Chinatown

Loosely based around the California water wars, Roman Polanski’s final American film stars Jack Nicholson as Private Investigator Jake Gittes. Gittes is hired by a woman claiming to be the wife of the chief engineer of Los Angeles Water and Power as she believes her husband is having an affair. Gittes uncovers the alleged affair which opens up a twisting tale of deception, double crossing, profiteering and murder. Often sited as one of the greatest Neo-Noir and mystery films of all time, it helped to cement Jack Nicholson’s status as an A List star and nearly forty years on still has a timeless feel and wonderfully layered curiosity about it.

Although I thought Chinatown was an excellent film I found myself zoning in and out of it as I watched. I don’t know why though as there is very little I didn’t like and I think this says more about my frame of mind at the time than the film itself. Despite my concentration waning, I noted several wonderful things about Polanski’s classic Noir gem.

Schindler's List

As the Germans are relocating the city’s Jews into a self contained ghetto, Oskar Schindler (Liam Neeson) arrives in Krakow to make his fortune from war profiteering. Having lavished gifts and charm on the ruling Nazis, Schindler persuades the influential Jewish accountant Itzhak Stern (Ben Kingsley) to oversee his business of manufacturing mess kits. By hiring Jews, Schindler has a seemingly ever lasting supply of cheap/free labour and gets rich quick but his attitude towards the treatment of the Jews changes when he witnesses the clearing of the ghetto. While before he turned a blind eye, he soon became more interested in the plight of his workers until finally trying to save over a thousand from certain death at great cost and risk to himself.

Undoubtedly one of the most powerful and films of the last twenty years, Schindler’s List has become the foremost film for telling the story of humanities darkest and most irrepressible days. Despite incredibly moving films such as The Pianist and Life is Beautiful, Schindler’s List stands alone at the top as not only a moving and distressing portrayal of humanity at its worst and best but also as a sublime exercise of film making. For me Schindler’s List of one of the rarest of films for which I have no criticism whatsoever. I can’t think of a single shot, line or movement which could be improved.

The Master

Second World War veteran Freddie Quell (Joaquin Phoenix) is struggling to get to grips with civilian life five years after the end of the war. Obsessed with sex and with a severe drink problem he stows aboard a boat after leaving yet another job. The boat he is on is home to a party being thrown by Lancaster Dodd (Philip Seymour Hoffman). Dodd known as The Master takes an interest in the wondering mind of Freddie and introduces him to ‘The Cause’, a philosophical group that Dodd controls. The Master attempts to control Freddie’s drink problem and bring him deeper into his inner circle, often against the wishes of those closest to him.

I’d been looking forward to The Master for months having heard great things from festivals and then its US release. I feel really disappointed then that I walked out of the cinema feeling tired and underwhelmed. Despite many positives the film went nowhere and felt slow and dull.

Spirited Away

Often regarded as one of the greatest animated films of all time and Japan’s highest grossing film in history at the time of its release, Spirited Away is an animated adventure, written and directed by Hayao Miyazaki. Ten year old Chihiro is travelling with her parents to their new house when her father takes a wrong turn that leads to what looks like an abandoned Amusement Park. Though scared, Chihiro follows her parents who find the Park deserted but discover food has been left out. As the parents begin to tuck in Chihiro looks around and discovers a Bath House where she meets Haku, a boy who tells her to get back across the river before sunset. As she returns to her parents she discovers they have been turned into pigs and she is stuck in a strange world of spirits where her kind is not welcome.

Spirited Away reminded me of some of the great children’s adventures such as The Goonies or Labyrinth but also features the kind of animation that reminded me of my childhood. The hand drawn style is reminiscent of classic Disney but also of the cartoons that I was bought up on in the late 80s and early 90s. It doesn’t appear to be pushing any boundaries but is deceptively deep and beautiful.

The Iron Lady

Former British Prime Minister Margaret Thatcher (Meryl Streep) now in her eighties is struggling with dementia and has difficulty distinguishing the past from the present. As she potters around her home she tries to place herself but continues to struggle with the reality that her husband Dennis (Jim Broadbent) has passed away. As Thatcher attempts to come to terms with her loss she slips back into the past, remembering her lower middle-class youth and subsequent rise to becoming the world’s most powerful woman. With Dennis by her side she finds it difficult to let go of the past and realise that she no longer has the power she once had. As an ageing woman she realises that she has virtually no power at all, not even over her own life.

I have really mixed feelings about The Iron Lady. On the one hand it features a career defining performance from someone who is already one of the most distinguished actresses in history but on the other hand it is a biopic about one of the most divisive people in recent history that somehow manages to treat a neutral line. There is surely no one in Britain who has neutral feelings towards the former Prime Minister. People either love her or loathe her yet the film appears to brush over both the best and worst of her character and time in office, leaving a fairly mundane story in its wake.

