Tag Archives: class

Eavesdropping at the Movies: 113 – Mildred Pierce

We’re joined by Birmingham blogger Laura Creaven (www.constantlycurious.co.uk) for a discussion of our fourth Michael Curtiz film, the film noir Mildred Pierce. We’re glad of her perspective, as this is a film all about women, their relationships and desires.

We discuss the film’s flashback structure – though it helped the film get made in the Hays Code era, would the film be even stronger with a simple chronological plot? Class is everywhere too, motivating the mother-daughter conflict that’s central to the film, and we consider America’s class system and social mobility, and whether you could tell this story in Britain.

We look closely at Curtiz’s use of shadows and mirrors to imply off-screen space and create meaningful, poetic images. And there’s a lot to discuss in the construction of the characters, both male and female – we think about how masculine and feminine characteristics are deployed in both, and how roles are reversed.

Mike and Laura talk about how they each had differing attitudes to the framing device of showing the climax first, Mike wanting to know how the film would tie its plot up and Laura not caring very much. It reminds Mike of discussing Carmen Maria Machado’s brilliant short story The Husband Stitch (free to read here: www.granta.com/the-husband-stitch) with previous podcast guest Celia, and finding a similar difference in the experience. Mildred Pierce is without question a film aimed at women, but as a film noir does the framing device work to capture their interest?

And indeed, how much is the film a noir? With shadows and murder and intrigue, it’s inseparable from it, but there’s a lightness to the image and combination with family drama that serves to adjust it. To José the film is unambiguously noir; to Mike and Laura, the noir elements invade an otherwise normal world in interesting ways.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies: 101 – The Little Stranger

You find us in contemplative mood, picking apart a film described by José as “genuinely puzzling” and Mike as “The House with a Doc in Its Walls”. The Little Stranger builds light gothic horror around class and ambition in 1940s Warwickshire, a stately home providing the setting of the action and focus of Domhnall Gleeson’s town doctor.

With some difficulty, we attempt to grasp the film’s themes and intentions, never quite feeling we get the full measure of it. It doesn’t help that it basks, to some extent, in ambiguity, and also that half the lines are mumbled so as to be rendered truly unintelligible. There are things we like, particularly its sure sense of era and class, and its rich production design, but we can’t overall say we recommend it.

What we can recommend, though, is a visit to Evesham’s Regal Cinema, where we saw the film. A multipurpose venue that hosts live shows as well as regular cinema screenings, it oozes charm and style. A leisurely Sunday drive amongst sunny A roads took us there, and what a lovely day was had by all. Even if the film was a bit disappointing.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

Eavesdropping at the Movies – 92 – Crazy Rich Asians

An utterly charming, friendly rom-com set in and amongst the very wealthiest of the Singaporean elite, Crazy Rich Asians is also full of odd tensions and problematic complexities. In one sense a highly specifically Chinese story of a second-generation American immigrant’s return to Asia and the conflict she experiences in negotiating her way into a world that finds her somewhat unwelcome; on the other a genre comedy that would feel no different were the characters all white. It’s a friction that bubbles under everything, but the film is so light and likeable that it never spoils anything.

We find Michelle Yeoh’s performance as the intimidating mother-in-law a delight, her character completely avoiding the one-dimensional dragon mom stereotype. On the other hand, there are stereotypes in which the film does indulge, though we disagree on how critical we should be of that. Thinking back to Searching, Mike feels that that film’s joy of seeing ethnicity have no bearing at all on anything is not replicated here, as the film’s insistence on themes of separation from one’s background and identity come into conflict with its desire to be no different from any generic white rom-com. Jose doesn’t find this an issue, instead sinking into the diasporic aura of the film. We discuss the film’s occasional TV movie feel, its use of music, its depiction of class through accents, and the way the opening sets up a much darker, more subversive film than we get.

And above all, it’s really, really funny.

Recorded on 16th September 2018

Eavesdropping at the Movies #59 – Journeyman

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A boxing film that opens with its climactic fight and develops drama in its aftermath. We find Journeyman disappointingly contradictory – a showcase of performance, writing, and observation, executed with no cinematic nous or flair. Paddy Considine lacks credibility as a world champion boxer, but captures beautifully the impotent rage and misery of such a star physically and mentally diminished. His road to recovery is a clever and interesting twist on the typical boxing film formula of training for a life-changing fight, executed too sappily and casually.

A film we like but don’t admire.

Plus Bouquets to the Broadway Cinema in Nottingham. What a pleasure it is to see films in such a great place.

 

The podcast can be listened to in the player above or on iTunes.

We appreciate your feedback so do keep on sending it.

José Arroyo and Michael Glass of Writing About Film

Recorded on April 17th, 2018

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