The Tramp

A Tramp (Charlie Chaplin) is on the road when he rescues a farmer’s daughter (Edna Purviance) from thieves out to steal her money. As a reward the Tramp is taken in and offered work by Edna’s father (Ernest Van Pelt). On the farm the Tramp is asked to halt a second attempt by the criminals and ends up in a love triangle.

This was Chaplin’s 6^th Essanay film and the first I had seen before watching the studios output in full. It marks the first time that the Tramp is seen fully formed although Chaplin had played the character before. Here the tramp is a much more rounded character and although he still looks out for number one he is more inclined to help others and in fact ends up leaving the farm so that he doesn’t get in the way of Edna and her boyfriend. This is a quite different Tramp from say In the Park and The Champion.

The Proposition

"Ah Australia. What fresh hell is this?"

After a gang commits a horrific crime in 1880s Australia, local Police Captain (Ray Winstone) offers to spare the lives of two Burns’ brothers if one of them, Charlie (Guy Pearce) kills their older brother Arthur (Danny Huston) who was responsible for the crime. As the youngest brother (Richard Wilson) rots in jail with his execution looming, Charlie has just nine days to track down Arthur and bring his body to the Captain.

The film’s opening titles show original photos mixed with stills from the set which are made to look aged. This is a nice little touch which helps to create the period setting. The look and feel of late Victorian Australia is captured wonderfully with a mixture of fantastic sets, costumes and locations. There is a fabulous juxtaposition between the Captain’s little bubble and the rest of the film’s locations. He often remarks that “I will tame this land” and his house, garden and wife look as though they have been neatly dropped from a London suburb. Outside of this however the land is sweaty, dusty and grim. People are unwashed and clothes are stained brown and torn.

A Jitney Elopement

Edna (Edna Purviance) has been betrothed to a rich Count by her father (Ernest Van Pelt) but she already has a secret love, The Tramp (Charlie Chaplin). Edna persuades her love to save her and he impersonates the Count at tea with Edna and her father. Once the Count (Leo White) turns up with his fantastical facial hair The Tramp is thrown out. Later in a park the foursome come together again and the two young lovers attempt to elope in an act that brings about a prolonged car chase.

There are two very distinct halves to this film and I believe that the first half is amongst Chaplin’s best Essanay work to date. Having come off In the Park which was fast and a little bit messy, the first half of A Jitney Elopement was surprisingly slow, calm and more reminiscent of his later feature films. The second half though features a full on frenetic car chase which takes place in and around San Francisco and makes this Chaplin’s most sprawling film to date. The title incidentally comes from the type of vehicle that the couple attempt to run away in – a kind of shared taxi.

The Limelight

"I'm the guy that invented peanut butter"

The Limelight is an ultra low budget comedy drama that was written, directed and stars comedian Glen Maney. Maney plays Gary Shand, a middle aged stand up comedian who in his own words has lost his wife, his kids, everything. Constantly short of cash, Gary tries desperately to get work through his agent Al (Ricky Grover), a non nonsense hard man who appears to enjoy watching Gary suffer. Gary’s only friends appear to be a young stand up called Sean (Patrick Monahan) who steals his material and bartender Adrian (Mark Monero) who has dreams of being a councillor but is unable to console Gary. The plot follows Gary through his struggles until he is ready to end it all. But is redemption just around the corner?

I was asked to review this film by a friend who knows Glen Maney. Because of this I was worried that I wouldn’t like it and would have to tell him that I thought his friend’s film sucked! On the whole though I’m pleased to say that I did enjoy the film although it is not without its faults. Firstly I thought that the premise and story was excellent and was something that is relatable. The idea of a comic who hasn’t quite made it and is struggling with personal problems is a great narrative idea but I felt that the film could have been punchier and is perhaps better suited to TV. In an episodic format I would have happily returned to see how Gary was getting on week after week.

Alice Doesn't Live Here Anymore

"Is it sexy?"

"Sexy for Phoenix.."

Martin Scorsese’s forth picture and the forth in my Scorsese in Sequence series is Alice Doesn’t Live Here Anymore. Alice Hyatt (Ellen Burstyn) is a ex lounge singer turned housewife who lives with her pre teen son Tommy (Alfred Lutter) and her emotionally cold and distant husband Donald (Billy Green Bush). After Donald is killed while driving his truck Alice takes the opportunity to travel through the South Western States of America in search of work as a singer in order to get to Monterey where she hopes to settle and rebuild her singing career.

This is Scorsese’s first film that is overtly comedic. While each of his three previous films had occasional funny moments, Alice’ is the first Scorsese film that I’d describe as a drama-comedy. This doesn’t mean that it’s a laugh a minute popcorn film though. Like all of his funnier films (The King of Comedy, After Hours) there is still a strong dramatic thread to it and it can be sad and even distressing in places.

The film opens with an idealised view of Alice’s childhood in which she is stood outside a house, clutching a doll. This scene is quite surreal and feels like a homage to the Wizard of Oz. The set features obvious fake backdrops and what looks like a flimsy set house and is filmed with a deep red filter. Unlike Oz where Dorothy wants to escape Kansas it feels like Alice is looking back on her childhood wishing she could escape her adult life and return to that idealised red world.

