Films: The Good, The Bad And The Thinkers

Last week I watched Joseph Kosinski’s Oblivion and to be honest, I wasn’t going in to the cinema with high expectations. I’d heard the Twitter review rumbles and listened to thoughts from friends, but it was an Orange Wednesday, so the runtime-for-your-money value alone was worth the discounted gamble.

Half way through, I was definitely starting to fear a LOTR moment (when a film is so unnecessarily prolonged, you really need to pop to the toilet but don’t want to get up for fear of falling over in the dark or never being able to find the same seat again on the way back so you sit and hold, uncomfortably tight).

Anyone can state that a film is ‘utterly amazing’ or ‘epically awful’, but having friends who both make and analyse them for a living, along with a very healthy dose of self-fascination with film myself, I’ve learnt the importance of breaking it down. From clever dialogue to the use of sound, the casting to the lighting trickery, I’m sure any member of the film industry shudders with throwaway love/ hate comments if you can’t verbalise the reasons behind the conclusion.

 

But what makes up a good or a bad film is also exceptionally subjective. What I like, JJ Abrams probably doesn’t. What I don’t find funny, a legion of Anchorman fans do (one day, I’m sure I will).

As a 140 character review of Oblivion (which the point of this post is not about), I summed it up on Twitter as ‘Arid Predator-Tuskens and Riseborough eclipses Cruise. #Oblivion is in the shadow of Moon despite its daylight. But M83 song is enchanting.’ I hadn’t known Andrea Riseborough was in it until her first scene with Tom Cruise (I always feel cheated after spoiler-trailers, but that’s for another post). I thought she was perfect as the stoic controller to Cruise’s seen-this-before action man. The borrowing didn’t go amiss either, with at least one scene that felt like it had been traced directly from Duncan Jones’s Moon (which also has a number of inescapable comparisons to Kubrick’s 2001: A Space Odyssey and 1972 Trumbull’s Silent Running, for starters – you can’t win). The underground future human race ‘Scavs’ were hugely unimaginatively dressed as the love children of Star Wars Tusken Raiders and Predator, I can but shan’t go on. Being a stickler for staying right to the bitter end after the credits have finished (the Marvel effect), on this occasion I was banned by my friend who wanted out. I actually was more than happy to oblige, were it not for the closing song. This and the overall M83 soundtrack to Oblivion, was its saviour. With the help of Shazam, we did just that. Left, that is.

See, for me this film wasn’t my numero uno, it was far from the worst, but it did have me thinking about it all night, and the following day, and a week later. That is a bit rare for me. To me it was hugely flawed and not particularly original, but it did have stunningly serene flight scenes, a surprisingly good twist or two that I did not see coming and a beautiful soundtrack that would fit perfectly on a Bladerunner sequel. I have lost count of how many times I have replayed the M83 title track (featuring the ethereal vocals of SusanneSundfør), each time taking me back to scenes in the film with Tom Cruise wistfully soaring in his Bubble Ship.

So I guess what I’m trying to say that although a film can be watched by a mass of people, we each take something unique away from it. For me I discovered a couple of artists that I can’t keep away from and have relived sequences in my imagination when trying to zone-in at work. I have been stimulated by the conversation I’ve had since about it with my friend regarding my frustrations and revelations (despite his resistance).

So the next time you are about to class a film on purely it’s entertainment merits, think about it just a little bit more. Was there anything that you spotted that was actually quite clever? Had that ‘rip-off’ actually executed a scene quite exquisitely despite reminding you of something else? Had the visual effects been really quite convincing? Look at the intricacies of the costumes, from the fabric choices to the cut and movement on the actors, mull over the vehicles, props and sets that have been sketched, redrawn and hand-built a thousand times over feature in the final product. The choice of buildings, the architecture, the distant backgrounds, the locations used to generate another world up on that beautiful big screen. There’s a lot more to a film than just meets the eye…

 

How to stylishly #SeeFilmDifferently

Last night I was treated to a taste of movie-star magic.

The foyer of Brighton’s Duke of York’s Picturehouse glowed invitingly, on an otherwise inclemently wan British Tuesday evening. It didn’t take long to spot the red carpet and the dapper venue staff milling around, anticipating the opening doors to their exclusive one-off screening of the 1959 classic comedy, Some Like It Hot. Starring none other than blonde bombshell Marilyn Monroe, Tony Curtis and Jack Lemmon, I am a very lucky gal to have had a ticket to the most smouldering event in town.

There’s something quite magical about trying to reincarnate a little of the glamour that past generations no older than our grandparents sported by default. But Picturehouse, in association with VW’s See Film Differently campaign, evidently know how to rise to such an occasion; the red carpet was just the start. Our hostesses of the evening beaming Hollywood smiles in stoles and satin, guided us through the vintage film set lamp-lit entrance to peppy popcorn usherettes handing out bags of the most addictive snack, all the time accompanied by the sounds of a handsome jazz band plucking and puffing lively period numbers. Each guest was then invited to have their portrait taken by the resident paparazzi, a thoughtful keepsake for all those wishing to strike a pose.

Little flourishes of distinct marketing flair continued to make the night, all before the film had even started. Attended to our seats by suited chaperones, further offerings of bite-sized film posters, a glass of golden bubbles and a goose-bump inducing film introduction made way to what our host put to be ‘the premiere that Marilyn never had’, cuing the curtains to part and the opening film credits to roll.

About the cinema

Picturehouse cinemas are a little bit special. Unlike the multiplex cinema chains with the one-size-fits-all branding and programming, they proudly hold on to a missive of independence, with programming and screenings individually tailored to each unique venue, and ultimately to its local audience. With the encouragement to make films fun, no visit is the same; from film-related staff artwork bedecking the ticket booths to regular and first-class intimate Q&A sessions with the minds behind the film making magic, not to mention the fabulous annual CINECITY FilmFestival, to work there must be just a little bit special too.

