Monsieur Verdoux

Released seven years after Chaplin’s last film The Great Dictator, Monsieur Verdoux arrived after yet another turbulent period in the actor/writer/director’s life. Based on an idea by Orson Welles which Chaplin bought from his friend for $5,000 in 1941, the film is loosely based on the life of a famous French bigamist and murderer called Henri Landru. Here Charlie Chaplin plays Henri Verdoux, who after losing his steady job during the Great Depression, marries several wealthy old women before murdering them and stealing from their estates. Chaplin plays Verdoux as a dapper and cunning gentleman. Charming and flirtatious he is an expert salesman - his product, himself. Cleverly he woos unsuspecting women, keeping several on the go at once and when money becomes tight he strikes. Speaking accurately about his work to a neighbour he declares, “Yes I have a job. If I lose one, I can always get another”. It’s this kind of pitch black humour that runs through Chaplin’s darkest film and the same humour that drew mass criticism from journalists and the public alike.

Stepping back in time for just a moment to understand where Chaplin found himself in 1947 it’s not difficult to see why he was given such a hard time in the press. Following several highly public failed marriages, often with women several decades younger than himself, Chaplin found himself in 1943 at the centre of the biggest celebrity scandal since the Arbuckle trials over twenty years earlier. An inspiring actress who Chaplin had privately tutored called Joan Barry had publicly declared the star to be the father of her new born child and a paternity case was played out in the full glare of the media that same year. Although two blood tests proved Chaplin was not the father, the court still ordered him to pay child support and the media backlash was something that Chaplin never really recovered from. Added to this was Chaplin’s refusal to become an American citizen after over thirty years of working in America and suspicions of Communist sympathies in an ever more paranoid and right wing country. So when in 1947 Chaplin released a film that not only did away with his popular Tramp character but also appeared to glamorise murder and polygamy, the knives were out.

Frozen

The charm attributed to Disney’s latest feature animation is something that has passed me by. Exhibiting little originality in story, art or character, Frozen is nonetheless a double Oscar nominated film. Loosely based on Hans Christian Anderson’s The Snow Queen, this is a classic tale of Disney princesses overcoming adversity, finding happiness through hard work, perseverance and love. Following a typical first act tragedy, Princesses Anna (Kristen Bell) and Elsa (Idina Menzel) are left alone in their Scandinavian castle. Though formerly very close, Elsa’s ability to create ice and snow from her fingertips is considered a danger to others and she hides away for years until she’s old enough to ascend the throne. Soon disaster strikes and the Kingdom is plunged into icy darkness while Elsa absconds to the mountains to lead a hermit like life. This leaves her younger sister Anna to bring her back and save the Kingdom from ruin.

I have to admit that I found very little to like in Frozen. I was bored by the predictable storyline and disliked the musical theatre style songs. The one ray of sunshine though in this otherwise cold film was the character of Olaf the snowman. One of the best Disney characters in years, everything Olaf says and does is funny or sweet and he brightened up what was otherwise a dull 102 minutes.

The Railway Man

The memoir of Eric Lomax, a man held as a Prisoner of War and forced to work on the Thai-Burma railway, had the potential to form the basis of an excellent movie. Unfortunately in the hands of director Jonathan Teplitzky it’s a flaccid hodgepodge of sentimentalism and redemption with an overbearing amount of romance crammed in to satisfy its grey haired target audience. The film goes to great lengths to show the impact that those harrowing years had on the central character but in doing so waters down its effects. Over and over again we are shown Lomax as a reserved, quiet man who is screaming on the inside and the more we see it, the less it holds sway. Instead of focus, Teplitzky meanders through the aging Lomax’s mind, boring his audience when he should be shocking them.

The film works using flashback to show tantalising glimpses as to what happened between 1942 and the end of the war and this is when the film is at its strongest. The numerous scenes in later life do little to add to the story before a terrific climax in which Lomax is reunited with the Japanese soldier who tortured him while a prisoner. The elder Lomax is played by Colin Firth who while always watchable, sometimes looks as though on auto pilot. His younger self is an excellent Jeremy Irvine who captures the mannerisms and speech of his older co-star. The remainder of the film is miscast with a doe eyed and wooden Nicole Kidman as Lomax’s long suffering wife and Stellan Skarsgård as his Swedish sounding superior officer. Skarsgård makes no attempt at affecting an English accent despite the strong and pronounced accent of his younger self (Sam Reid). Tanroh Ishida is capable but hardly threatening as the young Japanese torturer who is played by Hiroyuki Sanada in the later scenes.

