UK Film Network

THE TIMES BFI 53^RD LONDON FILM FESTIVAL 14-29 October 2009

Published by: Tremayne (Potter)

Thursday 29^th October

On the final day of the festival I made my way across to The London Film Theatre along The South Bank to watch the film ‘Leave Her To Heaven’ which prevented me from checking-in on my e-mails concerning the films that had been awarded prizes and the times they would be screened that very same day, however, it meant I got to experience a re-mastered 1940s film classic, which I might otherwise have never seen.  Check end of review for list of prize-winning films.

Leave Her To Heaven

Dir.: John M Stahl/ Scr Jo Swerling/ with Gene Tierney, Cornel Wilde, Jeanne Crain, Vincent Price/ USA 1945/ 110 min

‘A film seemingly made in a trance and best seen in a state of fever,’ says David Thomson in Biographical Dictionary Of Film.  ‘A fever pitch’, reflects Anthony Lane in an article for the New Yorker, reminiscing over films past in time for a revival in New York.

John M Stahl is well established for pre-sirk, black-and-white romantic melodramas described as ‘women’s pictures’, for example, in Back Street and Imitation of Life, before taking a brave step in to what has been described by Thomson as being ‘self-destructive technicolour emotionalism’.  And it is through the essence of technicolour and the film’s ‘noir’ feel that our attention is constantly held.  Gene Tierney plays a horrid heroine.  Clearly born to have been projected on to three-strip technicolour.  Her lips said to be ‘as red as a witch’s apple!’  Think Snow White, oozing her sweetness from the offset till domination is allowed to take control.  Tierney’s character Ellen is uncaring, utterly fixated, hanging on to ‘a father complex’, which she allows to transfer across to husband Richard, played by Cornel Wilde, while, in comparison, her sister (Jeanne Crain) remains the forever perfect and doting one. ‘There’s nothing wrong with Ellen, she just loves too much’, says her mother convincing Richard, after which Ellen under an act of jealousy witnesses his disabled brother drowning and does not go to his aide.  She then miscarries their unborn child by purposely stumbling down the stairs.  Over-the-top in every sense of the word but really captures the era in which it was shot.

The Academy Film Archive is to thank for the brilliant restoration of Oscar-winning cameraman Leon Shamroy’s rich Technicolour photography, which was financially supported by  The Film Foundation.

The Awards at this year’s festival acknowledged the following films:

The awards this year were awarded to the following films:

Winner of Best Film Award: The Prophet

Winner of The Sutherland Trophy: Ajami

 Winner of Best British Newcomer Award: The Scouting Book for Boys

Winner of Grierson Award: Defamation

THE TIMES BFI 53^RD LONDON FILM FESTIVAL 14-29 October 2009

Published by: Tremayne (Potter)

Wednesday 28^th October 2009 (Morning Screening for PRESS only!)

A Serious Man

Dir-Scr: Joel Coen, Ethan Coen/ with Michael Stuhlbarg, Richard Kind, Simon Helberg, Adam Akin (106 min).

The Coen brothers’ film this time around is a much more personal one but shows no signs of being any less fun.  Set in the late 1960s it appears, at first sight, to be in the seemingly ordinary world of Larry Gopnik. He cannot be criticized either for his marital or parental skills.  A hardworking professor at restful Midwestern University,never one to be swayed by the trials and tribulations that his life throws at him, one day everything changes and his life takes a turn for the worse.

His beloved opts to end their marriage for reasons she is not willing to discuss. To make matters worse her new man has the nerve to intervene in their family life and the home he has built up. She manages to persuade him, although short of cash, that it would be better all round if he started living in a motel.  Also, to top it all off, his career is then put on the line through a series of unidentified letters, questioning his favouritism over students, along with his brother who no-one is willing to employ and who is becoming an ever increasing problem.

Larry tries to find some kind of balance and to keep his head held high during all this hardship.  It is the root of all his problems that the film portrays well with its use of rather quaint humour and it is particularly funny when he attempts to find solace by visiting  a series of rabbis  who are less than helpful.  Michael Stuhlbarg plays Larry brilliantly, seemingly underplaying him.

