गल्ली बॉय (Gully Boy, 2019)

It wouldn’t be right to do a themed week around the musical and not cover at least one Bollywood film, an industry whose entire production in every genre seems to be somehow informed by the genetic material of the musical. It just so happens that some of them are rather closer to the form than others, and this film is at heart a film about music and the performance of it, as well as being something of a musical.


I suppose I was primed beforehand to be resistant to what appears (and, to a certain extent, is) the Bollywood reimagining of 8 Mile, with its aspirant rapper Murad (Ranveer Singh), who has to be coaxed into performing and then finds himself on stage trying out for the big time, with moneyed half-American hangers-on tempting him with their aspirational lifestyles. But really, this is a film that’s far more in its element when it’s dealing with the slums that Murad has come out of, about his secret relationship with Safeena (Alia Bhatt, whom I adore) — whose family are wealthier and whose parents would never consent to their being together — and about the difficulties he has just trying to live his life. After all, he has friends who are mixed up in carjacking and drug dealing, and so their easy access to money at times becomes too tempting. In some ways, class seems even more ingrained into the Indian films I’ve seen than in any other cinema, and it’s explicitly addressed here by the director Zoya Akhtar, as are the double-standards of Murad’s father, who has married a much younger second wife and then treats his first one badly — his actions are hardly excused, but we do get a glimpse into the grinding poverty and lack of opportunities he’s been given in life, and the extent to which he has given up hope of it ever changing. Given the film’s big-budget production background, none of this context was ever likely to be as gritty and depressing as it could be, but all the themes are very much there. Still, for all that, and for all the enjoyment in its big musical competition scenes, any lead character who could even think about cheating on Alia Bhatt will never fully have my sympathy.

Gully Boy film posterCREDITS
Director Zoya Akhtar ज़ोया अख़्तर; Writers Akhtar and Reema Kagti ৰীমা কাগতি; Cinematographer Jay Oza जय ओझा; Starring Ranveer Singh रणवीर सिंह, Alia Bhatt आलिया भट्ट; Length 153 minutes.
Seen at Cineworld Wood Green, London, Wednesday 20 February 2019.

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Two Films by Beyoncé: Lemonade (2016) and Homecoming (2019)

There are, of course, many ways for a film to be musical. As a genre, the musical is a narrative form with singing (and often dancing), but then there are films that deal at a more basic level with the performance of music itself. Some of these (such as concert films) are easy to separate, but the music video can be a form of narrative expression, and several artists have in recent years extended this form to feature length, not least Beyoncé in her solo work. In many ways, her ‘visual album’ Lemonade is a narrative, and certainly the film that accompanied its release has a structure that uses poetic voiceover to link what might be considered discrete music videos into something approaching a cohesive whole. She followed this with a tour that Homecoming ostensibly documents, although it also presents the performances in extensive chunks.


Lemonade (2016)

I feel like I could do that thing of saying what this hour-long visual poem/musical album reminds me of — because there are clearly visual and cinematic cues here — but I don’t really feel equal to that at all. Instead, I’ll observe that to me Lemonade feels both intensely personal (it has two key credited directors in Beyoncé and Kahlil Joseph, alongside many co-directors, but this is an auteur work by Beyoncé more than anyone else) as well as being something of a catalogue of Black visual representations in many styles, from many eras and in many places. In the sense of it being personal, I mean not that it’s a capital-S Statement by Beyoncé about her own life (it may be, but that’s not really what makes it interesting to me), so much as an engagement with a history and dynamic of representation, racism, misogyny, artistic heritage, motherhood, feminism, et al., as refracted through her own personality and shared experiences. I’m probably not really putting this very well, so maybe I should say instead that I think it’s thrilling and wonderful, poetic in style (and interspersed with literal poetry), densely elliptical in its thematics (but maybe that’s just because it’s not aimed at me). It’s not a collection of music videos; it’s a film. And it’s wonderful.

Lemonade film posterCREDITS
Directors Beyoncé [as “Beyoncé Knowles-Carter”], Kahlil Joseph, Melina Matsoukas, Dikayl Rimmasch, Mark Romanek, Todd Tourso and Jonas Åkerlund; Writers Beyoncé and Warsan Shire; Cinematographers Khalik Allah, Pär Ekberg, Santiago Gonzalez, Chayse Irvin, Reed Morano, Dikayl Rimmasch and Malik Sayeed; Starring Beyoncé; Length 65 minutes.
Seen at home (download), London, Wednesday 27 April 2016 and Sunday 8 May 2016.


Homecoming: A Film by Beyoncé (2019)

A record of Beyoncé’s two headline Coachella performances in 2018, interwoven with voices and quotes from prominent Black intellectuals and artists, and backstage snippets of the huge amount of preparation and training that went into this event. Clearly Beyoncé is drawing on a huge range of influences, not least the energetic dancers and musicians of historically black colleges and universities of the American South, hence the Greek letters in the title, and the design of the logo prominently displayed on the performers’ clothing — as, after all, Beyoncé here seems to be creating her own sorority (Beta Delta Kappa) for this ‘homecoming’ to the stage of an historically white-dominated music festival.

