Talking Movies

August 15, 2017

100 Best Films of the Century (sic)

Poring over Barry Norman’s ‘100 Best Films of the Century’ list last month set off musings on what a personal version of such a list would be. All such lists are entirely personal, and deeply speculative, but it’s time to be more ambitious/foolhardy than heretofore and nail this blog’s colours to the mast. Norman unapologetically focused on Old Hollywood, but Talking Movies has more regard than he for the 1980s and 1990s. The years to 1939 are allocated 10 films, and each decade thereafter gets 10 films, with an additional 10 films chosen to make up any egregious omissions. What is an egregious omission, or addition for that matter, is naturally a matter of opinion. Like the truest lists this was written quickly with little revision. If you don’t trust your own instincts why would you ever trust anyone else’s?

Gone with the wind

The first day to 1939

Nosferatu

The Lodger

M

King Kong

It Happened One Night

The 39 Steps

A Night at the Opera

Top Hat

Secret Agent

The Adventures of Robin Hood

Gone with the Wind

TheBigSleep-011

1940 to 1949

His Girl Friday

Rebecca

Citizen Kane

The Maltese Falcon

Casablanca

Shadow of a Doubt

The Big Sleep

The Stranger

Rope

The Third Man

1950 to 1959

Strangers on a Train

The Lavender Hill Mob

Singin’ in the Rain

Them!

Rear Window

High Society

Moby Dick

Vertigo

North by Northwest

Rio Bravo

1960 to 1969

Last Year in Marienbad

The Manchurian Candidate

The Birds

The Great Escape

Billy Liar

Dr. Strangelove

Goldfinger

Dr. Zhivago

The Sound of Music

The Good The Bad And The Ugly

Once Upon a Time in the West

Ma Nuit Chez Maud

The Italian Job

1970 to 1979

Kelly’s Heroes

Aguirre the wrath of God

The Godfather

Dog Day Afternoon

Jaws

All the President’s Men

Annie Hall

Star Wars

Superman

Apocalypse Now

1980 to 1989

The Blues Brothers

Chariots of Fire

Raiders of the Lost Ark

Blade Runner

Ghostbusters

Back to the Future

Ferris Bueller’s Day Off

Aliens

Blue Velvet

Wall Street

Au Revoir Les Enfants

Die Hard

1990 to 1999

JFK

My Own Private Idaho

The Silence of the Lambs

Terminator 2

The Age of Innocence

Jurassic Park

Pulp Fiction

Speed

The Usual Suspects

Scream

The Matrix

Fight Club

2000 to 2009

Memento

Almost Famous

Moulin Rouge!

Ocean’s Eleven

Donnie Darko

The Rules of Attraction

The Lord of the Rings

Team America

Brick

Casino Royale

Atonement

The Dark Knight

2010 to the present day

Inception

Scott Pilgrim Vs the World

Incendies

Skyfall

Mud

This is the End

X-Men: Days of Future Past

Birdman

High-Rise

20th Century Women

Advertisements

October 28, 2015

Spectre

Daniel Craig reunites with his Skyfall director Sam Mendes for a bloated follow-up that seems more interested in rushing the exit than whooping things up.

mexico_city

James Bond (Craig) is in Mexico City for the Day of the Dead, so more people join the ranks of the dead; to the displeasure of M (Ralph Fiennes). M is under pressure from C (Andrew Scott), a connected bureaucrat merging the intelligence services into CNS; a nightmare of Orwellian surveillance. C wants to replace the erratic 00s with drones, and M’s case is not helped by Q (Ben Whishaw) and Moneypenny (Naomie Harris) enabling Bond every step of the way as he causes chaos in Rome and Austria. Bond murdered Mr Sciarra at the posthumous behest of M (Judi Dench), and, via Sciarra’s widow (Monica Bellucci), becomes entangled in the tentacles of an organisation run by ‘dead’ foster-brother Franz Oberhauser (Christoph Waltz). Bond’s only lead is old adversary Mr White (Jesper Christensen), and White’s daughter Madeleine Swann (Lea Seydoux)…

Mission: Impossible – Rogue Nation’s opening gambit looked foolhardy in throwing away the film’s best sequence, until you reached the opera assassination, but Spectre’s cold open is its best sequence. Mendes and cinematographer Hoyte Van Hoytema produce a Wellesian flourish with a mind-blowing long-take following Bond down a street, into a hotel, out the window, and across rooftops for a hit. After that, beginning with the execrable Sam Smith song over misjudged titles, proceedings are less surefooted. Spectre is looong. 2 ½ hours that pull off the paradox of not doing enough. Tanner (Rory Kinnear) and his MI6 crew recall Henry IV: Part Two; all the collegial bonhomie and agency freedom achieved by Skyfall is vanished, and they get little of consequence to do. It is a full 65 minutes before Swann (please let that not be a Proust reference) appears, and her delayed entrance is not for effect like Skyfall’s Silva, but a consequence of Spectre’s deliberately slow pace. The grand summit of Spectre, with Oberhauser creating a frisson of fear from his shadowy chair, is less impressive than Silva’s soliloquising entrance, and this stately subtlety is thrown away anyway with the excessive grand guignol introduction of Hinx (Dave Bautista).

Hinx has a terrific fight scene with Bond, think Robert Shaw’s dust-up in From Russia with Love, which may end with the most oblique Jaws reference imaginable; as pointed out to me by my sometime co-writer John Healy. But it’s preceded by Swann and Bond dining on a train, which constant reminders of dead characters cue us to read like Bond and Vesper’s first meeting. Only one thing is missing: Paul Haggis. Seydoux doesn’t have the material to convince us of her importance to Bond that Eva Green had, and a literal jump-cut to romance is an admission of defeat. Haggis’ Quantum; a network of ex-spooks, shady businessmen, and politicians; was more plausible and scary than de-contextualised Spectre. Waltz’s misfiring Blofeld has a desert lair and a fluffy white cat, what he doesn’t have to go with his premature recourse to torture is psychological depth or cartoonish fun, while Bond’s outrageous marksmanship against incompetent goons is the Austin Powers fodder from which Haggis rescued the franchise. The underwhelming finale poorly replays Mission: Impossible – Rogue Nation to end with a visual choice between two lives which is absurdly literal. Spectre loses what momentum it had on hitting Morocco, and never recovers.

