Announcement - The End of At The Back (As You Know It)

Dear reader,

I've been running this blog for about twenty months now and in that time have written close to 600 films reviews, attracting a number of loyal and occasional readers. I'm immensely grateful for every single visitor I receive, it means the world to me that someone would stop by and read what I think about something I'm passionate about. The problem is, that passion has been fading for some time now and I've reached the point where I no longer wish to continue.

The final straw came this morning after I watched Rebel Without a Cause for the first time. I really enjoyed the film and came to write my review as usual but it didn't feel fun. It felt like a chore and that's not how I want to spend my time. I initially started writing about film as a hobby, and grew to love it over the months but recently my passion has waned and I feel like my writing has become uninteresting and sloppy. I can hardly criticise a film maker for making a film I didn't enjoy if I don't have the ability to sum up what was wrong with it in an interesting and coherent way. My thesaurus is being stretched to breaking point and I feel as though I've run out of things to say.

Dead Man's Shoes

Dead Man’s Shoes is a psychological revenge thriller, co-written and directed by the toast of the British critical community, Shane Meadows. Writing with Paul Fraser and Paddy Considine, who also stars, the film focuses on the return to a small northern town of an ex-soldier who reappears after his little brother is humiliated by a group of local drug dealers. The film opens with little back story and reveals itself through the use of grainy, black and white flashbacks, building a picture of the events which lead up to the current plot as it progresses in ever more violent and sadistic ways. It saves its biggest and best reveal until close to the conclusion in a feat of wonderful storytelling which put a delicious cherry on top of an already appealing cinematic cake.

Although Shane Meadows is considered to be one of the brightest talents in UK cinema, I’ve never really found myself that blown away by his films. I can appreciate his style and especially the way in which he gets his films made but they’ve never done anything for me. This changed with Dead Man’s Shoes and instantly became my favourite film from a director I hadn’t really got until now. Not only do I think it’s one of Meadows’ best but I’m struggling to think of a better independent British film from the past decade too.

My Life to Live

Having dipped my toe into the murky waters of the French New Wave with Breathless last week, I’m now ankle deep but the water is no clearer. I enjoy exploring new cinematic avenues, whether it be silent comedy, Italian horror or Korean thrillers but I’ve never had so much difficulty in expressing myself with the written word as I’m having while trying to compose my thoughts about the films of Jean-Luc Godard. My Life to Live or Vivre sa vie in its original French is a film in twelve chapters about a young Parisian woman who dreams of becoming an actress but is drawn into prostitution when money becomes ever more illusive. Anna Karina, Godard’s then wife, stars in the central role and puts in a mesmerising performance in a film which I struggled to enjoy but couldn’t take my eyes off.

From what little I’ve seen of Godard’s canon, I think it’s fair to say that he’s a director with an eye for beauty. The images he crates are sumptuous and filled with splendour despite the slightly crinkled, low budget style of film making in which he partakes. Breathless was amongst the best looking films I’ve seen while My Life to Live exerts its beauty in a steadier, more measured manner, lingering on beauty rather than allowing it to rush by. At the centre of all this is Anna Karina herself, a woman whose eyes flash at the screen in such a way as to make her audience melt.

Life is Beautiful

“Buongiorno principessa!” Two simple words that bought a huge smile to my face during a film which has more emotional peaks and troughs than a very emotionally peaky troughy thing. Life is Beautiful or La vita è bella in its original Italian is a passionate and multi award winning comedy-drama set in Italy during The Second World War. Its dark themes are counterbalanced with some delightful comedy and a sweet story about a man trying to protect his young son from the harsh realities of the war. Italian Jew Guido (Roberto Benigni – also director) is a wildly imaginative and romantic soul who woos a local woman in amusing and inventive ways. Fast forward a few years and Guido and his wife Dora (Nicoletta Braschi) have a cute little boy called Joshua (Giorgio Cantarini). When Guido and Joshua are taken to a work camp by the Germans, Guido puts in tireless effort to hide the truth from his son, telling him that they are playing a game for points in which the winning team will win a real life tank.

Life is Beautiful really is beautiful in of itself. It’s one of the sweetest films I’ve seen and is amongst many people’s (including my Dad’s and girlfriend’s) favourite films of all time. Not only is it a good-natured story but it’s also very bold. Upon its initial release it faced some criticism for making light of the Holocaust but personally I don’t think it does anything to mock that horrific event or undermine the suffering of the millions who had to endure abysmal treatment under the Nazis and their collaborators. Instead it displays the triumph of human spirit and the deep love of a father for going to great lengths to protect his son.

Enemy of the State

Tony Scott’s 1998 thriller Enemy of the State was the first film I ever bought on DVD. Though that disc has since gone walkabout, I remember going into my local Woolworths to buy a different film (an 18 Certificate whose title I can’t remember) but was told by the lady on the checkout that I didn’t look 18 and had to choose another one. Being around 14 I panicked and grabbed Enemy of the State, attracted by the picture of that guy from The Fresh Prince of Bel Air on the cover. I remember enjoying the film all those years ago and marvelling at how modern it was. Unfortunately it hasn’t aged particularly well.

Will Smith plays D.C. Lawyer Robert Dean who becomes embroiled in a conspiracy and high profile assassination following a chance meeting with an old acquaintance from college. Without knowing it, Dean takes into his possession a video tape containing footage of the murder and is tracked by rogue NSA official Thomas Roberts (Jon Voight). With nowhere else to turn, Dean tracks down a shady communications expert called Brill (Gene Hackman) with the hope that he can clear up the mess he finds himself in.

Sabrina

Sabrina is a fairytale love story set around themes of rivalry and class. Sabrina Fairchild (Audrey Hepburn) is a chauffer’s daughter, living on a large Long Island Estate. For some time she’s been in love with the rich and careless David Larrabee (William Holden) who barely notices her. After two years studying in Paris, the grownup Sabrina returns a beautiful and sophisticated woman and David falls in love. The couple’s relationship threatens to derail a big merger for the family company so David’s brother Linus (Humphrey Bogart) decides to woo the girl himself before packing her back off to Paris.

This film is one of several in my girlfriend’s DVD collection that I’ve been meaning to watch for a while. Hepburn is her favourite actress but it was Sabrina I chose over other films because of the male stars. I’ll happily watch anything Bogart and Holden are in but have to say that I was a little disappointed with this film. The stars failed to gel on screen and a little reading tells me that Bogart was unhappy for the duration of the shoot with both director Billy Wilder and his co-star Hepburn who he believed needed too many takes to get her dialogue right. There was better chemistry between Holden and Hepburn which isn’t surprising as the two began a brief affair while shooting the movie.

Breathless

I started to really get into cinema when I was at university after first watching a couple of Martin Scorsese’s early movies. I was dumbstruck by the guerrilla style of Mean Streets and easy flow and strange editing of Taxi Driver as well as the way that both movies captured a time and place which although I’d never personally experienced, felt familiar. In the near decade since then I’ve expanded my cinematic experiences and ventured down many genre avenues, finding much that to like. It’s taken me to my late twenties though to venture towards The French New Wave, a period and collection of film makers who inspired those early Scorsese pictures perhaps more than anything else.

Jean-Luc Godard’s Breathless or À bout de souffle in its native France is one of the most famous examples of the New Wave films which steamed across the Atlantic in the late 1950s and into the 60s, influencing the next generation of American directors. The influence follows a similar pattern to British rock music of the period as Godard and his compatriots François Truffaut, Éric Rohmer and others were themselves being influenced by what they saw in American cinema. It’s almost as though the French put their own spin on what they saw in Hollywood and then this was subsequently appropriated and re-Americanised by ‘movie brats’ of the 70s.

City Lights

In the late 1920s film stars, directors and producers faced a dilemma. 1927’s The Jazz Singer had opened the world’s eyes and ears to the talkies; movies with sound and the revolution had taken off quickly, brushing former silent stars aside and ushering in a new era of spoken dialogue. Arguably the biggest star of the silent era was Charlie Chaplin. His films had been hugely popular in every corner of the globe, from London and Los Angeles to Leningrad and Lahore. His universality came not only from his popular and identifiable Tramp character but because people from any country could understand the language of the film. Each film’s themes and jokes worked in any language and were loved by all.

It was because of The Tramp’s universality as a silent character that caused Chaplin to shun the talkies for a decade after they first became the norm. City Lights was his first film produced after The Jazz Singer and he stuck to his guns, despite outside influence, and kept The Tramp silent. The movie’s opening scene gently mocks the new medium at a statue unveiling. The City Mayor proudly strides to a podium to dedicate a new statue and when he speaks an amusing Donald Duck type noise is emitted from his mouth. His lady wife then takes the stand with similar, higher pitched results. To me this is Chaplin’s way of proving his point to the English speaking world. We can’t understand what the characters are saying so how would his fans in France, Russia or Brazil understand him if he spoke? With this opening scene we not only have our first laugh but also a taste of an ever maturing Chaplin, a man who isn’t afraid to express his opinions on screen.

The World's End

With the final instalment of ‘The Cornetto’ trilogy, writers Simon Pegg and Edgar Wright have bought us a film about what it means to move on and grow up. It’s an apt theme as the film itself is by far the most grown up and mature work the pair have produced so far. Pegg stars as Gary King, a man-child stuck in the past who brings together his childhood friends to attempt a re-enactment of a fateful night over twenty years ago when they tried but failed to complete the ‘Golden Mile’, a twelve stop pub crawl through their home town. Although the friends are unsure, they accompany Gary but what starts as a trip down memory lane, turns into something quite unexpected when it is revealed that the people of Newton Haven have been taken over by an unknown force.

I’m not a huge fan of Shaun of the Dead and Hot Fuzz, the other films in this loose trilogy but I found them both entertaining. I personally think that The World’s End is the best film of the three but probably isn’t the funniest. It’s a more measured, thought provoking film which strangely evokes parallels in the audience’s lives while providing entertaining moments along the way as well as the odd laugh. Pegg and Wright appear to have recognised that their audience has grown with their films and they suitably include themes which you wouldn’t find in their earlier work. The movie reminded me of Toy Story 3. That film included ideas about ageing and one’s place in the world after the fun and laughter of the first two films. This instalment is pitched in a similar way.

Dinner for Schmucks

Based on a French comedy called Le Dîner de Cons, 2010’s Dinner for Schmucks is a politically incorrect screwball comedy. Featuring likeable leads and an overstretched central idea, the film stars Paul Rudd as ambitious financial executive called Tim Conrad. After impressing his managers, Tim is invited to an exclusive dinner which he hopes will lead to a long overdue promotion. The only catch is that each guest must bring a plus one, chosen for their ability to compete for the prize of ‘biggest loser’. Tim’s in two minds about attending the insensitive dinner but when he literally runs into the sweet but simple squirrel taxidermist Barry Speck (Steve Carell) and thinks to himself, what’s the worst that could happen?

Despite being a fan of pretty much everyone in front of the camera in this movie, it passed me by until now. I remember its release but the trailers and reviews did nothing to pull me to the cinema. It’s not a film I’m gutted to have missed three years ago but I came out the other side thinking that it was an average comedy which was short on laughs and story but enjoyable nonetheless.