Talking Movies

November 30, 2019

From the Archives: Sleuth

From the pre-Talking Movies archives.

On his sprawling country estate, an aging writer (Caine) matches wits with the struggling actor (Law) who has stolen his wife’s heart.

If you don’t know who Harold Pinter is then avoid this film like the plague. If you do know who Harold Pinter is, Nobel Laureate and Attendant Lord of British Theatre from the 1950s onwards, then you will find this film quite rewarding but not entirely dramatically satisfying. There’s a Pinter pause in the very first piece of dialogue that will unnerve the hell out of cinemagoers that have just wandered in by chance to a Jude Law film and will alert theatregoers to the fact that this is really Harold Pinter’s latest play. This is the real deal; a comedy of menace as two men fight each other with veiled verbal threats in a confined space, trying to assert control over each other, and over the woman they both want to possess, who is absent for most of the film. Sleuth features one of the most riveting opening sequences of the year as Branagh ditches his customary extremely mobile camera for fixed set-ups and long-shots, it is a full 12 minutes before the first close-up, on Michael Caine for “I understand you’re f***ing my wife”.

Law is there to discuss a divorce for Caine’s wife but Caine has a different sort of proposition for Law and the mind-games between the two escalate quickly. The original Anthony Shaffer play was filmed by legendary All About Eve director Joseph L Mankiewiecz in 1972 as his swansong. One of the best films of the 1970s it was twisted, funny and Laurence Olivier and Caine faced off against each other in a clash of RADA and cockney accents that mirrored the class divide between their characters. That tension has been replaced by a homoerotic undertone highly reminiscent of Pinter’s play No Man’s Land that doesn’t really work. Olivier’s dangerous eccentric lived in a house cluttered with useless bric-a-brac, Michael Caine’s modernist open-plan house is made to appear equally sinister thru Branagh’s clever use of lighting.

Sleuth is so strongly dependent on its plot-twists that it’s almost impossible to write about it without ruining it. Instead let us mock Jude Law. One of the twists in Sleuth depends entirely on acting ability. That twist is of regretful necessity thrown away here because while Law may be under the impression that he can do more than stand in front of the lights and look pretty, Pinter is not. His version from that point onwards departs radically from the original’s plot points becoming a depiction of malevolent psychological cruelty rather than a joyously frantic game of cat and also-cat, but Law’s acting cannot sustain such intensity, so after 86 minutes we simply end with a whimper. Sleuth must therefore be ranked as one of the most interesting failures of 2007. But I’d rather have this intelligent attempt, even with Jude Law, than the polished mediocrities that clog up the multiplexes, any day.

2/5

April 10, 2018

What becomes a Christie most?

Can the melancholic approach taken in Murder on the Orient Express work for a proposed Death on the Nile sequel?

I was quite surprised by the melancholic tone of Branagh’s first Poirot outing, but that, more than anything else, even his energetic performance as an exacting, physical Poirot, was what made the film work. And with a 350 million return on a 55 million budget it is inevitable that the sequel set up in its final scene will happen – Death on the Nile. Discussing this prospect with occasional co-writer Friedrich Bagel (which I still strongly suspect of being an assumed name) he opined that it would be better to go for a Christie mystery that has not been filmed, like The Mysterious Affair at Styles or The Murder of Roger Ackroyd. Sadly, I opined right back, two things stand in the way of that – people would riot in their cinemas at the finale of Ackroyd, and marketers would riot in their boardrooms at the prospect of actually having to do their job rather than utilise the name recognition of already beloved properties. Alors, Nile

One hopes that someone in Burbank isn’t thus scrolling through Peter Ustinov’s IMDb profile. Ticking off Evil Under the Sun and Appointment with Death as the final entries in the Branagh Poirot quadrilogy, sneakily noting Thirteen at Dinner, Dead Man’s Folly, and Murder in Three Acts as potential TV specials to cross the street with to HBO if the Branagh Poirots hit a wall at the box office, or God help us looking about for young Branaghs for a potential prequel Mysterious Affair at Styles. We know that Michael Green will again be adapting Christie’s novel for Branagh to star and direct. Reviewing Murder on the Orient Express back in November I noted that Green redeemed himself from the double whammy disasters of Alien: Covenant and Blade Runner 2049 with his melancholic interpretation, which saw Branagh and composer Patrick Doyle render the murder almost as a mourning ritual. But that card can only be played once, leaving an obvious possibility that will annoy the purists.

That card is the trump that left the London Times spitting blood this Easter weekend when the BBC changed the identity of the killer in Ordeal by Innocence. It’s impossible to change the killer in Murder on the Orient Express, and one would think the same applies to Death on the Nile, but a severe rewrite (in the order of the tortures visited upon Stoker for Laurence Olivier’s Dracula) could yield anything. It is disconcerting when screenwriters assume they know better than the Queen of Crime who done it, but then there is a general tendency to sniff at Christie’s writing as being mere three-card-trick-plotting, overlooking some wonderful sly comedy as well as much darker effects of suspense, paranoia, and cynicism in The Hollow and And Then There Were None. No, if Green were to change the identity of the killer in Death on the Nile it wouldn’t be totally inadmissible, but it would be a hefty task of rewriting to keep Christie’s logic intact.

