I have, as it happens, already written a review of this on this blog so here it is. There’s little I’d want to add to it, aside from reaffirming that it does stand up under the weight of its cult status, not that it’s a film I myself am necessarily drawn back to, unlike…
Criterion Extras: … the fans depicted in the short piece Withnail and Us (1999), who show a fanatical fondness for the film that sometimes seems too much (obsessive quoting of movie lines has never been something I’ve been good at, nor had any inclination to do) but also reminds me of what’s genuinely appealing about the film’s bleak dark vision of England. Alongside the fans, the documentary also corrals a number of the actors to talk about the experience of making the film, and is an enjoyable half-hour for what it is.
FILM REVIEW: Criterion Collection Director/Writer Bruce Robinson | Cinematographer Peter Hannan | Starring Paul McGann, Richard E. Grant, Richard Griffiths | Length 107 minutes || Seen at home (Blu-ray), London, Sunday 26 January 2014
Hollywood films of the early-1930s, before the instigation of the Production Code, quite often have a loose and freewheeling quality that still delights so many decades on. Plenty of that is in evidence here, with the sparky Sylvia Sidney playing heiress Joan, who begins dating alcoholic reporter Jerry (Fredric March) after meeting him at a high society party. Indeed, the title of the film comes from his signature toast. In terms of the pre-Code elements, the frank portrayal of alcoholism and adultery — as Joan and Jerry start to feud and break apart — is forthright and unapologetic, and there’s a lot to enjoy in the spirited performances. It’s a pity, then, that the denouement glosses over the preceding events with a moralistic hue, but for the most part director Dorothy Arzner keeps things moving along nicely, and it even briefly features a young Cary Grant as one of Joan’s paramours.
FILM REVIEW Director Dorothy Arzner | Writer Edwin Justus Mayer (based on the novel by Cleo Lucas) | Cinematographer David Abel | Starring Sylvia Sidney, Fredric March | Length 88 minutes || Seen at home (streaming), London, Sunday 31 January 2016
SPECIAL SCREENING FILM REVIEW Seen at Vue Stratford City, London, Tuesday 2 December 2014
Since premiering at the Venice Film Festival in September 2013, where it won a prize, it’s taken over a year for Tsai Ming-Liang’s Stray Dogs even to get a screening in London (despite there having been two London Film Festivals in the intervening time), and just a one-off in an East London multiplex at that. I suppose this might suggest that potential distributors consider the film may be problematic to sell, and certainly it has all the traits that have marked the ‘slow cinema’ coming out of Taiwan since the 1980s (primarily films by Tsai and his compatriot Hou Hsiao-Hsien). Indeed the film even starts with a static shot of several minutes in length, showing two children sleeping while a woman sits beside them. And yet it’s a marvellous film that despite being slowly-paced and deliberately withholding a lot of information about its characters, exerts a fascinated hold over the audience (well, over me certainly) for its long running time. Even seeing the first half hour twice — the characters speak so seldom that it took the cinema that long to realise it was framed incorrectly, resulting in the subtitles being cropped off — didn’t loosen any of that hold, and in fact seeing the same slowly-paced near-silent sequences twice in a row without getting bored or antsy just made me more confident in the film’s artistry.
FILM REVIEW || Director/Writer Bruce Robinson | Cinematographer Peter Hannan | Starring Paul McGann, Richard E. Grant, Richard Griffiths | Length 107 minutes | Seen at home (Blu-ray), London, Sunday 26 January 2014 || My Rating very good
Famously, this mid-80s black comedy occupies a place at a certain select level of ‘cult films’ (certainly in the UK). Many people like to quote it incessantly, but it never made much of an impression on me when I saw it as a teenager, so it was good to reacquaint myself with it recently and realise that in fact — unlike so many garlanded cult films — it does deserve some of its popularity. It’s not cult in the sense of niche interest though, as it’s all fairly engaging; presumably the use of the term is more to do with its relative success at the time of its release. No indeed, there’s no egregious bad acting or flimsy sets, though stylistically the film isn’t particularly standout. What it has is wit and laughs and, in Richard E. Grant, a hugely charismatic anti-hero.
This series, of which this is the second instalment, is inspired by the Movie Lottery blog, whose author is picking DVD titles from a hat in order to decide which films to watch. As ever, you’ll notice my dust-gathering DVD collection includes a lot more European arthouse films. I’ve selected another one from the hat to watch and present my review below.
FILM REVIEW: Movie Lottery 2 || Director/Writer Xavier Beauvois | Cinematographer Fabio Conversi | Starring Xavier Beauvois, Bernard Verley, Bulle Ogier | Length 92 minutes | Seen at home (DVD), Sunday 5 May 2013 || My Rating worth seeing
There’s a lot of empty space in this debut feature from the director Xavier Beauvois, who is most well-known for the contemplative monastic drama Des hommes et des dieux (Of Gods and Men, 2010). The contemplation in this early work is altogether less divinely-inspired, unless it’s by the deities of ancient Greece, who seem to preside over this drama of a family falling apart under the strains of the father’s alcoholism. The empty space is the setting of the title, in the grey industrial North of France, around Calais where the director himself grew up. It seems to suffuse every scene, not least because so many unfold in extreme long shot, with the actors as small presences against the terrain.