Friday 28 November 2014

Effie Gray.



There was an unusually strong difference of opinion at this weeks Robert Burns Centre Film Theatre’s Film Club showing of Effie Gray (2014). Which included a walk out by a regular film club attendee part way through the film and following the screening a lively debate about the pro’s and cons of this divisive movie. I can only give you my personnel opinion which I think was shared by a number of the audience but not, I must say, by all those that were present.
 
Euphemia Gray.
This humourless Victorian period drama tells the true story of Scottish born Euphemia Gray (Dakota Fanning) who married the art critic John Ruskin (a rather unconvincing Greg Wise) when she was 19 year old and he was 37. She left her husband without the marriage being consummated and after it was annulled she married the Pre-Raphaelite painter John Everett Millais (Tom Sturridge) in 1855.  
 
John Ruskin.
Directed by Richard Laxton, best known for his television work, it has a screenplay written by Emma Thompson, who also appears in the film as Elizabeth Lady Eastlake an art critic in her own right and wife of Sir Charles Eastlake who was the director of London’s National Art Gallery. The film's release was delayed by lawsuits alleging that the Thomson’s script was plagiarised from earlier dramatisations of the same story but she won her case and the movie was eventually released to mixed reviews two years after it was completed.
 
John Everett Millais.
This is in fact another story about cruelty to women, which I am sure we are all aware happens in all works of life. Earlier this week I saw The Homesman (2014) that dealt with the way women were treated in America’s mid west farming community. Now we get the same problem but involving the rich and privileged classes. The difference is wealth and how in the upper echelons of English society the problem is dealt with in an entirely different way, approaching people with the right connections, and the money to engage men of legal standing to “serve papers” – problem solved!!
 
Something about this painting brings to mind Nick Cave and Kylie Minogue? (http://youtu.be/lDpnjE1LUvE)
The movie is very much like the John Ruskin portrayed on our screens, a great lump of cold emotion. A story of a man who is incapable of giving what his wife what she most desires: love, happiness and respect. But again I’m drawn to say that there can’t be a less engaging story to make a film about.  And like the Scottish locations chosen for the film it is a stark and emotionless tale of people that are not very likeable - really that sums up the film for me?   








Thursday 27 November 2014

The Homesman.


Tommy Lee Jones is a clever individual, ostensibly an actor he can direct, write and produce and in the case of his latest project – all four at the same time. Although he did have the support of the great French filmmaker Luc Besson in the production of what has been called a feminist western by some commentators. The Homesman (2014) takes place in the 1850’s and is set in the Midwestern United States in Nebraska and Iowa. It’s based on the 1988 novel of the same name by Glendon Swarthout who was also responsible for the source novel for John Wayne’s very last film The Shootist (1976) which had a screenplay co written by the novelist son Miles Hood Swarthout, which is coincidently about the last days of a dying gunfighter, played by the then dying Wayne.
 
Mary Bee Cuddy is a 'good woman'.
As well as Tommy Lee Jones the movie features a great performance from Hilary Swank as Mary Bee Cuddy a proud strong middle aged spinster women who is an integral part of the Nebraska farming community, a women with land and “money in the bank” but who is unable to find her self a husband, accused of being “too bossy” and “too plain”. But when three poor women are deemed to have lost their minds it is decided to take them back East to their families to see if they can be ‘cured’. It’s Mary Bee who gets the job to transport the women on what is only expected to be a five-week journey! She rescues a man from being hung and enlists his help to drive the prison type coach and horses across a barren and treacherous country side, battling not only the weather and Indians but her ‘press ganged driver’ George Briggs (Jones) and three dangerously deranged women. 
 
It's a hard journey for Mary Bee and George.
Admittedly not the normal subject for what is an unusual type of western but one that is certainly different.  As well as depicting the harsh life of the early settlers the movie illustrates the effect this life it has on women and how it can not only result in physical bodily damage but also influence their mental well-being. The pressures of a forced marriage and the need to give birth to healthy children on a regular basis do nothing to help this problem.
 
