Talking Movies

September 13, 2017

IFI Open Day 2017

The IFI is holding its annual Open Day on Saturday September 16th with a line-up of free movies running from 1pm to 11pm. As well as free movies, the customary barbecue in the courtyard and special discount on annual IFI membership, there are a number of tours and a jazz brunch in the cafe bar.

 

In addition to the one preview, handful of old favourites, and several sheer oddities, there are chances to lift the curtain and see the wizard; with talks from the IFI Archive staff and tours of the Projection Booth. The ‘Ask an Archivist’ desk in the foyer will give visitors the opportunity to learn about different film stocks, preservation, restoration, digitisation, and even view and handle film. But projection tours to go behind the little window of flickering light, and check out the busy working of the specialised department; handling anything from digital, to 16mm and 35mm, up to 70mm – the IFI being the only cinema in the country that can run 70mm reels; are sadly sold out. As always IFI Membership will be available at a discounted rate for the Open Day and there’s a BBQ on the terrace from 16.00 onwards. And this year Air France are running a competition for a pair of return flights to Paris so that one might finally fulfil that nagging desire to run thru the Louvre as if in a nouvelle vague picture.

But what are the free movies? Well, here is a guide to the 12 films being shown in Temple Bar.

Film 1

The Mighty Ducks (13.00)
It’s 25 years since the IFI opened its door in Temple Bar, and there is one notable film also turning 25 this year that has been much discussed this summer. But enough about Twin Peaks: Fire Walk With Me… Emilio Estevez is Gordon Bombay, a cut-throat lawyer sentenced to community service after a DUI, who coaches an unruly youth ice-hockey team with ruthlessness to earn redemption.

The Big Sleep (13.15)
A high water-mark of film noir, The Big Sleep was adapted by William Faulkner and Leigh Brackett from the first of Raymond Chandler’s hard-boiled novels about PI, and all-round shop-soiled Galahad, Philip Marlowe. The great Howard Hawks directs Humphrey Bogart and Lauren Bacall in a murky tangle of shady LA characters, innuendo laden dialogue, literate zingers, and baffling plotting. Just don’t ask who killed the chauffeur.

Speedy (13.30)
Harold Lloyd’s final silent film from 1928 sees his customary ‘glasses’ character this time appearing as a baseball-obsessed New Yorker determined to save the city’s last horse-drawn streetcar, just as another expression of a fine, noble, and disinterested nature, and also to impress the girl whose grandfather owns it. 86 minutes of rapid-fire sight gags and elaborate comedy set-ups ensue, and a cameo from Babe Ruth to boot.

Film 2

Star Trek: The Motion Picture (15.10)

Robert Wise, director of The Sound of Music, was the unlikely figure picked to lead the crew of the starship Enterprise into the new frontier of cinema. 132 minutes, a regrettable portion of which is lovingly sustained shots of the post-Star Wars VFX accompanied by Jerry Goldsmith’s new Trek theme, sees Kirk, Spock, Bones, et al investigate a mysterious alien entity posing a threat.

Dead Men Don’t Wear Plaid (15.30)
Steve Martin continued his fruitful collaboration with director Carl Reiner after The Jerk with this homage to 1940s film noir. While Woody Allen was busy inserting Len Zelig into world events, Reiner and Martin wrote a zany plot and built a farcical amount of sets in order to have Martin interact with old footage of Humphrey Bogart, Veronica Lake, Alan Ladd, and many more.

Intermission (15.40)
Cillian Murphy woos Kelly MacDonald, Colin Farrell is obsessed with woks, bus-driver Brían F. O’Byrne is aggrieved at a kid, David Wilmot is being unnerved by Deirdre O’Kane’s lust, and vainglorious Garda Colm Meaney is being filmed by documentarians. The blackly comic intersections of Mark O’Rowe’s screenplay no longer seem as impressive as they initially did back in 2003 when everyone was talking about brown sauce in tea.

MILLER’S CROSSING, Albert Finney, Gabriel Byrne, 1990. TM and Copyright (c) 20th Century Fox Film Corp. All Rights Reserved.

Film 3

Sorcerer (17.30)
William Friedkin decided, for reasons passing understanding, to use his post-French Connection and Exorcist clout to remake Henri-Georges Clouzot’s 1953 suspense classic The Wages of Fear. Roy Scheider stars in a tale of men driving trucks with highly unstable nitroglycerine over rickety bridges on a mission to extinguish an oil well blaze. This is remembered now for Easy Riders, Raging Bulls’ account of its disastrous production and reception.

