Fish Tank is an interesting title in the latest edition of The 1001 Films To See Before You Die. It was to be expected that Avatar, Inglorious Basterds and Precious would be included due to the bundles of awards under their arms, their well-respected directors and the billions of dollars they took at the Box Office, but Fish Tank (only director Andrea Arnold's second film) has little reputation by comparison and is included in the book on its merits alone. Fish Tank focusses on the life of 15 year-old Mia (Katie Jarvis), an aggressive, foul mouthed loner and her mother Joanne (Kierston Wareing) and sister Tyler (Rebecca Griffiths), all of whom become reinvigorated with the arrival Connor (Michael Fassbender), Mia's Mother's new boyfriend.
Fish Tank is a very interesting modern British Film, with a very heavy emphasis on British. Like many other offerings of recent years it focuses on life within a council estate and the effects of the education system and family life on young people. The theme of family runs straight through the film, it is questionable as to whether Mia has a family of any sort, her sister is abusive, her mother moreso. The only moments where a family dynamic seems established is when Fassbender's Connor appears and quickly assumes an encouraging fatherly role, albeit a little too quickly to be comfortable. Nothing remains constant in Mia's life, her mother's attitude towards her changes as quickly as the weather, her school is changing and her family too, though she rarely changes her greying hoodie.
Fish Tank rests on Katie Jarvis' portrayal of Mia, with no previous acting experience before Fish Tank (not even a bit part in Waterloo Road) Jarvis' performance is astonishing and vicious. It is perhaps telling that she was spotted by a talent scout in the very area the film is set, Jarvis acts like she knows every bleak detail of the neighbourhood, every crack in the pavement and every can by the roadside. Michael Fassbender's portrayal of Connor is equally profound, at no point does Connor's prescence ever feel comfortable, Connor is over-friendly to the point of being creepy, Fassbender can just flick a look in one direction and make you feel uneasy. Kierston Wareing and Rebecca Griffiths feel like secondary characters, but both of their frantic performances are not easily forgotton, Griffiths in particular makes Hit Girl look timid.
Fish Tank does not present any revolutionary new camera techniques, it does not change "the game" in any way or heave intolerable amounts of "grit" or "darkness" into the story which many British films have a tendency to do at the moment. What it does do is demonstrate the power of brilliant performances and an engaging script. One of the final, most heavy hitting moments of sadness comes when watching the credits which reads "With Thanks to the UK Film Council", a film such as Fish Tank demonstrates importance of this now redundant body in selecting and supporting the best British talent.
Thursday 16 December 2010
Monday 6 December 2010
COMING SOON
I know it has taken a while to publish the review of Priscilla, Queen of the Desert, but never fear new reviews are on their way soon, and will not take as long as the Priscilla. Look forward to
300: Fish Tank
301: Blow Up
299: Priscilla, Queen of the Desert
Priscilla, Queen of the Desert is a road movie through and through. Three drag queens begin a journey across the Australian Outback for a month's residency at a hotel owned by one of the drag queens' wives. On this journey, the three companions stumble upon oddballs, homophobes and new loves whilst discovering things they never knew about one another. Appearing first in 1994, Priscilla, Queen of the Desert burst into cinema's in all it's finery and won an Academy Award for Best Costume Design.
The central trio of the film consists of Tick (Hugo Weaving), Adam (Guy Pearce) and Bernadette (Terrence Stamp) played by very fine actors, but none of whom are actually gay and as such have little idea of what it is to be gay. As such Weaving, Pearce and Stamp seem to be playing their parts with as much flamboyance as possible in order to try and distract the audience with pretty colours whilst covering up any moments of emotion or character interaction that fall flat.
The colours are very pretty indeed, with the film deserving it's Academy Award for Best Costume Design. At the very least it can be said that writer and Director, Stephen Elliot has visual flair. The pivotal moment where the three friends climb Kings Canyon in all their finery is a moment of real beauty. Elliot chose well to switly move any moments of strife, anguish or desperation along in order for the script to get around to another ABBA joke or the next village on the journey. None of the actors seem fully capable of creating any kind of performance that is believable, the only thing that resonates is Guy Pearce's shrill manic laugh.
