SEPTEMBER ***½

USA: Woody Allen, 1987

Format: SD DVD
Region: 1 (USA)
DVD Distributor: MGM

Having worked my way through about two thirds of Woody Allen's prodigious body of work I finally sat down this evening to watch September. Renown for his penchant for re-shoots and his dissatisfaction with the finished product of his own films (Allen still maintains Manhattan should never have seen the light of day?!), Allen actually made September twice. Unhappy with the pacing of his original cut Allen recalled the cast and crew only to find several key actors tied to other projects. One man's pretension is another's genius. In any case, the end result is one of the most tightly structured and superbly performed chamber pieces this viewer has seen in a long time.

Very much a theatrical play put on celluloid September charts the yearnings, reflections and conflicts of a small group of family and friends as they see out the summer at a cottage in Vermont. Initially, offering refuge the cottage provides the intimate space needed for the diverse troupe to recuperate from the stresses and traumas of their individual lives. As is often the case in stories such as this the action is set over a period of a couple of days as the summer draws to an end and revelations inevitably bubble to the surface.

If you only enjoy Woody Allen the comedian then September isn't going to be for you. Allen's often-bold use of cinematic structure and his masterful repertoire of humorous quips are dispensed in favour of a much smaller canvas upon which a static but far deeper glare into the realism of our frailty is positioned.

Basically, if like me you found Allen's often criticised "serious" dramas such as Interiors and Another Woman intelligent and compelling you will find much to savour in this rich and brooding exploration of human emotions. Give it a try.

IMDB reference

BIRTHDAY BOOK BONANZA

As part of my many birthday treats my girlfriend had the foresight to buy me ‘Scorsese On Scorsese’ from the Faber and Faber directors series. Having been a fan of Scorsese since first seeing GOODFELLAS/CASINO and RAGING BULL for part of my 'Moving Images' module at college, I am thrilled at the prospect of getting to hear what this intelligent filmmaker has to say about his bold and often brutal work.

Sticking to this theme I have ordered ‘Lynch On Lynch’ from www.play.com

David Lynch has long been a director I admired for his grasp of how to capture the brooding power of the oneiric in his films. To date I have only seen a handful of titles from his oeuvre, most of which have left me baffled but enthralled. Indeed, I look forward to picking up suggestions for further viewing from within the pages of this, my latest bought film tome.

If anyone out there has read these books or has recommendations from the Faber and Faber series please feel free to leave comments.

ROMERO RENAISSANCE

Having celebrated my birthday earlier in the month, I find myself in the welcome position of having some extra cash to spend on my beloved DVD collection.

So taking advantage of being able to spend some cash without feeling too guilty I have ordered copies of NIGHT OF THE LIVING DEAD (1968) (R0 USA - Elite Entertainment/Millennium Edition), DAWN OF THE DEAD (1978) (R1 USA - Anchor Bay/The Ultimate Edition) and DAY OF THE DEAD (1985) (R1 USA - Anchor Bay Divimax special edition).

All three come courtesy of my preferred US DVD importer DVD Pacific.

My upgrade of George A. Romero’s definitive zombie trilogy from VHS to DVD has been a long time coming. Perturbed at the abundance of releases – all ranging from substandard to awful – that flooded the market early on I only ventured to pick up a budget version of the classic NIGHT OF THE LIVING DEAD.

Thinking about it, I even had to buy a cheap release of this groundbreaking horror twice as a mate proceeded to lose my first copy. Needless to say both these failed to do justice to Romero’s masterpiece suffering from terrible transfers and clumsy sound design on bare bones discs.

At last this situation has been largely rectified with both NIGHT and DAWN getting something to approaching definitive DVD releases from the United States based Elite Entertainment and Anchor Bay respectively. I am especially keen to get my hands on the 4-disc DAWN release as it includes the European version of the film re-titled ZOMBI and edited by no other than Italian horror legend Dario Argento.

The jury is still somewhat out on the best release of DAY. Looking through DVD comparison sites and various forums on the Internet it would appear that the recent Region 1 and Region 2 special editions of the film suffer from some rather baffling soundtrack tampering.

See: http://www.istherefood.com/2006/04/09/day-of-the-dead-arrow-uk-release/

To round out my ‘Romero Renaissance’ I also picked up LAND OF THE DEAD (R2 UK – Universal/Director’s Cut) at the HMV sale.

I’ll be posting my thoughts on revisiting these great films and passing judgement on their treatment on DVD in these releases in the near future.

HITCHCOCK HAT-TRICK

Today, I took delivery of the these three discs from an online DVD rental company. Being a massive Alfred Hitchcock fan I thought it was high time I re-visited his signature collection released by Universal in 2003. I already own a number of the films included in this set but had never gotten round to watching THE TROUBLE WITH HARRY (1955), TORN CURTAIN (1966) and TOPAZ (1969).

