Showing posts with label Bath Film Festival. Show all posts
Showing posts with label Bath Film Festival. Show all posts

Tuesday 7 March 2017

LGBTQ and the new world of F-Rated films (thanks to Holly Tarquini at Bath Film Festival) - a good fit ? (work in progress)

More views of - or before - Cambridge Film Festival 2016 (20 to 27 October)
(Click here to go directly to the Festival web-site)


8 March

LGBTQ and the world of F-Rated films : Read more below, and your comments are welcome – is it a good match for those who do not identify with polarity of gender, or see themselves as necessarily having a gender, etc., etc. ? (work in progress)





As a result of the efforts of Holly Tarquini at Bath Film Festival (@BathFilm), a rating for films, F Rated, has not only been used at the Festival, and elsewhere, for a while (@F__Rating, but is now being adopted by IMDb.




IMDb, short for the International Movie Data-base (@IMDb), is both, as in the Bath area, amongst the Festival’s neighbours and one of its collaborators (and owned by Amazon, hence all those promotional banners / links to buy on Amazon…)




However, confusion already exists, by virtue of people assuming – or being told, and not checking – that ‘F’ denotes ‘feminist’. Although the criteria for F-Rating clearly do not say this, and a film can be F-Rated simply by virtue of the fact that a woman directed or wrote it (or both), does whether an F-Rated film is then wrongly taken to be an endorsement of it or its values and ethos need due consideration - not least when IMDb / Amazon start F-Rating films in earnest ?



And, then, does the stipulation of a female director start posing questions, when it was Andy and Larry Wachowski (now, respectively, Lilly and Lana) who made The Matrix (1999), etc. [the IMDb biography for Lana Wachowski, compared with that for Lilly, has greatly submerged the birth-name] ? :








Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Friday 10 January 2014

Stale old arguments about Scorsese

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)



10 January

The Times (in an article entitled Cathedral defends showing ‘debauched film of Christ’s life’) reports as follows regarding Bath Film Festival's (@BathFilm's) screening of director Martin Scorsese's The Last Temptation of Christ (1988), based on the book by Nikos Kazantzakis (and with score by Peter Gabriel) :

Members of the congregation have protested that the 12th-century Gothic Cathedral is to be used for an “appalling film” that “tackles the theme of debauchery”


Are they thinking, maybe, of another Scorsese film, Taxi Driver, which certainly does 'tackle' that theme, and appals in its literal sense (from Old French appalir to turn pale) ? Have they seen it, or are they like the protesters (placards saying 'Down with this sort of thing') penned by Arthur Matthews and Graham Linehan in Father Ted, who made more popular, through interest and intrigue, a film that they had not watched, The Passion of St Tibulus from 1995 ?

The appendix of the 1996 edition of Scorsese on Scorsese* (one in a Faber & Faber series to which The Agent is addicted) is devoted to the film. Here are some quotations from a statement that Scorsese made at a press conference :

When I read Kazantzakis's book, I didn't have the feeling that it would be deeply offensive to anyone, especially because I know of my own intent.

[...]

Among the boys who I knew when I was in the seminary, one is now the head of an order in Chicago called the Congregation of the Blessed Sacrament, and happens to be a great fan of Kazantzakis's book. And I know that the book is used in seminaries as a parable to argue about and discuss. This is how I hoped the film would be received.

[...]

A black minister wrote a letter to the New York Daily News, saying he loved the film, was going to use it as a study guide in discussion groups, and that he felt most of the people talking about the film had not seen it. He said they adhered very much to the word of the Gospel, but not to the spirit.


After the event, read more here about it and the film, if you wish...


End-notes

* Faber & Faber, London, 1996.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Thursday 5 December 2013

More Haneke than Buñuel ?

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


5 December

Jeune et Jolie (2013) was screened at The Little Theatre as part of Bath Film Festival 2013


How many reviews of Jeune et Jolie (2013) am I going to have to read where its uninspired writer references the completely irrelevant Belle de Jour (1967), just because - whatever the fit - it is the only film that, in each case, he or she can think of where a woman works as a prostitute ?

* Tim Robey* in The Telegraph

* Ian Freer in Empire

* James Mottram in Total Film

* Nigel Andrews in The Financial Times

* Andrew Nickolds at TAKE ONE

And so on...


Have they never seen Natalie (2003) or even Sleeping Beauty (2011), which have far more in common for how the topos is treated ? What, in fact, does a married woman with sadomasochistic fantasies have to do with a seventeen-year-old, who has just uncomfortably lost her virginity ?

