Talking Movies

May 29, 2020

Miscellaneous Movie Musings: Part XXXIII

As the title suggests, so forth.

If not Lazenby, then who?

Almost anyone. But seriously, folks. There were any number of actors in England in 1968 who could have done a better job of picking up the keys to Sean Connery’s Aston Martin. A typically three-cornered hat discussion with Friedrich Bagel and The Engineer to the music of de Falla produced this shortlist of contenders:

Rod Taylor, Alan Bates, Albert Finney, Oliver Reed, Michael Caine, Roger Moore, Terence Stamp, Anthony Hopkins

Patrick McGoohan, Malcolm McDowell, Christopher Lee, Nicol Williamson, David Warner, Edward Fox

Now, not all of these people would have been asked, and some of them would likely have refused had they been asked, (Alan Bates and Nicol Williamson spring to mind), and some of them would likely have refused contemptuously (*Dear EON, Patrick McGoohan has had quite enough of playing spies at this point, thank you very much). The EON producers would never have seriously asked a bona fide film leading man like Caine, in order to keep the budget down. They would have asked a TV star like Roger Moore, sadly tied up with The Saint, or Timothy Dalton, a supporting player in a major film. As indeed they did. But the actual shortlist of undistinguished Bond contenders from whom Lazenby won based on a screen test is the stuff of madness when you consider that all these alternatives were available. The roguishness of Oliver Reed’s 007, the undercurrent of menace of Malcolm McDowell’s Bond, the unpredictability of David Warner’s agent: these are the roads not taken. There seems to be some sort of retrospective attempt to insist they needed to cast an unknown actor, like they had with Sean Connery. But Sean Connery was not unknown when he was cast. Far from it, he had already appeared in Darby O’Gill and the Little People and his supporting role in The Longest Day would have been appreciated by British TV audiences who, between 1959 and 1961, had seen him as Count Vronsky, Hotspur, Macbeth and Alexander the Great. He was not an unknown, he was quite well known to British audiences as a leading man playing historic roles. Lazenby by contrast was quite well known to British audiences for advertising Fry’s chocolate bars.

The critical rehabilitation narrative

I’ve been thinking recently about what we might dub the critical rehabilitation narrative. Nothing seems to please some critics more than to discover neglected masterpieces, to rescue from the discard bin gems that were unappreciated at the time. The only problem is sometimes the critics are very pleased with themselves, their wider critical narrative powers along, and it’s only a minor detail that the film in question is still rubbish. That’s not to say that it is wrong to revisit films and see if they were misjudged; after all Fight Club suffered hugely from being released so soon after Columbine. But sometimes there is much to be said for reading the original reviews and getting a bracing perspective, like disinterring The Cabinet of Dr Caligari from the reverence of generations of film students and discovering in Peter Gay’s Weimar Culture that its own writers disowned the finished film for changes made to its finale which they regarded as dangerously reversing its political message, and doing so at a time that imperilled the nascent republic. Or realising that Matthew Modine saying recently that Full Metal Jacket has aged better than other Vietnam films because it’s finale of urban insurgency could be in Iraq only proves the point of the objections made by critics on release. Because of the WB indulging Kubrick’s power-tripping laziness he had departed from the novel’s jungle war conclusion to instead depict the (easily manufactured in England) ruined city of Hue, because he couldn’t be bothered leaving England. And it would be hard to easily manufacture in England a jungle war. Just as well Vietnam wasn’t noted for being a JUNGLE WAR. Revolution was reviled on release and exiled Pacino to Broadway. But Revolution is an unfocused film of baffling decisions, like shooting it entirely in England and not having Annie Lennox sing, rather than an outright atrocity. Watching its depiction of the start of the American Revolution, the mob bullying, the expropriation, the self-interested and abrasive self-righteousness is oddly reminiscent of Doctor Zhivago’s portrayal of the Bolsheviks. It’s hard not to think that this enraged American critics at the time, who sublimated that rage into attacks from other angles. And yet the final minutes of Revolution feature a truly astonishing tracking shot, a technical marvel and a triumph of production design, that I have never ever heard anyone praise or even mention. If you can’t do the hard work of salvaging the good from amidst the bad then what is the point of critical rehabilitation?