I am particularly looking forward to watching THE TROUBLE WITH HARRY, as the ‘Master of Suspense’ was known to have a particularly wicked sense of humour. By all accounts this film, whilst a minor work, is said to be a rather atypical but not unwelcome venture for the great British director.

I’ll be posting my thoughts as soon as I get the time to give the discs a spin.

NEW SECTION: NEWS

… And on that bombshell!

Finishing up my updates on the new sections added to my blog today I ought to mention the originally titled “News”.

This section unsurprisingly shall be the label I post everyday bits and pieces to. Topics discussed here will range from additions made to my blog, interesting gossip and reflections on whatever is going on in the world to items such as my recent DVD purchases or whatever else I’ve generally been up to.

Needless, to say this is the first section you should be heading to when you visit my blog and then please proceed onto the other specific sections that interest you.

Ciao for now,

The Count

NEW SECTION: ESSAYS

Back To School!

In order to accommodate some of my academic writing that doesn’t fit elsewhere on this blog I have set-up a section called “Essays”. Under this label I will be posting a range of assessed work I completed in accordance with my BA (Hons) English and M.A Film & Television Studies degrees.

As someone who is passionate and committed to the worlds of literature and film, I will also be using this blog to publish my own original critical pieces of work as I complete them.

NEW SECTION: STARS

Lights, Camera, Action!

‘Movie Icons’, ‘Scream Queens’, ‘Character Actors’, ‘Femme Fatales’ and ‘Bit Part Players’ …whatever the label, all are present in my look at some of my favourite screen thespians.

In this section I will be posting image galleries, biographies, filmographies and taking a look at some career defining performances to celebrate the stars that make cinema the enchanting fantasy and compelling art form it is.

NEW SECTION: BOOKS

“I have never found any distress that an hour’s reading did not
relieve”

Baron de Montesquieu

I whole-heartedly agree with the Baron’s estimation and have therefore added a new section aptly named “Books” in his honour. In this section I’ll be keeping you abreast of my reading habits by adding book reviews on recently read novels or highlighting interesting non-fiction books I may have come across. It is my intention to also post here articles on my favourite authors and other literary related subjects.

So why not join me in celebrating the wonderful world of literature by curling up on the couch with a good book and a cup of warm tea. Pure Bliss.

NEW SECTION: SCREENING LOG

My Movie Checklist

Taking inspiration from my good pal Capt. Whiggles I have decided to set-up another new section called the “Screening Log”. See Michael's screening log at(http://whiggles.landofwhimsy.com/movies/)

Essentially, these entries will act as an archive for every film I have watched since yesterday Tuesday 26/09/2006. So it is hoped in time a record will be built up, acting as a quick reference guide to the films I have seen and my thoughts on them.

I shall give each film a rating out of five and include basic reference details - such as the film’s director, the country of its origin and its date of release – to assist those interested in seeking out the film. Time constraints permitting I will also include a few lines on each film by way offering a very quick evaluation of the film in question. If an entry is for a film I have watched before the title will be preceded with (*).

Where applicable I shall include links to reviews, features, essays etc that I have written on particular films and this aspect of the Screening Log will be continually updated.

Please note: I intend to maintain this section as much as time and inclination allow. Therefore, for the purpose of clarity it is worth acknowledging that the date upon which I screened any given film may sometimes differ from the corresponding post’s publish date.

If you would like any further information on any of these films please leave a comment detailing your query. Likewise please feel free to share your own thoughts and ideas on this section or the entries therein.

Regards

The Count

NEW SECTION: REVIEWS

Hello visitors,

I have been exploring my new beta blog recently and have set-up a new section called simply "Reviews". By adding posts under this label I hope to build up a body of reviews for a variety of films. Essentially, these film reviews will be divided between 'bitesize reviews' of typically 250-500 words and longer pieces titled 'full reviews' of upwards of 1, 000 words. The former will act as a brief account of my immediate response to a particular film and be spoiler free, whilst alternatively the latter will more often than not contain spoilers and act as a more in depth consideration of the film in question.

You will see I have started to add posts to this thread using existing reviews I wrote for the Kent Newspaper Group. As a result these films are 3 or 4 years old but this was simply to get the REVIEWS section up an running. In the future I will be adding both 'bitesize reviews' and the more substantial 'full reviews' for contemporary films released theatrically and existing releases on DVD.

Your opinions are welcome, so please feel free to leave comments about the new REVIEWS section or a particular review.

Best wishes

The Count

SUZY ANDERSON - Ladies Of Horror Showcase # 2

Suzy Anderson

Sticking with Mario Bava's BLACK SABBATH for this second instalment in my LOH Showcase, I bring you the enchanting Suzy Anderson.

Suzy Anderson filmography can be found here: http://www.imdb.com/name/nm0026257/

THE RING - Bitesize Review # 9

The Ring ***
USA/Japan: Gore Verbinski, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

It is the ultimate video nasty. A mysterious tape that once watched causes the telephone to ring and a voice announces you only have seven days to live.

