Criterion Sunday 274: Night and the City (1950)

A fun little number that’s set in London but made under the auspices of a Hollywood studio (with a number of big American names heading the cast) so it still sort of feels like a Hollywood pic. Richard Widmark plays a small-time conman and hood who’s looking for a break while doing some strictly small-time hustling, and finds it in wrestling. There’s a whole plotline featuring an old-school Greco-Roman wrestler who’s grumpy at his son (Herbert Lom) for taking up with a bunch of newer guys doing moves he doesn’t approve of at all. Well somehow Widmark gets in the middle of all this and it’s probably a bad idea, but he tries to make it work. Widmark doesn’t quite feel right for the role, or maybe I should say he’s not right for what the character needs to be to make it a success, so I guess you could make a case that he’s exactly right: he’s doomed. It’s a noir. Of course he’s doomed. (At least in the Hollywood ending; I haven’t yet seen the British cut.) There’s a real post-war sense of gloom to the capital that’s both true to the genre and also fits the era, and it’s all captured magnificently.

CRITERION EXTRAS:

  • There’s a British cut of this film with completely different music and a different ending, which I haven’t yet watched.
  • Historian Christopher Husted does a comparison of the scores for the British and American versions, and comes down in favour of the American score (preferred by Dassin himself), which does a better job of conveying the doomed noirish setting.

FILM REVIEW: Criterion Collection
Director Jules Dassin; Writer Jo Eisinger (based on the novel by Gerald Kersh); Cinematographer Max Greene; Starring Richard Widmark, Gene Tierney, Googie Withers, Herbert Lom; Length 96 minutes.

Seen at home (Blu-ray), London, Wednesday 6 November 2019.

嘉年华 Jia Nian Hua (Angels Wear White, 2017)

Following my review of Dead Pigs earlier today, another recent Chinese film to make waves, and not just because it was the only film directed by a woman in competition at the prestigious Venice Film Festival in 2017, is this one, Angels Wear White. In it second-time director Vivian Qu challenges sexually predatory men within Chinese society, part of what is implied to be wider corruption at the heart of the society, and a welcome challenge no doubt.


There’s a lot of discussion these days (and rightly so) about the destructive effect of sexual violence within patriarchal and authoritarian power structures can have on young women, and this film is a fine example of a situation in which institutional deficiences fail the people society is supposed to protect. It sets up a scenario involving a number of characters, each of which has their reasons for overlooking or excusing a horrific crime (the rape, not seen on camera, of two young girls by a corrupt police official). In many ways this is the same setup as another film I saw in the London Film Festival the same year (Beauty and the Dogs) but it’s done far more sensitively to my mind. The girls’ point of view is necessarily laconic, but we see their parents find reasons not to press charges, preferring to think about payouts and education in an area deprived of resources for this, while another strand follows a witness to the crime: a slightly older girl who has similarly been mistreated, having run away at a young age and is now living without the necessary government ID required to receive any support, doing menial cash jobs for little reward. In many ways she represents the younger girl a few years later, having toughened up and run away to a bigger city, but still prey to predatory men hanging around, offering the basic necessities of life in exchange for money or favours. It’s a corrupt society, no mistake, only exacerbated by the literally enormous metaphor of female sexuality on high heels that stands overlooking the seaside resort where it’s set.

Angels Wear White film posterCREDITS
Director/Writer Vivian Qu 文晏; Cinematographer Benoît Dervaux; Starring Vicky Chen [or Wen Qi] 陳文淇, Zhou Meijun 周美君; Length 107 minutes.
Seen at Curzon Soho, London, Thursday 18 October 2018.

Criterion Sunday 271: Touchez pas au grisbi (aka Honour Among Thieves, 1954)

Jacques Becker’s Casque d’or a couple years earlier already feels like a generation away from this film (and admittedly does have a period setting), but where that may have been a tight narrative that set up every sequence and followed through with resolve, this somehow feels more like a meandering atmosphere piece. At length the plot does come out, and it revolves around the “loot” (grisbi) of the title, but more than being about a swindle gone wrong, it’s about ageing gangsters reckoning with their mortality. Chief among these is Jean Gabin, who made something of a comeback with this film after years in the wilderness. As Mr Max, he knows he’s getting old — and as if to emphasise this, director Becker has him getting ready for bed, in silk pyjamas brushing his teeth, or looking balefully into a mirror while pinching his chin fat. He surrounds himself with much younger and more glamorous women, as all of his compatriots seem to do (one of them is Jeanne Moreau), almost as if to stave off the effects of age, but they all know they’re headed into obsolescence, and they lash out with regularity against the women and the younger thugs (like the well-built Lino Ventura, the chief antagonist). There’s a brutishness to it, stylishly evoked with all kinds of looming dark shadows around every corner, but it all seems pathetic more than anything else: few of them really seem in control, though Max is more effective at projecting this than some of the others. It’s a film about feelings and sadness, couched in a gangster form, and has more than a hint of The Godfather (not least in the repeated musical motif, very redolent of Nino Rota’s work on that film).