Spectre has more good elements than bad, but it’s hard not to be disappointed that, having placed all the pieces on the board, Mendes and Craig belatedly remembered they didn’t like chess, and sought a graceful way to bolt.

2.75/5

September 27, 2015

Saving Spectre with a Sam Smith Switcheroo

It’s not too late! Yes, it turns out Sam Smith rather than Radiohead or Ellie Goulding was the artist chosen to record the new Bond song. And yes, we’ve all heard the song and it’s … not good. But there’s still a month to go. Spectre’s score can still be saved. And there are precedents.

Actors Daniel Craig jokingly gestures to photographers as he films a scene for the new James Bond film, Spectre, in London, Tuesday, Dec. 16, 2014. (AP Photo/Alastair Grant)

Actor Daniel Craig jokingly gestures to photographers as he films a scene for the new James Bond film, Spectre, in London, Tuesday, Dec. 16, 2014. (AP Photo/Alastair Grant)

Okay, I lied. A precedent. Tomorrow Never Dies. Remember the theme song from Tomorrow Never Dies? No? Of course you don’t. Sheryl Crow probably doesn’t remember it, and she wrote and performed it. It was called ‘Tomorrow Never Dies’. Still doesn’t ring a bell? Well get this, in addition to that k.d. lang sang ‘Surrender’ over the closing credits. But the real thunder was stolen by a different duel. Moby remixed the James Bond theme and got a lot of attention. Not that David Arnold, the composer of the film’s score, let that get in the way of promoting his own remix (with the Propellerheads) of the On Her Majesty’s Secret Service theme, which also got a lot of attention. And the next time round Garbage wrote a song with David Arnold and everyone calmed down on the music front.

It would be unorthodox, unusual, and, yes, slightly cruel, but, having paid him, there’s no reason not to thank Sam Smith for his sterling work, and then just use his song over the closing credits a la k.d. lang on Tomorrow Never Dies. But what to use instead for the title sequence? Well, Mendes and Craig practically admitted that Skyfall saw them thinking a lot about classic Bond elements they wanted to reinterpret for the 50th cinematic anniversary, and Spectre sees them reviving the series’ classic villains after a long legally-enforced absence. So, why not go for a reinterpretation of an existing theme tune? It’s probably not too late to write a new song from a scratch, but there’s an obvious and existing candidate to be press-ganged into action: Radiohead’s celebrated cover of ‘Nobody Does It Better’ from the mid-90s.

Just don’t put me in a cinema, listening to ‘Writing’s on the Wall’, thinking about Michael Jackson’s ‘Earth Song’ and Tiny Tim’s ‘Tiptoe Through the Tulips’, and being in a bad mood for the whole first act of the movie.

September 1, 2015

Six Years, what a surprise

Filed under: Talking Movies,Talking Nonsense,Talking Television,Talking Theatre — Fergal Casey @ 10:06 pm
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Previous milestones on this blog have been marked by features on Michael Fassbender and a vainglorious, if requested, list (plays to see before you die). But as today marks exactly six years since Talking Movies kicked off in earnest on Tuesday September 1st 2009 with a review of (500) Days of Summer I’ve rummaged thru the archives for some lists covering the various aspects of the blog’s expanded cultural brief.

20514510_jpg-r_640_600-b_1_D6D6D6-f_jpg-q_x-xxyxx

Top 6 Films

There’s been a lot of films given a write-up and a star rating hereabouts. So many films. Some fell in my estimation on re-watching, others steadily increased in my esteem, and many stayed exactly as they were.

 

Here are my favourites of the films I’ve reviewed over the past six years:

 

Inception

X-Men: First Class

Shame

The Perks of Being a Wallflower

Skyfall

Mud

 

And that’s a selection from this list…

Iron Man, Indiana Jones 4, Wolverine, (500) Days of Summer, Creation, Pandorum, Love Happens, The Goods, Fantastic Mr Fox, Jennifer’s Body, The Men Who Stare at Goats, Bright Star, Glorious 39, The Box, Youth in Revolt, A Single Man, Whip It!, The Bad Lieutenant, Eclipse, Inception, The Runaways, The Hole 3-D, Buried, Wall Street: Money Never Sleeps, Let Me In, The Way Back, Never Let Me Go, Cave of Forgotten Dreams 3-D, Win Win, X-Men: First Class, The Beaver, A Better Life, Project Nim, Rise of the Planet of the Apes, Glee: The 3-D Concert Movie, The Art of Getting By, Troll Hunter, Drive, Demons Never Die, The Ides of March, In Time, Justice, Breaking Dawn: Part I, The Big Year, Shame, The Darkest Hour 3-D, The Descendants, Man on a Ledge, Martha Marcy May Marlene, A Dangerous Method, The Woman in Black, Ghost Rider: Spirit of Vengeance 3-D, Margaret, This Means War, Stella Days, Act of Valour, The Hunger Games, Titanic 3-D, The Cabin in the Woods, Salmon Fishing in the Yemen, Lockout, Albert Nobbs, Damsels in Distress, Prometheus, Red Tails, Red Lights, Abraham Lincoln: Vampire Hunter 3-D, Ice Age 4, Killer Joe, Magic Mike, The Dark Knight Rises, The Expendables 2, My Brothers, The Watch, Lawless, The Sweeney, The Perks of Being a Wallflower, Liberal Arts, Sinister, Hit and Run, Ruby Sparks, On the Road, Stitches, Skyfall, The Sapphires, Gambit, Seven Psychopaths, Lincoln, Men at Lunch – Lon sa Speir, Warm Bodies, A Good Day to Die Hard, Safe Haven, Arbitrage, Stoker, Robot and Frank, Parker, Side Effects, Iron Man 3, 21 and Over, Dead Man Down, Mud, The Moth Diaries, Populaire, Behind the Candelabra, Man of Steel 3-D, The East, The Internship, The Frozen Ground, The Wolverine, The Heat, RED 2, The Mortal Instruments: City of Bones, Diana, Blue Jasmine, How I Live Now, Thanks for Sharing, Escape Plan, Like Father, Like Son, Ender’s Game, Philomena, The Counsellor, Catching Fire, Black Nativity, Delivery Man, 12 Years a Slave, Devil’s Due, Inside Llewyn Davis, Mr Peabody & Sherman 3-D, Dallas Buyers Club, The Monuments Men, Bastards, The Stag, The Grand Budapest Hotel, Calvary, Magic Magic, Tracks, Hill Street, X-Men: Days of Future Past 3-D, Benny & Jolene, The Fault in Our Stars, 3 Days to Kill, Boyhood, Dawn of the Planet of the Apes 3-D, SuperMensch: The Legend of Shep Gordon, God’s Pocket, Hector and the Search for Happiness, The Expendables 3, What If, Sin City 2, Let’s Be Cops, The Guest, A Most Wanted Man, Wish I Was Here, Noble, Maps to the Stars, Life After Beth, Gone Girl, Northern Soul, The Babadook, Interstellar, The Drop, Mockingjay – Part I, Electricity, Birdman, Taken 3, Wild, Testament of Youth, A Most Violent Year, Kingsman: The Secret Service, Son of a Gun, Patrick’s Day, Selma, It Follows, Paper Souls, Home 3-D, While We’re Young, John Wick, A Little Chaos, The Good Lie, Let Us Prey, The Legend of Barney Thomson, Hitman: Agent 47.

zack-snyder

Top 6 Film Features

There’s been a lot of film features, from me obsessing over ignored inflation at the box-office and omnipresent CGI on the screen to the twaddle of Oscar ceremonies and thoroughly bogus critical narratives of New Hollywood.

 

Here are my favourite film features from the last six years:

 

A Proof – Keanu Can Act

Snyder’s Sensibility

What the Hell is … Method Acting?

Terrence Malick’s Upas Tree

5 Reasons to love Tom at the Farm

A Million Ways to Screw up a Western

 

house-md-gregory-house-4306

Top 6 TV Features

There’s been quite a bit of musing about TV here, usually in short-form howls about The Blacklist or other such popcorn irritants, but sometimes in longer format, like two disquisitions on Laurence Fishburne’s stint in CSI.

 

Here are my favourite TV features from the last six years:

 

TARDIS: Time And Relative Dimensions In Smartness

Double Exposure: Cutter’s Way/House M.D.

Medium’s Realism    

2ThirteenB Baker Street, Princeton

Funny Bones

An Arrow of a different colour

 

ERS%20The%20Select%20by%20Rob%20Strong%20(Mike%20Iveson,%20Lucy%20Taylor)%2020110818-tsar-0894

Top 6 Plays

Since I decided to start reviewing plays in summer 2010 there’s been a steady stream of reviews from the Dublin Theatre Festival and regular productions at the Gate, the Abbey, the Olympia, the Gaiety, and Smock Alley.

 

Here are my favourites of the plays I’ve reviewed over the last six years:

 

John Gabriel Borkman

The Silver Tassie

Pygmalion

Juno and the Paycock

The Select: The Sun Also Rises

A Whistle in the Dark

 

And that’s a selection from this list:

Death of a Salesman, Arcadia, Phaedra, John Gabriel Borkman, Enron, The Silver Tassie, The Field, The Cripple of Inishmaan, Attempts on Her Life, Pygmalion, Translations, Hay Fever, Juno and the Paycock, Peer Gynt, Slattery’s Sago Saga, Tom Crean: Antarctic Explorer, Big Maggie, Hamlet, Improbable Frequency, Alice in Funderland, Glengarry Glen Ross, Travesties, The House, The Plough and the Stars, The Lark, Dubliners, The Select: The Sun Also Rises, A Whistle in the Dark, Conversations on a Homecoming, The Talk of the Town, King Lear, Major Barbara, Accidental Death of an Anarchist, The Critic, Desire Under the Elms, Neutral Hero, Macbeth, A Skull in Connemara, The Vortex, An Ideal Husband, Twelfth Night, Aristocrats, Ballyturk, Heartbreak House, The Actor’s Lament, Our Few and Evil Days, Bailegangaire, Spinning, She Stoops to Conquer, The Walworth Farce, The Caretaker, The Man in Two Pieces, Hedda Gabler, The Gigli Concert, A Month in the Country, The Shadow of a Gunman, The Importance of Being Earnest, Bob & Judy, By the Bog of Cats.

 

images

Top 6 Colour Pieces

It must be admitted that I’ve written fewer colour pieces for the blog than I would have liked, but I’ve greatly enjoyed the occasional adventures of Hollywood insider Micawber-Mycroft; a homage to PG Wodehouse’s Mr Mulliner.

 

Here are my favourite colour pieces from the last six years:

 

How to Watch 300

Mark Pellegrino gets ambitious

Great Production Disasters of Our Time: Apocalypse Now

Micawber-Mycroft explains nervous action directing

Alfred & Bane: Brothers in Arms

Kristen Bell, Book and Candle

 

Six years, my brain hurts a lot…

October 26, 2012

Skyfall

Director Sam Mendes nostalgically marks James Bond’s 50th anniversary with a typically measured piece of work that is very enjoyable  but which never quite matches the heights of Casino Royale.