Dismissed as an urban myth until four teenagers die at the same time, on the same day in different locations. All are reported to have watched the videotape and all are found with their faces contorted in terror.

Disturbed at these circumstances journalist Rachel (Naomi Watts) decides to investigate. Unable to fight her curiosity she watches the short piece of film footage. It depicts a nightmarish but seemingly meaningless array of images. However, just as foretold the telephone rings and the week deferred death sentence is pronounced.

It is as though the footage has encoded in its celluloid, the prolific curse of an otherworldly force of evil. Rachel is plagued by hallucinations of a little girl. Soon both her son Aidan (David Dorfman) and ex-boyfriend Noah (Martin Henderson) become exposed to the videotape’s insidious power.

The Ring is essentially a Hollywood remake of Hideo Nakata’s critically acclaimed original. Arguably the most frightening horror film in recent memory ‘Ringu’ became a phenomenal success on its 1998 release in Japan.

This film with its bigger budget polish and computer effects is invariably going to suffer comparison with the original. Surprisingly, The Ring is a far more accomplished remake than you would expect. And does try to capture the mood and ambience of its source.

There are a few plot differences in this version, making the film feel longer and less intense than the lean ‘Ringu’. However, the premise is so chilling that it remains deeply unsettling.

CATCH ME IF YOU CAN - Bitesize Review # 8

Catch Me If You Can ****
USA: Steven Spielberg, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

Inspired by the real life antics of Frank Abagnale Jr., this Steven Spielberg film tells of how a teenager went onto become America’s most famous conman.

Frank (Leonardo DiCaprio) has been brought up in a privileged family but his world begins to unravel, when the IRS investigate his father Frank Abagnale Sr., played by Christopher Walken. Unable to secure a bank loan his father can do nothing as his business, house and car are taken from him. A devastated Frank runs away when he learns his parents are getting divorced.

Desperate to bring the family back together Frank sets out to re-claim the wealth and prosperity they once enjoyed. Posing first as a pilot, then a doctor and a lawyer, the audacious trickster skilfully forges cheques around the world enabling him to raise millions of dollars.

Not surprisingly his exploits attract the attention of the FBI’s fraud department, with Special Agent Carl Hanratty (Tom Hanks) determined to catch Frank and bring him to justice.

Released amidst an already impressive list of high profile films Catch Me If You Can would have to be something pretty special just to claim some attention. Thankfully it is, as Spielberg gets straight to the heart of the material, celebrating its unabashed humour without excluding the darker father/son tensions.

The acting throughout this impressive cast is of the highest standard. Significantly, DiCaprio captures the ‘best of his generation’ form of his earlier career going some way to answer those critics who felt he was less than convincing in Gangs of New York.

A thoroughly entertaining film, Excellent!

CHICAGO - Bitesize Review # 7

Chicago ***
USA/Germany: Rob Marshall, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

This big screen version of the world famous musical has recently enjoyed success at the Golden Globes and looks set to follow such accolades with Oscar recognition come march.

Set amidst the bright lights and glitz of 1920’s Chicago, Roxie Hart (Renee Zellweger) dreams of becoming a star. An average housewife in reality, she is transfixed by the glamour and fame of Vaudeville stage acts such as ‘The Kelly Sisters’.

This desperation to break into showbiz leads her to have an affair with Fred Cassely (Dominic West), who promises to put her on the road to stardom. However, when Roxie discovers she has been deceived her rage brings her to commit murder.

Sent to prison Roxie is amazed to find hard times have also befallen the celebrated Velma Kelly (Catherine Zeta-Jones). The performer is accused of murdering both her husband and co-starring sister after learning of their infidelity.

Tension soon grows between the established star and the wannabe, as not only do they both face hanging for their crimes, even worse Roxie’s infamy becomes front-page news pushing Velma’s waning profile further into the shade.

Hotshot defence lawyer, Billy Flynn (Richard Gere), is the mastermind behind the media circus surrounding Roxie’s plight. However, being Velma’s legal representation also, it begs the question will he be committed to getting them both off or merely fuelling the press frenzy to satisfy his own ego?

Utilising the singing and dancing skills of his two female leads, director Rob Marshall, allows the songs to take centre stage delivering both spectacle and humour. Moreover, this narrative style, aided by the quite brilliant choreography, captures the atmosphere and ambience of a night out at a show. Enjoy!

DAREDEVIL - Bitesize Review # 6

Daredevil *
USA: Mark Steven Johnson, 2003.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

Matt Murdock (Ben Affleck) is a man without fear. Blind since a childhood accident involving biochemical waste, his remaining senses develop to an incredible capacity. Following the murder of his father, Matt uses his enhanced abilities to combat the injustice blighting New York. A lawyer by day he lurks amongst the cities shadows when night comes, ready to punish the guilty in the guise of superhero vigilante ‘Daredevil’.