Miller’s Crossing (18.00)
The Coen Brothers stepped up their ambitions from indie noir and screwball comedy with this expansive Prohibition-era gangster film. Gabriel Byrne is right-hand man to Albert Finney’s mob boss. When Byrne is banished, over John Turturro’s bookie and Marcia Gay Harden’s moll, it begins a deadly game of cat and mouse between rival gangs; featuring much double-crossing, hard-boiled badinage, and a spectacularly OTT use of ‘Danny Boy’.

Delicatessen (18.10)
Amelie creator Jean-Pierre Jeunet and his one-time directing partner Marc Caro’s 1991 debut is a queasily slapstick spin on Sweeney Todd. Clapet is a landlord in an apartment building in post-apocalyptic France, who controls his tenants’ food supply via his butcher’s shop; prime cuts from the men he hires. Louison (Dominique Pinon) fills the regular vacancy, but his love for Clapet’s daughter complicates matters in this queasy comedy.

Film 4

Weirdos (20.00)

In 1976 Nova Scotia fifteen-year-old Kit and his girlfriend Alice run away from home in order to reunite with his estranged mother (Molly Parker), while the USA bombastically celebrates its bicentennial. Accompanied by Kit’s imaginary version of Andy Warhol, the two undertake a road trip during which they confront the difficulties they face in their teenage romance. Quirky and comedic, Bruce McDonald’s film features beautifully photographed Canadian landscapes.

??? (20.20)

The audience choice is yet to be announced but voting for the shortlist of 10 drawn up by IFI staff has closed. Here’s hoping for Hunt for the Wilderpeople! Although as that screened in preview at last year’s Open Day having it again as a returning favourite might be pushing it. Past winners include SubmarineGood Vibrations, Short Term 12, and Me and Earl and the Dying Girl.

The Cohens and Kellys (20.30)

A genuine oddity is a silent movie in prime time on Open Day… Accordionist Dermot Dunne and saxophonist Nick Roth, Artistic Director of the Yurodny Ensemble, will provide a live musical accompaniment, drawing heavily on Irish and Jewish folk music. The 1926 film is an ethnic comedy of the broadest of stock characters in 1920s NYC: Irish cop, Jewish storekeeper, cheerful Irish wife, Jewish mother.

 

So, those are the films, but that’s only planning’s first step… Sadly after two years of running five sets of films; which saw movies begin near 11pm and end near 1am; things are back to the traditional four in this 25th anniversary year. Trying to do four films was always an endurance marathon, but to get into five films was surely beyond mere mortals, and yet undoubtedly somebody did try in those two years… But even to do four movies one must sort out strategy, for two sets of reasons.

One can, obviously, only watch one of the three films running, but the film chosen from each set determines what films are available in subsequent sets. Choose The Big Sleep from the first set of films, and it becomes damn near impossible to see Star Trek: The Motion Picture from the second set of films. To make a quick-change from Star Trek: The Motion Picture to Sorcerer involves having to leave one screen and join a queue for another screen, with neither film starting on time, especially as some introductory speaker always overdoes curating their favourite film. The unexpected can derail well-laid plans as some films will be unexpectedly in demand whilst others unexpectedly languish, and it is impossible to predict which. Might one casually pick up a ticket for Miller’s Crossing a minute before it starts as Talking Movies’ occasional guest writer Elliot Harris once memorably did for The Purple Rose of Cairo? And how can popularity be predicted in the absence of announced screens? After all amongst past audience choice winners Good Vibrations and Short Term 12 did not make Screen 1, yet Submarine did. One needs a good mental map of run-times and queue-times for improvised plans.

And then there’s the second, newer reason to sort strategy if attempting multiple films. Tickets were allocated, 4 per person, first come first served, at 11am; which saw a queue forming from 9.30am, snaking to Dame Street. The days of that Open Day morning buzz are gone. For the second year in a row queues will form inside the IFI, a desk for each movie, an hour before screenings –2 tickets per person. Multiple movie devotees must work together, because they’d have to not be watching a movie in order to queue for tickets for the next movie; reducing them to a mere 2 movies! Expect the queue to form 30 minutes before tickets will be disbursed. Don’t expect pseudo-economists trading off queuing during films they don’t mind missing in order to get extra tickets for a film they do want to see, in order to get someone to queue for them for a later film they want to see.