It is a matter of opinion that the melancholic card can only be played once. Green’s invented character arc for Poirot, where he admits shades of grey into a Manichean worldview is similar to the moral agony endured by Suchet’s Poirot on the same case. But Suchet’s crisis was explicitly Catholic while Branagh’s was, predictably for Hollywood, a crisis in the secular Markwellian ethics of consistency; allied to the writing of Poirot’s OCD as the scrupulosity of consistency in all things. (Although I vigorously object to the tendency to dub any and all devotion to precision as OCD, rather than, say, a devotion to precision.) I hold that the senseless murder of a kidnapped child naturally occasions a melancholic atmosphere in a way that a twisted love triangle climaxing in slaughter does not, but as Green threw out large chunks of plotting and minutiae to focus on a mood, it would not be outrageous to think he could do much the same thing for Nile.

Bagel took me to task for harping on Branagh as a physical Poirot, declaiming that Poirot was a policeman so he should be able to chase people, and that Christie herself admitted she’d blundered with his age, being retired in 1920 he would be 105 when solving crimes in 1960s Chelsea; a mistake akin to PG Wodehouse initially locating Blandings Castle damnably far from London for later plotting purposes. I retorted that Branagh’s physicality distinguishes his interpretation. Peter Ustinov naturally brought a raconteurish quality, and his bumbling was a play on how Christie made Poirot exaggerate his foreignness to trick villains into complacency. Suchet, lacking that flaneuring spirit, emphasised Poirot’s prim and proper sedentary use of the little grey cells; more true to the retired from active duty to pure consultation of Christie’s first forays with the detective. Branagh takes some of the fire from Suchet’s Poirot, indignant at evildoers expecting to get away scot-free, and makes his Belgian less retiree, more Fury at large.

To end where we began Herr Bagel wrung his hands that there is no decent actor who can play Hastings, the Watson to Poirot’s Sherlock, without being ‘annoying’. Hugh Fraser was perfect in the part for ITV, and, by indirect associations; he had previously played a villain in Edge of Darkness, he was tall where Suchet was small; I led myself to the only candidate (sic) for the part – Toby Jones. Who, by good fortune, was recently in Witness for the Prosecution for the BBC, and previously played opposite the great David Suchet on ITV’s Murder on the Orient Express. Branagh is Poirot, Jones is Hastings, the sun is high, the Nile water deceptively calm…

February 15, 2018

Look Back in Anger

The Gate advertise the hell out of their doing John Osborne’s seminal 1956 play, and then refuse on point of principle to actually do it.

Jimmy Porter (Ian Toner) is an angry young man, indeed he is the angry young man. He watched his father die from wounds sustained in the Spanish Civil War, and now despite his college education he finds himself manning a sweet stall down the market, unable to escape his working class roots in this post-war Midlands city despite his formidable, vituperative mental and linguistic agility. His rage against the establishment lashes against his upper-middle-class wife Alison (Clare Dunne), and to a lesser degree their Welsh Irish lodger Cliff (Lloyd Cooney). But when Jimmy eventually pushes Alison too far, a visit from her snobbish friend Helena (Vanessa Emme) sees Alison finally desert her stormy marriage. Only for the damndest thing to happen in the continuing war of contempt, class consciousness, and the desire for a worthy opponent between Jimmy and Helena…

While the audience is coming in the actors amble onto Paul O’Mahony’s curious canted stage of a realistic attic apartment, as a box within the exposed walls of the Gate’s backstage area. Emme reads the stage directions while the others take their places, and Dunne is reluctant to don the particular shirt specified. So far so Brecht, kind of. But then it continues, on and on and on, adding God knows how long to the endless 2 hour 45 minute running time, and for one purpose, so that Alison and Helena can eschew the stated directions, even when they’re emphatically repeated. The female characters, like Taylor Swift, would like to be excluded from this narrative. Which doesn’t do much for the narrative. Jimmy ends on his knees cooing a redemptive moment to nobody, as Alison refuses to follow Osborne’s directions.

I saw Kenneth Branagh star in Osborne’s 1957 play The Entertainer on the West End in 2016. Some sequences were melodramatic, but mostly it was very effective; startlingly so indeed because, despite being about the post-imperial crisis of confidence the Suez crisis amplified, one line drew gasps from the crowd because it seemed about Brexit. I expected director Annabelle Comyn would do something of the same here; pare down Osborne’s text like her lean 2015 Hedda Gabler, and bring out the impotent rage against an aloof establishment that would seem apposite to the Brexit moment. Instead I got leaden pacing, and a bad academic workshop exercise gone rogue. Give me a few days and I can furnish you with a version of Hamlet focused on his abusiveness towards Gertrude and Ophelia. But then we wouldn’t have Hamlet anymore would we?

Who’s Afraid of Virginia Woolf? and The Homecoming would not exist without this play. When Toner leans into Michael Caine in his characterisation of Porter he unconsciously directs attention to how this play aided the explosion of the working class into British culture in the 1950s and 1960s. In short Osborne’s work deserves a modicum of respect. Instead gags and clues to Porter’s left-wing politics are clipped, so Toner is left in the bizarre, thankless and pointless position of playing a charismatic character who is purposefully being denied laughs or attraction by the disapproving staging, while Tom Lane’s sound design and Chahine Yavroyan’s harsh lighting is used to accentuate the most malicious of his rants, and Alison’s father is no-platformed (with his part being read from a script) because he sympathises with Jimmy’s frustration. Dunne kisses Cooney on the lips far too passionately to deny Osborne’s script its intent, while you suspect Cooney and Emme are being deliberately theatrical in their delivery as a further distancing measure. But why bother?

