tag:blogger.com,1999:blog-69152021549530319482024-03-19T08:48:17.377+00:00At The BackReviewing 100 years of filmAnonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.comBlogger668125tag:blogger.com,1999:blog-6915202154953031948.post-34087689200559255192015-01-25T12:34:00.000+00:002015-01-25T12:34:36.512+00:00Top 10 of 2014<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Today marks the third anniversary of At The Back and as is
now tradition, it’s time for my Top 10 films of the last year. As always I
choose this date in late January to try and include as many of the year’s
awards frontrunners as I can but with UK release dates still lagging behind the
US, some will be included next year (if they make the list). This year’s list
includes at least one Oscar winner from last year for this very reason. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">It’s been over six months since I’ve written a film review
on this site and in that time I’ve changed jobs, moved city and bought a
dragon. I’ve still been watching as much as I can but missed more important
releases in 2014 than I have in several years. For instance I didn’t get to see
<i style="mso-bidi-font-style: normal;">Gone Girl</i>, a film which is creeping
into many lists I’ve read. Other omissions include <i style="mso-bidi-font-style: normal;">American Sniper, Two Days, One Night, Ida and Leviathan.</i> A film I
did see which I expected would make my list was <i style="mso-bidi-font-style: normal;">Foxcatcher</i>. I haven’t been as disappointed by a film since the
first <i style="mso-bidi-font-style: normal;">Hobbit</i>. For me it lacked
tension throughout and couldn’t be saved by some admittedly fantastic performances.
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<span style="font-family: Arial,Helvetica,sans-serif;">Films which just missed out included the feel good <i style="mso-bidi-font-style: normal;">Pride</i>, a terrific David and Goliath
struggle in which two unlikely groups join forces in order to battle a much
stronger enemy. <i style="mso-bidi-font-style: normal;">The Imitation Game</i>
featured a stand out central performance from Benedict Cumberbatch and an under
told story while <i style="mso-bidi-font-style: normal;">The Theory of Everything</i>
provided us with what was in my opinion the greatest performance of the year in
the form of Eddie Redmayne’s Stephen Hawking. <i style="mso-bidi-font-style: normal;">Under the Skin</i> was a dark and chilling film which stayed with me
for a long time while Lego documentary <i style="mso-bidi-font-style: normal;">Brick
by Brick</i> came at the opposite end of the spectrum, giving me perhaps my
most fun cinema experience of the entire year. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">10. Locke (dir. Steven Knight)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">One of the simplest films I saw all year and certainly one
of the cheapest, this $2 million movie is set almost entirely within the
confines of one car. It follows a single character played superbly by the ever
impressive Tom Hardy as he travels along a British motorway one evening. During
the journey which is shot in real time, Locke’s life falls apart without the
need for crashes, chases or anything else one associates with cars and the
movies. Hardy’s subtle performance keeps the audience gripped as his inner
turmoil is beautifully restrained within Hardy’s mannered execution.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">9. Interstellar (dir. Christopher Nolan)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Interstellar is another intelligent blockbuster from
Christopher Nolan, a man who continues to treat his audience as intellectual adults
time after time. His latest offering provides deep thinking with end of the
world peril and some beautiful set pieces. Despite a few clunky moments, it’s a
thought provoking and thrilling picture. Long may Nolan’s run continue.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">8. Nightcrawler (dir. Dan Gilroy)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">This is a movie which takes a side swipe at the modern
media’s obsession with the gruesome and the macabre. Jake Gyllenhall plays the
slimy Lou Bloom, a misfit who finds his passion in filming the aftermath of
crashes and crimes which he sells to news companies to splurt all over the TV
while America
eats its cornflakes. Gyllenhall channels Travis Bickle and Rupert Pupkin for a
career best performance for which he unluckily missed out on Oscar recognition.
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<span style="font-family: Arial,Helvetica,sans-serif;">7. Dallas
Buyers Club (dir. Jean-Marc Vallée)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">One of the successes of last year’s awards season, Dallas
Buyers Club continues the McConaissance. The film captures the sticky Dallas heat while its low
budget enhances the grimy 1980s setting. The costume design is excellent and
the story is endearing but it will be remembered in years to come for the
terrific Oscar winning performances from Matthew McConaughey and Jared Leto. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">6. Birdman (dir. Alejandro González Iñárritu)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Iñárritu’s movie is like nothing I saw all year. A swooping
camera unrestrained by gravity moves about the St. James theatre in New York with editing
and cinematography manipulated in order to create the idea that the film is one
long take. Though not a unique idea (see Hitchcock’s <i style="mso-bidi-font-style: normal;">Rope</i>), the film creates a heady sense of claustrophobia. Time
doesn’t exist in the picture as scenes connect seamlessly over hours and days.
Great performances are lead by Michael Keaton and Edward Norton while the film
is backed up by a wonderful drum based score. The film excels in every area.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">5. The Double (dir. Richard Ayoade)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Only two features into his career but Ayoade is quickly
becoming one of my favourite filmmakers.<span style="mso-spacerun: yes;">
</span>Set in a subterranean hinterland of unknowable time and location, the
film hits you like a Wes Anderson nightmare in muted colours. Shades of
Gilliam’s <i style="mso-bidi-font-style: normal;">Brazil</i>
flicker by the camera but Ayoade avoids pastiche and leaves with a film that is
his own. It’s funny and sad, strange and beautiful. I loved it.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">4. Whiplash (dir. Damien Chazelle)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Who wants to watch a film about a college student trying to
make it as a drummer? Everyone should on the back of this outstanding film. It
hits you in the chest like the pounding of a bass drum and leaves you buzzing
like an open high-hat. I’m by no means the first to compare it to a boxing
movie but the comparison is apt. The teacher-student, Sergeant Major-recruit,
champion-contender roles slot into the field of music here and it works
perfectly. I loved the editing while J. K. Simmons is a shoe-in for an Oscar
for his role as the villain of the piece, an utterly compelling monster who
hides his true self from those he seeks to terrify and teach. It’s the only
film all year whose soundtrack I’ve listened to more than once and it deserves
all its plaudits. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">3. Boyhood (dir. Richard Linklater)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">This is probably the standout movie of 2014 and in years to
come may well define the cinematic year. It’s likely to be the only film
released in the last twelve months to make it into Sight and Sound’s top 100
list and all with good reason. Linklater’s experimental film tracks the same
actors over twelve years, documenting the growth and development of an ordinary
American family and the making of a man. It’s a remarkable feat of achievement
but goes beyond the novelty. All around great performances and a twisting plot
create an insight into Americana
while moments will regress most of us to those awkward adolescent years.
Snippets took me back to my own childhood and the movie somehow feels both
personal and universal.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">2. The Grand Budapest Hotel (dir. Wes Anderson)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Arguably Anderson’s
finest film to date, his single vision crafts an exquisite film in which
attention to detail is paramount. The geometric symmetry and colour palate fill
an appealing frame while a typically unusual plot charts us from beginning to
end. Lavish sets and costumes are filmed with long stationary shots and
occasional tracking, all adding to the ‘Wes Anderson’ feel of the movie. Its
success both financially and critically thrilled me as I’ve been an Anderson fan for years.
Ralph Fiennes is magnificent in the lead role, unshackling himself from his oft
grumpy persona and showing his comedic range.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">1. The LEGO Movie (dir. Phil Lord & Chris Miller)</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Yes it’s an advertisement for a toy and yes I had
advertisements and product placement but when it’s this well done, I’m willing
to change my colours. For me the funniest and most enjoyable film of the year,
the film is packed inside an outlandishly wacky and imaginative world, filled
with recognisable characters. The film’s wit and charm should not be under
estimated and its humour appeals on many levels like all the greatest
animation. <span style="mso-spacerun: yes;"> </span>The movie’s central theme is
that of creativity and individualism and no toy typifies this more than Lego.
The chief narrative is as unoriginal as a knock-knock joke but it’s surrounded
by a colourful universe into which all manner of surprises and jokes are
crammed. The animation is top notch with clever CGI building a more home-made
stop motion feel. One of the best aspects of the film is its unpredictability.
One is never sure where the film will go next and each step forward is more
imaginative than the last.<span style="mso-spacerun: yes;"> </span></span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com18tag:blogger.com,1999:blog-6915202154953031948.post-2271378990970879952014-07-26T19:07:00.001+01:002014-07-26T19:07:37.542+01:00Blogathon: 6 Degrees of Separation<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlOitpdbQjaQy-E3DU7r7eQ64ggL3UwvaPweNJs2eO1FP6PZ0mH85geK7a6DX9V-nmqFnF-hBT4VJDKIL9OtJchzrnhbG6EQEv-VTe71nY8BFizIi43ufE0rgG9xVt3LlUg5bpQ5GrzZcb/s1600/SixDegreesofSeparationBlogathonLogo.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlOitpdbQjaQy-E3DU7r7eQ64ggL3UwvaPweNJs2eO1FP6PZ0mH85geK7a6DX9V-nmqFnF-hBT4VJDKIL9OtJchzrnhbG6EQEv-VTe71nY8BFizIi43ufE0rgG9xVt3LlUg5bpQ5GrzZcb/s1600/SixDegreesofSeparationBlogathonLogo.png" height="180" width="320" /></a></div>
<br />
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">It's been some time since I wrote anything film related but a tweet overnight from Shane at <a href="http://www.film-actually.com/2014/07/blogathon-6-degrees-of-separation.html#more">Film Actually</a> invited me to participate in a blogathon started by <a href="http://www.myfilmviews.com/2014/07/18/six-degrees-separation-blogathon/">Myfilmviews </a>called 6 Degrees of Separation. The rules are simple. Each participant must connect one
actor/actress/director/movie to another actor/actress/director/movie in
six connections or less. Have a look at what the previous participants have done.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://afistfuloffilms.blogspot.co.uk/2014/07/6-degrees-of-separation-blogathon.html">A Fistful of Films</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://cinematiccorner.blogspot.co.uk/2014/07/six-degrees-of-separation-blogathon.html">Cinematic Corner</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.andsoitbeginsfilms.com/2014/07/six-degrees-of-separation-blogathon.html">And So It Begins</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://thevoid99.blogspot.co.uk/2014/07/six-degrees-of-separation-blog-thon.html">Surrender to the Void</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://moviesandsongs365.blogspot.co.uk/2014/07/6-degrees-of-separation-blog-thon.html">Movies and Songs 365</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://classicblanca.blogspot.co.uk/2014/07/6-degrees-of-separation-blogathon.html">The Cinematic Spectacle</a></span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.film-actually.com/2014/07/blogathon-6-degrees-of-separation.html#more">Film Actually</a> </span><br />
<div style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Shane presented me the the task of connecting a director synonymous for his fight against racism with a film that is most famous for it - Spike Lee to <i><a href="http://attheback.blogspot.co.uk/2012/06/birth-of-nation.html">The Birth of a Nation</a></i>. So, here it is.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">1. In 2002, Spike Lee directed <i>25th Hour</i> starring Edward Norton.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">2. A year earlier Edward Norton appeared in the underrated <i>The Score</i> with Robert De Niro.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">3. Robert De Niro starred in Martin Scorsese's 1991 remake of <i>Cape Fear</i> in which Robert Mitchum, who starred in the original, had a small role. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">4. Back in 1955, Robert Mitchum appeared in <a href="http://attheback.blogspot.co.uk/2013/07/the-night-of-hunter.html"><i>The Night of the Hunter</i></a> with Lillian Gish.</span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"><br /></span>
<span style="font-family: Arial,Helvetica,sans-serif;">5. Lillian Gish was a darling of the silent era and acted in the controversial the <a href="http://attheback.blogspot.co.uk/2012/06/birth-of-nation.html"><i>Birth of a Nation</i></a>.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">I'm passing the baton to Jason of the excellent <a href="http://lifevsfilm.com/about/">Life Vs Film</a> and tasking him with getting from <i>The Birth of a Nation</i> to </span><span dir="auto"><span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="font-weight: normal;">Daniel Brühl. Good luck. </span></span></span></span>Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com20tag:blogger.com,1999:blog-6915202154953031948.post-78738762108719881772014-06-12T20:42:00.003+01:002014-06-12T20:42:48.387+01:00Safety Last!<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsbNiO8p149GKCMVe1oAor52K37MjFjnpAQVx43q6SjLQakFbEwWB9LF3QLoDVzuGqBz3auFTXCjoJI1imb9gEwEfROjyOGew7TBCPE-l5BkLhkfUiXmA8ZAf0lt1ZAT2NbSEj8OFMWMt/s1600/tumblr_mmbxbhUcp01qh35m6o1_1280.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAsbNiO8p149GKCMVe1oAor52K37MjFjnpAQVx43q6SjLQakFbEwWB9LF3QLoDVzuGqBz3auFTXCjoJI1imb9gEwEfROjyOGew7TBCPE-l5BkLhkfUiXmA8ZAf0lt1ZAT2NbSEj8OFMWMt/s1600/tumblr_mmbxbhUcp01qh35m6o1_1280.jpg" height="320" width="201" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Anyone who knows me or has
regularly perused my blog will be well aware that I’m a huge fan of the silent
comedy from the 1910s to 1930s. Of course this isn’t entirely true though. My love and
knowledge only extends as far as the two behemoths of the era, to <a href="http://attheback.blogspot.co.uk/2012/10/charlie-chaplin-first-national-films.html">Charlie Chaplin</a> and Buster Keaton. Aside from the occasional foray into the likes of
Laurel and Hardy and non-Chaplin Keystone, my understanding is limited. For a
long time I’ve wanted to get a hold of some of the films of Harold Lloyd, the
man who probably came closest to Chaplin and Keaton both then and now.
Unfortunately, unlike my two comedy heroes, his oeuvre is harder to come by and
much more expensive. I’ve started then with what is in my opinion his best
known work; <i style="mso-bidi-font-style: normal;">Safety Last!</i> A film
famous for its iconic still of Lloyd hanging from a clock face several stories
up a skyscraper, I thought I’d start with the obvious and work my way back.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie opens very strongly
with a set up that seems to suggest that the lead character, named Harold Lloyd,
is behind bars and being visited by his sweetheart and a priest. In the
background, a hangman’s noose looms. As the camera zooms out though, we learn
that he’s merely behind a fence and is in fact awaiting the arrival of a train
that will take him to the big city in search of his fortune. Lloyd promises to
make good within the year in order that he and his girl (Mildred Davis) can
marry. The establishing scene expertly sets up the next sixty-five minutes by
introducing us to the characters and their motivations as well as giving us a
great sight gag. From then on, the film goes from strength to strength. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Once in the city, Harold
struggles to make his fortune and is instead living hand to mouth while
simultaneously trying to present himself as a successful man to Mildred. He
sends her expensive gifts in the mail while dodging his landlady and forgoing
food. Instead of the wealthy man he reports to be, Harold is a salesman in a
department store, a job which offers little in the way of satisfaction or recompense.
The film goes through a slight mid point lag before Mildred travels to the city
to see her future husband’s success for herself. Now faced with impressing his
fiancé in person, Harold whisks her around the large store while pretending to
be its general manager, dodging his superiors and Mildred’s suspicions. The
film really picks up pace in these scenes with some clever ideas and great
jokes. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-rx1gLHiIDKXe-jKDiOidqQURaL6U4_tz-wJCzqDPXps0FQVEWflAMgTFmhz_0AIZBstq8JGrp2XCVfcq1xieOl3j-rKOHQAl-VeBaXm07TFFU5hNhAuA0ZPbjHPEEB8sLPcKptt7BiAy/s1600/IS%2526EB_building_facade_in_Safety_Last%2521.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-rx1gLHiIDKXe-jKDiOidqQURaL6U4_tz-wJCzqDPXps0FQVEWflAMgTFmhz_0AIZBstq8JGrp2XCVfcq1xieOl3j-rKOHQAl-VeBaXm07TFFU5hNhAuA0ZPbjHPEEB8sLPcKptt7BiAy/s1600/IS%2526EB_building_facade_in_Safety_Last%2521.jpg" height="288" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The final act is responsible for
the movie’s continued fame. Spotting a way to make some quick cash, Harold offers
to attract customers to the store with a terrifying daredevil stunt. His
employer is open to the idea and offers $1,000 if it succeeds. The enterprising
central character asks a friend to scale the twelve stories of the department
store for $500, meaning he’ll leave with $500 for himself. When things don’t
work out though, it’s left to Harold to climb the building. I enjoyed this
sequence immensely as the writers and actor found ways to create new problems
on each floor that Lloyd encountered. By about the forth floor I was worried
that the idea was becoming repetitive but thankfully the scene is clever enough
and funny enough to sustain what must have been around twenty minutes. The
laughs start at ground level with an interfering police man and continue to
rise as the character makes his way up towards the sky. The sequence is also
cleverly shot and presented to the audience. I don’t suffer from a fear of
heights but my heart was in my mouth on several occasions. It’s a fantastic
scene.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">As I’ve mentioned, I knew little
of Harold Lloyd’s work before watching this movie but here he strikes me as a
very competent comic actor. There’s one scene in which he must knock on his
bosses office door which I thought showed incredible craft. Lloyd attempts to knock
several times but each time fails to do so for fear. He’s fantastic in that
scene and very good throughout. Mildred Davis, Lloyd’s wife, in one of her
final screen appearances, is less impressive but plays the dumb girl from the
country successfully. Few other actors are given a chance to shine but I liked
Earl Mohan’s drunk. The film was well directed by Fred C. Newmeyer and
co-writer Sam Taylor. In a dialogue free medium in which visuals are of the
utmost importance, the directors place their camera in prime position to
extract the biggest laughs throughout the movie. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Overall I was very impressed with
<i style="mso-bidi-font-style: normal;">Safety Last!</i> Although I don’t believe
it matches the best that Keaton or Chaplin produced, it’s nonetheless a more
than solid comedy with several standout moments. Now that I’ve broken my Harold
Lloyd cherry, I’ll definitely be heading back for some more of what he has to
offer.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">You may also like</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/06/sherlock-jr.html">Sherlock Jr</a> 1924</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2012/12/the-kid.html">The Kid</a> 1921</span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2012/07/police.html">Police </a>1916 </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span> </span><span style="mso-spacerun: yes;"> </span></div>
<span style="font-family: "Times New Roman"; font-size: 12.0pt; mso-ansi-language: EN-GB; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-GB;"></span>Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com13tag:blogger.com,1999:blog-6915202154953031948.post-44103139941335750762014-05-19T20:48:00.001+01:002014-05-19T20:48:43.683+01:00The Two Faces of January<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMd3EVR34NAAXxG8_KGQroPKfSbYxvvxId22Ft-0K6s3-gpvT1sWe3z5YXh7ShmUKxZClUvq-dOYTnJ3Hjk_D9Rj_2AP1K6nlOTh7Z4zEXDFmTMXp4TRr67egG0cwRNUv7u51nVMaViRd/s1600/two-faces-of-january-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkMd3EVR34NAAXxG8_KGQroPKfSbYxvvxId22Ft-0K6s3-gpvT1sWe3z5YXh7ShmUKxZClUvq-dOYTnJ3Hjk_D9Rj_2AP1K6nlOTh7Z4zEXDFmTMXp4TRr67egG0cwRNUv7u51nVMaViRd/s1600/two-faces-of-january-poster.jpg" height="320" width="216" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Two Faces of January</i> is an interesting little film written and
directed by Hossein Amini, a man best known for penning the script of <a href="http://attheback.blogspot.co.uk/2012/06/drive.html"><i style="mso-bidi-font-style: normal;">Drive</i></a>. Here Amini delivers another
taught script set in early 1960s Greece. American tour guide and
part time swindler Rydal (Oscar Isaac) gives tours to unsuspecting travellers
in the Greek capital Athens and one day comes across an American couple with
whom he strikes up conversation and a brief friendship. The tour guide is
charmed by the couple and drawn to their wealth and beauty but when it becomes
apparent that the couple aren’t quite as well refined and put together as they
first appear, Rydal helps them to evade those hunting them before becoming
embroiled in their strange and murky circumstances.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">There were two things that
attracted me to this movie. The first was the name Amini. I was curious to see
the screenwriter’s directorial debut and was interested in his script. The
second factor was Viggo Mortensen. At this stage in the actor’s career I feel
as though I can pretty much trust that if he’s agreed to be in it, it will be
good enough to see. Mortensen does indeed impress and his choice of role is
once again solid. The movie is about surface and sheen and the attraction that
bright and beautiful things hold while under the surface bubbles something more
sinister. There’s an uneasy feeling which envelops the film and it stabs
through the false surface from time to time in a wonderfully calm but out of
control manner.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3v-eWzY1gY3fSxYKHYW3AF5b5mlHYzoGohtRg9ZzOzKjQPGxzCH7OIVt9Y2uMRtII3Kr20riSjsSSW8fTg3GkqhZgKcKuM4BUzCKAJqOKgfscm8HR9tlg8usxrWUnYmp798kNgtJPyiKE/s1600/The-Two-Faces-of-January-20142.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3v-eWzY1gY3fSxYKHYW3AF5b5mlHYzoGohtRg9ZzOzKjQPGxzCH7OIVt9Y2uMRtII3Kr20riSjsSSW8fTg3GkqhZgKcKuM4BUzCKAJqOKgfscm8HR9tlg8usxrWUnYmp798kNgtJPyiKE/s1600/The-Two-Faces-of-January-20142.jpg" height="200" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The plot is interesting and
although slow and steady, I was gripped from start to near the finish. It tails
off slightly in the third act with a geographical change but the final scene
makes up for what is lost immediately before it. For the most part I was
entertained and engrossed in the lives of the three central characters and the
ever changing facades they put up in front of them. Like a game of chess, the
characters attempt to outwit and out manoeuvre one another while keeping the
pretence that they’re doing nothing of the sort. One is never sure who is
thinking one move ahead and who’s thinking two and half the fun is waiting for
the masks to slip and the king to tumble. There’s some great chemistry between Isaac’s
Rydel and Kirsten Dunst’s Colette which in turn creates tension between Rydel
and Colette’s husband Chester
(Mortensen). The saying goes ‘three’s a crowd’ and in this case it’s certainly
true. It occasionally becomes uncomfortable with Rydel’s third wheel muscling
into the relationship, sometimes accidentally and sometimes very much on
purpose. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The locations are stunning and
the period costume looks authentic. This is a handsome looking film in every
respect and at times that’s half its charm. Despite how interested I was in the
movie, it’s not always easy to like but patience and investment certainly pay
off in the end. Although it’s Amini’s debut film as a director, his style is
assured and competent. He’s no Scorsese or Welles but he can direct a picture
and I’m curious to see in what direction he heads next. All three leads give
good performances but Viggo Mortensen probably stands out slightly above the
other two. This may partly be down to his character but either way he’s
fantastic. Overall I enjoyed <i style="mso-bidi-font-style: normal;">The Two
Faces of January</i> a lot and although there’s nothing in it that makes it an
excellent film, it’s certainly a very good one.</span> </div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com6tag:blogger.com,1999:blog-6915202154953031948.post-69937688179613949332014-05-19T20:10:00.002+01:002014-05-19T20:10:47.997+01:00Godzilla<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNV0Au_12Xqxfp7Nt5RICrKy02Q8D37SheHU0tHJ9_dZDUQvo_mLhMB9lSuRQAaNqrwgolOtPfH6kemxGjXULcu7ysV0vpnIafg2M9GafCZz0iRd_mnxeshl4neMm-AHa7Ul1wD58zlSGK/s1600/godzilla2014_fan_poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNV0Au_12Xqxfp7Nt5RICrKy02Q8D37SheHU0tHJ9_dZDUQvo_mLhMB9lSuRQAaNqrwgolOtPfH6kemxGjXULcu7ysV0vpnIafg2M9GafCZz0iRd_mnxeshl4neMm-AHa7Ul1wD58zlSGK/s1600/godzilla2014_fan_poster.jpg" height="320" width="216" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Sixty years after his debut
screen appearance, Godzilla is back on our screens in his second American
guise. For anyone who remembers the 1998 Roland Emmerich version, this news may
legitimately cause trepidation. My interest in the picture came about when I
heard that the new film was to be directed by second time director Gareth
Edwards. For nearly half a decade since Edwards’ first film, I’ve been telling
anyone I can get my hands on to watch his film <a href="http://attheback.blogspot.co.uk/2012/03/monsters.html"><i style="mso-bidi-font-style: normal;">Monsters</i></a>. That movie was outstanding; an ultra low budget
monster-thinker which Edwards wrote, directed, shot and edited himself besides
doing all of the FX work in his bedroom. In comparison to that movie, <i style="mso-bidi-font-style: normal;">Godzilla</i> is a let down. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Things start well with an
interesting and attractive titles sequence which gives a slight spin on the
traditional Godzilla back story. The film postulates that the atomic tests of
the 1950s were in fact not tests at all but an elaborate attempt to destroy the
gigantic titular beast. Fast forward several decades and we find Joe Brody
(Bryan Cranston) hard at work as the supervisor of a Japanese Nuclear Power
Plant. Brody is concerned by strange seismic patterns which are unlike any
earthquake he’s seen before. In fact he’s convinced there are no earthquakes at
all.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I don’t need to go into much
further detail with the story as anyone who’s au fait with the basics of <i style="mso-bidi-font-style: normal;">Godzilla</i> will be able to guess the gist
of the story. What Edwards’ movie does do though is to try and bring the human
elements of the story to the forth. Unfortunately this is done with some fairly
one dimensional characters and exposition filled, cheesy dialogue. The idea of
creating a movie in which we focus on the people while monsters battle in the
background is interesting and it follows the film’s thesis that we don’t
control nature and aren’t the top of the food chain. We barely register to
Godzilla and in this respect he does what he does without paying much attention
to us. The idea then of focusing on how people survive around him is an
interesting one. In the end though, it’s poorly executed. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Although much of the talk
surrounding the film has been of Bryan Cranston’s casting, it is in fact Aaron
Taylor-Johnson who takes the lead role. He’s an actor who has delivered fine
performances in the past but here he lacks the charisma he displayed in the
likes of <i style="mso-bidi-font-style: normal;">Nowhere Boy</i> and <a href="http://attheback.blogspot.co.uk/2012/09/anna-karenina.html"><i style="mso-bidi-font-style: normal;">Anna Karenina</i></a>. His character is of the Hollywood stock of beefed up military guys who we’ve seen
a thousand times before and despite his well meaning family nature, he’s a
forgettable character. For a monster movie that focuses so heavily on people,
the lead character is badly written and mistakenly cast. Bryan Cranston fairs a
little better but many of the cast appear to be lost on the cutting room floor.