This is the premise of the latest comic book movie blockbuster. Perhaps less well known than fellow Marvel Comics creations Spider-Man and the X-Men, Daredevil adheres to an easily recognised formula.

Plagued by the isolation caused by his double life, our selfless crusader doubts his ability to make a difference. Enter love interest ‘Electra’ (Jennifer Garner) a martial arts expert with a similar quest to avenge the killing of her own parents.

Michael Clarke Duncan is evil crime lord ‘Kingpin’ suspected of masterminding these atrocities. There is also the customary henchman provided in the form of Colin Farrell’s deranged assassin ‘Bullseye’.

Director Mark Steven Johnson attempts to infuse the tired genre with a fresh spark telling the story using a flashback. Unfortunately, the plot remains disappointingly familiar. Matt’s superhero alter ego ‘Daredevil’ is defined through special powers of heightened perception and athleticism, derivative of both Spiderman and The Flash. The film also burrows largely from The Crow and The Matrix in terms of visual style and imagery without reproducing any of their quality.

The original comic was acclaimed for its dark storylines and emotional complexity. Sadly, Daredevil the movie contains neither pathos nor conviction.

DIE ANOTHER DAY - Bitesize Review # 5

Die Another Day**
USA/UK: Lee Tamahori, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

Pierce Brosnan returns for his fourth outing as the world’s most famous super-spy and before you can say “opening set-piece extravaganza”, Bond is once more attempting to thwart the Machiavellian designs of an unhinged villain.

In the demilitarised zone between North and South Korea, Bond infiltrates a rogue North Korean army unit posing as a diamond smuggler. However, before Bond can assassinate the corrupt Colonel Moon (Will Yun Lee) he is captured and his true identity discovered, forcing him into a desperate attempt at escape.

The scene thus set Die Another Day delivers the first of its numerous action sequences consisting of the standard explosions, bloody shoot-outs and the crowning glory of a high-octane hovercraft chase. Defying the laws of gravity, not to mention credibility, Bond manages to get clear of the out of control vehicle whilst his pursuer, Col. Moon, careers over the edge of the cliff.

However, Bond survives only to be taken prisoner by Moon’s aggrieved father, General Moon (Kenneth Tsang) of the North Korean army. Abandoned by MI6 and subjected to severe physical torture, Bond is eventually traded with British intelligence in return for the release of dangerous terrorist Zao (Rick Yune).

Accused by boss M (Judi Dench) of compromising the security of the organisation, Bond has his 007 license terminated and is told he is no use to anyone.

Enter ellipsis, for when we next see Bond his startling appearance and subsequent aspects of the film’s storyline would suggest he has been incarcerated for sometime. Unfortunately, like all Bond films plotting is second to action and these intriguing avenues of enquiry are abandoned in favour of the exotic location of Havana, Cuba.

Bond tracks the released Zao to a genetic clinic where he appears to be undergoing skin pigment transformation ‘ala’ Michael Jackson. Joined in his endeavours by fiery U.S. agent Jinks (Halle Berry) Bond uncovers a link between Zao’s treatment and diamond baron, media darling Gustav Graves (Toby Stephens).

Anxious not to reveal too much and thus spoil some of the films twists and surprises it is amble to say Graves’ public image serves only to mask his true ambitions. Using the ability of diamonds to absorb light he creates the world’s deadliest weapon, ‘Icarus’ capable of focusing the power of the sun on any part of the earth.

With Bond the only man capable of saving the world, Die Another Day is predictably, predictable. Fans of the franchise with no doubt take comfort in this adherence to convention, although it doesn’t help when a vacuous and implausible script is stretched to a film that is far too long.

The Brosnan Bond movies have seen producers attempt to counter claims Bond has become an anachronism in the 21st century. The modern Bond film, if the isn’t a misnomer, has seen the inclusion of more influential bond girls and a more knowing persona adopted in the performance of Ian Fleming’s 007 agent.

However, this modernising trend is a difficult and dangerous trick to pull off, as the appeal for aficionados of this loved British institution resides within its dated familiar formula. Die Another Day remains true in spirit to the Bond myth but retirement is surely in sight.

THE GOOD GIRL - Bitesize Review # 4

The Good Girl ***½
USA/Germany/Netherlands: Miguel Arteta, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

Tired of her reputation as the pretty one from U.S. sitcom Friends, Jennifer Aniston plays depressed and ordinary Justine Land in this ‘indie’ comedy drama.

Working as a discount store cashier in small-town Texas, Justine idles away her time wondering where her hopes and dreams went. Inspiration is lacking at home too with simpleton husband Phil (John C. Reilly), spending every night stoned on the couch in the company of best pal Bubba (Tim Blake Nelson).

