4 reasons to go watch ‘Taxi Driver’

Just back from watching ‘Taxi Driver’ for the first time in years, on the big screen at the National Film Theatre, London. The latest sortie in an on-going campaign to expose the Enfants Terribles to the best of 70s cinema – from ‘The Godfather’ via ‘Serpico’ to ‘Chinatown’. And this the day after bumping into Martin Scorsese on the mean streets of London.

1. The Beginning

As the shark-monster wing of the yellow New York cab emerges from the cloud of steam to the epic music of Bernard Herrmann (to whom Scorsese’s 1976 masterpiece is dedicated) we know this vehicle is more than a jaundiced automobile – it will take us from here (a neon-lit metropolis littered with sin and evil goings-on) to there (a patient study in alienation and trying to do right but failing in an oh so human way) for a few dollars but we’ll leave the slick pavement on the journey and transcend to higher places (including a climactic moment in which we float over the ultimately murderous outcome across the ceiling of the blood-spattered room in a bold overhead shot). This film is blood red like the Technicolor crimson lipstick in ‘Black Narcissus’ which Scorsese so admires, like Powell & Pressburger’s ‘Red Shoes’, like the blood of Christ and the neon in the city night.

2. The Acting

DeNiro, the year after his triumph in ‘The Godfather II’, brilliantly conveys the building total exhaustion of a man who can’t sleep despite 12 hour overnight shifts in the cab. His eyes gradually darken as does his outlook. Returned from Vietnam, wounded in body and mind – all shown and not told (scars on his back, his named combat uniform, Nam references in a political speech) – Travis Bickle tries desperately to get back in touch with the world but his 26-year old head just isn’t there. He reaches out to presidential campaigner Betsy (Cybill Shepherd) but can’t remember why taking her out to a porn movie on a date might not be right. He tries to engage the kiosk girl in a porno cinema to no avail, foreshadowing the failed date as well as spotlighting a painful innocence. DeNiro’s performance is a patient portrait of isolation and aloneness. When we first see him in the brilliant revelation of his radical Mohican haircut in a tilt up from his hands opening a bottle of pills, up his combat fatigues, past his We Are The People badge, to reveal his final descent to animalistic warrior basics, he is standing alone at the edge of a crowd.

That strange smirk

3. The Writing

Paul Schrader’s script is full of classic lines, as epic and resonant as Herrmann’s score. The biblical passage near the front about washing all the filth off the city streets – Manhattan as Nineveh (which has an added dimension in that Nineveh is now Mosul and Mosul is now being cleansed of IS animalistic psycho-warriors) – is masterful.

May 10th. Thank God for the rain which has helped wash away the garbage and trash off the sidewalks. I’m workin’ long hours now, six in the afternoon to six in the morning. Sometimes even eight in the morning, six days a week. Sometimes seven days a week. It’s a long hustle but it keeps me real busy. I can take in three, three fifty a week. Sometimes even more when I do it off the meter. All the animals come out at night – whores, skunk pussies, buggers, queens, fairies, dopers, junkies, sick, venal. Someday a real rain will come and wash all this scum off the streets. I go all over. I take people to the Bronx, Brooklyn, I take ’em to Harlem. I don’t care. Don’t make no difference to me. It does to some. Some won’t even take spooks. Don’t make no difference to me.

I can’t quite look at this shit

4. The Ending

The romantic shot towards the end of Betsy, framed in the taxi rearview mirror, surrounded by soft-focus glittering city lights, is literally a rear view, a coma fantasy drawn from a more promising time. The sounds of the hospital life-support machines subtly playing in the background (at least that’s how I read it). The sound design is fabulous throughout, many grim scenes of guns and prostitution underlaid with the shouts and play of children in the city streets. The Betsy in rearview mirror shot was referenced by John Mackenzie in the ending of ‘The Long Good Friday’ four years after this movie – in that case a young Pierce Brosnan fixing a resigned Harold/Bob Hoskins in the reflection. There Harold Shand is being driven off to his death. In the last moments of ‘Taxi Driver’ it is a comatose Travis Bickle who pulls away in his taxi from his dream of love and connection (in the fantasised form of Betsy) and drives off on his own to his own death and fade to black, leaving us with a powerful sense of wasted human potential, the urge to do right, to help, to save, to connect, to reach out, which somehow goes wrong…

I got some good ideas in my head after the inspiration of watching such a flawless film. It has just been re-released in the UK to mark its 40th anniversary.