As it becomes so evident at the beginning of the film it is essential to remember that this film is best seen as a comedy, when approaching the film it is better to just go along for the ride and to not question or invest too much in the characters. Even if some of the jokes don't hit the mark or become tired towards the end of the film, Priscilla is at certain moments very funny. It appears that Elliot is influenced largely by John Landis, one scene in particular where Bernadette walks into a bar to eerie quiet recalls The Slaughtered Lamb in An American Werewolf in London. Elliot's combination of music and comedy seems to echo Landis' The Blues Brothers too.
Priscilla, Queen of the Desert may be in the list of 1001 Films To See Before You Die, but how long it will remain there is another question. No longer as shocking as it may have been 16 years ago, Priscilla almost seems irrelevant, the multitude of films that have been released since that concern similar themes are vastly superior to this quickly aging pantomime. Priscilla definitely has moments of hilarity and of cinematic scale, but these no longer seem enough to keep the film in the 1001 Films To See Before You Die.
The central trio of the film consists of Tick (Hugo Weaving), Adam (Guy Pearce) and Bernadette (Terrence Stamp) played by very fine actors, but none of whom are actually gay and as such have little idea of what it is to be gay. As such Weaving, Pearce and Stamp seem to be playing their parts with as much flamboyance as possible in order to try and distract the audience with pretty colours whilst covering up any moments of emotion or character interaction that fall flat.
The colours are very pretty indeed, with the film deserving it's Academy Award for Best Costume Design. At the very least it can be said that writer and Director, Stephen Elliot has visual flair. The pivotal moment where the three friends climb Kings Canyon in all their finery is a moment of real beauty. Elliot chose well to switly move any moments of strife, anguish or desperation along in order for the script to get around to another ABBA joke or the next village on the journey. None of the actors seem fully capable of creating any kind of performance that is believable, the only thing that resonates is Guy Pearce's shrill manic laugh.
As it becomes so evident at the beginning of the film it is essential to remember that this film is best seen as a comedy, when approaching the film it is better to just go along for the ride and to not question or invest too much in the characters. Even if some of the jokes don't hit the mark or become tired towards the end of the film, Priscilla is at certain moments very funny. It appears that Elliot is influenced largely by John Landis, one scene in particular where Bernadette walks into a bar to eerie quiet recalls The Slaughtered Lamb in An American Werewolf in London. Elliot's combination of music and comedy seems to echo Landis' The Blues Brothers too.
Priscilla, Queen of the Desert may be in the list of 1001 Films To See Before You Die, but how long it will remain there is another question. No longer as shocking as it may have been 16 years ago, Priscilla almost seems irrelevant, the multitude of films that have been released since that concern similar themes are vastly superior to this quickly aging pantomime. Priscilla definitely has moments of hilarity and of cinematic scale, but these no longer seem enough to keep the film in the 1001 Films To See Before You Die.
Tuesday 16 November 2010
COMING SOON
In a change to the recent schedule I have not yet watched or reviewed The Killing Fields. Instead I have opted to watch Goodbye Lenin! (the review can be found below). The next review, which will be up in the next few days is:
299: Priscilla, Queen of the Desert
Friday 12 November 2010
298: Goodbye Lenin!
The destruction of the Berlin Wall and the reunification of Germany is often seen for cause for celebration. It has recently just been the 20th anniversary of the moment the Wall fell and to celebrate we saw Bono parading on the border of East and West Berlin commemorating what is seen by most of the world to be a joyous occasion. It is this celebratory discourse that surrounds the falling of the Berlin Wall that makes it so surprising to watch a film with undertones of loss and sadness regarding this event.
Goodbye Lenin! details the events shortly before, during and after the Berlin Wall is toppled and how this affects one East German family and their neighbourhood. The central family of the piece is the main source for drama and tragedy in the film as all of them have wildly varying opinions on the Socialist rule of Eastern Berlin. As one character falls into a coma before the Berlin Wall falls and the reunification of Germany only to wake up in 1990 in such a frail condition that this news could cause them to fall once again into a coma.