Dissatisfied with her life, Justine finds herself drawn into a passionate affair with Jake Gyllenhaal’s (Donnie Darko) intense and angst-ridden outsider, Holden Worther. In an affectionate nod toward Gustav Flaubert’s Madame Bovary, Justine is soon confronted with the harsh reality her reckless actions bring to pass. Although her attempt to reclaim some vitality of her life may be borne from a deep sense of personal isolation, the chain of events that ensue from her actions promise serious ramifications for everyone in her life.

Jennifer Aniston’s affected accent is hard to overlook initially, as we struggle to accept the actress as anything other than Rachel from Friends. However, to her credit only the harshest critic could fail to be convinced by her impressive display.

Aniston squeezes out every nuance from Justine’s feelings of imprisonment, the men around her offer nothing but demands, to fine-tune a wonderfully emotional and yet subtle performance. I for one earnestly hope she is able to work on other scripts in the future that allow her to further subvert her dominant star image.

The rest of the ensemble cast are also given the chance to shine thanks to a strong script from Mike White and the unobtrusive direction of Miguel Arteta. Most notable in this regard is newcomer Zooey Deschanel, who provides some great humorous moments as Justine’s misbehaving work colleague Cheryl.

Possibly a little dull for some compared to the monster mainstream releases currently showing, The Good Girl doesn’t have any grandiose pretensions. It is instead a well-observed, earnest reflection of life that is both dark and funny.

FINAL DESTINATION 2 - Bitesize Review # 3

Final Destination 2 **½
USA: David R. Ellis, 2003.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

The idea of death being a malevolent force that actively hunts you down is chilling to the extreme. Sadly, like the original Final Destination, this sequel turns a potentially innovative premise into little more than a series of elaborate death scenes.

The death knell begins after Kimberly (Ali Larter) has a premonition whilst waiting at the on road of a motorway. In a bid to prevent the loss of life she has foreseen Kimberly blocks the entrance. When the forecasted pile-up occurs attention turns to the explosion of Flight 180 and the events of the original movie.

Just as before, the intended victims begin to meet with freak and fatal accidents. Afraid they have incurred the grim reaper’s wrath by cheating death, Kimberley and the remaining car crash survivors unite in an effort to stay alive.

Best described as a fair ground ride, Final Destination 2 delivers its thrills through the most basic shock tactics. The half-realised efforts of the first film to build tension and atmosphere are never even attempted in the sequel. The one concern is to orchestrate a number of potentially dangerous circumstances, before executing the action with quite gratuitous relish.

I won’t deny Final Destination 2 is easily digested confectionary for the eyes. Its extensive servings of blood-soaked gore, accompanied by gallous humour will not fail to make you grimace and guffaw. It just disappoints expectations for anything other than the average fair that’s come before.

Final verdict: Little to recommend it other than more of the same for fans of the original.

MY BIG FAT GREEK WEDDING - Bitesize Review # 2

My Big Fat Greek Wedding **½
USA/Canada: Joel Zwick, 2002.
Format: Original Theatrical Release

Note: My bitesize review was originally published by the Kent Messenger Newspaper Group and refers to the theatrical run of the film.

This comedy of opposing cultures has enjoyed considerable success at the U.S box office leaving producers Tom Hanks and wife Rita Wilson hoping for a similar response here in the U.K.

Brought up in Chicago by her traditional Greek family Toula (Nia Vardalos) is expected to honour her heritage by marrying a nice Greek boy and having several nice Greek children. However, much to her father’s despair (Michael Constantine) Toula has reached the age of thirty still single, living at home and working in the family restaurant.

Determined to gain some independence, Toula begins a college computer course and soon transforms herself from a dowdy waitress into an attractive and successful travel agent. It is in this role that she meets handsome teacher Ian Miller, played by John Corbett of Sex and the City fame. The blossoming romance that follows is marred by one small problem Ian isn’t Greek!

The ensuing sequence of events shows how the devoted couple attempt to facilitate the opposing aspects of their families’ backgrounds. It is here that most of the film’s humour is delivered, not least when Ian’s white upper-class parents are overwhelmed by the antics on display at an Easter party hosted by Toula’s family.

With a running time of an hour and a half My Big Fat Greek Wedding does not offer the same depth of characterisation or drama present in other inter-racially themed movies, such as East is East. Instead the film’s simplicity of plot allows for a warm hearted viewing experience with a steady flow of good lines. Director Joel Zwick reinforces this strength of the film with his conventional composition of shots and non-obtrusive camera movements.

Although the happy ending may be a tad too sentimental for some the memorable gags spread throughout the cast make each one of Toula’s opinionated relatives a joy to watch. If enjoyable family entertainment is what you seek I guarantee you won’t be disappointed.

MICHÈLE MERCIER - Ladies Of Horror Showcase # 1

Michèle Mercier

This post begins what I hope will become a growing theme dedicated to the many and diverse beautiful women who have made the horror genre the visual feast it is.

