Talking Movies

May 5, 2019

Any Other Business: Part XXX

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a thirtieth portmanteau post on television of course!

The night is always darkest just before it’s totally black

Game of Thrones‘ latest episode has garnered much criticism for being less an adaptation of the work of George RR Martin and more that of Matthew Arnold:

And we are here as on a darkling plain
Swept with confused alarms of struggle and flight,
Where ignorant armies clash by night.

But it made me think about Robert Elswit’s work on Velvet Buzzsaw, not least because of its cinematographer’s curious defence. Fabian Wagner, as reported by Variety, blamed the poor saps who shelled out a cable premium to watch this underlit farrago. It’s all down to “viewers’ home devices, which he says aren’t fit for the show’s cinematic filming. ‘A lot of the problem is that a lot of people don’t know how to tune their TVs properly, ‘ he said … ‘Personally I don’t have to always see what’s going on because it’s more about the emotional impact. Game of Thrones is a cinematic show and therefore you have to watch it like you’re at a cinema: in a darkened room. If you watch a night scene in a brightly-lit room then that won’t help you see the image properly.'” But but but Fabian, this is a TV show, you’re not meant to light it as if it was a movie, because people can’t watch it as if it was a movie. I loved Bradford Young’s work on Ain’t Them Bodies Saints, but I completely understood the objections of some critics about its sepulchral lighting.  I have never seen it on television, and I can imagine it would lose much impact and become quite frustrating on the small screen because, and pay attention here Fabian, it was lit for cinema viewing – which doesn’t just mean that you watch it in the dark, but that you watch it on a big screen in the dark. A BIG screen, hence Roger Moore’s disquisition on the value of a raised eyebrow because it shoots up about 12 feet on a proper cinema screen. [As for the idea that you don’t need to see what’s going on because it’s about the emotional impact of what’s going on that you can’t see – arrant nonsense.] I had the very odd sensation watching Velvet Buzzsaw that something was off about Robert Elswit’s normally glorious cinematography; and I felt he’d got caught in an existential crisis. Here he was working on something that Netflix wants everyone (especially the Oscars and film critics) to accept is a proper movie damn it, and yet aware that this might be shown at a single film festival and then watched by nearly all of its (usually undisclosed number of) viewers on a small screen. If a movie is made to be watched on the small screen, and not to be watched in a cinema on a big screen, then what makes it different from a Hallmark TV movie other than its star power, budget, and attendant style?

Yes, Renault, I smoke, there’s no need to be so shocked about it.

The past is a foreign country, they do things differently there

The BBC has got my goat in the past few days with their irritating nonsense. Multiple times on Friday night’s tribute to Jazz 625 we were treated like small impressionable children with no more free will than a Pavlovian dog by being warned that footage of the original 1960s show would contain people – gasp – smoking – clasp your pearls in horror, there’s worse to come – indoors -gasp for breath as if your lungs were being filled with secondhand smoke from a 1960s image and fall to the floor writhing in agony! Thank you Auntie, but I am capable of realising that the 1960s is not the 2010s.  But there was worse on Thursday night when Janina Ramirez warned us that footage of Alan Yentob talking about Leonardo Da Vinci in 2003 would contain Yentob – gasp – smoking – clasp your pearls in horror, there’s worse to come – indoors – gasp for breath as if your lungs were being filled with secondhand smoke from a 2000s image and fall to the floor writhing in agony! Oh for Christ’s sake…. The repetition of the phrase ‘it was a different time’ clearly means this is some sort of policy at the BBC to lecture the audience at every opportunity, but as so often with this kind of approach it was counterproductive because Yentob simply had a half-smoked cigarette in one hand while he spread out notebooks by Da Vinci on a bar counter. I would not have noticed the cigarette if my attention had not been drawn to it, if I had seen it at all I might have mistaken it for a short pencil. Well done, BBC, well done. This is the kind of policing impulse that shares a mindset with the fools who want all old movies rated 18s because they feature smoking, and it both cases it betrays a mind that wishes to excoriate when it doesn’t forget the past in order to smugly bask in the wonderful nature of the present. Oblivious to the fact that the present will no doubt be excoriated in similar manner in the future, most likely for what it is most smug about right now.

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January 9, 2014

Top 10 Films of 2013

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(10) Fast and Furious 6

This falls short of its illustrious immediate predecessor, but director Justin Lin’s sign-off to the Vin Diesel franchise he invigorated retained its Ocean’s 11 with petrol-heads vibe. A spectacular action sequence with a tank on a freeway, a charismatic villain with an outrageously designed car, and an over-busy finale as outsize as the runway it took place on were all elevated by a pervasive air of sadness. Poor Han…

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(9) Catching Fire

Jennifer Lawrence nuanced her formidable Hunger Games heroine with PTSD as she fought a deadly PR battle with President Donald Sutherland and his lieutenant Philip Seymour Hoffman. Confidence oozed from this movie, a quality noticeable in its expanded ensemble. Director Francis Lawrence’s trademark held shots and action tracks created a more rounded universe with complex villains as well as tense CGI suspense sequences in which the geography of the action was always nicely legible.