Sooner that, though, than being smugly dismissive (Mark Kermode in The Observer) or claiming that Blue is the Warmest Colour (2013) is indisputably better (Brian Viner, Mail Online : Viner says that Jeune et Jolie 'is in no way a match for' the other film, but they are very different films, no more capable of being compared than Superman and Bambi just because both (of J&J and Blue) feature sex.


Reviewers tediously also want a motivation for what Isabelle does. As i** carps :

Ozon's motives in making this film are as inscrutable as those of his teenage heroine Isabelle (Marine Vacth) [...] who, for reasons Ozon doesn't even begin to make clear, decided to embark on a part-time career as a teenage prostitute

They see (as the quotation shows) the fact that no motivation is stated is a flaw, which it might be in a world of perfect rationality, but that is not our world. So, Nigel Floyd (for Film4) reports :

“I didn't really try and understand psychologically who [Isabelle] was," Vacth has said. "I wasn't interested in knowing exactly. And anyway I couldn't, because François didn't tell me anything about her psychology.” The second half of this statement is more revealing than the first. Given that their creative collaboration was so one-sided, it's not surprising that the film suffers from an atmosphere of uncontrolled, unrevealing salaciousness.


Has Floyd even seen the film, if he thinks it salacious, one might wonder.

All this business about motivation is ultimately a dead end, a red herring, and would have one interrogate Amour (2012), when Michael Haneke is on record here, and in relation to other films, that it is up to us how we view them, and there is no one way.

What more do we want, and why, than what the films tells us : that Isabelle's friend Claire and she were approached in the street (Claire previously alludes to this encounter in talking to Isabelle), and the man said his number. Do we need spelt out what impulse led Isabelle to follow up a man interested in her ? Obviously, most girls of her age would do nothing with it, but why should she not register the number and act on it ?


In fact, an answer to why she did is utterly boring, when the fact is that she did, and we see her approaching room 6598 where not her first client awaits her, but Georges, with nothing of what preceded. There is something seriously wrong with the idea of cinema-going if that does not suffice, and critics are unhappy not to be told more.


End-notes

* At least Robey goes on to make this (necessary) observation : 'The film makes more sense if you see it as a companion piece to Ozon’s last one, In the House, which had a 16-year-old male schemer insinuating himself into a series of power plays'.

** In the edition on 29 November 2013.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Tuesday 3 December 2013

The great hip hop film

This is a Festival review of The Great Hip-Hop Hoax (2013)

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


3 December

This is a Festival review of The Great Hip-Hop Hoax (2013)

It is my approach, with films, to know as little as possible about them as is consistent with being able to make a choice whether to see them.

This one sounded as though it might share common ground with The Great Rock 'n' Roll Swindle (1980) - to which one member of the audience indirectly alluded in the Q&A with director Jeanie Finlay, by asking whether Billy Boyd and Gavin Bain are actually any good at hip hop - but it is far more interesting : in anything that has someone pretending to be something so long that it becomes questionable whether there is a way back, and, when there is a slide into the sort of existence that kept John Cooper Clarke out of circulation and composition so long, one is facing greater concerns than what The Pistols were in it for.

Mocked by A&R people when they travel down for 13 hours on the bus from Arbroath to London, because they are Scottish, but trying to get recognized for their skills in hip hop*, Boyd and Bain are only spurred on to make themselves be what is necessary to be taken seriously, and immerse themselves in sounding, in words and accent, as if they are from San Jacinto, California (under the name Silibil N' Brains). An initial gig gets them spotted by Chris Rock, who wishes to sign them and, as they need a manager first, sends them to Jonathan Shalit - who gets them a deal with Sony instead. Not, though, the end of their problems but, just before that deal, where they all begin...

Bringing the expectant original journey and disappointed return to life, where at least one of the young men is so hurt that he says that he did not speak all the way, Finlay uses shots of passing scenery to amplify the sense of what they had invested and how cheated and abused they felt. In between, waiting for and before the panel, we have the first use of John Burgerman's colourful and quirky animation, again with Boyd and Bain's comments in voiceover, and its character fits well the tone of the film. A third strand of material, other than recent interviews with Bain and Boyd, and withtheir friends, family and colleagues, is what was recorded on home video made at the time, along with gig and MTV footage and stills, all put together creatively and with flair.

As hinted already, the real focus of the film turns out to be what becomes of the relationship between the two men (although it is now seemingly healed, after they separately contributed to the film, on its being shown on the festival circuit) - it turns out delaying giving the go-ahead for the release of their first single, because Bain is not happy with it and wants to re-record it, means that, because Sony then enters a merger, it never happens, and Boyd essentially tires of waiting around, rather than getting on with life with the woman whom he had recently married.