August 3, 2018

From the Archives: Clone Wars

Another deep dive into the pre-Talking Movies archives uncovers an infuriating Star Wars movie, plus ca change and all that.

Clone Wars sees George Lucas continue his Terminator like quest to destroy our childhood memories. He trashed Star Wars, gave us an unnecessary Indiana Jones, and now the only worthwhile piece of the Star Wars prequel enterprise is desecrated, presumably for the sake of consistency. And we have two Star Wars shows starting on American TV this autumn to suffer through. He just doesn’t stop…

Clone Wars follows our heroes (I use the term loosely given that neither displays any personality) Anakin and Obi-Wan as they rescue Jabba’s kidnapped son. This film takes all the worst elements of the prequels and magnifies them. Characters without quirks, dialogue that veers between plodding and unbearable, badly shot action completely without tension as we know the futures of the characters, droids and clones that are visually silly and emotionally uninvolving, and of course plots that are so hilariously over-plotted they become tedious twenty minutes in. This film runs for 100 minutes but feels closer to 200 so boring is the story of Anakin taking on an apprentice. Just to interest kids she’s the feisty/plucky/other patronising synonym for feisty girl Ahsoka, who teaches Anakin as much as she learns from him and….yeah. It’s that bad….

What really galls is that Lucas didn’t ask Genndy Tartakovsky to direct this film. Tartakovsky, the creator of Samurai Jack, is something of a mad genius. His hand drawn animation of the Clone Wars TV series was far superior to this insipid CGI and he was far less faithful to Lucas’ boring vision. He made three minute shorts devoted to showing the Jedi Knights being awesome which are at their best the coolest animation you’ll ever see, check out the dialogue free one where Sam Jackson’s character destroys a whole droid army using the Force. When he made longer episodes his storytelling and visual flair came off like an inspired blend of Hitchockian suspense, Spielbergian action choreography, and Sergio Leone’s use of outrageous close-ups to create mythic confrontations.

Was Lucas was appalled to find someone had made something awesome under his name by going so far off the reservation and decided to fix things by making a really faithful Clone Wars feature? That’s what it feels like. This is very bad, wretched beyond belief actually. The only positive to be drawn is encountering some genuine voice actors for once as only Christopher Lee and Samuel L Jackson reprise their live-action roles. All the other characters are voiced by actors talented enough to do more than one voice (Dreamworks Animation take a hint), the standout performance being the sexy/sinister huskiness of Nika Futterman as the Sith villainess Ventress.

This may be acceptable for very undemanding toddlers but it would be infinitely better for their creative development if parents just performed the original trilogy for them as sock puppet theatre.

0/5

October 18, 2013

Axis Cinema

Axis Cinema on Ballymun Main Street is home to The Pictures, which started as a monthly film club and has grown to become a great social network for the over 55s in Ballymun. The Pictures will be presenting a season of ‘book to film’ screenings, including The Commitments, in partnership with access>Cinema and, for the first time, Ballymun Library; who will be making copies of the books available to borrow the month before the film.

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Dracula (with short film Suansceal)

Presented by Dublin City Council Arts Office and axis in association with access>Cinema and Ballymun Library

Date: 21st Oct 2.30pm

Tickets: €2 Members / €4 Non-Members / Membership: €3

October’s ‘Book to Screen’ film is, very appropriately, Hammer Horror’s Dracula starring an enigmatically terse Christopher Lee as Bram Stoker’s vampiric Count and Peter Cushing as his nemesis Van Helsing. Few actors have ever inhabited those parts to such indelible effect, and this is a rare opportunity to see Hammer’s lurid blood-soaked vision on a big screen. This screening will be preceded by Irish short Suanscéal, a visually beautiful, delicately told, tale of a young boy’s need for companionship and an old man’s need to leave his legacy. Director Colm Ó Foghlú will be in attendance on the day to introduce the short as part of Borradh Buan, axis’ Irish language festival; celebrating its 10th anniversary.