The magnificent Sally Hawkins and token Japanese guy Ken Watanabe appear from
time to time with a warning here, or a worried look there. It feels like their
characters were intended for more but forgotten. Elizabeth Olsen is a rare
shining light in the grim acting department but her role is limited.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0AMGsxn1DuTRQ3PYuOdWhXMNaet4FvLDJUq0wVwmwfNoxYUTvj3_5m5ExBkk6ywSpiYmT9oQuJOQ6jnYSyXX44FwjVRcly5XQxswOR-a1w79y0UY4OGsEp3TmNbsbWrkBWoDP_Oqcpdq/s1600/Screenshot-2014-03-18-13.24.06.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI0AMGsxn1DuTRQ3PYuOdWhXMNaet4FvLDJUq0wVwmwfNoxYUTvj3_5m5ExBkk6ywSpiYmT9oQuJOQ6jnYSyXX44FwjVRcly5XQxswOR-a1w79y0UY4OGsEp3TmNbsbWrkBWoDP_Oqcpdq/s1600/Screenshot-2014-03-18-13.24.06.png" height="165" width="400" /></a><span style="font-family: Arial,Helvetica,sans-serif;">Godzilla is nicely designed and
beautifully bought to life. He moves like a real animal, sleek and graceful in
the water and noticeably less poised on land. He’s joined by another creature
called a MUTO (Massive Unidentified Terrestrial Organism). The MUTO is equally
well designed but left me feeling confused. I was unsure as to its origin and
its relationship with Godzilla. Perhaps I was having a slow day but in a film
with as much exposition as this one, I’d have expected to understand exactly
what was going on. A lot of my confusion may have stemmed from boredom.
Throughout the movie I was bored. Whether Taylor-Johnson was trying to get back
to his family or Godzilla was tearing through a city, I just wasn’t bothered.
The film successfully creates some <a href="http://attheback.blogspot.co.uk/2013/09/jurassic-park.html"><i style="mso-bidi-font-style: normal;">Jurassic Park</i></a> goat feeding suspense but I was never really on its side. Speaking of
suspense, Godzilla is absent for the majority of the opening hour and is only
seen sparingly thereafter. I liked this device for the most part but when he
was on screen, I would have appreciated the occasional shot of him in the
daytime. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">One of my favourite aspects of
the movie is something which Gareth Edwards excelled at in <a href="http://attheback.blogspot.co.uk/2012/03/monsters.html"><i style="mso-bidi-font-style: normal;">Monsters</i> </a>and that is the depiction of decay. Several pivotal scenes
take place in long abandoned locations and these are always, without fail,
beautifully imagined and filmed. I’d have happily watched the characters
explore these areas for two hours but I guess that’s a different film. And it
stars Will Smith. The visuals are superb throughout and the film looks like good
for its $160 million. It also sounds incredible too. The sound design is superb
but the film is on the whole a lot quieter than I was expecting. The final
forty minutes however is an onslaught of destruction and noise and looks
remarkable but by now we’ve seen it all before. It feels as though every
blockbuster ends with a city destroying fight and although this one features
monsters rather than superheroes, it’s well trodden ground.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Disappointingly the film features far too many plot holes and typical blockbuster devices. Examples include a dog running away from a disaster, a school bus full of trapped children, a man trying to reach his family and a 'crazy' scientist who might just be right after all. During the film it becomes a necessity to transport a nuclear weapon. Rather than doing this by helicopter, it's taken by train with an escort of about a dozen soldiers. This train also has to pass right through, shall we say, somewhere it doesn't want to. At one stage the military are looking for an escaped MUTO and after looking through a couple of doorways suddenly notice half a mountainside that has been ripped away. There are other issues which took me out of the film such as when a character is caught trespassing, he's taken to an ultra top secret facility rather than a normal jail. You don't take James Bond to you're Volcano Lair. It's film making 101.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">In the end <i style="mso-bidi-font-style: normal;">Godzilla</i> is a film with some nice ideas that looks excellent. Its
scope is as ambitious as <a href="http://attheback.blogspot.co.uk/2013/06/world-war-z.html"><i style="mso-bidi-font-style: normal;">World War Z</i></a>
and the effects match that of any recent blockbuster. The monsters are well
designed and the film provides one or two decent set pieces but overall I felt
let down by a poor script which while trying to reinvent the legend, treads the
same ground as a hundred blockbusters before it.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/04/the-beast-from-20000-fathoms.html">The Beast from 20,000 Fathoms</a> 1953 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/04/cloverfield.html">Cloverfield</a> 2008 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/03/monsters.html">Monsters</a> 2010</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/07/pacific-rim.html">Pacific Rim</a> 2013 </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com11tag:blogger.com,1999:blog-6915202154953031948.post-50306295830501336232014-05-18T11:37:00.003+01:002014-05-18T11:37:54.639+01:00To Catch a Thief<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhdIPxnLHDDn6ffL3MmNeUWrqYzRUTlZZO2gQTCs5ETxY4lzbUGXqd1mj1YKTgy8yXNt_z9VoKSUs79-WZc0Tu8n-yISkMdZb3OiaYLSl-c6C46FQv6GLaQUZoJ95dTxFI2_lgOKaNkThv/s1600/theif-poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhdIPxnLHDDn6ffL3MmNeUWrqYzRUTlZZO2gQTCs5ETxY4lzbUGXqd1mj1YKTgy8yXNt_z9VoKSUs79-WZc0Tu8n-yISkMdZb3OiaYLSl-c6C46FQv6GLaQUZoJ95dTxFI2_lgOKaNkThv/s1600/theif-poster.jpg" height="250" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">A beautiful if underwhelming
film, Alfred Hitchcock’s <i style="mso-bidi-font-style: normal;">To Catch a Thief</i>
marked the director’s third and final picture starring Grace Kelly. Joining the
actress is another actor in his third Hitchcock movie, Carey Grant. Grant plays
John Robie, a once jewel thief turned French Resistance fighter who now
retired, tends to his vineyards high above the Côte d'Azur. When a series of
robberies which display Robie’s hallmarks are committed, the police come
looking for the man known as ‘The Cat’ and in order to clear his name, he gets
hold of a list of potential targets in the hope of out witting and out
manoeuvring the real thief. First on the list are Mrs. Stevens (Jessie Royce
Landis) and her daughter Francie (Kelly).</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">To Catch a Thief</i> lacks some of the dramatic tension and edge of the
seat thrills of Hitchcock’s finest films but what it lacks in tautness, it
makes up for in other ways. Hitchcock cleverly gets passed the Hays/Breen
censors with some fantastic sexual innuendo and half hidden imagery. The
romantic side of the plot is much more developed than the dramatic side and
Hitch wows his audience with sexual fireworks (literally) and a John Michael
Hays script which while leaving little to the imagination, somehow feels clean
and moral. Coupled with the spectacular beauty on display, this is a movie
which is worth investing time in.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegCG34kuZ89uZwD8d2d9a8Ihick_KtP0iEHoimiEg0VSo2UKrAp3jbkcVUFvmv9Nr3MwqyzI9GWSlSW5wQkJHpndlSyn8vWIWt8Gn2yEAW7sKK7lm2xP1-L_Eco56oqck1Vdf5YfWAgLq/s1600/Catch-a-Thief.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjegCG34kuZ89uZwD8d2d9a8Ihick_KtP0iEHoimiEg0VSo2UKrAp3jbkcVUFvmv9Nr3MwqyzI9GWSlSW5wQkJHpndlSyn8vWIWt8Gn2yEAW7sKK7lm2xP1-L_Eco56oqck1Vdf5YfWAgLq/s1600/Catch-a-Thief.jpg" height="170" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Hitchcock’s first movie to be
shot in widescreen VistaVision, the locations and characters pop off the screen
with vibrancy after close to sixty years. Although it would be difficult to
make the French Rivera of the mid 1950s look unattractive, Hitchcock and
cinematographer Robert Burks made me yearn to be in that place, at that time
and with those people. The hilltop villages, wide blue sea, white sandy beaches
and steep colourful vineyards look spectacular and an early example of helicam
tops off a simply stunning movie. Burks incidentally won a well deserved Oscar
for his efforts. Alongside the picturesque backdrop you have two of the most
beautiful actors to ever grace the screen standing front and centre. Drenched
in exquisite dresses and suits, Kelly and Grant look incredible in the leads.
This movie actually made me angry. Angry because it’s not 1955, I’m not in the
South of France, I’m not wearing a handsome suit and I don’t have Grace Kelly
on my arm.</span></div>
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">In comparison to the visuals, the
plot is rather mundane. The script sets up an expected conclusion in which the
real jewel thief is never truly in doubt. The meandering ride towards the
conclusion has some nice moments but most of these come by the way of the
electric chemistry fizzing and sparking between the two leads. Helped along by
Hitchcock’s wicked, censor busting tricks, the real story is the romance. The
thievery plays second fiddle. The highlight of the movie for me was a scene in
which Hitchcock insinuates sex while keeping everyone fully dressed. With
fireworks in the background and a room bathed in green light, Hitch cuts
quickly between the embracing actors and the firework display, a visual metaphor
for an orgasmic sensation. The director was a master of getting around the
censors scissors but this is one of his finest moments in that regard.</span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1UvoasU48XA-1vag3ykGFhKNLKZvpy2Rmzdxhp2CVP5-k0zm8NLg2pVraVyKqlB5anNpgk7tieUth28SgVApTO0CjZuKLFrG4XADzS22hyphenhyphenA16RVeSVGO62FEbTnSTKAWmxetb_uOuc9tW/s1600/tocatchthief1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1UvoasU48XA-1vag3ykGFhKNLKZvpy2Rmzdxhp2CVP5-k0zm8NLg2pVraVyKqlB5anNpgk7tieUth28SgVApTO0CjZuKLFrG4XADzS22hyphenhyphenA16RVeSVGO62FEbTnSTKAWmxetb_uOuc9tW/s1600/tocatchthief1.jpg" height="243" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The actors themselves are
generally unspectacular but at the same time they’re more than serviceable.
Grace Kelly comes across as a little wooden and icy but she’s Grace Kelly. I
couldn’t see anyone else in the role. Carey Grant appears to have fun with the
role but occasionally has the look of a man enjoying himself on the Rivera
rather that acting in a movie. What the leads do have is mesmerising charisma
and an undoubted chemistry which propels the film through their less steady
moments. Joining them is John Williams who plays the stereotypical stiff upper
lipped Brit with aplomb and a sprightly Brigitte Auber who performs well and
adds a frisson of tension to both the romance and drama. Jessie Royce Landis
wafts in and out of the picture from time to time but doesn’t really register. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">In the end, <i style="mso-bidi-font-style: normal;">To Catch a Thief</i> comes out as a second rate Hitchcock picture with
first rate moments. It’s remarkably attractive and assuredly made but a
lacklustre plot detracts from the witty and saucy dialogue. I’ll certainly
watch it again but only for the visual impression it made on me.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/02/dial-m-for-murder.html">Dial M for Murder</a> 1954</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/09/north-by-northwest.html">North by Northwest</a> 1959 </span> </div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/12/rear-window.html">Rear Window</a> 1954 </span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com6tag:blogger.com,1999:blog-6915202154953031948.post-66427891174174807332014-05-17T20:53:00.003+01:002014-05-17T20:53:59.206+01:00Stand Up Guys<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Stand Up Guys</i> is a film that doesn’t know what it wants to be.
Stuck somewhere between a geriatric sub Apatow production and 70s crime drama,
it’s lost perilously at sea with a precious cargo of acting royalty desperately
trying to steer around an iceberg. Despite pulling in the same direction, they
go down with the ship. The <i style="mso-bidi-font-style: normal;">S.S. Good
Riddance</i>. Directed by Fisher Stevens and penned by Noah Haidle, the film
has at its centre an interesting premise but tonally it’s all off beam.
Twenty-eight years after a job that went badly wrong, Valentine or “Val” to his
friends (Al Pacino) is released from prison and into the welcoming arms of his
former partner in crime Doc (Christopher Walken). Having served half a lifetime
after a stray bullet accidentally ended the life of their bosses only son, Val
is keen to make up for lost time, lost steak and lost sex. He’s acutely aware
however that his time is limited and is expecting a hit on behalf of his still
grieving boss. The bullet he’s expecting is due to be expelled by the gun
hidden in his old friend Doc’s pocket, something Val also suspects.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">With Alan Arkin joining an
already illustrious cast and a premise that sets up so much, the film still
somehow disappoints. The comedy is absolutely dire and produced just one laugh
(admittedly a large one) in the entire 95 minute runtime. Time that could have
been spent creating dramatic tension or allowing the great actors to spit
thick, gloopy dialogue is instead devoted to nob gags and wave after wave of
“Oh aren’t we old” jokes. I don’t know who is supposed to be enjoying it. If
you’re young and have no love for the actors then it doesn’t work. If you’re
young and have a great affinity for the actors then it’s simply sad and
embarrassing and if you’re older then you just aren’t going to be interested in
the Viagra stealing, Russian prostitute visiting humour. This is a movie aimed
at fifteen year old fans of forty year old movies. A lot of movies have been
produced recently which try to put a twist on the frat boy comedy by
introducing an older cast but it’s just uncomfortable. Seeing Michael Corleone,
Sonny Wortzik, Lieutenant Colonel Frank Slade, Frank Serpico, Tony Montana,
bloody Al ‘8 Oscar nominations and 1 win’ Pacino pretending to go to hospital
because he can’t get rid of an erection? No. Just stop it. Enough. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Buried deep inside the movie is a
great film that struggles to find its place. There’s a nice side plot featuring
Christopher Walken’s family and the reliving of the old days round a table is
something that has legs. Even the brief forays back into crime have their
moments but it’s all coated in a sugary yet sanitized sheen that feels cold and
impregnable. The dialogue thankfully has its moments. “They say we die twice.
Once when the breath leaves our body, and once when the last person we know
says our name” is a nice line but it’s joined by the likes of “Oh Ouh! Mount Everest just moved into my pants.” The mix of
comedy and drama unsettles the piece, leaving it wobbly at every turn.
Accompanying the picture is a score which just sits on top of the movie rather
than intertwining to form one piece of art. It feels like you have a score with
a movie playing underneath rather than a movie score. The funk and soul music
sounds great but it doesn’t work with the visuals of the film even though it’s
very purposely chosen to evoke the era at which the characters were at their
height.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie appears to have been
shot around the same two blocks and it feels very samey and claustrophobic.
Even with a modest budget of $15m, you’d think the production could have
stretched to a couple more locations. We seem to travel down the same street
over and over again. Perhaps it was this repetitiveness and maybe the fact that
it’s mostly shot at night that reminded me so much of Scorsese’s fantastic (and
underappreciated) <i style="mso-bidi-font-style: normal;">After Hours</i>.
Although the production lacks visual scope, overall the cinematography is fine.
