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Reviews
Bonekickers (2008)
Bonekickers - should be kicked into touch
'Bonekickers' is as dippy as I feared judging by the trailers and the hype surrounding this major new series. 'Never forget - history is now!' screamed the BBC website. I think that's the worst tag-line I've ever heard. Pre-transmission I thought it all smacked of desperation - I was right.
The series uses various 'historical', usually apocryphal, events as a jumping off point, all centred in and around Bristol - (Bath Uni masquerades as the campus of the 'University of Wessex'.) Bristol is not only where members of the hugely popular Channel 4 'Time Team' and series consultant Prof Mark Horton are largely based, but I suspect the producers thought, 'Bath-the-new-Torchwood-Cardiff'. I think not, especially as the Royal Crescent Bath is featured. The requisite 'babe' of an archaeo leader, (Julie Graham) seems to live there. Does she make that much money? She seems deeply dippy herself, at one point she hunkers down at the trench edge and murmurs. 'Come on, give up your secrets.' I always find talking to a hole really helps. She also snaps and barks frequently to establish her status as boss, turning on the hapless Postgrad (also a 'babe'), with the urgent pronouncement, 'Use your archaeological imagination!' In my day it was called thinking.
The said Postgrad, Viv Davies, whom we are to believe had her pick of placements, is also worrying; she doesn't know how to catalogue using the Pitt-Rivers method, (spuriously mentioned but not explained), nor does she seem to know how to use a trowel, as at midnight with a stranger in tow, she heaves a huge piece of the 'True Cross' out of the ground with no concern for stratigraphy, context or recording.
The 'trenches', (at one point for dimmer viewers helpfully cross shaped), would make any archaeologist cringe. At times the poor actors look like they are preparing to lay a sewer pipe. The first thing down it must have been the script. I have never seen such a preposterous use of a dovecot in my life. (You'll have to see that for yourself). Never has one episode, nor I fear a series, fitted the phrase 'holy crap' so well as this one.
The cast is starry - a cynical punt for ratings in my opinion, especially as the script is such a fumbling hoot. While Adrian Lester looks uncomfortable throughout, the wonderful Hugh Bonneville - (he must be doing it for the money) - tries to throw himself into the meagre pickings he's given. Hugh, looking uncannily like a cross between Time Team's Robin Bush, (historian) and Phil Harding, (archaeologist), hat and all, seems to fulfill the major characteristic required, i.e. at one point he pronounces, (rather too realistically I thought), 'Please, for the love of Jehovah, can we go the pub!?' A cry for which I think I will adore him forever. I await with bated breath, next weeks 'Dolly' gem, 'Does anyone else have a brown trouser situation?'
That's not even to mention the names: they rejoice in some wonderful handles, Julie Graham is Professor Gillian Magwilde, - Mug-wilde would have been better as she does a fair bit of earnest mugging to the camera. Gillian is the driven daughter of an archaeologist who is clearly carrying the torch and secretly in search of the treasure that seems to have sent her Mum to the madhouse. Adrian Lester is Dr Ben Ergha, to be honest, I'm not quite sure what he does. The resident evil is an arrogant TV historian, Professor Daniel Mastiff, played by Michael Maloney. Hugh is Professor Gregory Parton - who introduces himself airily to the young Postgrad, with the words, 'Everyone calls me Dolly'. I assume this is purely to illicit the line, 'Hello Dolly'. Not to mention he becomes Prof. 'Dolly' Parton, - a 'joke' so lame, it's surely only funny to six year olds and writer/producers who've downed a few pints...
For a series made by the same team who produced 'Life on Mars' and the wonderful 'Ashes to Ashes' I am deeply disappointed. I think this will get an award - for the worst, but maybe funniest series on TV. Will it sink without a trace or fall into the cultish so-bad-it's-good category - in which case I think the fans should re dub it 'S--tkickers'.