If you are so contemptuous of this play, and contempt comes washing off the stage in great waves, then for heaven’s sake why are you doing it? Who exactly is forcing Selina Cartmell and Annabelle Comyn to do this (sigh) problematic play? Why not do The Children’s Hour or A Taste of Honey or Oh! What a Lovely War or Our Country’s Good or Blasted or Enron or Posh or The Flick instead? It is odd to prioritise doing a ‘bad’ play by a male playwright over doing a good play by a female playwright. It is odder to ask people to pay 35e to see a play deliberately done poorly because the company wishes to complain about its place in the canon. The Gate is not doing itself any favours with this tedious approach to its commercial stock-in-trade, revivals.

This is easily the worst production I have ever seen at the Gate, and sadly it is also the worst show I have ever seen directed by Comyn.

1/5

Look Back in Anger continues its run at the Gate until the 24th of March.

January 31, 2018

Top Performances of 2017

 

 

 

November 3, 2017

Murder on the Orient Express

The great Kenneth Branagh double-jobs again as director and star for a new adaptation of the Queen of Crime Agatha Christie’s most famous murder mystery.

Hercule Poirot (Branagh) needs a holiday. But a new case always beckons, and so his friend Bouc (Tom Bateman) insinuates him onto the fully booked Orient Express travelling from Istanbul to Dover. Among his travelling companions are his previous shipmates to Istanbul Miss Debenham (Daisy Ridley) and Dr Arbuthnot (Leslie Odom Jr). There’s also a missionary (Penelope Cruz), a car-dealer tycoon (Manuel Garcia-Rulfo), a man-eating widow (Michelle Pfeiffer), some highly strung and strung out (respectively) aristocrats (Sergei Polunin, Lucy Boynton), a Nazi professor (Willem Dafoe), a Russian princess and servant (Judi Dench, Olivia Colman), and the thoroughly obnoxious Ratchett party – shady oligarch (Johnny Depp), his butler (Derek Jacobi), and secretary (Josh Gad). As they run into a snowdrift a murder is discovered, and, before the police arrive, the world’s greatest detective must solve a baffling mystery replete with red herrings.

Branagh as director doesn’t allow himself many stylistic flourishes apart from a sustained track through the dining carriage as Poirot announces that he will be investigating the murder, and a startling use of a rigid overhead viewpoint for Poirot’s discovery and examination of the body. As actor he allows himself to sport a truly outrageous moustache, for an energetic interpretation of Poirot purposefully far away from David Suchet’s sustained and definitive ITV performance. This story previously made it to the big screen in 1974 with an all-star cast under the direction of Sidney Lumet. Branagh makes a better Poirot than Albert Finney’s splenetic turn there, and this screenplay is far less faithful to Christie’s source material than that adaptation. This is a Poirot investigation unconcerned with checking alibis against each other, and making lists of timelines, clues, and sleeping arrangements.

Instead Michael Green’s screenplay is more concerned with the mounting moral turmoil within Poirot as he finds more and more coincidences leading back to a horrific child murder case. If there is a word to sum up this film it would be a surprising one – melancholic. Regular Branagh composer Patrick Doyle’s piano theme for black and white footage of the titular crime lends the gory act an air of ritual rather than revenge. Poirot himself articulates the cost of the child murder not just in the innocent life ended, but in the lives destroyed of all those affected by the kidnapping and murder. And so, predictably, the detective who announced in the opening scene that there was right and wrong and nothing in between finds himself rattling his own sense of self by admitting shades of grey into his worldview.

Green redeems himself from the double whammy disasters of Alien: Covenant and Blade Runner 2049 with an adaptation that whets the appetite for Branagh in Death on the Nile.

3.5/5

July 28, 2017

Dunkirk

Christopher Nolan follows his longest film with his shortest since his 1998 debut Following, with which it shares a tricky approach to time and story.

France is sucker-punched and on its way to falling. The British Expeditionary Force is leaving it to its fate and retreating through the only open port, Dunkirk, that England might still have an army with which to fight on. On the Mole Commander Bolton (Kenneth Branagh) and Colonel Winnant (James D’Arcy) spend a week organising the evacuation of soldiers, with the difficulty of a shallow beach and one quay making a perfect target for Stuka dive-bombers. On a Little Ship Dawson (Mark Rylance) pilots his way across the Channel over a long day, with son Peter (Tom Glynn-Carney) and stowaway George (Barry Keoghan). On a ticking clock of one hour’s fuel RAF aces Farrier (Tom Hardy) and Collins (Jack Lowden) attempt to fend off some of the Lutwaffe’s endless attacks on the beach and convoys. Their stories intersect tensely, complexly.

Nolan hasn’t made as abstract a film as this since Following. To a large degree the presence of some Nolan repertory and a host of familiar faces lends a degree of depth to the characterisation not perhaps there simply in the spare scripting. And it is spare. The majority of screen time belongs to Tommy (Fionn Whitehead) and Gibson (Aneurin Barnard), who meet on the desolate beach, and try to stay alive thru repeated attacks, and the dubious comradeship of Alex (Harry Styles). And for the majority of their screen time, they are silent. But the film is not. Viewed in IMAX this is absolutely deafening, with Hans Zimmer’s score interrogating the line with sound design as it throws anachronistic synth blasts amidst the ticking pocket-watch effect, and, startlingly, quotes Elgar’s ‘Nimrod’ Variation at high points of tension and release.

