Night of the Demon

Once upon a time the BBC used to entertain us with classic ghost stories at Christmas; of these the best was Jonathan Miller's filmed version of Oh Whistle and I'll Come, based on the classic story by M R James.

As a result of this I read a brilliant selection of James's stories with an introduction by Nigel Kneale and have regularly re-read them - especially late at night during the winter.

Until recently I had not realised that Night of the Demon was based on The Casting of the Runes, and after reading a brilliant blogpost by Anne Billson on films that had scared her I managed to track down a copy on DVD.

Last week I watched it and it was superb: glorious black and white and filmed in the late 1950s, and with more suspense and sudden shocks than many current Hollywood films with budgets of an order of magnitude larger.

It also provided one of the samples for Kate Bush on her Hounds of Love Album, one of my all-time favourite recordings.

Here's a link to the US trailer where it was released as The Curse of the Demon:

Jane Eyre

These are my notes for this week's screening:

Jane Eyre

UK 2011                      121 minutes

Director:                      Cary Fukunaga

Starring:                        Mia Wasilowska, Michael Fassbinder, Judi Dench, Jamie Bell and Sally Hopkins

 Nominations and Awards

• One nomination for Best Actress (Mia Wasilowska) in the British Independent Film Awards

“Charlotte Bronte's Jane Eyre is among the greatest of gothic novels, a page turner of such startling power, it leaves its pale latter-day imitators like Twilight flopping for air like a stranded fish.  To be sure, the dark hero of the story, Rochester, is not a vampire, but that's only a technicality. The tension in the genre is often generated by a virginal girl's attraction to a dangerous man. The more pitiful and helpless the heroine the better, but she must also be proud and virtuous, brave and idealistic. Her attraction to the ominous hero must be based on pity, not fear; he must deserve her idealism.  This atmospheric new Jane Eyre, the latest of many adaptations, understands those qualities, and also the very architecture and landscape that embody the gothic notion.”

Roger Ebert

Jane Eyre (Mia Wasilowska) arrives at the home of St John Rivers (Jamie Bell) after fleeing from Thornfield Hall, the home of Edward Rochester (Michael Fassbinder) who had engaged her as governess his young “ward” Adele and then proposed marriage on false pretences.  St John Rivers proposes marriage and a future as a Christian missionary, but subsequent events allow Jane to return to Thornfield and her true love.

Charlotte Bronte’s novel has been filmed many times with the 1944 version (from a script by Aldous Huxley) starring Orson Welles and Joan Fontaine in the lead roles is the best known.  The book has also inspired many other writers including Daphne du Maurier whose novel Rebecca (also filmed with Joan Fontaine) uses the same character types that Roger Ebert has notes in the quotation above.   Jean Rhys has an even closer connection with Charlotte Bronte as her novel Wide Sargasso Sea tells the story of Edward Rochester’s marriage to his first wife in the Caribbean.  The novel was also the inspiration for The Eyre Affair, by Jasper Fforde, which involved a cunning plot by international villains using a prose portal to break into the novel and kidnap Jane Eyre and hold her to ransom....   

                                                                                                      

The screenplay for this new version is by the playwright and screenwriter Moira Buffini, who also wrote the screenplay for Tamara Drewe based on the graphic novel by Posy Simmonds.  Cary Fukunaga made his name with the American/Mexican film Sin Nombre (2009) for which he won the best director award at the 2009 Sundance Film Festival. 

Here's the trailer:

The Ghost

Here are my notes for our screening this week: 

The Ghost

UK 2010                      128 minutes

Director:                      Roman Polanski

Starring:                        Ewan McGregor, Pierce Brosnan, Olivia Williams and Kim Cattrall

Nominations and Awards

• Won Silver Bear (Best Director) at the Berlin Film Festival
• Won Best Film, Best Director, Best Actor (Ewan McGregor), Best Screenplay (Roman Polanski and Robert Harris), Production Design and Music at the European Film Awards
• A further 11 wins and 21 nominations

“The Ghost is Roman Polanski's best film since Tess 30 years ago, and as immaculately crafted a thriller as we're likely to see this year. It may not be in the very first rank of his pictures, of which Chinatown remains the peak. But in every respect it's a characteristic work, with echoes of those stories of intruders breaking into troubled relationships (Knife in the Water, Cul-de-sac), savvy innocents getting out of their depth (Chinatown), people losing touch with their own identities (Repulsion, The Tenant), and the operation of a malevolent fate in a world where, like Oliver Twist, the trusting hero of Polanski's last film, you need to be suspicious of the kindness of strangers.”

