Talking Movies

June 10, 2018

They’re young, they’re in love, and they kill people

The IFI presents a Killer Couples season for the month of June. Extremely notable by its absence is Bonnie & Clyde, which one would have thought essential. In its place there is a grab-bag of noirs, B-movies, black comedies, latter-day B-movies, and art-house drama, ranging from the 1940s to the 1990s, and Hollywood to New Zealand via the Nouvelle Vague.

Double Indemnity

Wednesday 6th June 18:20

Neil Brand claims for Miklos Rozsa’s opening chords the origin of the classic uneasy dissonance of high film noir music. One might note that the writing credits are equally seminal: the knowing dialogue of Raymond Chandler, the cynical plotting of James M Cain, and the chilly irony of director Billy Wilder. Nice guy Fred MacMurray is cast wonderfully against type as an insurance salesman who begins an affair with the wife of a client, Barbara Stanwyck’s definitive femme fatale.

Compulsion

Sunday 10th June 15:45

Orson Welles cameos as a thinly disguised Clarence Darrow pleading, at some length, for mercy for the upstanding rich young psychopaths he’s defending (Braford Dillman and Dean Stockwell). Based on the same infamous Leopold & Loeb murder case of 1924 that inspired Hitchcock’s Rope, director Richard Fleischer, in less fantastical territory than usual for him, chillingly depicts the students outwitting their elders with Nietzschean aphorisms before their abrogation of morality comes a cropper over a (providentially?) misplaced pair of glasses.

The Getaway

Wednesday 13th June 18:20

Cool character Steve McQueen is a hardened criminal in hard-man director Sam Peckinpah’s tough-minded version of hard-boiled novelist Jim Thompson’s brutal pulp novel, adapted by the thinking man’s hard man auteur Walter Hill. Yeah, there was a lot of competing machismo on the development and production of this 1972 movie. Poor Love Story star Ali McGraw got dog’s abuse for her poor acting from a perpetually drunk Peckinpah even as smitten co-star McQueen began a scandalous affair with her.

 

Ascenseur pour l’echafaud

Sunday 17th June 15:30

Louis Malle somehow convinced jazz great Miles Davis to simply improvise a score while watching footage of his 1957 directorial debut. Not technically a Nouvelle Vague film but it seems churlish to deny Malle’s kinship with them on account of two years’ chronology. Jeanne Moreau enigmatically wanders the streets of Paris at night waiting for her lover (Maurice Ronet), after their perfect murder of her husband goes predictably sideways, while a sub-plot sees two younger lovers cause chaos.

 

Pretty Poison

Wednesday 20th June 18:30

Psycho star Anthony Perkins is released from a mental institution under strict conditions but immediately runs into the murderous arms of manipulative teenager Tuesday Weld in this bizarre black comedy. A haze of insane conspiracies, mayhem, and bloodshed ensue, with an RD Laing zeitgeist-surfing vibe that the sane people are the ones in the asylum – the truly crazy people are the ones running around outside in the dramatically disintegrating America of 1968. Who wouldn’t prefer being safely locked up?

 

The Honeymoon Killers

Saturday 23rd June 15:30

French Connection and Jesus of Nazareth actor Tony Lo Bianco stars in Leonard Kastle’s blackly comic thriller as a con man who offers love and marriage to lonely women via lonely hearts newspaper classifieds but has something very different in mind, aided and abetted by his partner Shirley Stoler. A few scenes directed by Martin Scorsese still remain in the picture; astonishingly the exuberant motor-mouth was fired after 4 days because he was working too … slowly. Yep.

 

Natural Born Killers

Sunday 24th June 15:30

I think the IFI rather enjoys showing Oliver Stone’s 1994 throw-every-film-format-and-editing-style-there-is-at-the-wall-and-see-what-sticks media satire/fiasco just to remind everyone how they were prevented from doing so by the boo-hiss censor back in 1994. Now showing in 35mm, this may be your last chance to enjoy this as an original piece of madness before Orson Welles’ The Other Side of the Wind is finally released (soon, allegedly) and we can see the footage that Stone was shown privately pre-JFK and NBK

Gun Crazy

Thursday 28th June 18:30

Rope star John Dall is a naive young man who meets and marries (unhinged) carnival sharpshooter Annie Laurie Starr (Irish actress Peggy Cummins) only to fall into a world of trouble due to her criminal proclivities. Dalton Trumbo co-wrote this while blacklisted, and there is some showy single-take and fixed-position direction by Joseph Lewis. Recent contributor hereabouts Friedrich Bagel somehow fell asleep during a screen 2 showing of this B-movie classic in the IFI some years ago, for shame!