CRITERION EXTRAS:

  • There’s another five minutes or so of the Cinéastes de notre temps: Jacques Becker (1967, dir. Claude de Givray) documentary about the director, with the excerpt focusing on this film, naturally. We hear a little bit from Lino Ventura as well as the screenwriter and the original author Albert Simonin, plus a brief appearance from Truffaut to speak about Becker’s influential style.
  • There’s are a few brief interviews with the stars, including one from 20 years later with Lino Ventura (Grisbi was his debut, but by this point he’s an established star), with the composer Jean Wiener focusing on the brief snippet of score that Becker preferred to use (though he’d written much more), and with actor Daniel Cauchy who has a small role as a young thug.
  • The only other extra is a trailer, four minutes of punchy action from the film.

FILM REVIEW: Criterion Collection
Director Jacques Becker; Writers Becker and Maurice Griffe (based on the novel by Albert Simonin); Cinematographer Pierre Montazel; Starring Jean Gabin, Lino Ventura, René Dary, Jeanne Moreau; Length 94 minutes.

Seen at home (DVD), London, Monday 28 October 2019.

The Irishman (2019)

Today sees the UK release of Harriet, but only two weeks ago we got a brand new biopic from Martin Scorsese. For that I did a themed week around very long films, but this week’s theme means I can revisit that film and post a review. I liked it. I gather some didn’t or felt it somehow less consequential in Scorsese’s oeuvre, but a lot of people have been gunning for him for some throwaway but no less deeply felt comments about superhero movies. Still, there’s a place for everything in modern cinema, and even if three-and-a-half hour gangster epics are mostly being made for streaming services now, it was still a solid box office draw given the very large packed cinema I saw this one in on a Saturday afternoon.


Look, I mean yes Scorsese has some good films (even some great ones) in all genres, but the stuff he’s always been best at capturing is the world of gangsters — a shady world of men closed away behind dark glasses in subterranean lairs — but those worlds have changed as he’s got older. Now the gangsters are old too, they’re old men who have lost things in life, maybe lost everything, lost their friends, alienated their families and are just these old men, dying off and being forgotten. No matter how powerful you were, how much influence you had, eventually people forget your name, your legacy and everything that made you important when you were in your prime, and that’s eventually what it feels like he’s getting at by the end of this film. The de-aging technology has been much discussed, but even when these men are presumably playing 20 or 30-year-olds, back in the 1950s, they still look like old men, move in a hulking slow way — I don’t think that’s wrong for the characters, but in practice they always seem old no matter what the time period is. The timelines are all mixed up, though, as events from one era rush into those from another, because this is a story being told from the perspective of that old, forgotten gangster, as snippets of events seem to hit him and pull him along, and for all of its length, the film is never slow or boring, provided you like this slow-burning vibe that Scorsese is going for. Pacino does his usual big thing, though increasingly looking like Steve Van Zandt as he gets older in the film (and Little Steven is in the film too, in a small part, playing some old school crooner on stage I believe), but the rest of the cast are all about intensity, not least Joe Pesci, who feels like the real standout in this ensemble. It’s a good film, is what I’m saying.

The Irishman film posterCREDITS
Director Martin Scorsese; Writer Steven Zaillian (based on the non-fiction book I Heard You Paint Houses by Charles Brandt); Cinematographer Rodrigo Prieto; Starring Robert De Niro, Al Pacino, Joe Pesci, Ray Romano, Anna Paquin, Stephen Graham; Length 209 minutes.
Seen at Curzon Mayfair, London, Saturday 9 November 2019.

Three Black American Satirical Films: The Spook Who Sat by the Door (1973), Chameleon Street (1989) and Sorry to Bother You (2018)

Satire has always been a popular artistic form, especially when confronted with the wealth and ingrained power of the American elites. As a form, it has been utilised by a number of filmmakers over the years, notably African-American artists seeking to attack the privilege and entitlement of the (majority white) leaders, whether of government, the media or the corporate world. Whereas a film like Dear White People (2014) and its subsequent TV series may look at the educational system, the films below cover the institutions that support American power most directly — the FBI and corporate America — and in Chameleon Street suggests the contortions that such power inflict on the (Black) psyche.

Continue reading “Three Black American Satirical Films: The Spook Who Sat by the Door (1973), Chameleon Street (1989) and Sorry to Bother You (2018)”

The Central Park Five (2012)

The end of this week sees the release of The Last Black Man in San Francisco, which is directed by a white man but deals with the African-American experience in the United States (and reminds me of Barry Jenkins’ debut Medicine for Melancholy, also set in that city and grappling with gentrification and how it displaces longstanding communities). Given that racism has defined a large swath of American history, I thought it would be good to devote a themed week to films that deal with the African-American experience, whether from within the community or looking from outside. The first film I’m featuring is a documentary about a particularly racist incident in recent NYC history, dramatised this year by Ava DuVernay on Netflix.


