Inglourious Basterds

Set in Nazi occupied France, Inglourious Basterds is a film that took Quentin Tarantino over a decade to write and produce. Multiple plot threads, an ever expanding script and difficulty with the movie’s conclusion meant that from first to final draft, a decade had elapsed. The completed script is one of pure Tarantino penmanship. Featuring ideas of revenge, duplicity and malice while scattered with pop references, albeit from a different era, Inglouious Basterds is as Tarantino as a Mexican stand-off in a Big Kahuna Burger Restaurant. Nominated for eight Academy Awards and taking over $320 million worldwide, it is also one of the director’s most successful to date.

Split into five chapters, the film focuses on the efforts of two sets of people to bring down the Third Reich. Shosanna Dreyfus (Mélanie Laurent) is a young Jewish woman who, early in the film, escapes death at the hands of the gifted ‘Jew Hunter’ Hans Landa (Christoph Waltz). Having dodged an early grave, Shosanna relocates to Paris where she runs a small cinema which we shall come back to later. Meanwhile, elsewhere in France, the Basterds, a group of American Jewish soldiers, led by Lieutenant Aldo Raine (Brad Pitt) are scouring the countryside in search of Nazis to bludgeon and scalp. When the Basterds hear that the entire Nazi high command will be in Paris for the Premier of Goebbels latest propaganda film, they set in motion a plan to end the war the very same night.

12 Years a Slave

Considering the ferocity of Steve McQueen’s small but impressive oeuvre and the subject matter of his latest film, I never expected to be in for an easy ride with 12 Years a Slave but nothing, not the trailer, the word of mouth nor my own imagination could prepare me for both its excellence and the horrors to be found within it. The director’s third feature is based on the memoir of one Solomon Northup (Chiwetel Ejiofor), a free black man from up-state New York who was kidnapped and sold into slavery in 1841. The film charts the following decade and the unimaginable ordeal that is daily life for a slave.

It’s rare these days that I can report to have sat through a film screening in a packed cinema without seeing at least one or two phones light up in front of me. Talking and popcorn rustling are two other offenders which take one out of a film and back to the annoying reality of the fact that there are other humans around you. Throughout the two and a quarter hours of 12 Years a Slave however I didn’t hear a peep from the audience besides a few sniffles and yelps. The film gripped one and all from its opening frames and touched myself at least (but I suspect most) with a profound sense of heartache, perplexity and dare I say it, guilt.

Following a brief few scenes which outline Solomon’s life as an accomplished and well respected musician, living in middle class surroundings, side by side with blacks and whites, the film takes the turn you know to expect. Cinematographer Sean Bobbitt presses his camera uncomfortably close to the actors during these scenes in a trend that continues during Solomon’s kidnapping. The screen becomes claustrophobic and seems to envelop the audience as though we too are being taken against our will. I struggled for breath and my palms were clammy, as they remained so long passed the credits began to roll. The camera is unflinching, not allowing the audience to avert their gaze from both the kidnapping and the horrors that are to follow.

Prometheus

"A king has his reign, and then he dies. It's inevitable"

It’s 2089 and two archaeologists, Elizabeth Shaw (Noomi Rapace) and Charlie Holloway (Logan Marshall-Green) discover the same star map amongst paintings and artefacts from various different ancient civilisations which had no interaction with each other. Convinced that this map is somehow connected to our origins the two enlist the help of Weyland Industries and visit the moon LV-223 aboard the ship Prometheus. Four years later they and the crew, totalling seventeen are woken from Stasis by robot David (Michael Fassbender) and with specific instructions from Weyland representative Meredith Vickers (Charlize Theron) not to interact with any species they might encounter, set off into an unidentified structure on the Moon’s surface.

Firstly I’ll get the Alien stuff out of the way. It definitely helps if you have seen the Alien franchise but is in no way a necessity. The film can be viewed as both a stand alone movie and as a prequel. I’ve only recently watched the series for the first time so it is still fresh in my mind. As such on a few occasions I thought to myself “ooh I recognise that” and “aahhh, so that means…” but the film also made me want to watch the original Alien again as I was a little confused at times. I think that my confusion was due to two reasons. Firstly the plot is fairly complex and you have to pay close attention. Secondly, there are far too many plot holes. I won’t go into them here in order to avoid spoilers but if you’re interested then fellow blogger Life vs Film has compiled an extensive list here.