Heavenly Creatures

Saturday 30th June 18:20

Before the unexpected transition to epic fantasy with The Lord of the Rings and after Meet the Freebles was Peter Jackson’s equally unexpected gothic drama based on a real life cause celebre in 1950s New Zealand. Kate Winslet and Melanie Lynskey both made their impressive screen debuts as the teenagers whose obsessive bond and shared fantasy world led to a very savage murder in the here and now. Legendary Weta was formed by Jackson to create that fantasy world.

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January 27, 2016

You Never Can Tell

Conall Morrison directs his second consecutive Abbey Christmas show, but with a less fabled script than She Stoops to Conquer the result is less sparkling.

YNCT-prod-Image-5A-800x533

Struggling dentist Valentine (Paul Reid) extracts his first tooth from a paying customer with relief. Said paying customer Dolly (Genevieve Hulme-Beaman) invites him to lunch at her seaside hotel, a proposal loudly seconded by her equally forthright sibling Philip (James Murphy). Through a series of Shavian coincidences he ends up bringing his bitter landlord Mr Crampton (Eamon Morrissey) as his guest, and Mr Crampton turns out to be the husband that Mrs Clandon (Eleanor Methven) ran out on; and whose identity she has refused to reveal to her children Dolly, Philip, and Gloria (Caoimhe O’Malley) as none of their business… Luckily Finch McComas (Nick Dunning), an old friend of both warring spouses, is on hand to mediate. And redoubtable waiter Walter (Niall Buggy) is on hand to smooth over any marital strife and hurry along Valentine’s impetuous courtship of Gloria.

You feel Shaw would not remember specifically writing the two most memorable elements: Liam Doona’s set, a circular playing space encased by a moat with two drawbridges, and Walter given to bellowing “THANK YOU SIR!” at patrons from a distance of inches. The former is playful (and wonderfully matched by Conor Linehan’s jaunty incidental music), the latter begins baffling, becomes endearing, and ends hysterically. It also underpins Walter’s almost tearful acceptance of drinks orders in the finale lest he lose his waiting existential raison d’etre by sitting down. Elsewhere the direction is less sure. As regular theatre cohort Stephen Errity noted a very different version of this play exists in which, rather than Morrisey’s befuddled old geezer, that you feel sympathy for God love him, you get the Nietzschean Crampton (‘Dost visit with women? Remember thy whip!’) other characters recall.

There’s also, by Shaw’s own hand, Major Barbara, in which he successfully reworked in 1905 some of this 1897 material. Methven’s part thus becomes the even more acerbic Lady Britomart, which she played on this stage in 2013. O’Malley, who slightly overdid the girlishness in the Gate’s recent A Month in the Country, is magnificent here as imperious Gloria who goes comically to pieces under the pressure of Valentine’s impudent courtship and Crampton’s badgering. Reid is insouciance personified, while Dunning is amusingly overwhelmed, so Hulme-Beaman and Murphy provide the bombast. That is until Denis Conway appears… Joan O’Clery’s designs reach their apotheosis of spectacle in a costume ball, which allows Morrison again end on a musical number, and swishing about in a cape and  medico della peste is Conway as the lawyer Bohun who will sort out everything with epigrams. Shaw might as well have written ‘Enter Bohun. He Fassbenders’.

You Never Can Tell loses its way after the interval but Morrison’s general air of good humour sustains it until Shaw realises he needs some vim and introduces Bohun.

3/5

You Never Can Tell continues its run at the Abbey Theatre until the 6th of February.

October 17, 2013

Escape Plan

Sylvester Stallone and Arnold Schwarzenegger finally properly co-star together, and the result is a superior slice of prison break nonsense.

THE TOMB

Ray Breslin (Stallone) begins the film getting sent to solitary in a federal prison in Colorado for shanking a vengeful fellow prisoner. He promptly escapes with the help of an explosive diversion outside. And then explains to the warden how he did it, because that’s Ray’s job. Aided by his colleagues Abigail (Amy Ryan) and Hush (Curtis Jackson), Ray is sent to prisons by his business partner Lester (Vincent D’Onofrio) to compromise their security, so that weak-points can be eliminated. However, when CIA agent Miller (Monaghan’s Caitriona Balfe) employs Ray to test a new black site things go sideways. Victimised by vicious guard Drake (Vinne Jones), Stallone finds the warden Hobbes (Jim Caviziel) is not his contact, but his nemesis. Rottmayer (Schwarzenegger), an associate of a master financial hacker, is Ray’s only chance of escaping from Hobbes’ unbreakable The Tomb.