On his second collaboration with Hoyte Van Hoytema it’s still unclear whether he and Nolan are less interested in the shadows and earth tones of Wally Pfister’s palate or simply have lucked into two stories that required large swathes of white and blue. One thing that looks unique is the aerial dogfights, IMAX cameras attached to Spitfires these have a dizzying sense of reality: this is a pilot’s eye-view of combat and it’s madly disorienting. And, as the inevitability of Hardy’s choice to not return from France approaches, symptomatic of this film’s remarkable sense of dread. You can no more criticise Nolan for not following the Blake Snyder beats than you could attack Jackson Pollock for failing at figurative art. He can do that supremely well, he’s choosing not to. And making you look, follow, and feel without using words.

And, without using any words, Nolan plays a game with time that makes Dunkirk a film that will amply repay repeat viewings. As the timelines intersect you realise that events that looked simple are a lot more complicated, sometimes even the reverse of what you thought you’d understood. And the same is true for characterisation. At times it feels like Nolan is answering the tiresome critics who attacked Inception and Interstellar for having too much exposition, even as they complained they couldn’t understand them – for all the explanations. And, if those critics insist on taking the ridiculous Billington on Stoppard line of Nolan being all head and no heart, he has the ultimate conjuring trick; Nolan makes us care, with our guts in knots, for people whose names we’re not even sure about, let alone their back-story and motivations.

Nolan has taken a touchstone of British culture and produced a film with a lean running time but a Lean epic quality by viewing the world-changing through the personal.

5/5

December 29, 2015

Christopher Nolan heads for Dunkirk

We’ve had the release date of July 21 2017 for some time, and now finally the riddle wrapped inside an enigma has been answered; Christopher Nolan’s next movie is an action epic about Dunkirk.

Nolan will direct Dunkirk from his own original screenplay. Greg Silverman, President of Creative Development and Worldwide Production at Warner Bros, described the movie as an epic action thriller set during the legendary evacuation. Nolan regular Tom Hardy is in talks to join the cast, along with Kenneth Branagh and Mark Rylance, but, for the first time since Following, Nolan’s ensemble will be led by unknown young actors. But some things never change: Nolan and wife Emma Thomas will produce, and the large scale film will be shot on a combination of IMAX 65mm and 65mm large format film photography for maximum image quality and high impact immersion.

Director Joe Wright provided a hallucinatory vision of Dunkirk in Atonement‘s signature long-take in 2007; which incredibly came about for the same reason as Orson Welles’ celebrated long-take in Touch of Evil, a cheat to save time and money. But Nolan will have considerably more resources behind his vision. ​Warner Bros. Pictures is distributing Dunkirk theatrically on IMAX, 70mm, 35mm and all other screens, and when Nolan begins shooting in May he’ll be using many of the real locations of the events which form the historical background for the fictional story. The WB’s ​Silverman stated “We are thrilled to be continuing our collaboration with Christopher Nolan, a singular filmmaker who has created some of the most critically acclaimed and commercially successful films of all time. Dunkirk is a gripping and powerful story and we are excited to see Chris, Emma and their cast realize it on the big screen.”

It’s safe to say that nobody really saw this turn of creative direction coming. Nolan’s features comprise two diabolically constructed crime thrillers, an equally intricately structured piece about duelling magicians, a hard science fiction epic, a dazzlingly layered adventure about unconscious larceny, and three totemic Bat-films. And now a war movie… It will be interesting to see exactly what Nolan has planned in making a war movie about a deeply resonant episode in British history, where a nigh miraculous escape from a disastrous military foray almost instantly saw the process of cultural mythologising started by JB Priestley’s radio encomium.

http://www.bbc.co.uk/archive/dunkirk/14310.shtml

February 25, 2015

JDIFF 2015: A Chair with Wings

Filed under: Talking Movies — Fergal Casey @ 1:47 pm
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

The programme for the 2015 Jameson Dublin International Film Festival promises a number of international guests, including Julie Andrews, Kenneth Branagh, Russell Crowe, Kim Cattrall, Alan Rickman, Ryan O’Neal and Danny Huston, and intriguing films from diverse countries and eras.

Season_Ticket_FRONT

 

The JDIFF 2015 programme was officially launched this morning by Festival Director Grainne Humphreys, who invoked The Accidental Tourist’s image of travel writing as giving the reader a chair with wings. The ‘Around the World’ programme features nearly 140 films from nearly 40 different countries across 11 days. Humphreys invoked the Festival’s mission to amplify and complement the world cinema which is available to Irish audiences, noting that 70 to 75% of the films screened at the Festival will never be screened again in Ireland. And when such one-off screening opportunities have in the past few years included such titles as the riveting Russian WWII movie White Tiger and Aleksandr Sokurov’s Faust it only underscores the importance of the Festival.

brockes-600

 

The Festival, in response to audience feedback, is expanding into new venues Movies at Dundrum, The Pavilion, and Riverbank Arts Centre, and introducing some double screenings. It is also ramping up its Picture House outreach project in hospitals and care homes, a project whose patron is Oscar-winning actress Brenda Fricker. A final new venue will be the Bord Gais Energy Theatre which will host the finale interview with Julie Andrews. That closing gala screening of The Sound of Music with Andrews, and Kenneth Branagh’s unveiling of his latest blockbuster directorial outing Cinderella, is indicative of a desire to make the Festival accessible to the most casual of cinemagoers rather than the intimidating preserve of cinephiles.

the-water-diviner-russell-crowe-slice1

Julie Andrews and Kenneth Branagh will both receive Voltas, and there are many other guests in attendance between the 19th and 29th of March. As previously mentioned hereabouts Russell Crowe will be presenting his directorial debut, The Water Diviner, in which his character travels to Gallipoli in 1919 to search for his soldier sons, missing since 1915’s bloody landing on the Turkish peninsula. Another actor-director, Alan Rickman, will present his new movie A Little Chaos, in which Kate Winslet attempts to introduce a little anarchy to the gardens of Versailles under the watchful eye of Rickman’s King Louis XIV. Actor-producer Kim Cattrall meanwhile will give an acting masterclass to the students of the Lir Academy, and introduce episodes of her new satirical Canadian TV series Sensitive Skin co-starring Don McKellar.