The Wolf of Wall Street

Martin Scorsese’s latest motion picture comes hurling towards its audience as though thrown from an amusement park ride. Loud, vulgar and covered in vomit, it’s the director’s most controversial movie in years, not to mention his longest and perhaps his most unabashed. The auteur is proving that even into his seventies he still has the power to enthral, entertain and repulse with a wild film about greed and intemperance. The Wolf of Wall Street is based on the memoir of the same name written by Jordan Belfort, a former New York stockbroker who lived a life filled with excess thanks to his shady stock market dealings in the 1980s and 90s.

Joining Scorsese for a fifth time as lead actor is Leonardo DiCaprio who plays Belfort with all the grace, charm and sophistication you expect from a Wall Street swindler. DiCaprio is nasty, vile, cruel and disgusting and yet you can’t help love both him and the character as you watch him snort cocaine from a hooker’s anus or throw hundred dollar bills in the trash. He’s made it, he’s living the American dream and he’s loving every minute of it. Criticism has come from the fact that the central character suffers no real comeuppance, no fall from grace. I disagree slightly with this but would also argue that Scorsese and screenwriter Terrance Winter are showing you how it is. The bad guy doesn’t always lose and in this case, he might not win all the time but it makes no difference. You know he’s a dick and you know he’s in the wrong but you also know that you want what he’s got.

Good Vibrations

A feel good sleeper hit, Good Vibrations is based on the life of Belfast’s godfather of punk Terri Hooley. Set during the 1970s and 80s with civil war raging across Northern Ireland, Hooley set himself apart from the political and religious fighting by opening a record shop in the troubled capital. Maintaining neutrality and encouraging the same, he drew people from both sides together through their shared love of music before becoming an instrumental figure in the burgeoning punk scene with Good Vibrations Records, a small label that signed the likes of Rudi, The Outcasts and The Undertones. 

Good Vibrations didn’t get a huge release back in March 2013 and it deserves more attention that it’s been getting since. It’s a charming, funny and engaging film which put a smile on my face and helped me look beyond Belfast’s infamous past.

2014 Oscar Nomination Predictions

With the awards season already in full swing, we're now on the eve of the nominations for the 86th Academy Awards. As with the 2013 Oscars I'm joining in with Film Actually's annual Oscar prediction competition and as with 2013, I'm going to use my Britishness as an excuse for a poor showing. As my fellow countrymen will know, the likes of The Wolf of Wall Street, Her, Inside Llewyn Davis and Dallas Buyers Club haven't been released in the UK yet so it puts us at a slight disadvantage compared to our American chums. Despite this, I'm going to use my expert film knowledge as well as other award ceremonies as a guide and have a stab at predicting the nominations and winners in 21 of the categories. The list of my predictions is below and my predicted winner is in red.

According to my predictions, 12 Years a Slave will be the winner nominations wise with an impressive (14). Gravity will get (11) with American Hustle on (10), Captain Philips not far behind with (8) and The Wolf of Wall Street and Rush on (5) nominations apiece. 

For the Oscar winners, I'm predicting that Gravity will win a total of (6) awards with 12 Years a Slave taking (5) home and American Hustle (2).

For those who want to keep an eye on awards buzz all year round, head over to Film Actually for up to date and insightful awards news, predictions, rumours and lists.

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12 Years a Slave
Gravity
The Wolf of Wall Street
American Hustle
Captain Philips
Philomena
Nebraska

Get a Horse!

Get a Horse! Is a dazzling and enchanting Disney animated short that was featured prior to the feature length film Frozen in cinemas. Wonderfully mixing antique and modern animation it’s a feast for the eyes and a reminder of how good Disney once was and what it’s capable of today. Directed by Lauren MacMullen, the first woman to solo direct a Disney film, it takes inspiration from Buster Keaton’s Sherlock Jr with its stepping through the screen antics.

The plot follows the typical type of early Mickey Mouse short. Using hand drawn, black and white animation, Mickey is enjoying a musical wagon ride with Minnie Mouse when they are pounced upon by the wicked Peg-Leg Pete in his automobile. Spying Minnie, Pete attempts to steal her from our hero and drive off into the sunset with her as his prize. Following a brief fight, Mickey and his steed Horace are literally pushed through the cinema screen and become bold, brightly coloured modern versions of themselves. Hilarity then ensues as the fight goes back and forth between monochrome and colour, old and new.