To kick-off I give you Michèle Mercier. (her Filmography can be found at http://www.imdb.com/name/nm0580440/)

Note: All of the above screen shots of Michèle Mercier have been taken from 'The Telephone' segment of Mario Bava's masterful BLACK SABBATH/ I Tre volti della paura (1963).

See here for more details: http://www.imdb.com/title/tt0057603/

SOLARIS - Bitesize Review # 1

Solaris ***½

USA: Steven Soderbergh, 2002.
Format: Original Theatrical Release

What exactly is Solaris? That is the question soon set up in this psychological drama and arguably it is what we are still left pondering at the end credits.

Set in a non-specific but recognisable future, psychiatrist Dr Chris Kelvin (George Clooney) is sent to a space station observing the newly discovered planet known as Solaris. All but two of the crew have either died or disappeared leaving the doctor to try and piece together some sense of what is going on.

The surviving crewmembers offer little in the way of information aside from a fragmented account of the appearance of mysterious ‘visitors’. Chris diagnoses that they are both suffering from acute paranoia brought on by isolation and fatigue. However, soon the doctor himself is confronted with the resurrection of his dead wife Rheya (Natascha McElhone).

What follows is not the romance in space you may have expected. Instead director Steven Soderbergh departs from his recent trio of high profile Hollywood hits Erin Brockovich, Traffic and Ocean’s 11 to craft a science fiction film similar in spirit to the classic 2001: A Space Odyssey.

Chris reunion with his deceased wife leads him to acknowledge the complexities of their relationship and his own guilt surrounding her passing. Employing his superb visual sense and precise editing, Soderbergh energises a slow methodical film that questions our notions of love, memory and self-determination.

Clooney and McElhone are magnificent as the lovers trying to come to terms with the discrepancy between what is real and what is remembered. The approaching Solaris and its growing influence upon those onboard the space station is all that can be known for certain.

For more information see:

http://www.imdb.com/title/tt0307479/

SENSO - Shot Analysis

Senso (1954)

Director: Luchino Visconti

Country: Italy

Format: Film Print

I wrote the following shot analysis (1,500 words) for the FILM STYLE AND TEXTUAL ANALYSIS component of my Masters Degree in Film & Television

The particular shot I have chosen to discuss begins with Count Serpieri (Heinz Moog) approaching the balcony of the box from which he has been watching the opera. It ends when Countess Livia (Alida Valli) rests against a pillar in the same box and looks upon the ongoing protests.

The shot is sixteen seconds in duration and is preceded by a low angle shot of the theatre showing four levels of balconies. The lower two floors are filled by white uniformed Austrian soldiers and their well-attired female companions. The higher two floors are densely populated by the more modest dressed Venetian public.

The protest against the Austrian army’s occupation of Venice has already begun with red, white and green paper symbolic of the Italian flag being thrown by the partisan crowd.

The specific shot I shall go on to analyse is succeeded by a seven second shot showing the uproar in the seated area of the theatre, immediately before the stage and orchestra. The camera is positioned in a manner suggestive of Livia’s point of view.

I feel the shot I have selected is significant in terms of the meanings and affect its construction offers. To begin the Count is visibly outraged at the outbreak of such vehement demonstration. The manner in which he looks upon the scenes from his balcony and the tone of his voice as he addresses the Austrian General with whom he has been sharing his box, suggest he is supportive of the Austrian military. Although spoken in German one can assume the Count is apologising for the chaos that has ensued and that he feels the performance should be stopped.

This impression that the Count is associated with the Austrian General is reinforced both through the physical action included in the shot, as well as by costume and props. For example, after the Count’s reaction to the outbreak of political protest, he turns toward the General in order to take him by the arm and escort him from the box.

Both men are affluently dressed, one in pristine white uniform the other in a black suit, perhaps tuxedo after the period fashion. In comparison the majority of the local Venetians are wearing rather shabby attire, mostly navy and grey colours. The Count and the General also share similar facial appearance with gelled or slicked grey hair with moustache and whiskers.

In the brief action that takes place in this specific shot one can also see the Count and the General both carry a rolled up piece of paper in their right hands. It is very probable these are nothing more than performance notes from the opera, however, the fact none of the other people featured in this shot have them raises the articles significance.

The other people included in this shot consist of another Austrian officer, his female guest and Countess Livia. However, upon a first viewing one feels it is the Count and the General whom are the main protagonists. One can make this assertion as the camera is positioned in the left hand corner of the opera box and the Count and the General occupy the front of the shot.

Although static for the most part the camera does in fact move ever so slightly from left to right at the beginning of the shot. This subtle adjustment is geared toward the movement of the Count as he approaches from the left hand side of the box to the right in order to view the spectacle.

Once again the fact the camera maintains the centre of interest upon the Count and General leads one to assume they are the important figures in this shot. The other Austrian solder present serves to reinforce the feeling of outrage at the protests which disturbs the opera.

