Category: Entertainment

The Dark Knight Rises; Better Late Than Never

There’s little doubt in my mind that by the end of the year, Christopher Nolan’s epic conclusion to his Dark Knight series will be top in box-office takings. I’m not a skilled mathematician in any way, shape or form but I believe if you deduct the extra earnings that The Avengers ripped off took from its 3D advantages (you know, an extra £1.50 for a tainted experience and over-sized glasses), then The Dark Knight Rises comes out on top. I’m sure far cleverer and wiser people than myself will tell you this is not the case though*

*it is.

But it doesn’t matter; at the end of the day people aren’t going to clamber home and divulge their full feelings and thoughts on the movie based on how much money it raked in. The age-old saying about quality and quantity comes into play massively here. Box-office success has never and will never equal critical acclaim – just ask Michael Bay.

Again, it doesn’t matter; no one is going to clamber home at the end of the day and sa—oh, I’ve done this part. Well, forgive my sanctimonious ramblings about film politics. The movie itself is wonderful. It’s a wonderful movie. It’s fantastically ambitious in scope and executed with the deft precision we’ve come to expect from Nolan’s skilled hands. It also brings up an interesting question:

Is it a good Batman movie?

Was The Dark Knight? As far as I’m concerned, Batman Begins represented the character of Batman as I, a comic-book virgin, would expect him to be portrayed. It felt like it jumped right out of the murky pages of a traditionally dark graphic novel with its steam-soaked streets, colourfully off-beat characters and, well…a guy dressed as a bat. Then The Dark Knight came along and, perhaps juiced up by Heath Ledger’s tragic death, the fan-boy community was given a sudden jolt of excitement; anticipation for this movie was sky-high and it delivered on all the right notes. I’m going to shamelessly quote famed movie-critic Roger Ebert on this one because he says it better than most:

“Christopher Nolan’s “The Dark Knight” is a haunted film that leaps beyond its origins and becomes an engrossing tragedy”.

So that’s what Roger says and I agree whole-heartedly. It took Batman to a new level (for me at least) and gave us all a healthy dose of entertainment along the way. In a way it’s raised the bar for what many believe a good Batman movie should be (to be straight, I don’t quite agree with this as I really enjoyed Tim Burton’s gothic-inspired effort in 1989).

The Dark Knight Rises tries so hard to do this again and upon my second viewing, I noted the scope of the film; what Nolan tried to achieve was amazing; an entire city is ripped apart from inside, both politically and socially, and then stapled together precariously whilst awaiting the heart-pounding climax. It’s what Nolan loves to do and though I don’t think he truly achieved the successes he had with The Dark Knight, you have to stand up and applaud the guy. It’s no easy task and I doubt I could do it*

*I couldn’t.

That being said, I’d hardly label the movie a ‘failure’; its undertones and themes are convoluted and many plot-points are far too convenient and far-fetched. I’ve read thousands of plot-holes related to the movie and though I agree many of them raise an eyebrow or two, I would suggest that Nolan’s movies are perhaps slightly more exposed to quizzical wonderings from the online community due to the director’s stature which has truly polarised some as well as captivated others. I admit I’m a big fan; I wrote my university dissertation on the guy and the way in which he’s crossed the boundary between Indie and Mainstream without as much as a scratch on him. He’s a remarkable film-maker and whilst I will never be as arrogant and pompous to label him one of the greats, his contribution to Hollywood has left a significant mark.

Also, stop asking:

“How does Bane eat?”

Did you ever ask how Darth Vader ate? Perhaps he was a big fan of the suffragette era and took to consuming his daily meals through a narrowly worked straw.

I liked Bane. I liked the music (I like to imagine someone following Bane down the street, beating enthusiastically on a pair of drums slung over their chest). I liked Catwoman. I liked her outfit. I liked Michael Caine crying. I liked the special effects. I liked Joseph Gordon-Levitt being called *SPOILER* Robin and I liked Bane beating people up with a bike-helmet.