There’s a car chase which has been seen a thousand times and there’s nothing
particularly new about the way it’s shot but it’s accomplished. On the acting
front, the two leads veer between barely trying and struggling to make
something of the thing. Both Walken and Pacino are uneven but there are
glimpses of their great talent dotted throughout which makes the finished
product even more disappointing. I realise roles are few and far between for
some of the greats of the Hollywood New Wave but sometimes I wish they’d just
say no. I love to see the likes of Walken, Pacino, Arkn and De Niro on screen
and they can still impress but those great moments are becoming scarcer.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Overall <i style="mso-bidi-font-style: normal;">Stand Up Guys</i> is a let down. There’s enough in there that I feel as
though I haven’t wasted my time but I feel disappointed with a script that had
potential and a cast that can do so much more given the chance. While we can’t
expect every Pacino film to be <i style="mso-bidi-font-style: normal;">Serpico</i>
and we can’t expect Walken to make a <i style="mso-bidi-font-style: normal;">Deer
Hunter</i> every year, one still can’t help but want something more from a
movie and from these actors.</span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> The movie's tag line helps to sum it all up. 'They don't make 'em like they used to'. </span> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com2tag:blogger.com,1999:blog-6915202154953031948.post-35403132504339087152014-05-08T20:45:00.003+01:002014-05-08T20:45:39.491+01:00At The Back At The Tribeca Film Festival<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;">Late last month, a scheduled trip
to New York
happened to coincide with The Tribeca Film Festival. When I discovered this a
couple of weeks before crossing the Atlantic, I immediately looked into the
possibility of going to see some films and was fortunate to find the time to
squeeze three in. With only six days in the greatest city on the planet, I
wouldn’t have been able to justify any more than this. Tribeca was my first
film festival and overall I had a positive experience. The event was well run
by knowledgeable and enthusiastic staff while the locations were excellent. The
cinemas themselves were less desirable however. The three screenings we went to
were situated in two theatres, both multiplexes and both with very shallow
seating rakes. At 6’ 3” I still struggled to see through the heads of those in
front of me and was very conscious of the views I was obstructing behind. I’m
not sure if this is consistent with all American cinemas but on the only other
occasion that I’ve seen a film in the States, in the same city, a year before,
there was no issue. Anyway, I digress.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The first film we saw was <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Night
Moves</i></b> at the AMC Loews Village 7 on 3<sup>rd</sup> Avenue. Both my girlfriend
and I were excited and nervous about our first film festival experience and eagerly
joined the long line outside the theatre. <i style="mso-bidi-font-style: normal;">Night
Moves</i> is a drama with a political edge. Directed by Kelly Reichardt (<i style="mso-bidi-font-style: normal;">Meek’s Cutoff</i>) It stars Jesse Eisenberg,
Dakota Fanning and Peter Sarsgaard as environmentalists who plan to blow up a
dam in rural Oregon.
The film initially reminded me of <i style="mso-bidi-font-style: normal;">The
East</i>, thematically at least but it soon becomes apparent that this is a
significantly smarter film which takes a different direction. It doesn’t
bombard the audience with back story or justification for the crimes. It
assumes that the audience is clever enough to understand their motivation. The
central characters also remain half hidden and you’re never sure if they’re
showing their real selves to each other or the audience. The planning and
preparation are interesting and the execution of the dam’s destruction is
incredibly tense. What follows soon after is rather predictable but the
character’s transformations surprise. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHUPXl6PzGT6w_RudQavmzf_dfx5z74t9gX0Q0v_DGrtcA7tIoFZtLP54rwqQnm_Oa85rlvc75YWkXdGuc0Fs6xU6LmKywLPdypX1A7FF-MWj6Qx7wnA8oJ4a7oPjPL3YYcptIhkdG1Ewe/s1600/Night+Moves+Film+2014.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHUPXl6PzGT6w_RudQavmzf_dfx5z74t9gX0Q0v_DGrtcA7tIoFZtLP54rwqQnm_Oa85rlvc75YWkXdGuc0Fs6xU6LmKywLPdypX1A7FF-MWj6Qx7wnA8oJ4a7oPjPL3YYcptIhkdG1Ewe/s1600/Night+Moves+Film+2014.jpg" height="200" width="320" /></a><span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Night Moves</i> is a handsome movie which is well made on a small
budget. As a heist movie it works remarkably well and there is subtle humour
laced throughout which is never overplayed. The plot works for the most part
but there are one or two moments which are noticeably weaker than what
surrounds them. On the acting front, Jesse Eisenberg continues to impress me.
His turn in <i style="mso-bidi-font-style: normal;">The Double</i> was
magnificent and he follows it here with an assured and edgy performance. He
seems tailor made for the role but still impresses, showing flashes of Travis
Bickle in the latter stages. He’s strong throughout. Also strong is Peter
Sarsgaard who effortlessly plays the third lead. The actor never looks like
he’s trying. He’s always natural and I enjoyed his interpretation of the
character. Dakota Fanning gives a slightly uneven performance. Overall she’s
superb; better than in a lot of things but occasionally the character seems to
slip and it takes a while to come back. Despite this, it’s a continuation of
her recent change of direction and I thought she was very good overall. <i style="mso-bidi-font-style: normal;">Night Moves</i> goes on limited release in
the USA on 30<sup>th</sup>
May and is released in the UK
on 29<sup>th</sup> August.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Having seen <i style="mso-bidi-font-style: normal;">Night Moves</i> in the afternoon and after dinner in the same Little
Italy restaurant we go to whenever we’re in town, we headed to Chelsea’s Bow Tie Cinema
for a late night screening of <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Summer of Blood</i></b>. This was a film of
which I knew nothing about and have to admit that I didn’t know of the director
or his back catalogue before entry. Having seen the movie, I’m very keen to see
more of his output. The director in question is Onur Tukel and here he writes,
directs and stars in an ultra low budget horror-romance-comedy about a shlubby
Brooklynite who is bitten by a Vampire after hitting rock bottom. The movie was
an absolute joy. The title and what little I’d read had lead me to expect a
slasher style horror but it’s amongst the most hilarious films I’ve seen all
year. The observations and humour evoke Woody Allen but Tukel is no copy-cat.
He’s original and writes with his own style. The structure of the piece is very
clever and there are some terrific references and call-backs which thrilled and
delighted the entire audience. Tukel surrounds himself with a capable but
largely unknown cast who all perform admirably but they all disappear into the
central character’s shadow. Ironic given his vampiric nature. This is very much
a one man piece.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Tukel’s Erik Sparrow is somehow
really likeable despite being rotten to his out of his league girlfriend,
useless at work and pretty nasty to those he meets. For some reason I rooted
for the guy. He’s a down and out, and underdog and no matter what, we want to
see him succeed. By chance, it’s his surprise meeting with a Vampire which
enables him the wit, confidence, charm and sexual penanche to get places. Not
that he’s really that bothered of course. Erik would probably be just as happy
on his own, complaining about a tap or his back as he would be when surrounded
by a group sexually excited women. Speaking of that particular group, my only
real criticism of the film is that it did become a little self indulgent in the
latter stages. This is a small problem though with a film that is largely
excellent. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Tukel the director captures the
sticky heat of the New York
summer and I enjoyed this a great deal. The city is so well represented in
cinema but is generally accompanied by fresh winter snow, or generic ‘sunny’
that I can’t think of many pictures which have made the most of its sweaty
summer months. It adds another dimension to the movie which would be missing
had it not been so heavily buttered about the piece. <i style="mso-bidi-font-style: normal;">Summer of Blood</i> is a terrific little movie which I highly recommend
seeking out if you get the chance. It currently has no scheduled release date
but keep your eyes peeled.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Following a day off from films
and a trip to see The Enterprise Space Shuttle in which my inner space geek got
a bit of an erection, our third and unfortunately final film was back to the
AMC on 3<sup>rd</sup> Avenue
for <b style="mso-bidi-font-weight: normal;"><i style="mso-bidi-font-style: normal;">Beyond
the Brick: A Lego Brickumentary</i></b>. I’ll be honest; this is the film I’d
most been looking forward to. Following hot on the heels of <i style="mso-bidi-font-style: normal;">The Lego Movie</i>, it’s a documentary about
AFOLs (Adult Fans of Lego), something that I’m sort of unashamed to say that I
am. I’m Tom and I’m an AFOL. The 94 minute film documents the history of the
toy, the people behind it and how it became the phenomenon that it’s become
today as well as expanding greatly into areas as diverse as its uses in
theoretical mathematics and cognitive reconstructive therapy. Directors Daniel
Junge and Kief Davidson’s main focus though is on the strange reality that this
child’s toy is as popular with adults as it is with kids.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie lovingly pokes fun at
its subjects in the same as one friend makes fun of another. It’s occasionally
cutting but generally light hearted and well judged, in line with the laughs
one has come to associate with the brand. It gets you onside whether you’re an
AFOL or anti-Lego. Cleverly, the documentary is narrated by an animated Lego
minifigure voiced by Jason Bateman. It’s he who provides the narrative link and
many of the largest laughs. The film follows the stories of several people and
groups (possibly too many for the short run time) and tries to get into the
psyche of an AFOL. In the end it isn’t wholly successful with this and seems to
come out with the logical conclusion that there is more than one reason. A few
famous faces are interviewed and it’s singer Ed Sheeran who shares my AFOL
beginnings being that he loved it as a child and when he got money as an adult,
he decided that he’d buy what he wasn’t able to get as a kid. Incidentally,
seeing the seven foot NBA Center Dwight Howard play with Lego is one of the
many highlights. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Along the way we’re introduced to
some interesting and as you can imagine eccentric figures who construct
remarkable sets for conventions. Some of the talent, creativity and let’s face
it, wealth on display, is remarkable. I was taken aback by the likes of the
Lego Rivendell and couldn’t begin to imagine how one would design and make such
a piece. The movie also heads to the Czech
Republic where the world’s largest
ever Lego set is being constructed in secret before its unveiling in Times Square. The film, like its plastic subject is about
creativity and fun and that really comes across on screen. The movie is huge
fun from start to finish and even my long suffering Lego adverse girlfriend
enjoyed it a lot. Unfortunately it began to feel a little long towards the end
but overall it’s a great little documentary about something I love, explored in
depth with a keen eye and humour in the front of the mind. The film is
currently playing the festival circuit with no set date for wide release.<span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVVJqeUPwZDq_k0HfNI47Q4j8ttlJoVwIQXV_NHk3piDWnvA_vSLWeBqcUC7yDdbhMFq7UZbw3-LtupUpiXj2L8Zcstgh41M3VTi9uaBwdxkI1Kmx3nRQHJwe4_MpRgLc00RkLuIoC4fF-/s1600/IMG_7096.JPG" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">So that was it for my Tribeca
experience. I’d love to have seen more films but was happy that I’d managed to
see any and that I at the very least liked all three. It’s made me want to
visit more festivals and I’m certain this won’t be my last. I enjoyed the
interaction with film makers, the insight they had to offer and the overall
buzz which accompanied each screening. If you haven’t been to a festival – go
and if you run one, give me free tickets.</span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span>
</span><span style="mso-spacerun: yes;"><br /></span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com5tag:blogger.com,1999:blog-6915202154953031948.post-7390242031585706952014-04-11T09:32:00.002+01:002014-04-11T09:32:29.147+01:00Scarface<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFrvjB-NmTqmIEFPIlwYoeGFPF6nZz7z9P4BqgxlbLMQY4ITJhNxRvT2fQ_mpLLr3uSTv5NOUZAuBMCSGSaHQoZNKIqdAbEkTtooyy-6ALiazGLliGFAoAmYZkQ5sX3GbiKtCK1X9x2GXQ/s1600/Scarface-(1932-film)-wallpaper.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFrvjB-NmTqmIEFPIlwYoeGFPF6nZz7z9P4BqgxlbLMQY4ITJhNxRvT2fQ_mpLLr3uSTv5NOUZAuBMCSGSaHQoZNKIqdAbEkTtooyy-6ALiazGLliGFAoAmYZkQ5sX3GbiKtCK1X9x2GXQ/s1600/Scarface-(1932-film)-wallpaper.jpg" height="252" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Based on a 1929 novel and
inspired by real events, 1932’s <i style="mso-bidi-font-style: normal;">Scarface</i>
was one of a series of pre-code gangster pictures which shocked and enthralled
its viewers. Opening with a written disclaimer, damming the government for
their lack of action regarding the threat that modern gangsters pose, the film
nonetheless glamorises the life of crime while shaking a stick in its vague
direction. It follows the ascent of young arrogant Italian immigrant Tony
Camonte (Paul Muni) as he rises through the Chicago underworld by bumping off bosses and
rivals who stand in his way and intimidating speakeasy proprietors into taking
his booze. Aided by his right hand man, the quiet coin flicking Guino Rinaldo
(George Raft), Tony reaches the heights of underworld overlord but finds that
being at the top is even more dangerous than the climb to the summit.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Arriving two years before the
Hays Office began imposing much stricter censorship on Hollywood; <i style="mso-bidi-font-style: normal;">Scarface</i> was able to get away with a lot more than many films which
followed it. Inside its ninety minutes you’ll find brutal murders, gunplay and
revealing costumes worn by the female characters, things which just wouldn’t be
permissible from 1934 onwards. Even still, the film troubled the censors and
the ending was changed to suit their tastes. Overall the movie contains a
‘crime doesn’t pay’ theme, something which you expect from the opening credits
disclaimer but it’s slow in coming. For the most part, the theme appears to be
‘crime gets you everything you want’ and it’s this which the censors must have
taken issue with. The glorification of the central character is also something
which the Hays Office was unhappy with. This is something which film makers and
censors would lock horns over for the next forty years.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCN6-svgXeZOFzbb_RCpxlUFNkyTngHRpYUGISFQksSkiIh6EMmDQuwy1u2TsPzt_twIrH3r_UENzicOBls2rY9tf3YlKERMTu4382NyPU5EdE7G0P_od-3g2VLAzdvvpkOT8nSUvbHiTX/s1600/1932-Scarface+-+Copy.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCN6-svgXeZOFzbb_RCpxlUFNkyTngHRpYUGISFQksSkiIh6EMmDQuwy1u2TsPzt_twIrH3r_UENzicOBls2rY9tf3YlKERMTu4382NyPU5EdE7G0P_od-3g2VLAzdvvpkOT8nSUvbHiTX/s1600/1932-Scarface+-+Copy.jpg" height="204" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Scarface</i> was remade in 1983 by Brian De Palma and the plot of that
movie closely resembles that of this one. The central themes and ideas are also
quite similar. Tony’s love for his sister and desperation to protect her from
the world and especially men is one of the driving forces behind many of his
actions. In a twist though, his overbearing sensibilities leads to more pain
for her than is necessary. His desire to conquer is perhaps his main drive and
the fact that he is willing to remove anyone in his way shows the malice in the
character. Camonte is a character who doesn’t recognise anyone as his better or
superior and views each boss as simply another stepping stone in his way to
world domination. The picture features several scenes which are taken from real
events. Many of these are lifted from the life of Al Capone, himself nicknamed
Scarface. The most famous of these scenes is the St. Valentine’s Day Massacre
which is recreated here, albeit in silhouette. Also present is the slaying of
Tony’s first boss, ‘Big Louie’ Costello, based on the 1920 murder of ‘Big Jim’
Colosimo, a crime which Capone played a part in.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The cinematography is notable for
its ‘X’ motif. In many of the murder scenes, an overtly visible X is present on
the screen. This takes the form of shadows, window lattices, iron railings and
slithers of light but it’s almost always present. It’s a really interesting
visual and matches the scar found on Tony’s left cheek. Martin Scorsese paid
homage to this idea in his Oscar winning <i style="mso-bidi-font-style: normal;">The
Departed</i>, putting the same X on screen during his movie’s death scenes.
Overall the film looks very good. There are several fast paced action scenes
which look expensive and the interior sets are well designed. The costumes too,
look fantastic. Gangsters always look great on screen but Camonte and his
cohort look incredibly well dressed. Likewise the female cast members are
attired in stunning gowns and have excellent hair.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqN0DHnccB2Njk_24P78JOtLafi1tAHld8USRjRZjYGCQfIRQ4SACR1BY2lwG9nEkf9xNBKMstr9h2SMBR6Q0EGbYkbFDi0QV90_mOclv0912dVHrMYf0CnkwlUCSP3fzNufQfPYDo8l/s1600/2013-08-01-scarface_1932.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEkqN0DHnccB2Njk_24P78JOtLafi1tAHld8USRjRZjYGCQfIRQ4SACR1BY2lwG9nEkf9xNBKMstr9h2SMBR6Q0EGbYkbFDi0QV90_mOclv0912dVHrMYf0CnkwlUCSP3fzNufQfPYDo8l/s1600/2013-08-01-scarface_1932.jpg" height="206" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Paul Muni delivers a near career
best performance as Tony. He’s the right amount or arrogant and his single
minded goal drives his character to the edge several times. He wonderfully
portrays nonchalance under fire and a conceited attitude towards the police.
Despite being nominated for six Oscars, he was snubbed for this role. George
Raft plays a quiet and reserved role but his coin flipping is scarily ominous.
He plays a realistic character and is slightly underused in my opinion. Ann
Dvorak excels in the role of Tony’s vivacious sister while Karen Morley is
slightly more wooden, although her Poppy ismore window dressing than fully
fledged character in the script. Osgood Perkins plays the downtrodden boss role
very well and there’s a small role for Boris Karloff.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Occasionally I found <i style="mso-bidi-font-style: normal;">Scarface</i> a little dull and I had the
same opinion on my first watch a few years ago. Perhaps it’s because I was
aware of the story through the 1983 remake but I found that many of the scenes
felt like a slog to get through until the final shootout. Even so, there’s a
lot to like about the film and it contains some well written characters and
themes which were pertinent to the time. It generally fails in its attempts to
de-glamorise the gangster lifestyle but it delivers a strong message as it does
so. Eighty years on, <i style="mso-bidi-font-style: normal;">Scarface</i> is a
film which is still worth watching and its influence lives on strongly in the
films of today.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">You may also like</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/01/angels-with-dirty-faces.html">Angels with Dirty Faces</a> 1938 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/01/the-public-enemy.html">The Public Enemy</a> 1931</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2014/01/the-roaring-twenties.html">The Roaring Twenties</a> 1939 </span></span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com5tag:blogger.com,1999:blog-6915202154953031948.post-28489113743831603712014-04-09T22:26:00.002+01:002014-04-09T22:26:20.321+01:00Out of the Past<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHoihf-G7M2XlteNU3gpQHw_DxpjPX0bsrV5Ic5lXmc1FP1wts8HJ8u4N5vE0FA3IyDtEQAmz2eaRKDJ6Y1wVOeHi3CEHqbbxcFY27qzX9boQM5qDgfCNh-YS9DQgLFwGae1An2ug-bJJG/s1600/out-of-the-past3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHoihf-G7M2XlteNU3gpQHw_DxpjPX0bsrV5Ic5lXmc1FP1wts8HJ8u4N5vE0FA3IyDtEQAmz2eaRKDJ6Y1wVOeHi3CEHqbbxcFY27qzX9boQM5qDgfCNh-YS9DQgLFwGae1An2ug-bJJG/s1600/out-of-the-past3.jpg" height="247" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">1947’s <i style="mso-bidi-font-style: normal;">Out of the Past</i> is widely considered to be one of the greatest
examples of 1940s film noir. Set around a convoluted plot, the film twists and
turns through double, triple and quadruple crosses, landing surprise blows on
its dumbstruck and occasionally confused audience. Based on the novel <i style="mso-bidi-font-style: normal;">Build My Gallows High</i> and originally
released in the UK
under the same title, the picture stars Robert Mitchum as freelance Private
Detective Jeff Bailey. He’s hired by rich and shady businessman Whit Sterling
(Kirk Douglas) to track down a dame, Kathie Moffat (Jane Greer) who Stirling alleges has disappeared with $40,000 of his
money. Told partly in flashback and with a voiceover to match that of <a href="http://attheback.blogspot.co.uk/2013/03/sunset-boulevard.html"><i style="mso-bidi-font-style: normal;">Sunset Boulevard</i></a>’s, the film twists and
turns like a twisty-turny thing, through several cities, two nations and a
long, albeit undisclosed, period of time.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">It took me a little while to get
into <i style="mso-bidi-font-style: normal;">Out of the Past</i> but when I did,
I enjoyed it greatly. Unfortunately my patience wore off towards the end thanks
to the elaborate nature of the narrative. This isn’t a film I’d suggest
watching after a long day at the office and a couple of martinis inside your
stomach. Although a large part of the movie’s charm is its strong story, the
frequent double crossing did begin to confuse me as we crossed the hour mark.
This isn’t entirely a bad thing however as half the fun is in guessing who has
the upper hand and who will strike next.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">As well as an interesting and
complex storyline, the movie is notable for its cinematography. In my review of
<a href="http://attheback.blogspot.co.uk/2014/03/double-indemnity.html"><i style="mso-bidi-font-style: normal;">Double Indemnity</i></a>, I talked at length
about its use of lighting and <i style="mso-bidi-font-style: normal;">Out of the
Past</i> occasionally comes close to matching that film in the way in which it
is lit to impose a dramatic tone. It isn’t as obvious as <a href="http://attheback.blogspot.co.uk/2014/03/double-indemnity.html"><i style="mso-bidi-font-style: normal;">Double Indemnity</i></a> but it’s an ever-present factor. The movie is lit
in such a way as to impose thick, dark shadows on the faces of its characters
while illuminating others. The shadows of hats are cast long about the interior
sets, adding to the moody and underhand tone. The direction is fairly
formulaic, rarely deviating from the norm of the time but sometimes Director
Jacques Tourneur sneaks a shot up on the audience, framing a character in a
beautiful glow while moving his camera seductively about the set.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgas17xF5RRoC5Gv8WTUmFdtVpHEgS-cWnC6f9JRZMXXLnny1vOD6Trl_JjjRMnbXe_27ZGyzaIxn0RN9uOO6Yduq7ZD2JZqO4TtFPumW8IBGvxcs7jksKCFxasxzYIN0Rxnj97wIOd79h/s1600/71163720.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgas17xF5RRoC5Gv8WTUmFdtVpHEgS-cWnC6f9JRZMXXLnny1vOD6Trl_JjjRMnbXe_27ZGyzaIxn0RN9uOO6Yduq7ZD2JZqO4TtFPumW8IBGvxcs7jksKCFxasxzYIN0Rxnj97wIOd79h/s1600/71163720.png" height="240" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The central characters all
resemble archetypes of the genre. From the nonchalant P.I. to the money hungry
gangster and strong, silent henchman, they’re characters you’d expect to find
in any successful film noir. The standout though is another mainstay of the
genre; the femme fatale. Played by the stunning Jane Greer, she’s as devious as
she is attractive but unlike the more calculating versions of other pictures,
she’s like a rat in a corner, viciously scratching away for survival against
ever narrowing odds. She’s cunning and audacious but more on her back foot than
her front. She’s capable of playing people off against one another with aplomb
but is never truly ahead, matched at every turn by the wily Jeff Bailey.<span style="mso-spacerun: yes;"> </span></span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Mitchum is incredibly watchable
as Bailey. Coolness personified and a man who knows how the wear a hat, he
plays the character as calm and arrogant, always with the knowledge that he’s
the smartest guy in the room. Kirk Douglas is nicely slimy and grubby but he
plays the character with an air of graceful menace, a man who never gets his
hands dirty but has plenty of lackeys to do it for him. One of those lackeys is
Paul Valentine. Valentine deserves a larger role and is excellent in his few
major scenes. Surprisingly this was his first motion picture role. Another stand
out is Jane Greer, successfully pulling off the range of emotions to convey the
various moods needed for the attributes mentioned in the previous paragraph.