It is clear from what Finlay says that, with the men giving or publishing accounts of what happened that differ from each other (or from verifiable fact, such as, as Finlay reported, contrary to one's claims to have crashed the BRIT awards and drunk with the stars), she had a difficult time trying to piece together a version of events for the film. She has a telling quotation from Boyd :

Lying is like a drug. Eventually you get carried away, and that’s where you’re out of control. Telling the first lie’s a bit like smoking weed, but after a while you need a stronger hit.


I also confess to having had trouble, which may be personal to me**, remembering which of Boyd and Bain I was seeing in the later interview footage, and in consistently relating that identification to the animation / period material - although, when they made it their business to behave madcap and provocatively to avoid serious questioning, they could act interchangeably (but, though no one realized why, even included the names of fellow hoaxsters Milli Vanilli in a lyric). For real deliberate grossness, for example, we see one openly urinating in public, whilst the other receives the urine on his palms and wipes it on his face ! At such times, it seemed to matter little which of them was playing which part.

This is a thoughtful and interesting piece of film-making, because, behind the antics, the two were so set on staying in character that they even kept in it with the sister of one of them, with whom they stayed when first in London, and also freaked out Boyd's bride not a little. The pressures that they put themselves under by living a lie may not be those weighing on a Raskolnikov, but, past the first steps, they had much to lose, if found out. Remarkably, Rock and Shalit are in the film, but, Finlay told me, the latter only agreed to be interviewed after three years, and she said that Sony had completely distanced themselves.

In the Q&A, someone tenaciously questioned why what he thought the standard of a t.v. documentary (indeed, the film commissioned by the BBC's Storyville series) was being called 'a film'.


I asked about Shalit's response to learning of the deception, describing it as 'philosophical, even amused', and wondering why he had not been more bitter - not appreciating that, as we were told, he was booed in the screening at Edinburgh Film Festival for denigrating Boyd and Bain's background as 'nothing'. It seems that Finlay believes that what Shalit chooses to express as what he thinks of it all now may be a convenient representation of his position...

Having seen Nick Fraser in interview at Aldeburgh Documentary Festival, I asked Finlay whether, as editor, he persuaded her to do or not do anything (having seen something of him in action). She said that he is a formidable figure, and explained that he had commissioned the film, but she had been working with others on the staff.

That said, he had had her pitch the project to him in the BBC canteen, with all sorts of famous faces around, and had banged the table, saying, for example, Make it better ! However, as the film and Finlay testify, he was duly satisfied that it would make a good documentary, which it does.


End-notes

* Apparently, the phrase rapping Proclaimers was derisively used.

** Since it is in the nature of a documentary only to give you the name in a caption on the first occasion (whereas a feature film will typically drop the name in where you cannot miss it and fail to make the association), and here we had two names for Bain.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Saturday 30 November 2013

Ma BĂŞte !

More views of - or before - Cambridge Film Festival 2013
(Click here to go directly to the Festival web-site)


30 November

This is a review of La Belle et La BĂŞte (1946), as shown at Bath Film Festival 2013 (@BathFilm) in a new BFI (@BFI) restoration (a trade-in for writing a Film Note for the festival)


99 = S : 17 / A : 17 / C : 16 / M : 17 / P : 16 / F : 16


A rating and review of La Belle et La BĂŞte (1946)



S = script

A = acting

C = cinematography

M = music

P = pacing

F = feel

9 = mid-point of scale (all scored out of 17, 17 x 6 = 102)





Georges Auric, just on the showing of this score (though, amongst others, he worked his effect on such highly rated films as Passport to Pimlico (1948) and Roman Holiday (1953)), would be considered an insightful composer. He gives us, for example, a compact overture, builds to a finale to match the assumptive apotheosis, and, in between, has unresolved chords when a dark forest is being penetrated, tellingly uses the middle part of the oboe’s register at key moments, and transforms and modulates themes to suggest the transitional moods.

As one would expect of him, Jean Cocteau has produced in this film a work that resonates with literary, cultural and homosexual allusion and yields an almost overwhelming richness of meaning*. On one level, AdĂ©läide (Nane Germon) and FĂ©licie (Mila ParĂ©ly) are the ugly sisters from Cinderella, except that they are not ugly beyond their attitudes and aspirations, but just that La Belle (Josette Day) is more beautiful in all of those things. (We also have something like the looking-glass from Snow White, hints of Goldilocks when the father enters La BĂŞte’s domain, and Little Red Riding Hood with the perilous forest.)


