Another Year - Mike Leigh (2010)

Mike Leigh is an actors' director. Gary Oldman (again) worked with him in Meantime (1983) and it seems as if his way of directing and working with actors influenced him in the making of Nil by Mouth : rehearsing until actors become their character and bond in a natural way.

I have to say I was a little scared when I read reviews of Another Year: "the life of a middle-aged middle-class couple and their friends and family through four seasons". Part of me thought: typical middle-class family drama. It is.. and it isn't.

Tom and Gerri are the happy middle-aged couple are who we all would like to be when we grow up: living a comfortable life, having a succesful professional life, extremely tranquil marriage with a loving grown-up professional son. The film isn't about them though, it's about the others, the people whose lives are closer to what real life is about.

There's this character... Mary. She is the main story in the film: single fourty-something who is very unhappy but wants to tell herself she isn't, so she can't really improve her life is she can't face it. She is so pathetic we hate her at times... but she's so human that we end up feeling sorry for her. If Tom an Gerri are our ideal selves, Mary is our worst nightmare.

One major achievement in this film is that it's full of dialogue, people talk all the time, but nobody says a line regarding what's really happening. That's not how the story is told. There's thinking and feeling involved in understanding and reconstructing the storyline. There's traditional narrative storytelling, there's "independent" non-narrative storytelling... and there's Mike Leigh.

The visual aspects of the film are all very stylish and well achieved. Tom and Gerri's house represents not just them, but their happiness and that ideal world. Still, the main strength are the actors. There's not one of them who gives a bad performance (I thought the son's new girlfriend was a bit over the top, she wants to be charming but she ends up being a bit annoying... I didn't really like her). Leslie Malville who plays Mary is  great, so is Ruth Sheen who plays Gerri... but my favourite was Jim Broadbent, maybe because he plays an ideal man. Imelda Stauton is in two scenes... but she never leaves. I think you might forget her at first, but she when you think back she represents Mary and us, finally looking for a way out. We would like a new life, but the only thing we have is try to begin sorting out the one we have.

Another Year is a human drama, but is also a performing lesson and a storytelling master class.

Another Year

Nil by Mouth - Gary Oldman (1997)

I am not sure many people are aware that Gary Oldman has directed a film. A good one too.

Actors directing isn't always a good idea, especially because they often try to act in their own films. (I can't help thinking of Clint Eastwood). But in this case, it works very well, mainly because the story is very personal to Oldman: he wrote the film inspired in his own life and experiences living in South London. It is truly one of those films born from the exorcism of someone's demons - might explain why he didn't direct anything else again. There's also a compasionate, loving, way of seeing the story, Oldman isn't judgemental about violence, drug addiction, alcoholism... that's how the lives of these people are, it just happens like that even if they don't want to do it.

The story in Nil by Mouth is built through the characters, a very clever way to face a film if you're an actor directing for the first time. It seems most dialogues and situations were discovered during rehearsals, also the strong bond between characters and how familiar they are with each other can only be built this way. Even though the narrative doesn't develop like the usual storyline, there are key moments and there is what most people would call a conflict.

Of course the performances are the main strength of this film. They are all excellent and well chosen for their roles. But the cinematrography is very interesting too. It was made in 1997 so it has that Dogma influence, in this case it goes very well with the story, the restless camera, the raw use of light... it's not as stylish as bigger films but I think it's very well done. Mike Leigh meets Dogma 95.

Nil by Mouth

Tinker Tailor Soldier Spy - Tomas Alfredson (2011)

Where to begin with Tinker Tailor Soldier Spy?

Gary Oldman. Who doesn't love Gary Oldman? Is there a film where his presence doesn't own everything?! Such a great actor, he can play Dracula, Beethoven or George Smiley and be each one of those and at the same time still be Gary Oldman. In this film he plays someone older than he is... and manages to get away with the ageing make-up (I think this is tricky for most actors). He carries the drama on his shoulder mostly because his character isn't just looking for a mole, he is also human and has weaknesses of his own.

(I don't believe in spoilers, but if anyone who does is reading this, perhaps skipping the following paragraph is a good idea)

Colin Firth. I have said this before, but he's too strong of a presence in any film to just play a supporting role. So from the moment he appears, I knew who he was and what was going to happen. He plays it well though... I think we get distracted until at a certain point we say "Aha! I knew it!". He's an actor who doesn't over do it, he's always in control of his character and all of himself.

