallory strongly objects to Papa Kadam’s (Om Puri) plans to open an Indian curry house a hundred feet away from her own Michelin starred fine dining establishment. Papa’s son Hassan (Manish Dayal) begins a romance with Mallory’s sous chef Marguerite (Charlotte Le Bon) inspired by their shared love of food, but the escalating conflict between the two establishments threatens their relationship.

Key Players

Om Puri – Indian actor who has worked regularly in Britain most notably in patriarchal roles such as the taxi driver bewildered by his son’s radicalisation in My Son the Fanatic (97, Uduyan Prasad), and in the comedy is East is East (99, Damien O’ Donnell).

Helen Mirren - That's Dame Helen to us. Mirren’s early work tended to be with visionary directors like Ken Russell and Tinto Brass. Mainstream success followed with the Prime Suspect series and films like The Comfort of Strangers (90, Paul Schrader) and Gosford Park (2001, Robert Altman). There’s a royal tinge around Mirren these days having played both Elizabeth I and Elizabeth II recently.

Steven Knight - The Hundred Foot Journey marks a change of pace for screenwriter Steven Knight whose previous work includes writing the gritty thrillers Dirty Pretty Things (2002, Stephen Frears) and Eastern Promises (2007, David Cronenberg). Knight also directed the ever so slightly mental Jason Statham action film Hummingbird (13). All three are London based movies with a strong feeling for those on the margins of society. Even the Statham movie.


Lasse Hallstrom – Swedish director who learned his trade making music videos for Abba. After winning acclaim for the sensitive coming of age drama My Life as a Dog (85) Hallstrom moved to America. His US debut, the quirky What's Eating Gilbert Grape? helped propel Johnny Depp and Leonardo DiCaprio to movie stardom. Since then Hallstrom has worked mostly on literary adaptations including John Irving's The Cider House Rules (98), Annie Proux's The Shipping News (2001), and recent Station screening Salmon Fishing in the Yemen (12) based on the novel by the late Paul Torday. 

Monday, 14 July 2014

The Grand Budapest Hotel (2014, Wes Anderson)


An all-star cast checks into The Grand Budapest Hotel for Wes Anderson's colourful farce. A tale within a tale the film begins in the present with ageing author (Tom Wilkinson) recalling the time he checked into the dilapidated Grand Budapest Hotel in the fictional Alpine region of Zubrowka in the late 1960's. There his younger self (Jude Law) once met the Grand Budapest's reclusive owner Zero Moustafa (F. Murray Abraham), a multi-millionaire who visits the hotel every year and insists on staying in the smallest room.

Zero recounts to the writer the story of his mentor Monsieur Gustave H, the impeccably mannered concierge at The Grand Budapest Hotel back in its heyday. Played in a rare comic performance Ralph Fiennes like a swearier version of 50s matinee idol Dirk Bogarde, the flamboyant Monsieur Gustave is loved by the guests at Grand Budapest Hotel, particularly the female residents towards whose every need Gustave pays close attention too.

Gustave is particularly fond of 84-year old Madame D. (a heavily made-up Tilda Swinton) much to the chagrin of her son Dmitri (Adrien Brody), a fascist with a menacing bodyguard (Willem Dafoe) who for some reason disapproves of his mother having intimate relations with a lowly concierge. A stolen painting and a murder throw Gustave's life into chaos as both he and his trusty young lobby boy Zero (Tony Levoroli) are pursued across the Alps by police led by Henckels (Edward Norton). The Grand Budapest Hotel recalls classic screwball comedies from the early days of the Talkies when the Marx Brothers would make highly literate but delightfully silly movies like Duck Soup though this has an idiosyncratic charm all of its own.

Anderson's highly stylised mode of filmmaking defies realism, instead relying on brightly coloured set design and a deadpan approach to storytelling. Characters in his films are usually eccentrics, all slightly crazy in their own way and often perplexed by the world around them. Though Anderson's direction has a lightness of touch and his approach is comic there is an underlying melancholy usually taking the form of nostalgia for a lost time, place, or person. Dialogue is often hilariously absurd though delivered completely straight which makes it even funnier as in this exchange between two runaway children after a dog has been accidentally killed by a Khaki Scout with a bow and arrow in Moonrise Kingdom (2012).

"Was he a good dog?"
"Who's to say? But he didn't deserve to die."

Other recommended films by this unique filmmaker include Rushmore (1998), The Life Aquatic with Steve Zissou (2004), and The Darjeeling Limited (2007). 



