Italian film is supposedly experiencing a renaissance of late; Gomorrah, Consequences of Love, Il Divo to name but three films well received by critics and European audiences alike. Personally I was left relatively unmoved by all of them. Far too in love with themselves and far too drawn out and overly political even for me - though Gomorrah had some memorably horrific insights into the low level workings of the Naples mafia the Camorra it has to be said.
La Doppia ora, the Double hour is for my Euro much better than other recent Italian films. I can't give too much away but suffice to say two Lonely hearts; unassuming Security guard Guido and pretty Slovenian Maid Sonia, meet at a Speed dating evening in Turin. Love or something like it blossoms between them during a weekend of passion at a country house Guido has been employed to look after. However, everything becomes quite literally a nightmare for both as they are attacked by armed robbers.
My only real criticisms are that it's filmed with such low-level lighting that it imposes upon the viewer a sense of darkness that is all a bit too obvious. The surreal blends seamlessly with the real as a result but it's an unnecessarily gloomy and dimly-lit affair nonetheless. Perhaps too there's an almost procedural air about the film despite its twists and turns but that's ultimately being too harsh. This is undeniably an excellent debut and well worth seeking out. Ksenia Rappoport's subtle and exemplary performance raise this way above your average thriller and up to top-notch. She and the film won awards and with good reason.
Finally, must add that I kept thinking throughout that this is perfect fodder for a Hollywood remake and lo and behold I subsequently find out that it's apparently on its way...
Saturday 2 April 2011
Friday 25 March 2011
History in pictures
In roughly 100 AD a supposedly "crack" Roman legion was sent to quell Pictish tribes in what is now modern day Scotland. If one scours a map of modern day Britain you'll find the 70 mile long wall Emperor Hadrian built across the very top of northern England because he could not contain to Roman satisfaction the tribes that lay north of it. The Romans, always revered in Europe yet ignored as the brutal murdering Imperialists that they were, consider that this ninth Legion "disappeared". Rubbish. The Picts annihilated them.
A book in the early 1950's by Englishwoman Rosemary Sutcliffe called “The Eagle of the Ninth” attempted to set the record straight about their "disappearance". For reasons that I'll politely not speculate on this sent many an English academic into a tizzy. The attempts by the latter to deny the Picts on this and for instance "cite evidence" that the Ninth Legion "disbanded" or ended up in the East of England or was recalled to Rome are in a word: nonsense. So if this film and others on the way help set the record straight then I'm all for it.
Other than upsetting the Romans the Picts are noteworthy for other reasons. They painted their faces blue and thus we derive the word picture from them. They themselves disappeared from history and the vast majority of the evidence suggests that they assimilated with the Gaels and Vikings to form the beginnings of who we now consider the Scots. PITlochry is perhaps the most famous Scottish placename that we have thanks to the Picts. We have many artefacts as well but ultimately we don't know that much about them. Adds to the mystery I say.
Despite portraying the Picts in these films as something approaching native American "Indian savages" (the cosy PC view of wronged minorities not the "John Wayne" view of inconvenient blood-thirsty natives) it's heartening that Scottish history continues to inspire film-makers. I suppose if Scots are to be portrayed at all then we might as well be portrayed as barbaric but thankfully noble as well. Yes, thanks Hollywood. There's far worse out there at the end of the day. Director Kevin Macdonald is a Scot who should perhaps know better though. Ultimately however, this is but a distraction. The real subtext to these films since the US invasion of Iraq is to somehow warn perspective superpowers not to underestimate one's enemy. Sometimes they signpost this a little too heavily but again I suppose at least it's an attempt to respond to what has happened in the real world.
But what I think really appeals to people about these films is the classic David and Goliath nature of these films and the continuation of the Epic from Ben Hur onwards. It's the tradition and power of these archetypes that draws audiences world-wide to these films and, aside from the fact I feel it's a film about my ancestors, will be drawing me to see it as well.
A book in the early 1950's by Englishwoman Rosemary Sutcliffe called “The Eagle of the Ninth” attempted to set the record straight about their "disappearance". For reasons that I'll politely not speculate on this sent many an English academic into a tizzy. The attempts by the latter to deny the Picts on this and for instance "cite evidence" that the Ninth Legion "disbanded" or ended up in the East of England or was recalled to Rome are in a word: nonsense. So if this film and others on the way help set the record straight then I'm all for it.
Other than upsetting the Romans the Picts are noteworthy for other reasons. They painted their faces blue and thus we derive the word picture from them. They themselves disappeared from history and the vast majority of the evidence suggests that they assimilated with the Gaels and Vikings to form the beginnings of who we now consider the Scots. PITlochry is perhaps the most famous Scottish placename that we have thanks to the Picts. We have many artefacts as well but ultimately we don't know that much about them. Adds to the mystery I say.
