Last night I was watching a Channel 4 documentary on the 'yob culture' in Britain. With so many senseless murders seemingly taking place on our streets, it does raise some important ethical questions. Just how responsible are people for their own actions? What role does society play in the seemingly nihilistic atmosphere these young people inhabit? How far should punishment can go and who is authorised to talk on the subject?
Such questions are indeed troubling, and ones that I have often pondered. Many films explore these subjects whether it's the more vigiliante-styling of the 'Batman' series or the more emotional ponderings of 'In the Bedroom'. Though it moves such questions from the streets to the battlefields, 'The Thin Red Line' is an excellent addition to the debate.
Many have pondered Malick's film as being anti-war. Though little is now known about the director, his spiritual leanings are acknowledged as being an important factor in his work. Therefore, you could argue how he would clearly be anti-war. Malick, however, is also an incredibly intelligent scholar (Rhodes scholar, lecturer at MIT) and I think its fair to say that his thoughts would delve deeper than simple black and white messages.
The film opens on a shot of a crocodile, as he submerges beneath the water. It's a striking image. The crocodile indeed looks deadly. Evolution has formed him into something highly capable of killing. Therefore, this suggests that this sense of bloodshed and violence is at the very heart of nature.
For me, Malick's film is more about accepting that there are certain parts of human nature that we will find ugly and frightening, but knowing that there are ways to act in such situations. Even Private Witt, arguably the protagonist in this multi-stranded narrative, kills Japanese soldiers despite his inherent belief in the 'spark' of God.
With a film of this type, you can take different aspects from it. It shows the complexity of the question of evil, the fear experienced by soldiers on the front line and an overall sense of man's relationship within nature.
It's a beautiful film to behold and filled with some outstanding performances (stand outs being James Caveziel, Ben Chaplin, Nick Nolte and Elias Koteas). Malick is as accomplished with big battle scenes as he is with the quieter, more thoughtful moments.
Watch it for: a war film that asks important questions without easy answers
Sunday 6 July 2008
Friday 4 July 2008
The 25th Hour
On Tuesday, I took my newly completed screenplay 'Marie's Birthday' to my local Writers' Group for a reading. Truth be told, it didn't go quite as well as I'd hoped. One of the main problems was that whereas I thought I was writing a plot-driven romantic comedy, it was actually more of a mood piece. This was as much of a surprise to me, because it was only upon receiving the feedback that I realised it was the more character-based and emotional parts of the story that intrigued me. One of the joys of writing is seeing how a piece changes as you write it.
The problem was, I didn't really have any experience of writing 'mood' pieces. It just wasn't ever anything I had consciously set out to do. What exactly was I trying to achieve?
Two nights later, I finally sat down to watch Spike Lee's 'The 25th Hour', a film I've wanted to watch for years. That was the sort of atmosphere I wanted to achieve.
Edward Norton plays Montgomery Clift Brogan, a drug dealer who is facing his last weekend before being sent to prison for seven years. He spends the two days with his friends and his family. He thinks about what it was that landed him in his current situation, and if it was at all avoidable. How would it affect the people around him? More importantly, just how do you prepare yourself for prison?
New York is the perfect setting for a film of this type. The tragedy that afflicted the city seems to have shaped it's identity so acutely. Few cities have an identity as pronouned as 'the city so famous they named it twice' and so the whole world could see how it measured up to those dark days. Spike Lee's film really gets to the heart of this. At one point, the lead character Montgomery details a long and irate rant about his hatred of the people in his city. There certainly is a sense that hard times can turn you against all others. Yet it's a thought that the character returns to later, but from a different perspective.
Monty's two friends, Jacob and Frank, (wonderfully played by Barry Pepper and Phillip Seymour Hoffman) have their own problems as well as their friend's imminent departure. It all adds up to the sense of three young men who are reaching a point when they realise that their decisions have consequences and are life-changing. There's a great feeling of sadness to all the characters. The actors play their part in this, but for me, it was the writing that really sealed the deal. These friends are always snapping at each other. There's constant tension. As the old saying goes 'they can see the splinter in their own eye, but not the log in their own'. To me, it's fascinating subject matter as how you are with your oldest friends says a lot about you, and the journey you've taken in life.
I'm not overly familiar with Spike Lee's work. Prior to this, I had only seen 'Inside Man' which, although well crafted, also came across as merely a thriller with a high concept. I say 'merely' not to denigrate the genre but only because I had heard that Lee was a very provocative and issue -driven filmmaker. After 'The 25th Hour', it's clear to see that he certainly can create deep, layered characters. I look forward to seeing more of his work.