Kubrick on set of Barry Lyndon

The 40th anniversary of Stanley Kubrick’s period epic Barry Lyndon is marked by a screening in the Savoy with both star Ryan O’Neal and producer Jan Harlan, with Lenny Abrahamson leading a public interview afterwards, while O’Neal will also be on hand for a screening of Peter Bogdanovich’s 1972 neo-screwball comedy What’s, Up, Doc? And if all that weren’t enough to get you excited a Talking Movies favourite, the effortlessly charismatic Danny Huston, will do a Q&A after his new suspense thriller Pressure, in which he and Matthew Goode are trapped in a deep-sea station where mind-games soon jeopardise survival.

1185625_Price-Of-Desire.png

A strong line-up of Irish features encompasses genres from horror to rom-com, biopic to gangster. The Festival will be opened by Mary McGuckian’s The Price of Desire, a beatiful and compelling depiction of Irish modernist designer Eileen Gray’s collaboration with Le Corbussier on an iconic piece of archiecture, with stars Orla Brady and Vincent Perez in attendence. Love/Hate actor Robert Sheehan will be attending a screening of his new film The Road Within, and will participate in the Actors in Conversation event, part of this year’s Screen Test programme. Gerard Barret and Jack Reynor, fresh from Sundance glory, will present Glassland, in which Toni Collette’s alcoholism pushes her son Jack Reynor into a clash with the Dublin underworld. Game of Thrones star Liam Cunningham lets rip against the Gardai in Brian O’Malley’s tense Let Us Prey, a homage to John Carpenter’s ouevre, while Conor McMahon dispenses with the comedy of Stitches for straight horror in From the Dark in which a couple in a farmhouse are terrorised. Also featured in the programme are Pat Murphy’s Tana Bana, Ivan Kavanagh’s The Canal, and Vivienne De Courcy’s colourful Dare to be Wild.

Rumpistol-pix

The Out of the Past season is always a Festival highlight and this year showcases Richard Brooks’ 1967 version of In Cold Blood starring Scott Wilson and Robert Blake as the killers immortalised by Truman Capote’s investigation of their brutal crime, PJ Hogan’s 1994 Abba-loving Australian comedy Muriel’s Wedding which made a star of Toni Collette, Jean Renoir’s Partie de Campagne based on a story by Guy de Maupassant, Arthur Hiller’s The Americanisation of Emily starring Julie Andres and James Garner in a tale written by Paddy Chayefsky, and King Vidor’s silent classic of urban alienation The Crowd with live accompaniment from pianist Stephen Horne.

o-RED-ARMY-POLSKY-FILMS-facebook

The Reel To Reel documentary strand features a trio of intriguing titles. The Last Man On The Moon will see directors Mark Craig and Gareth Doods in attendence for a Savoy presentation of their account of the Eugene Cirnan, the only man to travel to the moon twice. Fellow NHL fans will be as excited as Talking Movies to see the engaging and moving Russian documentary Red Army, about the greatest ice hockey team ever assembled in the 1980s Winter Olympics and their playing careers in North America. From Germany meanwhile The Decent One unveils the private documents, journals and photographs of the SS comander Heinrich Himmler to present an intimate portrait of a family man quietly engaged in genocide.

salvation_a

The bread and butter of the Festival is its eclectic selection of features. The prolific and inimitable François Ozon’s latest film is The New Girlfriend, Olivier Assayas follows up autobiographical Apres Mai with the Cesar-winning psychodrama Cloud of Sils Maria, and Wim Wenders returns with The Salt of The Earth. Actor Mads Mikkelsen takes on the Old West with some Refn-like brutality in The Salvation, director Liv Ullman takes on August Strindberg’s iconic play Miss Julie, Noah Baumbach addresses the effects of technology on individual lives more successfully than Jason Reitman with While We’re Young, Jason Schwartzman antagonises everyone as an obnoxious writer in Listen Up Philip, and another Bret Easton Ellis 2014 favourite Force Majeure makes its debut here.

The full programme will be available on the festival website jdiff.com at 7pm tonight with online booking opening at 7.30pm. Tickets can be booked at the Festival Box Ofiice on 13 Lower Ormond Quay from 26th February, or at Ticket Offices in Cineworld or the Light House from 14th March.

January 28, 2011

2011: Hopes

Filed under: Talking Movies — Fergal Casey @ 6:14 pm
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

In Darkest Night

Ryan Reynolds is Green Lantern, Blake Lively is love interest Carol Ferris, and Mark Strong is renegade alien lantern Sinestro in the biggest gamble of the year. Green Lantern’s ring which allows him to physically project anything he can imagine, but which can’t handle the colour yellow because of the evil Parallax, is the most far-out of the major DC characters; but in the right hands (see the recent resurgence of the comics title by Geoff Johns) he can be majestic. If this movie works it opens up the whole DC Universe for cinematic imaginings. If it fails then Nolan’s Batman swansong and Snyder’s Superman will be the end of DC on film for another decade…

