What a film, eh? Rebecca feels in many ways like the ur-text for every filmed gothic melodrama where people stand in gloomy rooms withholding secrets from one other, whilst dolefully looking out of frame clutching some treasured object. It’s all gripping novelistic stuff that most people will probably be familiar with already — a naïve, unnamed young woman (“I” in the novel) marries a wealthy landowner and finds she can never live up to her unseen but omnipresent (not least in the title) predecessor. It’s Hitchcock’s first proper Hollywood film, even if still largely set in England, and it’s made with panache, employing a fluid, gliding camera in glorious monochrome. Joan Fontaine pitches her role just the right side of coquetry, and Laurence Olivier has the gruff ways of a Mr Darcy type.
FILM REVIEW: Criterion Collection
Director Alfred Hitchcock | Writers Joan Harrison and Robert E. Sherwood (based on the novel by Daphne du Maurier) | Cinematographer George Barnes | Starring Joan Fontaine, Laurence Olivier, Judith Anderson | Length 130 minutes || Seen at a friend’s home (DVD), London, Sunday 27 November 2016
There’s a tradition of British comedy that we’ve seen already in the Criterion Collection of revelling in over-the-top satirical absurdity, with silly voices, musical sequences, delusions of grandeur, all that bit (think Monty Python’s Life of Brian or How to Get Ahead in Advertising as two examples), and this film clearly fits into that tradition. It’s certainly enjoyable, with Peter O’Toole on fine form as a delusional Christ-like aristocrat who comes into his inheritance. The film is made in a self-consciously theatrical style, with frontal framing, addresses to camera, no end of soliloquies, though it adds a few fine camera flourishes for cinematic effect. I just wish I could believe in the power of satire as something other than simply a way for an out group to laugh self-satisfiedly at entitled people they deem infra dignitatem but who retain the reins of power even so. It’s very hard in 2017 for me to be anything but angry at the self-appointed upper crust inveighing against immorality whilst revelling in it, invoking white imperialist legacies to justify their authoritarian tendencies. Still, there’s a lot to like if you’re willing to allow it.
FILM REVIEW: Criterion Collection
Director Peter Medak | Writer Peter Barnes (based on his play) | Cinematographer Ken Hodges | Starring Peter O’Toole, William Mervyn, Coral Browne, Carolyn Semour | Length 154 minutes || Seen at a friend’s home (DVD), London, Sunday 13 November 2016
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
Bob Hoskins once again plays a Cockney gangster, and though my initial instinct is to assume his character (who begins the film recently released from prison) was locked up just after the events of The Long Good Friday (1980), given he seems surprised his street now has a large number of black residents, maybe he’s been locked up since the 1940s. Perhaps the filmmakers just took ‘film noir’ a bit literally, but underlying it is a well-meaning attempt to grapple with societal changes that must have seemed like a chasm following a series of race-based riots in the early-1980s. I’m not convinced all the racial politics really hold up (and how many films do after a few decades?) but at least there’s representation, even in the form of that filmmakers’ favourite stereotype: a high-class prostitute and her pimp (who incidentally is played by a much younger Clarke Peters from The Wire, albeit with no dialogue that I noticed). It’s strictly geezers and seedy London locales, and it’s by no means a badly made or acted film. Hoskins, along with Cathy Tyson as the titular character — and even Michael Caine as a gang boss — do good work. Let’s just say it’s of its High Thatcherite era.
FILM REVIEW: Criterion Collection
Director Neil Jordan | Writers Neil Jordan and David Leland | Cinematographer Roger Pratt | Starring Bob Hoskins, Cathy Tyson, Michael Caine, Robbie Coltrane | Length 104 minutes || Seen at a friend’s home (DVD), London, Monday 18 July 2016
A film made for TV in 2006 and rarely screened since, I saw this at a 10th anniversary show at the BFI (to tie in with their Black Star season focusing on black film talent), followed by a fascinating panel discussion afterwards which I think helped me appreciate it more by presenting a diverse range of responses and perspectives. It’s a film which sets up its unusual and challenging tone from the very opening shot of David Oyelowo’s character Joe stating direct to camera that all the problems he’s had in life are due to black people. It’s a deliberate provocation from a production with black writer, director and cast, and is said within a context of a drama which is hardly naturalistic — the film’s tone is much more black comedy or satire, even as it trades in some very harsh statements about systemic and ingrained racism within British society. Thus it’s made clear that Joe — a man who initially feels called upon to help improve the lives of minority ethnicities by becoming a teacher — is just the lightning rod for discussing these issues. From a stylistic perspective, the film also makes frequent use of direct-to-camera address from this unreliable protagonist — amplifying his voice and making it even more challenging — as he traverses a series of personal setbacks, all of which he pins to other black people. But the ostensible comedy in fact helps draw out all kinds of aspects of lived black experience — experiences within systems dedicated to education, mental health and employment, experiences with religion and the media, and within a society with deeply-ingrained messages around body shaming (specifically to do with hair, in this context). None of it feels like it should work — in some senses it comes across as quite a theatrical piece — but it’s in a great tradition of British television drama (I think back to the 1960s for the nearest comparisons, polemical films by directors like Alan Clarke). It’s rich in ideas, and Oyelowo is great in the lead.