There’s a whole collection of great things to like about this movie, but I think love is perhaps an expression too far.  The movie goes places that it perhaps needs to go but I don’t know how much it sacrifices audience entertainment for; the fight scenes are very well orchestrated with Bane matching Batman for physical strength with interest. Tom Hardy has a good time as the muscular and intimidating figure of Bane and his presence is felt throughout the movie, even when he’s sadly not on screen. Elsewhere, Anne Hathaway shoves her previous critics away with a flawless, confident and humorous performance as Selina Kyle (Catwoman is never once uttered) and her role is used well by Nolan as is the role of John Blake, played by Joseph Gordon-Levitt. A lot of characters, a lot of balancing; I admit I was surprised at the lack of Christian Bale as the Batman. He has quite a journey of discovery in this movie and Bale probably puts in his best performance of the trilogy as a Bruce Wayne completely devoid of hope.

By the end you’ll appreciate the action that has unfolded; as always, it’s second-to-none and the urgency of the film’s events is felt throughout. Nolan has his pacing covered and it’s definitely a movie that you could see more than once without feeling like you need to stealthily check the time on your phone.

The story is rather insignificant at the end – I don’t think many will care for the ‘Save The World’ idea that is thrown about rather lethargically towards the beginning of the film and plot-points seem to follow suit, being branded about left, right and centre until dropped completely for the explosive ending. It’s a movie that deserves its plaudits and the money earned but it never quite reaches the heights set by its predecessor and perhaps even Whedon’s Avengers, but it’s worth-watching as always and paints a beautiful picture thanks to the sublime efforts of cinematographer Wally Pfister.

Film Review: The Tin Star

Well, I don’t know about you but my weekend was wet and windy and, compared to of late, pretty darn chilly. At least for August. Had it been more clement, I would probably have busied myself with one or two little jobs that are awaiting my attention outside. Or I might have taken a languid stroll around the park. Alas, Hey Ho! the weather kept me indoors. So what better way to spend a wet Sunday afternoon than to watch an old sun-drenched western, particularly one directed by Anthony Mann whose CV includes some of the finest of the genre ever made.

While it may be easier to recall the more famous Mann westerns starring James Stewart, of which there were five (starting with Winchester ’73 in 1950 and ending with The Man From Laramie in 1955), The Tin Star, made two years later, stars Henry Fonda and Anthony Perkins. This time, instead of one main protagonist – the emotionally tortured soul that Steward embodied so well – here we have two main characters – Fonda’s laconic and sagacious bounty hunter and Perkins’ young and inexperienced town sheriff. There are no sweeping vistas of snow-capped mountains, beautiful pine sided valleys or white-water gorges here either, an element that Mann captured so beautifully in those earlier films. Indeed, in complete contrast to the Stewart films, there is no travel at all involved for the characters here, not in a geographical sense anyway. The only journeys undertaken are in the characters of the characters, if you get my drift.

It is dialogue that drives this movie forward more than an cross-country pursuit peppered with gunfights, that and the influence that Fonda’s age and experience has on Perkins’ naivety. Apart from a couple of forays out into the surrounding dusty countryside, the action takes place in a little old town in the middle of nowhere. It’s shot in black and white too which seems to add to the film’s parched appearance. Also worth noting is that the film opens with a shot of the town’s main street as Fonda trots in on his horse and closes with exactly the same shot with him riding out in a buggy. Whether Mann meant anything by this is down to one’s interpretation.

And so to the plot. Morgan Hickman (Fonda) rides into town with a dead outlaw slung over his pack horse. He goes to the sheriff’s office to claim the bounty on it. The townsfolk don’t want him around because bounty hunters are bad news. Ben Owens (Perkins) has been appointed temporary sheriff by the townsfolk (the last one having been killed) on account nobody else wants the job. Nobody that is, but the town bully Bogardus (Neville Brand) who would use the post as a licence to kill.

Owens is a likeable young man with a rather unconfident manner and a sweetheart who won’t marry him while he’s wearing a star and Bogardus is a distinctly nasty piece of work who has the townsfolk standing behind him because they’re all afraid of him. He is a racist bully and it’s not long before he shoots an Indian in the back claiming it was self-defence. Owens swallows hard and steps forward to do his job but Bogardus resists arrest, prompting Hickman to step forward and lend an experienced hand.

Hickman has to stick around a day or two while his bounty claim is processed and gets lodgings with widow Nona Mayfield (Betsy Palmer), a young woman who lives just outside of town with her son, a half-Indian boy named Kip (Michael Ray). Strong feelings rapidly develop between Morgan and Nona and Kip is thrilled to have a father figure around.