Looked at differently, we have Shakespearean perspectives in La Belle’s father as Antonio in The Merchant of Venice, with Bottom’s becoming an ass, and with Lear’s division of the kingdom between his daughters, where La Belle asks but for a rose (as against a monkey or a parrot) and is blamed when plucking one (with all the rich symbolism of rose-picking going back to The Romaunt of the Rose) proves dire.

On the level of realistic narrative, a father looking to save himself at the suggestion that one of his daughter’s should die in his place seems monstrous, though little as monstrous as much in Lear, but it amounts to the same thing : which of the daughters loves him more than the others to take his place (with all the suggestion of Christ’s redemptive sacrifice) ? Link this with the insincerity of La Belle’s sisters, their scheming, and their desire to subjugate her and one has quite a bit more than the Prince Charming story.

What we must also have is inspiration for other filmic enterprises such as Pan’s Labyrinth (2006), The Elephant Man (1980), Sunset Boulevard (1950) and Edward Scissorhands (1990), but also wide influences from The Hunchback of Notre Dame (for whose film Auric wrote the music ten years later) and Nosferatu (1926) (those doors that open themselves) to the Wife of Bath’s Tale in The Canterbury Tales.


Names are important (though probably inherited by Cocteau, but he would have known what to do with them), with, beyond Belle = Beauty, ones that mean happy or lucky (FĂ©licie), noble or honourable (AdĂ©läide), fame or fighter / warrior (Ludovic), and pleasant or welcoming (Avenant) : link beauty with happiness and honour and you have a powerful trio, but, when being happy means selfishly seeking out one’s own comfort (even at the risk of another becoming a slave) and when it is only honour amongst thieves, one has a pair as corrupt and venal as Goneril and Regan.

The circumstances of shooting, so soon after the end of the war, mean that the privations that Chris Baker brings out in his festival film not only match those of this family wracked by debt by vessels being lost at sea (U-boats, etc.), but are also reminiscent of The Cherry Orchard, with so many people, other than the self-motivated sisters, failing to do anything beyond moping or spending the last pennies in the tavern to remedy the situation (and La Belle only incidentally does that by her holy tears of pity turning to diamonds). The requirements to be careful whom one trusted in war time, and who one’s real friends were, must have been raw topics at this film’s release.

With La Belle and La BĂŞte, the polarity is more obvious, with him moaning Je sais que je suis horrible – she, who was a willing sacrifice, brings to him her goodness and faith, which he finds hard to receive, and is adamantly vocal that she should not kneel to him. At the start, with a clapperboard that was going to set things off interrupted by Cocteau’s written admonition read aloud by him (and, as in the credits, with a superscript five-pointed star), we are urged how to try to enter into this world. La Belle, likewise, enters into La BĂŞte’s world, and, in return for glowing less with a kind of saintliness in her beauty **, takes on a different beauty that she can share with him, where La BĂŞte can become Ma BĂŞte.

As, in more senses than one, this is a tale of enchantment, I had a theory about La BĂŞte (which turned out to be wrong), but I became more interested in his psychology, brought out wonderfully by Jean Marais both in his vocal tone, and his eyes, demeanour and gait. He did change, did develop before our eyes, and the side of him that exacted bargains from people on pain of death, humbled before La Belle, appeared to soften. He is a sort of Prospero, swearing a vengeance on his brother and other betrayers that he does not - cannot - carry out (which is where the Greenaway connection is), or a bit the man behind the illusion of The Wizard of Oz.

Cocteau winds up the story gradually, seeming to be an unmagical one until the branches part in the forest and the father finds himself in La BĂŞte’s domain. When he enters, and the male hands holding a candelabra move and gesture, and the male faces watch and follow, we are conscious that he is a man amongst disembodied male features, and there is a homoerotic tinge (when the hand at the table lets go of the shaft (sic) of the candelabrum to pour the wine, the father jumps a mile) – later, when La Belle passes through, and, after that, describes how they brush her hair, they take on a different character. Striking imagery that could not have failed to say some to a film-maker such as Peter Greenaway, or a writer such as Samuel Beckettt.

Whatever meaning one tries to put on this film, no one will adhere, because it is, with music, words and the visual world, such a coherent piece of art that it is, as Chris Baker says was Cocteau’s desire, poetry, and demands to be watched over again.


End-notes

* Whatever its starting-point in the writing of Jeanne-Marie Leprince de Beaumont.

** I am not with Chris Baker in finding a Vermeer resemblance made out, not even to what is called Girl with a Pearl Earring, as hair swept back and in a headscarf is not an unusual look.




Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)

Sunday 9 December 2012

My stonking film scenario !

More views of - or before - Cambridge Film Festival 2012
(Click here to go directly to the Festival web-site)


9 December

Isn't Tweeting wonderfully liberating and creative... ?








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