SPECIAL SCREENING FILM REVIEW
Director Ngozi Onwurah | Writer Sharon Foster | Cinematographer David Katznelson | Starring David Oyelowo, Charles Mnene, Nikki Amuka-Bird | Length 89 minutes || Seen at BFI Southbank (NFT3), London, Tuesday 15 November 2016
Seeing this kind of politically-committed documentary — about youthful revolutionary protestors (specifically people of colour in London) fighting against multiple intersections of oppression, whether racist, capitalist, sexist, imperialist — in a plush central London cinema feels strange. Indeed, this probably isn’t the kind of venue where it will get most traction; it’s surely more a means towards getting the message into at least the film columns of broadsheet newspapers. That said, although it’s about activists and conveys the potency of a very real and urgent struggle (ever more so since it was made, since events of even just the past week), it’s not simply a work of activist agitprop.
The film’s participants are careful and reflective about their voices and the ways they are trying to engage and confront a system of interrelated oppressions. They don’t always agree about either methods or ideology, but all of them are doing so much more than most of us, in our complacency (certainly those of us watching in posh central London cinemas, let’s be fair), and that’s important to see, just as it’s important to know and acknowledge this work is happening. My favourite participant is Tej, a sweet guy taking part in feminist consciousness raising, not to mention idealistically helping out homeless people and worrying over the details (whether his care packages are missing roll-on deodorant for example). There’s also the woman who calls out her fellow revolutionaries for being insufficiently inclusive, and the young woman near the end who bashfully admits she doesn’t know how to talk to people even as she strikes up an easy friendship with one unfortunate homeless woman outside Euston station.
Generation Revolution is filled with such portraits. It shows a side not just of political activism, but specifically of activism and community engagement amongst black and minority ethnicities in this country, that is rarely represented in the media, and gives me at least a strength of hope in future generations against what feels like a relentlessly cynical and ironic tone to much of the mainstream coverage of politics. It’s worth seeking out, as finding more ways to engage with political change is sadly becoming increasingly urgent in many parts of the western world.
NEW RELEASE FILM REVIEW
Directors Cassie Quarless and Usayd Younis | Length 74 minutes || Seen at Picturehouse Central, London, Saturday 12 November 2016
I fundamentally liked this film, even if there was a lot of stuff I didn’t believe at all: because it’s set up as a sort of kooky comedy, it often seems a little too cutely precious in the way characters come together, while some of them seem to have been introduced just to push along a magical sense of healing (particularly re: mothers, which provides a little bit too much sentimentality towards the end for my personal liking). Indeed the entire framework — a road trip by two women to scatter a dead friend’s ashes, who addresses them via self-recorded videos (and quotes Kerouac) — could easily be too much self-conscious quirk. And yet there’s something about those three central performances (by Laura Carmichael and Chloe Pirrie as Seph and Alex, and as Jack Farthing as their dead friend Dan) that gets to a kernel of emotional honesty that I found unexpectedly moving. At its best it reminded me of Inside Llewyn Davis (a film I adored) in acknowledging the way that emotional pain can cause people to act horribly to one another. Meanwhile, gosh, British filmmaking has no shortage of tall pretty posh young women with cut glass accents acting atrociously while being funny (see also the Fleabag TV series just for a start), though it also makes the all too brief appearance of Alice Lowe (most recently seen as director/star of festival favourite Prevenge) all the more delightful.
NEW RELEASE FILM REVIEW
Director Chanya Button | Writer Charlie Covell | Cinematographer Carlos De Carvalho | Starring Laura Carmichael, Chloe Pirrie, Jack Farthing | Length 106 minutes || Seen at Curzon Bloomsbury, London, Thursday 3 November 2016
Two films after work on Thursday 13 October, both of them very solid outings, and seen in the same cinema, but with quite a different vibe. The first was a rammed, sold out house who responded with glee to the film, whereas the second was very much a half-empty auditorium with a sense of detached weariness (maybe that’s me just projecting onto French arthouse lovers, or maybe I was just grumpy because of the smell of someone’s kebab behind me).
Prevenge (2016, UK, dir./wr. Alice Lowe, DOP Ryan Eddleston)
At this point in my life there are plenty of films which only remind me of other films, and that’s fine, but it’s nice to see something that feels a bit unexpected. Prevenge is a film made by a pregnant woman about a pregnant woman who is systematically taking her murderous revenge on her perceived enemies (to say more would probably constitute spoilers), and it somehow feels a bit new. Both those pregnant roles are taken by Alice Lowe as director/lead actor, who threw the project together very quickly for biologically obvious reasons. In its blend of black comedy and jagged emotional turmoil, it is never unwatchable and sometimes both affecting and very funny, and Lowe is particularly good at turning suddenly from chattiness to a deathly unsettling stare. It seems to be allegorising aspects of motherhood, but it’s also good fun if you can stand a little bit of gore — a staple of both horror cinema and maternity. [***½]
Voir du pays (The Stopover) (2016, France/Greece, dir./wr. Delphine Coulin/Muriel Coulin, DOP Jean-Louis Vialard)
This is a film about French soldiers on the way home from a tour of duty in Afghanistan, who go on a three-day retreat in Cyprus on what their army bosses call “decompression”, though I can’t think of a word further away from what happens in this film. Instead it’s very much a pressure cooker environment, as the soldiers go through group therapy reliving key incidents in their recent tour in which it quickly becomes clear that lives were lost and bad decisions were taken that various members of the group feel either responsible for or powerless in the face of. It’s also a film about women in the military and the specific pressures on them, not just in their job but especially from their male colleagues. Throughout there’s a tense atmosphere, as if hostilities are about to kick off at any moment, emphasised by the tight shot framing and the glass prison mise en scène of the luxury hotel, whose vistas promise such illusory freedom. In truth there are a lot of ideas kicking around here that never quite (for me) come together fully, but the actors are all excellent, not least Ariane Labed as Aurore — the reason I booked a ticket to the see the film in the first place, for she is among the finest currently working — and her tightly-wound friend Marine (played by a singer known as Soko). [***]
At a time when the US-focused Black Lives Matter movement is getting a lot of attention, it’s useful to remember that countries like the UK are no less problematic in the ways the authorities routinely target poorer, generally non-white, citizens. This documentary about Tottenham, a less affluent area of North London (representative of similar urban areas around the country), doesn’t have much that’s good to reveal about the police as it tracks the aftermath of the killing of Mark Duggan, via the prism of two of his friends, Marcus and Kurtis. Although Duggan’s killing kicked off a series of riots in 2011, the causes of those clearly are a lot wider and go a lot deeper than just police brutality. By closely tracking its protagonists and their lives in Tottenham — on the Broadwater Farm housing estate where they grew up (the site of the murder of a police offer at an earlier riot in the 1980s), their difficulties in finding housing and work (in one case requiring relocation to another county entirely), and above all their struggle to stay away from criminality — the documentary gives a sense of the background to those riots, even as its articulate subjects dissociate themselves from some of the ways that the 2011 rioting expressed itself. Clearly a lot of work still needs to be done — and there’s no real sense that similar riots aren’t still bubbling just under the surface of society — but it’s good to see two young men reflecting intelligently on their lives and the way they’ve been shaped by their surroundings, and looking for a way forward, both for themselves and for their community.
NEW RELEASE FILM REVIEW
Director George Amponsah | Cinematographers Colin Elves and Matthias Pilz | Length 85 minutes || Seen at Curzon Bloomsbury, London, Tuesday 19 July 2016
There are, sadly, too many new films where I have to really struggle to say nice things when the film ultimately underwhelms me by overreaching with bad dialogue, over-elaborated symbolism or clunky metaphors. Indeed, all of the above, quite often. This has frequently been the case with new British films (and I can only imagine the situation getting worse in our post-“Brexit” world as European film financing dries up). Thankfully, then, this recent debut is on the whole rather delightful, even if it does have a certain twee and precious quality: its protagonist Anna (played by Jodie Whittaker) makes lo-fi films using her thumbs as characters; there’s a child portentously dressed as a cowboy (Ozzy Myers); and a love interest for Anna with a Jemaine Clement level of deadpan delivery (Brett Goldstein’s part-time estate agent Brendan). It’s certainly better than the director’s short film of a couple of years ago, for in expanding the premise of a 30-year-old woman living in her mum’s shed, it also adds to the pathos of her situation without overlabouring some of its plot parallels (the child whose situation mirrors her own could have been done so much more clunkily). Perhaps it’s just that Whittaker’s s gentle Yorkshire accent makes everything sound more agreeable, but I think this is on the whole a solid debut film and I look forward to more from director/writer Rachel Tunnard.
NEW RELEASE FILM REVIEW
Director/Writer Rachel Tunnard | Cinematographer Bet Rourich | Starring Jodie Whittaker, Ozzy Myers, Brett Goldstein | Length 96 minutes || Seen at Stratford East Picturehouse, London, Tuesday 28 June 2016