Teetering on the edge

Jodie Foster, just 14 at the time, yet such a mature performance

Sport: “You’re a funny guy.” – tees up another classic Scorsese scene 14 years later: “It’s a good story, it’s funny, you’re a funny guy.” (Goodfellas)

Object of desire

 

Advertisements

The Casting Game No. 128

Emma Stone plays Lindsay Lohan

Lindsay Lohan

Emma Stone

The Casting Game No. 127

Amy Adams plays Nicole Kidman

Amy Adams

Nicole Kidman

Best of 2016

Updated 1.1.17 & 7.1.17 – put to bed 10.1.17

American Honey

Film:
Manchester by the Sea
American Honey

Sing Street
American Pastoral
The Accountant
Allied
The Nice Guys

Male Lead:
Casey Affleck – Manchester by the Sea

Ben Affleck – The Accountant
Tom Hanks – Sully
Shia LaBeouf – American Honey
Chris Pine – Hell or High Water
Brad Pitt – Allied
Ryan Gosling – The Nice Guys

Female Lead:
Sasha Lane – American Honey

Rebecca Hall – Christine
Marion Cotillard – Allied
Dakota Fanning – American Pastoral
Meryl Streep – Florence Foster Jenkins
Amy Adams – Arrival

Male Support:
Jack Reynor – Sing Street

Hugh Grant – Florence Foster Jenkins
Aaron Taylor-Johnson – Nocturnal Animals
Tom Wilkinson – Denial
Jeff Bridges – Hell or High Water

Female Support:
Michelle Williams – Manchester by the Sea

Hayley Squires – I, Daniel Blake
Jennifer Connelly – American Pastoral
Riley Keough – American Honey
Margot Robbie – Suicide Squad

Director:
Kenneth Lonergan – Manchester by the Sea

Andrea Arnold – American Honey
Ewan McGregor – American Pastoral
John Carney – Sing Street
Tom Ford – Nocturnal Animals
Woody Allen – Cafe Society

Writer:
Kenneth Lonergan – Manchester by the Sea

John Carney – Sing Street
Andrea Arnold – American Honey
Tom Ford – Nocturnal Animals
Eric Heisserer – Arrival

Editing:
Joe Walker – Arrival
Jennifer Lame – Manchester by the Sea

Cinematography:
Vittorio Storaro – Cafe Society
Rodrigo Prieto – Silence

Film Music:
Sing Street

Single/Song:
In Tiburon – Van Morrison

Album:
Blackstar – David Bowie
Keep Me Singing – Van Morrison

Gig:

Imagining Ireland – Friday 29 April 2016 at Festival Hall
Bruce Springsteen – Wembley stadium

Fela Kuti tribute – Bukky Leo & Black Egypt (Jazz Cafe)
Carole King – Tapestry (Hyde Park)

Play:
Jesus Christ Superstar (Regent’s Park)

Things I Know to be True – Andrew Bovell (Lyric, Hammersmith)
How the Other Half Loves – Alan Aykborn (Haymarket)

Art Exhibition:
You Say You Want a Revolution? (V&A)
Georgia O’Keeffe (Tate Modern)

opening day of the Design Museum, Kensington
Russell-Cotes gallery, Bournemouth
Graves gallery, Sheffield
Neue Pinakothek, Munich

Book:
The Sellout – Paul Beatty
Judas – Amos Oz

Read This Year:
All Fall Down – James Leo Herlihy

TV:
Ambulance
Humans 2.0
The Night Manager
Long Lost Family

Sport:
Ireland beating New Zealand at rugby in Chicago
Jack Laugher and Chris Mears winning diving gold at Rio Olympics

Event:

Commemorating the Easter Rising at the GPO in Dublin (100 years to the minute after, right on the spot)

David Bowie trip to Berlin with Noah

Dearly departed:

• David Bowie
• Muhammad Ali
• Gene Wilder
• Leonard Cohen
• George Michael
• Bobby Wellins
• Terry Wogan
• Ronnie Corbett
• Johan Cruyff
• Robert Vaughn
• Peter Vaughan
• Maurice White
• Frank Finlay
• George Martin
• Sylvia Anderson
• Arnold Wesker

Best of 2015

Best of 2014

Best of 2013

Best of 2012

Best of 2011

Best of 2010

Best of 2009

What ever happened to The Breakfast Club?

Emilio Estevez / Andrew Clark

Then

Now – he looks like his dad (Martin Sheen)

He followed up with the Brat Pack vehicle St Elmo’s Fire. Then some Hollywood fodder like Young Guns and Stake-out in the late 80s. And fades. Two momentary re-emergences: in 2006 when he wrote and directed the RFK movie Bobby and then again when he directed his dad in the low key The Way in 2010. The Breakfast Club was his finest moment. In latter years he hooked up with Macedonian model Sonja Magdevski and they grew pinot noir grapes together in their very own Malibu vineyard.

Anthony Michael Hall / Brian Johnson

Then

Now

Follows up with another (inferior) John Hughes – Weird Science. Then it’s death by TV, with just occasional small movie re-appearances such as The Dark Knight and Foxcatcher. He never married.

Judd Nelson / John Bender

Then

Now – Where the fuck have the dreams gone?

The same Brat Pack move – St Elmo’s Fire. Transformers in 1986. Then a descent into TV movie hell and Stuff You’ve Never Heard Of. It was his finest moment too, untranscendable.

Molly Ringwald / Claire Standish

Then

Now

A worthy John Hughes follow-up in Pretty in Pink. Then mostly TV mush. In 2013 she published a young-adult novel, When It Happens to You, and released a jazz record, Except Sometimes, on which the final track is a cover of Don’t You (Forget About Me), the Simple Minds’ theme tune for TBC. She’s had 3 children.

Ally Sheedy / Allison Reynolds

Then

Now

Ditto regarding St Elmo’s Fire. Then John Badham’s Short Circuit. Then movies you’ve never heard of and some telly. High Art in 1998 was by all accounts a notable exception. In the 1990s she was treated for sleeping pill addiction. She moved home to New York and teaches high school kids acting stuff.

It was all their finest moment and the stuff of our hopes and dreams.

“My issue isn’t about physical aging; my issue is about wanting to remain vigorous and youthful in my spirit.” Rob Lowe (who played Billy Hicks in the ubiquitous ‘St Elmo’s Fire’)

 

 

The Oscars: AG v Academy

I’m starting a movie project later this morning for Channel 4 /All 4 short form so what better way to get in the mood than comparing my votes for the British Academy Awards (BAFTAs) with the actual winners tonight for the American Academy Awards (Oscars). While I’m at it, I’m going to do head-to-head on the (acting) categories which are artificially split into genders – will they combine these one day or do a head-to-head given there’s no physical difference between the sexes in this regard?

Best picture 
AG: The Big Short
Spotlight

Best actress 
AG & Academy: Brie Larson, Room

Best actor 
AG: Eddie Redmayne, The Danish Girl
Leonardo diCaprio, The Revenant

Best director 
AG: Adam McKay, The Big Short
Alejandro Gonzalez Inarritu, The Revenant

Best original screenplay
AG: The Hateful Eight
Spotlight

Best original score 
AG & Academy: The Hateful Eight – Ennio Morricone

Best adapted screenplay 
AG & Academy: The Big Short

Best supporting actress
AG: Jennifer Jason Leigh, The Hateful Eight
Alicia Vikander, The Danish Girl