Goodbye Lenin! deals with so many contemporary issues and is influenced by so many genres that it is hard to know where to begin. Goodbye Lenin! is part euthanasia drama, part slapstick comedy, part family observation, a sprinkling of East/West awkwardness with a big Red Socialist Cherry on top. The film is catergorised as a tragicomedy but in many ways it feels like so much more than that simply due to the sheer scope of the issues it deals with. There are moments of real comedy in Goodbye Lenin! but this is comedy with a comment, the film is in the same vein as Juno or Little Miss Sunshine which are comedies, that comment on teenage pregnancy or the sexualisation of 8 year olds.
The film benefits from it's wickedly written script, the variety of characters and the opinions they all have make Goodbye Lenin! very sharp and very engaging. The central family unit remains at the heart of the film whilst incorporating mad and bizzarre characters that can be found in any society, not just the newly formed Germany. At no point does the film drag with a "worthy" message or get bogged down in the heavy issues. This is a very concise, well edited film that ensures you walk away thinking of quirky little scenes about the difference between pickle brands or moments of tragedy, rather than the long winded, depressing film Goodbye Lenin! could very easily have become.
As a comedy Goodbye Lenin! is bright and original, as a drama it is poignant and thought provoking. Even with the important issues that surround the film and the slightly long viewing time for a comedy, Goodbye Lenin! is a breeze for anyone to watch and when considering everything this film incorporates and the fact that it is in German with subtitles, this makes Goodbye Lenin! a triumph.
Goodbye Lenin! details the events shortly before, during and after the Berlin Wall is toppled and how this affects one East German family and their neighbourhood. The central family of the piece is the main source for drama and tragedy in the film as all of them have wildly varying opinions on the Socialist rule of Eastern Berlin. As one character falls into a coma before the Berlin Wall falls and the reunification of Germany only to wake up in 1990 in such a frail condition that this news could cause them to fall once again into a coma.
Goodbye Lenin! deals with so many contemporary issues and is influenced by so many genres that it is hard to know where to begin. Goodbye Lenin! is part euthanasia drama, part slapstick comedy, part family observation, a sprinkling of East/West awkwardness with a big Red Socialist Cherry on top. The film is catergorised as a tragicomedy but in many ways it feels like so much more than that simply due to the sheer scope of the issues it deals with. There are moments of real comedy in Goodbye Lenin! but this is comedy with a comment, the film is in the same vein as Juno or Little Miss Sunshine which are comedies, that comment on teenage pregnancy or the sexualisation of 8 year olds.
The film benefits from it's wickedly written script, the variety of characters and the opinions they all have make Goodbye Lenin! very sharp and very engaging. The central family unit remains at the heart of the film whilst incorporating mad and bizzarre characters that can be found in any society, not just the newly formed Germany. At no point does the film drag with a "worthy" message or get bogged down in the heavy issues. This is a very concise, well edited film that ensures you walk away thinking of quirky little scenes about the difference between pickle brands or moments of tragedy, rather than the long winded, depressing film Goodbye Lenin! could very easily have become.
As a comedy Goodbye Lenin! is bright and original, as a drama it is poignant and thought provoking. Even with the important issues that surround the film and the slightly long viewing time for a comedy, Goodbye Lenin! is a breeze for anyone to watch and when considering everything this film incorporates and the fact that it is in German with subtitles, this makes Goodbye Lenin! a triumph.
Thursday 11 November 2010
297: Belle de Jour
Belle de Jour comes with a reputation of sexual liberation, female empowerment combined with undertones of masochism and bondage. At the centre of Belle de Jour is Catherine Deneuve's Séverine, the "Belle" of the title. Séverine is married to a successful doctor but she cannot be physically intimate with him, though at the same time she has incredibly graphic fantasies where her husband, friends or men from the street flog her, bind her and fight for her. To relieve some of this sexual tension Séverine starts work in a brothel and is introduced to new and interesting forms of sexuality.