So, once the film finished, I found my mind racing. Ideas kept coming to me for my screenplay. New avenues opened up. This is what great work does. It moves and it inspires. 'The 25th Hour' did this for me, and I think it has something to say to everybody.
Watch it for: a well-constructed and layered drama between three friends that plays out against the backdrop of a city going through an identity-defining period.
The problem was, I didn't really have any experience of writing 'mood' pieces. It just wasn't ever anything I had consciously set out to do. What exactly was I trying to achieve?
Two nights later, I finally sat down to watch Spike Lee's 'The 25th Hour', a film I've wanted to watch for years. That was the sort of atmosphere I wanted to achieve.
Edward Norton plays Montgomery Clift Brogan, a drug dealer who is facing his last weekend before being sent to prison for seven years. He spends the two days with his friends and his family. He thinks about what it was that landed him in his current situation, and if it was at all avoidable. How would it affect the people around him? More importantly, just how do you prepare yourself for prison?
New York is the perfect setting for a film of this type. The tragedy that afflicted the city seems to have shaped it's identity so acutely. Few cities have an identity as pronouned as 'the city so famous they named it twice' and so the whole world could see how it measured up to those dark days. Spike Lee's film really gets to the heart of this. At one point, the lead character Montgomery details a long and irate rant about his hatred of the people in his city. There certainly is a sense that hard times can turn you against all others. Yet it's a thought that the character returns to later, but from a different perspective.
Monty's two friends, Jacob and Frank, (wonderfully played by Barry Pepper and Phillip Seymour Hoffman) have their own problems as well as their friend's imminent departure. It all adds up to the sense of three young men who are reaching a point when they realise that their decisions have consequences and are life-changing. There's a great feeling of sadness to all the characters. The actors play their part in this, but for me, it was the writing that really sealed the deal. These friends are always snapping at each other. There's constant tension. As the old saying goes 'they can see the splinter in their own eye, but not the log in their own'. To me, it's fascinating subject matter as how you are with your oldest friends says a lot about you, and the journey you've taken in life.
I'm not overly familiar with Spike Lee's work. Prior to this, I had only seen 'Inside Man' which, although well crafted, also came across as merely a thriller with a high concept. I say 'merely' not to denigrate the genre but only because I had heard that Lee was a very provocative and issue -driven filmmaker. After 'The 25th Hour', it's clear to see that he certainly can create deep, layered characters. I look forward to seeing more of his work.
So, once the film finished, I found my mind racing. Ideas kept coming to me for my screenplay. New avenues opened up. This is what great work does. It moves and it inspires. 'The 25th Hour' did this for me, and I think it has something to say to everybody.
Watch it for: a well-constructed and layered drama between three friends that plays out against the backdrop of a city going through an identity-defining period.
Friday 23 May 2008
Top Ten 'Most Underrated Work'
For my debut post, I thought I would present a Top Ten. I plan on doing a number of these as time goes on.
As the title indicates, this is my Top Ten 'Most Underrated Work'. These days, nearly every classic film or interesting piece of work has the tag 'overrated' attached to it by someone. Although I mainly disagree with those opinions, I'd like to take a moment to highlight some work that has been passed over and largely forgotten, even though the films themselves are well regarded. So on we go...
10. Martin Sheen in 'Apocalypse Now'
There's certainly a lot to admire in 'Apocalypse Now' and some great characters for the actors to get their teeth stuck into. Martin Sheen doesn't really have a "I love the smell of napalm in the morning" moment nor is he affored the mystery and enigmatic atmospheres surrounding Col. Kertz. As a character, he has to hold the film together. Whilst everything around him is excessive and explosive, he is the one who has to ensure the audience is invested in the story, yet still show how the character is losing his mind. Others may have more eye catching scenes, but if Sheen wasn't so good, would we care?
9. Alida Valli in 'The Third Man'
If you were asked what the best thing about 'The Third Man' was, what would you answer? Anton Karas' score? Harry Lime's 'cuckoo clock' speech? Or maybe his dramatic reappearance in Holly's life? How about Graham Greene's screenplay? The cinematography? Or that stunning last shot? I'd probably go for the 'cuckoo clock' speech myself but I'd still like to point out Valli's beautiful performance as the broken Anna, a woman's who life has been reduced to nothing. She brings a genuine sadness to the role, and gives the most authentic performance in the film.
