Thursday, June 12, 2014

Life of Pi

And so we reach the end of another season and it's time for our AGM.  We generally try to choose a film that is going to be popular and this year our choice is Ang Lee's Life of Pi.

Here are my notes:

Life of Pi

USA 2012                    127 minutes

Director:                      Ang Lee

Starring:                        Suraj Sharma, Tabu, Gerard Depardieu and Rafe Spall

Awards and Nominations

  • Won four Oscars including Best Director and Cinematography, and nominations for seven further Oscars including Best Film and Best Adapted Screenplay
  • Two Golden Globe nominations including Best Film and Best Directior
  • A further 52 wins and 70 nominations

“[Ang Lee’s] magnificent new film is a version of Yann Martel's Booker prize-winning novel, Life of Pi, adapted by an American writer, David Magee, whose previous credits were films set in England during the first half of the 20th century, Finding Neverland and Miss Pettigrew Lives for a Day.  From its opening scene of animals and birds strutting and preening themselves in a sunlit zoo to the final credits of fish and nautical objects shimmering beneath the sea, the movie has a sense of the mysterious, the magical.  This effect is compounded by the hallucinatory 3D, and in tone the film suggests Robinson Crusoe rewritten by Laurence Sterne.”

Philip French
The film is based on the best-selling novel by Yann Martel, a fanatasy about an Indian boy called Piscine (“Pi”) Patel who survives 227 days after a shipwreck while stranded on a lifeboat in the Pacific Ocean with a Bengal tiger called Richard Parker as his companion.  The book became a global best-seller – although many of its readers must have thought it was unfilmable.

Several other directors had planned to direct the film before Ang Lee took on the project.  The initial plan was for M Night Shyamalan (The Sixth Sense) to direct, but after he chose to direct Lady in the Water, the studio discussed the project with Alonso Cuaron (Harry Potter and the Prisoner of Azkaban and Gravity).  He passed on the opportunity in order to direct Children of Men, and there were subsequently discussions with Jean-Pierre Jeunet (Amelie and Alien Resurrection), who began work on his own screenplay but made no further progress.  In 2009 Fox Pictures finally hired Ang Lee to direct, and although the projected budget of $120 million caused a further delay, filming finally started in January 2011.

One of the costly elements of the budget was Lee’s decision to film in 3D.  He explained this choice in an interview:

"I thought this was a pretty impossible movie to make technically. It's so expensive for what it is.  You sort of have to disguise a philosophical book as an adventure story.  I thought of 3-D half a year before Avatar was on the screen.  I thought water, with its transparency and reflection, the way it comes out to you in 3-D, would create a new theatrical experience and maybe the audience or the studio would open up their minds a little bit to accept something different."

The film opened to widespread critical acclaim, with the review aggregator website Rotten Tomatoes stating:

 “A 3D adaptation of a supposedly ‘unfilmable’ book, Ang Lee's Life of Pi achieves the near impossible—it's an astonishing technical achievement that's also emotionally rewarding.”

Here's the trailer:

 

Thursday, May 22, 2014

Cinematic Foreplay

I love the description of the time you have to wait before a director reveals the monster as "cinematic foreplay":

http://www.slate.com/blogs/browbeat/2014/05/17/godzilla_2014_shows_the_monster_an_hour_in_does_it_work_the_data_on_how.html

Having recently watched Pacific Rim I agree with del Toro's comments about his film: it started with a climax and built up from there.

It's also good to see the mention of Night of the Demon



I'd read about this and had to hunt it down, but it was definitely worth the search.  I think it would have been far better if the monster had not appeared in the first scene: our imagination is always far more effective than anything a director can show - especially in a film that was made far before the pre-digital age.

The Woman in Black is another recent example where there is a significant delay before we see the monster/ghost - and the delay builds up the tension. 



It also occurred to me that the final sequence at the station might be a deliberate echo/tribute to Night of the Demon.

Monday, May 19, 2014

Cannes Film Festival

Seven years go I attended the Cannes Film Festival for the first time.  My then-employer was a major sponsor and each year there were a few tickets provided for employees.  In most years the tickets were handed out after a ballot of interested parties - so there was little chance of winning - but this year the company decided to set up a blogging competition.  I was one of the winners - and I haven't stopped yet.

The organising team were more keen to tell us about the logistics  for the trip, but they could not answer my first question: what screening were we due to attend?  So many films now regarded as masterpieces received their first screening at Cannes, but sadly what we saw was Les Chansons d'Amour:


I didn't manage to find a single review of it and inevitably it did not feature in any of the awards.