A well put together Coen brothers classic, painting an extremely detailed picture of one character.

THE TIMES BFI 53^RD LONDON FILM FESTIVAL 14-29 October 2009

Published by: Tremayne (Potter)

Saturday 24 October 2009

Glorious 39 Premiere

Never in my life have I felt so unglamourous.  I remember asking myself, ‘where is my personal stylist, hairdresser and make-up artist?!’  One exception was when I attended the World Premiere of David Morrissey film, Don’t Worry About Me, where I wore my Kate Moss LBD, complete with Grecian-style stilettos.

Of course yesterday’s red carpet event did not help, getting caught up behind the cast of Glorious 39, which included: Romola Garai (who recently appeared in the BBC series Emma and who is set to be the next Kate Winslett), Billy Nighy, rising starlet Juno Temple (whom the photographers seemed most keen on taking photos of), Jenny Agutter and Doctor Who’s David Tennant, whom the crowd had been waiting on tenterhooks for in the hope of catching a mere glimpse of him and he did not fail to disappoint).

I found myself scurrying along the carpet with an obnoxious American journalist, and, oh-my-God, I could not believe how amazingly rude she was!

Thursday 29 October 2009: It just so happened, that on the final day of the festival I had the misfortune of bumping into her again.  This time at The Hampshire Hotel, where a suite had been put aside for BFI delegates.  I had gone there in between films, in the hope of finding some solace but, instead, I had to put up with her jibbering voice towering over me!

Jokily I mentioned what had happened on the red carpet and how it had put her out being made to walk around to the back of the Vue Cinema in Leicester Square, after barriers had been erected in aide of the Glorious 39 Premiere, which interestingly she was only too quick to shrug off!

I was fortunate enough to meet director Stephen Poliakoff at The Filmmakers Afternoon Tea on Wednesday 28 October 2009, where a group interview took place in one of the Mayfair Hotel’s private suites.

Glorious 39 is based on fact and looks at the twelve weeks leading up to the Second World War, the first few weeks of what became known as ‘The Phoney War’.  What is particularly special about this film is the fact that its director Stephen Poliakoff is himself of Jewish descent and also that actress Julie Christie plays a very different character to the ones we are used to seeing her play.

Stephen Poliakoff has been making award-winning dramas for over a decade, including dramas such as: Shooting The Past and Gideon’s Daughter.  He reverts back to cinema with the film Glorious 39, which draws us in with its thriller-type quality.  It focuses in on the upper-class Keyes family who are doing everything within their power  to continue to lead the lifestyle they have become accustomed to, even amongst political unrest.  Alexander (Bill Nighy) is head of the household and is an important conservative MP.  His son, Ralph (Eddie Redmayne), works for The Foreign Office.  Romola Garai plays adopted daughter, Anne, and is an aspiring actress until her carefree life is thrown up in to the air when she comes across suspect recordings hidden away in the family home’s outbuildings.  In an attempt to get to the root of the matter she gets sucked into a world that is full of betrayal and secrets.

The picture her discoveries paint are as shocking to Anne, as they are to us.

‘Poliakoff handles the shift in tone  with great skill, capturing the full sense of threat and unease of this significant moment in history.’

Valkyrie
By: Davor Mamuzic

Films made on the war themes usually carry their own propaganda agenda, glorifying one side over the other, but Valkyrie offered the inside look at the German SS army, and how not one, but thousands officers, staff, or even soldiers didn't agree with Germany's politics, and wanted a change for better.