 

A Scare Before Bedtime: Axis Horror Screening

Presented by axis in association with access>Cinema

Date: 30th Oct 9pm

Tickets: €2

This is a chance for audiences to feel the fear at a secret screening of a favourite horror movie! As Halloween approaches, axis will be asking the people of Ballymun to vote for their favourite horror film to show on the big screen. I’d vote for Scream, but with the new Carrie coming out soon that could be a contender. What will win? All will be revealed on the night!

 

The Commitments

Presented by Dublin City Council Arts Office and axis in association with access>Cinema

Date: 25th Nov 2.30pm

Tickets: €2 Members / €4 Non-Members / Membership: €3

November’s ‘Book to Screen’ film is British director Alan Parker’s celebrated 1991 adaptation of The Commitments, Roddy Doyle’s 1980s novel of recessionary north side Dublin. Only the music scene is rich in this landscape, and so Jimmy Rabbitte envisions combining the raw talent of musicians, including Glen Hansard, Bronagh Gallagher and Maria Doyle Kennedy, with soul music to shake the Hibernian metropolis.

 

Breakfast at Tiffany’s

Presented by axis & Dublin City Council Arts Office in association with access>Cinema and Ballymun Library

Date: 16th Dec 2.30pm

Tickets: €2 Members/€4 Non-Members / Membership: €3

December’s ‘Book to Screen’ film is Blake Edwards’ 1961 toned-down adaptation of Truman Capote’s scandalous novella Breakfast at Tiffany’s. Audrey Hepburn’s most iconic poses, costumes and (dubbed) singing are modelled against a fantasy NYC as Holly Golightly’s naive eccentricity bedazzles George Peppard’s struggling writer when he moves into her apartment building. Try to ignore Mickey Rooney’s outrageously racist Japanese character…

 

Anna Karenina

Presented by axis& Dublin City Council Arts Office in association with access>Cinema and Ballymun Library

Date: 27th Jan 2.30pm

Tickets: €2 Members/€4 Non-Members Membership: €3

January’s ‘Book to Screen’ screening is Joe Wright’s 2012 film of Anna Karenina. Anna (an on-form Keira Knightley) falls uncontrollably in love with Count Vronsky (a callow Aaron Johnson), with tragic consequences when she leaves husband (a surprisingly empathetic Jude Law). Leo Tolstoy’s classic story of doomed love is adapted by the great Tom Stoppard as a determinedly theatrical tour-de-force; to hit-and-miss effect.

 

axis: Ballymun is a creative hub of stage, galleries, workshop spaces and a recording studio. More information at http://axis-ballymun.ie/, and do follow @axisBallymun on Twitter.

November 3, 2010

Let Me In

Hammer has risen from the grave! Let Me In, a decidedly classy affair, is somehow produced by the revenant English studio once responsible for launching Peter Cushing and Christopher Lee before trading in drenching quality thespians in scarlet blood for just depicting topless, lesbian, and sometimes topless lesbian vampires.

Cloverfield director Matt Reeves follows his bleak monster-movie with an intimate horror that eschews shaky-cam. Indeed Reeves inserts a number of fixed-position shots from the back of a car, a technique notably used in 1949’s Gun Crazy to achieve high style on low budget, culminating in a superb show-off sequence as he disconcertingly depicts a car-crash with an unmoving eye from the back-seat. Reeves also adapts John Ajvide Lindqvist’s Swedish novel about a 12-year old vampire Abby, here played by Chloe Grace Moretz, relocating the action to a snowy New Mexico in 1983. Abby and her familiar (Richard Jenkins) move in next door to lonely 12-year old Owen (The Road’s Kodi Smith-McPhee). Despite Abby’s initial aloofness a bond quickly develops with Owen.