Her huge phalanx of talented performers are largely seen on the pyramidal stage which forms the foundation of the whole spectacle — and I’d say it looks cool, which it undoubtedly is, but it’s likely there’s some deeper significance there as well, perhaps a hint at the masonic origins of the (historically white, and usually fairly exclusionary) Greek-lettered fraternities and sororities, or a nod towards her Egyptian forebears as a gesture towards an almost imperial dominion. After all, she also has huge lit-up letters forming the word DIVA, which are illuminated only for a very short period while she’s singing that song, and suggest a playful self-critique while also very clearly being a loud signal that no one should be messing with her.

There are all these kinds of things, a dense network of allusions and references, running through her performance, and it would be beyond me to try and understand (or even list) them all, but needless to say, it’s a glorious and sustaining piece of work.

Homecoming film posterCREDITS
Director/Writer Beyoncé [as “Beyoncé Knowles-Carter”]; Cinematographers Mark Ritchie; Starring Beyoncé; Length 137 minutes.
Seen at home (Netflix streaming), London, Thursday 18 April 2019.

Yentl (1983)

Another key figure not just for the American musical but for music and indeed society itself, from the 1960s on, is Barbra Streisand. She is a towering presence in a number of films created around her charismatic on-screen persona, but she moved into directing as well, most notably with this adaptation of a Isaac Bashevis Singer play and short story.


There’s probably no real intellectual response to this film, because you’re either partial to Barbra Streisand or you’re not. She certainly does dominate the film, though when he shows up a young Mandy Patinkin does distract attention somewhat, even if (perhaps wisely) Streisand doesn’t give him any singing to do — the music is all for Yentl to perform, for hers is the central drama. Her struggle is against the religiously-mandated life that has been set out for her in early-20th century Poland — wife and motherhood — when all she wants to do is study and learning, right from the very outset (when we see her buy a religious text off a passing bookseller). So she cuts her hair and goes into town, dropping quotes from the Talmud and enrolling in a yeshiva with aforementioned Avigdor (Patinkin), who’s engaged but doesn’t really want to get married. The production values are big, of course, and it’s all rousingly put together. The incipient gender-non-conformist themes are somewhat let down in the final act, but it does enjoyably flirt with these ideas for at least part of its running time, and that (along with those central performances) probably keep it worthwhile.

Yentl film posterCREDITS
Director Barbra Streisand; Writers Streisand and Jack Rosenthal (based on the play by Isaac Bashevis Singer and Leah Napolin, itself based on the short story “Yentl the Yeshiva Boy” by Singer); Cinematographer David Watkin; Starring Barbra Streisand, Mandy Patinkin, Amy Irving; Length 131 minutes.
Seen at home (DVD), London, Sunday 25 August 2019.

Love Me or Leave Me (1955)

You can’t possible cover musicals without touching on the output of Doris Day, truly a luminous figure in the 1950s for Hollywood musicals. Today’s film marks rather an odd and startling entry into the genre, with some pretty dark themes. However, it has its share of big numbers, and Day carries it through easily.


Having gone to see this because I assumed “Doris Day” + “musical” would mean light and fluffy (thinking to her 1960s roles perhaps), I was rather taken aback by quite how dark this behind-the-scenes of the entertainment business story is. It’s a fictionalised version of a real story from the 1920s and 30s, of nightclub dancer Ruth Etting (Doris Day) whose career takes off as a singer and Hollywood actor thanks to some initial help from small-time gangster Marty Snyder (James Cagney), but then she finds herself stuck with him. Right from the off he’s aggressive and unpleasant, believing himself to be far more than he really is and taking violent umbrage to anyone who disputes his narcissistic idea of himself. There are these occasional quiet moments where you get the sense of his inner turmoil, but he’s never anything less than utterly vile, a nasty violent spirit of pure patriarchy at work, shaping Ruth’s career and pushing her to do things he wants (and to quit the things he doesn’t want as soon as the power starts to go her way).

Day is excellent in moving between this glamorous stage presence to a woman behind the scenes who is barely able to control anything she does and lacks the will to follow it through — being a big mainstream musical, there are times when you can see how much darker this could go though the film sort of swerves to avoid some of the narratives being set up: for example, we see her starting to drink heavily as her relationship gets worse; or there’s the fade to newspaper headlines about her sudden marriage to her manager Marty just after he basically initiates a rape to extract what he think’s he’s “owed”. Truly, there is some deeply bleak stuff in what is otherwise a handsomely staged period musical, which makes it both difficult to watch at times but also fascinating.

Love Me or Leave Me film posterCREDITS
Director Charles Vidor; Writers Daniel Fuchs and Isobel Lennart; Cinematographer Arthur E. Arling; Starring Doris Day, James Cagney, Cameron Mitchell; Length 122 minutes.
Seen at Regent Street Cinema, London, Wednesday 24 July 2019.