 Valkyrie, directed by Bryan Singer (X-men, Usual Suspects) is a classic story of good versus evil, and choices made by individuals who believed in the light at the end of the tunnel. Colonel Claus von Stauffenberg, played by Tom Cruise (War of the Worlds, Mission Impossible), who saw that light, and took it into his own hands as he was followed by a small team of high-ranking officers plotting to assassinate Adolf HItler, and hopefully end the war of all wars. Hitler, played by David Bamber (The Bourne Identity, Gangs of New York) gave a perfect performance as he painted Hitler's potrait of being extremely misterious, but yet, very intimidating character. His presence on the screen is almost as chilling as the opening sequence as Nazi soldiers are giving their oath to the great "Führer".

Fortunately, this film did not feature any fake German accents, and having the over-the-top performance by extremely great talents, such as Bill Neighy (Pirates of the Carribean), Tom Wilkinson (RocknRolla), and Cruise helped this dialogue-driven film to be extremely intense and suspensful.

Trailer
IMDB
 
This film opens in the North American theatres December 25th.


Rating: 4/5

Imagine if you decided that your new year’s resolution was to say "yes" to everything. Think you could do it? I know I certainly couldn't!

But Jim Carrey can - and has done it his new film "Yes Man".

The plot consists of a Mr. Carl Allen (Carrey) going nowhere in his life. Continually saying "no" to everything, not only does he become a predictable average Joe, but he also gets nothing exciting from life. That is, until he signs up for a self-help program with a simple covenant: say ‘yes’ to everything. It soon changes his life, but his enthusiasm starts to work against him. In this particular new addition to Jim Carrey's CV, he has toned down the physical characteristics that once made him famous in such films as Bruce almighty and in the process of doing so, has indeed made it an impossible challenge for him to pull off this particular comedy adaptation of Danny Wallace’s bestselling book. Don't get me wrong, the idea that you say yes to everything is a great plot device, but in this bland and somewhat predictable comedy, the clever notion of the original book just gets buried.

I will admit at this point however, that there are some relatively good parts in the movie, but the film’s original promise disappears soon after Allen’s life changes, as he begins dating the stanchly, eccentric and ridiculously pretty Allison (a cute nosed, red-lipped Zooey Deschanel) and starts to connect with his boss, Norm - played by Flight Of The Conchords’ singer Rhys Darby (who pulls off a rather charismatic, even if inexperienced performance). Allen lives life to the full, taking everything in her stride and even courageously saving a suicide case at one point - but after one particularly appalling, clunking plot twist (which we must assume took three writers to conjure up) his life - and the movie for that matter - begins to unravel like an old jumper.

My conclusion? A alright comedy, with some witty jokes and funny moments, but overall, don’t be afraid to give the “Yes” movie a “No”.

NOMINATIONS ANNOUNCED

Slumdog Millionaire and The Curious Case of Benjamin Button have each received 11 nominations for the Orange British Academy Film Awards in 2009.

The Dark Knight has 9 nominations and Changeling has 8 nominations.

Frost/Nixon has 6 nominations, The Reader has 5 and In Bruges, Milk and Revolutionary Road all have 4 nominations each.

Slumdog Millionaire has been nominated in the categories Best Film, Adapted Screenplay, Cinematography, Editing, Music, Production Design, Sound and Outstanding British Film. Danny Boyle is nominated for Director, Dev Patel is nominated for Leading Actor and Freida Pinto receives a nomination as Supporting Actress.

The Curious Case of Benjamin Button has been nominated for Best Film, Director for David Fincher, Adapted Screenplay, Cinematography, Costume Design, Editing, Make Up & Hair, Music, Production Design and Special Visual Effects. Brad Pitt is a double nominee: he features in Leading Actor for his role as Benjamin Button and Supporting Actor for Burn After Reading. Tilda Swinton is nominated in the Supporting Actress category for Burn After Reading, and the film also receives an Original Screenplay nomination.

The late Heath Ledger is nominated for Supporting Actor for The Dark Knight. The film’s other nominations are: Cinematography, Production Design, Costume Design, Editing, Make Up & Hair, Music, Sound and Special Visual Effects.

Angelina Jolie has been nominated for her Leading Actress performance in Changeling. The film has also been nominated for Original Screenplay, Cinematography, Costume Design, Editing, Production Design and Sound, with Clint Eastwood receiving a Director nomination.