Marilyn Monroe in an Orry-Kelly creation

Some Like It Hot

Despite its popularity today, Some Like It Hot gained notoriety on it’s release being condemned for it’s sauciness. Standing the test of time, I can vouch for the event’s audience that this film raised more belly laughs and dreamy ‘ooohs’ with every alluring soft-focus close up of the leading lady than any film I have seen made in the last decade.

Defying the laws of physics in those glitzy Orry-Kelly dresses, any newcomer to the talent of Norma Jeane Mortenson would be hard pushed to count on one hand her equals in the world of today’s cinema, with the same ability of true scene-stealing and distinct on-screen individuality. Far from being in her shadow, the film would not have been what it still is if were not for the impeccable comedy strength of co-stars Jack Lemmon and Tony Curtis.

So in essence, I think it a fitting tribute to the trickster trio and to conclude that Marilyn very much had her moment with a new generation viewership with just as much adoration as at their height of fame.

I also encourage everyone to get involved with these events – they are all a truly unique experience, made all the more special and memorable by the passionate people who make up the audiences.

 
Further information:

>> VW’s See Film Differently have a fantastic array of inventive cinema adverts and post show videos on their See Film Differently YouTube Channel.

>> To make sure you don’t miss out on events local to you, check out the See Film Differently Facebook page.

INTERVIEW: The Imposter Director Bart Layton at the British Independent Film Awards 2012

Director Bart Layton's film The Imposter picked up two awards, plus received nominations for Best British Independent Film, Best Director, Best Achievement In Production and Best Technical Achievement.

The Imposter centres on a Texas family whose teenage son who has been missing for three years, turns up, in Spain and can now only speak with a Spanish accent. This true story gives accounts from the family, the authorities and the young Frenchman Frederic Bourdin who was found to be an imposter during investigations, exploring just how and why the family opened him into their family, despite worryingly massive missing pieces in the puzzle.

The following interview took place at the Moet British Independent Film Awards in London on 9th December 2012. 

INTERVIEW: Broken Director Rufus Norris and Cast at the British Independent Film Awards 2012

The Moët British Independent Film Award for Best British Independent Film goes to... Broken! At the 15th year of celebrating all that is incredible in the world of British independent film-making, I was treated to the cavalcade of Broken cast and crew who were in visibly high spirits (one or two who also may have taken advantage of the copious amounts of champers being handed out by the evenings sponsors, quite rightly so) to discuss their win.

In front of me, just about, sat Broken Director Rufus Norris, Editor Victoria Boydell, Producers Nick Marston and Dixie Linder and actors Eloise Laurence, Robert Emms, Clare Burt and Bill Milner, squeezed in and ready to celebrate at the after-party about to commence.

This was Rufus' debut film, an impressive way to make an entrance on the film-making scene.

INTERVIEW: Berberian Sound Studio Director Peter Strickland - British Independent Film Awards 2012

Berberian Sound Studio picked up no less that four awards for the coveted title of Best Director, Best Actor (for Tony Jones' performance as Gilderoy), Best Achievement In Production and Best Technical Achievement for the sound design (also nominated again in this category but for Cinematography) plus a host of nominations including Best Screenplay and Best British Independent Film. Impressive, frankly.

Elated as you can imagine, I met award winning Berberian Sound Studio Director Peter Strickland after he had just been handed one of his many awards. Amusingly, fighting the constant rapturous applause and live music happening in the awards hall next door, the following interview with Peter reveals his unique passion and observation for the seemingly mundane everyday sound and how it resulted in the winning film of the night.

INTERVIEW: Sightseers Alice Lowe & Steve Oram at the British Independent Film Awards 2012

Alice Lowe and Steve Oram get ushered in to our little press room in a whirlwind of PR reps and a constant hum of best-friend banter between the two. They sit, still jesting with each other, without barely even noticing the interview has begun; a constant level of laughter is the stand-out feature throughout. In fine fettle after their minutes-ago win for the BIFA 2012 Best Screenplay award, Alice answers most of the questions, constantly looking to Steve for reference and amusing back-up. Behind that particularly impressive home-grown beard, Steve's face lights up when conversation of it and his heritage are discussed,  along with illegalities of dog bottom-licking. (You really need to see this film.)

Sightseers is easily summed up as a 'pitch black comedy' death-trip which focuses on the developing relationship between the two leads, Tina [Alice Lowe] and Chris [Steve Oram]. Throw in some scenes of Cumbria hills, cute dog and a caravan, you have a quintessentially perfect English film that you can see America attempting to remake in the not-too-distant future.

INTERVIEW: James Floyd at the British Independent Film Awards 2012

James Floyd won Most Promising Newcomer at the British Independent Film Awards this year for his role in My Brother The Devil, a film about gangland London from the perspective of two young British Arab brothers. 

The following interview took place at the Moet British Independent Film Awards in London on 9th December 2012.

GG: You gave a very heartfelt speech about your award win, directing many thanks to your family. So how important is family to you as a new actor? Are you still getting to grips with the industry?

James: Yes, I’m still getting to grips with the lights [this interview took place after a red carpet stint with the paparazzi and his win on stage] and people asking me questions and press conferences – this is all new to me, but nice. It’s taken about six, seven years to get here – that’s why family is so important. During the tough years you need that support system to keep you going. It’s not easy being an actor who is working but has no money. For that reason and many others, an emotionally supportive family is the most important thing – and that’s not just your blood family, but people who are close; your loved ones.