Tag Archives: Tom Hanks

Eavesdropping at the Movies 37 – The Post

the post

Spielberg. Streep. Hanks. Nixon. A political thriller that adopts some clichés and slightly sidesteps some expectations, The Post is a historical drama that follows the internal conflict at The Washington Post during the Pentagon Papers scandal.

We find plenty to talk about in its parallels with the Trump White House and the current President’s attacks on the news media; its careful but stilted style; its relationship to the 70s cinema it evokes; its central figure of a woman out of place in a world of men; and the balance between its nationalistic boosterism of the US Constitution and American exceptionalism on the one hand, and its surprisingly direct denunciation of the powers that be in Washington. You can literally hear Mike learning about the Nixon era, live!

Also discussed: Mike loves Bridge of Spies, Jose doesn’t love Bridge of Spies, Mike thinks Spotlight is uniquely brilliant, Jose espouses his theory on Meryl Streep’s stardom, and why is everyone in the Post’s newsroom over 65?

Recorded on 22nd January 2018

 

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José Arroyo and  Michael Glass of Writing About Film

Bridge of Spies (Steven Spielberg, USA, 2015)

Bridge_of_Spies_poster

I found Bridge of Spies masterfully well-made, with an interesting look — lots of high contrast greys filmed with fish-eyed lenses — a very good central performance from Tom Hanks and a great one from Mark Rylance. It was also good to see all the wonderful German actors one recognises from Sense8 (Maximilian Mauff) and Homeland (Sebastian Koch) in supporting roles.

The film is based on a true story set at the height of the Cold War in which James B. Donovan (Hanks), an American lawyer, puts himself forward to defend the rights of Soviet spy Rudolf Abel (Rylance) and in doing so is then able to facilitate an exchange not only for Francis Gary Powers (Austin Stowell), a captured American U2 spy plane pilot, but also for Frederic Pryor (Will Rogers), an American student arrested in East Berlin.

It looks like an expensive film, with dozens of extras and intricate sets, an achievement considering its reported $40 million budget. The reconstruction of post-war Berlin, with its detailed view of the extent of its destruction and at that very  moment the divisive wall is going up, is particularly magnificent. However, the film also feels curiously old-fashioned and slightly smug.

The film is a guilty and anxious attempt to show America how to behave morally and well today by dramatising an incident of decency and humanity from its past achieved against the tide of public and institutional opinion. I thought of it in relation to Lincoln and I’m sure future scholars will group them as films of his maturity exploring similar concerns… and oh so responsibly. If you can ignore the preachy-ness of it’s tone, it’s enjoyable.

I had to force myself to see Bridge of Spies. How could one miss a film written by the Cohens and directed by Spielberg? And I’m glad I did. But it was a struggle. And in the light of that struggle and on the evidence not only of this film but of so many dull, worthy and well-made ones over the last decade or more (War Horse anyone?), one can’t help but ask ‘When did Spielberg cease to matter’

 

José Arroyo

 

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Britishness at the BAFTAS

Britishness seemed to be main motif in BBC’s broadcast of the BAFTAS Sunday evening. When host Stephen Fry mentioned that the event was the highlight of the British Film Calendar, he backtracked as he heard what he was saying and asked: Is there such a thing as a British Film Calendar?

He did well to ask because the constellation of stars he took great trouble to show off — Leonardo Di Caprio, Brad Pitt, Angelina Jolie, Cate Blanchett, Bradley Cooper, Amy Adams, Christian Bale, Tom Hanks – is no different than what we’d expect to see at the Oscars, though at the Oscars one wouldn’t have had to rely on Twitter to learn that Brad Pitt and Angelina wore matching Yves St. Laurent tuxedos, Lily Allen was in Vivienne Westwood, Amy Adams wore Victoria Beckham and Cate Blanchett wore McQueen – there would have been a whole series of programmes right up to the start of the broadcast breathlessly recounting every aspect in great details and using the very latest technological developments to broadcast every stitch to an eager public and garner worldwide unpaid publicity for the giant fashion houses. But as Oprah Winfrey said before the show started, ‘this (the Baftas) is not about glitz and glamour’.

