Month: July 2016
New FB game doing the rounds. An FB friend asks you to list your X favourite films. Kevin Stenson gave me 21 and I wrote the first ones that came to mind, in order, without reflecting. It will almost certainly change tomorrow. I nonetheless thought it worth sharing.
1. Law of Desire
2. A tout prendre
3. Tokyo Story
4. Rocco and His Brothers
5. Spirit of the Beehive
6. Some Like It Hot
8. Les Parapluies de Cherbourg
9. La Verité
10. Written on the Wind
12. Meet Me in St. Louis
13. Swing Time
14. A Star is Born (Cukor version)
15. Dog Day Afternoon
16. Foul Play
17. North by Northwest
18. Big Deal on Madonna Street
19. Bringing Up Baby
21. Los Olvidados
Le Samouraī is all slate-grey sadness edged by Courrèges-like white modernist elements and encased in lazy jazz. Plus Alain Delon in his prime: Gorgeous. I had the luck to see it at the Cine Doré, the cinema where Benigno (Javier Camará) goes to see the silent ‘The Shrinking Man’ in Almodóvar’s Talk to Her and which acts as a metaphor for a loving violation. It’s worth remarking that the Spanish title of Le Samouraï, El silencio de un hombre, which translates literally as ‘A Man’s Silence,’ here markets noir, whereas a woman’s silence, like the women in Talk to Her, women whom circumstance prevent their speaking their truth, would instantly connote melodrama. The connections between noir and melodrama interest me and Le Samourai, like Talk to Her, is mired in muteness.
Delon’s Jeff Costello appears to us as languid loneliness enveloped in puffs of smoke from the first shot and he remains – not autistic, not even impassive – rather recessive, detached throughout. Is it that he can’t speak his ills or that he simply doesn’t know them? No matter, Melville and the film do, and every frame and camera move speaks them. The world of Le Samourai is a dirty one for a professional hit-man who claims some honour. Delon’s Costello is focussed on doing but disconnected from being, yet wanting. He’s desired but unable to reciprocate such longings: desire would imply longing, wanting and indicate a rooted and fleshly existence that Costello seems detached from. It’s a glorious film. Lovely print too. My main visual memory is an image of Delon as Costello, filmed outside his car window, rendered out of focus by fog and rain. The most memorable scene is the last one, where his professionalism battles his honour and Being succumbs to Nothingness.
Now You See Me: The Second Act (John M. Chu, 2016)
I rather liked Now You See Me; and I love caper films, magic, Mark Ruffalo, Woody Harrelson, Jesse Eisenberg and Morgan Freeman. But all of that together didn’t add up to liking Now You See Me: The Second Act. Daniel Radcliffe is a very unsatisfactory villain; that he’s often paired with Michael Caine in the frame invites comparison and only highlights his shortcomings: one can see that Radcliffe is giving a performance that’s been thought through but Caine still squeezes more out of one tired look or the way he says ‘bastard’ than Radcliffe does from his whole frantic performance. Moreover, the camera woozes about all over the place. And the cons have to be painstakingly explained as an addendum at the finale. It wasn’t painful to watch. And there was a moment where one of the wonderful card-trick set-pieces was revealed, where the guy behind me said ‘Ooohh that’s so sexy’. But it could have been so much better. The inclusion of Chinese elements (language, location, casting) as a way of catering specifically for that market I have mixed feelings about: it could be enrichingly multicultural or it could seem a cheap commercial gimmick. Here it feels the latter. Too bad.
The Legend of Tarzan (David Yates, 2016)
Will anyone care that The Legend of Tarzan is terrible?: Christoph Waltz is the villain and Alexander Skarsgard swings half-naked from trees on IMAX. The filmmakers have tried really hard to resolve issues of racial representation. It’s everywhere evident. But they’ve failed, again; and it might just be that they are insurmountable if one takes Edgar Rice Burrough’s world as a given. This is all a fight against the King of the Belgians enslaving the peoples of the Congo; so its got a historical basis which neatly creates a villain whilst leaving a history, not to mention an analysis, of British colonialism untouched and neatly off the hook: the racial politics are, at best, contorted. Margot Robbie is acceptable but doesn’t shine. Samuel L. Jackson is Samuel L. Jackson. Waltz is Waltz. Djimon Hounsou looks and acts better than both. But Hounsou’s performance and Alexander Skasgård swinging half-naked from a tree do not compensate: the film is terrible.
Absolutely Fabulous: The Movie (Mandie Fletcher, 2016)
I loved Ab Fab the movie. It’s trashy, inconsequential, uneven but with great jokes and many real laugh-out-loud moments. Like the show, but with everyone looking 20 years older and the film making that it’s central issue. When discussing the film with friends, I was surprised that so many of them took issue with Jennifer Saunders. She’s shy and stiff and awkward and not a natural performer. But she makes that funny to me. This is the type of film where Joan Collins appears in multiple cameos as herself, all trying to look 25. If you can’t see the humour in that, or in the film actively responding to internet rumours that Patsy might really be Patrick, stay home. If you think Kate Moss drowning in the Thames might make front pages internationally and care about Jean-Paul Gaultier, this film is definitely for you.
Badlands (Terence Malick, 1973)
A real treat to be able to see Badlands again in a gorgeous print at The Electric Cinema in Birmingham: the landscapes, the tone, Sissy Spacek: all were better than I remembered; and Martin Sheen wasn’t as bad. I first saw it when I was a teen and then found it dull and unexciting. I have seen it since, but on a small screen, and the effect of the landscape also passed me by. It’s simply gorgeous in this print and on a big screen; it affects you viscerally in a way that it hadn’t me when seen on a TV monitor. I learned to appreciate it as I got older but didn’t really love it until now. It is definitely a serial killer road movie. Spacek not only looks the part so terrifically but she does tiny gestures, lovely, that flesh out a performance ever so beautifully and that are communicated clearly and powerfully on a big screen. I’m still uncertain about Sheen. Personally, I don’t find Spacek falling for him so quickly is credible: his tightly worked-out but pinched and slightly contorted body, his lack of height, which no careful staging can conceal; his age. Why he falls for her is clear; the reverse isn’t quite. I took it as a conceit of the film; something one simply decides to accept. Sheen is interesting because everything he does is good but I can imagine other people being more effective in that part (for some reason Jan-Michael Vincent, then a hot up-and-coming star but not nearly as good an actor, is the first to come to mind as better casting; someone with a real sexual threat that doesn’t need unexpectedly shooting people to convey it); a fascinating oral history of the film in GQ mentions that Don Johnson and Robert De Niro were also mooted for the part. All then had the sexual threat and the charisma that Sheen lacks here. On the other hand, this is all speculative. Sheen is a wonderful actor and is better than good here. And really, it’s all quibbling. Badlands is a work of poetry and a truly great movie.