Philip French

Ewan McGregor plays an anonymous ghost writer hired to work on the dull memoirs of a former British Prime Minister Adam Lang (Pierce Brosnan) in order to justify a $10 million advance.  When he arrives in New England to begin work with Lang he discovers that his predecessor had died in mysterious circumstances, and then it seems that history might be about to repeat itself as he begins to discover alarming clues about Lang’s past in his predecessor’s notes.

 The film is based on the best-selling novel by Robert Harris, who also worked with Polanski on the screenplay which skilfully distils the complexities of the plot into a fast paced thriller.  In his novel Harris quotes Evelyn Waugh’s epigraph from Brideshead Revisited (“I am not I: thou art not he or she: they are not they”) but it is clear that the Langs are inspired by a recent British Prime Minister and his wife.  Pierce Brosnan gives a superb performance as Lang, and although he displays many of Blair’s characteristics he makes him a distinct character (quite unlike Michael Sheen’s uncanny impersonation of Blair in The Queen).  In a similar vein Olivia Williams turns Ruth Lang, despite her initial superficial resemblance to Cherie Blair, into a far more complex character.

Roman Polanski achieved international success with Knife in the Water (1962) and subsequently has lived and worked in the UK, the USA and most recently in Europe. In the USA his most successful film was Chinatown (1974) which received 11 Oscar nominations.  After leaving the USA in 1978 to avoid arrest he has lived and worked in Europe where his films have included Tess (1979), Death and the Maiden (1994) and The Pianist (2001), which won both the Palme d’Or at Cannes and the Academy Award for Best Director. 

Following the success of The Ghost, which he shot in Germany with the bleak desolation of the North German coast standing in for Martha’s Vineyard, Polanski has recently directed Carnage, from the play God of Carnage by Yasmina Reza, which was set in New York but which he filmed in studios in Paris.

Here's the trailer:

Never Let Me Go

Here are my notes for this week's film:

Never Let Me Go

UK 2010                      103 minutes

Director:                      Mark Romanek

Starring:                        Carey Mulligan, Keira Knightley, Andrew Garfield, Charlotte Rampling and Sally Hawkins

Nominations and Awards

• Won Best Actress Award (Carey Mulligan) at the British Independent Film Awards
• Won Best Actor Award (Andrew Garfield) at the Evening Standard British Film Awards
• A further three wins and 20 nominations.

“This is a good movie, from a masterful novel...  What is happening is implied not spelled out.  We are required to observe.  Even the events themselves are amenable to different interpretations.  The characters may not know what they are revealing about themselves.  They certainly don’t know the whole truth of their existence.  We do, because we are free human beings.  It is sometimes not easy to extend such stature to those we value because they support our comfort.”

Roger Ebert

Kathy (Carey Mulligan), Ruth (Keira Knightley) and Tommy (Andrew Garfield) are all pupils at a boarding school who become entangled in a love triangle.  As their relationship develops they gradually learn why they are at the school and what their fate will be.   

The film is based on the 2005 novel by Kazou Ishiguro who won the Booker Prize in 1989 for The Remains of the Day (memorably filmed by James Ivory with brilliant performances by Emma Thompson and Anthony Hopkins in the lead roles).  The screenplay for Never Let Me Go was written by Alex Garland, a friend of Ishiguro who had purchased the film rights before the novel was published.  Garland is an established novelist in his own right (his novels include The Beach and The Tesseract) as well as a screenwriter whose work includes the scripts for 28 Days Later (2002) and Sunshine (2007) both directed by Danny Boyle, who had previously directed a film based on The Beach (2000).