I still read all the reviews from Cannes avidly, and sometimes enjoy a good review of a bad film rather than a rave about a masterpiece.  This year Peter Bradshaw's description of Grace of Monaco featuring performances so wooden that they were a fire risk made me laugh our loud several times:

http://www.theguardian.com/film/2014/may/14/grace-of-monaco-cannes-review-nicole-kidman
 

Wednesday, May 14, 2014

Best Adaptations of Novels

I think it was Phillip Pullman who commented on the close relationship between novels and cinema, in that both genres have the ability to direct the viewer/reader to what the director/author wants to focus on - as opposed to the the theatre where the audience is free to concentrate on whatever it wants to.

Thus it's interesting to see such a range of novels in this list of the best adaptations:

http://www.telegraph.co.uk/culture/books/books-life/6166774/25-best-book-to-film-adaptations.html

It's difficult to argue with most of them, and I'm particularly pleased to see The Remains of the Day, which I thought was one of the best adaptations ever, on the list.  It's also good to see the Harry Potter films as well as The Lord of the Rings trilogy included: both of these were epic in every sense of the word.

the only addition I'd like to make is to propose Notes on a Scandal, which is a brilliant version of an excellent novel that at first reading seems impossible to adapt.

 

Tuesday, May 13, 2014

Are these the best shots in cinema?

I like the idea of someone collecting the best shots in cinema and have just followed Geoff Todd on Twitter:

http://www.telegraph.co.uk/culture/film/film-news/10807513/Are-these-the-15-best-shots-in-cinema.html

I have David Thomson's Moments That Made the Movies on my shelf and I dip into it from time - it's that kind of book.

His slection of films is eclectic, although it does include the usual suspects.  But what makes it intersting is the choice of image to represent each film.  Some of them are truly unexpected.  It's an excellent book

Sunday, May 11, 2014

I enjoyed Star Wars, but...

I enjoyed Star Wars and the two sequels in the original trilogy, but Doctor Who has always been my favourite sci-fi/fantasy saga - and the Doctor would have sorted out Darth Vader in two 45 minute episodes.

I'd  read about the influence of Kurosawa on the story in previous articles and had also clocked the Casablanca reference (although I'd also thought there was a little of The Restaurant at the End of the Universe in it), but this fascinating article lists ten films that influenced George Lucas:

http://www.telegraph.co.uk/culture/star-wars/10817059/10-films-that-influenced-Star-Wars.html

I particularly liked the weird parallels with The Wizard of Oz - although I preferred Zardoz.

Wednesday, April 2, 2014

Philomena

And suddently it's the end of another season.  We've been saving the best until last, or rather we had to wait until Philomena was avilavble on DVD.

To boost our audience numbers we're serving Irish stew and cheeses, and hopefully a load of Guinness will arrive here tomorrow.  Meanwhile I've just finished my notes:

Philomena

UK 2013                      98 minutes

Director:                      Stephen Frears

Starring:                        Judi Dench, Steve Coogan and Anna Maxwell Martin

Awards and Nominations

  • Nominated for four Oscars, including Best Film, Best Actress (Judi Dench) and Best Adapted Screenplay (Steve Coogan)
  • Won BAFTA for Best Adapted Screenplay (Steve Coogan) and nominations for Best Actress (Judi Dench), Best Film and Best British Film
  • A further 19 wins and 36 nominations

Philomena is something yearned for and lusted after by film-makers and journalists alike – a really good story.  It's a powerful and heartfelt drama, based on a real case, with a sledgehammer emotional punch and a stellar performance from Judi Dench, along with an intelligently judged supporting contribution from Steve Coogan.  Yet the film's apparent simplicity and force come to us flavoured with subtle nuances and subtexts, left there by the people who brought this story to the public.”

Peter Bradshaw

 Following his unexpected defenestration as New Labour Director of Communications in 2002 Martin Sixsmith (Steve Coogan) is working as a freelance journalist when he comes across the extraordinary story of an elderly Irish woman called Philomena Lee (Judi Dench): as a teenage unmarried mother she had been placed in one of the Irish Republic’s notorious Magdalene Laundries (“Why do they call this heartless place Our Lady of Charity?”) and her son was put up for adoption by childless Catholic Americans, and now in her old age she wants to track him down.  Sixsmith then takes Philomena to America on a mission to America in search of her son.

The film received its premier at the Venice Film Festival where it received rave reviews, was nominated for the Golden Lion and won the award for Best Screenplay.  Judi Dench also won great praise for her performance, with Catherine Shoard in The Observer commenting:
"At 78, she skips through scenes, hitting a dozen bases a minute, raising laughs here, tears there, never breaking sweat. This might be the sort of thing she can do in her sleep, but Dench never gives anything less than full welly.”
However when it came to the awards season Judi Dench lost out in both the Oscars and BAFTAs to Cate Blanchett’s barnstorming performance as Jasmine in Woody Allen’s Blue Jasmine.  Steve Coogan as Martin Sixsmith proves himself to be a good actor, but it is Dench who is the dramatic focus of the film and director Stephen Frears, in his best film since The Queen (2006), uses a steady hand to guide the two of them on their odd couple road trip around Ireland and America.


And here's the trailer: