Spike Lee

After I returned from my tour of America in 1991 I took a job working in a retail Video shop and this presented me, as an avid movie fan, with two key benefits; the first was the opportunity to preview any tape outside of opening hours, the second was the generous staff discount that allowed me to grow my own film collection.  It was at this time that I discovered the work of Spike Lee, starting with his debut feature She’s Gotta Have It for which he was dubiously dubbed “the black Woody Allen” by some for the use of monochrome cinematography in a New York setting and his credits as writer, director and actor in the role of Michael Jordan obsessed, Mars Blackmon, which he reprised for a series of adverts he made for Nike also featuring the basketball star. 

His second film, School Daze, produced by David Putnam, was a confusing blend of Animal House style fraternity comedy, equal parts Hollywood musical and biting satire on the notion of black identity in modern America.  However, it was his next film Do The Right Thing that really put Lee on the map, taking place on the hottest day of the year in Brooklyn’s Bed-Stuy neighbourhood, it focuses on the mounting racial tension between the white family inhabitants of Sal’s Famous Pizzeria and it’s predominate black clientele, headed up by Buggin’ Out (Giancarlo Esposito) who insists that Sal (Danny Aiello) gets some brothers up on the wall, instead of the “Wall of Fame” consisting entirely of famous Italian-Americans, or they will boycott his restaurant.  

Lee plays Sal’s delivery boy, Mookie, who is trying to balance his life as a young father, his relationship and the perceived conflict of working for a white boss by his friends.  The animosity reaches a peak at the end of the day when Sal destroys regular customer, Radio Raheem’s (Bill Nunn) boombox leading to a riot, in the ensuing violence the police throttle Raheem to death whilst trying to arrest him, to dispel the vengeful crowd Mookie throws a garbage can through the pizzeria’s window resulting in it being razed to the ground.  This action is deliberately ambiguous, the audience are left pondering whether Mookie did the right thing and I’ve found my own response to this can change with each viewing.

The next Spike Lee Joint was Mo’ Better Blues his valentine to the Jazz music of his father, Bill Lee, starring Denzel Washington as the trumpeter and band leader, Bleek Gilliam, who we see as young boy in the opening shots of the film practising scales religiously whilst his friends wait for him to come out to play.  The movie cleverly explores the life of an artist having to choose between two muses, one a glamorous and ambitious singer, Clarke (Cynda Williams), the other a teacher, down to earth and maternal, Indigo (Joie Lee), yet ultimately it’s his music that he is wedded to.  It also depicts the struggle of egos within a band when saxophonist, Shadow Henderson (Wesley Snipes) vies with Bleek for leadership, the etiquette of solos versus grandstanding, and having to deal with an ineffective, gambling, manager, Giant (Spike Lee), who happens to be your best friend.

The film is heavily stylised and Lee’s regular cinematographer, Ernest Dickerson, provides a rich, saturated colour palette giving the musical sequences at the Underdog Club almost a cartoon look and feel.  The score, composed by Bill Lee, is performed by the Branford Marsalis quarter, featuring Terrance Blanchard on trumpet and it remains one of my most listened to soundtrack albums.  Ultimately, Giant’s gambling debts catch up with him and Bleek sacrifices his music for their friendship, Shadow takes over both as Clarke’s lover and leader of the band; fate forces Bleek to choose Indigo to save his life and in the long montage featured in the last reel, synchronised to John Coltrane’s Love Supreme, they settle down, get married and have a son, Miles, who also learns the trumpet and so we have come full circle.

Possibly my favourite Spike Lee film is 1992’s Malcolm X, in this movie he displays an encyclopaedic knowledge of the Cinema providing references from a myriad of influences including the D. W. Griffith silent classic Birth Of A Nation, Billy Wilder’s film noir Ace In The Hole, Vincente Minnelli’s musical The Band Wagon, Francis Ford Coppola’s The Godfather, Martin Scorsese’s Goodfellas and countless other movies; it is truly astounding how many visual treats he is able to cram in to what so easily could have been a standard, po-faced, biopic.

Denzel Washington excels in the title role and is on screen almost constantly for the film’s epic 3½ hour running time.  Befitting the Herculian directorial task Lee takes a smaller acting role as Shorty, Malcolm’s barbershop buddy who first straightens his hair and then runs with his gang on a petty crime spree that leads to a lengthy prison sentence.  Whilst inside Malcolm is exposed to the teachings Elijah Muhammad, the leader of the Nation of Islam and converts to the Muslim faith taking the name Malik Shabazz.

The early part of the film owes a lot of its look and style to Mo’ Better Blues with Malcolm and Shorty running around in Zoot suits, it has a lot of lighter comic moments which perfectly balance the tone of the second half of the film which is more or less preoccupied with the false promises, corruption and separatism that beleaguers the Nation of Islam and its leadership.  Culminating with Malcolm X’s assassination at the Aubadon Ball Room in 1965 and closing with Ossie Davis reading his original eulogy from his funeral, which reminds me very much of Oliver Stone’s Nixon; here Spike Lee proves he is not just a marginal, independent filmmaker but among the finest of his generation.

Originally posted 2015-10-29 02:19:42.

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Grave Misconduct: 21st Anniversary Edition

In 1990 I was the resident videographer at Bowes Lyon House, a youth centre and arts venue in my home town of Stevenage that would transform once a week into Thee Klub Wiv No Name attracting artists such as The Ragga Twins, The Bleach Boys and The Cranberries, I was tasked with capturing the live performances on tape.

At the time I was an active member of The Bancroft Players a renowned drama society based at the Queen Mother Theatre in the neighbouring market town of Hitchin.  Mike Lukey, my best friend from my early school days, was the keyboardist and songwriter for local band Budadada, now known as the New Town Centres.

The pair of us had tried in vain to make the eponymous Ex & Lukes: The Motion Picture on Super 8 cine film whilst we were still at school and we hit on the notion that we could borrow the camcorder from Bowes Lyon and use it to finally get a movie made and within a couple of weeks we had knocked up a script, gathering a small cast of friends from the theatre group and the band together, many of whom had never acted before.

The plot revolved around the exploits of two supposed pillars of society, Reverend Laurence Dressing (Ex) and Doctor Paul Toombes (Lukes) whose twenty year friendship had seen them descend into corruption leading to murder, incest and ultimately, for the Doctor at least, suicide.  It was thought that in order to help me age for the role of the Vicar my curly locks should be bleached white, however due to the natural amount of red in my hair the best the barber could manage was straw yellow, which appeared either orange or green under different light, leaving us no choice but to present the film in black and white.

 Whilst the themes were dark the subject was treated as a black comedy, satirising the privatisation policies of the Thatcher government of the day and pondering what might have happened had the Church of England been subject to stringent, commercial, market pressures; enter Archbishop Dorsal Fine played by the stalwart of the Bancroft Youth Theatre Julian Newman Turner, he gives the Vicar one last chance to turn around the fortunes of the church of St. Kilroy before it’s listed for demolition and the land redeveloped.

Reverend Dressing has a more sinister motive for saving the church, for walled up in its belfry is the corpse of a fallen lady from his past who took to blackmail when she fell pregnant by him.  The Vicar called upon his good friend and hypnotist Doctor Toombes to discretely dispose of the troublesome woman.  If the church is torn down their little secret would be discovered giving them no alternative but to revitalise the church coffers in the easiest way possible by generating an increased demand for funerals and the copious costs that accompany them.

We were actually allowed to film in St. Nicholas church in Old Stevenage on the pretext that this was a community story about a group of local people trying to save the parish church.  With the same cunning we were able to convince the Director of Bowes Lyon to let us keep the camera over the course of one weekend (usually we had to return it before the offices closed) and this single exception provided the chance to shoot the requisite spooky night scenes in the woods; no self-respecting, low-budget movie would be complete without them!

Once the Doctor had dispensed with the bulk of his regular patients thus filling St. Kilroy’s graveyard, the second act introduces the character of Georgina played by Claire Garvie, who had recently starred as Sandy in the Lytton Players production of Grease at the Gordon Craig Theatre.  Georgina worked at the local nursery and was involved in a fatal car accident resulting in the death of a young child for which she held herself responsible.  During a visit to Reverend Dressing for spiritual guidance his dog collar slips once more and he embarks on a May to September fling with Georgina that quickly escalates to talk of marriage; perhaps the clergyman believes he can find salvation by rescuing the young, troubled girl.

Georgina also visits the clinic of Doctor Toombes for counselling and whilst under hypnosis it’s revealed through flashbacks that perhaps he isn’t completely evil after all; whilst he did-away with the pregnant woman from his pal’s past, he managed to save the baby and delivered her to the Salvation Army where she was fostered.  Once he realises that the Vicar is about to marry his own daughter unwittingly, this tragedy of Greek proportions is too much for the Hippocratic practitioner to bear and the guilty knowledge sets him in a tailspin of depression and madness culminating in death by his own hand.

Grave Misconduct was originally shot on a Panasonic M10 VHS camera and edited in the linear fashion direct to U-Matic Beta-SP master tape over the course of two days. The equipment available at the time didn’t allow for complex effects, transitions or sound montage and the original now feels a little tired and slow by today’s standards.

Lukes did a very short edit which played more like a trailer to commemorate the film’s first decade but I thought it would be a worthwhile exercise to produce a brand new edition to celebrate the film’s 21st anniversary using my new found skills with Final Cut Pro X. I wanted to remove a lot of the glitches from the original that have bothered me over the years whilst keeping the storyline and key performances intact; by cutting 21 minutes of footage and introducing an alternative soundtrack I have injected much more pace and energy into it and I now consider this to be the definitive version.

Originally posted 2015-10-29 02:19:41.

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Twin Peaks: Fire Walk With Me

The original television airing of Twin Peaks in 1990 coincided with my recent interest in the films of David Lynch after renting a copy of Blue Velvet on video and the break between the first and second seasons also saw the release of Wild At Heart at the cinema which launched a sudden and unexpected wave of Lynch mania that swept across both sides of the Atlantic Ocean. Around the same time I visited America for the first time, landing in Los Angeles in January 1991 I couldn’t wait to pick up a copy of the L.A. Reader so I could see Lynch’s notorious cartoon strip The Angriest Dog in the World with my own eyes!

Twin Peaks has recently been celebrating its 20th Anniversary and is back in the public conscious with current shows like Psych reuniting some of the original cast members in the Dual Spires tribute episode which revolves around a Laura Palmer style copycat murder. After the initial distribution rights battle which prevented the second season being released on DVD for years, CBS Paramount have now released the entire show in its David Lynch approved Gold Box set and it’s even available to download on iTunes in HD which has sparked talk of a potential Blu-ray edition to follow.

When I met my wife-to-be one of the first things we did was sit through the original series, she was instantly hooked and we watched the pilot and all 29 episodes back to back followed by Fire Walk With Me within the space of one long weekend. To mark our recent Wedding Anniversary we have just watched them all again for the first time in 5 years and it remains an astonishing landmark in the annals of mainstream television history; all credit is due to creators Mark Frost and David Lynch as few programmes can claim to have been as groundbreaking or influential as Twin Peaks.

The show was cancelled in the middle of the second season due to falling viewing figures once Laura Palmer’s killer had been revealed and a spate of weak, largely comic subplots failed to fill the void despite a tour de force performance from Kenneth Welsh as Agent Cooper’s former partner and Nemesis, Windom Earle and the introduction of a Sci-fi element with the Project Blue Book investigations into the local Black and White Lodge mythology; there was still much to enjoy in the show and many questions were left deliberately unanswered in the final episode which is very reminiscent of the end of Patrick McGoohan’s seminal 1960s series, The Prisoner.

Twin Peaks: Fire Walk With Me was released in cinemas during 1992; a year after the bemusing final episode had left Agent Dale Cooper trapped inside the Black Lodge. The film serves as both a prequel, as it examines the death of Killer Bob’s first victim Teresa Banks and the last 7 days of Laura Palmer’s life leading up to her murder providing psychological insights into the deranged mind of her father Leland, and a sequel as it clarifies the fate of Agent Cooper, expands the Dugpas back-story and lays to rest Laura’s troubled spirit in the closing moments. For many unfamiliar with David Lynch’s darker movies this was a total shock as the show’s amusing supporting characters were not present to offset the deeply disturbing secret that had always been at the heart of the series and it was actually booed by hostile audiences at the Cannes Film Festival premier.

There is no getting around the fact that there are some gut wrenching scenes in the film that deal head on with the psychological pain of acknowledging that stripped bare of all of its fanciful mystery this is the story of the long term physical abuse of a teenage girl by her father and this is something that Lynch had felt had been long forgotten by the end of the second season and he had remained troubled by the character of Laura Palmer. Actress Sheryl Lee who had only got to play Laura in stylised flashbacks or her lookalike cousin Maddy in the TV show wanted to truthfully bring her to life and give her doomed existence an element of closure.

There are many Hitchcockian influences in Lynch’s work the obvious one here is the name of Maddy Ferguson, a nod to Vertigo in which Kim Novak had a dual role; she plays Madeleine who Scotty Ferguson (James Stewart) falls madly in love with and also Judy who Scotty meets after witnessing Madeline’s apparent suicide and whilst in a psychotic state he re-styles Judy in Madeline’s image, changing her hair and clothes to conjure up the woman he is morbidly obsessed about.

When Hitch was asked if he could cut the “rape” scene from his 1964 film Marnie by hired screenwriter Evan Hunter who felt that it would make the character played by Sean Connery unsalvageable at least in the eyes of the female members of the audience, Hitchcock refused explaining that the only reason he wanted to make the movie in the first place is because of that one scene and replaced Hunter with renowned feminist playwright Jay Presson Allen who reworked the screenplay keeping the “non-consensual sex” scene between Connery and Tippi Hedren firmly in place. Likewise, I believe the only reason Lynch wanted to make Twin Peaks was due to the abusive father/daughter relationship at the core of the story and Fire Walk With Me is his way of emphasising that point.

French distributor MK2’s Blu-ray release of Twin Peaks: Fire Walk With Me is never going to be the definitive edition, whilst the full 1080p picture quality is a marked improvement on the DVD version and the DTS-HD 5.1 soundtrack is solid and fixes the infamous mixing problem in the “Red Room” sequence which was subtitled due to the excessive volume of the club’s live music; on the previous DVD release the music had been turned right down so you could clearly hear all the dialogue rendering the onscreen subtitles ludicrous.

I am pleased to report that after almost 25 years the entire mystery has been released in one Blu-ray boxset, including the much coveted 90 minutes of deleted scenes!  Not for the feint hearted and probably only really for true fans of Lynch’s oeuvre as a whole Fire Walk With Me is a fitting footnote to a landmark television series and a cathartic release and appropriate closure to a story steeped in the indignant suffering of its central character, it also marks the end of a period when for a fleeting moment David Lynch was the coolest cat on the planet.

Originally posted 2015-10-29 02:19:30.

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Sherlock Holmes

I grew up watching the constant reruns of the Universal Studios series of Sherlock Holmes films starring Basil Rathbone as the ace detective and Nigel Bruce as his exceedingly bumbling confident Doctor Watson, back in the day when black and white movies were still shown on terrestrial television.  I graduated to the original Arthur Conan Doyle stories as bedtime reading and became somewhat of an aficionado in my late teens.  My father who was also a boyhood fan encouraged me to join the Sherlock Holmes Society which, in the pre-Internet era, sent out a copy of The District Messenger, a single page newsletter produced by Roger Johnson roughly once a month since 1982.

Whilst there have been some excellent Holmesian television adaptations, most notably the Granada ‘Adventures’ series starring Jeremy Brett whose performance is on a par with David Suchet’s long running portrayal of Agatha Christie’s Hercule Poirot, the more recent film versions have been less than satisfying; the last decent outing was probably Billy Wilder’s The Private Life of Sherlock Holmes with Robert Stephens donning the renowned deerstalker.  So, it was in trepidation that I ventured out to the cinema with my wife to see director Guy Ritchie’s action-packed Legendary Pictures reboot with the unlikely pairing of Robert Downey Jr. and Jude Law as the sleuthing duo.

Any fears were quickly allayed as the script (whose storyline was meticulously researched by Lionel Wigram, co-producer and author of the graphic novel on which the film is based) not only captures the celebrated Conan Doyle creations but screenwriter Michael Robert Johnson has faithfully fleshed them out, presenting them afresh for the sensibilities of the 21st century motion picture audience.  To some the plot may seem episodic and, at times, convoluted and it contrives to set up the forthcoming sequel in the final reel, but none of that is at odds with the spirit of the original Strand Magazine publications of the 1890s, which thoroughly exploited the cliff-hanger.

If there was ever any doubt about Robert Downey Jr.’s rehabilitation as an out and out movie star then Sherlock Holmes puts pay to that, the role cries out for the diamond-cut precision and razor’s edge synonymous with his recent performances; I can’t imagine anyone else bringing this particular Holmes to the screen with such alacrity, intuition and intelligence.  Somewhat surprisingly, Jude Law also scores highly as the long suffering Doctor, bringing a hitherto unseen charm and dynamism to his John Watson, which lends itself more convincingly as to why Holmes craves his approval and friendship, an aspect so often missing when he’s simply depicted as an inept half-wit.

Thankfully Guy Ritchie’s handwriting is missing from the script’s dialogue but his trademark searing visual style is ever present on the screen.  The use of an extreme slow motion camera technique allows us to perceive both Holmes’ rapid intellect and incredible physical dexterity at work in miniscule detail, it is not over used but is particularly powerful in the bare knuckle boxing match; the additional brainpower allowing Ritchie to knock out Brad Pitt’s fight sequence from his earlier movie Snatch.

The attention to period detail is also remarkable, particularly the construction of London’s Tower Bridge which provides the location for the film’s final battle between Holmes and the villain of the piece, Lord Blackwood imbued with biting humour and vengeful menace by Ritchie/Vaughan regular heavy Mark Strong, in the closing moments we discover that all along he’s been a pawn of the shadowy figure of Professor Moriarty who is going to be played by Jared Harris in the sequel Sherlock Holmes: A Game of Shadows.

The Warner Bros. high definition release sports a shiny 1080p/VC-1 encode of immense clarity, both the picture and DTS-HD 5.1 soundtrack are demonstration quality.  There are a wealth of extras included which can be watched separately or throughout the film by selecting the unique Maximum Movie Mode presented by Guy Ritchie, this serves as both a commentary and a feature length ‘making-of’ documentary and is superior to the more common Picture-in-Picture Blu-ray feature.

Sherlock Holmes was one of the best nights at the cinema I’ve had in many a year and I regularly enjoy sharing the movie with friends at home, it’s one of the few film franchises that I’m eagerly awaiting the next instalment of and can only hope it will be as solidly entertaining and authentic as the first adventure.

Originally posted 2015-10-29 02:19:27.

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Gainsbourg

To be honest I wasn’t quite sure what the movie Gainsbourg was going to be like, surprisingly it’s not the straight forward, reverential biopic that I was half expecting. In fact it’s a startling work of originality as it’s the debut feature of Joann Sfar, the renowned graphic artist of the Franco-Belgian comic new wave, as with his notable comic series The Rabbi’s Cat he examines his Jewish heritage in telling the story of Lucien Ginsburg’s rise to fame, the world would come to know him as the popular singer songwriter and hugely influential 1960s cultural icon Serge Gainsbourg; played uncannily by Eric Elmosnino.

The film opens with the young Lucien Ginsburg growing up in Nazi-occupied Paris, his Russian-Jewish parents hailed from a musical background and his father taught him to play the piano, giving him a grounding in the classical repertoire but Lucien was less interested in music but passionate about drawing and so he is sent off to study at the Montmartre College of Art.  Clearly Lucien’s childhood experiences deeply affected him, not least the stigma of being forcibly labelled a Jew by having to wear a yellow star but also the appearance of his outsized ears and nose which made him painfully self-conscious.

The film is based on director Joann Sfar’s own graphic novel Gainsbourg (Vie héroïque) and he obviously identifies closely with the subject both culturally and artistically; cleverly blending animated fantasy sequences depicting Gainsbourg’s early paintings and the visualisation of a dark character who appears in the gothic fairy story that Lucien would tell to his school chums as a way of transcending his complex about his looks; the creepy “Professor Flipus” who emerges when a Freudian projection of his head with exaggerated features swells to immense proportion and then explodes leaving behind this Nosferatu-esque puppet figure who becomes Ginsburg’s alter ego, embodying all of his least desirable characteristics from that moment on.

Professor Flipus is convincingly brought to life by the performer Doug Jones (Pan’s Labyrinth) engaging the adult Lucien Ginsburg in a Faustian pact, promising in exchange for abandoning art and concentrating solely on music to make him a massive star, and so “Serge Gainsbourg” is born; this devilish doppelganger is a convenient device allowing him to elude any real blame for his erratic and irresponsible behaviour, particularly the poor treatment of the many women who come and go throughout his life; he abandons his first wife and their 2 children early on in the movie.

At the height of his fame Gainsbourg had a celebrated affair with starlet Brigitte Bardot (Laetitia Casta) who was married to the playboy Gunther Sachs at the time, they collaborated together and he wrote Je T’aime… Moi Non Plus for her which they recorded but wasn’t heard until 1986; instead the controversial original release featured Gainsbourg’s next big romance who went on to become his longest-suffering wife, the English actress Jane Birkin (Lucy Gordon). They were together for almost 20 years and during that time Gainsbourg was to sink deeper into nicotine and alcohol dependency, reinventing himself as a counter-culture figure notorious for burning a 500 Franc note on stage and recording an ironic reggae version of La Marseillaise; drawing attention to the barbaric lyrics which enthusiastically encourage the patriotic slaughter of women and children.

The Blu-ray edition provides a showcase for the film’s highly stylised visual design.  The picture is presented in its original 2.35:1 aspect ratio with a full 1080p MPEG-4 AVC encode boasting a wonderfully vibrant colour palette which evokes both the spirit of the swinging 60s and the internal musings of Gainsbourg’s wandering imagination, best illustrated by the ever-present glowing eyes of the surreal Professor Flipus.  The DTS-HD master audio soundtrack encapsulates the informal moments of Gainsbourg’s piano tinkering in smokey nightclubs as well as the iconically lush orchestrated hit recordings and maintains dialogue clarity throughout.

The very brief extras are the only disappointment in this package; it seems Optimum Home Entertainment missed a massive opportunity by not including a documentary featuring film footage and interviews with the real life Gainsbourg by way of a comparison.  Nethertheless, Joann Sfar has created a breathtaking film debut which seems far less concerned with presenting facts or telling truths about his hero than creating a bizarre, whimsical world for him to inhabit; existing at arm’s length from his destructive demons and leaving space for Eric Elmosnino’s towering central performance to dominate the movie, he portrays both the essence of Lucien Ginsburg and the mannerisms of his mercurial stage creation Serge Gainsbourg effortlessly.

Originally posted 2015-10-29 02:19:03.

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The Social Network

As a devotee of the landmark American serial drama The West Wing which ran for 7 years and focused on the day to day activities of the Oval Office and the loyal support staff who serve at the pleasure of fictional President Josiah Bartlet played effortlessly by the ever charismatic Martin Sheen, when I learnt that the show’s creator and chief writer Aaron Sorkin had adapted Ben Mezrich’s book The Accidental Billionaires which charted the founding of the now ubiquitous social website Facebook, despite my scepticism of the cinematic scope of the subject matter I knew that the quality of Sorkin’s writing would make this compelling viewing.

The opening scene of The Social Network is textbook Sorkin, fast-paced, exceptionally literate dialogue punctuated with witty barbs leading to an increasing amount of tension as the disquieting banter between cerebral computer geek Mark Zuckerberg (Jesse Eisenberg) and his girlfriend Erica Albright (Rooney Mara) ends with her dumping him and delivering the shattering coup de grace “You’ll go through life thinking girls hate you because you’re a geek, but it’ll be because you’re an asshole!”.  If nothing else the rest of the movie is an examination of whether Zuckerberg is actually an asshole or if his dubious actions are the direct result of a massive inferiority complex.

True to the book the film is preoccupied with the explosion of the social networking phenomenon which was born in the college campuses of America and spread around the world like wildfire at the turn of the millennium.  Whilst at Harvard Mark Zuckerberg manages to crash the network in 4 hours by creating the Facemash website which hacked into all the college databases raiding pictures of the female fraternally, randomly pitting two of them against each other asking the visitor to determine which was “hotter”.  This notoriety lead him to be approached by two Varsity rowing athletes, the twins Cameron and Tyler Winklevoss through the marvels of digital technology both played by Armie Hammer, asking him to program the code for their website idea the Harvard Connection which took the principle of MySpace but added the exclusivity of requiring an @harvard.edu email address to sign up.  Zuckerberg agrees to help and then stalls them indefinitely whilst he rushes to launch his own take on the concept, the fledgling version of Facebook.