Ron Howard is nominated for Director for Frost/Nixon. The film is nominated for Best Film, Adapted Screenplay, Editing, Make Up & Hair and the film’s Nixon, Frank Langella, receives a nomination for Leading Actor.

The Reader has been nominated for Best Film, Director for Stephen Daldry, Adapted Screenplay and Cinematography. Its star, Kate Winslet, is nominated for Leading Actress. Kate is nominated a second time for Leading Actress for her performance in Revolutionary Road, which is also nominated for Adapted Screenplay, Costume Design and Production Design.

Sean Penn’s performance as Harvey Milk has received a Leading Actor nomination. Milk has also been nominated for Best Film, Original Screenplay and Make Up & Hair.

In Bruges has been nominated for Original Screenplay, Editing, Supporting Actor for Brendan Gleeson and Outstanding British Film.

Also nominated for Outstanding British Film alongside Slumdog Millionaire and In Bruges are Man on Wire and Hunger and Mamma Mia!, which has also been nominated for Music. Judy Craymer, the producer of Mamma Mia!, Simon Chinn the producer of Man on Wire, Steve McQueen, director/writer of Hunger, Solon Papadopoulos and Roy Boulter who produced Of Time and the City and Garth Jennings, writer of Son of Rambow have all been nominated for The Carl Foreman Award for Special Achievement by a British Director, Writer or Producer for their First Feature Film.

Doubt received three performance nominations: Leading Actress for Meryl Streep, Supporting Actor for Philip Seymour Hoffman and Supporting Actress for Amy Adams. Mickey Rourke and Marisa Tomei were nominated for Leading Actor and Supporting Actress for The Wrestler. Robert Downey Jr. is nominated for Supporting Actor for Tropic Thunder and Penélope Cruz is nominated for Supporting Actress for Vicky Cristina Barcelona.

Wall•E has been nominated for Music, Sound and Animated Film. The other Animated Film nominees, Persepolis and Waltz with Bashir are both nominated for Film Not in the English Language alongside The Baader Meinhof Complex, Gomorrah and I’ve Loved You So Long.

I’ve Loved You So Long also receives nominations for Original Screenplay and for Kristin Scott Thomas for Leading Actress.

The Duchess received nominations for Costume Design and Make Up & Hair.

Nominated for Special Visual Effects alongside The Curious Case of Benjamin Button and The Dark Knight are: Indiana Jones and the Kingdom of the Crystal Skull, Iron Man and Quantum of Solace, which also received a Sound nomination.

The nominees for the Orange Rising Star Award, announced earlier this month, are Michael Cera, Noel Clarke, Michael Fassbender, Rebecca Hall and Toby Kebbell. This audience award is voted for by the British public and presented to an actor or actress who has demonstrated exceptional talent and promise.

The Orange British Academy Film Awards take place on Sunday 8 February at The Royal Opera House, Covent Garden, London.

Orange has sponsored the Film Awards since 1998.

"Waltz with Bashir" is a film like no other. An animated movie throughout (except in the end), the film is actually a documentary hidden under the dramatic trappings of portrayed events.

It is the story of Ari Folman and his journey, both physical and emotional, to find out why he doesn't remember certain events during the Lebanese Civil War which involved Lebanon, Syria, the Palestine Liberation Organization (PLO) and Israel.

Haunted by a strange, disturbing vision that was triggered when talking to an old friend about the war, Ari starts to question why he doesn't recount any of the details of the military strife during those days. His quest to find out what, where, when and why has him travelling to talk with former comrades and using their accounts and experiences to fill in the holes in his own troubled memory.

With each passing interview, Ari starts to rile in forgotten memories that now come back to haunt him. He re-"discovers" the many moments of war and destruction during the time when he was a soldier and attempts to arrange the puzzle pieces in order to figure out the original meaning of his vision.

His desire to fill the gaps in his memory turn back to plague him and near the end, Ari finally has an explanation of why he was involved and why him and his comrades took that 'waltz with Bashir'.

I am going to make a bold statement - "Waltz with Bashir" is the best movie of 2008. Forget the political ramifications of the movie releasing in the year that is rife with Middle Eastern conflict. Ari Folman (who is also the writer and director) has created something that borders on that thin line of art and exposition. His movie doesn't attempt to judge the accounts that took place, but instead, allows the viewer to come to their own conclusion based on the facts he presents. In effect, Ari is the witness on the stand, and the movie, his exhibit and we, the jurors, can either say "Yay" or "Nay".

At its core, the film is about human memory. How it can be manipulated, controlled and even let loose if, for a moment, the mind is unable to cope with what it deems to be "reality".

As a viewer, you may come to a conclusion that is drastically different than mine. I for one, consider memory a double-edged sword, a mechanism that delivers so much happiness and is yet, also capable to present to its human hostage, the worst nightmares.

All the accounts given by the various people in the film are all embedded in an eerie juxtaposition. War takes place in beautiful landscapes, the sun shines over the beaches while bombs drop over soldiers playing volleyball. It portrays war in a way I have never seen before. It makes you wonder, really, whether war can really be a product of humanity, because for all its alleged uses and justification, it remains, along with human memory; disturbingly unnatural.

Review written by Akhil Kamble

If there ever was a film project that took the history from the history textbook and applied it to film, that film project would be the “Che” saga. “Che: Part One”, follows (as the title suggests) the revolutionary life of Ernesto Che Guevara as he leaves the shores of Mexico with just 82 men, all commanded by Fidel Castro, onto the beaches of Cuba to ignite a revolution that would supplant the dictatorship regime friendly to the US.  

Che is played by none other than Steven Soderbergh-veteran - Benicio Del Toro. Benicio's portrayal of the young Commandante is exacting and poignant. Although Benicio's Che looks sterile and stiff, it is in the subtleties that the character's portrayal truly shines. From the sporadic spasms of asthma that Che was famous for, to the significant pauses of thought in conversations taken between Che and the enigmatic TV journalist, Lisa Howard; Benicio vehemently succeeds in his depiction of the iconic general.

Part one of this two-piece series focuses on Che's accomplishments in the Cuban revolution. Fidel Castro's guerrilla warfare against Batista's army leads to many instances of heated battles and ultimately directs it to a successful war that installs a Communist regime in Cuba.

As a viewer, what struck me as refreshing is the absence of Director Steven Soderbergh's signature visual palettes such as over-saturated film, different colour hues and a noticeably shaky camera. Although you may argue for these artistic techniques; I, for one considered them too distracting and these techniques essentially left me at odds with his previous films such as "Traffic" and the "Ocean's" series. This time, Soderbergh instead lets the action on screen speaks for itself and uses subtle visual cues to highlight moments of importance such as the taking of Santa Clara and the black-white infused cinematography of Che's visit to the United Nations in the December of 1964.

I would not be surprised if Benicio's performance earns him high acclaim, but the other standout portrayal is Demián Bichir's depiction of Fidel Castro himself. After viewing some footage of the real Fidel Castro for comparison, I found Bichir's performance to be as exacting as the film itself. The numerous similarities, apart from the eerie resemblance, lends itself to awe-inspiring appreciation. The filmmakers were smart, however, as Fidel Castro is shown in bits and pieces and there aren't many scenes where Fidel is the centre of attention. Nevertheless, I felt that in every scene with both icons present, Bichir's performance outmatched Benicio's.

Many will argue, I'm sure, that the film's relentless effort to show everything and anything concerning Che's Cuban conflict is unnecessary and will likely yield itself to a boring view.

I disagree.

I think that the films exacting standards are well deserved and matches the epic nature of the entire 26th of July Movement that "freed" Cuba of its repressive government.

Watch it.

If you don't appreciate the detail, you will at least welcome it's result - a well made piece of historical cinema that deserves your complete attention.

http://www.imdb.com/title/tt0892255/