Station Update - The Monuments Men (2014, George Clooney)



A throwback to star studded guys on a mission war movies like The Dirty Dozen (67, Aldrich) and Kelly's Heroes (70 Brian G. Hutton) George Clooney's Monuments Men tells the true story of a group of veteran soldiers dedicated to hunting down missing works of art during WWII. Based on the book 'The Monuments Men' by Robert M. Edsel the film focuses on a disparate collection of middle-aged museum curators and art historians brought together during the last year of the War to recover rare artworks. The Monuments Men would eventually recover five million artefacts from the ruins of wartime Europe including pieces by Michelangelo, Da Vinci, & Vermeer. Star/director George Clooney has assembled an impressive cast led by Matt Damon, Cate Blanchett, Bill Murray, The Artist star Jean Dujardin, & Britain's own Hugh Bonneville for this entertaining tribute to a group of unsung heroes.

 George Clooney - Director Profile

Nobody would have pegged George Clooney as a potential movie star back in the Eighties. Sporting an unflattering mullet hairstyle which obscured his good looks and emphasised instead his slightly goofy smile the young Clooney usually appeared in sitcoms like the Different Strokes spin-off The Facts of Life and the first season of Rosanne though he did make a rare movie appearance in Return of the Killer Tomatoes (88, John De Bello). A decent haircut and playing Dr Doug Ross in ER changed all this making Clooney a household name and leading to opportunities in Hollywood. Since then Clooney has built an impressive CV combining mainstream fare with more eclectic films. Less keen to play the clown despite his easy charm and adept comic timing Clooney is an increasingly statesmanlike figure these days heavily involved in political causes.

In 2002 Clooney directed his first film Confessions of a Dangerous Mind based on the autobiography of American game show host Chuck Barris. Though known for presenting trashy TV shows like The Dating Game Barris made outlandish claims about being a hired killer for the CIA in his biography. Bizarrely nobody has ever managed to disprove his claims and Clooney's film retains this ambiguity. Clooney's father worked in television as a news anchor and journalist and the film has an insider's knowledge and affection for the medium. As does Goodnight and Good Luck (05) set against the backdrop of the McCarthy hearings in 1953 as a journalist defies government policy and risks being jailed as a Communist. Less successful was Leathernecks (08), an attempt to recreate the classic screwball comedies of the 30's which continued the long tradition of films about American football bombing at the box-office. 

Station Screenings Updates - The Railway Man (2014, Jonathan Teplitzky)

Haven't done much writing lately. Overcome with a general feeling of malaise I can't seem to kick. Still providing notes for screenings at The Station Restaurant though. Will update here with the few worth posting starting with The Railway Man. 

Courtesy of Lionsgate

The Railway Man is a fine tribute to the bravery of Eric Lomax (1919-2012). Captured by Japanese troops in 1942 Lomax was one of many Allied soldiers forced to work on the notorious 'Death Railway' in Thailand. Many years later he returned to confront the man responsible for torturing him. Adapted from Lomax's memoir 'The Railway Man' by Frank Cottrell Boyce, the film stars Colin Firth and Jeremy Irvine as the older and younger Lomax respectively, Nicole Kidman as his wife Patti, Stellan Skarsgard as fellow survivor Finlay, and Japanese star Hiroyuki Sanada as the older version of his tormenter Nagase.  

Colin Firth - Career Profile 

Handsome and blessed with an old world charm, Colin Firth has taken the long road to success. Firth made his debut opposite Rupert Everett in Another Country (84, Marek Kanievska), based on the school days of the defector Guy Burgess. Everett was courted by Hollywood while Firth kept on doing fine work in smaller productions. Touching as a WW1 veteran restoring a church mural in A Month in the Country (87, Pat O'Connor), and winning a BAFTA for Falklands war TV drama Tumbledown (1988). The lead in Milos Forman's Valmont (89) would have impressed more had Stephen Frears version of the same source material Dangerous Liasons not been such a huge hit. Firth held his own opposite Peter OToole in the little-seen but haunting Wings of Fame (90, Otakar Votocek) which imagines the afterlife as a Grand Hotel where the famous get the best rooms until their reputations fade away. The Hour of the Pig (93, Leslie Megahey) is another oddity with Firth as a medieval lawyer defending a pig from a murder charge as the plague sweeps through Europe.

Mainstream success at last and heartthrob status with Pride and Prejudice (95) on television. Bigger films now but a supporting player. A cold fish aristocrat in Circle of Friends (95, Pat O'Connor), a cuckold in The English Patient (96, Anthony Minghella), a cuckolded cold fish aristocrat in Shakespeare in Love (98, John Madden). Girly fighting with Hugh Grant in Bridget Jones Diary (01, Sharon Maguire) and its sequel. Reunited with Rupert Everett for The Importance of Being Ernest (02, Oliver Parker). A trip to Richard Curtis land for Love Actually (03). All roles requiring Firth to display a stiff upper lip. Yet as he ages the work gets more interesting. a bullying Rat Pack style entertainer in Where the Truth Lies (05, Atom Egoyan). Achingly good as a gay man mourning his lover in fashion designer Tom Ford's film A Single Man (09) An Oscar winner for The King's Speech (10, Tom Hooper). Poker faced as one of the potential traitors in Tinker Tailor Soldier Spy (11, Tomas Alfredson). Next up after The Railway Man Firth will be providing the voice of Paddington Bear and playing a suave 007 type spy in The Secret Service for director Matthew Vaughn. 


Thursday, 6 February 2014

Films of 2013

10) Pain and Gain (Michael Bay)


Michael Bay's talent for flashy visuals and breakneck pacing finds perfect material in Christopher Markus and Stephen McFeely's darkly comic screenplay. At first Pain and Gain seems like the kind of buddy action movie Bay started out making back in the 90's until it becomes clear we've been spending time getting to know the bad guys. Mark Wahlberg's regular guy screen persona is subverted here as his likability masks a violent sociopath pumped up on steroids and the advice of self-help gurus. The most under-appreciated of last year's films based around American excess and criminal activity it's a shame after this Bay is going back to making films about giant robots and he is taking Wahlberg with him. 

9) The Great Gatsby (Baz Luhrmann)



Luhrmann's typically flamboyant take on Fitzgerald wound people up but I thought it worked well as an adaptation of a difficult to film novel and DiCaprio makes for an affecting Jay Gatsby.

Full review here.  The Great Gatsby

8) Il Futuro (Alicia Scherson)



Despite the hopeful promise of the title Scherson's affecting idiosyncratic coming-of-age tale is about coping with the past. Orphaned teenager Bianca (Manuela Martelli) reluctantly becomes involved in a plan to rob Maciste (Rutger Hauer), a former movie star now retired after losing his sight in a car accident. What begins in poetic realist territory morphs into Beauty and the Beast as the young woman enters Maciste's world, a mansion sparsely furnished save for memorabilia from the sword and sandals movies he once starred in. Scherson has fun using clips from the old Kirk Morris Hercules flicks to represent the young Maciste, while Hauer's own screen history of being adept at playing either hero and villain means Maciste is an enigmatic figure, at once beguiling and potentially dangerous. There's an otherness present too in the light which never stops shining through Bianca's window, or the colour of the car her parents died in changing colour after the accident emphasising the difference between before and this new grief tinged life. 

7) Natan (Paul Duan & David Cairns)


Haunting documentary recovering the reputation of Bernard Natan, a successful film producer France in the 20's and 30's written out of cinema history despite his considerable contribution to the industry including owning Pathé at one point. An innovator Natan built his own all-purpose studio which still exists today as France's leading film school though at present there is no record of his involvement. In-between interviews and archive footage a Natan effigy prowls an abandoned studio like a restless spirit countering the accusations which were levelled against him when he was alive. I saw Natan without knowing anything about the subject matter and that's the best way to see this strange and heartbreaking story so I'll say nothing about his downfall except to see this film and remember his name. 

6) Mud (Jeff Nichols)


Jeff Nichols has quietly emerged as one of the most distinct voices in American cinema over the last decade. Shotgun Stories (2007) is a small masterpiece though I found his breakthrough movie Take Shelter (2011) hard going. This soulful coming-of-age tale about a young boy befriending a killer hiding out on an island however is his most moving film to date. Nichols sympathy for all sides involved is remarkable as is his feel for small town life. And how pleasing to see one of the great American character actors, Joe Don Baker, back onscreen. 

