It’s difficult in our techno-spy thriller era to take seriously such a bumbling joking character as Walter Matthau’s CIA agent here, Miles Kendig. He’s running rings around his bureaucratic superiors (most notably Ned Beatty antagonist Myerson), but I’m not sure it is always believable. It’s more akin to a comedic farce really, likeable I suppose and impossible to really hate, but very much of its time.
FILM REVIEW: Criterion Collection Director Ronald Neame; Writers Bryan Forbes and Brian Garfield (based on the novel by Garfield); Cinematographers Arthur Ibbetson and Brian W. Roy; Starring Walter Matthau, Glenda Jackson, Sam Waterston, Ned Beatty; Length 104 minutes.
Seen at a friend’s home (DVD), London, Sunday 2 July 2017.
There was a real passion to tell untold women’s stories coming out of the 70s, not in a flashy way but just, as here, on a relatively recent but largely overlooked subject, using archival clips, period music and interviews with the surviving women while they were still around to tell their stories. And they do that, very well. The film takes its name from an iconic figure of the woman factory worker used during World War II, and the women interviewed here tell of their recruitment to the war effort in factories and shipyards et al., then about the issues they faced around discrimination and (for the black workers) racism. The filmmaker cuts in some smug 40s patriarchal voiceover from a contemporary media source to tell us how hard women found the work (with such choice snippets as the women being “not used to working so hard”), as the women recall how after 8-10 hours on the assembly lines they had to come home to cook dinner for their husbands (if around) and families. There’s plenty of other recollections like this, and then about the struggle to keep the same kind of work after the war. It’s all affecting because it’s direct and from the women themselves. It also remains a fascinating story.
CREDITS Director Connie Field; Cinematographers Bonnie Friedman, Robert Handley, Emiko Omori and Cathy Zheutlin; Length 65 minutes. Seen at home (streaming), London, Monday 8 May 2017.
On first look, The Long Good Friday is a film very much of its period with its clothes and hairstyles, its clunky technology and pulsating synth-led score, but there are a few reasons for the film’s resilience. It was made at the tail end of the 1970s as the UK was anticipating its new right-wing Conservative government under Margaret Thatcher and thus a period of intense business investment and privatisation, and the plot taps into that, as Harry Shand (a mesmerising Bob Hoskins) tries to leverage his gangland supremacy into business success by redeveloping an area of the defunct docklands in the East End. Of course, as we’ve all seen in many subsequent films and TV shows (The Wire season 3 is one that springs to mind), whatever control gangsters may exert over people are as nothing to the coldly brutal machinations of global capital. However, the very area where this film is set was to become a symbol of 80s property developers’ greed and corporate excess — no doubt the local government corruption and dubious investment practices charted here was a factor in real life. (Indeed, the huge Canary Wharf project that did away with many of this film’s locations not long after it was made became a victim of the 1987 crash and it was quite some time before it recovered to become a shining beacon of capitalism.) Still, at the heart of the film is a simple tale of gangland revenge, as Harry’s business dealings are put in question by a series of anonymous attacks on him. Thus it very much hangs on Hoskins as an actor to hold things together, and in this he does marvellous work (the director’s confidence in his actor is suggested by the final long take of Hoskins’ face), ably assisted by Helen Mirren as much more than merely a gangster’s moll, but a strong and equal partner in developing Harry’s business concerns. There’s plenty of iconic lines as well as small appearances from familiar faces (it even nods to last week’s Alphaville with Eddie Constantine as the American businessman). It’s not always a vision of London that one wants to get behind, but Hoskins makes it compelling.
FILM REVIEW: Criterion Collection Director John Mackenzie; Writer Barrie Keeffe; Cinematographer Phil Meheux; Starring Bob Hoskins, Helen Mirren; Length 114 minutes.
Seen at a friend’s flat (DVD), London, Sunday 8 March 2015.
FILM FESTIVAL FILM REVIEW: London Film Festival || Seen at Ciné Lumière, London, Saturday 18 October 2014 || My Rating excellent
Historical dramas based in the period during the 1940s when World War II was being fought are hardly rare, but what remains interesting about this piece, newly-restored and extended with material cut after its original release, is that it bases its focus on a German story, and specifically that of a German woman (reputedly based on that of the writer-director’s own mother). In many ways, she is the “pale mother” of the title, an allegorical representation of the country perhaps, and subject to the many whims of fate visited upon it by the men in the story. In the central role is Eva Mattes as Lene, the beautiful young wife of Hans (Ernst Jacobi) at the film’s outset; Hans is not a Party member but when war breaks out is nevertheless conscripted into the Army. Hans’s best friend on the other hand is very much a party apparatchik who gets a cushy job in Berlin and lords it over everyone in a petty way. The film focuses on Lene’s struggle to make it through the wartime period, first in the city and then out in the countryside where it is presumed to be safer. There is no big comeuppance for any of the characters, as they continue to muddle through after the war has ended. Yet for all that it is bleak, and for all that it presents a vision of Germany that is far from optimistic or hopeful, it is still made with a great deal of sensitivity and craft.
CREDITS || Director/Writer Helma Sanders-Brahms | Cinematographer Jürgen Jürges | Starring Eva Mattes, Ernst Jacobi | Length 151 minutes
This review (of a 33-year-old film, and one you should really have seen already — just saying) contains plot spoilers, just so you know.
RE-RELEASE FILM REVIEW || Director Stanley Kubrick | Writers Stanley Kubrick and Diane Johnson (based on the novel by Stephen King) | Cinematographer John Alcott | Starring Jack Nicholson, Shelley Duvall, Danny Lloyd | Length 144 minutes | Seen at BFI Southbank (NFT3), London, Saturday 23 February 2013 || My Rating masterpiece
I do, of course, sometimes go to see old films at the cinema, and the NFT (or “BFI Southbank” if you want to call it by the name it likes to use of itself) is a great place to catch retrospectives and archival screenings of old films. The Shining however had something of a wider re-release recently, so I went along as I’d never seen it on the big screen, and I’m a particular fan of late-period Kubrick. Everything he did from Barry Lyndon (1975) onwards remains exceptional to my mind, including (I would argue) the posthumous A.I. Artificial Intelligence (2001), directed by Steven Spielberg.