But what are the BAFTAS about? What are they for? Presumably it’s to honour, celebrate and promote British Cinema. But one really wouldn’t have known that from the nominees of Best Film (12 Years a Slave, American Hustle, Captain Phillips, Gravity, Philomena), Best Director (Alfonso Cuarón, Paul Greengrass, Steve McQueen, David O. Russell, Martin Scorcese) Best Actor (Christian Bale, Bruce Dern Leonardo DiCaprio, Chiwetel Ejifor, Tom Hanks) or even Best Actress (Amy Adams, Cate Blanchett, Sandra Bullock, Judi Dench, Emma Thompson). Indeed when the first award of the evening was announced and Gravity won for Best British Film, the twittersphere went into a frenzy of speculation as to what was British about it with Droo Padhiar of Peccadillo pictures insisting ‘It is NOT a British film. It is NOT a British film. It is NOT a British Film’. Three times. Just in case one didn’t get the message.

Of course, one need not get too purist about these things. If the nominations don’t necessarily reflect a particular definition of British cinema, one which would probably run something along the lines of: films predominantly financed in Britain, about British stories, with a predominantly British cast and crew (Philomena, The Selfish Giant would be unproblematic examples), they do reflect British film culture: the films celebrated are the films that have entertained, delighted and informed us here, be they British or not. Moreover, later in the show when Cuarón returned to the stage to collect his award for Best Director and had presumably been made aware of the brouhaha over Gravity’s win for Best British Film he said, softly but pointedly: ‘I consider myself part of the British Film Industry. I’ve lived here for 13 years and made about half my films here. I guess I make a good case for the curbing of immigration.’ Yet, at the end of his speech, the cinematic culture Cuarón feels a part of was made clear and partly contradicted his earlier statement when he thanked Guillermo del Toro and Alejandro Iñárritu, Mexican compadres and current colleagues in the higher reaches of global cinema. ‘I wouldn’t order breakfast before consulting them first,’ he said.

The Britishness of the BAFTAS was visible at oblique angles and at ‘special’ moments; thus the event was hosted at the Royal Opera House in London, one won the ‘Alexander Korda Award for Outstanding British Film’, or the ‘David Lean Award for Outstanding Direction’. The Britishness was also evident in the special awards presented. Thus we had the pleasure of seeing Juliet Stevenson, still truly, madly and deeply dazzling with her looks and her eloquence praise Peter Greenway as a visionary who challenged existing cinematic forms and pushed the boundaries of where cinema and painting meet, and to award him the ‘Michael Balcoln Outstanding Contribution to British Cinema’. Greenaway  graciously expressed his surprise and commented on the changes in contemporary cinema: It’s not the same as the cinema of our fathers and forefathers. Cinema has to be continuously reinvented.’ Tellingly, the person he singled out for thanks was his Dutch producer Kees Kasander who he said somehow always managed to put together the money for the British director to realise his singular works (The Cook, the Thief, His Wife and Her Lover, Prospero’s Books, etc). Such is filmmaking today.

A concern with Britishness and the forms of its articulation continued as  a recurring motif. Earlier in the show, after Stephen Fry introduced her as a ‘ghastly piece of shrieking, stinking offal, Emma Thomson replied, ‘Is it me or being British that makes being referred to as stinking offal …makes me feel so much better about myself.’ The finale of the evening was when HRH The Duke of Cambridge in his role as President of BAFTA introduced Jeremy Irons to really bring out the pomp and ceremony and recount the highlights Helen Mirren’s career. Accepting the award for her Fellowship of the BAFTAS, Mirren first thanked her old teacher, Alice Welding, who recently died at the age of 102 for having inspired her to desire to live in a world of literature and poetry; and then finished off her acceptance speech with a dazzling oration that invoked both acting and Albion, the ‘stuff that dreams are made on’ speech from The Temptest:

Our revels are ended. These our actors,

As I foretold you, were all spirits, and

Are melted into air, into thin air:

And like baseless fabric of this vision,

The cloud-cappe’d tow’rs, the gorgeous palaces,

The solemn temples, the great globe itself,

Yea, all of which it inherit, shall dissolve,

And, like this insubstantial pageant faded,

Leave not a rack behind. We are such stuff

As dreams are made on; and our little life

is rounded with a sleep

It was a rather theatrical and very British end to a BAFTAS that saw 12 Years a Slave, a film which had Channel Four money, a British director and a large British cast, win Best Film but Gravity with its American money and cast and its Mexican director win Best British film. Chiwetel Ejiofor, black and British, won Best Actor. Oh and The Great Beauty the winner of Best Foreign Film didn’t even make it to the broadcast and was put in the little ‘These awards were handed out earlier’ addendum after the end of the main programme. The Britishness of these BAFTAS seems to be defined by placing America at the centre, various articulations of Britishness on the margins or ‘specialised’ categories, and Europeans out of the picture.

José Arroyo

A shorter version of this was published in the conversation as  https://theconversation.com/baffled-baftas-dont-know-how-to-be-british-23162