For me the film’s biggest strength was its atmosphere. The film isn’t as tense as I’d expected it to be but is rather more like a mystery. Unlike say Alien you aren’t waiting for something to jump out and scare you but rather it unfolds very slowly, creating more questions as it progresses. Many of the questions are subsequently answered but some are left open which I liked but left me feeling slightly frustrated. The tone was much less about horror and more about what, why, where and how and tone wise it is closer to Scott's Blade Runner than Alien. I loved how slowly the plot unfolded but wonder if the Transformers generation will have the patience to stick with it?

A Dangerous Method

David Cronenberg’s A Dangerous Method is a visual joy that charts the birth of Psychoanalysis in the early part of the 20^th Century. Michael Fassbender stars as Carl Jung, the father of analytical psychology opposite Viggo Mortensen’s Sigmund Freud, the father of psychoanalysis. In between these great historical figures is Keira Knightley who plays Sabina Spielrein, a young Russian woman who is sent to Jung for analysis as she is suffering from hysteria.

Cronenberg is known for intertwining the physchological with the physical and in a way that is the shortest description of this film that one could conger up. The relationship between the psychology and the principle characters personal and physical relationships are wonderfully played out here. Cronenberg’s use of focus is masterful. He is able to create a better 3D effect that I have seen in even the best 3D films. Quite often, and especially when two people share a scene, the focus is set on the actor in the distance with the actor closest to the camera out of focus. Occasionally, this setup is reversed. The rest of the frame is in very soft focus and this can also include the actor’s clothes. The audience’s eyes are drawn to the actor’s faces in an exceptionally clever and visually pleasing way. The background is always beautiful but Cronenberg wants the audience to know that it is what is being said is the focus, not where they are saying it.

An example of the soft focus used by Cronenberg

The story itself is fascinating and rekindled my interest in psychology which first developed during my A Levels. I felt as though I could listen to Freud and Jung talk for hours or even days. I understand that the subject matter is not for everyone however and this is perhaps why we had to travel to our local Art House Cinema rather than our usual multiplex. In addition to the absorbing psychological debate the audience are also treated to a magnificent personal story which revolves around Jung and Spielrein. It has anticipation, romance and heart and is full of twists and turns.

Many scenes are shot with unusal acting positions

All three principle actors are fantastic. Keira Knightley delivers a wonderfully outrageous and over the top performance as the confused and frenzied Spielrein. She is as accomplished as I have ever seen her. It was a pleasant surprise to see her push her physical acting abilities in ways which I had not seen in the past. Fassbender gives a somewhat subdued performance but he too is more than competent. Mortensen’s Freud is understated but occasionally vicious and calculating. His voice is both relaxing and seductive, a cross between John Hurt and The Cheshire Cat from Alice in Wonderland. Mortensen and Fassbender are at their best when sparring opposite one another. The three leads are joined by an able supporting cast which includes an all too brief cameo from Vincent Cassel who is excellent here as the sex addicted Otto Gross.

I am unable to think of a single facet of this film which I didn’t enjoy or thought could have been improved in some way and am utterly delighted that I took the time to see it. It has been one of the highlights of an already stellar couple of months at the cinema.

9/10

Shame

I found Shame to be a bleak, intriguing and tense film which stuck with me for a long time after watching it. It follows Michael Fassbender as Brandon Sullivan, a successful thirty-something in New York who has an addiction – to sex. Brandon is forced to juggle his addiction with his job and this is made even more difficult with the arrival of his emotionally damaged sister Silly, played by Carey Mulligan.

One of the first things that me struck about the film was how beautiful both New York and the internal sets looke. Steve McQueen is obviously a man with a great eye for beauty in simplicity, a trend that has continued from his earlier career as an artist. Another thing that struck me was Michael Fassbender’s penis. My girlfriend’s three word review of the film “it’s so big!” sums it up well. The film doesn’t shy away from sex or nudity which is refreshing in a world where 18 Certificate films are becoming much rarer. Many film makers see the 18 as something to avoid for financial reasons but Searchlight, the films distributor has called it a “badge of honour”.

Although the film focuses on sex addiction, it could be about any type of addiction. You are increasingly drawn in to Fassbender’s quest to scratch his itch as his life spirals deeper into depravity. You realise that he will do almost anything to get his fix and the parallels with other addictions are evident.

While sex addiction is at the forefront of this film I believe that its motif is the relationship between Fassbender and Mulligan. You are left wanting to know more about what lead them to become the people they are. They don’t seem like brother and sister and find it hard to act as though they are. This mystery is at the heart of the film.

Shame is a powerful and uncompromising film that delves deep into the subject of addiction and its impacts on us.       

9/10