The thrilling opening sequence in  Turkey sees Daniel Craig’s 007 implacably pursue a man who has stolen a  hard-drive containing the identities of NATO agents undercover in terrorist  organisations. Unfortunately the pursuit ends disastrously courtesy of the  bungled intervention of his back-up agent Eve (Naomie Harris), carrying out M’s  ruthless orders. Judi’s Dench M is being threatened with retirement by new  Security Chairman Mallory (Ralph Fiennes) over this blunder but Bond, now a  broken man (he has a beard…) and champion of a Turkish drinking game involving  scorpions, only returns when MI6 HQ explodes. Bond returns to a rattled agency,  hiding in Churchill’s old war bunker, and with a ridiculously young new  Quartermaster (Ben Whishaw), who trades barbed insults with Bond and then equips  him with the needful to get back out into the field, where there’s always  terrible wear and tear. Bond’s search for the stolen list of agents leads him to  the sultry Severine (Berenice Lim Marlohe) and her sinister employer,  super-hacker Silva (Javier Bardem)…

When reviewing the pointlessly maligned Quantum of Solace I held out the hope that the  ideas surrounding Quantum might lead to a Bond 2.0 film even better than Casino Royale. Well, sadly Quantum and Felix Leiter  are absent from this movie, but one idea from Quantum, that M and Bond have almost a fraught  mother/son bond, has been amplified and given a dramatic counterpoint to power  this film’s twisting plot. Oddly this feels at times like a Nolan Bond not a  Mendes Bond. Mendes has drafted in some regulars: Thomas Newman replaces David  Arnold but fails to make much impact; indeed dramatic strings during the Tube  sequence are uncannily like Arnold’s motif for similar sequences on Sherlock. Roger Deakins though gives the  mirrors motif of the title credits dazzling life in the Shanghai sequence which  is all reflective glass, and blue and green neon, while the night-time Macau  sequence is just gorgeously staged in warm oranges. But the crumbling city where  Silva has his lair screams Inception, a  plot twist is a familiar gambit from The Dark  Knight, and Rises echoes in the  constant references to Bond being a physical wreck, and the persistent  questioning of why this rich orphan continues to risk his life.

The deliberately measured pace of the movie is pure Mendes and he even  produces a trademark move with Silva’s entrance, a slow push-in while Silva  walks towards the camera from a distance. For the most part this approach works,  the first act feels like one of Fleming’s short stories, and the belated  entrance of Silva pays off in some wonderfully discomforting dialogue scenes and  a huge shock. Even Silva as cyber-supervillain works, mostly due to Q’s rivalry  with Silva. But then along comes the third act… Mendes throws everything at  the screen; the full Bond guitar riff, Aston Martins, references to and  borrowings from Goldfinger, Apocalypse Now, and From Russia with Love. But while it’s fascinating in  exploring Bond’s past, and ends fittingly with some in-joke references, the  climactic action just lacks the forcefulness or epic scale of Casino Royale and even Quantum.

Skyfall is a good film, which runs  out of steam somewhat, but it does seem to prove that action directors handling  sharp scripts make for the best Bond films.

3.5/5

April 5, 2012

Alice in Funderland

The Abbey stages its first musical in 20 years, but if decades long moratoriums are the cost of keeping atrocities like this off the stage then it’s a price well worth paying…

Thisispopbaby bring their Project work-shopped contemporary musical take on Alice in Wonderland to the stage with Talking Movies favourite Sarah Greene in the title role. Her Alice is a hopelessly depressed Corkonian whose unfaithful boyfriend recently died from eating a peanut. Upset by the demand of her materialistic sister (a catty Susannah de Wrixon) that she be her bridesmaid, Alice has a bad reaction to a wedding rehearsal curried prawn and dreams herself stranded in a queered Dublin. As she stumbles across the city in search of Warren (Ian Lloyd Anderson) she encounters Carroll characters. The Caterpillar is a Dublin taxi-driver obsessed with British oppression, the Cheshire Cat is a corrupt politician, Tweedledee and Tweedledum are drug dealers, and… I don’t know what the Duchess is supposed to be. “I’d rather take advice from a f****** caterpillar sitting on a mushroom” is the level these references operate at; crude, unfunny.

Composer Raymond Scannell pens some memorable melodies. ‘We’re all going to Hartstown’ is nicely jaunty, the Duchess’ entry has nice shuddery techno under Carroll’s actual verse, and there’s a wonderfully poignant duet between Alice and The Gay (Paul Reid). But the fact that a character is actually called ‘The Gay’(!!) clues you that it’s not the music that’s the problem here. The first act’s wearying campiness is actually self-defeating. The Cheshire Cat as crooked politician sets up a rousing James Brown style number for the grinning Mark O’Regan about playing monopoly with the country’s future, but what could have been great satire can’t soar in this context and the attempt is quickly abandoned. Instead satire is directed at brave, original targets: The Pope, Blaithnaid Ni Chofaigh, Mary Harney. Satire punctures the pomposity of the powerful. Does a religious figure unlikely to be defended by the audience, a presenter who hasn’t been on air for over a year, and a retired politician strike you as powerful? Swift would guffaw derisively at attacking Harney not Phil Hogan, or singling out Blathnaid as the most scandalous element of RTE’s recent troubles. Attacking those targets is just pathetically easy, and that’s easily just pathetic.*

Philip McMahon’s book also irritatingly nods to the presence of the audience frequently for, again, no particular reason. Fourth wall breaches should be used sparingly (Tom Jones) or to the point of meta-textual madness (Slattery’s Sago Saga), but such pointlessness is hardly surprising as Alice runs for nearly 3 hours (including the interval) yet Sarah Greene is hopelessly upstaged by Kathy Rose O’Brien and Aoibhinn McGinnity because the script gives her nothing to do. McGinnity’s madly enthusiastic Chloe is one of the second act’s few saving graces, while O’Brien is hilarious impersonating Blathnaid and Fassbenders the Bob Fosse homage second act curtain-raiser number which is the closest this production ever feels to an actual musical…

The second act is unbearable. All the previously baffling campiness builds towards Tony Flynn’s domineering presence as Dolores, the Red Queen of Hartstown. I’ve seen the Rocky Horror Show. It’s joyous, and 90 minutes. I’ve seen Cabaret, working off Sam Mendes’ queered revival. It’s devastating, and 2 hours. Alice in Funderland fails by its own yardsticks… It’s 3 hours that degenerates into endless unfunny drag queen humour; line after line of witless comedy, whose staggering coarseness becomes incredibly tedious. The late appearance of the ‘Scissors Sisters’ is an amazing low point. I actually considered walking out, but figured such diva behaviour would only encourage the performers. The repeated chorus “We’re all torsos in the banal” is the most tasteless thing I’ve ever sat thru. It’s embarrassing to watch this on the stage of the national theatre in the same way that it’s embarrassing to see Mrs Brown’s Boys on primetime BBC. You urgently want to buttonhole the rest of the world and assure them, “All this…it’s not us. Underneath, we are more…”

If you see Alice, and don’t, feel free to leave at the interval if you’ve disliked the first act; the second act is ‘wretched beyond belief’… As I’ve tweeted, #Thisiscrapbaby.