The Winklevoss twins provide a lot of the movie’s trademark Sorkin humour as they deliberate between themselves whether it’s sportsmanlike behaviour for two gentleman of Harvard to take Zuckerberg to court.  Facebook is taken up nationally by the big college campuses, including Stanford which brings it to the attention of Napster founder Sean Parker an impressive star turn by Justin Timberlake, who decides he wants a piece of the action and seduces Zuckerberg to relocate to California providing the movie’s second act, should Mark let ambition overtake his loyalty to his best friend and founding partner Eduardo Saverin (Andrew Garfield) who so far has invested $19,000 in setting up the site.  Whilst at the Henley Regatta the Winklevoss twins learn that Facebook is now being used by Oxbridge students and this last straw determines them to proceed with litigation.

The Social Network as with all of Sorkin’s work is ultimately a rather theatrical talk piece but despite that director David Fincher, who elected to shoot on HD video as opposed to celluloid, has crafted a taut and visually impressive feature which manages to grip the audience right from the start.  When it was first released there were comparisons drawn to Orson Welles’ classic Citizen Kane largely due to the similarities between print and online media monopolisation and the notion of selling one’s soul in order to prosper.  The problem is, unlike Charles Foster Kane, Mark Zuckerberg isn’t depicted as the out and out villain of the piece and if the script has one serious flaw it’s that it lacks a clearly defined antagonist, however as a character study and an essay on the frailty of the human condition it scores highly.

As it was shot in HD it looks superb on Blu-ray and the picture is crisp and vibrant in full 1080p.  The incredibly clear DTS-HD 5.1 soundtrack ensures you never miss a word of Sorkin’s famously fast-paced dialogue and showcases the original score by Trent Reznor and Atticus Ross.  The exclusive extras include a feature-length making of documentary entitled “How Did They Ever Make a Movie of Facebook?” sporting in-depth interviews with all the key personnel.  I would challenge anybody to try and claim after seeing this film that celluloid is superior to digital processing when playing back on high definition equipment.

The beautiful irony of The Social Network is that the man who created Facebook appears to have lost his only friend battling over its financial success.  In the final scene after Zuckerberg has been ordered to award the Winklevoss twins $65 million compensation his junior council concludes “You’re not an asshole, Mark.  You’re just trying so hard to be one.” leaving him alone with his laptop, in desperation he sends a request to ex-girlfriend Erica Albright hoping she’ll accept him as a friend, he sits there repeatedly hitting the refresh key.  Final Curtain.

Originally posted 2015-10-29 02:19:02.

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The Sound of Music: 45th Anniversary Edition

The Sound of Music was not one of my parents’ favourite things so, consequently, I do not have any fond childhood memories of it as I have for the Wizard of Oz or Chitty Chitty Bang Bang which were always Christmas perennials in our house.  As a teen I can remember whenever the film came on television the channel being changed rapidly before Julie Andrews belted out the first line of the title song.  It’s easy to understand why because The Sound of Music did not look good in pan and scan on a 24 inch screen and it certainly didn’t sound good through small Mono speakers.

It’s safe to say that the film is often readily dismissed as being too schmaltzy and terribly outdated even for the time it was made in 1965, after all the stage show had first been a hit in 1959 and it would be Rodgers & Hammerstein’s last together.  When I finally got around to seeing it all the way through in my early 20s I had the advantage of seeing it on DVD on a 32 inch widescreen TV and I was totally enthralled by it.  Director Robert Wise, who edited Orson Welles’ Citizen Kane, managed to tell the story of the Von Trapps with all of the songs but none of the saccharine.  He also captured the reality of The Anschluß without preaching or oversimplifying the politics of Nazi Germany and its occupation of Austria in 1938.

Now we come to the 45th Anniversary Blu-ray edition and I am totally bowled over by the movie again and this time I have the benefit of watching it with my son who is 5 and I am amazed that he sits enraptured by the whistle-stop tour of Salzburg that is Do-Re-Mi, the stunning 70mm digitally restored print filling the 50 inch Plasma screen with a glorious 1080p/AVC MPEG-4 transfer which has to rank amongst the best I have ever seen.  Each note resonating clear as crystal in immaculate 7.1 DTS-HD quality and you realise that what you saw squeezed onto old TV sets growing up in the 1980s could never do the 1965 Best Picture Oscar winner justice and must be partially responsible for the bad reputation the film had for so many years.

The package comes with a second Blu-ray full to the brim with extras the best of which, for my taste, is Rodgers & Hammerstein: The Sound of Movies a feature length retrospective charting the entire history of their successful creative collaboration hosted by the original stage Maria Von Trapp, Mary Martin.  There is also a long interview with screenwriter Ernest Lehman, who also wrote Hitchcock’s North by Northwest, in which he recounts the process of bringing his vision of The Sound of Music to cinema audiences, he is largely to thank for removing a lot of the sentimentality from the libretto and injecting it with authenticity and genuine wit.