When reading the synopsis for Belle de Jour it appears as though it is either a very sexy and witty film or a very hard hitting, gritty tale of prostitutes and creeps but what actually results is a film nestled in between these two thoughts. Though many of the situations Séverine finds herself in are either humourous or dangerous, Catherine Deneuve maintains an ice cold composure throughout the film, whether happy, sad, imperrilled or in climax. It becomes hard to generate any feeling towards Séverine at all, she isn't forced into prostitution like her associates also her husband cares for her and wishes for their relationship to be more physical. The turmoil that eventually surrounds Séverine is completely self inflicted, though Séverine is unaware and as such the film leaves a slightly bitter taste in the mouth
This isn't to say that there aren't moments that do shine in Belle de Jour, the majority of the drama centres around the brothel run by Madame Anaïs, and in the brothel the films most interesting moments arise. A discussion regarding the difference in pay at a regular job and working at the brothel springs to mind. The comraderie amongst the ladies of the brothel is evident, they are simply work colleagues spending time with each other outside work, lending clothes and meeting families. The brothel isn't portrayed as a dangerous or harmful place, the women appear to enjoy their work, but just as Séverine isn't happy at home, she isn't at work either.The variety of clients that frequent the brothel provide both humour and disconcertion. The clientele are an array of losers, criminals or fantasists like Séverine herself, all wanting a particular type of attention whether it's 3-in-a-bed romps or masochistic humiliation. Pierre Clémenti shines as the creep of all creeps, Gold toothed obsessive Marcel, Séverine's love interest (if you could call it that) whose violent tendencies are always close to the surface.
There are most certainly moments where Belle de Jour is the funny, witty and erotic film it wants to be, it is a shame therefore that these moments hardly feature Deneuve at all. When Deneuve is on screen, all eroticism seems to depart and the film is left cold, which is a shame. As the credits roll the experience of the film feels empty and (I would imagine) similar to the feeling following a visit to a brothel, unfulfilling.
When reading the synopsis for Belle de Jour it appears as though it is either a very sexy and witty film or a very hard hitting, gritty tale of prostitutes and creeps but what actually results is a film nestled in between these two thoughts. Though many of the situations Séverine finds herself in are either humourous or dangerous, Catherine Deneuve maintains an ice cold composure throughout the film, whether happy, sad, imperrilled or in climax. It becomes hard to generate any feeling towards Séverine at all, she isn't forced into prostitution like her associates also her husband cares for her and wishes for their relationship to be more physical. The turmoil that eventually surrounds Séverine is completely self inflicted, though Séverine is unaware and as such the film leaves a slightly bitter taste in the mouth
This isn't to say that there aren't moments that do shine in Belle de Jour, the majority of the drama centres around the brothel run by Madame Anaïs, and in the brothel the films most interesting moments arise. A discussion regarding the difference in pay at a regular job and working at the brothel springs to mind. The comraderie amongst the ladies of the brothel is evident, they are simply work colleagues spending time with each other outside work, lending clothes and meeting families. The brothel isn't portrayed as a dangerous or harmful place, the women appear to enjoy their work, but just as Séverine isn't happy at home, she isn't at work either.The variety of clients that frequent the brothel provide both humour and disconcertion. The clientele are an array of losers, criminals or fantasists like Séverine herself, all wanting a particular type of attention whether it's 3-in-a-bed romps or masochistic humiliation. Pierre Clémenti shines as the creep of all creeps, Gold toothed obsessive Marcel, Séverine's love interest (if you could call it that) whose violent tendencies are always close to the surface.
There are most certainly moments where Belle de Jour is the funny, witty and erotic film it wants to be, it is a shame therefore that these moments hardly feature Deneuve at all. When Deneuve is on screen, all eroticism seems to depart and the film is left cold, which is a shame. As the credits roll the experience of the film feels empty and (I would imagine) similar to the feeling following a visit to a brothel, unfulfilling.
Tuesday 9 November 2010
296: Rosemary's Baby
Strangely, for a Horror film, Rosemary's Baby offers very few shocks, there are no jump- from-your-seat style moments, instead Rosemary's Baby simply unsettles you to a point where you may rather just get up your seat and stop watching. Based on the novel by Ira Levin, Rosemary's Baby concerns the story of a couple who move to a new apartment with a chequered past. It follows Rosemary's (Mia Farrow) descent into hysteria and paranoia as her pregnancy continues and the actions of her husband and her neighbours are increasingly suspicious.