Sweeney Todd: The Demon Barber of Fleet Street (2007)
Sweeney Todd - The Demon Barber of Fleet Street
Long before Sondheim's musical premiered in 1979, the original stage version of this tale by George Dibdin Pitt (adapted from the 1846 penny-dreadful horror novel 'A String of Pearls' by Thomas Prest) opened at the Hoxton Theatre, London on March 1 1847. From the excellent opening titles, I knew this film was going to follow in the blood-soaked footsteps of it's Victorian predecessor. Tim Burton's dark, tragicomic imagination seems to gel so well with the theme, that he was the natural choice to meld Victorian melodrama and a classic of 20th century musical theatre. A grim and desperate Victorian London was fully realised from the outset - reflected and led by music and razor-sharp lyrics of Sondheim's now rightly famous musical play. I call this a musical play, because that is just what it is, the characters do not burst anachronistically into song at odd moments as in other mere musicals, here the genius of Sondheim is such that the characters engage in fully rounded exchanges - they just happen to be singing.
Action, music and song mesh seamlessly, always full of interest wit and revelation. From Alan Rickman's Judge Turpin to Sasha Baron Cohen's wonderful Perelli, the casting is excellent. Bonham-Carter proves that she fully deserved to be cast as Mrs Lovett, as she takes on the part created by Angela Landsbury and makes it fully her own - becoming by turns comic, sardonic, bittersweet and thoroughly nasty while never missing a note along the way.
Johnny Depp, sounding like a cross between Antony Newley and David Bowie, clearly relished the challenge to show another facet of his talents, and as ever, succeeded spectacularly. He is an actor who always manages to find the innate humanity in the odd characters he tends to play. Here he shows Sweeney's decent from happy man to crazed avenger with the kind of heart rending subtly, which only serves to make his further trials at the hands of Fate even more tragic.
The only reason I am giving this movie a 9 instead of a 10, is that for me, I believe Burton missed a trick. Yes, Sweeney Todd is the Demon Barber, and yes the prosthetics were excellent, and okay, Burton said he did not want to back away from the gore, but when all is said and done, the graphic murder of minor characters was overdone. For me, if their violent deaths had been implied rather than shown, the ending would have been much more powerful and affecting. By the time of the climatic scene arrived, although redolent with Victorian morality and melodrama, I am afraid my senses were rather too soaked in 'Kensington Gore' (stage blood) to be as shocked and moved as I supposed Tim Burton intended. Thus a twinge of disappointment erupted in me as the credits rolled, as I realised it was the only bum note in an otherwise pitch-perfect movie experience. Such a shame - mind you, it won't stop me looking forward to the DVD.....
300 (2006)
Stunning visuals let down by pointless fantasy......
I neither saw 'Sin City' nor any of the hype surrounding this film, but as one who spent a whole summer holiday when they were twelve copying the Greek Myths section out of a borrowed Larousse Mythology by hand, I came to this movie as a fan of Ancient Greece, art and culture. However, knowing that 300 was based on the graphic novel rather than the history, I viewed the film as such.
I many ways, I was not disappointed. The opening was entirely accurate in its depiction of Spartan Culture. The graphic style of the piece, which has bothered some, was a definite asset for me. The style, not only held true to the spirit of the novel, but also gave a nod to Greek art, and subtly drew on others. The beautiful Oracle sequence lent heavily on fantasy art, while the background vistas and the use of snow, wind and wave, owed not a little to the woodcuts of Hokusai. Indeed, many of the visuals made this an astounding and exciting experience. The battles were at times stunningly realised, the phalanx was well depicted, hails of arrows and a real sense of the eyeball to eyeball, brutality of hand to hand fighting gave the piece a reality which belied the stylisation. Yes, there was plenty of digitised blood, but often the violence was implied by shadow, sound or close up of a bloodied weapon, thus managing to wrest itself from possible accusations of 'slasher gratuitousness'. If that were not enough, there were many shots of the body beautiful (both male and female) to keep any mind from wandering. The casting throughout was good, and not too starry for anyone to hog the screen. Lena Headley made a striking Queen, David Wenham was a sympathetic character- narrator, and Gerard Murphy made a strong and effective King Leonidas. Murphy even managed to make several rousing speeches a la Braveheart sound more convincing than Mel - no doubt helped by the fact that this time his accent was genuine.......