At the opening of the shot when the Count approaches the balcony the soldier is seen behind at the back of the shot. At this point the General is also at the back of the shot seated next to the soldier, who is gesturing in a disapproving manner. However, once the General rises in response to the words of the Count the soldier exits to the left of the screen following the departure route taken by his female guest. This is important to note in relation to the fact both the Count and the General exit to the right of the shot.

The off screen space consists of the entrance to the box featured in the shot, which is behind the position of the camera and the theatre which can only be glimpsed via the balcony in the shot itself.

The other main point of interest in relation to this specific shot is the movements of Countess Livia. Although at this point in the film one does not know who she is and indeed she doesn’t speak during this actual shot, the fact the only other camera movement is geared toward her changes the viewer’s point of interest.

Livia is also very well dressed in a black ball gown with lilac trim. Her hair is elegantly pulled up and she has sparkling silver brooches both on her gown and in her hair.

With the aid of repeated viewings one can actually see Livia walk across the front of the shot at its very beginning. She does not even make eye contact with her husband whom crosses behind her to approach the balcony. However, any significance that may have escaped the first time viewer to begin with is returned to at the end of this shot.

The Count and the General have exited to the right and the Austrian soldier and his guest have previously exited to the left. At this point the camera ever so slightly returns to the left as Livia enters the shot and approaches the back of the box.

Again Livia and her husband have yet to occupy the shot together and formally interact. Although at this stage in the film the characters are not known to us one cannot help but to sense a distance between Livia and the other people featured in this shot. Later of course one realises Visconti’s use of his actors in this shot, Livia on the left the Count on the right, anticipates the emotional and political divide present between Livia and her husband.

Crowded in a sense with four other people in the shot at its beginning, now only Livia is shown as she walks from the left to the far balcony on the right. Her movements are slow and unhurried in contrast to the other characters hasty exits. Livia rests herself against the pillar with her right hand and turns in that direction to see the scenes unfold.

An important visual element is present in this section of the shot. When Livia enters from the left she is framed by the mirror hanging on the wall opposite. Thematically one could surmise Visconti is symbolising the trapped state Livia is destined to fall into as the film progresses. (word count: 1,207)


Bibliography/Filmography

Senso (1954), Dir. Luchino Visconti.

For more details see:

http://www.imdb.com/title/tt0047469/

LUCKY NUMBER SLEVIN **½

USA: Paul McGuigan, 2006

Format: SD DVD

Region: 2 (UK)

DVD Distributor: MGM

I must confess to being less than inspired at the time Lucky Number Slevin was released theatrically here in the UK. The media buzz I heard from radio spots and television commercials centred on the film being an unassailably cool and hip gangster thriller, with rising heartthrob Josh Hartnett at the heart of its box office appeal. Needless to say, I felt this was a movie I could pass up on seeing in the theatre.

Anyway, my sister recently rented the DVD and couldn’t praise the film enough. It should be noted my elder sibling and I have massively different cinematic tastes but her enthusiasm was sufficient to make me sit down and give the disc a spin.

The first half hour or so left me cold. I found the deliberately quirky dialogue laboured to say the least and director Paul McGuigan’s dependence on flashy camera tricky – such as frenetic editing and CGI assisted elaborate crash zooms - is an aesthetic so overused in mainstream cinema nowadays as to render it bankrupt of both meaning and effect. However, once the intentionally Byzantine plot was established and the film settled into its dramatic arc, I found myself warming to the whole thing.

It is understandable as such heavy weight actors as Morgan Freedman (a personal favourite) and Sir Ben Kingsley, can light up even the most bog-standard and derivative material. Here they play opposing crime lords – Freedman is THE BOSS and Kingsley THE RABBI - entrenched in their very own ‘ivory towers’ and headlong into an all out war revolving around betrayal, murder and revenge.

Don’t worry the film realises its strength lies within its ingenious plot and not social commentary. Thus we are thankfully saved from clumsy political posturing in favour of a succession of red herrings and plot feints, as Josh Hartnett – the titular SLEVIN – moves from unsuspecting victim to major puppet master: cue fast action flashback montage. To say anymore at this point would spoil the fun of the film.

So whilst I can’t be as whole heartily over zealous as my sister, I would say Lucky Number Slevin does merit attention, in that, by its close it executes a twist laden plot with aplomb and confidence. It falls short of excellence because it takes to long to settle in to its story and unsuccessfully endeavours to be cooler and cleverer than it is necessary.

IMDB reference

BOOK REVIEW # 1

THE DISCOVERY OF SLOWNESS

By Sten Nadolny 1983/ Canongate Books Ltd/ Paperback 320 pages (October 14, 2004)
ISBN: 1841954942

I have always been of the opinion events in history are best served when the static skeleton of reported facts, is adorned with flesh and given motion through the singular power of fiction. In the case of The Discovery of Slowness by Sten Nadolny my conviction is emphatically reinforced.