The Central Park Five is a persuasive documentary that tracks the case of the rape and beating of a young woman running through NYC’s Central Park in 1989, and the subsequent arrest and trial of five boys which rested entirely on the evidence of their video-recorded testimony after days of interrogation, without any circumstantial evidence. Modern-day interviews are accompanied by archival clips from the era, and the vast holes in the prosecution’s case, not to mention the frequent corners cut by those involved, adds up to a fine entry in one of the most enduring genres of American documentary: an account of a wrongful conviction. It’s also very much a statement about the operation of race and class in American public and media life, about the way that certain facts about a case can conspire to increase or limit the audience, and the way the media reported on this particular case becomes as much a part of the context of the trial as anything said in court — to the extent that even now people still believe in the suspects’ guilt, against all persuasive evidence.

The Central Park Five film posterCREDITS
Directors/Writers Ken Burns, Sarah Burns and David McMahon; Cinematographers Anthony Savini and Buddy Squires; Length 119 minutes.
Seen at home (DVD), London, Monday 27 May 2019.

Films by Warwick Thornton

In my week focusing on Australian films, I’ve already covered some modern classics including Aboriginal director Tracey Moffatt’s beDevil (1993) and a number of documentaries interrogating Australia’s colonialist and racist societal dynamics, notably Another Country (2015). Warwick Thornton is probably the most prominent director from an Aboriginal background currently working in the country, and over the course of a number of short films and two features has burrowed into this history, stepping back to the 1920s with his most recent feature Sweet Country.

Continue reading “Films by Warwick Thornton”

Out of Blue (2018)

Carol Morley has been a key creative figure in British cinema for over a decade, having made such films as the exemplary hybrid documentary Dreams of a Life (2011), as well as The Falling (2014), a film tinged with as much mystery as her latest film, a US-UK co-production set in New Orleans.


People really dislike this film, it turns out, having looked up some reviews while forming my thoughts, and that really surprises me for some reason. There are aspects of the film that feel to me somewhat over-written at times, the way all those little images and sonic clues come back full circle to gain meaning within the plot later on, not to mention that boldly astrophysical subtext — cinematic strategies that  certainly aren’t always pulled off with any great success in other films. And yet I think director/writer Carol Morley has a really strong feeling for atmosphere, in evoking memory and trauma, an almost spiritual presence that exists beyond the frame. At times it comes across somewhat like a woman’s take on Twin Peaks in that sense, of unsolved mysteries, a woman spiralling out of control, and rather less like, say, the noirish-ness of Destroyer, another recent film about a veteran woman detective coming apart. Also, Patricia Clarkson is a wonderful actor, perhaps the closest that the North American cinema has to Isabelle Huppert. So, yes, I rather liked this film.

Out of Blue film posterCREDITS
Director/Writer Carol Morley (based on the novel Night Train by Martin Amis); Cinematographer Conrad W. Hall; Starring Patricia Clarkson, Toby Jones; Length 109 minutes.
Seen at Curzon Bloomsbury, London, Sunday 31 March 2019.

Two Recent Nollywood Films on Netflix: Lionheart (2018) and The Department (2015)

These two recent Nollywood films (which is the popular name for mainstream film production in Nigeria), both by women directors, share that they are set against the backdrop of office politics. Within them is the suggestion, though each follows its own genre cues, of a shared problem in how the country deals with women in positions of authority. They may not have the polish of Western films (thanks largely to their shoestring budgets), but both are pretty successful exercises and well worth watching. It’s worth noting that the director of The Department has also made a number of documentaries, including Faaji Agba (2015), which I reviewed a few years ago.

Continue reading “Two Recent Nollywood Films on Netflix: Lionheart (2018) and The Department (2015)”

Criterion Sunday 233: 野良犬 Nora Inu (Stray Dog, 1949)

A fine crime procedural, which follows a young detective (Toshiro Mifune) who has his gun stolen from him in a moment of weariness on a tram, and spends the rest of the film tracking it down, learning along the way the serious consequences of such a breach of attention. It has a noirish hue, as Mifune goes deeper into the sleazy underworld, and throughout there’s a tangible sense of suffocating heat, characters constantly wiping the sweat from their faces, their clothes suffused with damp. It set up Kurosawa’s interest in refining pulpy generic storylines that he’d further pursue in subsequent films with Mifune and over his career.

CRITERION EXTRAS:

  • As with many of the Kurosawa discs, it includes a short documentary about its making, part of a Japanese TV series called It Is Wonderful to Create. The format remains consistent: text-heavy and reliant on interviews, with original archival materials interspersed with the words of surviving collaborators. The art director who worked on the film is interviewed wearing a Guns N Roses t-shirt, so there’s that. The image of Mifune doing a little jig, as relayed by the (then) young co-star, is also amusing.

FILM REVIEW: Criterion Collection
Director Akira Kurosawa 黒澤明; Writers Kurosawa and Ryuzo Kikushima 菊島隆三; Cinematographer Asakazu Nakai 中井朝一; Starring Toshiro Mifune 三船敏郎, Takashi Shimura 志村喬; Length 122 minutes.

Seen at a friend’s home (DVD), London, Sunday 28 October 2018 (and originally on VHS at the university library, Wellington, April 1998).