Archive for the ‘film’ Tag

All the Money in the World

Micro Movie Review:  would be improved by replacing all the performances – as well as the script – to make something less cold & simplistic

All the money in the world movie film kevin spacey replaced by christopher plummer as getty actors comparison

Kevin Spacey (L) replaced by Christopher Plummer (R) as J. Paul Getty

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Chairwoman update

Just back from the Aesthetica Short Film Festival in York where I had my first official Sell Out as far as I can recall.

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I was doing a Masterclass on factual/unscripted short form video. In the Green Room after I met Dr Melanie Williams of UEA where she is Head of Film, Television and Media Studies. She specialises in post-war cinema and has written a monograph on David Lean (very appropriate in that I’m writing this in BAFTA which Lean founded and which Aesthetica feeds into via the Short Film category in the Film Awards). As we chatted the subject of Christine Keeler’s 60s movie came up – see Chairman of the Board below. Well it turns out one of her colleagues at the University of East Anglia has a particular interest in ‘The Keeler Affair’ movie (1963) and in fact (contrary to what I had read) it was made but was never granted a BBFC certificate in the UK, so it only played abroad. Lewis Morley, the photographer who photographed Keeler in That Chair, refers slightly erroneously to: “an intended film which never saw the light of day”.

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It also seems to have another title, ‘The Christine Keeler Story‘, and it turns out that Keeler doesn’t exclusively play herself despite posing for the publicity photos – Yvonne Buckingham plays her although Keeler is also listed as “Herself”. Same for Mandy-Rice Davies who both plays herself and is played by Alicia Brandet.  I’ve yet to find out how Buckingham & Keeler and Brandet & Rice Davies squared that circle though there are some clues in the clip I found below.

NPG x131954; Christine Keeler by Tom Blau

Call Girl – untitled photograph by Tom Blau (1963)

In the synopsis Keeler is referred to as a “teenage prostitute” which seems both harsh and not entirely accurate. I like the term “good-time girl” which is often used to hedge bets in this type of context.

And here’s the bit I found. Quite intriguing. A disco ball in the courtroom… like it.

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I went from BAFTA in Piccadilly round the corner to the May Fair Hotel for a BAFTA Film Awards screening of ‘American Pastoral’ with leading man and director Ewan McGregor in attendance. It is a striking and original film, directed with amazing aplomb for a first movie (this is McGregor’s directorial debut). It is a thoughtful interpretation of Philip Roth’s novel, not spoonfeeding the audience and concluding with an uncompromisingly enigmatic end. McGregor spoke with great articulacy and clarity about his method as an actor-director. What came across strongly is that this is an actors’ film – the rehearsal and shooting process, as well as the framing and camera movement, were all focused on enabling the actors to do their thing in an imaginative and fresh way.

So far the best of the BAFTA fare. Also very striking is the disturbing poster – the best I’ve seen in a long while – which takes the all-American idealism of Wyeth and Hopper (the first half of the film derives its colour palette from Hopper), takes the all-American idealism of Wyeth and Hopper – and shakes it the fuck up, torching the Dream.

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Andrew Wyeth – Christina’s World (1948)

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Edward Hopper – House with Dead Trees (1932)

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Grant Wood – American Gothic (1930)

4 reasons to go see Grandma

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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’.

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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.

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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.

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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.

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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.
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‘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.

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Boredom Boredom B’dum B’dum

spiral scratch buzzcocks record

Today is Record Shop Day. I’ve been frequenting mine (Alan’s in East Finchley) plenty recently so I’m just making an internal nod to indy record shops and I’ve just played a classic record Spiral Scratch by (the) Buzzcocks (albeit not on vinyl, I’m in the wrong room) – the track I played is Boredom because I’ve been thinking about it a lot yesterday and today.

I’m living in this movie
But it doesn’t move me
I’m the man that’s waiting for the phone to ring
Hear it ring-a-ding-a-fucking-ding

You know me, I’m acting dumb
You know the scene, very humdrum
Boredom, boredom, boredom

Elliott Gould as Philip Marlowe

Elliott Gould as Philip Marlowe

I was just out jogging, listening to a podcast with Irish writer John Banville talking about Raymond Chandler and Philip Marlowe. Banville, under his low-brow pen-name Benjamin Black (which I don’t much like – as fake as they come, a bit like Julian Barnes’ Dan Kavanagh), recently wrote a Marlowe book at the request of Chandler’s estate, The Black-Eyed Blonde. Marlowe stories usually start with the gumshoe sitting bored in his down-at-heel office waiting for something to happen, usually a dame walking through the door to give him a knight-errant mission.

Humphrey Bogart as Philip Marlowe

Humphrey Bogart as Philip Marlowe

Robert Donat as Richard Hannay

Robert Donat as Richard Hannay

Then late last night I was listening to a radio programme from BBC Radio 4 called The Buchan Tradition about John Buchan, marking the centenary year of The 39 Steps. Richard Hannay is bored in London at the start of that ripping yarn when lo and behold a spy dies on his living room carpet and the adventure begins.

Basil Rathbone as Sherlock Holmes

Basil Rathbone as Sherlock Holmes

That’s also often the case with Sherlock Holmes – he’s bored out of his brain, coked off his face, ennui has well and truly set in when a character shows up at 221b with a juicy mystery to solve.

Michael York and Simon Maccorkindale as Carruthers and Davies

Michael York and Simon Maccorkindale as Carruthers and Davies

One of my favourites, a resident of The Shelf of Honour, The Riddle of the Sands by Erskine Childers, opens with the protagonist bored in the “dead and fermenting city”, London in the dog-days of late summer. When the opportunity crops up to sail around the Baltic and North Sea coasts, in spitting distance of imperial Germany, with an English eccentric in an Aran jumper, it’s the perfect cure not just to boredom, but also to the complacency and materialism of modern life. One of my favourite scenes is when Carruthers, the narrator, can’t fit his trunk through the opening into the Dulcibella, the boat he is due to go off for a trip in and he has to dump most of his stuff (which he never really needed).

Martin Sheen as Captain Willard

Martin Sheen as Captain Willard

Recently I watched again one of my all-time favourite movies, Apocalypse Now, with Enfant Terrible No. 1 (a convert to The Godfather movies). Damn it’s good. Great. Nearly perfect. It opens with Captain Willard (Martin Sheen) bored to near-death in a hotel room in Saigon. Waiting for a mission.

Saigon…shit. I’m only in Saigon.
Every time, I think I’m gonna wake up back in the jungle.

I’m here a week now.  Waiting for a mission.  Getting softer.  Every minute I stay in this room, I get weaker.  And every minute Charlie squats in the bush…he gets stronger.  Each time I looked around…the walls moved in a little tighter.

Bored to death

Bored to death

There’s boredom as debilitating ennui as in Baudelaire’s Les Fleurs du Mal. But there’s also boredom as a motivator, a prompt into adventure. The question is whether in real life the blonde walks through the door or the spy expires on your carpet? Does the ring-a-ding-a-fucking-ding really come?

Lauren-Bacalls-style-The-Big-Sleep Bogart office Marlowe

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