I have a dreadful amount of films to catch up on. Now I'm at the point where my memories of them are merely imprints of emotions I feel when I hear their titles. That would be 'The Descendants' which brings a feeling of anger and frustration, I suppose because I felt the depressing core of the film was contrived the plotting was incredibly slow and dreary. Then there would be 'The Muppets', I felt uplifted, but as with anything it didn't stick with me and was immediately disregarded by mind's eye and I slept a dreamless sleep the preceding night. 'Haywire' was an arduous task with brief spells of spellbinding martial arts and the entrancing Michael Fassbender, but it was a bore to be honest. So for now it's time to acknowledge that juggernaut of spectacular, The Oscars.
As with any award ceremony it's all about conjecture. I doubt the Academy has seen every film that has been produced in 2011, let alone that they have even any idea of what could be remotely good. This can be evidenced from the ignorance of such cinematic thrills such as 'Drive', or unflinching portrayals of life, 'Shame', or a plain snub of something which is essentially a modern classic, from 'Tinker, Tailor, Soldier, Spy'. Also the ignorance of frankly intriguing and fearless films such as 'Young Adult' and 'Martha Marcy May Marlene' seems to be completely inexplicable.
So the Oscars have missed what I deem to consist of a good film, that doesn't mean they have ignored what makes a good film, surely? Well, to be fair as far as everyone and their dog is concerned, 'The Artist' is a shoe in to sweep. If the Oscars is well known for anything, it's for a good traditional entertaining cinema, nothing groundbreaking of course, they always pick something that my Dad would probably enjoy, begrudgingly. Everyone refers to the 'King's Speech' beating 'Social Network', the whole 'Crash' versus 'Brokeback Cowboys', 'Shakespeare in Love' the travesty of 'American Beauty' winning anything, and well... 'The Hurt Locker'. In fairness, I personally loved 'The King's Speech', and if the 'The Artist' does win that'll be two years I enjoyed the Best Film Oscar Winners, surprising to say the least.
That aside having a brief glance at the nominations, it's clear that nearly all of the films on the Best Film list are essentially mostly 'Oscar Bait' movies. Martin Scorsese is having a bit of a pat on the back lately so his recent addition to the cinematic macrocosm, has earned him a nom for his children's film 'Hugo'. Not a chance in hell of winning but a worthy note of recognition. Then there is the likes of 'Moneyball', a film about the number crunching behind baseball, excuse me while I take a moment to fall off my chair and snooze on the floor, not even Brad Pitt could save that premise for a film from being incredibly dull. The fact that the great halls of BAFTA nominated such a foreign film is beyond me, it's just not something that remotely interests me, plus Jonah Hill playing a straight role seems absolutely bizarre.
The less I can say about 'Extremely Close and Incredibly Loud' the better, the name itself takes up far too much of my own energy. Anything that combines the acting talents of Sandra Bullock and Tom Hanks is clearly a force of pure evil. Or perhaps my deep distaste for the pair of them mars my interest in this film. Oh wait, it's about a child who's father dies in 9/11 and he goes on a journey learning about the human spirit looking for a key. Well, I'm out. Schmaltzy nonsense.
'The Help', 'War Horse' and 'The Tree of Life' I can throw into a simple category, expressions of human strength and belief. I am merely not interested in any of them. I know what they are all about, it's clear why they have been nominated. In particular anything that associates itself with Sean Penn, that Oscar magnate, is something I can't be having (that would be Tree of Life). Wow, I seem to really dislike the Oscars it would seem.
'Midnight in Paris' is a film I would have loved to have seen, Woody Allen films are ones I always go out of my way to see, plus he's been having a bit of a rebirth lately. Good fims dotted around the globe, in particular Europe, he has earned my respect somewhat. Although Owen Wilson's crooked smile and nose, the golden curls and easy going 'forget about' attitude, would usually be a massive turn off, well I'll let him off for now.
If I haven't mentioned it before, I'll say it now. 'The Descendants', unfortunately much like George Clooney's previous Oscar effort which failed to float 'Ides of March', was far more stupid than it seemed to let on. It was a plain manipulation of the emotions and, yup, I've already said this, the plotting is dreadful. Now that I've realised I am going around in circles I will end this post on a positive note.