Carey Mulligan was cast in the key role of Kathy on the advice of one of the producers who had just seen her performance in An Education (2009) and Keira Knightley agreed to join the cast after a request from Carey Mulligan (they had both appeared in the 2005 version of Pride and Prejudice where Knightley played Elizabeth Bennet and Mulligan, in her first film role, played Kitty Bennet. 

Mark Romanek began his career as a director of music videos where he worked with musicians of the calibre of k d lang, David Bowie, Madonna, Michel Jackson and Johnny Cash.  He made his name with the psychological thriller One Hour Photo (2002) for which he also wrote the screenplay, and Never Let Me Go appeared in many critics’ lists of the best films of 2010. 

Here's the trailer:

Made in Dagenham

Another week and another screening.  Here are my notes:

Made in Dagenham

UK 2010                      113 minutes

Director:                      Nigel Cole

Starring:                        Sally Hawkins, Rosamund Pike, Bob Hoskins, Miranda Richardson and Geraldine James

Nominations and Awards

• Nominated for 4 BAFTAs including Outstanding British Film and Best Supporting Actress (Miranda Richardson)
• Another 8 nominations including nominations for Best Actress (Sally Hawkins), Best Supporting Actress (Rosamund Pike) and Best Supporting Actor (Bob Hoskins) at the British Independent Film Awards

“The unexpected thing about Made in Dagenham is how entertaining it is. That's largely due to director Nigel Cole's choice of Sally Hawkins for his lead. In Mike Leigh's Happy Go Lucky (2009) and again here, she shows an effortless lightness of being. If she has a limitation, it may be that she's constitutionally ill-adapted for playing a bad person”

Roger Ebert

Rita O’Grady (Sally Hawkins) unwillingly becomes shop steward at Ford’s Dagenham plant and then leads a strike of the 187 women sewing machinists, when they walk out against sexual discrimination and claim equal pay. The strike is successful and Barbara Castle (Miranda Richardson), as Secretary of State for Labour in Harold Wilson’s government uses it to promote what was to become the 1970 Equal Pay Act.

The inspiration for the film was a radio programme which reunited personnel from both sides of the strike many years later.  Steven Wooley as producer heard the programme and realised its potential as a subject for a film: the key historical events of the story are true, some individual elements of the original characters reappear in some of the strikers, while other characters are entirely fictional.

In the central role of Rita Sally Hawkins is superb: she made her name in a series of films with Mike Leigh, but the tone of this film, despite the potentially grim nature of the subject, is closer to Calendar Girls (also directed by Nigel Cole).  Philip French also suggests a comparison with a naughty Carry On film rather than to Ken Loach’s Bread and Roses, another film about a strike by women, this time by Latino office cleaners in Los Angeles.  

However the film is far more than a vehicle for Sally Hawkins: the cast includes established actresses like Geraldine James and Miranda Richardson as well as rising stars like Andrea Riseborough (Brighton Rock and Never Let Me Go) and Rosamund Pike (Pride and Prejudice and An Education).  Bob Hoskins earned good reviews for his role as a minor union official who is both mentor and friend to Rita and there is a superb cameo from John Sessions as a pipe-smoking Harold Wilson.

Despite the good reviews and numerous nominations for awards, Made in Dagenham had the misfortune to be released in the same year as The King’s Speech which in total won more than 60 major awards.

Here's the trailer:

The King's Speech

We start our new season with a somewhat inevitible choice next week.  These are my notes:

The King’s Speech

UK 2010                      119 minutes

Director:                      Tom Hooper

Screenplay:                   David Seidler

Starring:                        Colin Firth, Geoffrey Rush and Helena Bonham Carter

Nominations and Awards

• Won four Oscars (Best Picture, Director, Actor and Original Screenplay) plus eight nominations (including Best Supporting Actor, Best Supporting Actress and Cinematography).
• Won seven BAFTAs (including Best Actor, Best Supporting Actor, Best Supporting Actress and Best Music) plus seven further nominations.
• A further 56 wins and 75 nominations

“Although the film involves a man overcoming a serious disability, it is neither triumphalist nor sentimental.  Its themes are courage (where it comes from, how it is used), responsibility, and the necessity to place duty above personal pleasure or contentment – the subjects, in fact, of such enduringly popular movies as Casablanca and High Noon.  In this sense, The King's Speech is an altogether more significant and ambitious work than Stephen Frears's admirable The Queen of 2006 and far transcends any political arguments about royalty and republicanism.”