/ end of "spoilers"

The Screenplay. How do you judge a good adaptation of a book? By not even noticing it was originally a book, especially if it is a famous book (and it had been done for television too). Tinker Tailor... doesn't really need any other explanation... nor gets into obsessive details the book reader will be waiting to find there. You just understand the rules of the world from the beginning and follow the story, because you engage with these characters who all have a story behind them. It's a thriller all along and it works wonderfully: well paced, the information is well administered.... unlike other adaptations like The Girl With The Dragon Tattoo.

The visuals. The cinematography and art design are amazing. The camera is used to see through things, it's a spy story after all. It's a clever trick and it looks great too. The seventies are always classically stylish and the films looks just like that, everything is shiny and elegant (I've yet to see a dirty car from the seventies... dust just didn't exist back then). The only problem is the lovely Tom Hardy's hair. Something there didn't quite work, unlike Gary Oldman's ageing effect.

The music. I like the idea that Alberto Iglesias has an international career. He's done extensive work in Spanish cinema (mainly writing for Almodóvar) and I think he deserves to compose for all sorts of films. I like the work he did for Tinker Tailor... it's subtle, it goes well with the drama. At times, it's a bit too much music, but that's because I would have liked to listen to more of those lovely sounds.

The Sound. It is so good it made me want to cry. Little details, lots of clear crisp sounds that just set you in the drama and together with the characters. It's such a good film visually that I'm glad they made the effort to also take that level of work to the sound, it makes it a much better film.

Something strange. The lack of women characters. There's the Russian wife who suffers so she has an affair with a British spy. There's the cheating spy's wife (whose face we don't really see!). There's this lady who used to know too much but now is retired... So yes, it's mainly a boys film, perhaps the world of spies was all about boys? Anyway, it is still a good film.

Tinker Tailor Soldier Spy

Genova - Michael Winterbottom (2008)

Sometimes little stories in films are necessary. This is a small story, nothing pretentious. Purely human drama: how will a father with his two girls cope with the sudden death of their mother?

The film shows how scary everything becomes... that feeling of life being so volatile is very well expressed. I think that's good storytelling, it keeps you engaged throughout the film. The problem is that the characters aren't too deep. The exception is the little girl, who has secrets, has things troubling her... is alive. We don't get to know a lot about anyone else. I don't expect to know everything or have all questions answered, but it's nice to ask myself questions and be moved somewhere by a story.

The photography is very  nice, the camera is very well done. But Winterbottom always makes pretty films. They might be hit and miss, but their photography isn't. He's very good at expressing visually what he wants to say with the story. He doesn't present a touristy vision of Genova, more like how the newcomers see it... though it has to be said, it is Genova but it could be any city in the world (it could be their own city changed after the death of the mother!).

The music is okay.. not great. The sound is fair... nothing exciting (which is disappointing as such a capable director could make way better use of sound).

Colin Firth. He's a good actor. He's got a very strong presence. He's not someone you just see, he's someone you probably expect to take over the film. In Genova his perfomance is reasonable, I think he's too much of an important presence for such a small film. It makes it a larger story than it really is (nothing wrong with simple stories, but they usually require actors who aren't so obviously visible). The girls are quite unknown and seem better suited - the youngest one is an amazing actress.

Genova was written by Laurence Coriat, who also wrote Wonderland (1999), another of his film that I quite enjoyed. That is a small film, nicely performed, simple stories... I think having a big star and an 'exotic' location didn't help this time.

It's not a great film, but I found it entertaining.  I like Winterbottom, I'm tolerant with him and he's such a
prolific director that he's allowed to miss sometimes.

Genova

True North - Steve Hudson (2006)

What a lovely poster. It looks like a watercolour painting. The film doesn't look exactly like watercolour but it still looks nice. It captures the sea, the storm, the drama.

I like stories that are about human drama as much as social ones. This film combines them both. It's also about desperation, and people who are at their last resource. What's right and wrong when you have more to lose than to win?

There are a bit too many twists in the script. You are until the end expecting to see what's going to happen... though I must admit that it gets a bit too much. Thinking about it, you know that there are certain messages the film just won't send. If you do something terrible, there's no way you can get away with it. It is grim but it's also real and extremely careful with the moral of the story.

The thing I liked the most was the editing. It had great continuity moments and that's always exciting for nerds like me. The sound is okay, it makes a good team with the editing.

True North

Whisky Galore - Alexander Mackendrick (1949)

Innocent comedy about alcoholism. That's about it. It's non-pretentious, simple humour. It borders the stereotypes sometimes but it's a nice film for rainy days. Not as good and entertaining as The Ladykillers, but still good fun. Not much to say about the technicalities.