She sizzles on screen. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">I have few bad words to point in
the direction of <i style="mso-bidi-font-style: normal;">Out of the Past</i>. Besides
a slightly confusing plot, the film is near perfect in every other aspect. It’s
aged beautifully, looks and sounds great and is acted by a cast who truly
inhabit their roles. It’s unsurprising to me that the film is held in the high
esteem that it is.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/03/double-indemnity.html">Double Indemnity</a> 1944</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/03/the-big-sleep.html">The Big Sleep</a> 1946</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/07/the-night-of-hunter.html">The Night of the Hunter</a> 1955 </span></div>
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Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com6tag:blogger.com,1999:blog-6915202154953031948.post-78068107244736697442014-04-06T22:03:00.001+01:002014-04-06T22:03:13.635+01:00The Beast from 20,000 Fathoms<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlZbi9XLdGne9Ld2OigUcOyU5-FeKgls5TLTofviFaPWYfOfDglVfY1VGgRWMOPqgtPXm7RjLNG67_pJ5q052UAyAMfdJEXTfEPSmF9p92hfVZwlXgzWSimlNZZR6YOXIcyItyUTzq_fb_/s1600/beastfrom20000fathoms.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlZbi9XLdGne9Ld2OigUcOyU5-FeKgls5TLTofviFaPWYfOfDglVfY1VGgRWMOPqgtPXm7RjLNG67_pJ5q052UAyAMfdJEXTfEPSmF9p92hfVZwlXgzWSimlNZZR6YOXIcyItyUTzq_fb_/s1600/beastfrom20000fathoms.jpg" height="311" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Predating the more famous <i style="mso-bidi-font-style: normal;">Godzilla</i> by a year and being a major
influence on that movie, <i style="mso-bidi-font-style: normal;">The Beast from
20,000 Fathoms</i> is a 1953 creature feature that is home to a series of
firsts. It was the first movie in history to feature a monster awakened by a
nuclear blast and also contains Ray Harryhausen’s first solo special effects
work. It spawned a plethora of imitations and ushered the dawn of a golden age
for monster movies.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The plot sets a pattern which
will sound familiar to anyone who’s seen a creature feature before. Deep inside
the Arctic Circle, a team of scientists and
military personnel are carrying out a nuclear test. While out collecting
samples soon after, physicist Thomas Nesbitt (Paul Christian) is shocked to eye
a giant beast, lurking in the icy gloom. Back in New York
City no one believes the young scientist but when strange tales
come down the Atlantic seaboard towards Gotham,
others begin to treat Nesbitt’s claims seriously. Unfortunately they’re too
late and the beast makes devastating landfall in the city itself. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Beast from 20,000 Fathoms</i> is a film which has aged. At the time
of its release, its effects and ideas were revolutionary but that was over
sixty years ago. Now, some of the imagery is actually quite funny and the
acting, using predominantly lesser known actors, is wooden. Despite this, one
is still able to appreciate the technical and creative effort that went into
producing the movie. The monster is unrecognisable in comparison to any genuine
creature with Harryhausen taking what he liked from various pre-existing
designs. The head is reminiscent of a Tyrannosaurus but it has long, thick
front legs which double as arms. Early incarnations of the beast also had
flames which shot from its nostrils. Although left on the design room floor, a
similar idea was picked up by the makers of <i style="mso-bidi-font-style: normal;">Godzilla</i>.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Harryhausen used a complex and
ingenious method to create the illusion that the monster was in amongst the
people and building of New York City.
By running a small projection of footage that had already been shot behind his
models and then placing matte footage over the top, he was able to sandwich his
creations, seemingly into the middle of the teeming city. Making the creature
pick up model cars and tear through model buildings only adds to what must have
been a realistic image at the time. The movie’s finale is set at Coney Island (though shot in L.A) and sees the
prehistoric predator caged inside a roller-coaster. A large replica coaster was
built for the film and the effect is still impressive to this day.</span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvXRkjfZTsLv-yZ-O0sx5CIx9Vfz0lGUlbJXuiPjYXbILrtc5kRyOZ5t_6KsQRwwZ-7LKXdlUSg3jvw_aLG56bpKWCiWfWH9WnG33NIcev-BS6Hg5odvMgO3V_9SCVQUSFPpju8rqCVQx/s1600/b1%5B1%5D.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzvXRkjfZTsLv-yZ-O0sx5CIx9Vfz0lGUlbJXuiPjYXbILrtc5kRyOZ5t_6KsQRwwZ-7LKXdlUSg3jvw_aLG56bpKWCiWfWH9WnG33NIcev-BS6Hg5odvMgO3V_9SCVQUSFPpju8rqCVQx/s1600/b1%5B1%5D.jpg" height="240" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The picture was billed as
featuring ‘A cast of thousands’ and this might be true but there are only a few
main players. The vast majority of the ‘thousands’ are seen briefly, running
away from the titular beast. Paul Christian battles through some cheesy
dialogue to impress. He plays the strong, smart scientist which would become
popular on screen in the 1950s. His character is occasionally unbelievable,
becoming a polymath capable of commanding troops, scaling roller coasters and
toppling monsters but he is only part of a long tradition of similar
characters. Paula Raymond plays the female lead, a not quite scientist (being a
woman in the 1950s) who is instead the assistant to a real scientist. The
chemistry between the two leads helps to drive the human element of the movie
although the actress rarely stands out. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Beast from 20,000 Fathoms</i> is a bit like a museum exhibit. It’s
the Model T which shows the skeletal ideas behind today’s road cars, the
by-plane which predates our jets. Like both of the above, it’s heavily flawed
but it’s also the start of something exciting. The movie isn’t overly
entertaining and looks a bit shoddy but the central idea is a strong one while
the special effects continue to inspire film makers after over six
decades.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/04/cloverfield.html">Cloverfield </a>2008</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/09/jurassic-park.html">Jurassic Park</a> 1993</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/04/host.html">The Host</a> 2006 </span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com4tag:blogger.com,1999:blog-6915202154953031948.post-71462846112845469382014-04-06T13:07:00.000+01:002014-04-06T13:07:14.967+01:00Captain America: The Winter Soldier<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVjdXqtXZTlEl9bKczhZn0STkB2l63aXq4MD3XOb2K2WCvOriyeeJthL-avnrIhGzw79uOA7BG6E599S6Fmc4W1qRc92ZQzhlX4tCFgYa_suSh48mrwJtRwtwu2PpZk9tdbDI0Rtj6b5M/s1600/captain-america-the-winter-soldier-international.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdVjdXqtXZTlEl9bKczhZn0STkB2l63aXq4MD3XOb2K2WCvOriyeeJthL-avnrIhGzw79uOA7BG6E599S6Fmc4W1qRc92ZQzhlX4tCFgYa_suSh48mrwJtRwtwu2PpZk9tdbDI0Rtj6b5M/s1600/captain-america-the-winter-soldier-international.jpg" height="320" width="224" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Captain America (Chris
Evans) returns in his second solo outing to sniff out the rotten core at the
heart of S.H.I.E.L.D. When an attempt is made on the life of a senior
S.H.I.E.L.D executive, Captain Steve Rodgers finds himself on the outside of a
conspiracy and on the run. With the help of Black Widow (Scarlett Johansson)
and newcomer to the series, Falcon (Anthony Mackie), Cap’ must hunt down those
who have sworn to protect and comes across a figure from his past in the
process.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">When the first <i style="mso-bidi-font-style: normal;">Captain America</i> movie came out in 2011,
I expected it to be the Marvel film that I’d enjoy most. I’m a lover of history
and am fascinated by the 1940s, especially the Second World War. It was
surprising then that I enjoyed it far less than any other of the Marvel films
to that date. I’m glad to say that <i style="mso-bidi-font-style: normal;">Winter
Soldier</i> is an improvement on the original but still lags some way behind
the likes of <a href="http://attheback.blogspot.co.uk/2012/06/thor.html"><i style="mso-bidi-font-style: normal;">Thor</i> </a>and <a href="http://attheback.blogspot.co.uk/2012/05/iron-man.html"><i style="mso-bidi-font-style: normal;">Iron Man</i></a> for me.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">I’ll start with what I enjoyed
about the movie as that will take less time. I think that the themes are strong
and well realised. By turning S.H.I.E.L.D, or at least elements of it, into the
bad guys, the film holds a mirror up to the intelligence community. After years
of reports about NSA bugs, CIA phone tapping and MI5 interference, the writers
pick up a strong idea and run with it. By putting those who are meant to
protect us under the spotlight, we get a glimpse into a shady and easily
corruptible world. The positioning of S.H.I.E.L.D’s headquarters, high above
the Washington
skyline, is also a strong visual metaphor. The movie asks us, who is really in
charge? What are their powers and if they’re watching us, who’s watching them? </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Alongside the central themes and
thrust of the narrative, there is a likeable ‘buddy cop’ style partnership that
emerges between Captain America
and Black Widow. There’s a layer of sexual tension which is occasionally masked
by her frequent ideas about possible girlfriends for him but it bubbles to the
surface at times. Coupled with this is their frequent bickering and light
hearted arguing. It’s fun to watch but like the movie as a whole, it’s rarely
laugh out loud funny. A welcome addition to the franchise is Anthony Mackie’s
Falcon. Opening the film as a simple ex-serviceman attempting to make his way
in the world, his character development is interesting and entertaining.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzc6AblMN6zpVxtLhpzEjMDQk9dPN1uiGnU_SSTnDngLwuXwPuYZrews7Yt15e0RI15YvqtuVry8O6IL1KFYi8V_lVy_3_Hm7QcEVI4jP-Rs58nfvWNWjTEIrhqjuVsmmR7uUq1Aw6S0zU/s1600/Captain-America-The-Winter-Soldier-Chris-Evans.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzc6AblMN6zpVxtLhpzEjMDQk9dPN1uiGnU_SSTnDngLwuXwPuYZrews7Yt15e0RI15YvqtuVry8O6IL1KFYi8V_lVy_3_Hm7QcEVI4jP-Rs58nfvWNWjTEIrhqjuVsmmR7uUq1Aw6S0zU/s1600/Captain-America-The-Winter-Soldier-Chris-Evans.jpg" height="196" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Perhaps it’s because my eyes are
tuned towards the films of the 1940s and 50s but I found the editing in the
action sequences almost unbearable. It was so fast that I had no idea what was
going on and it rendered each scene pointless. I witnessed a series of blurred
movements and strong exhales alongside a pounding score which jolts along at
about 200 bmp. The fact that one is aware that all the major players are signed
on to multiple movie deals also makes you acutely aware that nothing bad will
happen to any of the leads. The film attempts to throw in a dramatic curve ball
but I was always expecting a 180 degree ‘surprise’ which inevitably comes
around. The titular Winter Soldier character is somewhat underused and under
developed. I was able to guess his identity within the opening half an hour and
I don’t believe the film is as clever as it thinks it is with regards to hiding
it. Despite the back story, I never felt as though I knew who he was but
thankfully he isn’t the sole menace.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">For much of the film I was bored.
At 136 minutes, it’s far too long and at one stage I found myself thinking
about geometry. I came to the conclusion that Captain America is the most adept
superhero when it comes to the mathematical discipline as he is so good at
calculating angles to throw his shield. The fact that I was discussing this
with myself inside my head tells you two things; one I might be having mental
problems and two, I was bored.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">As we’ve come to expect from
Marvel Studios, the computer generated effects are mostly excellent and only
wobble slightly in the very opening sequence. For the most part they’re
stunning. The film is set almost entirely in Washington, D.C.
and this works well not only with the political themes but also visually. A
well executed car chase is given an impressive and familiar backdrop while
scenes shot from the air and often quite beautiful. As I’ve touched on briefly,
the score didn’t do much for me but worked to keep the pulse racing throughout
the dull fight sequences. Like most Marvel films, <i style="mso-bidi-font-style: normal;">Captain America: The Winter Soldier</i> is at its strongest when it’s
thinking. There are some interesting ideas packaged inside a predictable story
but the cast gel well and produce some decent performances. It’s too long and
the action has been seen a hundred times before but overall it’s an improvement
on <i style="mso-bidi-font-style: normal;">The First Avenger</i>.</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/04/avengers.html">The Avengers</a> 2012</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/04/iron-man-3.html">Iron Man 3</a> 2013 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/06/thor.html">Thor </a>2011 </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com2tag:blogger.com,1999:blog-6915202154953031948.post-33109178212437716232014-03-30T21:19:00.002+01:002014-03-30T21:19:36.398+01:00Double Indemnity<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy8rGUDZRYjp9ZszomfDUUZDSiBpHKa8NWM11sZ47FOHx1O6wwqYQkYgb02cbQPRjYhitSoJ5baC2muYvuCHei3XXpa4krGOke8ES0d8mX5gdMic5w1N03icfhFlUck-nKS1RC-2MbC_Vr/s1600/Double-Indemnity_1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjy8rGUDZRYjp9ZszomfDUUZDSiBpHKa8NWM11sZ47FOHx1O6wwqYQkYgb02cbQPRjYhitSoJ5baC2muYvuCHei3XXpa4krGOke8ES0d8mX5gdMic5w1N03icfhFlUck-nKS1RC-2MbC_Vr/s1600/Double-Indemnity_1.jpg" height="316" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">I had only been a few months
since the last time I saw <i style="mso-bidi-font-style: normal;">Double
Indemnity</i> but today’s watch of the noir inflected <a href="http://attheback.blogspot.co.uk/2014/03/the-lost-weekend.html"><i style="mso-bidi-font-style: normal;">The Lost Weekend</i></a> made me want to step back a year earlier to
revisit Billy Wilder at the height of the genre. <i style="mso-bidi-font-style: normal;">Double Indemnity</i> could be described as the archetypical film noir.
Although the genre stretches back further than the film’s 1944 release, it was <i style="mso-bidi-font-style: normal;">Double Indemnity</i> which provided the blue
prints from which later titles took their queues. Famous today for its voice-over, use of venetian blind lighting and provocative femme fatale, at the
17<sup>th</sup> Academy Awards the picture was nominated for seven Oscars.
Although it ultimately left that ceremony empty handed, the movie’s reputation
has gone from strength to strength and it currently sits inside the top thirty
on the AFI’s poll of 20<sup>th</sup> Century movies. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">The film is told in flashback and
voiceover by Walter Neff (Fred MacMurray). Neff is a talented insurance
salesman who becomes an active participant in a murder plot following a chance
meeting with the seductive Phyllis Dietrichson (Barbara Stanwyck). Neff is at
the Dietrichson household with the hope of persuading Mr. Dietrichson to renew
his motor insurance when he’s presented with the beguiling temptress that is
the lady of the house. Blinded by love or at the very least passion, Neff
agrees to help the lady to murder her husband and share in the insurance pay
out. Having constructed an elaborate murder plot, Neff’s firm and in particular
the capable Barton Keys (Edward G. Robinson) are charged with working out how
the supposed accidental death of Mr. Dietrichson occurred. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Double Indemnity</i> is based on a novella of the same name which was
considered unfilmable prior to production. The main reason for this wasn’t
logistical or technical but more to do with the immoral nature of the two lead
characters. In 1945 the powerful Breen Office held sway over Hollywood and was charged with protecting
American sensibilities when it came to film output. The premise of a planned
and calculated murder, done for money and love was something that would never
get passed the censors so much tinkering with the original story was required.
Because of this, and with all films of the era, one is readily aware from the
outset that the murderers won’t get away with their crime. This fails to hamper
the proceedings however and the journey towards the inevitable conclusion is
one full of intrigue and suspense. Co-writers Billy Wilder and Raymond Chandler
were able to get their film past the censors whilst showing as much deviousness
and duplicity as was possible for the time and they’ve left us with a
magnificent movie.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzaE73KZNQ_Byx0ByND49e0sp4hhEZ9j-6t0_c5_5grQ_ouEkj0sZ70exlgMgZJEICQlLz_b8igwT1Wvry5rxhveA_GWsZYQqZHkLCtkkZc65NQWQBrl2Ke_s5mXwiezk-4xL7x9O2gwXh/s1600/vlcsnap8765314ko32.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzaE73KZNQ_Byx0ByND49e0sp4hhEZ9j-6t0_c5_5grQ_ouEkj0sZ70exlgMgZJEICQlLz_b8igwT1Wvry5rxhveA_GWsZYQqZHkLCtkkZc65NQWQBrl2Ke_s5mXwiezk-4xL7x9O2gwXh/s1600/vlcsnap8765314ko32.png" height="243" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The script is taught and drips
with dialogue which is rich and full of flair. Neff and Mrs. Dietrichson enjoy
early games of verbal cat and mouse while dousing each other in provocative
language, abound with double meaning. The flirtatious nature of these early
scenes seal Neff’s fait as a murderer while simultaneously giving the
effervescent Dietrichson the upper hand in the relationship, not that Neff
knows it. The dialogue continues in this vein with wonderfully fruity and fresh
speeches and conversations being pounded back and forth like lyrical sex. I’ve
been a fan of Wilder’s writing for quite some time but for me this is his most
devilishly delicious script. The words drop off the tongue like thick, creamy
desert, landing at the feet and maintaining their dense, plump shape. In
MacMurray and Stanwyck, Wilder found two actors who appear totally at ease with
the language offered to them and spew it with grand delight. The plot is highly
entertaining and even exhilarating at times. The murder is beautifully designed
and executed with Neff covering all the bases he needs to in order to avoid
suspicion. Or so he hopes. There is a great amount of tension throughout the
script and even a side plot which could possibly have been elaborated on given
the time to do so.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Fred MacMurray and Barbara
Stanwyck were in 1944 the highest paid actors in Hollywood. They’re joined on screen by A-List
mainstay Edward G. Robinson, an actor who was initially unsure about taking a
smaller than usual part. Despite the big names and bigger salaries ($270,000
for the trio from an overall budget of under $1million), you never feel their
star power. This for me is a good thing. You see the characters, not the actors
which is often rare when watching big name actors. MacMurray is fantastic in
the movie. Away from his more comedic roles, he looks totally at home as the
smart salesman in over his head. He’s got a great way of talking and plays the
character as remarkably calm, even in the closing stages. His line after being
severely injured is so cool it’s almost comical. Stanwyck is the perfect femme
fatale; beautiful, seductive and phony. Her wig, make-up and costume all add to
her unnatural, fake personality and the character plays those around her like a
puppet-master toying with her wooden marionettes. </span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggRD5Mu4OUA5wlFc0LzvJW3LOQxGBvPLIwvt1iQfmLmshztpkQV5eWTW2W1ES8PLw1PNbiGCtBMfLl4ljigXrsT8tFlZxiMTVJeneCd96iWoHWoJvZzBST1HNCFuQZ3nLeMFmbSILsBr4f/s1600/DoubleIndemnity2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggRD5Mu4OUA5wlFc0LzvJW3LOQxGBvPLIwvt1iQfmLmshztpkQV5eWTW2W1ES8PLw1PNbiGCtBMfLl4ljigXrsT8tFlZxiMTVJeneCd96iWoHWoJvZzBST1HNCFuQZ3nLeMFmbSILsBr4f/s1600/DoubleIndemnity2.jpg" height="239" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">As mentioned in the opening
paragraph, <i style="mso-bidi-font-style: normal;">Double Indemnity</i> became
the blue print for future film noir and it remains as handsome a film as ever.