Mulholland Drive

Ooookaayyyy…. So. On Mulholland Dr. L.A. a woman (Laura Harring) is in the back of a car. In the front seat is a man with a gun to her head. Before he is able to fire at her another car hits theirs killing everyone but the woman. She escapes through scrub land and finds herself in a small apartment complex where she is able to sneak into the apartment of an old woman who is leaving town for a while. Meanwhile Betty (Naomi Watts), a young woman with acting aspirations arrives in L.A. and arrives at the same apartment which belongs to her Aunt. She goes inside but finds the escaped woman in the shower. The woman is unable to remember her name and after telling Betty all she remembers is an accident, the two of them set about trying to discover her identity. For some reason the woman’s bag is full of $100 bills and a single blue key. After much searching and seemingly unlinked sub plots a blue box is discovered and opened with the key. After that my internal monologue went a bit like this; “Wait... No So… That means… No… But… He was… Hang on… Ay?... Huh?... Who’s that?... Oh of course… Nope.

This is a completely mental film but I thought it was great. For two thirds it is a mystery with the odd surrealist moment thrown in. I found this part of the film really interesting and complex and had no idea what was happening or where it was going. Despite this I was enjoying the ride. Then it goes crazy. Suddenly people aren’t who they were and characters appear in strands of the story that they had no connection with. One character goes from an amnesiac to a lesbian to the partner of a film director in a couple of scenes while another goes from a vibrant and talented young woman to down and out prostitute. I don’t know how or why and on further reading it turns out that the cast didn’t either.

British Council Film Collection

The British Council Film Collection is an archive of over 120 short documentary films made by the British Council during the 1940s designed to show the world how Britain lived, worked and played. The films vary in length between around three and thirty minutes and show all aspects of Britain during this tumultuous decade. The films were produced as a way of promoting Britain and Britishness and were seen in over 100 countries as cultural propaganda, as a way of counteracting the Nazis own propaganda about Britain being stuck in the past. In amongst the collection there will be at least a few films that are of interest to everyone with subjects as diverse as the Criminal Justice System, Town Planning, Shakespeare, Ship Building and even the life of an Onion...

Although at the time these films were produced to show how modern and diverse Britain was they feel very dated now. They are voiced over by men with accents that no longer exist outside an American tourist's imagination and you'll be hard pressed to find anyone who isn't white on film. Some of the views are also quite outdated. In one film nursing is described as "the most interesting and satisfying career open to women." If you are familiar with any of the towns and cities featured in the films then their appearance will also be a big shock to you. The country has changed a lot in seventy years. Most of the films are shot during the Second World War and this is another interesting feature about them. We are able to see how the nation coped with rationing, bombing and death on a daily basis.

Below are links to and a brief description of four of my favourite films. These are films which for various geographical, historical or personal reasons were of interest to me.

Snow White and the Huntsman

Snow White (Kristen Stewart) is the daughter of King Magnus (Noah Huntley) and is known as a great beauty. Her mother, the Queen dies when she is young and her father remarries a freed prisoner called Ravenna (Charlize Theron). On their wedding night Ravenna kills the King and takes the Kingdom for herself. Snow White is locked up in an isolated tower for several years as the Kingdom is left to rot under Ravenna’s cruel rule. When she comes of age it is revealed to Ravenna that she is no longer the fairest of them all and that Snow White’s beauty has usurped hers. Ravenna tries to eat Snow White’s heart in order to stay forever young but Snow White escapes. Ravenna sends a drunken widower Huntsman (Chris Hemsworth) to bring Snow White back but things don’t pan out the way Ravenna hopes.

The film appears to be influenced by many different stories and ideas with the most notable being Snow White (obviously), but there is also a lot of Joan of Ark in there as well as a little Twilight, Game of Thrones, Royal Wedding and the visual styling of an acid trip. The castle appears to be modelled on Mont St.Michael in Normandy. The film’s design and effects are amongst its most successful features. Debut director Rupert Sanders has created a sumptuous world of dark forests, great castles, dancing fairies, giant trolls and medieval towns. The film looks stunning.

Infernal Affairs

"Remember this, if you see someone doing something but at the same time watching you... then he is a cop"

Triad boss Hon Sam (Eric Tsang) sends a group of young gangsters to join the Hong Kong Police academy with the hope that they will infiltrate the department, rise through the ranks and help him to avoid the attentions of the Police. One of the most successful of these youngsters is Lau (Andy Lau) who ascends the chain of command rapidly. One of Lau’s fellow cadets Chan Wing-yan (Tony Leung) is expelled from the Academy but secretly becomes an undercover cop, hoping to infiltrate Sam’s Triads.

The film is full of suspense and suspicion as we go back and forth between the two moles, both trying to discover the other’s identity while keeping theirs hidden. The plot is highly original, complex and fascinating but it’s a shame I’d already seen Martin Scorsese's fantastic remake The Departed because I knew how things were going to pan out. Even though I knew the ending there were still enough differences and surprises to keep the action fresh. The film also feels much more like a Michael Mann film than a Scorsese.

Thor

"Legend tells us one thing; history, another. But, every now and then, we find something that belongs to both"

A thousand years after his father Odin (Anthony Hopkins), king of Asgard defeated the Frost Giants of Jotunheim, his arrogant but powerful son Thor (Chris Hemsworth) returns to take on his father’s old nemesis after an unprovoked attack on Asgard. This is against his father’s will and as a result Thor is cast out of Asgard, losing all of his power and most importantly Mjolnir, his hammer. Landing on Earth, Thor is accidentally run over by scientists Jane (Natalie Portman) and Erik Selvig (Stellen Skarsgard) who are skeptical about his story. Thor must prove his worth to Asgard and protect the Earth from his jealous brother Loki (Tom Hiddleston) in order to be able to ascend his father’s throne.

I think that the tone of this film was judged very well. It didn’t take itself too seriously which considering the plot involves caped Viking Gods talking in late Middle English and large blue Frost Giants was a good call. It wasn’t as funny as Iron Man but I laughed several times.