12 Years a Slave

This week we are screening 12 Years a Slave - one of the best films of 2013.

Here are my notes:

12 Years a Slave

 USA 2013                    133 minutes

Director:                      Steve McQueen

Starring:                        Chiwetel Ejiofor, Benedict Cumberpatch, Lupita Nyong’o, Michael Fassbender, Paul Dano and Brad Pitt

Awards and Nominations

• Won three Oscars  - Best Film, Best Adapted Screenplay (John Ridley) and Best Supporting Actress (Lupita Nyong’o), and nominated for six more, including Best Actor (Chiwetel Ejiofor) and Best Supporting Actor (Michael Fassbender)
• Won two BAFTAs – Best Film and Best Actor (Chiwetel Ejiofor), and nominated for seven more including Best Director, Best Supporting Actor (Michael Fassbender) and Best Supporting Actress (Lupita Nyong’o)
• A further 212 wins and 193 nominations

“While it is not the role of critics to tell people which films to see and which to avoid (audiences make those decisions for themselves), let me begin by saying that if you have any interest in cinema – or, for that matter, in art, economics, politics, drama, literature or history – then you need to watch 12 Years a Slave."

Mark Kermode

In 1841 Solomon Northrop (Chiwetel Ejiofor), an educated black man born free in New York State, is tricked, drugged and sold into slavery in the South.  Here he initially becomes the property of the relatively benign plantation owner Ford (Benedict Cumberpatch) but later is sold on to the sadistic Epps (Michael Fassbender).  After 12 years he is rescued and finally is able to return to his family.

Northrop published his memoir of his time as a slave in 1853, shortly after Harriet Beecher Stowe’s best-selling novel about Slavery, Uncle Tom’s Cabin, and both books provided dramatic stories for the political debate over slavery that took place in the US in the years leading up to the Civil War.  Subsequently the book fell into obscurity until the 1960s when two historians researched Northrop’s story, retraced his journeys, and published a scholarly edition of the text that is still in print.

After the success of his film Hunger (2008) Steve McQueen had expressed an interest in making a film about “the slave era in America” with “a character that was not obvious in terms of their trade in slavery” but it was not until he was given a copy of Northrop’s memoir that he found his story:

“I read this book, and I was totally stunned. At the same time I was pretty upset with myself that I didn't know this book.  I live in Amsterdam where Anne Frank is a national hero, and for me this book read like Anne Frank's diary but written 97 years before – a firsthand account of slavery.  I basically made it my passion to make this book into a film.”

The film received almost universal acclaim from both critics and audiences for its acting, especially the performances of Chiwetel Ejiofor, Michael Fassbender and Lupita Nyong’o, as well as Steve McQueen’s direction, the screenplay by John Ridley and its faithfulness to Northrop’s original memoir.

Steve McQueen began his career in the UK as a Turner prize winning visual artist whose work included numerous short films.  His first feature film was Hunger (2008), starring Michael Fassbender about the 1981 Irish Hunger Strike, and in 2011 he made Shame, once again starring Michael Fassbender as a sex addict whose life is turned upside down when his estranged sister reappears in his life.

The Book Thief

Tomorrow is the first proper screening of our new season and we will be showing The Book Thief.  I've not read the novel , but it's a film I've wanted to see for a while - despite the less than enthusiastic reviews. 

After binging on WW1 history books recently I've now moved on to Nazi Germany and after finishing The Origins of the Third Reich, which covered German history from unification through to 1932/33, the second volume - The Third Reich in Power - covers the period up to war in 1939.  The final volume The Third Reich at War covers the period from 1939 to the end of the Third Reich, and that is next on my reading list.  The books are all masterpieces of research and writing and put the whole terrible history of the rise of Hitler and the Nazis into fascinating context.

Hence this film has come along at an opportune time.

As I could few reviews that could offer  positive headline quotes I've selected a few anti-Nazi (and anti anyone else who burns books for political or ideological reasons) quotations instead.

Here are my notes:

The Book Thief

USA 2013                    131 minutes

Director:                      Brian Percival

Starring:                        Roger Allam, Sophie Nelisse, Geoffrey Rush and Emily Watson

Awards and Nominations

• Nominated for Oscar for Best Score (John Williams)
• 3 wins for Sophie Nelisse 
• A further 4 nominations.

“Wherever books are burned, human beings are destined to be burned too."

Heinrich Heine (1797-1856)

 “You see these dictators on their pedestals, surrounded by the bayonets of their soldiers and the truncheons of their police.  Yet in their hearts there is unspoken - unspeakable! - fear.  They are afraid of words and thoughts!  Words spoken abroad, thoughts stirring at home, all the more powerful because they are forbidden.  These terrify them.  A little mouse - a little tiny mouse! - of thought appears in the room, and even the mightiest potentates are thrown into panic."

            Winston Churchill (1874-1965)

In Nazi Germany Liesel (Sophie Nelisse), an illiterate young orphan is taken in by foster parents Hans (Geoffrey Rush) and Rosa (Emily Watson).  Liesel learns to read and after witnessing a Nazi book burning begins to steal books to read.  Her story is narrated by Death (Roger Allam) and he finally tells what happened to Liesel after she survived the war.

The film is based on the Young Adult novel of the same name by Australian author Marcus Zusak that was on the New York Times Best Seller List for more than four years.  However although a work of fiction the story is set against genuine historical events: from the time that it consolidated its seizure of power in 1933 the Nazis instituted book-burning campaigns against authors whose work was deemed subversive or which undermined Nazi ideology; Kristallnacht was a Nazi pogrom against Jews in both Germany and Austria in November 1938; and the Second World War broke out in September 1939.

Brian Percival started his career with the BBC where he directed several prestige projects including adaptations of North and South, The Ruby in the Smoke and The Old Curiosity Shop.  Since then he has worked for ITV where he has directed six episodes of Downton Abbey. The Book Thief is his first film. 

Here's the trailer:

And here's the sound track

 

Marketing Failure

We always plan to show a popular film for our AGM, but generally do not want to screen something tht would attract paying punters elswewhere in the season: hence we'd decided to replace Saving Mr Banks with The Book Thief, and when w discovered that this was not available we'd chosen Life of Pi - and I'd written the notes.

But no one had told our marketing guru and so we'd sent out a email advertising Saving Mr Banks.  We had a surprisingly good audience for a sunny June evening but we were  not sure what they'd turned out to see, and so we had a vote and Saving Mr Banks won. I enjoyed it very much and did not have to write any notes and if we do screen Life of Pi next season then I will have the notes ready.

Here's the trailer for Saving Mr Banks:

On a silly note, I also like the re-cut trailer for Scary Mary Poppins:

 

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:

 

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.

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
 

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.