5) Caesar Must Die (Paolo & Vittorio Taviani)


Certain scenes in Caesar Must Die are clearly staged for dramatic effect making this is more of a meta drama, a commentary on the nature of performance and themes in Shakespeare's Julius Caesar than a straight documentary. Most of the inmates in Rome's Rebibbia prison are inside for their involvement in organised crime so the power struggles and violent betrayal clearly resonate with these men. Just as Shakespeare's characters reveal themselves in private moments away from the crowd the Tavianis allow these men to talk in their cells about their own experiences and feelings about the play. Caesar Must Die opens with the final curtain being raised on a triumphant production and the journey there proves to be a moving study of the effect art can bring to people's lives and of what it means to be confined. 

4) Zero Dark Thirty (Kathryn Bigelow)


Jessica Chastain's CIA agent becomes the latest to exemplify Bigelow's interest in obsessive loners searching for the ultimate high in this remarkable follow-up to The Hurt Locker (2008). A sober, reflective piece which is only controversial if you believe showing something onscreen be it torture or the deaths of civilians during the harrowing raid on Osama Bin Laden's compound condones it. In which case you're an idiot. There is no triumphalism here only an acknowledgement of the terrible loss motivating the hunt for Bin Laden and the tempered knowledge by the time they finally caught up with him his death only mattered in symbolic terms. 

3) Après Mai (Olivier Assayas)


I really wasn't expecting to like Après  Mai given the trailer made it look like yet another baby boomer hagiography of the 60's. It's so much more, a portrait of a filmmaker as a young man and the moment in life where youthful idealism must give way to pragmatism. Olivier Assayas autobiographical movie follows a group of teenagers trying to keep the spirit of 68' alive at the onset of the next decade. Art and politics are intertwined. These kids are flawed, middle-class, and a little pretentious. They could be insufferable were it not for Assayas compassion towards them. It's shot through with a hazy feel for lost summers and an increasingly melancholy tone as the reality of finding a place in the world begins to weigh upon them. 

2) Under the Skin (Jonathon Glazer)


A pared down adaptation of Michael Faber's novel 'Under the Skin,' Glazer's film is more opaque, less interested in explanations and owes a fair amount to the work of peak period Nicolas Roeg. A Hollywood star seems as unlikely a visitor to certain parts of Scotland as an extra-terrestrial so there is something quite surreal about seeing Scarlett Johansson at the wheel of a white transit van kerb-crawling for neds. Especially as she's sporting a bubble perm that would have got her a place in the 1978 World Cup team. The filmmakers designed a lightweight hidden camera so Johansson could move freely amongst people without them knowing they are being filmed. It lends Under the Skin a cinema-verite feel. People are going about their daily lives in the background, unlike in most films where extras are trying hard not to stare at the camera. An unsettling and haunting piece of cinema which oddly enough belongs to the tradition of Scottish-set films (I Know Here I'm Going, Local Hero) suggesting this place can have a profound effect on the lone traveller.

1) The Great Beauty (Paolo Sorrentino)


Sorrentino's exhilarating odyssey through Rome follows an ageing writer as he begins to feel a growing sense of unease at his comfortable lifestyle. Jep (Toni Servillo) came to the city as a young man, wrote a great novel (or so his friends say) and threw himself into being a part of the Rome's extravagant nightlife. The death of an old flame slowly begins to wear down his fastidious public persona. There is a tender relationship with a forty-something stripper, crying at funerals, and the urge once again to write a novel. La Dolce Vita (1962) is an obvious forerunner though Fellini damns his characters whereas Sorrentino loves these people despite their flaws and pretensions. All in their own way are searching for some kind of transcendence. The refrain Sorrentino (a master at finding the right music to accompany the lush images he puts onscreen) uses for Jep's yearning is somewhat eclectically a song by the Scottish poet Robert Burns with the lyric "My Heart is in the Highlands/My Heart is Not Here," the lament of a wanderer. Flashbacks of the young Jep's idyllic youth seem to hold some meaning but are undercut in an enigmatic final sequence which suggests the lost lover would never have been enough. It's all just a trick. 

Thursday, 12 December 2013

Philomena (2013, Stephen Frears) - Screening Notes

Writing accompanying notes for a film I missed at LFF and have as yet still to see. So a simple synopsis and brief overview of Stephen Frears career is all I could manage. Much prefer writing notes for classic movies when the opportunity arises. 



 Starring: Judi Dench, Steve Coogan, Sophie Kennedy Clark

Screenplay by Steve Coogan, Jeff Pope Based on the book 'The Lost Child of Philomena Lee.'