A Knife-Edge

Talking of gambles what about Suckerpunch: can Zack Snyder handle an all-female cast and a PG-13 rating after the flop of his animated movie? The answers provided by his Del Toro like escapade set in a 1950s mental hospital where Vanessa Hudgens and Abbie Cornish escape into a fantasy universe to fight a never-ending war will give hints as to how he’ll handle Lois Lane and the challenge of resurrecting Superman’s cinematic fortunes. Breaking Dawn sees Bill Condon, director of Gods & Monsters, take on the final Twilight book in two movies. Given that the book sounds the epitome of unfilmable on the grounds of utter insanity, it’s a gamble to split it in two when it may make New Moon look competent. On the other hand he may take the Slade/Nelson route of Eclipse and simply play the romance as stark nonsense and be as nasty as he can with what little time for horror is left him after he’s shot Jacob shirtless 20 times. Paul should be a lock: it’s a comedy with Simon Pegg and Nick Frost. However, they’re not working with Edgar Wright, co-writer and director of their other two movies, but with Greg Mottola, writer/director of Adventureland, and this film was meant to be released last year. Kristen Wiig has a supporting role created for her and Seth Rogen voices the titular slobbish alien with whom Pegg & Frost’s archetypal nerds have daft adventures, but will this be a mish-mash of styles?

A Grand Madness

Werner Herzog’s My Son, My Son, What Have Ye Done? has had immense success on the festival circuit and seems to confirm that Bad Lieutenant was no one-of, he really has got his feature mojo back.  Michael Shannon stars in a very loose version of a true-life murder case which saw reality and fiction tragically become fatally confused for a young actor appearing in a Greek tragedy. The Tempest sees Julie Taymor takes a break from injuring actors on Broadway to helm another Shakespeare movie. Her last film Across the Universe was misfiring but inspired when it worked, expect something of the same from this. Helen Mirren is Prospera, while Russell Brand’s obvious love of language should see him Fassbender his way through his jester role.

In England’s Green and Pleasant Land

February sees the release of two adaptations of acclaimed English novels. Brighton Rock sees Sam Riley, exceptional as Ian Curtis in 2007’s Control, take on the iconic role of the psychotic gangster Pinkie in an adaptation of Graham Greene’s 1938 novel. This remake updates the action to the 1960s and mods v rockers, with Helen Mirren as the avenging Fury pursuing Pinkie for murdering an innocent man, and rising star Andrea Riseborough as Pinkie’s naive girlfriend. Greene and Terence Rattigan co-wrote the script for the superb Boulting Brothers’ 1947 film, so this version has to live up to the high-water mark of British film noir. Meanwhile Never Let Me Go sees one of the most acclaimed novels of the Zeros get a film treatment from the director of Johnny Cash’s Hurt video. Can Mark Romanek find a visual way to render Kazuo Ishiguro’s dreamy first-person narration of the slow realisation by a group of elite public-school pupils of the sinister purpose of their isolated education? The cast; Keira Knightley, Andrew Garfield, and Carey Mulligan; represents the cream of young English talent, but replicating the impact of the novel will be difficult.

Empire of the Spielberg

Super 8. I gather it’s about aliens, and monsters, in fact probably alien monsters. In fact really it’s probably Cloverfield: Part II but with Abrams writing and directing instead of producing. Spielberg is producing so it’s safe to say this will be exciting. Whatever it’s about. It’s out in August. The War Horse sees Spielberg breaks his silence after Indy 4 with an adaptation of West End hit which follows a young boy’s journey into the hell of World War I in an attempt to rescue his beloved horse from being used to drag provisions to the front. Meanwhile with Tintin we get an answer to the question does Peter Jackson still have his directorial mojo? His version of the beloved famous Belgian comic-book has a lot to live up to, not least the uber-faithful TV cartoon adaptations. And can the problem of dead eyes in photo realistic motion capture CGI finally be solved?

The House of M: Part I

Kenneth Branagh’s directorial resurgence sees him helm Thor, his first comic-book blockbuster. Branagh will no doubt coax great performances from Anthony Hopkins and Natalie Portman, but does Chris Hemsworth have the charisma as well as the physique to pull off a Norse God banished to Earth just as Loki decides to invade it? This is a pivotal gamble by Marvel’s in-house studio. If this flops, it puts The Avengers and Iron Man 3 in major difficulties, and it is a worry. Captain America had fantastic storylines in acclaimed comics by Mark Millar and Jeph Loeb in the last decade, but Thor really has no great canonical tale that cries out to be told. Not that those Loeb/Millar ideas will get in the way of a (How I Became) Insert Hero Name approach to the Cap’n. Chris Evans, fresh from dazzling comedic turns in Scott Pilgrim and The Losers, takes on the title role in Captain America: The First Avenger. He will be a likeable hero but it’s almost certain that Hugo Weaving will steal proceedings as Nazi villain The Red Skull. Joe Johnston’s Indiana Jones background should probably guarantee amusing hi-jinks in this 1940s set blockbuster.

The House of M: Part II

Other studios, content to build one franchise at a time around Marvel characters, will unleash two very different comic-book blockbusters. Ghost Rider: Spirit of Vengeance sees the lunatics behind the Crank films finally get their hands on a blockbuster after their script for Jonah Hex was rewritten to make it vaguely ‘normal’. The prospect of Nicolas Cage, fresh from his brush with Herzog, being encouraged to again find his inner madman while the two writers/directors shoot action sequences from roller-skates besides his bike is an awesome one. Matthew Vaughn meanwhile helms X-Men: First Class starring James McAvoy as the young Professor X and Talking Movies’ hero Michael Fassbender as the young Magneto. This prequel charts the early days of their friendship and the establishment of Xavier’s Academy, before (according to Mark Millar) a disagreement led to Magneto putting Xavier in a wheelchair. The prospect of Fassbender doing his best Ian McKellen impersonation gives one pause for joy.

