Mr. Nice

The rights to make a film of Mr. Nice were sold to the BBC by Howard Marks when the landmark autobiography of perhaps the most sophisticated drug baron of all time topped the best seller lists in 1996.  15 years later and his vivid memoir has finally been brought to the big screen by the iconic writer/director Bernard Rose (Immortal Beloved) who faithfully captures the rambling, often comic, nature of the original book aided by an outstanding performance from Rhys Ifans in the title role.

In researching this article I have found many prominent discrepancies between the reported facts, their fictionalised account in the original Marks book and the way in which they are presented by Rose in his screenplay.  This opaque concept of reality has helped to give “Mr. Nice” his legendary outlaw status with comparisons drawn to Robin Hood and Butch Cassidy to name but two.  Whilst this lack of absolute veracity might irritate some, to my mind it only serves to heighten the movie as a work of art in its own right.

In trying to echo the essence of an autobiography Bernard Rose elected to take on most of the important technical roles behind the camera, not content with writing the script and directing the performances, he is also the cinematographer (operating a handheld 35mm camera to capture the requisite period look) as well as being the film’s editor.  This singular vision provides a necessary counterpoint to the force of nature that is Rhys Ifans who dominates almost every scene in the movie.

Ifans actually got to know Marks back in the day when he was singing with the fledgling Welsh psychedelic rock combo Super Furry Animals, prior to the huge success of the book the two became firm friends and a deal was struck that Rhys should play Howard if a film was ever made of his life.  This long standing amicable association provides the movie with a heart that would have most likely been missing with anyone else in the lead role, Ifans admiration for Marks is demonstrable as is his compassion, particularly in the Terre Haute Penitentiary scenes.

The film opens from behind theatrical curtains with Howard Marks addressing a favourable crowd during one of his live shows, after the book’s success he became a popular speaker on the raconteur circuit.  It then flashes back to his early life in a small Welsh coal-mining village near Bridgend, the black and white film stock shrinks to a 4:3 ratio giving the feeling of a kitchen sink drama of the period, the young Howard is also played by Rhys Ifans; a surreal device recollecting the televised plays of Dennis Potter.

Marks was the first of his family to attend university after earning a scholarship to study at Balliol College, Oxford, in the mid-1960s.  Like many of his generation during his undergraduate years he was exposed to a variety of recreational drugs including LSD but his drug of choice was cannabis, in particular hashish; as he takes his first toke the scope of the picture widens and dramatically shifts from monochrome to vivid colour, reminiscent of Dorothy’s entrance into Oz.

After Howard graduates from Oxford with a degree in Nuclear Physics, he heads back to Wales, gets married and starts a family, this is the version of events unique to Rose’s film as this is not how Marks recalls it in his book nor is it true to documented accounts but it makes perfect dramatic sense.  He takes a steady teaching job to make ends meet and for a while leads a sober yet boring existence, until he attends a party thrown by his old college chum Graham (Jack Huston) who seems to be doing incredibly well for himself by selling hash.  Howard is readily seduced back into the hippy culture when he meets and shares a joint with Judy (Chloë Sevigny), embarking on a long love affair with her and the weed.

When Graham is arrested while attempting to smuggle a large haul out of Germany, Howard agrees to courier the remaining stash back to the UK where he is quickly baptised into the machinations of big time drug dealing; turning a quick profit and agreeing to collect further shipments from the Pakistani supplier, Saleem Malik (Omid Djalili).  This whirlwind period in Howard’s life brings him into contact with the colourful character of Jim McCann, the Irish freedom fighter allegedly kicked out of the IRA for drug trafficking played full tilt by David Thewlis.  Marks engages McCann’s Provo contacts at Shannon Airport to covertly import drugs from the European mainland.

In a surreal twist straight out of the pages of Ian Fleming or John le Carré, Howard is approached by another old chum from Baillol, Hamilton “Mac” McMillan, played by the wonderful Christian McKay (Me and Orson Welles), who now works for MI6 and wishes to recruit Marks as his eyes and ears in various cases relating to narcotics or terrorism in return for a level of protection from the law.

Between the late 70s and early 80s Howard Marks amassed a complex network of connections controlling at one point 10% of the global hashish market and by the mid-80s he had 43 aliases, 89 phone lines, and 25 companies trading throughout the world.  True to the book the film tries to suggest that his fateful decision to move into the American market was his ultimate undoing and that Judy, who by this time he had 3 childen with, tried to discourage the US expansion and pull Howard back to reality and the commitment of family life but the temptation to make even greater piles of cash proved too much.

Bernard Rose employs a clever stylistic device to convey the 25 year time period covered in the course of movie, he takes actual filmed stock footage backgrounds and then digitally superimposes Marks over the top matching the grain, whilst the effect is an obvious artifice dismissed by some critics as simply amateurish and cheap it actually serves as a striking visual quirk that reflects Howard’s constant state of expanded consciousness.  It also reminds me of the back projection shots favoured by Alfred Hitchcock in his golden Hollywood period, notably Marnie in 1964.