The Oscars are, although an aged and predicatable institution are also the more important in the fim world. It doesn't matter if you don't believe in them, anyone who wins one knows they have made it. It promotes good cinema, for the most part, and acknowledges some excellent performances, sometimes. Perhaps it's the four ciders, but I may bet on the Oscars again tonight... Perhaps I might bet on a film again like I did that fateful year of 2009 when I placed a £20 bet on 'Inglorious Basterds', I spent all night deliriously thinking I was in with a chance of getting an enormous payout in return. Damn you 'Hurt Locker'! Unfortunately my favourite film on the list is 'The Artist' and as all bets are essentially off that's already won, then, well it's not worth the money... But the strange sense of pleasure I gain from knowing that a film I truly loved is recognised by some fusty old bunch of men is a nice feeling. And that is possibly what awards ceremonies mean to most common schelbs such as myself. Good times.
And the Winners are...
Well, playing the most hated woman in Britain does wonders for one's career. Meryl Streep picked up the gong for playing ole Maggie Thatcher. It beggared belief that she won the BAFTA but then again it makes a slight bit of sense as the British Academy is full of fusty old Tories, but at least they acknowledged Drive and Shame as excellent examples of cinema. I just hate Meryl Streep. I think it was from watching Mamma Mia sixty times over the summer with my Mum and another fifty over Christmas. It's possibly the only DVD she's ever watched. And God, I just can't stand the sight of the woman.
Now for the good stuff.
Hooray for Bret McKenzie winning best Original Song, Man or a Muppet from The Muppets movie. I'm so proud of him since seeing the whole internet explode about the Figwit thing from LOTR to laughing raucously at Flight of the Conchords and singing along. Ah, Bret, it's like you're just one of my friends, and I'm so glad a good chum of mine has won an Oscar, really.
Another special sbhout out goes to Jim Rash winning a joint award for Best Adapted Screenplay for 'The Descendants'. Dean Pelton from Community, is also an Oscar winner, the guy who the cast from How I Met Your Mother thought was Moby in the New Years Eve episode from season 1. Also, his bald head and overly effeminate outfits on the tele, and now he's also an Oscar winning. Brilliant day for me.
Aside from that 'The Artist' achieved all the best awards and 'Hugo' snatched all the technical stuff. The fact that Harry Potter didn't even get a snifter still frustrates me but hey, it's over now. And I'm done.
Sunday 26 February 2012
Monday 13 February 2012
Young Adult
Remember that song by 4 Non Blondes, a typical 90s song which will be recalled and replayed by those who were teenagers during that time through the rest of their existence. Well it makes a cameo appearance in this film, it's about a woman who recalls those hazy high school days as the best time of her life. Mainly because her current existence is that of a disappointed adult brimming with an empty pointless lonely life.
Well, it's certainly a different direction for the power-duo who created the juggernaut Juno. Diablo Cody and Jason Reitman rejoin for this particularly dour film to explore the life of a woman who still wishes she was a teenager as she ploughs through adulthood with a bad attitude and a blatant alcohol addiction. As far as films go it is definitely lacking that feel good factor, be forewarned this is not a comedy, the humour comes from some pretty disgraceful comments made by our lead character and the emotional journey is stunted and unfulfilled, this is a character study more than anything. As far as films go it's pretty much as close to life as you can get, but that doesn't make it a particularly enjoyable experience, well for some people. I can't say I loved this movie but for some profound reason I definitely admired it, it's not a film that craves your love, it just is unapologetically itself. As I previously mentioned this was the brain child of Jason Reitman and Diablo Cody, whereas Juno dealt with a teenager in a very adult situation handling it with humour and grace and of course a little bit happy go lucky charm, this is quite different. It's an adult behaving like a teenager dealing with a situation which is essentially mostly in her own head and behaving atrociously without any form of redemption, plus all of Juno's quirk and colour are relentlessly stripped away.
So, my theory that this is not a Reitman/Cody comedy as Juno was, this is more of a dramatic character study with black humour thrown in for good measure is a good place as any to staart talking about this film itself.
We are introduced to Mavis, a girl who has made it, whatever that could mean, she has moved away from her smalltown life to the big city of Minneappolis and is a ghost writer for a teen series about vampires or wizards in a school, with a popular beautiful main character waltzing around handling her teenage problems. Mavis is shown living in an apartment which is filthy and disorganised with a printer she has to cajole into producing a printout ofthe film's impetus, her highschool boyfriend has just had a baby. She then goes back to try and regain his affections and lure him away from his happily married existence and his new child. It's not a question of why she possibly thinks this is a good idea, she just does, it's time for them to reunite. All the while she's supposed to be writing the last edition of her book series for the publisher and somehow this punctuates the film as we see her pondering the plot and adapting her current predicament to her attempts at writing.