George Briggs come to the rescue of the three women.
The movie features an ensemble cast that includes Meryl StreepHailee Steinfeld, John Lithgow, and James Spader. Cinematography is by the celebrated Mexican cinematographer Rodrigo Prieto who won an Academy Award for his camera work in 2005’s Brokeback Mountain. Marco Beltrami is responsible for the films exceptional score. At times the film can be a disturbing watch but its real strength’s are the growing relationship portrayed on the screen between Mary Bee and George Briggs and Jones’s exploration of the ‘female condition in the mid 19th century American West[1].

Would you rescue this man from the rope?



[1] Press Kit Interview with the director.

Wednesday 26 November 2014

The Magnificent Seven.



People often asked what are my favourite movies and my normal answer is that I watch so many that I could not really say. But I going to let you into a secret, I do have three films that I saw at the cinema on their initial release and since have seen them many more times than I care to remember!
 
Chris Adams
I knew when I came out of the film theatre in Enfield some thirty-five years ago that I had just witnessed something really special. Since then I have watched the 1979 original and the 2000 Redux many times at home. In 2011 I had the privilege to watch Francis Ford Coppola’s restored and remastered Apocalypse Now (1979) on the big screen again at the Robert Burns Centre Film Theatre and after all these years it had finally been confirmed: this is my all time favourite movie the one I hate to love! It’s an American epic war film set during the Vietnam conflict, directed and produced by Francis Ford Coppola and starring Marlon Brando, Martin Sheen, and Robert Duvall. It deals with the psychology of war and follows a special operations officer sent to kill a U.S. Army Colonel who had gone ‘native’.
 
Vin Tanner.
Then of course there's Quentin Tarantino's  ‘cool universe’, a place that is hard and fast, funny, stylish and filled deliberately with some clever references to other cinematic works. Pulp Fiction (1994) is a film that defined American cinema in the 90’s. A piece of cinematic work that is central to its age, influencing many films that followed. A film that veers back and forth between humour and violence, a film where your never sure if you should be laughing or cringing.
 
Britt
But the film I’ve seen the most over the years is a western, which as a wee boy was my favourite genre. I first saw The Magnificent Seven in 1960 when it was released and have lost track of how many times I've seen it since. Revisiting  A Fistful of Dollars (1964) recently gave me an inclination to see the John Sturges movie one more time. For some strange reason it has never lost its appeal from seeing it at the Angel Islington cinema as a schoolboy some 54 years ago. For me it has a familiar, comfortable feel but is still totally engaging and manages to bring an emotional lump to my throat from the first time we meet Chris Adams (Yul Brynner) and Vin Tanner (Steve McQueen) taking a dead Indian in the hearse up to the towns Boot Hill to be laid to rest. There they meet armed opposition which is quickly dispensed with by these two gun fighters, then up comes the now familiar Elmer Bernstein score, the hearse is driven at speed back to the undertakers office much to the enthusiasm of the towns inhabitants and passing travellers. This brilliant scene sets the tone for the rest of the film.

Harry Luck.

I'm sure your familiar with the story that was specifically adapted from Akira Kurosawa’s 1954 masterpiece (and I don’t use that term lightly) Seven Samurai with Sturges adapting it to fit into the western genre with the Ronin, master less Samurai, replaced with gunfighters.
We are south of the border in Mexico, in a small village where its farmers are being harassed by the bandit Calvera (Eli Wallace) and his men who invade the village and steal some of the crops that’s have been stored following their harvest, threatening to return and take the rest. Some of the more adventurous villagers want to buy some guns and fight the bandits next time they pay them a visit. To this purpose they travel across the border into America and set about buying the weaponry they require. Witnessing the successful conclusion to the burial of the Indian they approach Chris and ask him to buy the guns for them. Although dressed in black and an obvious gun fighter he seems an honest man and when he offers them the advice that it would be cheaper to buy men with guns, rather than just guns they readily except his help in hiring the gun fighters they require to carry out the task that the farmers are not really competent to carry out themselves. Thus begins the recruitment of men to join Chris in this crusade back across the Mexican border.

Bernardo O'Reilly.