Reeves structures his story like a film-noir; opening with an ambulance complete with police escort bringing an unseen criminal to a hospital for emergency treatment before rewinding three weeks to the beginning of a killing spree being investigated by Elias Koteas’ horrified detective. Smith-McPhee’s blank Owen is traumatised from persecution by the scariest school-bully since Donnie Darko who hates to see Owen being happy. Such maliciousness for its own sake makes you want to see him suffer, an emotional response Reeves plays with repeatedly as Abby encourages Owen to fight back with results so disproportionate that, after a violent incident, all concerned remain silent for a stunned moment. Chloe Grace Moretz is superb as Abby, especially in scenes where her vampiric nature is overcome by her growing friendship with Owen, but she is surely settling into some weird type-casting as she follows up being Hit-Girl in Kick-Ass with another role showcasing age-inappropriate ultra-violence.

Such violence is unnervingly shot from a distance with CGI giving Abby super-agility. This distancing is typical of a subdued film where two tired characters carry much of the story’s emotional weight as Koteas’ detective pursues a suspected Satanist, who is really Jenkins’ familiar – a man starting to get sloppy as he wearies of cleaning up Abby’s unending trail of destruction. Reeves uses this measured pace to wring wonderful suspense out of a number of sequences involving Koteas’s manhunt and Jenkins’ cleaning and killing, including one where the crescendo of composer Michael Giacchino’s violins makes the tension almost unbearable. Ultimately Reeves improves on the Swedish original by making a bleaker film that emphasises the moral horror in coming-of-age with the help of a growling demonic-faced vampire.

Reeves proves Cloverfield was no fluke with a classy deliberately paced horror film that trashes human-vampire romance by making vampires bloodthirsty killers again.

3/5

November 27, 2009

Glorious 39

I’m in something of a quandary about Glorious 39, a rare cinema outing by acclaimed writer/director Stephen Poliakoff who specialises in making literate thoughtful dramas for the BBC. When I interviewed Bill Nighy in February he was bubbling with enthusiasm for working with Poliakoff again, having won a Golden Globe for his lead role in the sublime 2005 TV film Gideon’s Daughter. Sadly Glorious 39 has all the recognisable Poliakoff concerns but inexplicably falls apart in exploring them.

In the present day the elderly Walter (Christopher Lee) narrates to his young cousin the events of the glorious summer of 1939 when the world stood on the brink of war – a prospect with which the private dramas of the Keyes family, in which Walter played a minor part, seemed intertwined. Romola Garai, who sparkled in the lead role in the BBC’s recent adaptation of Jane Austen’s Emma, stars as Anna the eldest but adopted daughter of Bill Nighy’s aristocratic Tory MP Sir Alexander Keyes. Nighy is rather good as a compassionate man whose experiences in WWI have so unfitted him for dealing with another war that he tries to retreat into the private realm to dote on his children. Jeremy Northam is startlingly good as the sinister MI5 agent who dogs this retreat from Westminster while David Tennant has a nice cameo as a Scottish MP who makes a passionate attack on the policy of appeasement at a Keyes garden party. Anna (Garai) has little time for all this, being more concerned with her budding film career and boyfriend in the Foreign Office (Charlie Cox). However she discovers recordings of secret meetings revealing an MI5 plot to murderously suppress any opposition to Neville Chamberlain’s policy of Appeasement and is thrown into a dangerous world of espionage and intimate betrayal.

Glorious 39 starts as a thoughtful drama but unexpectedly develops Hitchockian paranoia. Poliakoff’s trademark concerns with memory, family, the moving image, and the impact of the past on the present are all present and correct and Glorious 39 is wonderfully atmospheric. All the performances are very good enabling Poliakoff to deliver some shocks with devastating emotional impact amidst a string of unsettling suspense set-pieces including a kidnapped child. Ultimately though the film degenerates into sub-Hitchockian pastiche, undermined by the knowledge that whatever action Anna takes is irrelevant to war being declared or Churchill becoming PM, as this film will not have a Tarantinoesque disregard for historical fact. Poliakoff thus switches genres to introduce a Victorian madwoman in the attic horror story before contriving a deeply odd ‘meaningful’ ending.

A character study that made us empathise with decent individuals promoting Appeasement for good reasons, even though they are on the wrong side of history, by re-inscribing their uncertainty about what the future held would be prime Poliakoff. Sadly Poliakoff eschews this route meaning that this misfiring thriller should have stayed on the small-screen.

2/5

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