August 9, 2010

Great Production Disasters of Our Time: The Avengers

Edward Norton was undiplomatically relieved of his role as Bruce Banner/Hulk in Whedon’s forthcoming The Avengers after one disastrous production meeting…

INT.LOS ANGELES, MARVEL CONFERENCE ROOM-DAY
DELANEY, not Mark Pellegrino’s celebrated agent but a Marvel Studios producer who by an amazing coincidence has the same surname, is seated beside JOSS WHEDON at the head of a long conference table. EDWARD NORTON sits at the opposite end with a stack of comics and books, while SCARLETT JOHANSSON and SAMUEL L JACKSON sit beside two empty chairs on one side, with CHRIS EVANS and CHRIS HEMSWORTH opposite them, beside another two empty chairs.

DELANEY: First off I’d like to thank all of you who showed up today, for taking the time to come here to meet your new writer/director for The Avengers, Joss Whedon.
WHEDON: Hi everyone. This is just a sort of informal meet and greet to talk you through some of the broad ideas that I have for the direction I’m going to take the film in and-
NORTON: Well I’m glad that I’ve caught you in time then because I have some creative ideas I’d like to talk about regarding Hulk’s centrality in-

He is interrupted by ROBERT DOWNEY JR exploding into the room with a cup of coffee in each hand and a cell phone nestled under his chin against his shoulder. He precariously keeps everything from spilling or dropping while dancing over to sit next to Scarlett Johansson who he purrs at before facing the others.

DOWNEY: Hello, hello, hello – sorry I’m late, I’m trying to find a Moriarty. (nods) Sam the man. Scarlett witch. Buffy-man. Delaney. (beat) And, two new guys.
EVANS: Chris Evans – Captain America.
HEMSWORTH: Chris Hemsworth – The Mighty Thor.
DOWNEY: You’re both Chris? Oh man that’s too much for me to deal with this early in the morning.
JACKSON: Robert, it’s 2pm.
DOWNEY: Is it? Am I that confused with the time? What time is it London then? I’ve been annoying Ritchie all morning/day/night. I’m just gonna call you Cap’n.
EVANS: Fine with me.
DOWNEY: And I’ll call you Chris.
HEMSWORTH: Okay. Aren’t we short some actresses?
DOWNEY: Oh, Gwyneth’s in London. She said she wanted to spend more time with – iPhone, iPod?
JOHANSSON: Apple!
DOWNEY: Yeah, that’s what I meant.
NORTON: Where’s Jennifer Connelly?
DELANEY: We’re not sure if we’re using her yet.
NORTON: Well now hang on a minute!
DOWNEY: Oh, we should totally use her, and I mean that in as sexual a manner as the rating will allow. We should have like three different love triangles in the movie – one for each act. In the first act it can be all crazy Scarlett vs Gwyneth action for me, and in the second act it can be all me vs Ed for Jennifer-
NORTON: It’s Edward actually.
DOWNEY: -and the third act should be totally homoerotic, so that it looks like it’s me vs Cap’n for Gwyneth but actually we really totally want each other and the girl is just a medium for our inexpressible homosocial desires.
DELANEY: Whedon, don’t even think about taking him up on any of those ideas, especially the last. This film has been enough trouble for me already…
DOWNEY: (phone rings) Ooh, Ritchie.

Downey bounds to his feet and dashes out of the room with a cup of coffee.

WHEDON: (to Delaney) Are you sure he’s not on drugs?
EVANS: (to Johansson) Scarlett, did he just come onto me?
JOHANSSON: (to Evans) No Chris, he’s just still in Sherlock Holmes mode.
DELANEY: (to Whedon) Downey’s on fire right now commercially, this is one time where he can legitimately be high on life.
NORTON: (perturbed by the skittish nature of this meeting) Right…like I said I had some creative ideas regarding Hulk’s centrality in the film’s mythos. Now, I brought along a copy of Sophocles’ Antigone as well as a Hulk graphic novel by Jeph Loeb and some trade paperbacks of the late 1970s comics and I think that-

Downey re-enters the room talking, tosses his empty coffee cup and picks up his other cup of coffee, starts to leave the room again but his call ends just as he opens the door.

DOWNEY: Couldn’t you get Ian McKellen then? (beat) What do you mean too old? (beat) Well couldn’t we rewrite the part to make it less physical? (beat) Well get back to me with this mystery option of yours as soon as you can.

He turns around and walks back to his seat.

DOWNEY: Right, sorry about that. Where were we?
WHEDON: I was about to say that the broad theme I have for the movie is-
JOHANSSON: Can I just ask if my character will have some purpose other than titillation in a backseat in this movie?
HEMSWORTH: Can I take Jon Favreau’s part in that scene if we’re doing one?

Whedon starts to crawl up into a foetal position in his chair.

JOHANSSON: It’s just a bit insulting that Jennifer might not even be in the film because Gwyneth and I are already there to be eye-candy but not play a pivotal ro-
DELANEY: Jesus, Johansson! Do you have push the feminist line so hard at this point?

He starts to stroke Whedon’s head soothingly while cooing to him.