1/5

Alice in Funderland continues its run at the Abbey until May 12th.

*If you think I’m bluffing about attacking the powerful then tune in next week when I stick it to hackers extraordinaire Anonymous who can break my poor blog like a twig.

January 9, 2012

2012: Hopes

Filed under: Talking Movies — Fergal Casey @ 5:03 pm
Tags: , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

 

Shame
Turner Prize-winning artist Steve McQueen’s second film as director sees him again collaborating with his Hunger leading man Michael Fassbender. If Hunger was an installation about bodies in decay this is a study of bodies in motion, as this stark drama sees Fassbender play a successful businessman in NYC who has carefully constructed his life around his secret sex addiction. His routine falls apart and his life disintegrates under the pressure of his compulsions when his wayward sister (played by Carey Mulligan) arrives to stay in his apartment. It may just be that one of the first releases of 2012 sets a high-water mark for excellence that no other will reach.

 

The War Horse
JG Ballard dubbed Steven Spielberg’s works ‘Cathedrals of Emotion’ and even the trailer for this is upsetting, so God knows how tear-jerking the whole movie will be. Spielberg’s adaptation of Michael Morpurgo’s beloved children’s book, which is currently wowing the West End in a puppet-heavy interpretation, follows a teenage boy’s journey into the hell of World War I in an attempt to rescue his beloved horse. Tom Hiddleston and Benedict Cumberbatch are the upper-class officers while Jeremy Irvine plays the young farmer who swaps rural England for the hell of a traumatically recreated Battle of the Somme after his prized horse is summarily requisitioned for the front.

 

J. Edgar
Clint Eastwood, who by virtue of his physical and artistic longevity is old enough to both actually remember Hoover in his prime and to still creatively interpret it, directs Leonardo DiCaprio in a biopic of the once feared and now derided founder of the FBI. Ordinarily this is the kind of Oscar-bait that I despise more than anything else, however, all evidence is that this is not the usual inane drama with a platitudinous message and showy Act-ing. Instead Milk screenwriter Dustin Lance Black employs constant flashbacks, with undercutting switches of perspective between DiCaprio and Armie Hammer as Hoover’s FBI Agent lover, to explain the neuroses that drove Hoover.

 

A Dangerous Method
David Cronenberg directs Christopher Hampton’s adaptation of his own play about a pivotal 20th century clash. Michael Fassbender is Carl Jung, Viggo Mortensen is Sigmund Freud, and Keira Knightley is their patient (and alleged muse) Sabina Spielrein in a riveting drama about the conflict between two great founding fathers of psychoanalysis that split the medical movement at its founding. The S&M is what will get talked about most, as the obvious starting point for locating this in the Cronenberg canon, but attention should focus on Fassbender’s assured turn as Jung and Knightley’s startlingly alien performance as the hysterical Russian who slowly transforms herself into an equal to Jung.

 

 

The Hunger Games
Jennifer Lawrence headlines as heroine Katniss Everdeen in what’s being touted as the new Twilight, and is, according to Google, the most anticipated movie of 2012. Adapted from the wildly popular trilogy of books by Suzanne Collins, an apocalypse has left a new country called Panem ruling North America, and every year as punishment for a quelled rebellion against its authority the new government in the Capitol chooses one teenage boy or girl from each of its 12 districts to fight to the death against each other in the televised Hunger Games – in the end only one survives. As an unusually vicious YA media satire this sounds promising.

 

Anna Karenina
“Happy families are all alike; every unhappy family is unhappy in its own way.” Joe Wright and Keira Knightley reunite for an adaptation of Leo Tolstoy’s classic 1870s tale of infidelity in snowiest Russia which William Faulkner once described as the perfect novel. Knightley is never better as an actress than when under Wright’s confident direction, and this is a welcome return to his period-setting comfort zone after the misfiring disaster that was his existential action movie Hanna. Other returning Wright regulars Saoirse Ronan and Matthew Macfadyen form part of a strong ensemble led by Aaron Johnson as Anna’s lover Count Vronsky and Jude Law as her cuckolded husband.

 

The Amazing Spider-Man
I mocked this last year, but once I saw the trailer in a cinema I started to reconsider my stance. The colour-scheme alone indicates a move away from the day-glo japery of Raimi to the moodiness of Nolan. Prince of Hurt Andrew Garfield is an emotionally raw Peter Parker opposite Martin Sheen’s ill-fated Uncle Ben and Emma Stone’s scientist Gwen Stacey. Raimi’s gleefulness was increasingly sabotaged by his crippling affinity for angst. Director Marc Webb, who helmed the glorious (500) Days of Summer, can hopefully replace pre-packaged moping with genuine vulnerability, while stunt guru Vic Armstrong’s practical magic makes this Spidey’s heroics viscerally real rather than wall-to-wall CGI.

 

Ghost Rider: Spirit of Vengeance
HAHA! Ghost Rider: Spirit of Vengeance sees the lunatics behind the Crank films finally properly get their hands on a blockbuster after their script for Jonah Hex was rewritten to make it vaguely ‘normal’. The plot is, well, immaterial really when it comes to these guys. The prospect of Nicolas Cage, whose brush with Werner Herzog proved he’s still got some game, being encouraged to again find his inner madman while the two writer/directors shoot action sequences from roller-skates besides his flaming bike is indeed an awesome one. We must all pray that some stuffed-shirt empty-suit in the studio doesn’t freak out and bowdlerise this insanity.