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December 1, 2013

Subtitle European Film Festival Awards

The Subtitle European Film Festival drew to a close tonight in Kilkenny with the second Angela Awards, celebrating excellence in European film-making.SUBTITLE_2013_1.0_COLOUR

Actors honoured at the awards included Norwegian actor Aksel Hennie (known for his role in the crossover hit Jo Nesbø’s Headhunters), Finnish actor Peter Franzén (who will shortly be seen on screens starring alongside Sean Penn in The Gunman), Russian actor Danila Kozlovsky (star of the forthcoming Vampire Academy alongside Gabriel Byrne) and Danish actor Pilou Asbaek (star of TV hit Borgen). The Awards were hosted by actress and author Pauline McLynn in The Set Theatre, Kilkenny, with a host of luminaries including director Jim Sheridan, writer David Caffrey, Harry Potter producer Tanya Seghatchian, and actors Robert Sheehan, Amy Huberman, Laurence Kinlan, Sean McGinley, Tom Hickey, Peter O’Meara, Aisling Franciosi, Morten Suurballe (The Killing), and Allan Hyde (True Blood) all in attendance.

At the awards Jim Sheridan also presented Emmy Award-winning casting director Avy Kaufman with a Lifetime Achievement Angela. Kaufman was the casting diector for films as diverse as The Sixth SenseThe Life of PiLincoln and Shame. She has also worked with Jim Sheridan, casting many of his films. Subtitle presents popular films from European countries such as Sweden, Finland, Denmark, Norway, Belgium, Netherlands, Spain, France, Austria, Hungary, Poland, Romania and Bosnia. With 70 screenings of 36 popular films from over 13 countries across Europe over 7 days in Kilkenny, Subtitle makes you see cinema in a different way.

Full List of Angela Winners:

 

Pilou Asbaek, Denmark, Actor

For his role in: A Hijacking

 

Agnieszka Grochowska, Poland, Actor

For her role in: Walesa

 

Aksel Hennie, Norway, Actor

For his role in: Ninety Minutes

 

Peter Franzén, Finland, Actor

For his role in: Heart Of A Lion

 

Danila Kozlovsky, Russia, Actor

For his role in: Soulless

 

Antonio De La Torre, Spain, Actor

For his role in: Grupo 7

 

Marija Pikic, Serbia, Actor

For her role in: Children Of Sarajevo

 

Jakub Gierszał, Poland, Actor

For his role in: Suicide Room

 

Laura Birn, Finland, Actor

For her role in: Purge

 

Hannah Hoekstra, Netherlands, Actor

For her role in: Hemel

 

Jessica Grobowsky, Finland, Actor

For her role in: 8-Ball

 

Marwan Kanzari, Netherlands, Actor

Breakthrough: Wolf

 

Per-Erik Eriksen, Norway, Editor

Editing: Kon-Tiki

 

Avy Kaufman, US, Casting Director  

Lifetime Achievement: Casting

September 18, 2012

Any Other Business: Part IV

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 fourth  portmanteau post on television of course!

Thomas  Dekker Needs to Graduate

Thomas Dekker  desperately needs to graduate high school. It’s becoming a  problem.  In case you  can’t quite place the youthful looking actor, here’s a refresher. He  played the camcorder-wielding confidant  of invincible cheerleader Hayden  Panettiere’s Claire Bennett in season  1 of Heroes. He then took  on the role  of a teenage John Connor under the daunting protection of Lena Headey’s Sarah  Connor and  Summer Glau’s good terminator in The Sarah  Connor Chronicles. When that was unjustly  cancelled he finally managed a sojourn in college in  Gregg Araki’s typically eccentric Kaboom! But then came a return  to high school in The  Secret Circle, which has been mercifully cancelled after one  misfiring season during which it never threatened to equal let alone eclipse its  sister show The  Vampire Diaries. Dekker was actually  pretty good as a warlock in The  Secret Circle but his resume kept  intruding into your subconscious and wrecking his plausibility as a high school  student, even by the usual ridiculous Hollywood conventions. To reiterate, Thomas Dekker was in  high school on TV in 2006. He was still in high school on TV in 2012… Thomas Dekker Needs to  Graduate!