Despite portraying the Picts in these films as something approaching native American "Indian savages" (the cosy PC view of wronged minorities not the "John Wayne" view of inconvenient blood-thirsty natives) it's heartening that Scottish history continues to inspire film-makers. I suppose if Scots are to be portrayed at all then we might as well be portrayed as barbaric but thankfully noble as well. Yes, thanks Hollywood. There's far worse out there at the end of the day. Director Kevin Macdonald is a Scot who should perhaps know better though. Ultimately however, this is but a distraction. The real subtext to these films since the US invasion of Iraq is to somehow warn perspective superpowers not to underestimate one's enemy. Sometimes they signpost this a little too heavily but again I suppose at least it's an attempt to respond to what has happened in the real world.
But what I think really appeals to people about these films is the classic David and Goliath nature of these films and the continuation of the Epic from Ben Hur onwards. It's the tradition and power of these archetypes that draws audiences world-wide to these films and, aside from the fact I feel it's a film about my ancestors, will be drawing me to see it as well.
Tuesday 22 March 2011
Whose company
In the 1980's America and Britain almost uniquely embraced Milton Friedman's Monetarism and the Chicago School's brand of neo-liberal economic policies became dominant if far from popular. Trickle down economics as it has unaffectionately become to be known as. And so began a massive asset-stripping of both countries industrial bases. The theory was that everyone could move into service jobs, that any shortfalls would be made up by the Financial sector and manufacturing could be done for a pittance in developing countries and we'd all be better off as a result. That was the theory. Cut to thirty years later and Writer and Director John Wells uses the resultant down-sizing experiment as the backdrop to this longish, slightly drawn out tale of post-industrial woe and the male emancipation that accompanies it in what's left of America's shipbuilding industry. The film is called The Company Men.
Unfortunately there's a perfunctory air about the whole picture despite the gravity of the subject. It's upbeat and hope-filled in places, it's smartly done and well-produced, realistic too but somehow there's a forced feeling about the whole affair. All the performances ring true however; especially Tommy Lee-Jones's world-weary Patrician figure struggling against his own demons and that of the company he has helped build which is shedding jobs in full down-sizing glory. As too is the equally fatigued though more distraught Chris Cooper. Ben Affleck is suitably cast as the young and capable upwardly mobile type dealt an unfortunate and frustrating hand in the midst of an otherwise loving marriage and mostly happy home life. And a surprising turn by Kevin Costner as a blue-collar all round good-egg type adds to proceedings in a pretty satisfying way.
I think though that it struggles to reach the emotional heights it obviously sets itself up to and as something of a consequence doesn't ultimately say much despite covering some fairly serious issues. I don't want to knock it too much because it's a relief that Hollywood is taking on such a subject at all but I came away feeling largely unmoved. Perhaps I am too connected to the subject matter as my Grandfather worked in the Shipbuilding industry so I have long dealt with the anger I felt over the betrayal that I believe these men and their communities were subjected to by a bunch of right-wing idealogues more concerned with their place in history than the lives of millions. Perhaps I just wanted too much from it and thus was bound to be disappointed. But it's a brave and not insubstantial attempt to get to the heart of these matters and despite my reservations believe it deserves to be seen.
Unfortunately there's a perfunctory air about the whole picture despite the gravity of the subject. It's upbeat and hope-filled in places, it's smartly done and well-produced, realistic too but somehow there's a forced feeling about the whole affair. All the performances ring true however; especially Tommy Lee-Jones's world-weary Patrician figure struggling against his own demons and that of the company he has helped build which is shedding jobs in full down-sizing glory. As too is the equally fatigued though more distraught Chris Cooper. Ben Affleck is suitably cast as the young and capable upwardly mobile type dealt an unfortunate and frustrating hand in the midst of an otherwise loving marriage and mostly happy home life. And a surprising turn by Kevin Costner as a blue-collar all round good-egg type adds to proceedings in a pretty satisfying way.
I think though that it struggles to reach the emotional heights it obviously sets itself up to and as something of a consequence doesn't ultimately say much despite covering some fairly serious issues. I don't want to knock it too much because it's a relief that Hollywood is taking on such a subject at all but I came away feeling largely unmoved. Perhaps I am too connected to the subject matter as my Grandfather worked in the Shipbuilding industry so I have long dealt with the anger I felt over the betrayal that I believe these men and their communities were subjected to by a bunch of right-wing idealogues more concerned with their place in history than the lives of millions. Perhaps I just wanted too much from it and thus was bound to be disappointed. But it's a brave and not insubstantial attempt to get to the heart of these matters and despite my reservations believe it deserves to be seen.
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