The original soundtrack by minimalist composer Philip Glass amounts to nothing more than incidental mood music echoing the sort of thing he did for the Errol Morris documentaries of the 80s starting with The Thin Blue Line, nonetheless it does help to bring about a sense of cohesion to the piece. For this level of attentive detail Rose should be commended, he has managed to make a visually unique movie and a wonderful star vehicle for Rhys Ifans out of a stoned shaggy dog story that will help maintain Howard Marks’ mythic stature as he continues his vigorous campaign for the legalisation of recreational drugs.

Originally posted 2015-10-29 02:18:04.

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Arizona Dream

Almost 20 years before the overhyped Inception focused on the phenomenon of dreaming Emir Kusturica directed Johnny Depp in the surreal comic fantasy Arizona Dream.  The movie was produced by Claudie Ossard (Delicatessen/Amélie) and is typical of the sort of strange art-house films that Depp used to regularly appear in before finding mainstream appeal as a Disney Pirate.

The plot, such as is it, follows the dreamlike escapades of Axel Blackmar (Depp) a drifter who has taken the obscure job of tagging fish for the New York State Department of Fish and Game.  His cousin wannabe actor Paul Leger (Vincent Gallo) turns up announcing that their Uncle Leo (Jerry Lewis) plans to marry his Polish fiancé Millie (supermodel Paulina Porizkova) a girl more than half his age and that he wishes for Axel to be his best man; reluctantly Axel accompanies Paul back to their Arizona hometown.

In his best role since playing a version of himself in Martin Scorsese’s King of Comedy, Jerry Lewis is outstanding as Axel’s Uncle Leo; a successful, infectiously upbeat Cadillac salesman and living testimony to the “American Dream” paradoxically wracked with survivor’s guilt from causing the crash that killed Axel’s parents, he persuades him to stay on after the wedding and try his hand at selling cars.   

Axel’s first potential customers are eccentric widower Elaine Stalker (Faye Dunaway) and her suicidal step-daughter Grace (Lili Taylor) their brazen arrival sparks the interest of both Axel and cousin Paul who’s gift of the gab ensures an invitation to dinner at the Stalker’s home that evening; here screenwriter David Watkins (Novocaine) delivers one of the most flabbergastingly funny surprise scenes I have witnessed and from here on in I was totally hooked.

Axel embarks on an affair with Elaine and despite their madcap behaviour and slim grasp on reality this May to September romance is convincing and genuinely moving to watch, especially his attempts to build the flying machine she has always dreamt of.  The film’s theme of the pursuit of dreams in the face of reality is explored thoroughly; Uncle Leo dreams of stacking Cadillacs high enough to reach the moon, Grace dreams of being reincarnated as a turtle and Paul aspires to be a great actor by reproducing his favourite movie scenes, providing one of the bizarre set pieces when he re-enacts the entire crop duster sequence from the Hitchcock classic North by Northwest for a local talent show.

Kusturica is clearly a master filmmaker and he manages to maintain a dreamlike feel throughout the movie’s 142 minute running time, it is consistently funny but also has a haunting mystical quality making it compelling viewing and fortunately the French Blu-ray release contains a DTS-HD 5.1 English audio master track with enforced subtitles only for the excerpts from Raging Bull and The Godfather: Part II, the full 1080p picture quality is gorgeous and 20 minutes that were cut from the theatrical release have been totally restored.

Arizona Dream is impeccably acted and although it’s obvious that an element of improvisation has gone on the story and script are strong and stay true to their purpose in evoking the absurdist, surreal quality of dreams, an element totally lacking in Christopher Nolan’s Inception the same could be said for laughs of which there is also an abundance here making it a must for fans of Depp’s earlier work.

Originally posted 2015-09-09 14:38:36.

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The King’s Speech

Despite taking the top awards at the 2011 Oscar Ceremony, or perhaps because of that, I was in no hurry to see director Tom Hooper’s The King’s Speech, although I had thoroughly enjoyed his previous film The Damned United written by Peter Morgan and starring Michael Sheen as the renowned bombastic soccer manager Brian Clough.  For some reason I had supposed that it would be a typically turgid period piece but after watching the Blu-ray release I was pleasantly surprised to find it terribly gripping and incredibly well written and performed by a marvellous ensemble cast.

Colin Firth is not an actor I’ve ever tended to warm to in the past and I’ve always felt he usually appears to be playing himself on screen, here however, not only is he portraying a notable historic figure, Prince Albert Duke of York, the future King George VI the present Queen’s father, but also he is encumbered with a pronounced stammer which Firth captures in excruciating detail.  You would think that such a severe speech impediment would handicap an actor’s ability to communicate with the audience but, on the contrary, Firth is able to convey so much more through his palpable frustration and outbursts of temper as the irascible Albert than he’s ever been able to display in his largely predictable romantic lead roles.

