Brick Lane

This week's film is Brick Lane which is based on a novel by Monica Ali.
After the suicide of her month, Nazneen, a young seventeen-year-old Bangladeshi girl, is sent to England for an arranged marriage to Chanu, a supposedly ‘educated man’. The film then picks up sixteen years later. It is now 2001 and we find Nazneen living in a council flat on Brick Lane. Her existence appears to be miserable, her 'educated' husband is nothing of the sort and means nothing to her, her only joy her children, her only escape is writing to her sister back home.

Her first step on the road to escape from this life is when she starts a job sewing clothes from her flat. This brings her into contact with the westernised Karim, at which point married women's syndrome kicks in and she's on her back almost before she's finished sewing the seams on her first batch of jeans.

Then 9/11 happens and everything changes, Karim changes and surprisingly her husband seems to change too. Originally he appeared to be an immensely dislikeable character but he turns out to be slightly misunderstood and in the end rather likeable. He wants to take the family back to Bangladesh but Nazeen realises that it's time to deal with her life and make her own decisions. He returns alone.



The film has been criticised for ducking the issues on what is a sensitive subject. However despite trying hard not to offend anyone it has still been seen as a controversial film by the Bangladeshi community and has even been met with protests. It's difficult to comment as I have not read the book, so I don't know if the book takes a softer or a harder stance than the film but if you're making the film of the book then you can't really come to conclusions that the book doesn't.

It is though a very enjoyable film, an insight into a life with very little freedom but it's perhaps telling that it didn't provoke much debate from L and I, unlike some of the films we've seen recently.

Into the Wild

'Into the Wild' is a road movie of sorts. It is written and directed by Sean Penn, based on a real-life novel. The main character, Christopher McCandless, has just graduated from college. Despite getting good grades, he is unhappy with his life. He resents his parents and their marriage, though perhaps for good reason and he dislikes our hollow, materialist world (who doesn't?) and decides to do 'something' about it. So without a word, he donates his $24,000 savings to Oxfam and goes off in his old Datsun.

Calling himself 'Alexander Supertramp', he hits the road, possibly to find a meaning for his life or perhaps simply to hide from it. His goal is to get to Alaska, but on his way there, he hits many other states and at one point ends up in Mexico, which is totally the wrong direction. We know he gets to Alaska because the film cuts between his days there living in the abandoned 'Magic' bus, where he keeps a diary of sorts, and his two-year road trip that preceded it. On the way he makes several foolish decisions but gets away with most of them, such as illegally running the Colorado rapids in a kayak, other times he is not so lucky, like when he is caught riding the railways and is beaten for his troubles.

For someone who appears to want to leave the bad old world behind and live a life of solitude, he meets and befriends an awful lot of people, people who are slightly oddball like himself. They are almost all very good to him but he avoids getting too close to anyone. He believes that this is not necessary for happiness. It is this rejection of human contact that strikes you the most, without these people he could not have survived. He bonds with the kind old Mr. Franz, a lonely widower and also a very genuine ageing hippie couple. He touches these people but then just walks away. He develops a 'friendship' with a 16-year-old female singer, who fancies him so much that in the end she offers herself to him on a plate and again he simply walks away.

He is also very inconsiderate of his family; he appears to love his sister, who voice-overs the film, but even keeps her in the dark about his whereabouts and safety, as if a single phone call would spoil his rebellion. He is certainly cocky and self-assured but often he just comes across as a pretentious and arrogant young man.

The ending is dramatic although you can see it coming because the build up to it is slow. Alone in Alaska, he realises that he is out of his depth, cut off by the river so he can no longer leave, he struggles to kill the animals he needs for food and falls victim to poisonous plants. You still kind of hope for the cavalry to arrive and rescue him but somehow you know this isn't going to happen.

The movie itself is gorgeously shot; there are fantastic scenes of Alaska and other parts of America. Great tracking shots of mountains, plains, rivers, and the wild animals. The film, though, is too long at around two and a half hours.

In the end, the power of the film is in its final scenes, when he realises that he has made a dreadful mistake. Not just in his misguided adventure into Alaska alone but in his misconception of what constitutes happiness. You could say that in the end he reaps the consequences of his naivety and stupidity. What he learns in the end, and scribbles in his diary, is that 'Happiness is only real if shared'. If only he had realised it sooner.