That said, my problems with the film came when it lurched entirely into fantasy, in scenes that seem to have come from an entirely different film - several films in fact.... Though scattered like chaff through the wheat of better sequences, when they occurred, my principle enjoyment came from playing spot-the-reference, rather than the action. Why for example, did the Oracle's attendants appear to be medieval cowled monks who seemed to have a bad case of leprosy? (Braveheart/Name of the Rose - anyone?) Why a Spartan Quasimodo? Why Immortals who seemed to be a combination of Ninja and dark hordes of Mordor? Why the mutant fighting for the Persians which was lifted straight from Lord of the Rings...? As spectacular as the creature was, I don't think the Persians had attack-rhino...... But most and worst of all, why was Xerxes portrayed as a camp dancer from a burlesque, swathed in gold 'bondage' chains, shimmer body gel and sparkly gold eye-shadow? Good grief - the guy was nice to look at - but why?? The Persian culture had more than enough to recommended it to be depicted with as much reality as the Spartan heroes. Yes, fantasy might be part of the genre, but for me in this case, its inclusion seemed shoehorned into the plot and utterly pointless, making what could have been a very good film indeed into a fairly good one. It's certainly worth a look - but it's not the must see I think it might have been.
Brokeback Mountain (2005)
Brokeback Mountain - shackled by its origins
NB - IF YOU WANT TO MISS THE CRIT AND SPOILERS, SKIP TO LAST PARAGRAPH.
The first problem came within the first 20 minutes, when I was not able to understand the dialogue. The accents may have been accurate, but in an attempt at gruff macho realism, all the actors were initially unintelligible. I began to think that I would have to view the movie again on DVD with the subtitles on. Fortunately, either my ear became attuned, or changes occurred after viewing the rushes Although matters improved, I realise my initial annoyance may have affected my enjoyment of the whole.
As to the 'gay' theme, I must give the producers, director and actors credit for dealing with this issue in such ultra conservative days. However, for me, this was not so much a story of two gays who 'found' each other, as two kindred spirits who found in each other the tenderness and unspoken understanding they had never found with anyone else, not even their respective spouses. Coming from similar backgrounds and lonely childhoods, their love often seemed not so much sex as and expression of rage against the world and a refusal to deal with the issues in their respective pasts. This is particularly true of Ennis (Ledger) who clearly loves his wife and children, but knows deep down that Jack (Gyllenhaal), is his true soul-mate.
Certain inconsistencies in the plot and structure pulled this film down, while others raised the level. I found the manner in which Ennis' wife Alma discovers the truth about her husband implausible. Having been so discreet and secretive. I did not believe that both men would act in such a way even after several years. A more serious flaw was the fact that Alma only challenges Ennis about his relationship long after their divorce. That's not even mentioning his sudden violence towards her. While I can believe he could have stormed out and taken out his rage on a stranger, his ambiguity and confusion was such throughout, that I did not believe he would have suddenly man handled her as if he were in a barroom brawl.
Before this scene, I thought the director Ang Lee was being subtle and clever by not spelling out the reason for the divorce, allowing the viewer to believe that they had stayed together for the sake of their young children. Thus, this largely plausible scene was made entirely implausible by poor placement in the narrative. Whether it was an error in the script or in the editing is not clear, but I would have expected better from both Ang Lee and the screenwriter Larry McMurtry.
However, there is one gem of a scene that both coveys the very heart of the film and shows the true genius of the director Ang Lee. If anyone wants to know how to convey everything without words, watch the scene between Ennis and Jack's parents. The father is boorish and homophobic, while the mother conveys understanding, acceptance and forgiveness, all by giving a touch, a nod, and a glance.