With Bogardus released from jail after witnesses claim he did indeed act in self-defence, the young sheriff asks Hickman for some coaching on how to become a better sheriff. Hickman, at first reluctant, telling Owens to quit while he still can and go marry his girl, has a change of heart when he admits to having once been a lawman himself before turning bounty hunter. For all his naivety, Owens is a decent, upstanding man but simply lacks the basic knowledge of being a lawman. He has the heart but not the tools. So Hickman begins to advise the younger man.

Later, the town doctor is murdered by two brothers and the town demands justice. Owens is adamant he wants to bring the perpetrators back alive so they can face a fair trial but Hickman is certain that filling them with lead is the only way the brothers will allow themselves to be brought in. Bogardus takes off with a large posse to capture them, his intention to string them up from the nearest tree.

With Hickman’s help, the brothers are taken alive by the sheriff and thrown in jail. But the rowdy posse – headed by Bogardus – threatens to storm the jail and hang the brothers in the street. Owens, having learned much from Hickman in the last few days, faces the crowd and Bogardus and soon earns the respect of the town. He is now the competent lawman he wanted to be. The film ends on a happy note with Hickman riding out of town to start afresh somewhere else a changed man, with a new woman and a young boy beside him.

Overall this is a very good film and an often overlooked western gem. The acting is terrific from a strong cast, particularly from the two leads. Fonda, who in my opinion, is always worth his fee, plays the jaded hero figure with just the right blend of cruelness and compassion. Sure, he’s as mean as hell, he’s got to be, it’s a tough job and someone has to do it. Perkins, who was only twenty five and in one of his first roles portrays being wet behind the ears at the outset with real honesty but by the end of the film, he’s grown in stature and maturity. A great performance from him.

The screenplay written by Dudley Nichols from a story by Joel Kane and Barney Slater was nominated for an Academy Award, something that very rarely happened to low budget westerns at the time (or ever). There are words of wisdom in Hickman’s dialogue as he tries to instruct Owens in the art of staying alive and in return for this, by collaborating with the younger, idealistic man, Hickman manages to re-find the virtues that he lost years ago through personal tragedy. The movie deals with racism, friendship, romance and the ways of the old west in an intelligent and subtle way that few of the genre ever did and whether you like ‘cowboy’ films or not, the penmanship is such that it’s simply a great story well told. Definitely worth seeing.

 

Film Review: It Happened One Night

Since Hollywood began handing out gold plated statues in 1929 for the recognition of excellence in the movie industry, only three films have ever won all five major awards – the Oscar Grand Slam – Best Picture, Director, Actor, Actress and Screenplay. The most recent was in 1992 when The Silence of the Lambs swept the board and Hannibal Lecter declared to the world his penchant for fava beans and a nice chianti. Prior to that it was Milos Forman’s One Flew Over the Cuckoo’s Nest in 1976. The first time occurred forty one years earlier when It Happened One Night became the movie that helped put the then minor studio of Columbia well and truly on the map.

Frank Capra, a rising star when the silent era morphed into the ‘talkies’ directed It Happened One Night and would later go on to make such Hollywood gems as Mr. Smith Goes to Washington (1939) and It’s a Wonderful Life (1946). In total, he would win three Oscars out of six nominations for his directing and another three out of seven nominations for Outstanding Production/Best Picture.

Numerous actors were considered for the two leads before Clark Gable and Claudette Colbert signed on. Robert Montgomery and Myrna Loy were among them but rejected the parts because they didn’t feel the script wasn’t good enough. It’s said that Gable was lent to Columbia by MGM’s boss Louis B. Mayer as some form of punishment for refusing roles at his contracted studio but while this may or may not be true, it does give an air of plausibility to Gable apparently turning up for work on the first day of shooting and grumbling – ‘Let’s get this over with.’

The atmosphere on set was pretty tense as filming got under way but Gable and Capra enjoyed making the movie. However, it is said that Colbert did not. She was the sixth actress to be offered the role and reluctantly accepted the part only after Capra had agreed to double her salary to $50,000 and guarantee that she would have to work no more than four weeks. One might think that would make the pill easy to swallow but  she was reportedly difficult on set and whined about something virtually every day. When filming had wrapped, she complained to a friend, “I just finished the picture in the world.”