When she gets home she contacts Buddy, her ex and makes plans to meet with him, played by Patrick Wilson, or Nightowl from the Watchmen movie. She also encounters the 'hate crime guy' Patton Oswalt, as I recall, Remy's voice in Ratatouille. Patton Oswalt becomes the voice of reason as he interacts with Mavis striking an unlikely friendship with her and supporting her through he endeavours. He also stands in juxtaposition with Mavis's high school experience as someone who would rather forget what happened at school due to being permanently scarred.
Charlize Theron embodies the role of Mavis with fearless assurance as she hurtles through the film with a believable and frankly disturbing performance. It is not implicitly stated until about mid-way into the film when she mentions to her mother she'd been drunk since she arrived home, or perhaps the clue was when she quaffed Remy's home-brewed whiskey a little to heartily that it becomes apparent Mavis has a serious drinking problem. We watch as she excessively drinks and throws herself into bed waking up in a hungover stupor and stumbles through the next day until she drinks again only to brighten up, during this time choosing to exist on diet coke. The film doesn't use this as an excuse for Mavis's behaviour and doesn't ask us to forgive her, instead it just presents her as she is, with her distracted hair pulling and continuous need to present herself as a beautiful all together perfect human being to the outside world, we merely see Mavis as she is, a damaged selfish lost and lonely person. Not that she'd admit any of this to herself. I couldn't fault Charlize Theron's performance as there was not a moment in time where I didn't believe the person on the screen wasn't anything but real. This is a testament to Diablo Cody as well as the makers of the film for presenting an unflinching portrayal of a woman lost in the past. You always see those popular glamorous people in school and wonder what will become of them, it's not a given that they all end up like Mavis but it's clear that being the picture of perfection in high school is a difficult transition to make once you enter adult life.
Of course, as ever, I've rambled about the character and the emotional issues behind the film and not so much about the actual experience itself. As a film, it's hard to watch but it is an intriguing unflinching character study, something I believe should be applauded. If your opinion of cinema is that it should merely entertain then perhaps this isn't the film for you, unless you enjoy the prospect of Charlize Theron making rude remarks to people, and going through with a deplorable plan to steal a husband away from his wife and new-born child. To be fair it is Charlize Theron, and when she does get all gussied up she is quite a force to be reckoned with, what more is there to say?
Well, it's certainly a different direction for the power-duo who created the juggernaut Juno. Diablo Cody and Jason Reitman rejoin for this particularly dour film to explore the life of a woman who still wishes she was a teenager as she ploughs through adulthood with a bad attitude and a blatant alcohol addiction. As far as films go it is definitely lacking that feel good factor, be forewarned this is not a comedy, the humour comes from some pretty disgraceful comments made by our lead character and the emotional journey is stunted and unfulfilled, this is a character study more than anything. As far as films go it's pretty much as close to life as you can get, but that doesn't make it a particularly enjoyable experience, well for some people. I can't say I loved this movie but for some profound reason I definitely admired it, it's not a film that craves your love, it just is unapologetically itself. As I previously mentioned this was the brain child of Jason Reitman and Diablo Cody, whereas Juno dealt with a teenager in a very adult situation handling it with humour and grace and of course a little bit happy go lucky charm, this is quite different. It's an adult behaving like a teenager dealing with a situation which is essentially mostly in her own head and behaving atrociously without any form of redemption, plus all of Juno's quirk and colour are relentlessly stripped away.
So, my theory that this is not a Reitman/Cody comedy as Juno was, this is more of a dramatic character study with black humour thrown in for good measure is a good place as any to staart talking about this film itself.
We are introduced to Mavis, a girl who has made it, whatever that could mean, she has moved away from her smalltown life to the big city of Minneappolis and is a ghost writer for a teen series about vampires or wizards in a school, with a popular beautiful main character waltzing around handling her teenage problems. Mavis is shown living in an apartment which is filthy and disorganised with a printer she has to cajole into producing a printout ofthe film's impetus, her highschool boyfriend has just had a baby. She then goes back to try and regain his affections and lure him away from his happily married existence and his new child. It's not a question of why she possibly thinks this is a good idea, she just does, it's time for them to reunite. All the while she's supposed to be writing the last edition of her book series for the publisher and somehow this punctuates the film as we see her pondering the plot and adapting her current predicament to her attempts at writing.
When she gets home she contacts Buddy, her ex and makes plans to meet with him, played by Patrick Wilson, or Nightowl from the Watchmen movie. She also encounters the 'hate crime guy' Patton Oswalt, as I recall, Remy's voice in Ratatouille. Patton Oswalt becomes the voice of reason as he interacts with Mavis striking an unlikely friendship with her and supporting her through he endeavours. He also stands in juxtaposition with Mavis's high school experience as someone who would rather forget what happened at school due to being permanently scarred.
Charlize Theron embodies the role of Mavis with fearless assurance as she hurtles through the film with a believable and frankly disturbing performance. It is not implicitly stated until about mid-way into the film when she mentions to her mother she'd been drunk since she arrived home, or perhaps the clue was when she quaffed Remy's home-brewed whiskey a little to heartily that it becomes apparent Mavis has a serious drinking problem. We watch as she excessively drinks and throws herself into bed waking up in a hungover stupor and stumbles through the next day until she drinks again only to brighten up, during this time choosing to exist on diet coke. The film doesn't use this as an excuse for Mavis's behaviour and doesn't ask us to forgive her, instead it just presents her as she is, with her distracted hair pulling and continuous need to present herself as a beautiful all together perfect human being to the outside world, we merely see Mavis as she is, a damaged selfish lost and lonely person. Not that she'd admit any of this to herself. I couldn't fault Charlize Theron's performance as there was not a moment in time where I didn't believe the person on the screen wasn't anything but real. This is a testament to Diablo Cody as well as the makers of the film for presenting an unflinching portrayal of a woman lost in the past. You always see those popular glamorous people in school and wonder what will become of them, it's not a given that they all end up like Mavis but it's clear that being the picture of perfection in high school is a difficult transition to make once you enter adult life.
Of course, as ever, I've rambled about the character and the emotional issues behind the film and not so much about the actual experience itself. As a film, it's hard to watch but it is an intriguing unflinching character study, something I believe should be applauded. If your opinion of cinema is that it should merely entertain then perhaps this isn't the film for you, unless you enjoy the prospect of Charlize Theron making rude remarks to people, and going through with a deplorable plan to steal a husband away from his wife and new-born child. To be fair it is Charlize Theron, and when she does get all gussied up she is quite a force to be reckoned with, what more is there to say?
Tuesday 7 February 2012
Martha Marcy May Marlene
Now this was merely a film I went to see through sheer intrigue after hearing it starred the youngest Olsen, Elizabeth. As an identical twin myself I held no illusion that growing up in the spotlight was an easy existence but I always harboured a secret desire to perhaps be an Olsen twin. This was of course when I was eleven and still enjoying repeats of Two of a Kind on Nickelodeon, before the girls grew up to be drug addled eccentrics. Enter their younger sister, a relative unknown until very recently in the land of showbiz, impeccably dressed and suddenly adored for her burgeoning acting talents. Well, as I have mentioned, intrigue dragged me to the cinema, as well as boredom, loneliness and a decent tip packet from my previous evening at the restaurant, all the reasons anyone would decide to go to the cinema alone I'll assume.
In reward, for my efforts of dressing and leaving the apartment on a cold February afternoon, I was granted with a film that held my attention and left me with my heart in my mouth and my head brimming with thoughts. A film that leaves any indelible impression on me as I walk from the cinema is a one that fully deserves praise, I could not quite shake this film from my psyche, this is only a good thing.
The film in a nutshell is about a girl who was a part of a cult for two years suddenly escapes and goes to stay with her sister, we gradually learn over the course of the film about her experiences within the cult and the deep effect it had on her. The effects are impenetrably deep as we learn that Martha, her real name, is a damaged shell of a person. Mid-way through the film her past and her actions are thrown into question when she quietly asks her sister 'Do you ever wonder if what you remember is a memory or a dream?'
What we learn about the cult is, that it is run by a charismatic intense bearded individual, who has managed to amass a following of lonely aimless people to live on a farm, and exist by his own rules and machinations. Pretty typical cult so to speak. It's clear that the reason these people stay in his thrall and follow his rules is because they are all happy to be a part of something. They share their thoughts and feelings together, eat and work and play silly songs on guitars together. You can never be truly alone in a place like that and it is an idyllic enticing existence for someone who is lonely and feels without purpose or meaning. Then there is the power of the leader, Patrick, with his rugged attractive looks and his enigmatic doctrine seems to hold a seductive power over the women of his group, in particular he seems to show a shine to Martha, whom he renames Marcy May, as he does all of the women in the cult. It's entirely probable that he uses his seductive ways on each and every member of the cult but Martha seems particularly entranced and connected to him.