DELANEY: (Accusingly to Johansson) Doesn’t he have enough to do without making every female character he ever writes Buffy as well? He’s got to somehow combine four different franchises into one coherent film and also-
JACKSON:  Possibly save the Thor franchise, no offense, Chris.
HEMSWORTH: Hell, none taken, I haven’t even seen a rough cut of it yet.
DOWNEY: I think they should have just released the table read where Branagh did all the parts for the production heads, no offense.
HEMSWORTH: Starting to take offense, but broadly I agree that was fairly awesome.
JACKSON: How’s your film looking Cap’n?
EVANS: Okay, not great, but Hugo Weaving’s going to steal it, the Aussie bastard.
JOHANSSON: Where are we with villains for The Avengers?

Whedon suddenly comes alive again and crawls back into an upright position.

WHEDON: Villains? Villains! Villains, villains are important. Villains should have some depth and-
NORTON: Exactly, (takes a deep breath) now I figured that a conflict between legal duty and human feeling like Creon suffers would be perfect for giving a villain some depth and sympathy and that if Hulk were to be the Antigone to Fury’s Creon then-
DOWNEY: (phone rings) YEAH! (beat) WHAT?! (beat) Let me call you back. (hangs up) He wants to cast Jason Statham as Professor Moriarty for the next movie now. Thoughts, people?
WHEDON: (to Delaney) How come Ritchie gets to cast his regulars and I don’t?
DELANEY: (to Whedon) When you make a film that makes as much money as Sherlock Holmes I’ll let you use motion-capture to cast Nathan Fillion in every part, but until that day…
JOHANSSON: I like the idea of Statham, sounds like it could be a lot of fun.
DOWNEY: But I don’t want a Moriarty who spends his time telling his minions they’re ‘bang aht of order’.
WHEDON: You realise that in England if you met a guy on the street and he got in your face you’d be terrified if he sounded like Statham and just amused if he sounded like McKellen.
DOWNEY: I want someone who sounds proper British! Not Dick Van Dyke British!
NORTON: (lunges into a micro-second of silence) So, my concept would not only give a villain depth and problematise notions of heroism it would also give Jennifer a pivotal role. It raises interesting ethical questions and subverts expectations! (beams)
JACKSON: Whedon, man, could you move this along? I’ve got three other meetings to fit in this afternoon.
DOWNEY: Do you have to constantly make films now that you’re off drugs because you have an addictive personality?
JACKSON: How many cups of coffee have you had in the last hour? How many topics have you talked about since you came in here and how fast have you talked? Hm? Now talk to me about addictive personalities…
DOWNEY: Touche. I can see why your character is the boss of my character.
NORTON: And I think that basing the film around Hulk’s ethical dilemmas and introducing Iron Man as a Deus Ex Machina in the third act when all seems lost would utterly confound audience expectations and wow the critics globally.

There is dead silence around the room instantly, as jaws drop down and hang there

WHEDON: Edward, three things. (1) I’m directing this film, not you. (2) I can’t base a franchise cross-over around the weaker performer of the two franchises to date. (3) The story-lining stage is kinda over. We’re already thinking sets and costumes.
NORTON: You mean you won’t even consider playing this as a Greek tragedy?
DELANEY: NO! NO!! Look that where sort of craziness got Ang Lee’s Hulk!!
NORTON: Do I at least get some input into the editing process then?

Samuel L Jackson falls off his chair, he then drags himself up to table height.

JACKSON: Good God Man! We’re just actors!! Actors!!! (he falls to the ground)
EVANS: What he said.
NORTON: Wait, you have no interest at all in any creative input by me into this?
WHEDON: Interest in your acting ability, everything else creative I can handle…
NORTON: FINE! FINE! Well I can see I’ve been wasting my time taking this seriously when apparently all the rest of you want to do is make phone calls, drink coffee and bitch about casting choices. Well I am not just an actor but also a writer/director and an editor, and I had a vision that would have wowed millions around the globe and tapped into Jungian undercurrents but FINE! I’m not upset!!
HEMSWORTH: (giggles) ‘Don’t make him angry, you wouldn’t like him when he’s angry’.

Norton sits quietly fuming, fighting it, but then, he turns pale green and swells in size, but manages to restrain himself so that only his shirt bursts open, and then storms over and lifts Hemsworth in his chair and throws him thru the office window.

NORTON: HULK SMASH! HULK UNAPPRECIATED! HULK EXPOSE HIMSELF TO GAMMA RAYS FOR RESEARCH AND GET NO THANKS! HULK COMBINE COMIC-BOOKS WITH GREEK TRAGEDY FOR SUPER-STORYLINE AND GETS ACTORS PASSING OUT IN RESPONSE! GARH!!

Norton/Hulk storms out of the room, yanking the door off its hinges as he goes.

DOWNEY: Hulk/Edward doesn’t play well with other children.
DELANEY: Shut up.
EVANS: Looks like we’re going to need a new Hulk.
WHEDON: If you write something that means ‘Edward doesn’t play well with other children’ in the press release then I won’t push Nathan Fillion to replace him as Hulk.
DELANEY: Okay, I’ll write something like “We need an actor who embodies the creativity and collaborative spirit of our talented cast”. Deal?
WHEDON: Deal.
DOWNEY: Ooh! I think I know someone who’d be good for Hulk. I’ve been hearing a lot about him – some wiry guy with real intensity, name’s James Marsters I think…
DELANEY: Frak My Life.
EVANS: (beat) Should we tell people that Edward Norton actually is the Hulk now?
JACKSON: (to himself) I had no idea his method went so deep! I’ve gotta apologise to the man, that’s a level of commitment all actors should aspire to.
JOHANSSON: (looking out the window) I’m just glad we’re on the ground floor…

Next Page »

Create a free website or blog at WordPress.com.