After opening to luke warm business and indifferent reviews, it gained a secondary movie house release, word of mouth spread and the box office receipts went through the roof. It became Columbia’s biggest hit to date and had an immediate impact on the public. One scene has Gable undressing for bed, taking off his shirt and revealing himself to be bare-chested. This was because removing his undershirt as well didn’t fit in with his humorous dialogue and so the undershirt was abandoned altogether. It apparently lead to a noticeable decline in the sales of men’s undershirts. Also because the two characters travel on a Greyhound bus for a significant part of the film, the public’s interest in bus travel increased nationwide.

Although the plot may be well-known to our modern audiences, at the time it was a story largely untapped. Spoiled heiress (Colbert) runs away from home because her father has forbidden her to marry a man he doesn’t like. She boards a bus to New York City to reunite with her husband-to-be and runs into a struggling newspaper reporter (Gable), fellow passenger and all-round charming rogue. She’s soon without the means to get to her desired destination and so he (recognising who she is) offers to help in exchange for her story. She agrees out of necessity and they form a squabbling, travelling alliance. Their adventures together leads them to fall in love but in the finest tradition of great storytelling, it’s not as straightforward as it might sound.

There’s great humour throughout this wonderful film and both leads play their parts superbly (regardless of how they felt). The scene where they first meet aboard the bus sets the standard but a hitch-hiking scene later on is possibly the highlight. Gable’s assurance that he’s an expert in thumbing a lift and Colbert’s subsequent belittling him is an absolute joy to watch. Gable’s nibbling on a carrot while rapidly talking at the beginning of this sequence is rumoured to have influenced the creation of Bugs Bunny too. The subtleties of Gable’s performance is a perfect blend of rapidly delivered wisecracking dialogue and moments of romantic tenderness but he never loses that hard-as-nails streak of downright manliness that personified him throughout his career and helped cement his status as The King of Hollywood. When he tells you to “Beat it!”, you really don’t want to hang around to find out what’ll happen if you don’t. Likewise, Colbert’s portrayal of the spoiled brat who suddenly finds herself roughing it outside of the pampered world she’s only ever known is a marvel. It’s no wonder she would soon become the highest paid actress in Hollywood and I’m sure as the box office receipts piled up, Capra would have admitted she’d been worth her hefty fee.

In 1993, It Happened One Night was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically or aesthetically significant.” I think the word ‘significant’ is a good one to wrap this review up with. It is a significant film and a sublime example of a romantic comedy of its time. In cinema terms, it also epitomises the word ‘classic’.

 

 

 

 

 

Book Review: 50 Shades of Grey – E L James

Everyone is talking about it and even those who haven’t read it know exactly what to expect. Mummy-porn, Clit-Lit, whatever you choose to call it, the result is the same. A naughty novel with a simple story. The most frustrating part about this new craze is that from a literary point of view the book is terrible. Repetitive phrases, unbelievable characters and poor use of a thesaurus! Even from an erotic fiction point of view it is weak. I’ve read many Mills and Boon books that are much more captivating, but at the end of the day that isn’t the point. While the trilogy may be infuriating to an English student, for many people across the globe it has awoken something that was long forgotten.

Aside from the content itself, everything about this trilogy has caught the attention of millions worldwide. Starting out as Twilight fanfiction, many people were drawing comparisons between the two love stories before they even knew of its origins. This could be partly to blame for the immense publicity that 50 Shades has achieved. It is the perfect example of just how valuable word-of-mouth can be. Women of all ages have been talking about this book, with many finding themselves unable to resist reading it. While some unwitting readers may have picked it up thinking it was an innocent love story, it is surprising how many did not cast it aside as crude, but used it as inspiration to try out different things in the bedroom.

The BDSM content has been criticised as misleading, but it is very much an introductory lesson, not a hardcore demonstration of all things bondage. The increase in Ann Summers sales of the more adventurous variety of toys is certainly a tribute to the success of the story. So with all this in mind, it is difficult to decipher what the real definition of a good book is. In terms of literary skill and the criticism it has received it is certainly nothing to write home about. However, when a book rejuvenates so many people’s sex lives, opens their eyes to new experiences and new forms of literature, can it really be called a bad book?