We also view Martha's readjustment whilst living with her sister which shows the deep marks that the cult left on her way of life, as well her constantly bruised legs. Her sister believes that once she has slept off whatever experience she had, then she'll be fine and is under the impression Martha simply ran off with her boyfriend for two years and didn't bother to call. It becomes apparent this isn't the case, as Martha's increasingly erratic behaviour begins to drain her reserves of patience and irritate her husband to no end.
It seems that perhaps Martha is confusing her reality with her past, as we see the direct effects of her recollections on her present, as the film seamlessly intercuts clips of her past throughout the fim. This can be disconcerting for the viewer to keep track but it also allows us to acknowledge that Martha's memories are having a very real impact on her and as she gradually becomes more paranoid we learn more sinister aspects of the cult. Patrick 'cleanses' the women of the cult by drugging and raping them, this does not frighten Martha off, in fact we see her preparing a young girl for the experience. But it becomes clear that anyone who could endanger the existence of the commune is dealt with violently. It's because of this Martha eventually flees and fears for her life.
What makes the film a truly chilling and interesting experience is that it doesn't spell this out to us. We are simply shown Martha's past and her increasing paranoia and as a viewer we come to the realisation she won't be able to escape so easily and the end sequence of the film leaves an ambiguously chilling question for the viewer to answer. Was it all in her head? Was it real?
It's rare for me to fully invest in any actor's performance having known about their previous works, their fame outside of their films, their general demeanour and attitudes to their crafts. I easily judge and consider an actor to be good or bad dependent on how well I can invest in the character they are portraying, do I believe in their existence? This is of course much easier when I haven't seen the actor/actress before, but that doesn't mean I don't appreciate good work when I see it, I have seen the likes of Michael Fassbender in a godawful Sky One drama and Sam Rockwell in bloody awful Cowboys and Aliens, this by no means detracts from their incredible performances in the likes of Shame and Moon respectively, I believed in their characters and I have to say I believe Martha. I know I keep referring to her by name but she seems to have left a deep impression on me.
We can see that she is clearly an intelligent quiet girl and it doesn't seem to make sense to some how a two year stint in a cult can damage her so much but I found it so easy to invest in her. Everything about her is youthful and delicate, from her beautiful appearance to her desire to crawl into bed with someone just to be close and stave off loneliness. She's young, has no direction, no purpose in life, she has a head full of strong good ideals but also a empty cavern of self doubt and loneliness, which the cult, in particular Patrick preyed upon. Elizabeth Olsen's performance was simply heartbreaking as she tried to battle with her own emotions but masked the pain brimming from her eyes. A very mature and controlled performance worthy of all the accolades and attention she has recieved and of course far too controversial and interesting for a sniff at the Oscars.
Speaking of which the editing in this film deserves a lot of credit, the intercutting of action throughout the film worked incredibly well. There was also a somewhat distinctly subtler lighting work in Martha's recollections giving some a more vibrant coloured hue perhaps to enhance the imprint of the fact that they were mere memories. Perhaps that was just how I felt as I watched the film but it seemed to make an impact on my memory of it.
As far as films go it's rare for me to find myself so caught up and enthralled by the end in such a way. This was a confident and masterfully composed psychological thriller from a first time director and highly worth a viewing for anyone.
In reward, for my efforts of dressing and leaving the apartment on a cold February afternoon, I was granted with a film that held my attention and left me with my heart in my mouth and my head brimming with thoughts. A film that leaves any indelible impression on me as I walk from the cinema is a one that fully deserves praise, I could not quite shake this film from my psyche, this is only a good thing.
The film in a nutshell is about a girl who was a part of a cult for two years suddenly escapes and goes to stay with her sister, we gradually learn over the course of the film about her experiences within the cult and the deep effect it had on her. The effects are impenetrably deep as we learn that Martha, her real name, is a damaged shell of a person. Mid-way through the film her past and her actions are thrown into question when she quietly asks her sister 'Do you ever wonder if what you remember is a memory or a dream?'