It’s hard to imagine that the part of Lionel Logue could have been written for anyone other than Geoffrey Rush but again one has to remember that this isn’t a fictional character; the real life Logue was indeed a Shakespeare enthusiast and amateur actor, these elements weren’t simply concocted by writer David Seidler in order to play to Rush’s strengths as a performer.  Logue was a former elocution teacher in Australia who treated the returning soldiers from WWI whose impaired speech was a result of shell-shock.  He emigrated to England with his family in 1924 and started a speech defect practice in Harley Street which was recommended to Albert’s wife Elizabeth, played by Helena Bonham Carter.  Despite being demoralised from the experience of many failed cures the Prince reluctantly agrees to try the treatment.

The film charts Logue’s unconventional methods of healing the future King, insisting that during the consultations that they are equals and that he shall call him nothing but ‘Bertie’ an intimate family pet name.  Initially Albert meets Logue with querulous defiance, he never expects to be crowned King as his older brother David (Guy Pearce) is the natural heir to the throne, however matters beyond his control are shaping his destiny; close advisers including Prime Minister, Stanley Baldwin (Anthony Andrews) and Chancellor of the Exchequer, Winston Churchill (Timothy Spall) are speculating on Hitler’s ambition to conquer Europe and believe that war is inevitable.  When King George V (Michael Gambon) dies in January 1936, David ascends the throne as Edward VIII but his reign only last 10 months as his commitment to marry the American divorcee Wallace Simpson is at conflict with the constitution leaving him no choice but to abdicate.

As King George VI ‘Bertie’ is required to make public addresses which means persevering with Logue, the only man whose approach has achieved demonstrable improvement in his ability to speak.  The strength of the film lies in the scenes between them as they develop an unlikely friendship despite being from completely different social backgrounds; one reticent and self-doubting the other outspoken and assured.  After coaching the King successfully through his coronation Logue’s biggest challenge is to prepare him for his first radio speech to be broadcast around the world after the declaration of war with Germany, he has to provide the nation with resolute and reassuring words at a time of conflict.

Visually the film is very well put together from the attention to detail on display in the exquisite 1930s production design to the choice of an unusual, almost ‘fish-eye’ lens to illustrate Bertie’s feelings of isolation and constriction which are echoed in the use of fog in the few exterior shots.  The image is presented in full 1080p with strong contrast and plenty of detail visible in hair and skin tones, although occasionally the colour palette seems unnecessarily muted.  The DTS-HD 5.1 soundtrack perfectly balances the prominent dialogue and accompanying musical score, much of which is comprised from a selection of classical works, the most effective being the use of the 2nd movement of Beethoven’s 7th Symphony to support the King’s climatic radio transmission.

The King’s Speech is a deserved award-winning historical drama and a rare one in that it fails to be boring or sentimental, particularly evident in its depiction of the Wallis Simpson affair which is more often than not simply presented as a fairy tale romance in screen adaptations.  Both Colin Firth and Geoffrey Rush are outstanding in their central lead roles and they are well supported by a uniformly assured company of character actors.  David Seidler’s script is not only impeccably researched but solidly dramatised; he and director Tom Hooper have transformed what could have just been two men talking in a room into compelling cinematic viewing.

Originally posted 2016-03-21 23:21:46.

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Black Swan

Director Darren Aronofsky’s award winning film Black Swan is a dark and disturbing, psychological thriller, reminiscent of Alfred Hitchcock’s Marnie and Roman Polanski’s Repulsion, focusing on the highly competitive and pressurised world of the New York City Ballet.

Natalie Portman plays Nina Sayers an immature and unworldly, aspiring prima ballerina who gets her big break when she is surprisingly cast in the lead role by the company’s director, Thomas Leroy (Vincent Cassel) an enfant terrible whose vision for Tchaikovsky’s Swan Lake is to have one artiste dance both the virtuous ‘White Swan’ and her evil twin, the ‘Black Swan’, conventionally two separate parts.

Nina resides with her overbearing mother, Erica (Barbara Hershey) herself a failed ballet dancer who tries to live out her former ambitions vicariously through her daughter’s drive and dedication. The seemingly chaste Nina is a natural choice to play the ‘White Swan’ but her relationship with her mother becomes strained when her sexual curiosity is awoken by her attempts to get in touch with the seductive traits of the ‘Black Swan’.

The chauvinistic Leroy, who had a fling with the recently retired leading dancer Beth Macintyre (Winona Ryder), thinks he can coax Nina into character by flirting with her and encouraging her to masturbate in order to loosen up and explore her sexuality, using the example of the new girl Lily (Mila Kunis) as a role model and potential rival for the part if she fails to deliver the goods.

Desperate to succeed and prove herself Nina goes against her mother’s wishes and lets Lily take her out for the evening, they end up in a club where she allows Lily to spike her drink so she can lose her inhibitions with a view to understanding what it feels like to be the ‘Black Swan’.  Aside from accurately aping the plot of Tchaikovsky’s Swan Lake, the film is a clever metaphor for feminine struggle with sexual awakening, identity, and freedom; if a woman is to attain “perfection” she can’t just be the innocent ‘White Swan’ or the erotic ‘Black Swan’, according to Thomas Leroy she must be both saint and sinner, Mary and Magdalene.