The lighting, with its multiple angle sharp shadows, looks beautiful while the
dark and dingy interiors give a sense of something disturbing lurking inside
the bright and vibrant exterior filled with Californian sun. John F. Seitz, a frequent
Wilder collaborator gained a well deserved Oscar nomination for his
cinematography. The dramatic lighting and well furnished sets look as good
today as they ever did. An integral part of the movie is its score. Miklós
Rózsa creates an edgy and frantic tone with his string heavy music. It’s heavy
and ominous, letting the audience know that they’re never far from danger. It’s
pitched well and for me is almost as important to the film’s overall success as
the wonderful cinematography.<span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Double Indemnity</i> feels like the sort of film which will never
gather dust on my shelf. I’ve seen it twice in the last six months and I
imagine it won’t be too long until it’s out again. It delivers all that’s great
about the film noir genre in one tightly scripted, well crafted package. It’s
the noir that all others aspired to be and few came close to matching it.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/03/the-lost-weekend.html">The Lost Weekend</a> 1945</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/03/sunset-boulevard.html">Sunset Boulevard</a> 1950</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/03/touch-of-evil.html">Touch of Evil</a> 1958 </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com3tag:blogger.com,1999:blog-6915202154953031948.post-87479887359607983752014-03-30T16:06:00.000+01:002014-03-30T16:05:59.945+01:00The Lost Weekend<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbJIxmqT98mvYlZBQ5QNQq3v3blyehJF_7ezjLy-OWHy9dk6PZyLe5YQ2zkF1ipj7hwXZBghQTxgmJZmvSKS2Zsr9OTnlUMb6KUkrNpX9LgGJCJDbu0-D32BvlLU1aNdt8ntqOD3KzrCMm/s1600/The-Lost-weekend-Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbJIxmqT98mvYlZBQ5QNQq3v3blyehJF_7ezjLy-OWHy9dk6PZyLe5YQ2zkF1ipj7hwXZBghQTxgmJZmvSKS2Zsr9OTnlUMb6KUkrNpX9LgGJCJDbu0-D32BvlLU1aNdt8ntqOD3KzrCMm/s1600/The-Lost-weekend-Poster.jpg" height="239" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Billy Wilder’s multi award
winning <i style="mso-bidi-font-style: normal;">The Lost Weekend</i> was one of
the first movies to tackle the pull of alcohol head on. The fantastic script
details four days in the life of long time alcoholic Don Birnam (Ray Milland)
who despite his best intentions to stay sober, ends up down an ever spiralling
path of addiction. The winner of four Oscars and nominated for three more on
top, <i style="mso-bidi-font-style: normal;">The Lost Weekend</i> was one of
Wilder’s most lauded films and has lost little of its potency in the near
seventy years since its release. Opening in the apartment which Birnam shares
with his long suffering and devoted bother, Wick Birnam (Phillip Terry) is
attempting to get his brother out of the city and away from the temptation of
liquor for a few days. He hopes that the cold turkey approach will aid in his
brother’s recovery and allow him the time and clear head to write – a career
which Don attributes to himself with little evidence of success.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">This first scene displays Don’s
dependency through the use of the first of several hidden bottles of rye.
Whilst packing, Don tries to slip into his case a bottle which he has attached
to a rope swinging outside his window. This, unlike many other bottles is soon
discovered but Don still manages to wriggle out of the booze free break and
instead settles in for a weekend of petty criminality and hard drinking. Don’s
first act of cruelty in the pursuit of his fix is to steal the $10 which his
brother has left for the housekeeper. He lies to her that the money (her wage)
isn’t waiting for her and purchases two bottles before heading to the bar for a
drink. The look on Don’s face when he is presented with the short glass of
light brown liquid tells us all we need to know about his addition. He’s like a
child of Christmas Day, eager, excited, unable to wait. The first drink is
downed and swiftly followed by several more.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The film struck me for its brutal
and honest depiction of addiction and its no nonsense approach to
story-telling. Except where necessary for censorship, the picture tells it as
it is. It shows the desperation and the thought process behind the character’s
need for a drink. The central character is a sympathetic one but he’s shown to
carry out illicit, unsavoury and illegal deeds. The purse stealing scene for
instance shows the character’s duplicity perhaps more than any other. He knows
what he’s doing is wrong but he can’t help himself. To him, the drink is as
oxygen to the rest of us. He has to have it. The flower which he slips into the
bag as a payment or perhaps an apology sums up the idea that the real Don, the
sober Don is somewhere inside, battling to reach the surface. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjzihtD8JZWtg0yGKUQmHaTyNbi2BLWRm4JMCizQcGIlY-KNTcA5SErQ2-7nX06nbZZXi5zu6lxGjySnuQkTxYDMxW8P6MipMDu0dC5hL3nfEUgySkLlFIl4rPz1DuKIER6PU-IV_I5dB-/s1600/lost-weekend-008.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjzihtD8JZWtg0yGKUQmHaTyNbi2BLWRm4JMCizQcGIlY-KNTcA5SErQ2-7nX06nbZZXi5zu6lxGjySnuQkTxYDMxW8P6MipMDu0dC5hL3nfEUgySkLlFIl4rPz1DuKIER6PU-IV_I5dB-/s1600/lost-weekend-008.jpg" height="192" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Throughout the movie several
people attempt to come to the aid of the alcoholic lead character. His brother,
exacerbated at the effort leaves for the weekend but is replaced by Don’s girl
Helen St. James (Jane Wyman). Helen is sensitive and attentive but spends vast
swathes of the film being walked over, on the back foot against Don’s
addiction. Nat (Howard Da Silva) of Nat’s Bar is a man used to Don’s habits who
tries gently to say no but realises that the man will drink somewhere so it
might as well be in his bar. It’s Nat who’s responsible for the film’s best
line, a defining statement of alcoholism, “One’s too many and a hundred’s not
enough”. Nurse Bim (Frank Faylen) is a man who once cared for his patients but
lost that ability long ago. He’s seen men come and go and then come again and
has little respect for the men under his care. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Perhaps the most intriguing
character of all is that of Gloria (Doris Dowling). Although quite obviously a
prostitute, her profession is never stated in order to avoid falling foul of
the Motion Picture Code. Like Don she is lost, paddling against the tide of
acceptability. It’s unsurprising then that she connects with the principle
character, a bond which he uses to his advantage but rarely reciprocates.
Personally I’d have liked to have seen more from Gloria in order to understand
more about her. She’s an enigma who floats in and out of the story. Her use of
language is highly entertaining and perhaps ahead of its time. Gloria uses what
Don refers to as “ghastly abbreviations” but her “natch” (naturally) and
“ridic” (ridiculous) give her a sense of realism which is captured in much of
the surrounding film though the writing and cinematography. </span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7GCaX6Fk_eo-zjEaBI6OA6gy4wOf8BQBVyb0k0P9L9k9cZ98rvMHYL3GJTGXq1oHOHdIy72oFpUDayhfo5Qwr7Lsx79smqi3SB0QxsWFy6IYQBmOTIn-LXSSOCn5Sm7l4ao39JRLTtwlc/s1600/ray-milland-in-the-lost-weekend.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7GCaX6Fk_eo-zjEaBI6OA6gy4wOf8BQBVyb0k0P9L9k9cZ98rvMHYL3GJTGXq1oHOHdIy72oFpUDayhfo5Qwr7Lsx79smqi3SB0QxsWFy6IYQBmOTIn-LXSSOCn5Sm7l4ao39JRLTtwlc/s1600/ray-milland-in-the-lost-weekend.jpg" height="233" width="320" /></a></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">While not an out and out noir
like Wilder’s <a href="http://attheback.blogspot.co.uk/2013/03/sunset-boulevard.html"><i style="mso-bidi-font-style: normal;">Sunset Boulevard</i></a> or <i style="mso-bidi-font-style: normal;">Double Indemnity</i>, <i style="mso-bidi-font-style: normal;">The Lost Weekend</i> exhibits many of the tropes you come to associate
with the genre. As well as a film about addiction, it is also about deceit
while the lighting typifies what one would expect from a film noir. Although
lacking venetian blinds and heavy shadows, it’s lit in such away as to express
pretence, anguish and wanton disregard for those around you. On top of this,
the film popularised the ‘character walking towards the camera as neon signs
pass by’ camera effect. This occurs during a brilliant scene which at the same
time feels both neo-realist and expressionistic. Don follows the camera down Third Avenue,
desperate to hock his typewriter. The further he walks, the more dishevelled
and wearisome he becomes. He’s like a man appearing from a desert, in need of
water only his desert is poverty and his water is 40% alcohol.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie features a score which
while unusual, worked perfectly. It’s an early example of a movie score
featuring a Theremin. The instrument, more commonly associated with Science
Fiction of the 1950s is like a Siren’s call, the whiskey literally calling out
to its victim, urging him on to join it on the rocks. The score can be a little
obvious at times but this is rarely an issue. In conjunction with the visuals
and plot, it creates a real urgency to Don’s actions.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The acting on the whole is
exemplary. Ray Milland won an Oscar for his efforts although in later life,
Writer/Director Billy Wilder attributed his victory to the character rather
than acting. Either way, Milland plays the perfect drunk. He’s lucid and
confident to a point before falling over the edge into drunkenness. His
despondency is well acted and I thoroughly bought into his role. Likewise Doris
Dowling and Howard Da Silva are believable and highly watchable. Unfortunately
Helen St. James comes off as a little needy and unrealistic although I think
this has a lot to do with the character and little to do with the actress.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Lost Weekend</i> is a film which I can highly recommend. It doesn’t
show its age and remains fresh in its depiction of addiction. It’s themes
resonate through the decades and it not only features a terrific script packed
full of trademark Billy Wilder dialogue but it looks and sounds fantastic too.
It draws you in like the drink does to its central character but spits you out
with an understanding of the addiction and a desire to avoid it yourself. The
film was rightly named <a href="http://attheback.blogspot.co.uk/p/oscar-challenge_7.html">Best Picture</a> at the 18<sup>th</sup> Academy Awards and
in doing so became the first film to win both that award and The Grand Prix at Cannes.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/05/bicycle-thieves.html">Bicycle Thieves</a> 1948 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/03/the-big-sleep.html">The Big Sleep</a> 1946 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/03/sunset-boulevard.html">Sunset Boulevard</a> 1950 </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-69064931908592489762014-03-27T22:54:00.001+00:002014-03-27T22:54:08.915+00:00The Double<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz4kvnMuGsSUmiM3BJxJ-D15IWjQxYL2Yex_srUK_Mw_FhNR77Ygqx8lFw6aD16TJE2Z0OFDYoCLYQGzq6FLgkajQFo3ZBnjix8bblOx9fr3ewJaezvWmz_MsanygAAQzR1DkG8ywlHmva/s1600/cool-movie-posters-08.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz4kvnMuGsSUmiM3BJxJ-D15IWjQxYL2Yex_srUK_Mw_FhNR77Ygqx8lFw6aD16TJE2Z0OFDYoCLYQGzq6FLgkajQFo3ZBnjix8bblOx9fr3ewJaezvWmz_MsanygAAQzR1DkG8ywlHmva/s1600/cool-movie-posters-08.jpg" height="320" width="216" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Richard Ayoade’s second film and
follow up to 2010’s critically acclaimed <i style="mso-bidi-font-style: normal;">Submarine</i>
is <i style="mso-bidi-font-style: normal;">The Double</i>, a dark comedy based on
Fyodor Dostoyevsky’s satirical novella of the same name. Set in a subterranean
hinterland of unknowable time and location, the film follows the life of
lonely, ignored and unseen data imputer Simon James (Jesse Eisenberg). Simon
floats through life unnoticed by those around him, stating that he feels as
though people could almost reach through him as though he wasn’t there. When a
new co-worker is introduced, Simon is shocked to discover that he looks and
sounds exactly like himself. His doppelgänger though is everything he is not;
cocky, outgoing and highly visible. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Double</i> could easily have been a film that was known for its
story. Based on the work of one of the literary greats of the nineteenth
century, the film has the narrative already safely mapped out and it indeed
delivers an interesting and complex story. In the hands of Ayoade though, this
film will be remembered for more; chiefly its design and sound. Richard Ayoade
has constructed a magnificent film that evokes so much but remains unique. It’s
beautiful and funny, grim and depressing all in equal measure. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The film hits you like a Wes
Anderson nightmare in muted colours. Distressed lime green sits alongside
bright mustard which is sprinkled with futuristic electric blues and deep reds.
The lighting is often backlit in orange and the colour palate as a whole gives
an uneasy sense of timelessness, as though several eras have been blended
together before being spit out. The palate is complimented with props and set
design which seems influenced by Terry Gilliam’s <i style="mso-bidi-font-style: normal;">Brazil</i>.
The underground office complex is dark, dingy and cruelly familiar. It looks
like the future as imagined in the 1950s, accurate but simultaneously
incorrect. Computers and machines are half recognisable but function unlike
you’d expect while they’re joined by tokens of a bygone age such as wooden
cubicles and rotary dial telephones. The entire film is an absolute joy to look
at. There is always something to distract the eye, whether it be an unusual
prop, some beautiful lighting or exquisitely designed backdrop.</span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zkDIfHFufrD1TtdLjXEOHqi7awHGBr743LtRhaKATePjgTbZXZd21LiSfpMlJ4IkwwbZiUuP5koHhUJAEchjxeN7iwu1wdCtN-Sb7HIUfmbki206VqjkW2Wcqtq_Ld0-Vr8CLW4GWd5/s1600/double.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhP-zkDIfHFufrD1TtdLjXEOHqi7awHGBr743LtRhaKATePjgTbZXZd21LiSfpMlJ4IkwwbZiUuP5koHhUJAEchjxeN7iwu1wdCtN-Sb7HIUfmbki206VqjkW2Wcqtq_Ld0-Vr8CLW4GWd5/s1600/double.jpg" height="180" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">As important as the visuals is
the sound. Ayoade makes use of multiple microphones positioned in different
locations to give the audience its audible entertainment from differing
perspectives. It’s an interesting concept and works remarkably well. Sound is
more noticeable in this picture than in most others and the general foley
captured sound is added to with background noise which, like the film as a
whole, feels unnatural and out of place. The entire movie seems as though it’s
built atop a busy subway line or next to a generator on the verge of kicking
in. It shakes and rattles at random intervals and this makes the movie feel
alive. The score is made up of sharp, echoing orchestral strings and loud
foreboding piano. It fits like your favourite glove and is interspersed with
occasional outbursts of song which include antique Japanese avant-garde pop and
blues tinted rockabilly. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">The actual plot is very
interesting and I was engaged throughout. There are themes of wanton acceptance
as well as loneliness and of course schizophrenia is never far from the mind.
The doppelgänger is the man that Simon wants to be, who he has the potential to
be, both good and bad. He’s at both ends of the extreme whereas Simon sits
quietly in the corner. He’s magnolia. In its latter stages the film takes a
turn which isn’t the one I’d been expecting and dreading. It’s able to surprise
and enthral even though the audience can plan out the narrative after only a
few moments. Although set inside a strange parallel world, the themes are
recognisable, as are both central characters.<span style="mso-spacerun: yes;"> </span></span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXQ23kPJul4VRki7rksjVBRvWJvtWy_0hv3UD6fi52I1XRPozCeKEkYkf_Wv3s8PvoaC4bqdHYV07Q5IvyuECJSCG5nkwSkd8mmKh_rOA9gjsK8T_1UVAKji5isj1ROZC55XkUocLUNrZ/s1600/the-double-foto-08.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfXQ23kPJul4VRki7rksjVBRvWJvtWy_0hv3UD6fi52I1XRPozCeKEkYkf_Wv3s8PvoaC4bqdHYV07Q5IvyuECJSCG5nkwSkd8mmKh_rOA9gjsK8T_1UVAKji5isj1ROZC55XkUocLUNrZ/s1600/the-double-foto-08.jpg" height="209" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Jesse Eisenberg plays Simon and his
double perfectly. The characters are distinct despite their exact physical
similarity and the actor successfully appears to be two different people. Simon
seems like plain sailing for Eisenberg, not a million miles away from his
geeky, unsteady characters of <i style="mso-bidi-font-style: normal;">The Social
Network</i> or <i style="mso-bidi-font-style: normal;">Zombieland</i>. The
cocksure James is Eisenberg more out of his depth and to play both characters
simultaneously shows great talent. Mia Wasikowska is the female lead and love
interest. She’s a little underwritten, despite possessing a fleshed out
character and is never the focus of the film. The actress is excellent though,
proving her moody turn in <a href="http://attheback.blogspot.co.uk/2013/03/stoker.html"><i style="mso-bidi-font-style: normal;">Stoker</i></a> was
no fluke. Here she’s lighter at times but displays a constant state of sadness
suppressed just below the surface. Alongside the two leads are a host of actors
and comedians who provide humour and strangeness. Wallace Shawn is particularly
memorable as Simon and James’ boss While Paddy Considine, Chris Morris and
Sally Hawkins have terrific cameos although theirs are just some of many.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">What’s striking above all else is
what an assured and well made film <i style="mso-bidi-font-style: normal;">The
Double</i> is. It’s remarkable that it’s only the director’s second feature as
it has all the tell tale signs of high competency that accompany a well versed
veteran. The film is funny and sad, strange and beautiful and I highly
recommend it.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">9/10</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/p/what-is-gfr.html">10/10</a> GFR</span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/03/delicatessen.html">Delicatessen</a> 1991</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/07/persona.html">Persona</a> 1966</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/03/stoker.html">Stoker</a> 2013 </span><span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"> </span> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-36108862210544567012014-03-26T21:51:00.001+00:002014-03-26T21:51:55.019+00:00Pain & Gain<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAeqa-PebJsL0ZvMiiIEUStBOl9Fcn7lC8bvm4EVpL8zCz43lCzobkaL3tsD1RSdI9XITfeJTgqTid6T0s23D4mJsV8AqGj1k4XkmZOEOBvY_gMZqE_VgAmzVR1dIDhIx3Bb1vnqU6zdnP/s1600/pain_and_gain_ver2_xlg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAeqa-PebJsL0ZvMiiIEUStBOl9Fcn7lC8bvm4EVpL8zCz43lCzobkaL3tsD1RSdI9XITfeJTgqTid6T0s23D4mJsV8AqGj1k4XkmZOEOBvY_gMZqE_VgAmzVR1dIDhIx3Bb1vnqU6zdnP/s1600/pain_and_gain_ver2_xlg.jpg" height="320" width="216" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I watched <i style="mso-bidi-font-style: normal;">Pain & Gain</i>. I don’t know why I watched <i style="mso-bidi-font-style: normal;">Pain & Gain</i> but I did. I watched <i style="mso-bidi-font-style: normal;">Pain & Gain</i>. My favourite critic, Mark Kermode, ranked it as
his least favourite film of 2013 and I dislike the entire back catalogue of
director Michael Bay. But still I watched <i style="mso-bidi-font-style: normal;">Pain & Gain</i>. And do you know what?
It isn’t the worst film ever made. I don’t even think it’s the worst film of
2013. It isn’t however a very good film. It’s <i style="mso-bidi-font-style: normal;">Pain & Gain</i>. Michael
Bay’s <i style="mso-bidi-font-style: normal;">Pain & Gain</i>.</span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Based on true events, something
which the film ‘amusingly’ reminds the audience of after a particularly
unbelievable scene, <i style="mso-bidi-font-style: normal;">Pain & Gain</i>
is the story of body building jackass personal trainer Daniel Lugo (Mark
Wahlberg) who in 1994-5 along with two accomplices, successfully kidnapped and
extorted a Miami based businessman, taking all his money and possessions. After
months of living the high life, the trio decided to try their hand at a second
kidnapping but by this time the police were on their trail. </span></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
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<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie has shades of Bay’s <i style="mso-bidi-font-style: normal;">Bad Boys</i> films, sharing a setting, sun
drenched colour palate and sense of cheeky mischief. The problem is that there
isn’t much cheekiness about the criminal trio or their crimes. The gang
committed horrific acts for which the majority of them showed no sign of remorse.
The central characters aren’t a couple of wisecracking cops, they’re criminals.
Idiot criminals. Bay’s mistake, I’ll rephrase. His biggest mistake, is to
attempt to get the audience on the side of the characters. Perhaps this worked
with the target audience but I’m a decade and a few IQ points away from that
audience and it simply doesn’t work. The film comes closest to this aim through
the Jesus loving ex-con Paul Doyle (Dwayne Johnson). Doyle appears to be on the
path to forgiveness before falling in with Lugo and despite attempts to remain pure,
struggles against the tide of criminality.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Another problem with the movie is
that for all the action and criminality, it’s really boring. The film is over
two hours long and has no business in extending past an hour and forty minutes.
If it was stripped back to its constituent parts it has the makings of an
interesting story but Bay fills it with slow-mo shots inside strip clubs and
numerous unnecessary gym scenes. We get that the guys are into fitness and
muscles, that much is evident. Spending what feels like an aeon inside the gym
with them is less enjoyable than being in my own gym. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBKbdj25OIjWwR8o7sAe2kz4LV3CSnpo87rB7es8_ljce8lxPylUs-Coklf7BnL2zuKsS46XIh_oUQhtkSxSy2j1JhLIX0b-NJ9lu9VqqBa_UiqNWnTzL7CqXq3UdkW9upsk54KJIX0oG/s1600/Pain-and-Gain-3.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdBKbdj25OIjWwR8o7sAe2kz4LV3CSnpo87rB7es8_ljce8lxPylUs-Coklf7BnL2zuKsS46XIh_oUQhtkSxSy2j1JhLIX0b-NJ9lu9VqqBa_UiqNWnTzL7CqXq3UdkW9upsk54KJIX0oG/s1600/Pain-and-Gain-3.jpg" height="213" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The direction wavers wildly
between slick and amateurish like an out of control hose pipe being danced
around by bikini clad models. Interestingly I think I might have actually got
that image from the movie. Occasionally Michael Bay
shows how adept he is with a camera and as much as I dislike his films, he is
capable of capturing attractive images, albeit aided by bare flesh and garish
colours. Interspersed between these are cheap looking shots which are created
by strapping lower quality cameras to characters and cars in a similar way to
the cinematography found in <i style="mso-bidi-font-style: normal;">Breaking Bad</i>.