What we learn about the cult is, that it is run by a charismatic intense bearded individual, who has managed to amass a following of lonely aimless people to live on a farm, and exist by his own rules and machinations. Pretty typical cult so to speak. It's clear that the reason these people stay in his thrall and follow his rules is because they are all happy to be a part of something. They share their thoughts and feelings together, eat and work and play silly songs on guitars together. You can never be truly alone in a place like that and it is an idyllic enticing existence for someone who is lonely and feels without purpose or meaning. Then there is the power of the leader, Patrick, with his rugged attractive looks and his enigmatic doctrine seems to hold a seductive power over the women of his group, in particular he seems to show a shine to Martha, whom he renames Marcy May, as he does all of the women in the cult. It's entirely probable that he uses his seductive ways on each and every member of the cult but Martha seems particularly entranced and connected to him.
We also view Martha's readjustment whilst living with her sister which shows the deep marks that the cult left on her way of life, as well her constantly bruised legs. Her sister believes that once she has slept off whatever experience she had, then she'll be fine and is under the impression Martha simply ran off with her boyfriend for two years and didn't bother to call. It becomes apparent this isn't the case, as Martha's increasingly erratic behaviour begins to drain her reserves of patience and irritate her husband to no end.
It seems that perhaps Martha is confusing her reality with her past, as we see the direct effects of her recollections on her present, as the film seamlessly intercuts clips of her past throughout the fim. This can be disconcerting for the viewer to keep track but it also allows us to acknowledge that Martha's memories are having a very real impact on her and as she gradually becomes more paranoid we learn more sinister aspects of the cult. Patrick 'cleanses' the women of the cult by drugging and raping them, this does not frighten Martha off, in fact we see her preparing a young girl for the experience. But it becomes clear that anyone who could endanger the existence of the commune is dealt with violently. It's because of this Martha eventually flees and fears for her life.
What makes the film a truly chilling and interesting experience is that it doesn't spell this out to us. We are simply shown Martha's past and her increasing paranoia and as a viewer we come to the realisation she won't be able to escape so easily and the end sequence of the film leaves an ambiguously chilling question for the viewer to answer. Was it all in her head? Was it real?
It's rare for me to fully invest in any actor's performance having known about their previous works, their fame outside of their films, their general demeanour and attitudes to their crafts. I easily judge and consider an actor to be good or bad dependent on how well I can invest in the character they are portraying, do I believe in their existence? This is of course much easier when I haven't seen the actor/actress before, but that doesn't mean I don't appreciate good work when I see it, I have seen the likes of Michael Fassbender in a godawful Sky One drama and Sam Rockwell in bloody awful Cowboys and Aliens, this by no means detracts from their incredible performances in the likes of Shame and Moon respectively, I believed in their characters and I have to say I believe Martha. I know I keep referring to her by name but she seems to have left a deep impression on me.
We can see that she is clearly an intelligent quiet girl and it doesn't seem to make sense to some how a two year stint in a cult can damage her so much but I found it so easy to invest in her. Everything about her is youthful and delicate, from her beautiful appearance to her desire to crawl into bed with someone just to be close and stave off loneliness. She's young, has no direction, no purpose in life, she has a head full of strong good ideals but also a empty cavern of self doubt and loneliness, which the cult, in particular Patrick preyed upon. Elizabeth Olsen's performance was simply heartbreaking as she tried to battle with her own emotions but masked the pain brimming from her eyes. A very mature and controlled performance worthy of all the accolades and attention she has recieved and of course far too controversial and interesting for a sniff at the Oscars.
Speaking of which the editing in this film deserves a lot of credit, the intercutting of action throughout the film worked incredibly well. There was also a somewhat distinctly subtler lighting work in Martha's recollections giving some a more vibrant coloured hue perhaps to enhance the imprint of the fact that they were mere memories. Perhaps that was just how I felt as I watched the film but it seemed to make an impact on my memory of it.
As far as films go it's rare for me to find myself so caught up and enthralled by the end in such a way. This was a confident and masterfully composed psychological thriller from a first time director and highly worth a viewing for anyone.
The Artist
I saw this several fridays before the Oscar nominations had been released mainly to sate my own personal curiosity regarding a modern silent movie. I have, over the years seen several silent films on the television when there was nothing else on and have determined they are a largely ignored fantastical form of entertainment in our modern world. Needless to say, as with anything in the cinema, some were good, some were bad, some were atrocious but entertaining nonetheless, and regardless of the story, the music was always jaunty and the facial expressions of the main cast constantly amusing.