The sublime simplicity and perfection of this scene made me ache for the rest of the film to match it, yet sadly it did not. With the exception of Jack's mother, played by Roberta Maxwell, the performances were solid rather than outstanding. As one who has never understood the allure of Heath Ledger, while his performance was at times affecting, at others it was merely ordinary. Perhaps that is not his fault; while Jack had a certain spontaneous, reckless charm, Ennis was largely taciturn and sullen, seemingly only coming alive in scenes with his daughter.(Anne Hathaway).
If it were not for the fact that both characters were men, the repression and denial conveyed would be nothing out of the ordinary. Maybe that is the point, Jack and Ennis are soul mates whom Fate has deemed would be two men instead of man and woman.
This story asks us to consider what is love, and Ang Lee allows us, the viewer, to answer that question. Our answer can be profound or glib according to our mood and point of view, and while this ambiguous device often works on the page, it does not sit so well on film, at least not for me. The repression of Ennis' emotions ultimately distanced me from caring for these men. By contrast, the brief appearance of Jack's mother and her silent expression of quiet agony made me wonder more about her life than Ennis' in the years beyond the story's end. Surely not the emphasis intended.
The film Brokeback Mountain, taken from a short story by E Annie Proulx, never manages to wrest itself from its limited origins. In 129 minutes we are presented with what is in essence a one premise plot line, and it is simply too slim either to draw us in, or ultimately make us care about the main characters. I appreciate films which make me want to see them again. I've seen Brokeback Mountain, and sadly for such a fine director as Ang Lee and screen writers, Larry McMurtry and Diana Ossana - once is definitely enough.
The Constant Gardener (2005)
At last a film for adults, a haunting, thought-provoking masterpiece..
A film about the corruption of Western pharmaceutical companies in Aids oppressed Africa does not sound very promising, but I'd urge readers to think again. 'The Constant Gardener' is a topical, subtle thriller and a convincing love story.
The relationship between the two principals Rachel Weiss (Tessa) and Ralph Fiennes (Justin) is utterly convincing and as such they draw from each other their best performances to date. The plaudits must go to Weiss, who fully personifies her role and stays in the memory. While Ralph Fiennes may seem a little too reserved for some tastes, the fault is not with his acting, Justin Quayle is a typical le Carre male character. Similarly, the pace may seem to lag at times, but this is merely because we are being drawn slowly into an absorbing thriller.
For me, the direction by Fernando Meirelles is pitch perfect, and is matched by a fine adaption by Jeffrey Caine from the John le Carre novel. The cinematography is stunning and well thought-out. When Justin Quyale, played by Fiennes, goes to Africa, the use of hand held cameras, and the semi-documentary style highlights the void between his comfortable London life and the poverty of those in the slums of Africa. Indeed, Africa becomes a character in its own right, but this is no tourist board advertisement. The sweeping vistas serve to draw the viewer into a world of beauty and horror. We are pulled along with Justin and see ourselves reflected in him. From a life of comfortable complacency, his wife Tessa (Weiss) draws him into a world of secrecy, fear, love, loss and revelation, until at the end we feel we have witnessed the journey of a man as transforming and epic as any in great literature.
It has been months since I saw the film, and what stays with me are the emotions engendered by this piece - that hasn't happened since 'Schindler's List' and 'Ghandi' before it. I look forward to seeing 'The Constant Gardener' again, I shall welcome it like an old friend. It fully deserves to be as well known and as highly praised as it's more abstruse companion, 'The English Patient'.
Memoirs of a Geisha (2005)
Memoirs of a Giesha/Sayuri - A Japanese Cinderella
This movie is indeed as many have said, a cherry-blossom laden Westernised vision of Japan - with the most schmaltzy Hollywood ending since Doris Day and Rock Hudson rode off into the the sunset - (and I think the joke was on us, dear reader!)
As a non-Japanese with an interest in the culture, I found several inaccuracies, although trivial on their own, cumulatively eroded my enjoyment of the whole. Before I saw the film, I was willing to overlook the use of so many non-Japanese actors - but having seen the film, I have come to the conclusion it was rather like allowing Frenchman to re-enact the Battle of Naseby (for US readers make that Gettysburg). Yes, they could be made to look the part, well nearly.....but they certainly didn't sound like it..... As a result in the end the portrayal was unconvincing.
While the kimono's were largely correct and gorgeous, the makeup and hairstyles, were much less so. Although set in the 1930's, the hairstyles adopted are far more to likely to be seen on today's catwalks than on Maiko and Geiko of 70 years ago. The white geisha make-up was all but non-existent. They did not even bother the follow the tradition of depicting the trainee geisha (the Maiko) with only her bottom lip painted red - all the principal actresses sported Max Factor pouts from the off,,,,,,,,,
The performances were solid throughout. Li Gong relishes her part, and the young Suzuka Ohgo as the young Chiyo (Sayuri) stood out. Ziyi Zhang is beautiful - but she is simply not Japanese. Michelle Yeoh is indeed elegant and beautiful as Mameba, the mentor of Sayuri - but I found her long brown hair a reminder of her days as a Bond girl - and this trivial annoyance kept drawing me away from the 1930's.
The hero - the Chairman - played mercifully by a Japanese, Ken Watanabe, aged not one iota in the 26 years of the story, falling in love with the heroine who was all of 9 at the time. The nine year old heroine instantly fell in love with him too. Why? All because he bought her a cherry ice, a little bit of kindness in her life of drudgery. I found that scenario entirely too much to accept, and is it really the best example of female psychology the script could come up with?
But wait, hang psychology, as in the tradition of the worst western romantic fiction the women are either, bitches, whores, (both in the case of Hatsumomo played by Li Gong) - or dewy eyed victims waiting for Fate and prayer to save them from all their undeserved suffering at the hands of others. And of course, also in the tradition of the worst romantic fiction, by the end, Fate and/or prayers are always answered in full for the heroine.
The worst felony for me came in the cursory handling of the war. I hoped WWII might give the story the edge it so desperately needed. Maybe Sayuri's long lost sister might reappear, might we through her come to understand something of the hardship of those years? But no, the conflict was dismissed in a few scenes; a few army trucks, a bit of panic and a small phalanx of planes. After the war, Mameba reappears only slightly less well dressed, but still as beautiful - and Sayuri is now escorting American top brass.
Sayrui's dance scene, (an after-thought) was a bad idea. It was far too modern and looked like a perfume advert or a catwalk warm up to me..... Although flawed, I found myself constantly thinking of James Clavell's 'Shogun' - particularly the beauty of the actresses. Undoubtedly there was a Japanese actress who could have taken the lead ,but given the actresses cast were names from other box-office smashes, you don't have to look too far for the Producers thinking. The only concession was they used a Japanese actress for the adult Sayrui's voice-overs. That seems a bit of an insult to me.
On the positive side, I was impressed by the cinematography ...but in the end, the glory of the visuals only made me more discontent that the adaption did not match it. The surprising fact that the film was largely shot in Hollywood could be seen as a plus, except that it probably reveals more than intended. Maybe no Japanese studio worth their salt would have put their Mon onto such a loose and fundamentally flawed depiction of what is a complex, artistic and spiritual culture as that of the world of the Geiko.
I was hoping for more than a slick, up-market melodrama. Perhaps if this story had been animated by Disney as a sort of Japanese Cinderella - with few saccharin songs along the way - I would have enjoyed it more. As it is, if you want to see these excellent actors again might I suggest the following, any one of which is a much more satisfying way to spend a couple of hours:
Ken Watanabe - 'The Last Samauri, Batman Begins' or even check out the Japanese drama, 'Kita no Zeronen' 'One Year in the North'. also made in 2005, where incidentally Suzuka Ohgo also reappears.
Michelle Yeoh - 'Crouching Tiger, Hidden Dragon'
Ziyi Zhang - 'Hero' 'House of Flying Daggers'
Li Gong - 'The Emperor and the Assassin' 'Farwell my Concubine'
If you want to spend more time with Sayuri, I have one piece of advice: read the book, it's much better than this flabby adaption........