The problem is though that the rest of the film is so bright and crisp that
these sequences look like they were shot with £50 cameras in low light
conditions. They’re out of place and don’t fit with the rest of the movie or
indeed its inspirational, big and bold themes. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">There are further issues which
are just plain dumb. For a film about stupid people, there is plenty of
unintentional stupidity on screen. The film is set in the mid 90s yet I spotted
an X-Box 360 controller, rabbit vibrator and numerous cars, all of which were
invented/introduced long after the time period. Additionally I’m pretty sure
the movie uses a picture of Prague to represent Bucharest. The fact that
I noticed all of this shows you how into the film I was. The movie makes
further blunders in tone. The events depicted are real. They were and are real
crimes. To attempt to create humour in the ways that the film does feels rather
disrespectful and not only that but they aren’t even funny. I didn’t laugh once
during the 129 minutes and this is despite dozens of jokes, gags and ‘humorous’
instances. By humorous I mean things like <span style="font-size: small;">barbecuing</span> people’s hands passing
attractive women around like a DVD. The ridiculousness of the characters and their brazen attitude should provide some laughs but crime and misogyny get in the way. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Mark Wahlberg shows flashes of
his comic talent but generally fails to raise a smile. His bulk is impressive
and he has a decent stab at a couple of accents. Dwayne Johnson actually fairs
ok and I don’t think he did anything to harm himself in the movie. He even
showed a little range. Anthony Mackie is a bit forgettable and Ed Harris gives
glimpses of his talent but is wasted. Bar Paly is used as little more than
something to give teenage boys erections and Tony Shalhoub plays an unfortunate
stereotype. Rebel Wilson and Ken Jeong also pop up briefly but neither provides
much entertainment besides Wilson’s
licking her lips at the thought of a black penis.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">Overall the movie isn’t as bad as
I expected it to be and I didn’t actively dislike it. I found it unnecessarily
offensive and overtly dull though. It’s too long and isn’t funny. It’s poorly
made and makes ill use of an interesting story. It's vulgar and violent but unlike Scorsese, Bay makes these traits that halt the enjoyment of his films rather than add to them. It's immature and there are attempts at satire
but leaving Michael
Bay in charge of satire
is about as recommendable as leaving Ian Hislop in charge of a <i style="mso-bidi-font-style: normal;">Transformers</i> movie. Actually, I’d be
more inclined to watch that than another film from Bay.</span></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">4/10</span></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/01/the-island.html">The Island</a> 2005</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/04/spring-breakers.html">Spring Breakers</a> 2013 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/01/the-wolf-of-wall-street.html">The Wolf of Wall Street</a> 2013 </span> <span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-31003874748440008552014-03-20T21:37:00.002+00:002014-03-20T21:37:33.363+00:00Escape Plan<!--[if gte mso 9]><xml>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-8obkbYJAuZtaUwMbECt33iPQoJdXkbCl6lHHFIshWwzyg7QWm-vhlaC7tcU4kE5Tm3EylwgqnD8FFAlbPGIbTXo7f3-sN3V8IZxKi-nkPN7lKxU8CyqJ6_e10I1AQJoIO-RkKymDeUX/s1600/escape-plan-2013-02.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgd-8obkbYJAuZtaUwMbECt33iPQoJdXkbCl6lHHFIshWwzyg7QWm-vhlaC7tcU4kE5Tm3EylwgqnD8FFAlbPGIbTXo7f3-sN3V8IZxKi-nkPN7lKxU8CyqJ6_e10I1AQJoIO-RkKymDeUX/s1600/escape-plan-2013-02.jpg" height="320" width="213" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">It was only natural that I became
curious when I heard of a forthcoming film featuring the two super-heavyweights
of 80s action. As any man who grew up in the 90s can attest to, Arnold
Schwarzenegger and Sylvester Stallone are part of my childhood. VHS copies of <i style="mso-bidi-font-style: normal;">Commando</i> or <i style="mso-bidi-font-style: normal;">Cliffhanger</i> might have been some of the first we owned and while
most of their output has aged even worse than the actors themselves, I still
get a little tingle at the thought of seeing them on screen. <i style="mso-bidi-font-style: normal;">Escape Plan</i> marks the pair’s first
appearance as co-stars although they were seen on screen together in Stallone’s
<a href="http://attheback.blogspot.co.uk/2012/05/expendables.html"><i style="mso-bidi-font-style: normal;">The Expendables</i></a>. The pairing might
have come twenty years later than most fans would have liked but it certainly
draws more attention to this movie than it would have if only one man had
featured. Joining Arnie and Sly are the likes of Vinnie Jones and 50 Cent so <a href="http://attheback.blogspot.co.uk/2013/05/citizen-kane.html"><i style="mso-bidi-font-style: normal;">Citizen Kane</i></a>, watch out! </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Stallone plays Ray Breslin, a man
who is paid by the US Government to break out of maximum security prisons; a
job he excels at. The movie opens with a long, dull sequence in which the
audience discovers just how good he is. He’s very good. He gets out. Although
he barely has time to change out of his prison jumpsuit, he’s offered double
his normal fee to break out of an undercover, off the grid, top, neigh,
super-duper top secret facility. He literally grunts at the chance and is soon
back inside. Immediately Breslin discovers that this is unlike any other jail
he’s seen before and when his emergency escape code is laughed off, he realises
he’s going to need all his skills (as well as fellow convict Emil Rottmayer –
Schwarzenegger) if he’s going to escape. Breslin develops a plan – an <i style="mso-bidi-font-style: normal;">Escape Plan</i>.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie is about as
preposterous as you’d expect but unfortunately it rarely reaches comic levels
of ridiculousness. It remains doggy paddling in the ‘I’m a serious film’ waters
for far too long, delivering only occasional attempts at frothiness and wit,
most of which fall as flat as Stallone’s nose. The one giggle that erupted from
inside my bored mind came from Arnie’s line “Have a good day, asshole”, a
terrible attempt to replicate his famous kill scene lines of old. For the most
part the film trots along with Sly looking around, occasionally mumbling
something incoherent. The man’s ability to speak clearly appears to have been
seriously diminished in recent years. This would be a problem for most of us
but you need subtitles with Stallone. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">There are numerous examples of
stupidity and laziness in this film but here are just a few. To begin with,
Schwarzenegger’s character is inside the world’s highest security prison
because he apparently knows a guy who’s a bit like Robin Hood. Another unusual
detail is that in this maximum security prison to out maximise all others, the
prisoners spend most of their days together, in large groups. If I were to
design a prison to keep the most evil, dangerous and stereotypical prisoners in
the world locked up, I’d consider allowing them to spend less time together.
The guards all wear masks which hide their identity. This seems sensible except
for when the Escape Plan takes off and suddenly they are all unmasked. Surely
now more than ever they would wish to remain unknown. All except the Vinny
Jones character who goes unmasked for the entire film. For some reason. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS9nJROCn8ExX839qI08XEleRtKSjuvucAqa0eFu8fGmqApNRud8tCY-WvzbTG_s8J9w-Qr4EY30GxlLrlHG37HZ9x-ok8b66PW2p08CYXp7PoQnP9IH4hvrXPky7SyRiraiQQ1pINqyf2/s1600/Escape-Plan-1.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgS9nJROCn8ExX839qI08XEleRtKSjuvucAqa0eFu8fGmqApNRud8tCY-WvzbTG_s8J9w-Qr4EY30GxlLrlHG37HZ9x-ok8b66PW2p08CYXp7PoQnP9IH4hvrXPky7SyRiraiQQ1pINqyf2/s1600/Escape-Plan-1.jpg" height="213" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Despite the little goofs, the
movie’s main problem is that it just isn’t exciting. The action is bland and
the script is as stale as a really rather stale thing. A margarine sandwich
that you forgot about when the dog was barking at the neighbour’s cat two days
ago, perhaps? The action scenes are intermittent and generally involve the two
stars pretending to get into a spot of fisty-cuffs in order to outwit the
guards and plan their escape. Even the extended finale, the escape itself,
failed to get my heart pounding. The movie should be sold with a defibrillator
to get the audience’s heart pumping. It surprised me that the film was so
uninspiring and dull. I never expected <a href="http://attheback.blogspot.co.uk/2013/09/jurassic-park.html"><i style="mso-bidi-font-style: normal;">Jurassic</i><i style="mso-bidi-font-style: normal;"> Park</i></a>
but something akin to even the first <a href="http://attheback.blogspot.co.uk/2012/05/expendables.html"><i style="mso-bidi-font-style: normal;">Expendables</i></a>
for fun and excitement would have been nice. The one saving grace is a late
twist which I never saw coming. This made me reconsider how smart the film was
and the writers deserve a small pat on the back for it. Followed by a slap in
the face for the rest of the script. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The dialogue is about as corny as
a corn and corned beef sandwich on a corn tortilla. There are numerous lines
which had me groaning away into my cocktail, a cocktail which failed to
increase my enjoyment of the picture. The dialogue, like the script as a whole,
fails to fall into either fun or exciting-serious and straddles the ‘banal’
line without danger of teetering over either side. There are a few CGI shots
which are poor and the score is obvious and recycled. The direction is an area
in which I have few complaints.<span style="mso-spacerun: yes;"> </span>Mikael
Håfström is a man who can place a camera and shoot his actors. It’s not
incredible but it’s better than a lot of other directors produce in the genre.
As I’ve already mentioned briefly, the acting is an area that is rife with
problems.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">Stallone looks like a half melted
T-Rex and his command of the English language is about as adroit. He mumbles
his lines and looks confused for much of the film. His athleticism and strength
is still impressive though given his advanced years. Arnie fares little better
and is as wooden as ever, seemingly forgetting all he’s learned acting wise
since stepping back into films from politics. Since losing his iconic frame,
he’s relying on acting which is never a good sign. He was much better in <a href="http://attheback.blogspot.co.uk/2013/01/the-last-stand.html"><i style="mso-bidi-font-style: normal;">The Last Stand</i></a>. Vinne Jones is a retired
footballer, not an actor and 50 Cent should stick to getting shot at. Amy Ryan
is wasted and Jim Caviezel plays a cardboard cut out villain. He’s utterly
forgettable. Sam Neill also pops up in a role that could have been played by a
plant pot.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">In the end, <i style="mso-bidi-font-style: normal;">Escape Plan</i> is a really disappointing movie. It isn’t quite silly
enough to be fun and it’s too dull to be of any interest. It simply exists and
I wish it didn’t.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><span style="font-size: large;">4/10</span> </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">You may also like</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2012/12/die-hard.html">Die Hard</a> 1988</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2012/05/expendables.html">The Expendables</a> 2010</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/01/the-last-stand.html">The Last Stand</a> 2013 </span></span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-89648049922098018692014-03-18T09:38:00.003+00:002014-03-18T09:38:56.011+00:00Under the Skin<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOzXU_azSeJk8fxUguZnGFFK7bSLbX7SoJGkO4uY2xyu9GbRT1dD6o1kBbogKGNMlAgC8Nhosvrbkaq_tPM9Mvebe7RDMCLtoa5YvtsMTbC5Tgb6ohih2UftOUUUPsOWAAuO4CUmOXHtl/s1600/under-the-skin.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrOzXU_azSeJk8fxUguZnGFFK7bSLbX7SoJGkO4uY2xyu9GbRT1dD6o1kBbogKGNMlAgC8Nhosvrbkaq_tPM9Mvebe7RDMCLtoa5YvtsMTbC5Tgb6ohih2UftOUUUPsOWAAuO4CUmOXHtl/s1600/under-the-skin.jpg" height="320" width="256" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">It’s been ten years since
Jonathan Glazer’s last film and nearly a decade and a half since his wonderful
screen début <a href="http://attheback.blogspot.co.uk/2013/02/sexy-beast.html"><i style="mso-bidi-font-style: normal;">Sexy Beast</i></a>. His third
film, <i style="mso-bidi-font-style: normal;">Under the Skin</i>, is a dark and
chilling science fiction horror, loosely based on Michael Faber’s 2000 novel of
the same name. It stars Scarlett Johansson as an alien who preys on men, using
her siren like looks and charm to pull them towards the rocks and to their
demise. The movie is incredible, at times getting close to the best I’ve seen
in cinema. It veers wildly though towards the opposite extreme with passages of
nothingness which reminded me of the torrid time I had while watching Terrence
Malick’s <i style="mso-bidi-font-style: normal;">The Tree of Life</i>. Extremes exist
elsewhere too with sequences which wouldn’t look out of place in an art gallery
side by side with almost documentary style shooting, filmed with hidden
cameras.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The film opens with an abstract
scene, perhaps the formation of an eye or the creation of a being. It signals
birth or re-birth and sets us up for what is to come. From the very first
moments we know this is going to be unlike anything we’ve seen before and it
doesn’t disappoint in that regard. The opening establishes the link between the
known and unknown, creating tantalising glimpses into who or what we are about
to be confronted with before concluding on the recognisable image of an eye, at
first still, then moving, depicting consciousness. Although it – or she – may
well be aware of her surroundings, the alien shows no emotion regarding what
she sees. She’s a cold machine, showing not even contempt for her victims.
She’s focussed and has a singular task. In one of the film’s most horrifying
scenes, a baby is left stranded on a beach. Though screeching for help, she’s
ignored by the strange visitor who acts coldly, even blindly to the presence of
the child. As humans we want to protect and mother the infant but to the alien,
its screams don’t even register. It’s a scene that sent chills down my spine.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8QXhHrqSRfI5L06RlomplBdHHH5WJWv9fa8zAb51gLUfReEF1NacbvLibekzLq0Js6qKsa8b0twqstqiXxkL7Magjm7DxxnmZt4Kp0sHlCyRDab00D6hxOdD8Fts1U1zeYik-qwgQvXg/s1600/p35under_the_skin.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb8QXhHrqSRfI5L06RlomplBdHHH5WJWv9fa8zAb51gLUfReEF1NacbvLibekzLq0Js6qKsa8b0twqstqiXxkL7Magjm7DxxnmZt4Kp0sHlCyRDab00D6hxOdD8Fts1U1zeYik-qwgQvXg/s1600/p35under_the_skin.jpg" height="213" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Scarlett Johansson’s performance
is utterly terrifying. She exhibits a cold, thousand yard stare, giving nothing
away as to what she’s thinking. She has an eerie quality and seems dangerous
but yet men accompany her to her ‘house’, assuming they’re in the midst of the
luckiest day of their lives. Let’s be honest, if Johansson pulled up beside you
in a van and offered you a lift, it would be difficult to turn it down. Flip
the scene around though and put the man in the van, crawling slowly down dimly
lit streets, stopping to flirt with young women and the outcome would be the
complete opposite. The men blindly follow their alien femme fatale towards a
dark end, unable to resist her. The sway that the character has over her prey
is palpable. Although hidden under a dark wig and given a grungy look,
Johansson still looks as good as ever. It’s interesting that as an actress
known more for her body than her craft, that she gives perhaps her best
performance in a film in which she bares all. I’d already decided to see the
film before I knew about this but the chance to see Scarlett Johansson naked
did little to dampen my anticipation about seeing the movie.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">What the film says about humanity
and in particular its fascination with the celebrity is very interesting.
Johansson often slips unnoticed amongst the ‘normal’ people of Glasgow, filmed secretly with hidden cameras.
This is a strange thing to see but it shouldn’t be. She actress is virtually
identical to every one of us but as a society we build celebrities up into
something else, almost super-humans. In this sense, seeing Scarlett Johansson
pass by <i style="mso-bidi-font-style: normal;">Claire’s Accessories</i> and <i style="mso-bidi-font-style: normal;">H. Samuel</i>, she is very much the alien.
An interloper into ‘our’ world. The fact that her character feeds off us is as
strong a metaphor as the film produces. The character’s developments in the
latter stages also speak about what it is to be human. <span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEPv11BCWl5L6_jEttN_DSJKlPGajUzQjymKnmB3ywmXv6RReV_zx0H1dpJ_jxD-JUALlovEx6fNJ8-3fI8JUKE6CjVnEBNinFph2mMfo7Pb0GBKB7xk2bACTKusIjbZ5jHefuWLwjS-X/s1600/under-the-skin-UTS_Still_2_hi-res_rgb-sm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikEPv11BCWl5L6_jEttN_DSJKlPGajUzQjymKnmB3ywmXv6RReV_zx0H1dpJ_jxD-JUALlovEx6fNJ8-3fI8JUKE6CjVnEBNinFph2mMfo7Pb0GBKB7xk2bACTKusIjbZ5jHefuWLwjS-X/s1600/under-the-skin-UTS_Still_2_hi-res_rgb-sm.jpg" height="215" width="400" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Filmed mostly under natural
light, the movie is dark and grimy but at the same time exquisitely beautiful.
Glazer uses the lack of light to his advantage, highlighting certain aspects of
the alien’s features and allowing her to operate almost unseen yet in full
view. Certain scenes smack of social realism, evoking Ken Loach or Mike Leigh
but with the visual flare of Park Chan-wook and the minimalist pre-title
sequence, seemingly ripped from Kubrick’s <i style="mso-bidi-font-style: normal;">2001</i>,
this is a film of contrasts. The hidden camera style isn’t entirely successful
but it allows for the actress and her character to visit our world in a
realistic way, picking up real men who themselves take on speaking roles.
Alongside these are Glazer’s beautifully staged shots. The magnificent visuals
are coupled with a score of the highest quality. Coming somewhere between
cinematic score and a series of sound effects, it had a similar effect on me as
<a href="http://attheback.blogspot.co.uk/2013/06/irreversible.html"><i style="mso-bidi-font-style: normal;">Irréversible</i></a>’s pulsating infrasound.
It creates an uneasiness and rarely goes where you’d expect, suddenly
introducing high frequency strings, scratching on top of the low, constant thud
of a drum. You feel it in your stomach. The score is indeed one of the finest
achievements in the entire picture. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">In the latter stages, the film
leaves behind its experimental beginnings and opts for a more conventional
route to its shocking conclusion. I was slightly disappointed with this because
although I was at times bewildered, I was never bored. The alien’s new-found
understanding of human emotion, identity crisis and developing empathy are at times touching but
I preferred the confusing darkness of the earlier scenes. There’s also a
repetitiveness which is at time frustrating and occasionally I wanted the film
to find new ground while remaining overtly cerebral and unpredictable.
Throughout these scenes, I may have been bored but I remained, at all times,
fascinated. The horror elements kept me glued to my seat and I don’t recall
blinking or even breathing for about 100 minutes. Scenes inside the alien’s
dwelling are amongst the creepiest I’ve seen for some time and it is them as
well as the dark, brooding tone which will stay with me the longest. <i style="mso-bidi-font-style: normal;">Under the Skin</i> is a bold experiment of a
film. It doesn’t always work but when it does, it’s spectacular. It’s unlike
anything I’ve seen before and I feel as though I won’t see anything like it
again. Just three films into his motion picture career, director Jonathan
Glazer has marked himself out as one of the most interesting and challenging
directors working today.</span></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">8/10</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/p/what-is-gfr.html">GFR</a> 9/10</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/05/day-earth-stood-still.html">The Day the Earth Stood Still</a> 1951 </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/02/sexy-beast.html">Sexy Beast</a> 2000</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://Stoker 2013">Stoker</a> 2013</span> </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"> </span> </div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com3tag:blogger.com,1999:blog-6915202154953031948.post-402341874055974512014-03-16T18:49:00.001+00:002014-03-16T18:49:27.635+00:00The Cabinet of Dr. Caligari<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1al2X8QsftdwcRPBDu57h_dmdVmQcRqo9YDcz5dTJKjwq6nKYQnG0nNh5jKhJOx9-SrvG1fG1NiLSTqjAmeCdhL8x7TPBXgWjoYLb08orRoTioTIfkjPwRCEwPPqij5nrZuHIQKH8iklI/s1600/images.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1al2X8QsftdwcRPBDu57h_dmdVmQcRqo9YDcz5dTJKjwq6nKYQnG0nNh5jKhJOx9-SrvG1fG1NiLSTqjAmeCdhL8x7TPBXgWjoYLb08orRoTioTIfkjPwRCEwPPqij5nrZuHIQKH8iklI/s1600/images.jpg" /></a><span style="font-family: Arial,Helvetica,sans-serif;">Often sited as one of the
greatest horror films of the silent era, <i style="mso-bidi-font-style: normal;">The
Cabinet of Dr. Caligari</i> is a 1920 German movie and a prime example of
German Expressionism. Written by first time screenwriters Hans Janowitz and
Carl Mayer, the script is generally considered to feature the first twist
ending in cinematic history. The main thrust of the story is presented in
flashback in which a young man called Francis (Friedrich Fehér) recounts a
series of terrible murders that took place in the small town of Holstenwall. His story
speaks of a Dr. Caligari (Werner Krauss) who, at a local fair, unveils a
fortune telling somnambulist (sleep-walker) whom he is able to control using
hypnosis. When murder strikes the small town, the finger is pointed at Caligari
and his attraction.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">This movie is one which I’ve
wanted to see for several years and heard nothing but good things about. It’s
with regret then that I have to report that I was often bored by the story.