My other main experience with silent films was during my university years when I had a job in a fine dining restaurant, it was up North in the expanses of Newcastle. Inside the manager had a projector which spewed images onto the larger walls within the restaurant and it used to play old movies from the days gone by in black and white and completely silent whilst the diners ate in the dimly lit class atmosphere. Oh the amount of times people asked me to put the football on... There used to be a selection of black and white movies from days gone by playing silently in the background but the one I remember most clearly was the silent movie, Douglas Fairbank's Robin Hood made in 1922.
Now I know you're wondering where the hell I'm going with this but it's interesting that Douglas Fairbanks would remind me a hell of a lot of the main character, George Valentin in The Artist, played by French actor, Jean Dujardin, that beautiful man. Perhaps it was the moustache or perhaps it was the fact that his career dwindled after the advent of the talkies but I felt a sudden connection between the fictional and real silent film players. These paralells within the film gave me a strong connection to it's story and my personal interest in it. So to begin with, I suppose it's worth admitting, I did genuinely like this film a great deal.
Now that it has been swamped by Oscar buzz, the media, accusations of musical theft and general all around intrigue, this has somewhat dulled the light on something I felt was a personal find, but I'll give, it deserves the good attention it is recieving.
In a 'Singing in the Rain' reminiscence, the film directly handles the advent of the 'talkies' in Hollywood and the silent movie superstar of the day George Valentin finds himself in a losing battle as his whole world falls apart around him as he finds his silent film superstardom is fading. As his star gradually falls another rises, that of the dazzling Peppy Miller, a Valentin fan who is elevated to stardom from the encouragement of the man himself. She harvests roles in smaller films gradually becoming a major movie star herself in the talkies and Valentin, desperately clinging to his silent film legacy falls into obscurity, bankruptcy and inevitably depression. As we follow their intersecting lives and tenuous romance, I found the performance of Jean Dujardin particularly interesting, he managed to convey a joyful level of hubris and a deep state of loss and depression without ever uttering a word. Surely a remarkable performance for any modern actor, regardless of his character's personal pitfalls, Dujardin maintains a strong level of likeability throughout, a delightful revelation.
But I am of course forgetting the star of the film, that would be Uggie the dog, what a star! The most acting I've seen from animals in silent films were monkies and they were incredibly badly behaved. Nothing is more thrilling than seeing a small cheerful looking canine pretend to die from a bullet to the head it would seem, the dog pulls it off with aplomb and should be applauded. Give that dog an Oscar, somebody!
It has to be said the whole film was brimming with nostalgia and wonderful sense of respect and affection for the past. The knowing nudges about the world this film exists is a silent world in itself was a unique play on the silent film itself. The reveal of sound during George Valentin's nightmare and the end sequence were a clever play on the existence of noise within the movie world and particularly entertaining. The whole film had a sense of humour and although this sank with it's the lead character's spirits during the latter sections, it never quite lost it's charm and the brimming sense of joy within.
But what silent film is without a score? The music completely commands throughout this film, as uplifting as it is heart rending it flows through each scene seamlessly, allowing us to enjoy the story laid out in front of us. I have to say the music was the greatest triumph in this film, and well deserving of any accolades it should almost certainly attract.
The film overall was a thoroughly enjoyable experience and a labour of love from all involved. The actors slip into their parts perfectly embodying the drama and humour the film provides, and we are granted with an uplifting and frankly magical cinematic experience.
My other main experience with silent films was during my university years when I had a job in a fine dining restaurant, it was up North in the expanses of Newcastle. Inside the manager had a projector which spewed images onto the larger walls within the restaurant and it used to play old movies from the days gone by in black and white and completely silent whilst the diners ate in the dimly lit class atmosphere. Oh the amount of times people asked me to put the football on... There used to be a selection of black and white movies from days gone by playing silently in the background but the one I remember most clearly was the silent movie, Douglas Fairbank's Robin Hood made in 1922.
Now I know you're wondering where the hell I'm going with this but it's interesting that Douglas Fairbanks would remind me a hell of a lot of the main character, George Valentin in The Artist, played by French actor, Jean Dujardin, that beautiful man. Perhaps it was the moustache or perhaps it was the fact that his career dwindled after the advent of the talkies but I felt a sudden connection between the fictional and real silent film players. These paralells within the film gave me a strong connection to it's story and my personal interest in it. So to begin with, I suppose it's worth admitting, I did genuinely like this film a great deal.