LFF 2019 Day Twelve: So Long, My Son and Bombay Rose (both 2019) and House of Hummingbird (2018)

My final day of the London Film Festival sends me to three films from Asia (two directed by women), and all of which deal with families in their various guises, though Bombay Rose has more of a romantic flavour than the other two. All three represent reasons why I continue to love contemporary cinema, and value the films that the LFF presents.

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LFF 2019 Day Eleven: Star-Crossed Lovers (1962), Overseas, Scales and Relativity (all 2019)

My penultimate day at the London Film Festival started with a screentalk from Kasi Lemmons, director of Harriet (part of this year’s festival, though sadly a film I shan’t be seeing here, as it was a late addition), but also many other films I’ve loved over the years. Her five feature films were all covered, with clips provided, in an interview chaired by Gaylene Gould, and I’m reminded of how underrated and funny Talk to Me (2007) is, not to mention her seasonal musical drama Black Nativity (2013), though of course it’s Eve’s Bayou (1997) which received the most attention, and for good reason. Lemmons was voluble about her career, which stretches back to her early childhood as an actor, and is an inspiring figure in general, happy to speak to her many admirers after the screening. I did not ask a question, although I do wonder how the film will be received Stateside, given the recent prominent critiques of Black British actors playing iconic African-American figures. I certainly plan to see it though, and Cynthia Erivo has already shown in Widows that she’s a star in the making. Of the four films I saw, they span several countries, including two German films (one from the East in the 1960s, and the other a recent mystery thriller) both with slightly tricksy narrative structures), two black-and-white films (the East German one and a recent Saudi film directed by a woman in a magical realist style), and one documentary.

Continue reading “LFF 2019 Day Eleven: Star-Crossed Lovers (1962), Overseas, Scales and Relativity (all 2019)”

LFF 2019 Day Ten: The Juniper Tree (1990) and Clemency (2019)

My two films for the third-to-last day of the London Film Festival were two dramas touching on murder, both made by American directors, although quite different in many other ways. After all, one is a Mediæval-set Icelandic folk tale based on a Brothers Grimm fairytale (i.e. the proper weird old-world stuff), and the other is set at a Death Row facility in the States, but in both settings the characters follow their own twisted logic to its murderous conclusions.

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LFF 2019 Day Nine: Lingua Franca and Heart (both 2019)

Only two films today, as I used the evening to have some birthday drinks for myself, but both films I saw were written and directed by a woman who also took the lead role, and one gets the sense that both films are about their respective directors. As such the ways that they each approach themselves as subject probably reveal plenty about their respective situations, as the Korean film is more broadly comical.

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تهران شهر عشق Tehran shahr-e eshgh (Tehran: City of Love, 2018)

I can’t say I was expecting a Nordic-style deadpan multi-strand story of three misfits looking for love from an Iranian film (in a post-screening Q&A the filmmaker quoted Kaurismäki, Roy Andersson and Jim Jarmusch when naming his reference points), though the fact that it’s shot through with a sort of hangdog melancholy feels a bit more in keeping with what I’ve seen from the area. It’s lovely, though, both in its filmmaking and the performances — lots of carefully-composed frontal shots, with very low-key interactions as we watch the characters’ faces carefully for signs of reaction: brief flickering smiles from the cosmetic surgeon’s receptionist Mina (Forough Ghajabagli); anything that’s not utter gloom from funeral singer Vahid (Mehdi Saki); and a hint of same-sex attraction from bodybuilder Hessam (Amir Hessam Bakhtiari). Nothing quite goes as you think it might, but equally nothing goes truly dark, there’s just the constant undercurrent of potentiality as well as absurdity, and it’s sort of lovely to see each of these three characters come out of their respective shells, even briefly.

Film posterCREDITS
Director Ali Jaberansari علی جابر انصاری; Writers Jaberansari and Maryam Najafi مریم نجفی; Cinematographer Mohammad Reza Jahanpanah محمدرضا جهان پناه; Starring Forough Ghajabagli فروغ قجابگلی, Mehdi Saki مهدی ساکی, Amir Hessam Bakhtiari امیرحسام بختیاری, Behnaz Jafari بهناز جعفری; Length 102 minutes.
Seen at Vue West End, London, Friday 19 October 2018.

LFF 2019 Day Eight: Portrait of a Lady on Fire and Maternal (both 2019)

My eighth day of the festival should have been filled with more films, but I ended up not going to the third. Perhaps you could say the long hours were getting to me (I did feel my eyelids getting heavy briefly during Portrait), but actually something else came up. However, the two I did see both presented fascinating films about women’s lives, neither of which featured men at all (or almost never), though of course patriarchal control was never too far from the surface.

Continue reading “LFF 2019 Day Eight: Portrait of a Lady on Fire and Maternal (both 2019)”