Natalie Portman thoroughly deserved the Best Actress Oscar for portraying Nina’s descent into madness as she tries to come to terms with years of living with an overprotective and possessive parent, as well as the immense physical and emotional strain of training for the life of a premier ballet dancer, an existence which allows for very little outside of it.  Nina’s mental breakdown is dramatically illustrated through her painful bodily transformation into the ‘Black Swan’ which culminates in a final flourish of feathered wings sprouting from her shoulders.  Just like her character in the ballet story the ‘White Nina’ is cheated out of love by the ‘Black Lily’ who unable to steal her coveted role seduces the man she desires instead, driving her to suicide.

Cinematographer, Matthew Libatique, elected to shoot with a combination of digital 1080p/24 source HDCAM and analogue Super 16 cameras, giving the film the dual feel of both docudrama and surreal fantasy equally stunning on the Blu-ray release, particularly the climatic staged performance of Swan Lake with the fine detail on the jet black feathers looking particularly impressive.  The DTS-HD master audio soundtrack is of a similar standard with demonstrable dynamic range between Tchaikovsky’s classical score and the suspenseful sound effects which help to heighten the incredibly tense psychological drama.  There is also a strong suite of extras all presented in HD, the focus of which is the hour long documentary Black Swan Metamorphosis which explores each facet of the production, including in-depth discussions with Darren Aronofsky and Natalie Portman.

Black Swan is a very satisfying adult oriented thriller, it’s complex but compared to Aronofsky’s earlier movies it’s not so dense as to make it obscure or inaccessible to general audiences and consequently this relatively low budget movie, produced by Mike Medavoy’s new independent film company Phoenix Pictures, has enjoyed a healthy return at the box office and garnered many awards.

Originally posted 2014-11-17 03:33:54.

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Apocalypse Now: Full Disclosure

It has got to be one of the most eagerly anticipated Blu-ray releases of all time and finally, almost 5 years since the hidef format launched, Apocalypse Now has been released almost a year to the day after The Godfather: Coppola Restoration collection.  The Full Disclosure package is every bit as impressive, if not more so, as it includes both the original cut and the ‘Redux’ extended version of the film plus Hearts of Darkness: A Filmmaker’s Apocalypse which I saw when it was released at the Cinema in 1991 and then wore out the VHS tape, but this is the first time it has ever been released in a digital format in the UK.

Firstly, let me confirm that all 3 discs included in the Full Disclosure edition are Region Free and boast full 1080p resolution and a DTS-HD 5.1 soundtrack.  The first disc contains both the 1979 theatrical cut (153 mins) and 2001’s controversial ‘Redux’ version that restores the 49 mins of cut scenes, including the lavish French Plantation sequence.  I think both cuts of the film are valid, on balance I prefer the ‘Redux’ version although I agree that it changes the pacing of the film but it also helps expand it beyond the confines of the Vietnam war and leans more towards the source material of Joseph Conrad’s story, Hearts of Darkness, on which the film is based.  The 2nd disc is packed full of additional material, most notably two recent hour long filmed discussions by Francis Coppola with writer John Milius and star Martin Sheen, an interview by Roger Ebert at the Cannes Film Festival premier of the ‘Redux’ version, Orson Welles’ Mercury Radio production of Hearts of Darkness and Marlon Brando reading the full version of T.S. Elliot’s poem The Hollow Men.

The 3rd disc features the hidef version of Hearts of Darkness: A Filmmaker’s Apocalypse which is superb.  I had worried because there were rumours that it might be cut to remove some of the more uncomfortable moments of anguish that Coppola had to endure whilst making, what many beleive to be, his masterpiece; instead there is an audio commentary track, featuring both Francis and his wife Eleanor who made the documentary, providing a wistful, fresh perspective to some of the insanity that transpired whilst shooting in the Philippines.  This is one of the most engaging documentaries ever made about the cinematic process and worth the price of ownership alone!  Also included are numerous photos, storyboards, posters and other marketing material, along with a 57 page extract of the first draft by John Milius containing Coppola’s hand written notes which (if you sit close enough to the TV!) makes interesting reading.

To complete the package is a 48 page book containing an introductory letter from Francis Ford Coppola outlining the contents in detail.  My only criticism so far, as I’ve yet to wade through all of the supplements, is that there is no discrete chapter list for the ‘Redux’ version, which means you can’t go straight to the restored sequences; a forgivable oversight to an otherwise perfect collection.  I have owned more versions of this film than I care to remember and this is, without doubt, the best I have ever seen Apocalypse Now look on the small screen.  Let’s just hope that Coppola’s American Zoetrope cohort takes heed and releases the Star Wars and Indiana Jones trilogies on Blu-ray in the near future.

Originally posted 2015-10-29 02:21:18.

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As a film about football and, in particular, football hooliganism I really wasn’t expecting to enjoy Cass very much; as a rule it would be the sort of low-budget, grubby British film that I would usually seek to avoid.  Thankfully, it isn’t at all what I expected and in no way typical of its genre which is quite fitting as by all accounts Cass Pennant, on whose memoir it is based, has led a remarkable life.