I thought this film was incredibly witty and inventive. Initially I assumed the short was a re-release of an old classic and had no idea that the characters were about to be launched into the 21^st Century. The traditional black and white animation is exquisite and the soundtrack is excellent to match. I’m not as much a fan of the newer style but that might just be my old codger-ness coming through. Throughout its seven minute runtime, the film was drawing laughs from young and old in the cinema and was hopefully introducing the younger members of the audience to the wonderful older style of animation. The score is bouncy and full of brass and made my feet bop along from start to finish while it also makes use of archive audio to capture the real voices of Walt Disney, Marcellite Garner and Billy Bletcher, all long deceased. This really is a wonderful Disney short, the best I’ve seen in ages. 

9/10 

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Sherlock Jr 1924

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The Look of Love

The Look of Love is a 2013 biopic of Paul Raymond, a self made man dubbed ‘The King of Soho’ thanks to his enormous property empire which included numerous clubs, bars, strip clubs and theatres. Branching out later to pornographic magazines he became Britain’s wealthiest man in 1992 with an estimated worth of £650 million. The film takes us back to his beginnings as a small time entertainer who hit upon the idea of a private gentlemen’s club in which naked women would appear in live shows, something that was previously banned in the UK. From here the movie charts his rise, reaching the dizzy heights of drug addled fame before crashing down to personal disaster.

Behind the camera is Michael Winterbottom, a man capable of producing excellent work (24 Hour Party People, Trishna, The Trip) while his frequent collaborator Steve Coogan takes on the role of Raymond. The film features some delicious period detail and more naked women than you could shake a stick at so why did I find it all so dull?

Despite the lavish interior sets and attention to detail in costume and hair (both collar and cuffs), the film never grabbed me. I was extremely bored throughout and never really cared about any of the characters. Paul Raymond is a smooth talking self publicist who spends the film going from one gorgeous woman to another while his daughter Debbie (Imogen Poots) is portrayed as a spoiled, talentless daddy’s girl. Neither are particularly fun to be around and despite Coogan injecting a bit of humour into Raymond, I never missed them when they weren’t on screen. Raymond’s life was either not interesting or the film made it feel so. Considering he was a philandering, multi millionaire who owned Soho, I fear it’s the latter.  

The Blues: Feel Like Going Home

Feel Like Going Home is one of seven documentaries produced by Martin Scorsese on the subject of blues music. This particular episode was also directed by the auteur and focuses primarily on the roots of the genre. Narrated in part by Scorsese himself, it follows musician Corey Harris as he interviews fellow musicians and goes in search of the blues birthplace, travelling through the Mississippi Delta and eventually to West Africa from where the music was first snatched away in chains aboard slave ships.

Neither a hard hitting exposé nor critically acclaimed undercover investigation, Scorsese’s film is a sort of coffee table documentary, delighting its audience with some great stories and incredible music. It fails to go deep or uncover anything new but might help to bring the blues to a whole new audience.

The first thing that struck me about this film was its look. Scorsese has a reputation as one of the greatest film makers of his or any age and we are used to his highly polished latter work as well as his grittier, earthier beginnings but this film is unlike anything I’ve seen from Scorsese before. It feels cheap and basic, like one man and a camera, and not a great camera at that. A lot of the footage is grainy and dark and it doesn’t appear to be particularly well made in several places. Even the editing is a little slapdash. Although I tried to put this to one side, I could never quite get over it. I understand that the budget must have been low but I’d expected something a little flashier or at least more polished from Martin Scorsese.

The French Connection

A winner of five Academy Awards including Best Picture, The French Connection is a taught and edgy police thriller starring Gene Hackman in the role that won him the first of his two Oscars. The film is inspired by the book of the same name and blends fact and fiction to bring a major drug smuggling operation to the big screen. Detectives Jimmy ‘Popeye’ Doyle (Hackman) and Buddy ‘Cloudy’ Russo (Roy Scheider) uncover a plot to smuggle a large quantity of heroin from France to the East Coast of the USA and tail leads, battle assassins and fight their bosses in an attempt to bring the traffickers down.

Early scenes criss-cross the Atlantic between New York City and Marseilles where the protagonists are either setting up to smuggle drugs or carrying out street busts. A few of the opening scenes gave me eye strain due to the slightly juddery hand held style of camera work used by Director William Friedkin. Once I was over the initial disorientation that the camera work gave me though, I was able to appreciate the almost documentary style of realism that Friedkin captures. He gets right to the heart of the action with cameras placed in close quarters to the actors when necessary but also stands back at times, delivering long tracking or panning shots as the characters play a game of cat and mouse through the streets of New York.