Based upon the life of famous 19th century explorer John Franklin, Nadolny portrays over fifty years of history. Credited with finding the Northwest Passage Franklin’s remarkable determination for discovery encompasses naval battles, shipwrecks and starvation in the Arctic.

Opening in the village of Spilsby, Lincolnshire, Nadolny introduces the early years of John Franklin’s life. A painstakingly slow and rather awkward boy, he is given more to a mental reflection of the world rather than an active participant within it. As John enters his youth the slowness that sets him apart from his peers is ever present. Bullied at school and born into an affectionless family typical of the time, John feels an overwhelming affinity with the motionless sea.

With each progressive chapter Nadolny tells of John’s first sea voyage and his subsequent experiences in the battles of Copenhagen and Trafalgar. However, crucially Nadolny recognises the material’s potential for being more than just an account of a man’s ascent to the greatness he is destined. Moreover, The Discovery of Slowness is far more a universal experience of an innocent trying to find meaning in a world during one of its most traumatic periods. Soon John meticulous slowness is proved to be a valuable asset in navigation and exploration. Now matured into a man he embarks on the path destined to be his making and demise, his quest for the North Pole.

Nadolny’s ability as a writer is evident in his masterful use of succinct, welcoming prose to focus reader attention upon John Franklin the man as much as the myth. This raises the book from simple genre classification within the confines of historical novel or fictional biography. Instead it is a story rich in its contemplation of childhood, communication, religion, science and human survival. After two failed but celebrated attempts to conquer the Arctic, John is officially made a captain and given an opportunity to govern Van Diemen’s Land. Later to be renamed Tasmania by Franklin himself; Nadolny uses this episode of his life to highlight the explorer’s lesser-known humanitarian aspirations. Removed from office and entering the twilight of his life John Franklin once more sets out for the Arctic.

Nadolny chronicles the final episodes in this great man’s life with a satisfying artistic flourish. One feels the man so often out of rhythm with the rest of the world does in the end discover the place where time ceases to exist.

Although perhaps not my usual choice of novel, I became engrossed in this book immediately and at its end I felt genuinely affected. It could be said Nadolny’s characterisation of John Franklin is not without its faults. For one he offers very little to the action in terms of direct dialogue, making him seem a little less convincing as a real person. Equally, the arduous lengths taken by the author to establish his main character as a man able to succeed in view of his extraordinary slowness mean in John’s moments of triumph he is in danger of appearing superhuman.

However, the heart of the novel is about the interior of John’s mind. Here Nadolny etches a detailed contemplation of the merits of a slower, more methodical outlook in regard to leadership, understanding and ultimately the human condition. The Discovery of Slowness was originally published in Nadolny’s native Germany in 1983 and has never been out of print. With this new English translation I urge you to ensure similar prosperity is enjoyed over here.

Rating: 7/10

If any of you have also read this book why not leave your comments and share your opinions?

Cheers

The Count

IT BEGINS... DAY 1, POST 1

Hello Readers,

Welcome to my new personal blogger (beta) site.

After much consideration of the growing buzz around 'blogging', I have decided to take the plunge and try out a few of the free blog websites out there in what is commonly referred to as the blogosphere. So along with this one I shall have a look at blogster, wordpress, myspace et al (feel free to recommend other free blog sites you are aware of).

Over the coming days, weeks and month’s I shall be posting comment on a range of topics that pique my interest. I shall be as candid as far as the anonymity of the Internet allows and it is my ardent hope everything I write will be received in the good spirit in which it is produced. After all, I see this online record as a means of challenging myself in a fun kind of way and to encourage me to be observant and engage with the everyday life I lead.

Typically, I shall be treating this site as a form of online diary or journal if you will, in order to contemplate and express my experience of living in our modern times.

On occasion these blog entries will necessarily see me offer my own opinion on topics such as politics, religion, family, morality, mortality, education and popular culture. I do not seek to speak of these issues because I have delusions of grandeur, nor do I think my opinion is more valid than anyone else’s. However, the conditions in which we live today and the influences and events that impact upon all our lives make it impossible not to confront these complex ideas. Moreover, it is vital in the quest for enlightenment and understanding that we continue to question our own beliefs and attitudes in regards to these controversial themes.

More entertainingly (and more regularly your be pleased to hear, lol) I will also be writing pieces of varying lengths and depths about my passions and interests. These primarily can be categorized as literature, film, television, theatre and the arts in general, music, pc/console games, football and sports in general, food and drink and actually, I think it best if we just put items such as women, alcohol, drugs, meeting new people et al under the umbrella of socialising for now, ahem.

I’ll close by offering my welcome once more and hope you drop by from time to time to share my blogging experience and leave comments of your own.

Best Wishes

The Count