I hope that now it has been restored to its former glory future audiences will have the fortuity of growing up with this wonderful story of one family’s struggle through song to journey over the Alps and far beyond the clutches of Adolf Hitler’s Third Reich featuring some of the best popular songs written in the 20th century; not only the title song and Do-Re-Mi but also My Favourite Things, Lonely Goatherd and Edelweiss replete with standout performances from the indefatigable Julie Andrews and dryly humorous turn as the stern patriarch from the redoubtable Christopher Plummer.  The Sound of Music looks as sharp and bright as a new pin on Blu-ray and as a testament to its lasting appeal, my son has asked me to put Do-Re-Mi on every day this month!

Originally posted 2015-10-29 02:19:04.

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Frost/Nixon

Director Ron Howard’s film version of Peter Morgan’s play Frost/Nixon effectively captures the original stage performances of both Michael Sheen, as maverick reporter David Frost and Frank Langella, as ostracised former US President Richard Nixon.

The drama cleverly explores the foibles of both leading characters as they meet head to head for a series of intimate televised interviews.  David Frost, the Cambridge University graduate turned media wunderkind whose ground breaking satirical show That Was The Week That Was (or TW3 for short) launched his television career making him a house hold name in Britain and quickly extended his fame across the Atlantic where he presented the more conventional David Frost Show, is now globetrotting with progressively pap programmes like Frost Over Australia and determined to prove that he still has what it takes to be a serious journalist capable of obtaining the ever elusive scoop.

Richard Nixon, having the dubious honour of being the only President to resign from office, is out in the political wilderness negotiating deals for his upcoming memoirs through the notorious wily Hollywood literary agent Irving “Swifty” Lazar (Toby Jones) who gets wind of Frost’s desire for an exclusive, candid, one-to-one, filmed interview and tables a meeting for the two men to agree terms.  Lazar persuades Nixon that Frost, who has the reputation of being a bit of a light-weight only used to sucking up to celebrities, would be the perfect person to go up against as he’ll have no problem controlling the conversation and steering clear of more sensitive topics such as the war in Vietnam and the Watergate scandal.

Both sides assemble teams of researchers to second guess the questions and prepare the answers; Frost has the partnership of Bob Zelnick (Oliver Platt) and James Reston Jr. (Sam Rockwell) seasoned investigative journalists in the mode of Woodward and Bernstein, who are set on exacting a confession from the President who they believe escaped justice.  Nixon has his current Chief of Staff, the former Marine Colonel, Jack Brennan (Kevin Bacon) who perceives the frothy Frost to be of little threat and is confident he can pull off a media coup with military precision.

In the first two of three planned recording sessions Frost seems flummoxed by Nixon’s effortless ability to evade the prepared questions and ramble at length on trivial, autobiographical reminiscences; so much so that Reston lambasts Frost for not being able to ask the “difficult questions” tapping into his biggest fear that he really isn’t up to the job.  Nixon admits to Frost in a late night drunken phone call before the last interview that despite feeling a kinship to him through both coming from what he calls “humble beginnings” that he intends to emerge from the process as the victor.  This spurs Frost on to remove the kid gloves in their final bout and tackle the issue of culpability over Watergate head on, to which Nixon concedes and comes as close as he ever did to issuing an apology to the American people who voted for him.

Director Ron Howard fully aware of the piece’s theatrical roots builds the tension between the two men very tightly and keeps it from flagging, at times approaching the pacing of the cuts almost like a boxing match.  Michael Sheen and Frank Langella’s performances are central to the film’s success and they’re reinforced by the talented supporting cast of familiar faces.  The Universal Studio Blu-ray release benefits from a pristine 1080p/VC-1 transfer in the original 2.35:1 aspect ratio with a remarkable level of detail, contrasting the rich 1970s period design with black and white archive footage.  The DTS-HD 5.1 soundtrack more than adequately captures all of the dialogue crisply and is complimented by Hans Zimmer’s percussive score which heightens the suspense.

The most notable extra is a picture-in-picture documentary that charts the making of the film which runs almost constantly through its duration.  There is also an audio commentary from Ron Howard who is an affable and enthusiastic communicator and he gives a broad insight into the history that lies behind the story.  Frost/Nixon is an accomplished movie which throws a new light onto both its title characters who ultimately recognise and respect each other’s strengths and weaknesses.

Originally posted 2015-10-29 02:18:54.

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Quick Q&A with Terry Jones

Phoenix Pictures the company that produced Black Swan is also the home for Terry Jones first feature film as director since his wonderful retelling of The Wind in the Willows in 1996.  I recently got a chance to catch up with the incredibly busy and exceedingly diverse Welshman and ask him a few questions.

Steve: I’ve found it quite a helpful tool in life to gauge whether I’m going to get on well with someone if they express a liking for Monty Python those that don’t, or look at me blankly, I usually don’t click with.  Have you ever found your Python fame to be an obstacle or has it always been a door opener?