Pennant’s biological mother left Jamaica whilst pregnant for the UK in 1958; 6 weeks after he was born he was abandoned and rehomed by Dr. Barnados with a middle-aged white couple from Slade Green.  Pennant had been christened Carol (a common West Indian boy’s name) and that, along with being the only black kid in the neighbourhood, ensured that he was the target of constant bullying and regular beatings.

Whilst at school Pennant adopted the name of ‘Cass’ inspired by his boxing hero Cassius Clay and made firm friends with Freeman (Leo Gregory) and Prentice (Gavin Brocker).  As devoted followers of West Ham United the 3 teenagers drifted into football violence, becoming members of the notorious Inter City Firm.  During the early 1980s Cass Pennant emerged as one of the most prominent leaders of the ICF.

Set against the back drop of mass unemployment, the miners’ strike and the general malaise of Margaret Thatcher’s “Me” generation the film authentically recreates the period and is especially attentive to the fashions of the day.  Le Thugs Nouvelle, as the tabloids sometimes referred to the football hooligans, dressed impeccably for the terraces in Pringle or Lyle & Scott jumpers and Fila or Sergio Tacchini tracksuit tops; evolving the Mod style and establishing the distinctive Casuals look that’s undergoing a major revival today.

Cass always strived to ensure that the ICF were perceived as the most efficient, most formidable and most stylish mob which he measured by the number of front page headlines devoted to their exploits that were planned with both an enterprising and military flare. Cass had calling cards printed that simply stated “Congratulations. You have just met the ICF.” and after one savagely executed revenge attack on the Newcastle United gang Pennant was arrested for grievous bodily harm and causing an affray; historically he was the first football hooligan to be served with a prison sentence.

Whilst in Wormwood Scrubs Cass shared a cell with a Rastafarian who challenged him to examine his Afro-Caribbean roots, in one of the movie’s more intriguing sequences Cass articulates that he was “fighting because of the colour of his skin again only this time the hate was coming from another direction” and that the only heritage he ever felt he had was with West Ham.  During his time in jail Cass started to write his autobiography only to have his many notebooks confiscated on his departure.

Cass received a hero’s welcome and was reunited with his adoptive parents, Doll (Linda Bassett) and Cecil (Peter Wright) who reluctantly told him that his biological mother had been writing to him via Dr. Barnados, much to Doll’s relief Cass maintains they are his real family and agreed to try keep out of trouble and settle down.  He started dating Elaine (Nathalie Press) and although he promised that his violent life was behind him he was drawn back in after a vicious razor blade attack on Prentice by Arsenal supporters left him with multiple scars to the face.

During the retaliation Cass sustained a knife wound and retreated to his flat to be confronted by Elaine who dropped the bombshell that she was pregnant but unwilling to raise a child with a father whose violent lifestyle would likely get him killed.  Cass decided to change and contacted an old prison friend who owned a chain of nightclubs and offered to run the security on all his doors; it appears his violent past found an appropriate outlet and when business was booming his family life also blossomed and he and Elaine had a second child.

The past came back to haunt Pennant when he was shot 3 times at close range and whilst recovering from the attack he was told the news that his mother has died.  During this period of recovery Cass suffered from post-traumatic stress and contemplated further acts of bloody retaliation against the Arsenal mob that attempted to kill him.  Ultimately his story is a redemptive one, when stood in front of his would-be murderer, holding a gun inches from his assailant’s face, Cass was unable to pull the trigger and walked away, reflecting on the fact that his own poor choices had brought these acts upon himself.

Cass Pennant went on to write his autobiography along with a slew of books on the subjects of football hooliganism, sports and fashion, he founded his own publishing firm Pennant Books along with a production company Urban Edge Films which is all set to release its debut documentary Casuals this year.  In a recent discussion with Cass he was telling me how the movie of his life came about.  He met director Jon S. Baird while he was a consultant for Green Street, another film about football violence; Jon was the associate producer.  From chatting on the set Cass knew that Jon was hungry to direct his first feature film and at the movie’s wrap party Jon suggested that Cass ought to write a book on his life, to which Cass replied he already had.  Usually he carried a copy of his autobiography in his bag but not this time, so he made an excuse to go to the bathroom and then ran next door and bought a copy of his own book to hand to Jon to read.

According to Cass within an hour Jon had called him saying he had to make the film.  Cass coolly replied call me back when you’ve actually read the book and within a couple of days Jon confirmed his convictions.  Cass is a wonderfully rich and layered debut feature, it would have been far easier and cheaper to skip the boyhood scenes and get straight to the ICF period.  Instead by focusing on Pennant’s relationship with Doll and by including passages of narration direct from the book it avoids being just another football violence film and becomes a genuine story of a man’s life; easy to relate to even if you have no interest in the beautiful game.

The film’s success is largely due to the towering performance from Nonso Anozie as Cass Pennant, a Shakespearian actor who manages to capture the nuances of speech and physical mannerisms in such a remarkable way that you find it hard to imagine the same performer in the role of Othello for which he received rave reviews.  Cass sparkles with quality in every aspect of the production and deserves a much wider audience that with any luck this Blu-ray release will bring.