8. Sean Astin in 'Lord of the Rings'.
In 'Fellowship of the Ring', Samwise appears that he may be one of the least likeable characters in the chosen nine, simply because he's a bit straight-laced and is the only one who just wants to go home. By the end of 'Return of the King', Astin's sheer conviction in the strength of the character demonstrates how the trilogy had as many moments of beautifully observed characterisations as it did big battles.
7. Paul Henreid in 'Casablanca'
A truly great film, and containing one of the all-time great ensemble casts. Many of these actors have enjoyed the reputations their turns afforded them. Henreid's performance as Victor Laslzo seems to be the one that got away. Yet it was a typically sophisticated performance from a talented leading actor, and so well balanced that you can understand why Ilsa was unsure which man to end up with.
6. Michael Sheen in 'The Queen'.
Helen Mirren won every award under the sun for her excellent portrayal of the British Monarch. Her co-star, Michael Sheen, delivered as superb a performance as Tony Blair and failed to land an Oscar nomination.
5. Heath Ledger in 'I'm Not There'.
This free-wheeling, 'biopic' of Bob Dylan was a delight for the senses with great music, stunning visuals and performances to mesmorise. Cate Blanchett came out the most recognised actor of the piece, and an excellent performance it was. In fact, I find it hard to even look at Bob Dylan without thinking it is Blanchett in costume. However, for the next few days, I could only think about Heath Ledger's story and how real it felt. Ledger was an actor who was getting better and better.
4. Russell Crowe in 'Cinderella Man'.
Following Crowe's phone-throwing antics, the producers of 'Cinderella Man' offered money back to any punters who saw the film and didn't like it. They didn't have to pay much back. This is Crowe's best, and favourite, performance bringing his dynamic screen presence and commitment to a truly involving story. Only Crowe's off screen behaviour stopped this film from truly being accepted.
3. Ann Savage in 'Detour'.
This B-Movie has earned a justified reputation in recent years as a film that truly transcends its Poverty Row limitations. Ann Savage's performance was remarkable. An absolutely horrible, vile woman who you hope you would never have the misfortune to cross. In a film of this background, it would have been too much to look for recognition from the Academy, but from those who know film, it can't be too much to ask for.
2. Paul Dano in 'There Will Be Blood'
Like Michael Sheen with Helen Mirren in 'The Queen', Dano watched as Daniel Day-Lewis picked up all the honours for his searing, masterpiece portrayal of Daniel Plainview. However, it really is worth remembering that it takes a great deal to share the screen with such a performance, and Dano achieves this, especially for a man of his age. His scenes in the church are some of the most riveting in the film and I can only hope he continues to get worthy parts.
1. Stanley Kubrick in 'Eyes Wide Shut'.
The first non-actor on the list. I find it amazing that people criticise Kubrick for his involvement in this film, citing it as his least impressive film. Although I don't think it's his best work, it's still a film of immense value and is surely as representative of his themes and values as any of his others.
As a narrative, it is brooding and mysterious. I was fascinated with how the story was developing and found myself thinking about the minor plot points for months afterwards. Technically, it's as accomplished as anything else he's created except maybe 'Barry Lyndon' and 2001. It may be cold, detached and dealing with worlds we cannot understand but name a Stanley Kubrick film that doesn't tick all these boxes.
As the title indicates, this is my Top Ten 'Most Underrated Work'. These days, nearly every classic film or interesting piece of work has the tag 'overrated' attached to it by someone. Although I mainly disagree with those opinions, I'd like to take a moment to highlight some work that has been passed over and largely forgotten, even though the films themselves are well regarded. So on we go...
10. Martin Sheen in 'Apocalypse Now'
There's certainly a lot to admire in 'Apocalypse Now' and some great characters for the actors to get their teeth stuck into. Martin Sheen doesn't really have a "I love the smell of napalm in the morning" moment nor is he affored the mystery and enigmatic atmospheres surrounding Col. Kertz. As a character, he has to hold the film together. Whilst everything around him is excessive and explosive, he is the one who has to ensure the audience is invested in the story, yet still show how the character is losing his mind. Others may have more eye catching scenes, but if Sheen wasn't so good, would we care?
9. Alida Valli in 'The Third Man'
If you were asked what the best thing about 'The Third Man' was, what would you answer? Anton Karas' score? Harry Lime's 'cuckoo clock' speech? Or maybe his dramatic reappearance in Holly's life? How about Graham Greene's screenplay? The cinematography? Or that stunning last shot? I'd probably go for the 'cuckoo clock' speech myself but I'd still like to point out Valli's beautiful performance as the broken Anna, a woman's who life has been reduced to nothing. She brings a genuine sadness to the role, and gives the most authentic performance in the film.
8. Sean Astin in 'Lord of the Rings'.
In 'Fellowship of the Ring', Samwise appears that he may be one of the least likeable characters in the chosen nine, simply because he's a bit straight-laced and is the only one who just wants to go home. By the end of 'Return of the King', Astin's sheer conviction in the strength of the character demonstrates how the trilogy had as many moments of beautifully observed characterisations as it did big battles.
7. Paul Henreid in 'Casablanca'
A truly great film, and containing one of the all-time great ensemble casts. Many of these actors have enjoyed the reputations their turns afforded them. Henreid's performance as Victor Laslzo seems to be the one that got away. Yet it was a typically sophisticated performance from a talented leading actor, and so well balanced that you can understand why Ilsa was unsure which man to end up with.
6. Michael Sheen in 'The Queen'.
Helen Mirren won every award under the sun for her excellent portrayal of the British Monarch. Her co-star, Michael Sheen, delivered as superb a performance as Tony Blair and failed to land an Oscar nomination.
5. Heath Ledger in 'I'm Not There'.
This free-wheeling, 'biopic' of Bob Dylan was a delight for the senses with great music, stunning visuals and performances to mesmorise. Cate Blanchett came out the most recognised actor of the piece, and an excellent performance it was. In fact, I find it hard to even look at Bob Dylan without thinking it is Blanchett in costume. However, for the next few days, I could only think about Heath Ledger's story and how real it felt. Ledger was an actor who was getting better and better.
4. Russell Crowe in 'Cinderella Man'.
Following Crowe's phone-throwing antics, the producers of 'Cinderella Man' offered money back to any punters who saw the film and didn't like it. They didn't have to pay much back. This is Crowe's best, and favourite, performance bringing his dynamic screen presence and commitment to a truly involving story. Only Crowe's off screen behaviour stopped this film from truly being accepted.
3. Ann Savage in 'Detour'.
This B-Movie has earned a justified reputation in recent years as a film that truly transcends its Poverty Row limitations. Ann Savage's performance was remarkable. An absolutely horrible, vile woman who you hope you would never have the misfortune to cross. In a film of this background, it would have been too much to look for recognition from the Academy, but from those who know film, it can't be too much to ask for.
2. Paul Dano in 'There Will Be Blood'
Like Michael Sheen with Helen Mirren in 'The Queen', Dano watched as Daniel Day-Lewis picked up all the honours for his searing, masterpiece portrayal of Daniel Plainview. However, it really is worth remembering that it takes a great deal to share the screen with such a performance, and Dano achieves this, especially for a man of his age. His scenes in the church are some of the most riveting in the film and I can only hope he continues to get worthy parts.
1. Stanley Kubrick in 'Eyes Wide Shut'.
The first non-actor on the list. I find it amazing that people criticise Kubrick for his involvement in this film, citing it as his least impressive film. Although I don't think it's his best work, it's still a film of immense value and is surely as representative of his themes and values as any of his others.
As a narrative, it is brooding and mysterious. I was fascinated with how the story was developing and found myself thinking about the minor plot points for months afterwards. Technically, it's as accomplished as anything else he's created except maybe 'Barry Lyndon' and 2001. It may be cold, detached and dealing with worlds we cannot understand but name a Stanley Kubrick film that doesn't tick all these boxes.
Hello!
I'd like to take this opportunity to introduce myself and give an indication of what I hope to discuss with this blog.
As my profile indicates, I'm a young and upcoming (hopefully, anyway) scriptwriter. What my profile doesn't state is that I have a regular office job to help me pay the bills.
I am a passionate supporter of cinema of all types and ages. I love to talk about films and the people involved with them. I'd love to get some people who really know about film to come and discuss my posts and I look forward to some lively debate.
I'll be posting my first post proper later tonight.
As my profile indicates, I'm a young and upcoming (hopefully, anyway) scriptwriter. What my profile doesn't state is that I have a regular office job to help me pay the bills.
I am a passionate supporter of cinema of all types and ages. I love to talk about films and the people involved with them. I'd love to get some people who really know about film to come and discuss my posts and I look forward to some lively debate.
I'll be posting my first post proper later tonight.
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