Best supporting actor
AG & Academy: Mark Rylance, Bridge of Spies

Best costume design
AG: Carol – Sandy Powell
Mad Max Fury Road – Jenny Beavan

Best animated film
AG & Academy: Inside Out

Best documentary
AG & Academy: Amy

Best cinematography
AG & Academy: The Revenant – Emmanuel Lubezki

Best make-up and hair
AG: Carol [not nominated]
Mad Max: Fury Road

Best visual effects
AG & Academy: Ex Machina

Best sound editing
AG & Academy: Mad Max: Fury Road

Best sound mixing
AG & Academy: Mad Max: Fury Road

Best editing
AG: The Big Short – Hank Corwin [he was robbed!]
Mad Max Fury Road – Margeret Sixel

BEST ACTOR/ACTRESS: Brie Larson, Room

BEST SUPPORTING ACTOR/ACTRESS: Mark Rylance, Bridge of Spies

Tying some Oscar loose  ends including why I don’t reckon The Revenant

To round off on this special day – being 29th of February, leap year day – I’d like to celebrate the considerable success of the UK film industry. I heard we had nominations in 21 of 24 categories (I haven’t counted them up to check). We had winners in 6:

•  Best supporting actor: Mark Rylance, Bridge of Spies – in a league of his own
• Best visual effects: Ex Machina – an amazing follow-up to Gravity’s success
• Best documentary: Amy – masterfully realised by Asif Kapadia, fellow East Finchley resident
• Best song: Sam Smith – raw youth
• Best short: Stutterer – Anglo-Irish triumph
• Best costume: Mad Max Fury Road

 

The Simple Pleasures Best Film of the Year 2015-2009

2015

The Big Short

2014

20,000 Days on Earth

2013

The Wolf of Wall Street

2012

Silver Linings Playbook

2011

Midnight in Paris

2010

Inception

2009

Inglourious Basterds

Compared to the Best Picture Oscar:

2014 Birdman – one of the worst movies I’ve ever seen, hated it

2013 12 Years a Slave – a worthy winner from Film4

2012 Argo – well done with a great turn from Alan Arkin

2011 The Artist – gimmicky but fun

2010 The King’s Speech – solid

2009 The Hurt Locker – admirably visceral

Compared to the Best Film BAFTA:

2014 Boyhood – a worthy winner for its innovation

2013 12 Years a Slave – proud that Brits & Film4 told this story to America

2012 Argo – with hindsight, Zero Dark Thirty may be the more enduring nominee

2011 The Artist – at least an imaginative choice for winner

2010 The King’s Speech – solid in a very British way

2009 The Hurt Locker – just not my cup of entertainment tea

4 reasons to go see Grandma

Paul Weitz & Lily Tomlin at BAFTA screening of Grandma in Soho, London 29 Nov 2015

Spent this moist, sunless afternoon watching the brilliant ‘Grandma’, the best awards season movie I have seen to date, a welcome blast of old school American indie cinema. After the screening I had a quick chat with both the lead actress Lily Tomlin (Nashville, All of Me, Short Cuts) and the director/writer Paul Weitz (About a Boy, Antz, American Pie). During the Q&A I asked Paul about the source of the story – was it the issue (abortion)? the characters? or other? He said it started from the notion of a young woman without enough money to pay for the abortion she feels she urgently needs. Its treatment of the theme of abortion is refreshingly less conservative than the likes of the too mannered ‘Juno’.

Elle (with Sage)

1. Lily Tomlin – who gives a feisty performance as Elle, a lesbian grandma who is there when her grand-daughter really needs her. Tomlin (76) has been in a relationship with her female partner, Jane, for over 40 years. Elle’s relationship and grieving for her recently deceased partner, Violet, is a deeply moving absence at the heart of the movie. Tomlin’s face is compelling to watch, unique and very particular.

Sage

2. Julia Garner – plays Sage, the grand-daughter. She is absolutely captivating on screen, with something of the 40s/50s Hollywood studio star about her (a bit of Marilyn Monroe, perhaps a touch of Veronica Lake, that kind of vibe). She is known for The Perks of Being a Wallflower (a favourite of my young nephew Jake who has impeccable film taste) and Martha Marcy May Marlene. The chemistry between her and  Tomlin couldn’t be more perfect.