I want to close with an anecdote that Cass related to me which I think reveals his character somewhat.  On the night of the film’s premier at London’s Odeon Leicester Square Cass, who has an office above a pub in SoHo, came down to the bar to find a successful film director had bought him a bottle of champagne and invited him to sit down and drink it with him.  Cass has the reputation of being a bit of a workaholic but the director insisted, going on to ask if he was familiar with the list of 100 Great Black Britons and that was he aware that his name didn’t appear on the list?  Cass had looked through the list, which is primarily comprised of great sporting, entertainment and public figures, and he wasn’t exactly surprised not to be included as a former football hooligan!  The director pointed out that despite that not one of the 100 people listed have had a film made about their lives and that he should be extremely proud and should stop and raise a glass to savour the moment; Cass the movie is a suitable celebration.

Originally posted 2015-10-29 02:21:17.

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Bloody London

Bloody London Logo

I met up with writer and producer Paul de Vos to discuss an interesting new horror portmanteau film that he’s working on.  Paul and his writing partner Kornel Brzezinski have written one of the sections and acted as story editors for the other four episodes which show the capital as it’s never been seen before, spinning a terrifying tale of a taxi driver who discovers what really happens when the sun goes down…

Bloody London Skyline

Bloody London is from the stable of  leading British film producer Julie Baines, whose company Dan Films previously made such films as Creep, Severance and Triangle; she describes it as “a very original horror movie that’s not just scary but also moving – it’s like a horror version of Tarantino’s Pulp Fiction, because it tells several interlocking stories taking place over one night in London.”  Visual effects wizard Darren Wall is the film’s third producer and his Planet Jump Productions company has provided animation and artwork for an impressive roster of clients.

Bloody London is being directed by some of the UK’s leading horror directors, including Tom Shankland (Ripper Street, The Children), Johnny Kevorkian (The Disappeared) and Steven Sheil, director of the highly controversial Mum And Dad.

Bloody London Dragon

Special make-up effects will be by Oscar-nominated and BAFTA-winning Nick Dudman, whose credits include Star Wars, Indiana Jones and Harry Potter.  The film’s executive producer is Alan Jones, the UK’s authority on horror films and co-founder of leading European film festival Frightfest, which takes place in Leicester Square every August.  Jones comments, “Over my forty years in the film industry I have been asked many times to become involved in films as a producer but I have always said no – until now.  It was the many qualities of Bloody London that made me decide that this was something I really wanted to get involved in.”

Bloody London Tunnel

Bloody London will be the first in a series of horror films, with future films to include Bloody Paris, Bloody New York and Bloody Bangkok.  So this could be the birth of a new film franchise – in the greatest capital city in the world.

The producers are currently closing the finance for the film and are working with the crowd funding platform Seedrs – if you want to get involved and grab a piece of the Action!

Originally posted 2015-10-29 02:21:15.

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After the phenomenal success of independent publishing house Pennant Books with its stable of football fan culture, sporting legends and true crime titles regularly topping the best seller lists, the indomitable Cass Pennant has reinvented himself once again by forming Urban Edge Films which releases its debut feature length documentary Casuals this month with Pennant himself at the helm as writer and producer.

The film was originally conceived as a 25th anniversary follow-up to co-producer Ian ‘Butch’ Stuttard’s seminal Hooligan documentary which first aired on television in 1985 and charted the turbulent period of Pennant’s life as a prominent leader of West Ham United’s notorious Inter City Firm.  The idea of “Hooligan Revisited” was to focus less on the violent rivalry of the terraces but emphasise the street fashion the gangs created that would ultimately unify them and seep out to a wider consciousness across the country as a whole; establishing Casuals as the last working class male street fashion coming from the UK, following in the tradition of Mods, Teddy Boys and Punks.

Pennant is no stranger to movies and has served as a consultant on many of the major motion pictures concerning both football violence and fan culture including the original version of The Firm and Green Street, along with the television series The Real Football Factories.  In 2009 his vivid autobiography Cass was successfully transferred to the big screen so this transition to film production was almost inevitable.

It is obvious from the first moments of Casuals that this is going to be the definitive documentary and that Pennant and director Mick Kelly have meticulously interviewed all the leading authorities on the subject from Southern Mods to Northern Soul Boys.  One of the enduring questions is exactly where did the Casuals movement have its roots?  There is no easy answer but this extraordinary and insightful film strips away the myths and tells the truth about an indelible faction which revived the fashion industry to leave a lasting influence on today’s label-crazy youth.

Mindful of the North/South divide both sides are equally represented with the likes of Garry Bushell recalling his days as a music journalist for Sounds magazine, commenting on the Casual band Accent’s 15 minutes of fame when they played to the crowds at Chelsea’s Stamford Bridge ground and Peter Hooton lead singer of Liverpudlian band The Farm, who also started the fanzine The End in the early 80s which was the first publication to regularly report on the Casual scene and has just been reissued by Sabotage Times in a single book volume; Hooton also voices the film’s compelling narration.