Obviously the handsome drifter Vin, who has since riding shotgun on the hearse lost what money he had on the gaming table in a Saloon Bar, joins Chris in his recruitment drive. The next to join is Britt (James Coburn) a man with little to say who is as good with a knife as he is with a gun, a man whose not interested in money (the farmers are only offering $20 for a six week contract!) only the challenge. Next up is Harry Luck (Brad Dexter) a very old friend of Chris who believes there’s more to it than it than just $20!  Next they find Bernardo O’Reilly (Charles Bronson) chopping wood for food, he is a veteran gunfighter who has taken part in the range wars for money but has fallen on hard times.  After killing the Johnson Brothers in a gunfight the smartly dressed Lee (Robert Vaughn) is on the run and looking for somewhere to hide, what would be better than to hide out in the middle of a small war? What Chris doesn’t know is that this slick combatant is having a crisis of confidence!  The final and seventh member of the group is the young, good looking, ex dirt farmer Chico (German actor Horst Buchholz) who is trying desperately to prove himself.  This miscellaneous collection of human kind then set out across the border to our small village in Mexico scare away the Bandidos and the fun really starts.

Lee.

Filmed in Cuernavaca and EStudios Churbuso Mexico this was alleged to be the last great western before Leone reinvented the genre (see A Fistful of Dollars and the Spaghetti Western). John Sturges had directed westerns prior to this film including Gunfight at the OK Corral in 1957 where Burt Lancaster teams up with Kirk Douglas to gun down some bad men. Although nearly all the main cast in The Magnificent Seven are now household names, at the time only Brynner was well known having recently won an Academy Award for The King and I (1956) and was also starring opposite Charlton Heston in the biblical epic The Ten Commandments the same year. But other than perhaps Brad Dexter all the rest went on to enjoy very successful careers in the movie industry. McQueen, Coburn and Bronson would team up with the director again in 1963’s The Great Escape, which made Steve McQueen a superstar.  With the death of Eli Wallach in 2014, Robert Vaughn is the last living main cast member.

Chico.

Other than to say that this magnificent western is the one to pass down to your children, as I did with my son, I will end by paraphrasing the film notes that are included with the “ultimate DVD edition”. It explains that what sets The Magnificent Seven apart from the westerns that preceded it is the fallibility and fatality of the characters.  It’s the end of an era, and they are painfully aware that there breed is become obsolete. They also recognise too late what they have missed out on along the way, a permanent home, someone to settle down with, and even perhaps children. Quite simple, they have no place in a world that is rejecting their kind. They take the job of defending the village not merely because they are broke, but because this is there life, their very identity. And they will sacrifice themselves rather than be any less than they have always been - what noble thoughts are these; certainly they would not be found in the spaghetti westerns that followed the making of this memorable movie.  For western fans of all ages, this is the film to watch as a prime example of what was sometimes a great tradition: the American Western movie, never has it been done better.


Calvera.

Friday 21 November 2014

Blue Caprice (The Washington Snipers)


A lyric from Bob Marley's Natural Mystic "Many more will have to suffer. Many more will have to die. Don't ask me why." This could easily be the tagline for a film that was inspired by real life events known as the Beltway sniper attacks, which resulted in the random killing of seventeen people with ten others suffering serious injury from gunshot wounds all carried out with no apparent motive.  The 2013 film Blue Caprice, also known as The Washington Snipers, is based on these attacks, but focuses heavily on the father-son relationship between John Muhammad  (Isaiah Washington) and Lee Malvo  (Tequan Richmond in his first starring role), quite a subject for Director Alexandre Moors to tackle in this his first full-length feature film?
 
The victim.

The perpetrator.

When the teenage Lee is abandoned by his mother in Antigua he does some odd jobs for John who is on holiday there with his estranged children. John brings the young man back to America and Lee starts to accept this man as a surrogate father.  When the pair gets back to the states they begin a reign of terror in the Washington DC metropolitan area by randomly shooting complete strangers in public places.  To this end they convert a blue Chevrolet Caprice by cutting a small hole just above the rear number plate and making the rear seating easily removable so that Malvo can lie in the back of the car unseen and with the aid of a high powered stolen Bushmaster XM-15 rifle ‘shoot to kill’ random victims. 


The Blue Chevrolet Caprice.


The distorted father son bond is very well portrayed by our two main actors, making this psychological thriller authentically plausible without explaining the real motive behind these terrible events which I believe was never really explained at either of the men’s trials.  Harrowing, slow and deliberate we see the killings from the perpetrators perspective. My only wee criticism’s are that the film did not delve into the psyche of the men and that the dialogue was at times unclear. On this straight to UK video release (June 2014) their were no under titles available or extras.