As the film follows Rosemary and her husband, Guy, from moving day through her pregnancy the pressure in Rosemary's Baby mounts as Rosemary creeps closer to her due date, every character, no matter how old, friendly or supportive becomes suspicious. The horror in Rosemary's Baby comes from this potent concoction of suspicion and paranoia on the part of the viewer, just as Rosemary begins to see everything as suspicious so does the viewer. The idea that nobody is trustworthy, especially those closest to you, emotionally or geographically, is one that will haunt you long after the credits have rolled. It may take some time before you go next door for one of those “parties” they like to hold.
Mia Farrows' portrayal of a young woman in a desperate situation is harrowing and the images of her as sleep deprived and gaunt in the first few months of her pregnancy are shocking. Rosemary's transformation is signalled by a beautiful, fashionable Vidal Sassoon haircut that is universally condemned by the entire supporting cast. It is the supporting cast that really shine in Rosemary's Baby, whether it's John Cassavetes' Guy, Rosemary's uncaring, ignorant husband or Ruth Gordon and Sidney Blackmer as the worlds’ most terrifying neighbours, it is these smaller roles that make Rosemary's Baby terrifying and memorable.
As the entire film appears to build up to one big reveal, the Baby of the title, it becomes even more disturbing when the Baby is never actually shown on camera. Polanski shows the audience the Devil in one of the earliest scenes but the child is apparently too horrific to be filmed. This a perfect example of how effective the film is at unsettling it's viewers, everything is left to the imagination, nothing is certain. We're never sure if everything Rosemary thinks is true or whether she is being hysterical and irrational. The audience is aware that something is wrong but they are never sure what it is, some actions are seen as suspicious but may be entirely innocent and on the other hand innocent actions can become violent making every character sinister in their own way.
Due to the film's reputation, a new viewer approaching Rosemary's Baby may see everything as suspicious, possibly more so than when it was initially released, this puts a greater emphasis on the viewer's interpretation of the actions seen. The combination of suggestion and an ever increasing forboding feeling make the effect of Rosemary's Baby's a lasting one.
As the film follows Rosemary and her husband, Guy, from moving day through her pregnancy the pressure in Rosemary's Baby mounts as Rosemary creeps closer to her due date, every character, no matter how old, friendly or supportive becomes suspicious. The horror in Rosemary's Baby comes from this potent concoction of suspicion and paranoia on the part of the viewer, just as Rosemary begins to see everything as suspicious so does the viewer. The idea that nobody is trustworthy, especially those closest to you, emotionally or geographically, is one that will haunt you long after the credits have rolled. It may take some time before you go next door for one of those “parties” they like to hold.
Mia Farrows' portrayal of a young woman in a desperate situation is harrowing and the images of her as sleep deprived and gaunt in the first few months of her pregnancy are shocking. Rosemary's transformation is signalled by a beautiful, fashionable Vidal Sassoon haircut that is universally condemned by the entire supporting cast. It is the supporting cast that really shine in Rosemary's Baby, whether it's John Cassavetes' Guy, Rosemary's uncaring, ignorant husband or Ruth Gordon and Sidney Blackmer as the worlds’ most terrifying neighbours, it is these smaller roles that make Rosemary's Baby terrifying and memorable.
As the entire film appears to build up to one big reveal, the Baby of the title, it becomes even more disturbing when the Baby is never actually shown on camera. Polanski shows the audience the Devil in one of the earliest scenes but the child is apparently too horrific to be filmed. This a perfect example of how effective the film is at unsettling it's viewers, everything is left to the imagination, nothing is certain. We're never sure if everything Rosemary thinks is true or whether she is being hysterical and irrational. The audience is aware that something is wrong but they are never sure what it is, some actions are seen as suspicious but may be entirely innocent and on the other hand innocent actions can become violent making every character sinister in their own way.
Due to the film's reputation, a new viewer approaching Rosemary's Baby may see everything as suspicious, possibly more so than when it was initially released, this puts a greater emphasis on the viewer's interpretation of the actions seen. The combination of suggestion and an ever increasing forboding feeling make the effect of Rosemary's Baby's a lasting one.
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