Directed by Stephen Frears

Based on a shocking true story Philomena attacks its subject matter with passion and a dark sense of humour. Fifty years ago Philomena (Dench) fell pregnant out of wedlock and was forced into a convent. The child was taken away from her. After hearing her story at a party burnt-out journalist Martin Sixsmith (Coogan) agrees to help Philomena find her son and the two begin an unconventional friendship and a journey to uncover the truth.

Stephen Frears - Selected Career Highlights

Now aged 72 years old Frears shows no signs of slowing down. Over a forty year period he has proven himself highly versatile and always at his best when working in tandem with a strong writer. Though he made his film debut in 1971 with the quirky thriller Gumshoe Frears spent the next decade or so honing his skills in television notably for the BBC's 'Play for Today' series.

Frears returned to cinema with a trio of acclaimed British movies. In the understated The Hit (84) a beatific Terence Stamp unsettles two criminals escorting him to his death by calmly accepting his fate. The Hanif Kureshi scripted My Beautiful Laundrette (85) combines a gay love story with a satire about Pakistani immigrants embracing Thatcherism and made a star of Daniel Day-Lewis. Prick Up Your Ears (87) is an even-handed and touching account of the tragic relationship between 60's playwright Joe Orton and his lover and eventual murderer Kenneth Halliwell.


Frears cracked Hollywood with Dangerous Liasons (88), a suitably chilly version of the Pierre Choderlos de Laclos novel, yet moving in its final moments. Martin Scorsese hired Frears to direct The Grifters (90), a bleak crime thriller about a small-time con-artist mixed up in a scheme with his estranged mother. The 90's proved less successful though with expensive projects Accidental Hero (92), Mary Reilly (96) failing. Frears recovered, successfully relocating Nick Hornby's much loved novel High Fidelity (2000) to the States.  Gritty thriller Dirty Pretty Things (2002), and the Oscar-winning biopic The Queen (2006) won him more acclaim. Frears is currently filming a biopic of disgraced cyclist Lance Armstrong.

Thursday, 14 November 2013

Screening Notes - 'Rush' (2013, Ron Howard)


"It's the enemy you know. Happiness. It puts doubt in your mind. Because all of a sudden you have something to lose."

The remarkable race for the 1976 Formula 1 Championship is brought thrillingly to life in this colourful dramatisation of the battle between two drivers with contrasting personalities. Niki Lauda, impressively played by German actor Daniel Bruhl, is the dour pragmatist who adopts a tactical approach to racing and designs his own cars. Australian beefcake Chris Hemsworth is Peter Hunt, the dashing English playboy with a reckless streak. Rush recreates an era when Formula 1 was potentially lethal. For one of these men a rainy day towards the end of the 76' season will have a profound effect on their life.

Ron Howard - Career Highlights

Though one of the most successful and versatile directors in Hollywood Ron Howard will always be best known for playing Richie Cunningham on the long-running sitcom Happy Days (1974-84). Born into a showbiz family, Howard appeared in countless TV shows as a youngster as did his brother Clint who some may remember as the blonde kid who befriends a Grizzly bear in Gentle Ben. Howard began directing under the tutelage of B-movie king Roger Corman who produced his first movie Grand Theft Auto (77). The comedy Night Shift (82) was a modest success but Howard's next two films, Splash (84) with Tom Hanks falling in love with a mermaid and Cocoon (85) about a group of OAP's given a second lease of life after an encounter with alien life-forms, were massive box-office hits. Sword and sorcery epic Willow (88) remains a favourite with 80's kids. Parenthood (89) is a funny and wistful comedy about family life which makes great use of a young Keanu Reeves.


Backdraft (91) an exhilarating drama about fire-fighters in Chicago shows Howard developing an interest in stories about people working in high stress environments. The highly acclaimed Apollo 13 (95) is Howard's first film based on real life events. Gripping thriller Ransom (96) casts swivel-eyed lunatic Mel Gibson as a businessman turning the tables on the kidnappers holding his son hostage. Howard won an Oscar for A Beautiful Mind (2001), starring Crowe as a mathematician struggling to cope with schizophrenia. Crowe again starred in the underrated Cinderella Man (05) as Depression era heavyweight boxer Jim Braddock. Huge box-office returns for The Da Vinci Code (06) and its sequel Angels and Demons (09) but neither film pleased the critics. Frost/Nixon (08) about the events leading up to President Nixon's confession of perjury live on television marked Howard's first collaboration with Rush screenwriter Peter Morgan. Howard also narrated the cult TV comedy Arrested Development and appears in the final season as a comic version of himself.