 

 

Dr Seuss’ The Lorax
The impossibility of making a decent live-action Dr Seuss adaptation finally hit Hollywood on the head with an anvil after The Cat in the Hat and so we got former live-action Grinch Jim Carrey lending his voice to the sublime Horton Hears a Who. Its screenwriters have now tackled The Lorax and, it appears from the trailer, again succeeded in taking the canny route of expanding Seuss’ slight tales to feature length with delightful visual comedy while retaining the hilarious rhyming dialogue and narration that make Seuss’ work so unique and loveable. Danny DeVito is the voice of the slightly irritating guardian of the woods the Lorax.

 

Prometheus
Ridley Scott’s long-awaited Alien prequel has finally been written by LOST show-runner Damon Lindelof, and original Xenomorph conceptual artist HR Giger has even returned to the fold to whip up some creepy designs. It seems safe to say this will therefore probably be very entertaining, genuinely scary, and then completely disintegrate in the third act when the audience realises that Lindelof really has no idea where he’s going with this. Michael Fassbender and Noomi Rapace star, which is itself a promising start for a blockbuster that Scott could badly do with being a hit; just to remind him what it feels like after his unwisely extended co-dependency with Russell Crowe.

 

Seven Psychopaths
If it ain’t broke, don’t fix it. Martin McDonagh, the celebrated playwright and writer/director of In Bruges, returns to cinema screens with another unpredictable dark comedy starring Colin Farrell. Farrell this time is a struggling Hollywood screenwriter bedevilled by writer’s block who has the misfortune to fall in with the real devils of the titular seven hoodlums in the course of some ill-advised research for his gangster script. Christopher Walken and Sam Rockwell, who starred in McDonagh’s between-film-projects play A Behanding in Spokane on Broadway, are also in the cast; something which speaks volumes about how much actors relish the chance to deliver McDonagh’s caustic, profane and theatrical dialogue.

 

 

Salmon Fishing in the Yemen
I have high hopes for this absurdist comedy starring Ewan McGregor and Emily Blunt, not least because Blunt is always a superb comedienne and McGregor did a very good baffled straight man in similar territory with The Men Who Stare at Goats. This is of course an adaptation of Paul Torday’s acclaimed (indeed Wodehouse Prize-winning) 2007 comic novel about a Sheikh’s improbable dream of introducing salmon fishing to, well, the Yemen, and the poor sap of a British expert hired to pull off this ludicrous proposition. The only problem is that the reliably dreadful Lasse Hallstrom is directing it; can script and actors overcome his dullness?

 

Skyfall
The studio has finally sorted out nightmarish legalistic-financial difficulties and so the awesome Daniel Craig returns for his third mission as 007. But Paul Haggis’ delightful rewrites are no more! Frost/Nixon scribe Peter Morgan now has the job of making Purvis & Wade’s gibberish action script legible to thinking humans before Sam Mendes directs it. Mendes has a flair for comedy, oft forgotten because his films have been so consistently and inexplicably miserabilist in subject matter, and he’ll draw top-notch performances from his stellar cast which includes Javier Bardem as the villain, Ben Whishaw as Q, Judi Dench as M, and Naoime Harris as Moneypenny. This might just be wonderful…

 

The Hobbit: An Unexpected Journey
Peter Jackson, having been kicked like a dog with mange for The Lovely Bones, returns to Tolkien. Martin Freeman brings his trademark assets of comic timing and understated decency to the titular role of Bilbo Baggins. Returning from LOTR are Ian McKellen, Cate Blanchett, Elijah Wood, and a presumably very grateful Orlando Bloom; he didn’t make any blockbusters between Pirates of the Caribbean 3 and The Three Musketeers. You should worry about Del Toro’s nonsense infecting the screenplay, and the opportunistic decision to make two films, but then hope that returning to his meisterwerk will rekindle the combination of flair and heart that Jackson’s lacked since.

July 12, 2011

Richard Yates Studies and Hollywood’s Gravity

It seems absurd to quibble about Richard Yates Studies when it’s such a triumph that there finally is such a field as Richard Yates studies, but I fear Hollywood’s gravity…

I fear it for this reason:

ACADEMIC 1: I’m speaking tomorrow on the comparative panel.
ACADEMIC 2: Who are you talking about alongside John McGahern?
ACADEMIC 1: Richard Yates, American writer, roughly contemporary.
ACADEMIC 2: Ah, yes, yes. (beat) What did he write?
ACADEMIC 1: (strained pause) Revolutionary Road.
ACADEMIC 2: Oh yes, the one with-
ACADEMIC1: Leonardo DiCaprio and Kate Winslet, yes…

It’s a simple truth that, despite the glorious Vintage reprints of the past few years, the long critical neglect of Richard Yates has left its mark. And it’s all too easy for the fact that the first (incredibly belated) film adaptation of his work was of his debut novel, about the 1950s, to perpetuate the unfair perception that Yates wrote one great novel in 1961 and then deservedly disappeared. This ignores his bibliography. His stunning trio of novels Disturbing the PeaceThe Easter Parade  and A Good School, which between them incisively dissect American life from the 1930s to the 1970s, all appeared within three years of each other in the second half of the 1970s.

It’s also a danger that Sam Mendes’ film will type Yates as a gloom-merchant of unrelieved tragedy. Yates is the poet laureate of failed dreams, but, as I’ve noted elsewhere in relation to the film, there is terrific comedy on the path from hope to disappointment that his writings customarily traverse. I saw the 1972 film adaptation of Peter Barnes’ demented play The Ruling Class just before the New Approaches to Richard Yates conference last year. I thus suggested to David Fernley that a way to correct any Mendes-inspired popular perception of Yates as miserabilist would be to quickly film Disturbing the Peace with non-naturalist sequences drawing out Yates’ dark humour. After all Peter O’Toole’s description of The Ruling Class as black comedy with tragic relief fairly characterises some of Yates’ work.

Finally I fear Hollywood’s gravity could unbalance Richard Yates Studies on two fronts. It’s easier to write on an obscure text by a well-known author, because there are less existing critical readings defeating your attempts to say something original, but it’s also easier to write on a well-known text by an obscure author than it is to write on an obscure text by an obscure author. Name-recognition does count at some level, even if it’s in the subconscious of an academic planning an article for a refereed journal and worrying that an examination of two short stories by Yates might prove just too niche for a non-Yates journal. I plan to yoke together Revolutionary Road and A Special Providence because they nicely link for an unusual argument, but I’m convinced I thought of that argument because I subconsciously also felt that Revolutionary Road would add weight to A Special Providence in the same way that John McGahern said short stories in a collection can lean on each other for support.