Quirky  McQuirke

I’m not sure exactly when it  happened but the three episodes of  90 minutes duration each format now seems to be BBC One’s preferred mode for  prestige crime shows, as, following in the wake  of Wallander and the  all-conquering Sherlock, John Banville’s  acclaimed Benjamin Black detective novels are being brought to the small screen with  Gabriel  Byrne cast as the titular Quirke. Quirke, the chief pathologist  in the Dublin city morgue, starts investigating  deaths in 1950s Dublin – in Banville’s imagining a place of smoky streets, damp  alleys, bars with peat  fires, and  Georgian houses with sexual tension. Each  episode sees Quirke investigate the death  of an unfortunate on his mortuary slab. Bleak  House  screenwriter Andrew Davies will adapt ‘Christine Falls’ and ‘The Silver Swan,’ while The  Seafarer  playwright Conor McPherson tackles ‘Elegy for April.’ I haven’t read any of  the Benjamin Black novels for two reasons. I find the patronising adoption of a  pseudonym to write mere thrillers to epitomise the Nietzschean snobbery that  characterised Banville’s dismissal of last year’s Booker jury, and I heartily  dislike the  novels he has written under his own name that I had to suffer thru at college.  I’ll watch the show with interest though because Davies is a great screenwriter  and I’ve come to appreciate McPherson more than I once did after teaching The  Weir and  having students enjoy its ambiguities immensely.

July 19, 2010

Inception

“Have you ever had a dream Neo, that you were so sure was real. What if you found yourself unable to awake from that dream? How would you know the difference between the real world and the dream world?” Among the many achievements of Christopher Nolan’s latest film is that it answers Morpheus’ rhetorical question…

I’m not idly linking Inception to The Matrix as Nolan is in dialogue with it as well as his own opus. Following a typically stylish/puzzling opening we follow corporate spies Cobb (Leonardo DiCaprio) and his right-hand man Arthur (Joseph Gordon-Levitt) as they bungle an industrial espionage job in a Japanese mansion highly reminiscent of Ras Al’Ghul’s mountain lair in Batman Begins. They are unexpectedly offered a way out of their predicament from a former mark Saito (Ken Watanabe). Saito wants them to reverse their usual modus operandi of ‘extracting’ secrets and instead attempt inception – to plant the seed of a destructive idea in the mind of his business rival (Cillian Murphy) – which Arthur, almost imitating Gabriel Byrne in The Usual Suspects, opines can’t be done. Cobb though takes the job, as Saito offers the bait of freeing himself from outstanding legal troubles which have prevented him returning to his family in America. Nolan’s ‘existential heist movie’ then becomes a joyous globe-trotting exercise in assembling a team for the caper – picking up a forger in Mombasa (Tom Hardy), an architect in Paris (Ellen Page), and a seriously dodgy chemist, before training (in shared dreams) in a warehouse and making contact with the mark, who complicates their plans…

That description should tell you that Nolan has somehow made a ‘realistic’ film about larceny where the scene of the crime is your unconscious mind. This depiction of the unconscious owes nothing to Dali, Freud or Jung. His thieves keep their dreamscapes impeccably realistic to dupe the mark into believing that the dream world is real. Only Ariadne’s initial gleeful construction of architecture free from the laws of physics, and collapsing dreams and malevolent subconscious projections shatter that verisimilitude. Nolan’s interest here is not plot twists or fractured chronology but layering levels of reality. This allows him the blockbuster action tension of the double jeopardy at the end of The Matrix, with Neo fighting Smith while a Squiddie assaults the Nebuchadnezzar, but even more heightened. How exactly these thieves insinuate themselves into their subjects’ dreams and manipulate them though is anything but popcorn as its conceptual simplicity but sheer craziness in execution means you must stay as alert to what is happening at every moment as with Memento. The device which allows the team to synchronise their dreams and instantly fall asleep is similar to its equivalent in The Matrix but (gloriously) its working is never explained scientifically in this ‘sci-fi thriller’, which instead prioritises Edith Piaf and inner ear discomfort in the explanation of the ingenious ‘kicks’ for waking up.

Nolan’s films obsessively follow characters wracked by guilt over the deaths of people close to them who embark on quests for justice or vengeance and Cobb is an interesting variation on this archetype. DiCaprio is strong as a haunted hero running from his guilt, aided by Hans Zimmer’s unsettling reworking of his Two-Face musical theme, and is supported by an impeccable ensemble. Page is terrific as Ariadne. Both the newest member of the team, through whose eyes we come to understand this universe’s rules, and the most grounded, it is she who pushes Cobb towards finally exorcising his demons before they endanger the team. Hardy shows immense range after his bravura turn in Bronson by being wonderfully insouciant as the forger Eames, while Brick star Joseph Gordon-Levitt is once again effortlessly charismatic as the quick-thinking point-man Arthur. He steals many scenes from DiCaprio and memorably gives an outstandingly delivery of one delightful word.

Inception combines caper movie with sci-fi thriller, underpinned by a meaty character arc about guilt that takes advantage of being able to give physical reality to subconscious emotional scars, to dazzle both eyes and mind. Essential viewing.

5/5

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