Ending aside, I found it dull and was too often confused by developments. I’m
certainly going to pin some of the blame on a poor quality DVD which I bought
from the normally reputable <i style="mso-bidi-font-style: normal;">Fopp</i> but
even seeing through this, I didn’t fall in love with the film. Despite my lack
of enjoyment with regards to the plot, the film has much to offer even the most
casual film buff.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Cabinet of Dr. Caligari</i> is best known to modern audiences for
its highly stylised look, a perfect example of the delightfully artistic German
Expressionist era. The flashback scenes are designed without a right angle in
sight, with walls, doors and windows jutting or protruding at unnatural angles
and mixed with devilishly spiky trees and deep, forbidding shadows. The
lighting and use of shadow is a precursor to production techniques made famous
in film noir and here create high contrast between light and dark. The actor’s
faces are ‘lit’ by high contrast white makeup and this allows them to pop
against the largely painted backdrops. The sets, with their backdrops, are works
of art and wonderfully create an off kilter world which backs up the narrative
and makes more sense to the audience as the film progresses. The use of
perspective messes with the mind as sets appear to shrink and disappear into
the distance like Alice
trying to reach the end of the corridor. The way in which characters are framed
with spotlights also brings out their faces against the busy background and
helps draw the eye with the director forcing his audience’s focus to dart
across the screen.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoyNCHmerfuPaLGkRQUXrhM75QnfuVCzgNn-F_GthstL-q7bOdGWp_UCpEvtFhfnl_Lkr_-6zTiGdVwtCT2WWEGEOylisOfmgpSxp0zj0tgRWE_I7Gqec5CPv9n7LtJUapHKiiAxHmdx4/s1600/tumblr_mbccr26z4r1qabynso1_1280.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZoyNCHmerfuPaLGkRQUXrhM75QnfuVCzgNn-F_GthstL-q7bOdGWp_UCpEvtFhfnl_Lkr_-6zTiGdVwtCT2WWEGEOylisOfmgpSxp0zj0tgRWE_I7Gqec5CPv9n7LtJUapHKiiAxHmdx4/s1600/tumblr_mbccr26z4r1qabynso1_1280.jpg" height="242" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie employs an interesting,
if unusual, acting style in which some of the cast appear to almost dance
around the sets. There is overly dramatic creeping, stretched tiptoeing and
running with legs bent high in the air. The impish Cesare (Conrad Veidt) moves
as though not human and love interest Jane (Lil Dagover) also exhibits an
unnatural presence. By today’s standards, it could be argued that the cast are
overacting but their pronounced facial expressions and flailing limbs match the
tone of the film. In short, it works. Coupled with the absence of dialogue,
their faces need to express more than their modern counterparts and the emotion
is told often without the need for intertitles. Speaking briefly about the
intertitles, they, in the version of the film I saw, also match the jagged
nature of the sets and were at times unreadable. It’s a real shame that a poor
quality mounting of a silent film can have such a disastrous effect upon one’s
enjoyment.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Cabinet of Dr. Caligari</i> is a film that I would certainly watch
again. I’d hope to have a better quality DVD that would make it easier for me
to like the movie but on this occasion I was slightly disappointed. The film is bold and flamboyant and its visuals will stick with me. Although
influential and beautifully stylised, I couldn’t get on board with the plot
until it was too late but would still recommend it to anyone with an interest
in silent film or horror.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;">6/10</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<br /></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span style="font-size: small;">You may also like</span></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><a href="http://attheback.blogspot.co.uk/2013/06/city-girl.html">City Girl</a> 1930</span></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><a href="http://attheback.blogspot.co.uk/2013/01/m.html">M</a> 1931 </span></span></span></div>
<div class="MsoNormal" style="text-align: left;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span style="font-size: small;"><a href="http://attheback.blogspot.co.uk/2012/07/sunrise.html">Sunrise</a> 1927</span></span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: large;"><span style="font-size: small;"> </span> </span></span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-40882334751423320342014-03-09T19:29:00.001+00:002014-03-09T19:29:25.270+00:00The Grand Budapest Hotel<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Hit9cgvzvCi4ss3c0aYpAMIA-hmZXnL0Y1Odg_4ZeyptCAPu3MF1eqXFz71iXOC9yqyaZmDmVFNP-VZbvLGzEZScoGvRjZ4wSeogx6snxHaowrQ7HPfpoilcELiP5fGsI14hNmCcUne8/s1600/hr_The_Grand_Budapest_Hotel_3.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9Hit9cgvzvCi4ss3c0aYpAMIA-hmZXnL0Y1Odg_4ZeyptCAPu3MF1eqXFz71iXOC9yqyaZmDmVFNP-VZbvLGzEZScoGvRjZ4wSeogx6snxHaowrQ7HPfpoilcELiP5fGsI14hNmCcUne8/s1600/hr_The_Grand_Budapest_Hotel_3.jpg" height="320" width="205" /></a><span style="font-family: Arial,Helvetica,sans-serif;">The latest picture from auteur
director Wes Anderson is in my opinion, his finest to date. A typically lavish
and exquisitely designed movie, it stars Ralph Fiennes as M. Gustav H, a
respected concierge at The Grand Budapest Hotel. Pitched as a sort of cross
between a Palatial residence and the hotel from <i style="mso-bidi-font-style: normal;">The Shining</i>, The Grand Budapest is seen in all its splendour during
the majority of the film. The movie opens however around thirty years after the
events to be depicted in, at a time during which the grand old hotel is but a
shadow of its former self. The action is depicted in flashback, from the
memories of Zero Moustafa (Tony Revolori), a once Lobby Boy and apprentice to
the aforementioned Gustav H. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">In 1932, Gustav H. is seeing off
one of his many elder lady friends, a rich widow by the name of Madame D.
(Tilda Swinton). Gustav’s charms have lead to an on off affair which has lasted
for many years and she is upset to be leaving the hotel over which he holds
sway. Days later the woman is dead. Gustav H. rushes to her Estate in the hope
that his romantic efforts have written himself in the will and sure enough
discovers that they have. The deceased’s son (Adrien Brody) is outraged at the
reading of the will and accuses the concierge of murder. Gustav H. is soon on
the run and ends up under lock and key inside an intimidating maximum security
jail.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">There are generally two schools
of thought when it comes to the films of Wes Anderson. Many people, like
myself, find them the height of cinematic art, fine crafted by a director with
a single and often beautiful vision. Some understandably find him over the top,
guilty creating over indulgent and impregnable films which punish the casual
viewer. This film is unlikely to alter anyone’s opinion but rather entrench
people in their chosen camp. Personally I think it’s masterful. The film is so
wonderfully designed with impeccable attention to detail that every frame could
be stared at for hours. Occasionally the camera lingers and one is allowed to
appreciate the way in which books are stacked or candles are arranged but these
can distract the viewer from the foreground action. Nevertheless they create
the desire for multiple viewings.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XkFG7_3mYzjlqMYw88haa_8HnaSIpYde7uNuPUkf8akiWY3THt3CGRY3KvA_baxnvD50a2k5c7V8q8x-uBpj_fR5Ak3_CZqLlDx6O9l8f6WmcTAabN9iU0SPEnD9ElcayC5bJhEsJM_m/s1600/grand-budapest_2813768b.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6XkFG7_3mYzjlqMYw88haa_8HnaSIpYde7uNuPUkf8akiWY3THt3CGRY3KvA_baxnvD50a2k5c7V8q8x-uBpj_fR5Ak3_CZqLlDx6O9l8f6WmcTAabN9iU0SPEnD9ElcayC5bJhEsJM_m/s1600/grand-budapest_2813768b.jpg" height="199" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Anderson makes ample use of his trademark
filming techniques, using many tracking and panning shots. His scenes are often
arranged to be viewed from a singular perfective and it’s rare for the camera
to approach the set from a diagonal, raised or lowered angle. The camera is
face on in much the same way as the very first motion pictures. The tracking
shot is used to allow motion through the lavish sets, often moving at an
unusually and unsettling quirky pace. Beside these are ninety degree panning
shots which always come to a stop with pin point precision. At times the film
takes the form of a well built clockwork toy, moving as pre programmed without
an inch of room for error. The movie also reminded me of Georgian architecture,
framed in perfect symmetry. It is rare for the left side of the screen to be
different from the right. This all creates a sense of perfect placement and I
found a smile broadly perched upon my face on many occasions as the camera
swung around to land yet another perfect pirouette.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The sets are sumptuous and
decadent and the exterior shooting perfectly recreates the look and ambiance of
a central European town. I was very much reminded of Bratislava while traversing the cobbled
streets and passageways away from the hotel. Much of the film was shot in Saxony, Germany
and the language as well as history resonates with that location. Amongst the
murder plot are shades of the rumblings before the Second World War. Filmed largely in Academy Ratio (4:3), the movie displays a longing respect for the era of its setting. This is contrast with 1.85:1 in the scenes set later in time. The
accompanying score works nicely to create a sense of urgency and features thick
double bass with lashings of muted, brushed drums. I found myself tapping my
feet to the music as I laughed with delight at the script. Speaking of the
script, it’s furnished with fantastically poetic idiom and a hilarious
smattering of gutter language. Gustav H. has a great turn of phrase, evoking
the language of an era now lost. He speaks like a cross between a Romance era
poet and Golden Age movie star and it slips easily off the tongue of a man who
seems born to play the role.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XqHYL-lytxrHxpku9gGyIACjB64rX4KR18929cvPNgAlV4rUTzkRdQ_Fz2qQDN06_Wm5lPvtzxSYRbIenv1_GTv77kK0oLAmYx3BKRNRmwK6Hg1L8biLrp5cFkRWuw_-oqZqoSgdFLX0/s1600/Grand-Budapest-Hotel.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6XqHYL-lytxrHxpku9gGyIACjB64rX4KR18929cvPNgAlV4rUTzkRdQ_Fz2qQDN06_Wm5lPvtzxSYRbIenv1_GTv77kK0oLAmYx3BKRNRmwK6Hg1L8biLrp5cFkRWuw_-oqZqoSgdFLX0/s1600/Grand-Budapest-Hotel.jpg" height="198" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Ralph Fiennes is magnificent in
the lead role. It’s not far from a career best performance from the esteemed actor.
The character was written for him by Anderson
and it shows. He seems to have a lot of fun and it translates through the
screen. He’s supported by a number of stars, all seemingly desperate to appear
in a Wes Anderson movie. Alongside Anderson
regulars such as Bill Murray, Jason Schwartzman, Adrien Brody and Owen Wilson
are numerous top actors who feature in a variety of roles, often behind
exquisite moustaches. Willem Dafoe gives a good turn as a vicious and dastardly
employee of Brody’s Dmitri. Jeff Goldblum is wonderfully Goldblum-esque in the
role of lawyer and executor of Madame. D’s estate. Tilda Swinton is neigh on
unrecognisable under a mountain of makeup and plays the aging lady with aplomb.
Harvey Keitel pops up as a heavily tattooed inmate. It’s always great to see
him on screen. Jude Law is also impressive in the role of a young writer.
Edward Norton is on hand, hot off a great performance in <a href="http://attheback.blogspot.co.uk/2012/05/moonrise-kingdom.html"><i style="mso-bidi-font-style: normal;">Moonrise</i><i style="mso-bidi-font-style: normal;"> Kingdom</i></a>,
as a Police Inspector while Saoirse Ronan excels as a love interest of Zero
Moustafa.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Moustafa is played by newcomer
Tony Revolori (so new in fact that the actor doesn’t even have a Wikipedia page
at time of writing). Revolori holds his own against his esteemed colleagues and
appears to be a real find. He shares great chemistry with Fiennes in his
protégée role. In summary, I’m finding it difficult to think of a single aspect
of this movie which I didn’t enjoy. I searched for one in post viewing
discussions with my girlfriend but much like me, she was at a loss. It might
not be as funny as Anderson’s
best and the plot might not be as sharp as he’s capable but overall, when all
facets are combined, I’m sure this is his best movie so far.</span></div>
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<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">10/10</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/p/what-is-gfr.html">GFR</a> 10/10</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/09/fantastic-mr-fox.html">Fantastic Mr.Fox</a> 2009</span> </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/05/moonrise-kingdom.html">Moonrise Kingdom</a> 2012</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2012/09/the-royal-tenenbaums.html">The Royal Tenenbaums</a> 2002</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com8tag:blogger.com,1999:blog-6915202154953031948.post-71119537720940844372014-03-09T14:20:00.002+00:002014-03-09T14:20:41.638+00:00Gentlemen Prefer Blondes<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJHcI4M6Y17MrIJI84WFoy6ECgSzLgWQEHoWcs62XaQZB_nCszUFh6j-PEtqRjgos4tG0J2VkW5ZwUJOEBWmI7uK31u03YXeeYWhQmm9fSU-bafBE1iVrZ_QQSYnsnQx4Xk0Jt4pTSvvS8/s1600/GentlemenPreferBlondes001.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJHcI4M6Y17MrIJI84WFoy6ECgSzLgWQEHoWcs62XaQZB_nCszUFh6j-PEtqRjgos4tG0J2VkW5ZwUJOEBWmI7uK31u03YXeeYWhQmm9fSU-bafBE1iVrZ_QQSYnsnQx4Xk0Jt4pTSvvS8/s1600/GentlemenPreferBlondes001.jpg" height="320" width="231" /></a><span style="font-family: Arial,Helvetica,sans-serif;">Comedy musical, <i style="mso-bidi-font-style: normal;">Gentlemen Prefer Blondes</i> arrived in
cinemas in the summer of 1953 on the back of a successful Broadway run. Set
largely aboard an Ocean Liner and Paris, the movie follows the fortunes of two
beautiful showgirls. Although the best of friends, the two women couldn’t be
more different from one another. Blonde bombshell Lorelei Lee (Marilyn Monroe)
is a childlike airhead, desperate to marry rich. Her friend Dorothy Shaw (Jane
Russell) is much smarter and more down to earth, interested in love not money.
The two head to Paris
with Dorothy sent along as a chaperone by Lorelei’s rich and naïve fiancé
(Tommy Noonan). Also aboard the ship is a handsome P.I (Elliot Reid), who’s
there at the behest of Lorelei’s potential father-in-law.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The film is famous today for Monroe’s iconic and much
copied rendition of <i style="mso-bidi-font-style: normal;">Diamonds are a Girl’s
Best Friend</i>. Along with this song, there are several others in which the
two stars sing seductively, strutting across the stage in glamorous and often
revealing attire. Many of the songs weren’t to my liking but I had no
complaints about the visuals. Around the pair is some excellent choreography.
Russell’s rendition of <i style="mso-bidi-font-style: normal;">Ain’t There Anyone
Here for Love</i> is set inside the ship’s gymnasium and she’s surrounded by
the American Olympic Team of whom she makes interesting and amusing props. The
actress looks to be in her element. The number also features a mistake in which
the actress is knocked into a pool. Director Howard Hawks liked the take though
and kept the accident in the finished film. The opening number <i style="mso-bidi-font-style: normal;">I’m Just a Little Girl From Little Rock</i>
is well staged and sets the film off to a flying start. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I liked both lead characters.
They had some well written differences and the actresses played them nicely. Monroe is at home as the
ditzy blonde; often unaware of the effect she has on the opposite sex but
willing to exploit it at every turn. She’s very much the old fashioned one of
the two, happy to be provided for while she admires her diamonds. Jane Russell
is more of the modern woman, not quite a feminist but happy to go for what she
wants with no qualms about it. She’s well aware of her feminine charms but is
looking for love not money. It would be quite easy for the two characters to be
written as enemies but they complement each other and the friendship is written
in a genuine and caring manner. Jane Russell’s second act impersonation of her
co-star was one of the film’s finest moments. Although she doesn’t quite look
the part, she has the Monroe
persona and mannerisms down to a tee. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLmLCjGnKiXF5M4eTELQum_unqGJGQOrrlGf61HJkkd_M44xN0x9ysbmNokPnTaOEagRHERr7IhNqG6VFcErkATNwBMx2jn1YpX8fc4rS2h95iANATcrznGeLYp3i1UJk2GBhaBseDpEF7/s1600/giphy.gif" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLmLCjGnKiXF5M4eTELQum_unqGJGQOrrlGf61HJkkd_M44xN0x9ysbmNokPnTaOEagRHERr7IhNqG6VFcErkATNwBMx2jn1YpX8fc4rS2h95iANATcrznGeLYp3i1UJk2GBhaBseDpEF7/s1600/giphy.gif" height="248" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The plot isn’t full of surprises
but it features some nice lines and the well drawn characters I’ve already
spoken about. The male characters are given little screen time and even less to
do which is a welcome change. So often I write the exact opposite. The humour
isn’t of the bawdy sort as in <a href="http://attheback.blogspot.co.uk/2014/01/some-like-it-hot.html"><i style="mso-bidi-font-style: normal;">Some Like It Hot</i></a> but it’s also a little sparse for my taste. Monroe’s naivety is responsible for some
laughs, the moment she puts a bangle on her head is a highlight, but the film
concentrates more on musical and romantic elements than comedy. Perhaps the
funniest character is that of Henry Spofford III (George Winslow). Lorelei sets
Dorothy up with the eligible bachelor, only to be shocked to discover he’s a
child. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">
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<span style="font-family: Arial,Helvetica,sans-serif;">One of my favourite things about
the movie was its general look and ambiance. I’m a big fan of 1950s glamour and
this film has bags of it. The gowns, hats and bags are sumptuously designed and
worn beautifully by Russell and Monroe. The sets also speak of wealth and glamour
and are a joy to behold. Paris
is designed with a stereotypical eye but the city is filled with interesting
characters and costumes. Overall I enjoyed the picture but it’s far from my
favourite from the period. The musical elements were well handled and the two
leads sizzle but I found it a bit boring. It’s a nice film to look at but I’d
happily look anything in which Marilyn Monroe was involved.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">6/10</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/01/some-like-it-hot.html">Some Like It Hot</a> 1959</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/07/sabrina.html">Sabrina</a> 1954</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2014/02/the-seven-year-itch.html">The Seven Year Itch</a> 1955 </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com1tag:blogger.com,1999:blog-6915202154953031948.post-13872848610396763632014-03-08T21:50:00.001+00:002014-03-08T21:50:07.774+00:00Bend of the River<!--[if gte mso 9]><xml>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Bend of the River</i> is a serviceable 1952 James Stewart Western.
Directed by Anthony Mann, Stewart plays Glyn McLyntock, a remorseful ex border
raider who is leading a band of settlers from Missouri
to Oregon.
Following a treacherous journey and a brief stop in the quiet town of Portland, the group reach
their isolated destination but when their much needed supplies don’t arrive,
McLyntock journeys back to the town to find it very changed. The film features
themes of redemption, trust and romance and while it held me attention for its
91 minutes, it’s far from a classic and not quite as good as Mann and Stewart’s
1950 collaboration, <a href="http://attheback.blogspot.co.uk/2013/04/winchester-73.html"><i style="mso-bidi-font-style: normal;">Winchester</i><i style="mso-bidi-font-style: normal;"> ’73</i></a>.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Many of the landscapes and sets
become interchangeable and the film manages to deceive the viewer by switching
between location and studio shots. The on location shooting is back dropped by
beautiful vistas and unspoiled landscapes. This is certainly a good looking
film and the beauty is exaggerated by the vibrant Technicolor. The costume
design is also very good and I enjoyed the first visit to the tiny settlement
of Portland, a
mere dot on the map compared to the large city it has become. The difference
between McLyntock’s first and second visit is also well done if not a little
over done. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKOjOLeIwFxOa7jMEK9Z8yr_RzDjMNgwxpII-WvnV0zmlcdFaQ8xiD9KcRix8Ir86o2Hz8oSzJ0_sLK6Udsnr38JBWPQOspjvY7XbAJBGj2pZaVG-PqFSi28keHYiWATfi7LkB1ZO-5ZOF/s1600/bend_river.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKOjOLeIwFxOa7jMEK9Z8yr_RzDjMNgwxpII-WvnV0zmlcdFaQ8xiD9KcRix8Ir86o2Hz8oSzJ0_sLK6Udsnr38JBWPQOspjvY7XbAJBGj2pZaVG-PqFSi28keHYiWATfi7LkB1ZO-5ZOF/s1600/bend_river.jpg" height="247" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Jimmy Stewart is
characteristically excellent in the central role, playing a soft, charming and
joyful man with a dark past. His famous demeanour is perfectly suited to the
role. He’s joined by Arthur Kennedy who shares some decent scenes with the star
and enjoys some early chemistry. His duplicitous is well played by the five
times Oscar nominated actor. Rock Hudson
plays a handsome gambler who the audience can never be sure about and he also
plays his character with an untrustworthy sensibility. Typically, he’s involved
in the more romantic subplots. Julie Adams is the female lead but isn’t given
much of a chance to shine behind her three male co-stars. She’s underused by
the script. A further problem comes via the depiction of black characters. The
three black actors on screen adopt wildly over the top caricatures and this
dates the film terribly. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The actual story is quite mundane
at times and the conclusion is never in doubt. When Jimmy Stewart is battling
the save the lives of one hundred settlers, there’s only going to be one
outcome. Along the way there are several set pieces during which a new foe
emerges. These are sometimes predictably staged and over obvious though.