The second front is a more consciously considered problem than the prospect of everyone writing about Revolutionary Road to improve their chances of publication. It is the problem of getting Yates onto curriculums. Getting a non-canonical writer onto an American Literature course wins plaudits but in a world of modularisation it’s not as simple a task as it might once have been when core courses covered a canon and selected alternatives to that canon at the whim of the lecturer(s). If students have a choice of competing modules common sense and basic economics says modules will start to bend towards attracting students by including books, canonical and alt-canonical, they’ll want to read. Revolutionary Road rather than The Easter Parade will always appear then because, thanks to the Hollywood hype machine, students will recognise one title and not the other.

Those are my fears about how Hollywood may skew Richard Yates Studies, but the wider idea of cinema bending literary studies will be returned to…

New Approaches to Richard Yates

I delivered my paper ‘Revolutionary Road: Modernist Novel, Realist Film?’ to the New Approaches to Richard Yates conference held in Goldsmiths University of London in June last year. With that paper since revised and submitted as a journal article, I thought I’d look back at the illuminating proceedings organised by Leif Bull and Catherine Humble.

Saturday 5 June

Plenary Speaker: Jo Gill (University of Exeter)
‘“The Important Thing Was to keep from Being Contaminated” –
    Suburban Malaise in the Fiction of Richard Yates’

Session 1: An Old Fashioned Realist

‘The Metarealism of Richard Yates’
Leif Bull (Goldsmiths University of London)

‘What’s Wrong with the Suburbs: Living the Dream Down Revolutionary Road’
Catherine Humble (Goldsmiths University of London)
Session 2: Revolutionary Road on the Big Screen

Revolutionary Road: Modernist Novel, Realist Film?’
Fergal Casey (University College Dublin)

‘Undermining Hollywood: Richard Yates’ Project of Exposure’
Kate Charlton-Jones (University of Essex)
Session 3: Suburban Dreams

‘Generational Confusion in the Work of Richard Yates’
David Fernley (University of Nottingham)

‘Liquid Lunch: The Collapse of Capital and the Rise of Suburbia and Consumer Culture in the Writings of Yates, West and Ellis’
Dean Brown (University of Sussex)
Summary Note: Leif Bull
Richard Yates’ long and shameful neglect by a modish academia is thankfully coming to an end and this conference demonstrated that far from being easily dismissed as a ‘mere realist’ there is in fact rich grounds for many critical schools in the work of the Yonkers native. Indeed it was striking that even though a number of us covered the same text, the inevitable Revolutionary Road, our papers all approached it from radically different angles. Plenary speaker Jo Gill noted the language of disease used by Yates to describe suburban psychological malaise on the part of men and women in Revolutionary Road and a number of other texts, and incisively located this in both the explicit health concerns behind the rise of suburbia in post-war America and the coded racist concerns about desegregated education post-1954. Catherine Humble gave a rigorous Lacanian psychoanalytic reading of Revolutionary Road that saw the infamous symbolic picture window receive appropriate scrutiny, as well as bringing out the difference between Frank’s rebellion, satire of society without change, and that of April. I read debts to the high modernism of F Scott Fitzgerald into Revolutionary Road’s temporal fluidity, ironic tone, characters with shifting identities and ambiguity of plot, while examining how Sam Mendes’ film simplified precisely those elements to achieve Hollywood realism. Dean Brown placed Revolutionary Road in continuum with The Day of the Locust and American Psycho and dazzlingly contextualised the progress of the rise of credit consumerism contemporary to each text allied to decline in self-generated identity in their characters.

Other speakers focused on other works with equally kaleidoscopic approaches. Leif Bull examined Disturbing the Peace and Eleven Kinds of Loneliness to show Yates’ blending of objective reality and literary history delivering satirical black comedy with an emotional weight and meta-textual awareness that anticipates the new postmodernism of DF Wallace. Kate Charlton-Jones used the short stories ‘A Glutton for Punishment’ and ‘Saying Goodbye to Sally’ to illuminate Yates’ abiding concern with the damage done to people by imitating cinematic archetypes which amplified a simplistic political message of hope and re-invention. David Fernley persuasively used Disturbing the Peace, The Easter Parade, and Young Hearts Crying to rescue Yates from being a spokesman for the 1950s by showing Yates satirising in his work characters who foolishly fossilised themselves in constructed generational roles. Richard Yates is not just a realist linked to his time. He can be subjected to hard-core theory, explored for modernist currents, located in the material realities of his time, and read for meta-texuality and characters that resist easy categories. Richard Yates studies, long delayed, is here in force now…
Postscript:
Goldsmiths College is located near enough to Greenwich on the Tube for a Master & Commander fan like me to connive to stay in Greenwich and exult in the National Maritime Museum and Royal Observatory, looking at old ships, old naval clocks, and even the coat Nelson was shot in. If you’re staying in Greenwich I highly recommend the lovely (and highly literary) B&B where I stayed, No 37.

June 15, 2011

Micawber-Mycroft explains nervous action directing

INT.HOLLYWOOD DIOGENES CLUB-DAY

DELANEY, an agent to the stars, uneasily walks into the library of the well-appointed Diogenes Club. Yes, this may be a haven of civility in an oftentimes torrid city, but it is also entirely lacking in potted plants; which he likes to water to put his mind at ease. Thankfully he spots his friend and fellow agent MONTGOMERY MONCRIEFF MICAWBER-MYCROFT across the room and wanders over to where he is seated, only to be shushed into silence as he sits down.

MICAWBER-MYCROFT: Look at that agent over there! It’s hysterical. He’s been reading the Inception screenplay just like that for the past week and he still hasn’t grasped what it’s all about.

DELANEY: (hurt) Mycroft! You know that I don’t understand what it’s all about either!