End of Watch

LAPD Officers Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) patrol one of the most crime ridden areas of Los Angeles; South Central. Their close relationship and dedication to their job runs in parallel with Taylor’s fondness for filming everything they do on the beat. Cameras are attached to the Officer’s uniforms, car and Taylor even uses a handheld camera when investigating a crime scene or just driving around. When a couple of busts seem to share a link with some highly decorated or ‘blinged out’ weapons, Taylor suggests the pair carry out some detective work which gets them embroiled in a war with a Mexican drug cartel.

Although full of many of the usual buddy cop clichés and with problems around the filming style detracting from the drama, End of Watch is an above average Action-Drama which combines a great central relationship, two good performances and a gritty realism. Its main selling point though is the found footage style which is where the film occasionally fails.

Your Sister's Sister

Filmed over just twelve days and largely improvised, Your Sister’s Sister stars Mark Duplass as Jack, a man struggling to function a year on from the untimely death of his much loved brother. Jack’s best friend and brother’s ex-girlfriend Iris (Emily Blunt) offers to let Jack stay at her father’s secluded cabin to help clear his head. When he arrives he finds that the cabin is already occupied by Iris’ sister Hannah (Rosemarie DeWitt), a lesbian who has just ended a seven year relationship. Mark and Hannah get to know each other and a bottle of tequila later end up in bed together. When Iris unexpectedly arrives early the next morning a barrage of secrets, lies and half truths comes her way as the other two try to hide what happened the night before.

For a film with a budget which wouldn’t cover Twilight's glitter funds, Your Sister’s Sister looks great. Occasionally you can tell that it was done on the cheap but it never matters. The improvised script and three superb performances help to give the film a realism which propels the drama and comedy forward towards a crescendo, a turning point from which there is no way back. The film’s great selling point though is its story.

Amour

Winner of the 2012 Palme d’Or at Cannes and with plenty more awards to come in the coming months, Austrian Director Michael Haneke’s film Amour is a story about enduring love. Georges (Jean-Loius Trintignant) and Anne (Emmanuelle Riva) are retired music teachers, living alone in their eighties in their spacious Parisian apartment. Cultured and very much in love, their relationship comes under the ultimate test when Anne suffers a stroke. Georges does his best to care for Anne who begins spiralling further and further into ill health. Against the advice of nurses and the couple’s daughter Eva (Isabelle Huppert), Georges refuses to hospitalise his ailing wife and chooses to carry the burden of her care on his aging hips.

Although Amour lacks the malevolence and hard edged cruelty of some of the Director’s best known work, it is still a film which has the ability to shock. Uncharacteristically for Haneke it is also an extremely beautiful tale but also happens to be the most depressing film I’ve ever seen. I have rarely left a cinema feeling so low or despondent and it wasn’t until I was on my way home that the film’s greatness managed to shine through the dismal but ultimately beautiful plot.       

Sons of the Desert

A colleague of mine, knowing about my love of Buster Keaton and especially Charlie Chaplin asked what I thought of Laurel and Hardy. I had to admit to him that I’d never actually seen one of their films and he helped to rectify that by lending my Sons of the Desert, a film which he told me was one of their most accessible. Laurel and Hardy make a pledge that they will go to the Sons of the Desert Convention in Chicago but have trouble convincing their wives to let them go. After sweet talking fails to work they resort to deception but trouble is waiting for them when they get back home.

For my first Laurel and Hardy film I was mildly impressed but not left with an urge to see more of their work straight away. I enjoyed the story and the characters are great but I didn’t laugh that much. Rather, I had a satisfied smile on my face which only broke into laughter on a couple of occasions. The naughty little boy act was quite fun and Oliver Hardy’s looks to camera were something that seemed familiar to me despite never seeing one of his films before.

The Twilight Saga: Breaking Dawn -Part 1

The penultimate film in the inexplicably popular Twilight series is probably the worst to date. Having avoided the hordes of mindless team whatever fans on its initial release I finally persuaded myself to sit down and watch the DVD twelve months on. I was unable to get through it in one sitting. The plot is one of the least tortuous and most dull affairs I’ve ever seen. Bella (Kristen Stewart) is marrying Edward (R-Patzzz), much to the distain of Jacob (Taylor Lautner) who shows his anger by ripping off his shirt less than five seconds into the film. Following their seemingly real time marriage which feels longer than most actual weddings I’ve been to, the happy couple go on their honeymoon, first passing through Rio, full of stereotypical dancing Brazilians before ending up on a secluded island. Edward is worrying about hurting Bella during consummation and through a vomit inducing sex montage; they finally consummate their love after all these years. But uhoh!! They must have skipped sex education class as Bella ends up with a baby up all inside her belly. How this happens is beyond me as the father is dead. I was under the impression that dead people had no living cells but somehow Edward’s sperm are alive. Anyway, the baby starts trying to kill Bella and lots of people attempt to save her, despite the fact that she’s one of the least likeable characters in cinema history.