This one doesn't have a remake. Could it be remade? Maybe. Perhaps an update in the photography and the way the characters are presented would be nice (without making it as bad as the new version of True Grit looks).


Whisky Galore

The Long Day Closes - Terence Davies (1992)

Second Terence Davies in a row. And last of his autobiographical films. It's Distant Voices's younger sister.

Terence Davies makes films about memories. Beautiful films about not always beautiful memories. In this case there isn't a threatening father, only a loving mother in a very female family home. School is a dark place, so is church, but there's always the shelter of cinema... and handsome boys.

I think Terence Davies is a master of postproduction. The use of music is so good but also the sound and images go so well that you hardly notice the change in between scenes. Perhaps it's just nerds like me who get excited when they don't see he transition in between takes. Still music is well chosen and narrates and keeps the film together.

Davies' camera doesn't just move, it floats... the way the picture is framed is just perfect. As I was watching I kept thinking of The Spirit of the Beehive and then I found out imdb agrees with me and "people who liked" one liked the other too.


The Long Day Closes

Distant Voices, Still Lives - Terence Davies (1988)

There are films that are special to you. Distant Voices, Still Lives is very special to me. Not only it's the kind of film I want to make but also it's takes me back to the time of my life when I first saw it. Rewatching it didn't upset me as much as I thought it would but it still reminded me of better times. Particularly because it's a film about memories.

You could say there's no linear narrative of this film, but there's still a story. Or stories. Through memories (the director's own memories) you build up a story. We don't know these characters completely, we just share their memories as if they were our own. I think this is how we can empathise with them. 

I like to describe this film as a photo album where visually everything is very still, not a lot happening, but very beautiful and poetic too. On the other hand, the sound is alive, it's dynamic, it's got more colour and life than anything else. The use of music is so good because it's not just a musical but a film where music paints the atmosphere. Sound and music convey emotions just like in memories (or dreams). Unlike most films, music here isn't a resource for the audience, it's a resource mainly for the characters, it keeps them together, it keeps them alive, it keeps them going with their life (rather than keep us entertained with a film)

Pete Postlethwaite is superb. He's only in half of the film but the central character of most of it. He's  authoritarian father but he also has a tender side, his children are frightened of him but they also love him because he is their father. The best sequence is when they are getting ready for Christmas and he shows he cares for his children... but then he also can't contain his own anger and throws away the Christmas table. The range of emotion an actor has to handle to portray all this is impressive.

My favourite scene is the one where there's an air raid during WWII. The children are out in the streets while everyone else is running to hide in the shelters. The parents are scared because they don't know where they are. After escaping bombs they arrive and are met by the father who screams and slaps the older girl. After that he asks her to sing and she starts with a little voice to be joined by everyone else.  When you see something like this in a film you know it's happened to someone, you know it comes from someone's past. It's got so much emotion and sensitivity.


Distant Voices, Still Lives is a film that makes you want to write about it. But it's also a film that can't be described in words. It's an emotional experience.

Brighton Rock - John Boulting (1947)

This is a proper noir. Dark characters in a dark world, no way out for anybody.

It's entertaining. I think it's nicely done, I can see how it was innovative for its time (how the camera frames). The photography is ok, though there are better photographed noir. I still think it hasn't aged well. Perhaps the perfomances? I'm not sure. I think the script still works very well and it's nicely paced. I understand why somebody would try a remake, because the photography can be improved, but not by changing the script. I haven't seen said remake but by the look of the trailer it isn't as attractive and it's no longer a noir (more like a strange love story which could be a bit more commercial- though noir films are still commercial these days!)

Richard Attenborough is evil. So evil you can't believe he's the same nice old man from film like Jurassic Park.  That's interesting. I am not sure how I feel about his performance but surely it's good if I struggle to recognise him.

Brighton Rock (1947)

Separado! - Dylan Goch/Gruff Rhys (2010)

Music documentaries can get a little boring and empty of content. Not always, but mostly. If it tries to be psychedelic... well it can get pretentious too (perhaps it worked in the 70s). This is different though.

It's a road-movie music documentary, it's fun, it's amusing and very well structured. The more trippy sequences are well achieved, they aren't overdone at all... the real life part sometimes seem more psychedelic! It also surprised me the amount of fluent Welsh speakers in Patagonia, I wouldn't have thought there were so many of them. One thing that is not minor is that it doesn't avoid historical events that needed at least mentioning.

It is well filmed and well edited. Apparently they did have a lot of footage to work through, so it makes it an even better job. The motion-graphics as very nice too.