MICAWBER-MYCROFT: Pshaw my good man! Pshaw! You don’t understand the philosophical ramifications and the apparent inner inconsistencies. He doesn’t understand how two levels of reality being depicted simultaneously can work on film. Someone tried to explain The Matrix to him yesterday and he had to lie down for the entire afternoon to recover…

DELANEY: Oh, wow.

MICAWBER-MYCROFT: Quite. (beat) Why are you here anyway?

DELANEY: You asked me to meet you here.

MICAWBER-MYCROFT: Well of course I did dear boy. I couldn’t possibly come to meet you in your office, my only vice is indolence and I’m loathe to move from my regular armchair here. Let me to try to remember which among the many brightly-coloured balls that I must keep juggling in the air in my capacity as an over-worked agent I wanted to warn you about. Ah yes! Bond.

DELANEY: James Bond?

MICAWBER-MYCROFT: Yes. The studio has sorted out nightmarish licensing and financial difficulties, the understanding of which defeated even my vast legal expertise, and so is ready to make another Bond movie with Peter Morgan making the gibberish action script legible to thinking humans and Sam Mendes at the helm.

DELANEY: At the helm?

MICAWBER-MYCROFT: Lensing it, as they say.

DELANEY: As who says? What’s he doing?

MICAWBER-MYCROFT: He’s directing it you twit! Really, you must try and keep up with the synonyms this business throws out, no wonder McAvoy and Pellegrino keep moaning…

DELANEY: How did you know about that?

MICAWBER-MYCROFT: I quite often breach the fourth wall not once but twice before breakfast. Anyway, that’s not important. What matters is that you must at all costs prevent all your stable of actors from taking over-prominent parts in this production.

DELANEY: What?! Why?? Mendes is a good director isn’t he? I thought that people won awards, or at least got nominated for awards when they appeared in his stuff.

MICAWBER-MYCROFT: Yes, that’s true.

DELANEY: So wouldn’t my guys win awards or get nominated if they did his new movie?

MICAWBER-MYCROFT: Not a chance, Bond movies don’t get awards no matter how Casino Royale they are.

DELANEY: Oh, but still, wouldn’t it be a good career move? Mendes directing Bond? He’s a name director after all.

MICAWBER-MYCROFT: Yes, but, is he an action director? No sir, he is not, he is an actors’ director, and whenever an actors’ director gets thrown onto an action movie their soul frets in the shadow of spectacle.

DELANEY: You mean they don’t know what to do with the CGI?

MICAWBER-MYCROFT: Pshaw sir! CGI is the least of their worries. Let me conjure up a scene for you…

INT.HOLLYWOOD BACKLOT-DAY

RODRIGO DELL’ARTE, an imaginary art-house director, arrives in thru the studio gate and is immediately pounced on by A GAGGLE of production heads bellowing questions and demands.

BORIS: Where are we going to shoot the car-chase?

MICAWBER-MYCROFT (O/S): Car-what? The man’s barely aware of what a car is, he gets public transport everywhere as a matter of principle. As for car-chases they hold no interest for him whatsoever, what can a car-chase say about the human condition?

(Dell’Arte shrugs his shoulders expressively to Boris)

JOHNSON: Are we going to do all the explosions for real or will we try and skimp by with CGI for some of them to free up their budget for the wire-work in the night-time museum sequence?

MICAWBER-MYCROFT (O/S): He’s heard the letters CGI, but has never had to have an actual conversation about them before. As for wire-work, that sounds more practical but still it scares the life out of him.

(Dell’Arte nods approvingly to Johnson)

GODUNOV: Have you made a final decision on which location you want to film the base-jumping sequence from, Hong Kong or Dubai?

MICAWBER-MYCROFT (O/S): What is this? A movie or a round the world cruise? Previously he’s only ever been offered choices between tiny sound-stages and cramped apartments…

(Dell’Arte throws his hands up in despair, and defers to his SECOND UNIT DIRECTOR)

INT.HOLLYWOOD DIOGENES CLUB-DAY

Micawber-Mycroft leans back in his chair.

MICAWBER-MYCROFT: In summary, this is a world they’ll never understand, and you’ll always fear what you don’t understand.

DELANEY: That sounds oddly familiar.

MICAWBER-MYCROFT: I may have said it rather loudly when a struggling director was dining here some years back.

DELANEY: So an art-house director on an action movie simply defers to the second unit?

MICAWBER-MYCROFT: Indeed he does! They have the experience and expertise he does not, he is simply terrorised by their smooth efficiency. He’s made to feel an interloper on his own production. He leaves so much to the blasted second unit that the first time he sees the cast is two months into a six month shoot and they don’t know who he is. This does not gel an ensemble…

DELANEY: So, well then at least the action is perfect, even if he stood back from it?

MICAWBER-MYCROFT: No, the action is perfectly fine because it’s being done by professionals without someone standing over them whipping them onwards. Martin Campbell gets all the action in Casino Royale perfectly perfect because he’s an action director merrily urging his second unit on to great heights, but then he also manages to get the actors to reach the same heights in the first unit stuff. Which may have been sheer luck, the great script, or, as I suspect, the ease they felt in knowing that this man was indeed on top of everything in the film.

DELANEY: And you think that a less commercial director will just get into a blind panic over the action, and sit back from it, thinking he can focus on getting the acting scenes top notch, but then the acting doesn’t compensate?

MICAWBER-MYCROFT: Of course the acting doesn’t compensate! No one goes to an action film to see people acting! Acting is merely what they do in between explosions, fights, and car-chases to keep the action from getting monotonous.

DELANEY: So you think the next Bond film will be a bit of a mess?

MICAWBER-MYCROFT: I don’t know what to expect. Mendes has a flair for comedy which is oft forgotten because he makes such downbeat films, so you can expect the next Bond film to be quite funny. And you can guarantee he’ll draw out top-notch performances. But, you cannot put money down on it being a great film without reservations…

DELANEY: How are you such an expert on this?

MICAWBER-MYCROFT: I’m British.

Next Page »

Create a free website or blog at WordPress.com.