Philip French

In the early1930s the Duke of York (Colin Firth), the younger son of George V (Michael Gambon), was struggling to overcome a speech impediment with help from Lionel Logue (Geoffrey Rush), an Australian speech therapist.  George V died in 1936, and his death was followed by one of those incidents when, in Alan Bennett’s memorable phrase “history rattled over the points”: Edward VIII (Guy Pearce) abdicated in order to marry the divorced Wallis Simpson (Eve Best) and the Duke of York, who had never even seen any state papers was crowned King just as Fascism was on the rise across Europe and Churchill was beginning to warn of the dangers of German rearmament.  Logue continued to work with George V and with his help the King was able to face the challenges of both his Coronation and the public speeches his position demanded of him, including a live broadcast in September 1939 on the outbreak of war.

David Seidler had lived in London during the Second World War and had subsequently developed a stammer from the stress that he had endured.  He had been inspired by the example of George VI’s struggles with his speech impediment and, having moved to the US where he became a scriptwriter in Hollywood, he decided to write about the King.  Lionel Logue’s son committed to give him access to his father’s notes, but only if the Queen Mother consented: she gave her permission, but asked him not to do so in her lifetime.  Seidler subsequently discovered that Logue had treated one of his own uncles, and from him learnt about the techniques that Logue used in his treatment.  From this original source material Seidler produced an initial screenplay that he subsequently turned into a play script, and it was after attending a reading of this that Tom Hooper’s mother called him with a simple message: “I’ve found your next project”.

Although depicting the key historical events of the period, the film makes some changes to enhance the dramatic nature of the story: the Duke of York started working with Logue ten years before the Abdication and the improvement in his speech was noticeable within months rather than years; during the Abdication Crisis Churchill had been a staunch supporter of Edward VIII; and far from distancing themselves from Chamberlain’s policy of appeasement George VI and Chamberlain appeared together on the balcony of Buckingham Palace, an act of endorsement by the King described as “the biggest constitutional blunder that has been made by any sovereign this century”.

The film received rave reviews for its acting, screenplay and direction. Colin Firth received his first Oscar and both Geoffrey Rush and Helena Bonham Carter received Oscar nominations for their supporting roles.  David Seidler won his first Oscar in his mid-70s, and after a long and successful career as a director on TV and having only directed one other feature film Tom Hooper won Oscars for both Best Director and Best Film.

Here's the trailer:

Kevin Spacey in Richard III

We bought our tickets the day booking opened but last Saturday was the earliest we could get tickets to see Spacey in Richard III.

Having seen him in both Speed the Plow (excellent) and Inherit the Wind (outstanding) and then having seen the reviews we knew we were in for a treat - and we were not disappointed.

I've never studied the play, although I've seen it twice before (with Anthony Sher and Ian McKellan in case you're interested) and apart from the outstanding performances by both actors and very interesting productions my main recollection is a complex plot governed by by a mass of intertwined dynastic relationships.

The Old Vic chose the "information light" route for the programme: as a standalone production there was more focus on the psychology of tyranny rather than the history of the War of the Roses, and as I watched it I realised that this silo approach worked and kept me focussed on the play.  The only element which I found slightly disconcerting was the Anglo American cast: the colour blind casting worked well - as it always does - but to me, with the sole and honourable exception of Spacey who gave a towering performance, the American cast members seemed to struggle with the text.

Spacey won the acting honours, but I'd also award prizes to Gemma Jones (as a witch-like Queen Margaret who haunted many of the scenes) and Haydn Gwynne (as the Duchess of York) who was more than capable to standing up to Spacey's elemental force.

As we drove home from the Old Vic we heard the sound of many police sirens, and as country bumpkins we thought this was standard for a Staurday night in Londeon; it was only when we checked the headlines on Sunday morning that we realised that there had been riots.  The play includes scenes where the citizens of London are persuaded to call for the Duke of Gloucester to assume the crown as Richard III; on Saturday evening their descendants clearly had other priorities.