To call this film gentle would probably be an insult to gentility, but sometimes that’s all that you want as a viewer. It’s a story of a love affair between two 80-somethings played by Shirley Maclaine and Christopher Plummer, after they’re moved into adjoining apartments by their fussy children (Marcia Gay Harden and Scott Bakula respectively). The character arcs — whereby Elsa is the sparky vibrant one who has a love of the film La dolce vita, and who coaxes Fred out of his shell — would be tiresome if the actors were a third their age, but you don’t see too many films about love amongst the elderly, so it’s nice to know the actors can still get work. Both have an easy charm, and the director keeps things firmly middle-of-the-road, avoiding the worst excesses of sentimentality (until the finale at least). Easy to forget, but hard to really take too vociferously against.
FILM REVIEW Director Michael Radford | Writers Michael Radford and Anna Pavignano (based on the film Elsa y Fred written by Marcos Carnevale, Marcela Guerty and Lily Ann Martin) | Cinematographer Michael McDonough | Starring Shirley Maclaine, Christopher Plummer, Marcia Gay Harden, Scott Bakula, Chris Noth | Length 94 minutes || Seen at home (DVD), London, Tuesday 30 June 2015
I may go to see a lot of films, but the Indian film industry (Bollywood, if you will, at least when describing Hindi-language film production) is still largely a mystery to me. The popular notion is that it’s all glitzy overblown melodrama punctuated by dance numbers, but if anything Piku proves there’s still plenty of room for refreshingly grounded character-based drama. But Piku is a success no matter what country’s film output you’re used to watching, as it manages to find a light comedic tone even while dealing with some pretty big themes in an understated way. Key to that is the film’s central relationship, which isn’t a love story; in fact, the film should be commended for introducing a female central character (the Piku of the title) who lives independently, has a fulfilling and successful career and, even up to the very end, does not define her life (as some of those around her do) by whether or not she has a man. No, instead the film is largely a two-hander between the testy and stand-offish Piku — the resourceful and beguiling Deepika Padukone (who in the course of this one film has quickly staked her claim on my affections at least) — and her irascible father Bhaskor, the latter of whom is played by an icon of Indian cinema, Amitabh Bachchan, who turns out to have pretty deft comic timing. The film’s subtitle or maybe tag-line is “motion se hi emotion” which (as far as I can gather from, er, Google translate) means “motion leads to emotion”, where the ‘motion’ in question is at one level a reference to the film’s last third being a road trip, but more specifically refers to bowel motion, and indeed Bhaskor’s constipation is the film’s ongoing running gag — which to be fair does provide some intermittent amusement. If this were all the film had to offer, I wouldn’t be able to recommend it, especially as, for all the wit and vigour of Juhi Chaturvedi’s dialogue, the editing can get rather frenetic at times and the film doesn’t always entirely succeed in tying together a disparate range of genres. However, ultimately, the toilet humour is more a way to channel issues around ageing and death, as Bhaskor deals with his mortality and his relationship to his wider family, including his daughter. In the end, it’s touching, and while there is a romantic subplot of sorts (with Irrfan Khan’s entrepreneurial taxi company owner), the focus is firmly on the father-daughter relationship.
NEW RELEASE FILM REVIEW Director Shoojit Sircar | Writer Juhi Chaturvedi | Cinematographer Kamaljeet Negi | Starring Deepika Padukone, Amitabh Bachchan, Irrfan Khan | Length 125 minutes || Seen at Cineworld Wood Green, London, Monday 11 May 2015
For this first review in my themed month, I’ve chosen a documentary, the most straightforward way to deal with the art of filmmaking. Needless to say this one by Portuguese director Pedro Costa is hardly straightforward and instead presents an elegiac look at a vanishing art, filled as much with darkness as light in its depiction of two avant-garde filmmakers at work.
SPECIAL SCREENING FILM REVIEW: ‘Films about Filmmaking’ Theme || Director Pedro Costa | Cinematographers Pedro Costa and Jeanne Lapoirie | Starring Jean-Marie Straub, Danièle Huillet | Length 104 minutes | Seen at Institute of Contemporary Arts, London, Thursday 9 January 2014 || My Rating excellent
The majority of my reviews on this blog are of mainstream releases, and I can’t really pretend that the reviews for films I get around to seeing on the arid and obscure nether reaches of auteurist ephemera ever really garner much in the way of readership. Yet growing up in New Zealand there were few destinations to see decent films, so my tastes soon got shaped by the programming at the annual film festival and by my local video shop (Aro Street), and then of course I studied film at university. So I still get a thrill watching stuff that in our digital download age remains properly hard to come by, made by filmmakers with little regard for the norms of narrative cinema or apparent interest in the capricious tastes of audiences. The filmmaking team of Jean-Marie Straub and Danièle Huillet are figures from a past generation of cineastes that spring most easily to mind in this respect, just as Pedro Costa can be numbered among a more updated, modern strand of the same kind of cinematic mentality (though their methods are quite different). So this documentary made by the latter about the former, for an excellent French TV series called Cinéastes de notre temps (therefore not entirely obscure), was already fascinating to me, and seeing it in a cinema with the director present and a full audience reminds me that the cinema exemplified by Straub/Huillet and Costa need not to be quite so abstracted and rarefied a pleasure. Its appeal need not even be restricted to those with an interest in either of these auteurs, for the film which results is about filmmaking as a craft — primarily via a focus on film editing — and about finding that passion for something you love, even as it all feels a little bit elegiac.
NEW RELEASE FILM REVIEW || Director/Writer J.C. Chandor | Cinematographer Frank G. DeMarco | Starring Robert Redford | Length 100 minutes | Seen at Cineworld Chelsea, London, Thursday 26 December 2013 || My Rating excellent
The end of the year, when people traditionally have more holiday time, always brings lots of interesting films to cinemas, which makes it difficult to compile a ‘best of’ before one has seen the whole year out. Here in the UK we have not yet had American Hustle (except in one West End London cinema) or The Wolf of Wall Street, and 12 Years a Slave has only been at the London Film Festival, but Boxing Day sees the release of this one-man acting effort from Robert Redford, albeit a few months after it was released Stateside. And it’s fair to say that it makes a strong contender for a year-end best list, despite its very stripped-down plot. It’s going after similar survival-against-the-odds territory that Gravity was aiming for, but at its best All Is Lost more successfully earns its obvious spiritual dimension. After all, it deals with the grandest of themes — the ones usually focused on in the liturgies of organised religions — which is to say, redemption through suffering, grace and salvation.
NEW RELEASE FILM REVIEW || Director Alexander Payne | Writer Bob Nelson | Cinematographer Phedon Papamichael | Starring Bruce Dern, Will Forte, June Squibb | Length 115 minutes | Seen at Cineworld Haymarket, London, Monday 9 December 2013 || My Rating excellent
My take on Alexander Payne’s films that I’ve seen is that they lament the way that masculinity is threatened or is in decline. Maybe that’s too simplistic, but they always seem to me to be very male-centric films. With Nebraska, the decline on show is very much physical, dealing as it does with the stooped and broken figure of 80-year-old Walt (played by Bruce Dern) trying to collect the million dollars he believes he’s won in a sweepstake. He’s abetted on this quest — very much reluctantly — by his son David (a hangdog Will Forte), and together they move from Montana to Nebraska, trailing back through Woody’s own family history. Still, whatever the pleasures of these two characters (and both are very well-acted), for me the film’s highlight is Woody’s cranky wife Kate (June Squibb), who is unconstrained in her criticism of both her husband and son, and their foolishness.