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 (8) Short Term 12

Newcomer Destin Cretton helmed his own prize-winning script about twenty-something counsellors at a foster-care facility for at-risk teenagers to beautiful effect. Brie Larson is outstanding as the enigmatic lead counsellor Grace, but nuanced turns from Kaitlyn Dever as possible abuse victim Jayden, Keith Stanfield as suicidal rapper Marcus, and John Gallagher Jr as Grace’s long-suffering boyfriend all draw us into an unfamiliar world detailed with insight, humour, and a tempered optimism.

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(7) White House Down

Roland Emmerich’s nonsensical Die Hard movie joyously proclaimed its debt (the villain ‘discovered’ a connection between the hero and a female hostage), paid off every plant in sight from President Obama Jamie Foxx’s Lincoln fandom to what Channing Tatum’s daughter’s six weeks honing a skill for her talent show, featured an aggressive right-wing news anchor who wouldn’t stop crying, and forced a miscast Maggie Gyllenhaal to commit so ferociously she grounded the whole thing.

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(6) Now You See Me

This Ocean’s 11 with magicians romp was gloriously insouciant crowd-pleasing fun that never flagged, and flirted with cliché but avoided its embrace. Jesse Eisenberg, Woody Harrelson, Isla Fisher and Dave Franco breezed thru flashily staged sequences of magical revenge against the 1% as their ‘Four Horsemen’ magicians caused chaos across America while being hunted by Mark Ruffalo (FBI/Scully) and Melanie Laurent (Interpol/Mulder) who began to wonder – can these be real magicks?

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(5) Frances Ha

Greta Gerwig and Noah Baumbach combined as writers to potent effect for a film in thrall to Woody Allen’s Manhattan. Its monochrome NYC looked incredible, the comedy was superb and clever, it used pop music to amazingly emotional effect, and it was based around an outstanding performance from Gerwig in a richly written part. From her money worries and anxieties at meeting richer people and more successful contemporaries, to her exaggerations about her success to hide embarrassment at her failures, to plain loopy decisions, this was a piercing, realistic insight into failure.

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(4) Blue Jasmine

Woody Allen mined a tragic vein as Cate Blanchett’s humbled socialite Jasmine stayed in San Francisco with her sister Ginger (Sally Hawkins). Jasmine tried to replace Ginger’s boyfriend Bobby Cannavale with Louis CK, and to replace her own dead tycoon husband (Alec Baldwin) with a widowed diplomat (Peter Sarsgaard). Two women’s romances and mental disintegration recalled Vicky Cristina Barcelona but this was far superior. Fantastic comedy from unsubtle suitors and Blanchett’s waspish tongue was combined with her extraordinary expressive portrayal of schizophrenic breaks from reality as she talked intimately to thin air, seeing people.

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(3) This is The End

Seth Rogen & Evan Goldberg’s directorial debut in which Seth, James Franco, Jay Baruchel, Jonah Hill, Craig Robinson and Danny McBride attempted to wait out the apocalypse in a Hollywood mansion stuffed with drugs and no food was a largely unstructured ramble from one absurd set-up to the next profane bout of self-indulgence, and it was fantastic. Emma Watson’s extended axe-wielding cameo was spectacular, the theology of how to survive the end of days was ludicrous, and the use of music reduced me to helpless tears of laughter; especially the final two songs.

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(2) Ain’t Them Bodies Saints

Writer/director David Lowery’s stunning tale of young criminals in love in 1970s Texas played out like Badlands re-imagined by Jeff Nichols. Rigorously under-lit by Bradford Young its glorious darkness created a moody, romantic atmosphere in which the abiding passion of parted lovers Ruth (Rooney Mara) and Bob (Casey Affleck) assumed mythic proportions. Keith Carradine as Bob’s mentor and Ben Foster as the lawman Ruth once shot grounded this world, and Lowery built tension expertly around Bob’s escape from jail to Ruth to a suspenseful finale which ended with an image of savage grace.

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(1) Mud

Take Shelter director Jeff Nichols returned with an Arkansan tale indebted to Mark Twain as a modern Huck and Tom helped Matthew McConaughey’s titular fugitive. Teenager Tye Sheridan gave a subtle turn as Ellis, who reacted to his parents’ disintegrating marriage by bonding with Mud and his unquenchable belief in true love, despite mysterious neighbour Sam Shepard’s warning that Mud was a fool in waiting for unreliable Reese Witherspoon. DP Adam Stone imbued the Arkansan locations with a heavenly sheen, and, while Mud hiding out a river island living in a boat in a tree observing local superstitions gave rise to great comedy, there was also Twain’s darkness in blood feuds. Nichols’ third film was rich, absorbing, cautiously optimistic, and lit by a deep affection for his characters.

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