Paul Weitz – scriptwriter (and director)

3. Paul Weitz – who wrote the excellent screenplay, really nuanced and fresh. ‘Grandma’ makes an interesting contrast to ‘Carol’ – another ‘lesbian movie’ currently doing the rounds – where, despite exemplary acting, the story is unsurprising and strangely linear.

4. The Indie Spirit – Weitz made this outstanding movie for $600,000 and shot it in 19 days. As a result he was under little pressure and the movie has a real lightness of touch and creative economy. He got the cash from a Greek benefactor and then Sony Classics picked up the finished film in the wake of Sundance.

4 things I talked to Lily Tomlin about

1. The joy of being a grand-parent, what a lovely relationship the grand-parent/grand-child one is, how much I’m looking forward to being one (PG, as my grandma would have said)
2. Her grumpy grandpa and inspiring grandma in Kentucky
3. Being born in Detroit, the city-country mix; Detroit: Requiem for a City (which she hasn’t seen yet), Julien Temple, The Sex Pistols
4. That my grandpa, Ian Harris, would have been 100 last week; how special a man he was.

‘Moment by Moment’ (1978)

4 things I talked to Paul Weitz about

1. American indie films
2. Me & Earl & the Dying Girl
3. The abortion clinic shooting this week in the USA, how safe he is talking about Grandma in America, particularly the South
4. Treadmill desks (as featured in the film), the office he shares with his brother, Chris (screenwriter & producer: The Golden Compass, Nick & Norah’s Infinite Playlist, American Pie), Chris’s treadmill desk.

 

 

 

 

 

 

Anita Ekberg created a moment of magic

a moment of magic

another magic moment in the same place

Sad to hear about the death of actress Anita Ekberg today, all the more so as she died in poverty after having lived the dolce vita during her movie-making days. This is what she did for me…

I’m flying home with my family on a cheap flight which means picking up a connecting flight in Rome. I balls up the time because of a combination of variable time difference between place of departure, place of transit and place of arrival together with shift to British Summer Time while we were abroad. So we miss our flight back to London and it’s the last flight. We end up going into the city for the night as I’ve never been there. My Mrs is frazzled, Enfant Terrible No. 1 is feeling under the weather, so they hit the sack. Meanwhile Enfant Terrible No. 2 and I decide to see what the Eternal City’s got to offer. It’s already past midnight when we head off along the Via Veneto (Fellini’s hang-out). I think of the first famous site of Rome that comes to mind: the Trevi fountain. I don’t even know really what it looks like. I know the name mainly from Holly Johnson’s Love Train. We make our way through the warm night city navigating as best as I can manage with a crappy hotel map, passing various minor fountains along the route. Eventually we come round a corner to see the fountain that matters. There are loads of people hanging out there, all very chilled, bit of a hippy vibe. The air is pleasantly warm. We drink in the atmosphere and absorb the magic of the place at that time. A man offers to take a photo of us both on my camera (above). It’s all an extended moment of magic. I’ve never seen La Dolce Vita at this point.

We get back to London and I rent a DVD of Fellini’s masterpiece. I find the movie captivating but that scene truly magical. The design of the audio really strikes me, the not using the sync sound of the fountain. Seemingly this is because Fellini was shouting directions while they were actually shooting. Whatever the reason, it helped create one of cinema’s greatest moments and Anita Ekberg was central to it. That enchantment she created somehow elevated what was already a beautiful experience in my life.

That’s what Anita Ekberg did for me and I’m grateful. It’s a shared experience I’ll never forget – and nor will my beloved son.

You’re a work of art, you’re the Trevi fountain
You’re a golden heart, you’re the highest mountain
You bring me flowers every day of my life
You save me from the worry and the strife
Take me in your arms

Baby, baby, I’m on a winning streak
When I met you I reached my peak
Your perfect view makes me feel brand new, yeah
Well, you’re just right to keep me up all night, up all night

Working all the time to make you mine, all mine, yeah
Riding the love train, stroke it up, riding the love train
Lovin’ all the time to keep you feeling fine, yeah
Riding the love train, stroke it up, riding the love train