With over 50 individuals interviewed the filmmakers had to make some cuts for time but luckily there is over an hour’s worth of additional interviews that are included on the DVD as extras.  Of the many passionate experts featured, author of the pictorial book A Casual Look and avid collector Nick Sarjeant probably sums it up best “It’s not just about what you were wearing, but also how you wore it.  Not just your clothes but your hair and even the ‘manner in which you walked’.  You had to have that ‘attitude’, saying like ‘Here I am’.” an attitude that is evident in every frame of this film as it tours the country meeting the key people for whom this was never simply a fad of fashion but a way of life.

Originally posted 2015-10-29 02:21:16.

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Peter Greenaway

I turned 18 the year that Peter Greenaway’s The Cook, the Thief, His Wife & Her Lover was released, I saw its opening at the Lumiere Cinema in London and it blew me away.  Around the same time Channel 4 screened his previous films, which they also co-produced via their Film Four funding arm, The Draughtsman’s Contract, A Zed & Two Noughts, Belly Of An Architect and Drowning By Numbers. Each featuring memorable Michael Nyman scores and striking, exquisitely lit, photography by veteran nouvelle vague cinematographer, Sacha Vierny; who notably shot Alan Resnais seminal, 1961 work, L’Année Dernière à Marienbad.  At the time of its release Greenaway was studying at the Walthamstow College of Art, specialising in murals. 

After graduating in 1965 he took a job at the Central Office Of Information making short documentaries on various banal subjects, such as Trees or Trains.  This would lead him to make more experimental, personal projects, allowing him to blend fact with fiction, culminating with The Falls in 1980; a 195 minute mock documentary focusing on 92 survivors of a fictitious global catastrophe, known as the “Violent Unknown Event” or VUE, whose names begin with the letters F-A-L-L.  The film also featured original music by minimalist composer, Michael  Nyman, marking the start of their long collaboration. 

Greenaway’s first totally dramatic feature was 1982’s The Draughtsman’s Contract, financed primarily by Channel 4 which launched the same year.  It was the first new terrestrial UK television station for 20 years and its remit was to represent the arts and minority groups.  The film is a 17th century whodunit, a young artist is hired to produce a series of landscape drawings of a country estate, the errant owner’s wife agrees to provide the arrogant draughtsman with sexual favours as part of his contract to undertake the work.  He also gets physically entwined with the lady of the house’s married daughter until the absent lord of the manor turns up dead in the moat. 

The film is packed with visual symmetry, puns and deliberate anachronisms, underscored by Michael Nyman’s scintillating soundtrack, inspired by Henry Purcell, accompanying the 12 landscape sketches.  It’s a tightly woven cloth and the film’s success established Greenaway as an original and exciting auteur and his follow up feature was eagerly anticipated. 

A Zed & Two Noughts, recently released on Blu-ray by the British Film Institute, is an amalgamation of 3 filmic notions; the first is examination of Darwinism, the second a study of the nature of twins and the third is a cinematic history of the use of light as inspired by the Dutch master painter Vermeer and, despite all of this, it manages to be an engaging and amusing black comedy.  I shall review the Blu-ray in detail in a future post. 

Greenaway’s next film was Belly Of An Architect, starring the American character actor Brian Dennehy.  It’s a study of the work of the 18th Century Romanesque architect, Etienne-Louis Boullée.  The connection with Rome is further explored as Dennehy becomes obsessed with Caesar Augustus who was poisoned by his wife, Livia.  As Dennehy suffers from increasing stomach pains, he suspects his wife is attempting to do the same.  I found that this film lacks the charm and humour of Greenaway’s other features and I have never particularly warmed to it. 

1988’s Drowning By Numbers could well be my favourite of all of his movies.  The combination of humour, intrigue, emotion and game playing is perfectly balanced and you never feel that the style outweighs the substance as I had with his previous film and his work post The Cook, The Thief, His Wife & Her Lover.  3 generations of women with the same name, Cissie Colpitts, in turn drown their husbands for various reasons, with the help of  Madgett, the local coroner, brilliantly played with comic subtlety by Bernard Hill.  Throughout the film Greenaway has secretly placed the numbers 1 to 100, serving as both a parlour game for us, the audience, to spot but also signifying our place within the narrative with 50 marking the halfway point, for example.  

I particularly enjoy the younger characters, Smut, the Coroner’s son, who counts the surreal, random road-kills that adorn the scenery, and his unrequited paramour, the mysterious ‘Skipping Girl’ who always counts the stars each night.  The film has a wonderous, mystical charm and subdued sadness about it, without ever becoming morose; it’s a joy from start to finish (or 1 to 100).  The film also contains my favourite Michael Nyman score, taking short phrases from the 2nd Movement of Mozart’s Sinfonia Concertante, the cues are lyrical and haunting, their mesmeric looping perfectly accompany the film’s obsession with counting.  