Although sometimes predictable, the action was at least exhilarating. The film
works and as I said at the outset, it passed some time. It’s not poor but it
hardly breaks new ground. If I was channel hopping on a Sunday afternoon, I’d
probably give it a second watch but it will be gathering dust on my DVD shelf
for many years before it’s near the player again.</span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>6/10</span></span></span></div>
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<br /></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">You may also like</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/05/destry-rides-again.html">Destry Rides Again</a> 1939 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/04/shenandoah.html">Shenandoah</a> 1965 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="mso-spacerun: yes;"><span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/04/winchester-73.html">Winchester '73</a> 1950 </span> </span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com1tag:blogger.com,1999:blog-6915202154953031948.post-84467498362342213392014-03-07T17:05:00.002+00:002014-03-07T17:05:19.705+00:00Touch of Evil<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4q1R1yzrHUj-lqPHdYEEFIQ1VZwlO6oegq6nbLboG6OeVivcVEItN6l-p4A2UFcJWEWv-KMjUai0tnwNxW1ifF8n1BI-63KfbRbywbln-DS5DKIUWsQctWL-hsM5zQKcW2oyK0kBJaec/s1600/touch_of_evil_xlg.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4q1R1yzrHUj-lqPHdYEEFIQ1VZwlO6oegq6nbLboG6OeVivcVEItN6l-p4A2UFcJWEWv-KMjUai0tnwNxW1ifF8n1BI-63KfbRbywbln-DS5DKIUWsQctWL-hsM5zQKcW2oyK0kBJaec/s1600/touch_of_evil_xlg.jpg" height="320" width="214" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">Touch of Evil</i> is only the second film I’ve seen to be directed by
Orson Welles but both are amongst the most beautifully constructed I’ve ever
seen. Based on the novel <i style="mso-bidi-font-style: normal;">Badge of Evil</i>,
legend has it that Welles challenged producer Albert Zugsmith to provide him
with the worst script available, which Welles promised to turn into a great
film. Whether true or not, the second part of that sentence is utterly correct.
Welles turned out a terrific picture which is handsomely directed, tightly written
and wonderfully acted.<span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie opens on a famous three
minute and twenty second tracking shot, a shot which has been copied by and
influenced scores of film makers since. A car is loaded with a bomb and is then
driven across the Mexican border, into Texas.
After exploding on the American side of the crossing, a newlywed Mexican drug
enforcement official named Miguel Vargas (Charlton Heston) is one of the first
on the scene. After ushering his wife (Janet Leigh) to safety, he quickly
assesses the crime but is soon pushed to one side by the old, dependable local
Police Captain, Hank Quinlan (Orson Welles). Quinlan and Vargas chase the leads
but soon Vargas begins to believe that his American counterpart isn’t playing
fair.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">It would be amiss not to begin by
talking about the magnificent tracking shot upon which the film opens. I’d
actually seen the shot before but it was nice to then see it in the context of
the film. It’s a masterstroke of film production and must have taken ages to
prepare and get spot on. The framing is smooth and just so and everything from
the speed of the vehicles to the motions of the various passers by is perfectly
timed. It’s clear to see how rigorously the shot was planned and as a result it
looks a bit staged but the technical effort far outweighs any sense of staging.
From the first scene onwards, the movie continues to deliver outstanding shots
with ingenious camera, character and prop placement.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQcRgo2UhAl8c1m9ujYxLMT5N3-WWZkfGJOWTjJLf2ar9dbibA8Dj_6mM9zd_9LwVSFK9jIm0_xYRI0y8ZFNDlyN9l_W3pYA3XyPcWs9PoRKJ0gTrZMdOCWJHeJvzRQD2SzaWuwFS6vVj/s1600/touch+of+evil+still.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfQcRgo2UhAl8c1m9ujYxLMT5N3-WWZkfGJOWTjJLf2ar9dbibA8Dj_6mM9zd_9LwVSFK9jIm0_xYRI0y8ZFNDlyN9l_W3pYA3XyPcWs9PoRKJ0gTrZMdOCWJHeJvzRQD2SzaWuwFS6vVj/s1600/touch+of+evil+still.jpg" height="236" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie makes excellent use of
windows and mirrors as reflective surfaces. This allows characters to look away
from each other and be in entirely different rooms while still remaining in the
same tight shot. Alongside these are plenty of scenes filmed from below which
gives some of the less honest characters a sense of menace. The camera moves as
though one of the cast, seemingly always in the exact position to get the very
most from a scene. Every shot is framed with intent and lit with the utmost
attention to detail. The lighting in particular brings out some of the film
noir elements of the movie. Under harsh, unnatural lighting, the characters and
their shadows take on unusual shapes and forms and can provide hints as to the
angelic or distrustful nature of a character. I enjoyed every moment of the
film’s visuals. It’s an absolute joy to see such craft on screen. Welles and
his cinematographer Russell Metty deserve the highest praise.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie’s plot is gripping and
I enjoyed the story. It doesn’t take too long for characters to show their true
colours so the majority of the film is taken with one character trying to prove
another’s guilt. I found the verbal sparring was well written and the good vs.
evil nature of the plot while not original was given a twist thanks to who was
good and bad. The film felt brave for a picture of its era with a corrupt
American official being hunted by a foreigner. This could easily be perceived
as Anti-American, something which the Hays Office would normally be quick to
shut down. Not only was the plot on dangerous ground but the movie features drug
use which I also thought was slightly ahead of its time. Drugs have been hinted
at in other Code-era movies I’ve seen but have rarely been so readily on
display and part of the central plot. My only issue with the story is in its
tone. It was a little too light at times and I’d have preferred something a bit
more hard boiled and gritty. The jokes and humour detracted slightly from the
movie as a whole. A further problem can be found with the casting.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvUnBGE1FEwymjLPuweteuKW1se9x0jKRtXU4LsBNjityvdO_VOGlu14je5LuyKc7udvIzh9IiDSXFUh_kK9tc-NfbF6utxHPDb69IbPJtdXYp8IaVAfB2VMD3yFm5mu5oHSBLeNsbW80O/s1600/touch_of_evil_61455-1600x1200.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvUnBGE1FEwymjLPuweteuKW1se9x0jKRtXU4LsBNjityvdO_VOGlu14je5LuyKc7udvIzh9IiDSXFUh_kK9tc-NfbF6utxHPDb69IbPJtdXYp8IaVAfB2VMD3yFm5mu5oHSBLeNsbW80O/s1600/touch_of_evil_61455-1600x1200.jpg" height="240" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The choice to cast All-American,
light featured Charlton Heston as a Mexican has drawn criticism for decades and
even been mentioned in films such as <i style="mso-bidi-font-style: normal;">Ed
Wood</i> and <i style="mso-bidi-font-style: normal;">Get Shorty</i>. Heston is
excellent in the movie but looks and sounds nothing like a Mexican. His
character floats around like an Upper West Side
attorney but his performance is so good that the lack of ‘Mexican’ is
admissible. As well as writing and directing the movie, Orson Welles also
provides an outstanding turn as Hank Quinlan. He uses his considerable physical
presence to his advantage, tottering around, breathing so heavily that you
believe he could collapse at any moment. He looks like a man on the verge of
death, likely to keel over at any moment but still has enough spark in his
candy and liquor addled brain to outwit and outmanoeuvre those around him. Janet
Leigh is good as the American wife of Heston’s Mexican. She plays her role
perfectly, showing both her feminine frailty and intuition, often both at once.
Also worthy of note is Dennis Weaver who has a small role as a Motel Night
Manager. He’s magnificently weird. Zsa Zsa Gabor and Marlene Dietrich also
appear in very small parts. <span style="mso-spacerun: yes;"> </span></span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Despite a couple of small flaws, <i style="mso-bidi-font-style: normal;">Touch of Evil</i> is a magnificent film
noir. It’s impeccably made and looks about as good as it’s possible for a movie
to look. The soundtrack, which I almost forgot to mention, is equal to the
visuals and I can’t wait to revisit the movie soon. </span></div>
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<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">9/10</span></span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/05/citizen-kane.html">Citizen Kane</a> 1941 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/02/strangers-on-train.html">Strangers on a Train</a> 1951 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/03/sunset-boulevard.html">Sunset Boulevard</a> 1950</span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com2tag:blogger.com,1999:blog-6915202154953031948.post-4005510980646439082014-03-06T20:19:00.000+00:002014-03-06T20:19:08.149+00:00Gangs of New York<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJZCTuIRNo-K31Skjegp20soUN5TZk_kBs4nsal61SNe34U4fP4oSenQXOyjUD5wudce5JXAUXpyr-r8nwvtBvEKhJqUGeXgQ8qSSjP8CgO0UbaBgdnShcx0B2aRINkYSkSepDIIfY6vQs/s1600/Gangs_of_New_York_Poster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJZCTuIRNo-K31Skjegp20soUN5TZk_kBs4nsal61SNe34U4fP4oSenQXOyjUD5wudce5JXAUXpyr-r8nwvtBvEKhJqUGeXgQ8qSSjP8CgO0UbaBgdnShcx0B2aRINkYSkSepDIIfY6vQs/s1600/Gangs_of_New_York_Poster.jpg" height="320" width="217" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">It’s been a couple of years since
my last viewing of Martin Scorsese’s historical epic, <i style="mso-bidi-font-style: normal;">Gangs of New York</i>. It’s a movie I’ve seen several times since I
first saw it in 2002 as my first ‘18’ rated movie at the cinema. It’s a film
I’ve always had a lot of affection for. I found it strange then that on this
particular viewing, the movie had lost a lot of its charm. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Loosely based on the 1928 book of
the same name, <i style="mso-bidi-font-style: normal;">Gangs of New York</i> is a
dirty and blood-soaked account of the various gangs which vied for control over
New York City’s
Five Points in the middle of the 19<sup>th</sup> Century. Focussing
specifically on two characters, it takes historical context and real names,
mixing them into a world of fact and fiction with some glorious set pieces and
cinematic design. Having witnessed his father’s death at the hands of Bill ‘the
Butcher’ Cutting (Daniel Day-Lewis) as a young child, Amsterdam Vallon
(Leonardo Di Caprio) comes back to the Five Points as an adult to reap revenge.
He finds the Points much the same as he left it; a squalid and rat infested
mismatch of languages and races, the very thing which Cutting despises about
the area in which he is King.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"></span></div>
<a name='more'></a><br />
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<span style="font-family: Arial,Helvetica,sans-serif;">Regular readers may well be aware
of my love for the city of New York
and I love its history even more than the vibrant city of today. I’m fascinated
by photos and film of the city in its filthy past and this movie recreates it
in all of its grimy detail. At times it’s difficult to believe how accurate the
cave systems, large, disused factories and pig farms are but not that long ago,
this is what the world’s greatest metropolis was really like. The film takes us
back to an unrecognisable city, a city still awaiting its fate as one of the
greatest on the planet. The set and costume design throughout the movie are
highlights. The large and detailed sets, built on location at Rome’s Cinecittá were beautifully designed by
Dante Ferretti and the five miles of streets, buildings and courtyards are some
of my favourite in any film. The sets are detailed and filled with purifying
bodies, livestock, rubbish, smoke and detritus. It’s a masterstroke of decaying
beauty. The costume design is equally as impressive with oddly contrasting
colours and patterns complemented by earthy coloured rags of the less fortunate
characters. Bill ‘the Butcher’s’ vivid costumes are especially magnificent. </span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The plot of the movie is fairly
basic at first glance, one of revenge and fight for freedom vs. the battle to
keep the status quo. On deeper inspection, the movie is about the birth of
modern America.
In the background but never too far from the fore is the American Civil War, a
war being fought hundreds of miles away but causing great tension amongst the
divided populous of New York.
More prominent in the script are the rights of immigrants and their shaping of
the city and nation as a whole. New
York, perhaps like no other city at the time or even
since, was a melting pot of languages, nationalities and peoples. This created
tensions between the new communities and those who were more established and
this is one of the central themes of the movie. Race is also a constant plot
point with talk of the Civil War and what men were really fighting for being
juxtaposed against people’s dislike of blacks ‘taking’ low paid jobs from
whites. This is also one of the issues which cause aggravation between the
‘Natives’ and Irish immigrants. It’s a wonderfully laid out story which touches
nicely upon real historical characters and events.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ9p-wpN_KnkoWsHjhLKyOVsV4409NKPEh44COxZ6W5SQUHyAdMyUoig93Oj8O-eG_7Ro6qD6o1SsdS60dWMY5dtsYmAS_x71VdRE4vU-aKuRFABqB7dCBliMlO4XWFLs2OiTFBii9WhWF/s1600/gangs-of-new-york-2002-23-g.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ9p-wpN_KnkoWsHjhLKyOVsV4409NKPEh44COxZ6W5SQUHyAdMyUoig93Oj8O-eG_7Ro6qD6o1SsdS60dWMY5dtsYmAS_x71VdRE4vU-aKuRFABqB7dCBliMlO4XWFLs2OiTFBii9WhWF/s1600/gangs-of-new-york-2002-23-g.jpg" height="209" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">On this most recent watch I found
Scorsese’s direction uncharacteristically uneven. His usually inch perfect
stylistic flair was displeasing to my eye and on the whole, I wasn’t a fan of
the way it was shot. It isn’t something I’ve ever experienced with the film or
indeed the director before and can only put it down to noticing more, being
bored after so many watches or the fact that I’d just re-watched the near
perfect <a href="http://attheback.blogspot.co.uk/2012/12/rear-window.html"><i style="mso-bidi-font-style: normal;">Rear Window</i></a>. Whatever the
reason, the director’s style grated with me and I didn’t feel settled. This
isn’t to say that the film isn’t great to look at because it undoubtedly is but
there’s just something off with the way it looks. Despite this, there are some
wonderfully composed scenes and shots and they work well with the score which
is typically fitting. Like the era and depiction of people’s lives, I found the
film messy.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">On the acting front, there’s a
real mix of near perfection and well, Cameron Diaz. Diaz plays an attractive pickpocket
at the very centre of the story and although her character is well written, the
actress struggles with the role. She does impress more than in many other films
though. DiCaprio is strong although I found his Irish-American accent wavered
somewhat. Accents on the whole were a weak area with the various dialects
spewed with inconsistent accuracy. Daniel Day-Lewis steals the film with his
inch perfect portrayal of Bill ‘the Butcher’. He chews though the scenery like
a very hungry caterpillar and delivers juicy lines with aplomb. His “Whoopsie
daisy” is a line that has remained with me for over a decade. The movie is
littered with small roles for terrific actors and Jim Broadbent is one of many
who produce. Brendan Gleeson is also worthy of mention for his portrayal of a
hard man turned politician.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">I’ll continue to go back to <i style="mso-bidi-font-style: normal;">Gangs of New York</i> and despite its flaws;
it’s a sprawling epic with a love for history and a deep affection for its
characters. There’s a lot going on and it doesn’t all work but you’ll finish
the film with a rush of adrenalin, feeling as though you got value for money
and that you’ve really visited mid 19<sup>th</sup> Century New York City. <span style="mso-spacerun: yes;"> </span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;"><span>7/10</span></span></span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;">You may also like</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2012/05/mean-streets.html">Mean Streets</a> 1973</span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2013/06/taxi-driver.html">Taxi Driver</a> 1976 </span></span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><span style="mso-spacerun: yes;"><a href="http://attheback.blogspot.co.uk/2014/01/the-wolf-of-wall-street.html">The Wolf of Wall Street</a> 2014</span></span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com0tag:blogger.com,1999:blog-6915202154953031948.post-83906664916898901902014-03-01T15:43:00.002+00:002014-03-01T15:43:42.041+00:00The Big Sleep<!--[if gte mso 9]><xml>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0irRpVCyDrj44Tmy1yQsULZHBpDbWourbxaBi-PYxo48z1IOxcZBwqgw3bqRUwcQG_Qsr2d6Cnz5U6a3jGAt09mZhR0fTIoKUfRM1l9nT_aekfh2-n4AN6bniRbVcaf-Zc1gpTRj0-xL/s1600/big-sleep.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY0irRpVCyDrj44Tmy1yQsULZHBpDbWourbxaBi-PYxo48z1IOxcZBwqgw3bqRUwcQG_Qsr2d6Cnz5U6a3jGAt09mZhR0fTIoKUfRM1l9nT_aekfh2-n4AN6bniRbVcaf-Zc1gpTRj0-xL/s1600/big-sleep.jpg" height="320" width="206" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><i style="mso-bidi-font-style: normal;">The Big Sleep</i> is a 1946 film noir starring the married couple of
Humphrey Bogart and Lauren Bacall. Bogart plays Private Detective Philip
Marlowe who is employed by a retired General to help resolve the gambling debts
of one of his two attractive daughters. Marlowe soon discovers that there is
more at stake than simply some unpaid debts and a confusing and ever deepening
plot unfolds, one which contains blackmail, duplicity and murder.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The movie is powered along thanks
to some great dialogue and obvious chemistry between the two leads. Its plot
however is as impenetrable as a Nun’s chastity belt and just gets more and more
confusing as it progresses. The story throws out leads and clues which
subsequently lead to more leads and clues, many of which ultimately end
nowhere. Raymond Chandler, the writer of the novel upon which the film is
based, famously stated that not even he could answer some of the questions the
plot places in front of the viewer.</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">The film is at its strongest when
Bogie is on screen, doing what he does best; asking questions, getting to the
bottom of mysteries and sucker punching bad guys. His character is fantastic, a
hard man who operates alone, mostly without a gun. He’s calm and cool and the
ladies love him. Quite hilariously, every single female character, from co-star
to a taxi driver, throws herself at the leading man. It’s great fun to watch
his magnetism displayed on screen. Some of the innuendo is risqué for the time
and much of it was added once the film was initially completed in order to ramp
up the Bogart and Bacall scenes. By 1945 their private relationship was well
known and the studio wished to exploit the public’s interest by shooting
additional racy scenes. The movie’s release was delayed to allow these scenes
to be completed as well as to allow Warner Bros. to release their remaining War
Pictures, fearing the public would lose interest in these with the war’s
conclusion.</span></div>
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</span><div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IC-K7yieatasNQHQ6tVnRR80MoXM9ok_QdiLDY45tTlXgXcJzaf3XMc1E-HDRVX76filrw-rX6HJqsKLIqdpuOAlR5cmp3Bwqf9UKDZIgDzYK7_l0Nnp_iodFvvG8FXo8emCHBQztEx3/s1600/The_Big_Sleep.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-IC-K7yieatasNQHQ6tVnRR80MoXM9ok_QdiLDY45tTlXgXcJzaf3XMc1E-HDRVX76filrw-rX6HJqsKLIqdpuOAlR5cmp3Bwqf9UKDZIgDzYK7_l0Nnp_iodFvvG8FXo8emCHBQztEx3/s1600/The_Big_Sleep.jpg" height="248" width="320" /></a></div>
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<span style="font-family: Arial,Helvetica,sans-serif;">Bogart plays his character as the
ultimate cool guy and he plays him excellently. Lauren Bacall struggles at
times alongside him and fades into the background more often than not. Her
sultry looks aid her performance but she’s hampered by a charismatic co-star
with a great character to play with. She’s also out-shined by her on screen
sister, the lively and playful Martha Vickers. Vickers steals her scenes, even
up against the illustrious Bogart. One of the problems with the plot is that
there are so many side characters that no other actor is given much of a chance
to shine. They come and go with such regularity that as soon as a character
beds in, they’re either killed off or scarper from Marlowe’s watchful eye. The
handsome John Ridgely is the only actor besides those mentioned who sticks in
the mind.</span></div>
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<br /></div>
<span style="font-family: Arial,Helvetica,sans-serif;">
</span><div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">The film is shot in an assured
manner by Howard Hawks, a director who was at the very top of his craft by the
mid 1940s. It’s not particularly flashy and the noir stylisation is much
subtler than in the likes of <a href="http://attheback.blogspot.co.uk/2013/05/the-maltese-falcon.html"><i style="mso-bidi-font-style: normal;">The Maltese Falcon</i></a> or <a href="http://attheback.blogspot.co.uk/2013/09/august-2013-film-round-up.html"><i style="mso-bidi-font-style: normal;">Double Indemnity</i></a> but
all the central themes of the genre are there. The score works well alongside
the visuals, increasing in ferocity when required by the drama or tension that
unfolds. The cars, suits and hats are all suitably appealing to my 1940s loving
eyes. As I’ve already mentioned, the film’s main drawback is its plot which
just doesn’t allow the audience to settle in and enjoy. You expect mystery but
you also expect to be rewarded by paying close attention and unfortunately <i style="mso-bidi-font-style: normal;">The Big Sleep</i> doesn’t reward its
audience, it merely baffles them.</span></div>
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<br /></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-size: large;"><span style="font-family: Arial,Helvetica,sans-serif;">7/10</span></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/p/what-is-gfr.html">GFR</a> 8/10</span></div>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;">You may also like</span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/01/angels-with-dirty-faces.html">Angels with Dirty Faces</a> 1938</span></div>
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<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/07/breathless.html">Breathless</a> 1960 </span></div>
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: Arial,Helvetica,sans-serif;"><a href="http://attheback.blogspot.co.uk/2013/05/the-maltese-falcon.html">The Maltese Falcon</a> 1941</span></div>
Anonymoushttp://www.blogger.com/profile/11186833811296327739noreply@blogger.com2