My favourite scenes: Brazilean musician introducing "Chiffy!" and the 'gigs' for the Welsh speaking people (who were probably expecting something traditional) with old ladies covering their ears

Separado!

A Matter Of Life And Death - M. Powell / E. Pressburger (1946)

First thing I thought was how much of a post-war film it is. You can tell it's from 1946. The first part seems like a choice between the free world full of happiness and Heaven, grandiose but full of burocracy. Then it changes into a completely different film.. that I have to say  thought ended too soon. The first part had nice timing, but when his trial begins it all happens too fast....

I'm not a fan of Technicolor. In this case it's very nicely used, photographed by Jack Cardiff. The black and white used for heaven is very impressive and the sets are amazing. I quite like that. The film is also known as Stairway to Heaven due to an impressive set piece built for a scene.

I wish I had written more about it when I saw it... I have forgotten most of the things I wanted to say no...

A Matter Of Life and Death

The Ladykillers - Alexander Mackendrick (1955)

My first Ealing Comedy ever. I should be embarrased. 

I quite enjoyed it. I like simple small films and this is a simple black comedy. The humour is so... natural, not forced at all. That's when it works best. Sometimes it seems excess of jokes or acting will make it funnier, and no, it won't. This film proves that less is more if over fifty years later it still works. 

The best thing about it is definitely the performances, from the old lady to the whole bunch. 

I can understand why the Coen brothers will want to remake it. I can understand why they would be interested but can't understand why anyone might think it needs to be remade or it might work in any other way than the original. Just by looking at the cast you know it won't work, you know it will be one of those trying-to-be-funny comedies... it just sounds wrong. 

Great films that still work as well as contemporary films do shouldn't be remade.

The Ladykillers (1955)

The King Speech - Interview with Sound Mixer John Midgley

I already wrote an entry about it, but this is a very interesting video, especially because he talks about the way he worked for the film. It seems to me that sound mixers always have the same role and problems: fighting unwanted noises and the crew that creates it. It's comforting that it happens to big budget important sound mixers too.

(I wish they had use less of that little music for the interview... it really gets on my nerves).

Taken from here 

SoundWorks Collection: The Sound of "The King's Speech" from Michael Coleman on Vimeo.

The King's Speech - Tom Hopper (2010)

I rewatched this one, because I had completely forgotten what I thought about it the firt time. I think I enjoyed it more.

I still think it's an interesting film. Geoffrey Rush is always good. Colin Firth was surprisingly good. I think he does manage to not make a caricature of a stammerer and portray a man who is suffering a lot with his condition. Helena Bonham Carter I think sounds a bit too Lady Tottington which is a bit too much in comparison with Firth's simple performance.

It is very much a film about a man who suffers. It should be a drama.. instead it's a little too sweetened. I blame the music. It's just all over the place, too 'regal', too... much of it. It's like when you have too much of a sweet thing until you can't taste it anymore and makes you sick. It needed more character, more dramaturgy. Possibly it's a fail in the overall sound design, rather than in the composer.

A film about a stammerer it's also perfect for sound. Yet, it's poor in that area. Except for a few moments (when he records his speech and doesn't listen until he gets home). The sound effects were technically very well done... they do help get the stammering effect (especially the first speech scene).

The editing. Some of the cuts bothered me, and that's never a good sign.

The photography is tidy. Correct. A bit too royal-drama-like, maybe? I disliked the use of great angulars, but that's a very personal mania.


So it's entertaining, I enjoyed it, I'd say it's good, but it's got little flaws that are a shame. Though to be fair you see the flaws in the second view, not the first. I engaged with his pain the first time, so that's always a positive thing.

Here's the original speech. He doesn't stammer as much, but let's say it's a cinematographic license to make the story flow better.



The King's Speech

Kes - Ken Loach (1969)

My first thought was "Why haven't I seen this before?". Such a simple charming film, and nicely done too.

I was expecting a movie about miners and growing up... and I found the British 400 Blows. I like it when that happens to you, when a film is so touching you can't stop thinking about it for days. If it refuses to leave you then it's done something ♥

The characters were completely engaging. When non-professional actors do it so well you hardly notice they are acting it's even better than when you find a good actor. It's only a great director that makes it look as if it was simple.

I also liked the camera and editing... it flows so naturally, not intrusive at all or forced in any way. 

My favourite scene was the one where he talks in class about his kestrel. It's such a wonderful moment of being listened to for the first time. Discovering he has a voice. It beats the caning scene where you can see the pain in the little one's eyes.

Even though I knew for most of the film what was going to happen at the end it was nice seeing how the film got in and out of that moment.

The original trailer

This was interesting too

Kes