Director Mikael Hafstrom is obviously aware of the silliness of proceedings. The first appearance of Schwarzenegger is accompanied by a deliriously knowing camera swoop to reveal his face. And then a later slow-mo extreme close up on Arnie’s eyes accompanies an appropriately massive gun finally being given to him. The dialogue at times creaks under the weight of expectation for good one-liners that it can’t quite deliver. But there is so much to love in this film. Arnie freaking out in German in an extended sequence in which he recites the entire ‘Our Father’ as well as riffing on Nietzsche’s Gay Science is oddly glorious. And Stallone’s emphasis on brains over brawn is a pleasing acknowledgment of his age: his strength is his tactical nous in assessing how structural weak points best combine with the blind moments in guards’ routines.

Hobbes beautifully uses Ray’s very life work against him. If you’d read one of Cosmo Landesman’s more ridiculous rants you’d note that Caviziel’s wearing of a waistcoat, fastidious dusting of his tie, and studious hobby of pinning butterflies resemble Christopher Eccleston’s alleged coders of homosexuality in Gone in 60 Seconds. Landesman’s quite odd sometimes… Far more interesting is noting Republican Schwarzenegger’s involvement in such a politically subversive script. Hobbes dispenses with the niceties of water-boarding to simply insert a hose in Rottmayer’s mouth and let rip. Faran Tahir’s Javed becomes an integral and sympathetic part of the escape, so that suddenly either we’re rooting for a mujihadeen to get back to business or accepting that the CIA quite frequently renditions the wrong man. Escape Plan is also a needlessly star-studded film. Sam Neill gets very little to do as the sympathetic prison doctor, while the great Ryan is similarly underused.

Escape Plan, excepting some expansive pull-outs, prioritises physical sets and choreography over CGI, and is the escapist fun The Expendables franchise fails to deliver.

4/5

September 1, 2011

5 Reasons to salute Captain America

If its abrupt drop in showings in Dundrum is anything to go by Captain America is not getting much love from Irish cinemagoers. But here’re 5 reasons why it should…

“A Good Man
GK Chesterton memorably quipped that Nietzsche had never convincingly explained why, other than to gratify Nietzsche’s own perverse desires, anyone should desire that an ubermensch be modelled on Cesare Borgia rather than on Parsifal. This sentiment underscores all the scenes between Chris Evans and Stanley Tucci; “Do you want to kill Nazis?” “I don’t want to kill anyone, I just don’t like bullies, wherever they are”; but the scene in which Tucci explains why he chose Evans over the physically stronger candidates and entreats him to remain the same – “Not a perfect soldier, but a good man” – is the best fictional articulation I’ve seen of Greg Garrett’s joyous reading of the creation of Superman by two Jewish comic-book writers as a rebuttal of Hitler’s Aryan psychosis – protecting the weak is what a real ubermensch would do.

“Dr Herzog I Presume
I thought I was losing my mind and simply hearing Werner Herzog everywhere when Hugo Weaving’s boo-hiss Nazi villain first appeared, but it turns out that he did base Dr Johann Schmidt/The Red Skull’s accent on everyone’s favourite German auteur. It’s an uncannily accurate impersonation, and nice because it delivers an odd musicality to Weaving’s delivery, as well as being an actual German accent; not one dreamt up by RADA trained British actors in the 1940s…

Tommy Lee Jones
Tommy Lee Jones Fassbenders his way thru the film in his accustomed role as old Texan grouch. His fantastic one-liners include “I’m not kissing you” after the climactic clinch, “I better find two more then” after shooting a Hydra stormtrooper mid-way thru his ‘Cut off one head, and –’ mantra, and “He’s still skinny” after egregiously failing to make his point by throwing a dummy grenade at the potentials to see which are the brightest and best.

Doomed Romance
Hayley Atwell is becoming quite the specialist in doomed affairs after The Duchess and Brideshead Revisited. Her tentative romance with Evans here is a terrific antidote to Bay’s Pearl Harbor nonsense, and makes for a quite upsetting finale when the flagged from the beginning suicide mission finally comes to pass, complete with their final stoic radio exchange. The Captain’s despair that he’s woken up to a world in which she’s been dead for 30 years could be absolutely heartbreaking in The Avengers. Presuming Whedon manages to learn how to write again. I’m still bitter about Buffy Season Eight

Steampunk Nazis
From the first appearance of the Red Skull’s jaw-droppingly stylised car, there’s a determination to grant Hydra technology too advanced for the era, especially their District 9 rip-off guns, to heighten the threat they pose. Admittedly the steampunk element gets a bit out of control towards the end of the film, but it’s quite a nice addition to the Captain America mythos for most of the proceedings, and feels less contrived than most of Del Toro’s clockwork nonsense.

April 26, 2011

Revue: Attempts on Her Life: Review

A postmodern play is what we mean when we point at something and say, ‘This is what we mean by a postmodern play’…

A review of a play should be impartial and objective. It’s never a good idea to review a play when you know people acting in it. Having said which I’ve already done so to an extent when reviewing Death of A Salesman last summer. But of course I never knew Rory Nolan half as well back in 2001 when he was my Dramsoc committee liaison as I do some of the people in this play. Can we get around this? Perhaps..

SCENE 7. ARGUMENTS.

BORIS, GODUNOV, and JOHNSON are onstage. They can be any age and either sex. They are panellists on a TV show, or maybe politicians at a debate, you decide.

BORIS: It’s weird beyond belief. I approve.

GODUNOV: But is it good-weird or bad-weird?

BORIS: Can one apply such banal terms to post-modern theatre? It exists, it breathes; one cannot pigeonhole it into such bourgeois categories as good or bad.

JOHNSON: But surely a play has to achieve something other than simply being?

BORIS: You would like a tidy linear plot and developed characters progressing along a satisfying and predictable emotional arc, would you? Anything else we can do for you while we’re rolling back theatrical history? Bring back the Lord Chamberlain? Maybe we could ban women from acting again…

GODUNOV: I think that what Johnson meant was that a post-modern play whose sole content is reiterations of how impeccably post-modernist it is becomes as self-defeating as a woman Irish poet whose sole subject for poetry is the trials of being a woman Irish poet, to the point where you must ask if it’s such a chore trying to fit into the patriarchal tradition of Yeats why not just chuck it for something more congenial like novel-writing. Seems to work out nicely for Emma Donoghue…

BORIS: There you go again. You have an obsession with every work of art being pre-digested for your facile consumption, rather than struggling against patriarchy.

JOHNSON: I fear Boris that we are getting away from the play.

BORIS: Yes. We are. I thought a triumphant scene was the superbly combative Aisling Flynn talking down Ian Toner in the panel discussion tentatively chaired by Sam McGovern.

GODUNOV: Yes, he did catch rather well the host awkwardly caught between both trying to start fights and defuse excess tension at the same time.

BORIS: Shut up, Godunov. Yes, it was a pitch-perfect parody of the sort of spats over modern art once catches on Newsnight Review of a Friday. I also admired the deranged quality of Fiachra MacNamara’s monologue while blindfolded and being whipped by a girl wearing a pig-mask and shouting thru a microphone.

JOHNSON: The blunt satire of the second scene with the children’s entertainment turning into a discussion of atrocities bothered me by its tremendous lack of subtlety. Does one need really need to jackhammer at obvious truths like that? But I must ask you one question Boris. Did it not bother you that for large chunks of the play you had absolutely no idea what was going on? I’m thinking of that amusing but baffling Pinter homage where Toner and McGovern seemed to be either ad-men or hit-men, writing a personal ad or an obituary, with a mysterious suitcase bothering their efforts.

BORIS: I understood everything that happened.

GODUNOV: I beg to differ. You turned to me during the scene with the six actresses doing the satirical car adverts in different languages to ask in a terrified whisper if that man was meant to be on stage or had he just wandered in off the street?

BORIS: I was merely adding to your confusion to amplify the intended artistic effect…

JOHNSON: The scene deconstructing pornography I thought was another highlight.

BORIS: It appealed to your low taste for moralism in art did it?

GODUNOV: Why must you constantly sneer at any attempts to find meaning in life?

BORIS: Because one cannot find meaning in life! Crimp’s entire gestalt is that no play can represent accurately even one person, so how on earth could a play seek not only to create multiple ‘realistic’ characters but then have the audacity to claim that they represent the universe in some sort of microcosm, and that the play can thus make ‘important’ points about society? The only point it can make is the inadequacy of its ability to make points.

JOHNSON: You ascribe a Beckettian impulse to Crimp then, the compulsion to speak, mixed with the awareness of the inability to say anything worth speaking of?

BORIS: Don’t bring your philosophical poppycock into this, Crimp is operating on a purely aesthetic level. I have no idea what I mean by that. Or do I? …

GODUNOV: Are you attempting to say that we must not look for any deeper meaning? That Attempts on Her Life represents merely post-modern theatre’s abdication of the urge to create versions of reality in favour of merely stringing together disparate scenes containing blunt anti-capitalist satire? Didn’t 9/11 make that sort of posturing an embarrassment? If western civilisation is not inviolable what is the point of deconstructing it?

BORIS: Well, one could say the same about resisting the Nazis after the tide turned in Africa or in Russia. The battle against patriarchal structures is never futile. Vive La Resistance. You will notice the ‘La’…

JOHNSON: I think Boris that you have lost your mind.

BORIS: I’m in the good company of Nietzsche in that case.

GODUNOV: And I keenly resent the implication that I am a Nazi.

It’s hard not to feel that Enron shows the influence of Attempts on Her Life while simultaneously abjuring it. They’re both Royal Court productions but separated by a traumatic decade. There are a number of inexplicable musical numbers in both plays although neither is a musical, in both actors double up and a huge cast run thru many different cipher characters, and multi-media is also a commonality with large screens bombarding the audience with subliminally fast images of modern life; but the differences are huge. The blunt satire of capitalism remains, but the generalised anxiety of Martin Crimp is replaced by a sharp focus on the fall of one company by Lucy Prebble, who also develops four stable characters amid the slapstick in order to give us an emotional anchor, and has a solid plot in the downfall of Enron’s insane accounting system to drive things forward in a semi-linear fashion. In other words Attempts on Her Life is an important play but it’s not a trailblazer, nothing can follow it, other writers can only plunder from it what they like best and incorporate it into their own more traditional work – after all if one actually wants to say something about society it’s not really that satisfying only having a dramatic framework that deconstructs the validity of any and all attempts to say anything about society.

3/5

September 21, 2010

The Hole 3-D

Joe Dante, director of The Howling and Gremlins, helms a kid’s film as scary as most adult horror films…

Nietzsche’s “And remember, if you stare long into an abyss, the abyss also stares into you” is a more apt tag-line than “What are you so afraid of?” which implies a jokey approach to the material largely absent from the film. Sure, Dante inserts parodic “Ha! Made you jump…” moments where people unexpectedly pop out of nowhere to deliver their lines, but he’s such a good horror director that he’s achieved the jump in technique that Anne Radcliffe defined as the difference between horror, make an audience jump and groan with buckets of gore, and terror, the purer feeling induced by sheer dread, which is infinitely more disturbing for a young audience. Whether such pure gore-free scares are suitable for children at all is a very serious question and one which the Irish censor has answered with a definitive ‘No!’ courtesy of a 15s cert.

Sullen teenager Dane (Chris Massoglia) and his younger brother Lucas (Nathan Gamble) move into a new house, dragged 2,000 miles from their beloved Brooklyn by their flakey single mother (Teri Polo). It’s not all bad though as they quickly strike up a friendship with the cute bookworm next door (Haley Bennett). Exploring a mysterious hole in their new basement together, however, proves a very bad idea. Life-lesson: if you find something heavily secured with pad-locks for no apparent reason, for the love of God trust whoever put them on and lock them again when you’re finished gawking. As Bennett surmises “You have a gateway to hell in your basement”. Her next line “Cool” is quickly retracted when it unleashes a dead girl, dripping blood from one eye, who limps after her in unsettling digitally manipulated motion. Gamble meanwhile follows up playing Gordon’s son who was terrorised by Two-Face in The Dark Knight by being terrorised by a court-jester puppet – a mini-Joker. This puppet moves when he’s not looking, before winking, and eventually traps him in the basement and chuckles maliciously as it slowly walks towards him….

Impressive sound design makes the scenes where the unseen stalking puppet’s bells ring absolutely terrifying as they rattle all around and even behind you. By contrast the third dimension is as superfluous as always and lends an air of unreality to proceedings which only becomes interesting in the funhouse set at the end where the outsized and crazily twisted furniture leaping off the screen enhances the perilous mental state of the hero finally sucked into his worst nightmare. Massoglia’s endearingly mumbly hero leads an impressive central trio of performances by young actors who hold their own against Bruce Dern’s scenery-chewing cameo.

The Hole is a very well constructed Hallowe’en chiller that sadly falls between two target audiences by virtue of its own effectiveness.

3/5

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