Terry: Well it’s usually been a door-opener.  But I suppose when Erik The Viking came out everyone was expecting another Monty Python film and with Python you never suspend your dramatic disbelief – whereas for Erik you had to.

Steve: I recently read your book Who Murdered Chaucer? aside from the ‘Whodunnit’, or as you say ‘Wasitdunnatall’ central to the intrigue, the real eye-opener for me was the extent of the censorship under Henry IV; particularly with regards to the negative spin on the reputation of Richard II, the cousin who he usurped and had murdered.  Do you think that despite the Internet and 24 hour news networks that we’re suffering from “information overload” and all the more susceptible to spin and misinformation?

Terry: Well I guess it’s nowadays easier for those who do the spinning to spin.  In the Middle Ages you had to think “How do I get people to hear anything?”  Not that it stopped them.  They did everything they could to create propaganda. ~But it’s a bit easier now.

Steve: Unfortunately I missed The Doctor’s Tale but the idea utterly fascinates me, what was it like to write and direct your first opera and is it something you could see yourself doing again?

Terry: Well I really enjoyed the experience.  It wasn’t really my first go at directing opera – Evil Machines was something of an opera – in that it was pretty well all sung.  But yes I’d very much like to write an all-sung popular show…

Steve: I am among the many eagerly anticipating your return to the director’s chair with the Sci-Fi movie comedy Absolutely Anything, you let slip to me of Charlie Sheen’s involvement, is this going to be the true “winning” move that kick-starts his serious comeback?  What more can you tell me about the film?

Terry: Well Phoenix Pictures have now decided that the villain being a US Army Colonel was putting investors off, so we’ve changed the villain into a Frenchman.  So I’m not sure it’s going to kick start anything for Charlie.

I’m pleased to announce that Terry is now twittering @PythonJones

Absolutely Anything was released in the summer of 2015 starring Simon Pegg and Kate Beckinsale.

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And now for something completely different…

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

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Alice in Wonderland: 60th Anniversary Edition

I think Disney’s 1951 version of Alice in Wonderland is not only my preferred adaptation of Lewis Carroll’s Alice stories but probably my favourite cartoon from the studio’s “Golden Age” of colour animation feature films which began with Snow White in 1937; although it could so easily have been different for more than a decade before and prior to the creation Mickey Mouse, Walt Disney and his founding partner Ub Iwerks produced their first short film Alice’s Wonderland (1923) which started a series of live action and animated one-reelers known simply as the “Alice Comedies”.

The success of the “Alice Comedies” allowed Disney to relocate from Kansas City to Hollywood and before they ended in 1927 he had already started developing a feature version which would be shelved and returned to several times before emerging as the studio’s 13th feature in the Animated Classics series.  What struck me most when I first saw it as a child was how much more stylised it was than the standard bucolic Disney fair such as Pinocchio or Bambi and this more abstract, almost cubist style conceived by background artist Mary Blair intrigued and appealed to me.

Whilst there had been surreal moments in previous Disney film’s such as Fantasia and the hallucinogenic Elephants on Parade sequence in Dumbo the visual mayhem was never sustained quite like it is when Alice falls into the rabbit hole and enters the topsy-turvy world of Lewis Carroll who was in turn inspired by the avant-garde Pre-Raphaelite Brotherhood in Victorian England who were known to dabble with mind-altering recreational drugs such as laudanum and absinthe; although as the son of a clergyman and Professor of Mathematics at Oxford University the chaste Charles Dodgson (aka Lewis Carroll) would never dream of  indulging himself.

As with all of their Blu-ray releases this Disney 60th Anniversary Edition despite the age of the source material is demonstration quality.  I had always thought that Alice in Wonderland looked pretty sharp on DVD but the colour saturation, vibrancy and clarity of the 1080p/AVC MPEG-4 encode is breathtaking.  The film is presented in its original 1.33:1 aspect ratio with the option of replacing the black side bars with very subtle matching artwork which I must admit I prefer.  The 5.1 DTS HD-MA mixing is well balanced maintaining clear dialogue whilst improving the sound effects, songs and incidental music with spatial surround sound which helps to immerse modern viewers.

This single disc contains all the features included on the DVD release most of which have been upscaled to HD, including the wonderful Mickey Mouse short Thru the Mirror inspired by Through the Looking-Glass, and what Alice Found There as well as the original silent short Alice’s Wonderland and a wealth of other deleted material.  However the best HD exclusive is Through the Keyhole: A Companion’s Guide to Wonderland which expands the picture-in-picture concept into a holistic “making of” that runs concurrently with the original movie, providing a wealth of background information on the production and the life and times of Charles Dodgson and Alice Liddell the little girl who was the inspiration for the Wonderland stories.

Disney have never missed a trick at remarketing their back catalogue but the quality of these high definition releases continue to amaze me and it’s hard to imagine that what we’re seeing now won’t remain as the definitive versions of these timeless classics, I am eagerly awaiting Peter Pan the next instalment.

Originally posted 2015-10-29 02:18:15.

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