Now that it has been swamped by Oscar buzz, the media, accusations of musical theft and general all around intrigue, this has somewhat dulled the light on something I felt was a personal find, but I'll give, it deserves the good attention it is recieving.
In a 'Singing in the Rain' reminiscence, the film directly handles the advent of the 'talkies' in Hollywood and the silent movie superstar of the day George Valentin finds himself in a losing battle as his whole world falls apart around him as he finds his silent film superstardom is fading. As his star gradually falls another rises, that of the dazzling Peppy Miller, a Valentin fan who is elevated to stardom from the encouragement of the man himself. She harvests roles in smaller films gradually becoming a major movie star herself in the talkies and Valentin, desperately clinging to his silent film legacy falls into obscurity, bankruptcy and inevitably depression. As we follow their intersecting lives and tenuous romance, I found the performance of Jean Dujardin particularly interesting, he managed to convey a joyful level of hubris and a deep state of loss and depression without ever uttering a word. Surely a remarkable performance for any modern actor, regardless of his character's personal pitfalls, Dujardin maintains a strong level of likeability throughout, a delightful revelation.
But I am of course forgetting the star of the film, that would be Uggie the dog, what a star! The most acting I've seen from animals in silent films were monkies and they were incredibly badly behaved. Nothing is more thrilling than seeing a small cheerful looking canine pretend to die from a bullet to the head it would seem, the dog pulls it off with aplomb and should be applauded. Give that dog an Oscar, somebody!
It has to be said the whole film was brimming with nostalgia and wonderful sense of respect and affection for the past. The knowing nudges about the world this film exists is a silent world in itself was a unique play on the silent film itself. The reveal of sound during George Valentin's nightmare and the end sequence were a clever play on the existence of noise within the movie world and particularly entertaining. The whole film had a sense of humour and although this sank with it's the lead character's spirits during the latter sections, it never quite lost it's charm and the brimming sense of joy within.
But what silent film is without a score? The music completely commands throughout this film, as uplifting as it is heart rending it flows through each scene seamlessly, allowing us to enjoy the story laid out in front of us. I have to say the music was the greatest triumph in this film, and well deserving of any accolades it should almost certainly attract.
The film overall was a thoroughly enjoyable experience and a labour of love from all involved. The actors slip into their parts perfectly embodying the drama and humour the film provides, and we are granted with an uplifting and frankly magical cinematic experience.
Monday 6 February 2012
And Now for Something Completely Different
I was twiddling my thumbs the other day waiting for something exciting to happen. Then it became apparent that over the past few weeks, since Christmas ended and the cold set in, I have seen an inordinate amount of films at the cinema. I figured this as good a place as any to write about what I thought of them. Call them film reviews, but I wouldn't go as far to call it a professional ambition or even a call for discussion. It's literally just something to do whilst I sit in the smallest apartment known to man in a city where I know no one, in between working in a restaurant which serves Asian food with communist ideals. I really should figure out what to do with my History degree some day...
I thought about starting a new blog but I figured this has always been here. I archived most of my previous sporadic self indulgent blogs and left a couple which I believe would still fit in with my new design. Well, I did a review of a short lived Channel 4 'homegrown drama' which was promptly cancelled after no one watched it apart from me. And I also left my Work Placement Report from my second year of university, because there was an immense sense of pride that I handed that 3,000 word joke in to my tutor and still got the highest mark on any assignment throughout my university career. Mainly because the tutor didn't read any of the reports he was tasked with marking and gave everyone the same grade; a very good grade. It's obvious he didn't look at it, I mocked just about every aspect of those miserable twelve fridays I wasted two years ago... Anyways.
From now on I intend to talk about movies I've seen. Feel free to peruse at will.
I thought about starting a new blog but I figured this has always been here. I archived most of my previous sporadic self indulgent blogs and left a couple which I believe would still fit in with my new design. Well, I did a review of a short lived Channel 4 'homegrown drama' which was promptly cancelled after no one watched it apart from me. And I also left my Work Placement Report from my second year of university, because there was an immense sense of pride that I handed that 3,000 word joke in to my tutor and still got the highest mark on any assignment throughout my university career. Mainly because the tutor didn't read any of the reports he was tasked with marking and gave everyone the same grade; a very good grade. It's obvious he didn't look at it, I mocked just about every aspect of those miserable twelve fridays I wasted two years ago... Anyways.
From now on I intend to talk about movies I've seen. Feel free to peruse at will.
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