The Cook, The Thief, His Wife & Her Lover is Greenaway’s most lavish production and it’s hard to convey this to those who haven’t seen it on the big screen.  This film is crying out for a Blu-ray release and I am hoping that the BFI follow this month’s A Zed & Two Noughts fairly swiftly with the rest of his catalogue.  The plot, as the title suggests, is concerned with the lives of the characters aforementioned, particularly the cuckolding of Spica, the thief, played with a swaggering vulgarity by Michael Gambon; whose ill-gotten gains allow him to dine at the swankiest of restaurants.  

His wife, Georgina, played by Helen Mirren, has been having an affair with nondescript, bookshop owner, Alan Howard, a regular diner who she seduces in the restaurant’s toilets.  Once Spica discovers the identity of his wife’s lover he takes his vengeance by having him killed by force-feeding him pages from his books.  Georgina discovers the body and has the restaurant’s Chef serve it as a special dish for her husband,  forcing him to eat his victim at gun-point before shooting him in the head.

Whilst the plot is fiendishly simple the film’s visuals are sumptuous and stunning, the long tracking shots from left to right, displaying the restaurant’s decor and nouvelle cuisine in primary coloured palettes, took my breath away and will remain as one of the best experiences I have ever had at the cinema.  Unfortunately Greenaway’s recent work doesn’t hold a candle to this unbroken run of bold and brilliant movies, however he is just the sort of surprising artist who could yet pull his biggest and brightest rabbit out of his surrealist cocked hat!

Originally posted 2015-10-29 02:21:14.

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True Grit (2010)

It’s uncertain whether Joel and Ethan Coen set out to make their most commercially successful film in a 30 year career by electing to remake the classic John Wayne Western True Grit as their 15th feature, however it has been by far their biggest grossing domestic picture to date, taking twice as much at the box office than their previous Oscar winner No Country For Old Men which kick-started their partnership with Paramount producer Scott Rudin a few years back.

Having never been much of a Western fan, aside from the superior ‘Spaghetti’ variety of Sergio Leone especially the “Dollars Trilogy” which propelled Clint Eastwood to international stardom, I wasn’t the first in line to see this new version despite it being the latest offering from the Coen Brothers.  Admittedly, I tend to prefer their original comedies but I was intrigued to see this primarily for the acclaimed performances of Jeff Bridges as ‘Rooster’ Cogburn and Hailee Steinfeld as Mattie Ross both of whom earned Academy Award nominations.

When her father is brutally murdered in Fort Smith, Arkansas by the cowardly outlaw Tom Chaney (Josh Brolin), 14 year old Mattie Ross comes to town to collect his body and hire a U.S. Marshal to track down the killer and bring him to justice.  Out of the Sheriff’s recommendations she selects ‘Rooster’ Cogburn as he has the reputation of being the most ruthless.  Mattie is exceptionally astute for her years and has a commanding knowledge of the laws of business enabling her to run rings around the local inhabitants outwitting them in a series of trades over her late father’s effects, raising sufficient money to bankroll her revenge.

There aren’t that many structural differences from the Hal Wallis production, both are true to the spirit of the Charles Portis novel.  Jeff Bridge’s Cogburn is clearly a cold-blooded slayer and a broken man; much less avuncular or amusingly soused than John Wayne and without his immediate warmth or charm.  Hailee Steinfeld is the same age as her character and despite her smarts she is obviously still a vulnerable young girl, whereas Kim Darby was 21 when she played a hardier, tomboyish Mattie Ross in the 1969 original.

Although the biggest difference in casting is Matt Damon in the role of the Texas Ranger LaBoeuf who hopes to claim the bounty out on Chaney for killing a State Senator.  The part initially played by country singer Glenn Campbell was very much a cameo whereas the Coens have transferred a lot of the affability from the Duke’s take on Cogburn to Damon’s LaBoeuf making him more sympathetic thus transforming the story from a basic two-hander into a more complex triangle.

The Blu-ray edition reveals the huge visual accomplishment achieved by the Coen Brother’s regular cinematographer Roger Deakins.  The colour palette is distinctly different to the previous version which was bathed in California sunshine so typical of Westerns made at the time; instead we have bitter cold, steely blue skies starkly contrasted with delicate snowflakes.  The 1080p picture sports faultless clarity and high detail particularly noticeable in hair and skin tones, whilst the DTS-HD 5.1 soundtrack crackles with the ambient sounds of the great outdoors, wind and water are well represented and the surprisingly few gunshots deeply resonate.

It’s also worth mentioning Carter Burwell’s disarmingly simplistic score which riffs around the two spiritual tunes “Leaning on the Everlasting Arms” and “Lean On Jesus” which were first used to striking effect in Charles Laughton’s classic film noir The Night of the Hunter, clearly a massive influence on the Coen Brothers.  There is a small selection of fairly standard extras the one exception being the 30 minute documentary Charles Portis: The Greatest Writer You’ve Never Heard Of… which profiles the life and work of the author and compares both film versions to the original text.

True Grit is a milestone picture for the Coen Brothers that not only provides them with their first unabashed box office hit but demonstrates an assured maturity and artistic commitment which is no longer confined to the low budget obscurity that prevented so many of their significant early films from reaching justifiably larger audiences.

Originally posted 2015-10-29 02:21:13.

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