Ratatouille

Daughter and I go see Ratatouille. We’re at the Savoy which certainly isn’t Broadway; this is fidget central and the venue for the 'who can make the most noise with a carton of popcorn competition'. The two girls next to me, both well into their teens, easily out do the five year olds with their eating habits. Far messier than Doggo and Daughter put together. When one of the girls stands up at the end of the film the two rows in front of her are almost swept away in an avalanche of popcorn crumbs.


The film itself is your everyday tale of boy meets rat, becomes world-renowned chef, as you do. The boy, Linguini, inherits the restaurant of the famous Gusteau, whose motto was ‘anyone can cook’ but the boy can't. Luckily for him the rat can.


The boy/rat combination impresses everyone, especially the kitchen's sole female chef, the scary knife wielding Colette, who whisks him away on her motorcycle. Fair enough, you're not going to resist a leather clad leggy French babe astride a motorcycle now are you but this doesn't impress the rat and it nearly all goes pear shaped. Particularly when Peter O'Toole shows up as the restaurant critic from the Grim Eater but the rat and his friends save the day and impress him with the rat’s signature dish of, yep you guessed it, Ratatouille. Although I wouldn't have been terribly impressed if they'd made we wait as long for the food as they did the critic.


The film is entertaining but spoilt by the usual American moralising, don’t steal, don’t do that, don’t do this etc. That apart the film is occasionally funny, occasionally clever, and anything that sees a character voiced by Jamie Oliver getting bound, gagged, and chucked in a storeroom, must have something going for it.

Eastern Promises

Tonight we see David Cronenberg's Eastern Promises which was shot exclusively in London. A pregnant 14-year old Russian girl arrives in A&E, haemorrhaging badly and with needle marks on her arms. The girl dies but the baby survives, Nurse Anna (Naomi Watts) is left holding the baby along with the girl's diary, which contains some very sensitive information, and a business card for a Russian restaurant. Anna attempts to have the diary translated in order to identify the girl's family. Watts, my second babe on a motorcycle in the space of just a few hours, and in a nice pair of boots, also goes to the restaurant but in doing so, she becomes embroiled in the dark world of the Russian Mafia, who want the diary back.



Viggo Mortensen, who plays Nikolai, the 'driver' to the mob, is outstanding. Nikolai is seemingly the cool, calculating part of the 'family' compared with the blundering son Kirill.


Cronenberg's mixes in his usual dollop of violence and treats us to two cut throats and an eye gouging, that oddly left most of the cinema in raptures of laughter. Mortensen performs the fight screen that leads to the eye gouging in a steam bath completely nude.

An excellent film with a good twist at the end.

Fälscher, Die (The Counterfeiters)

Tonight we see is called Fälscher, Die or The Counterfeiters, a German film. It's a true story based on a book by Adolf Burger, who is one of the members of the counterfeiting team and is featured in the film.
Salomon is a master criminal, a counterfeiter, and a Jew, living the life of Riley in 1930's Berlin, until he finally gets busted by the German police. He is imprisoned and sent to the Mauthausen concentration camp. Having been to Mauthausen, I can vouch that the film was actually filmed there. The place is exactly how I remember it. He manages to secure a few privileges for himself by showing off his skills as an artist. When he is transferred to Sachsenhausen, (also been there, sorry to name drop) he is reunited with the detective who arrested him, who is now in the SS. He is put to work supervising a team of artists, forgers and printers, who have been assembled to produce counterfeit pounds and dollars to undermine the enemy's economies. If they fail, they will almost certainly be put to death but if they succeed the result could well be the same, as once the currencies have been reproduced, they will be surplus to requirements.



Only one man, Berger, seems to see the wider picture. He struggles with his conscience, concerned that while they are keeping themselves alive they are condemning others to death as they aid the German war effort.



The entire film was gripping from the start. It cleverly portrays concentration camp life without resorting to the usual horrific scenes, which have been done so many times before. Instead, it is all shown from the angle of the privileged lifestyle enjoyed by the counterfeiters. Excellent camera-work, excellent acting. Totally engaging. Thoroughly recommend it.

Control

'Control' is a biopic of Ian Curtis, the lead singer of Joy Division. It is made by Anton Corbijn, the man who photographed and worked with the band. So presumably the project was very personal to him. It was also presumably very personal to his widow Deborah, as the film is based on her biography of her husband, 'Touching From a Distance'. The fact that it is all through his wife's eyes is quite thought provoking in itself. Deborah Curtis, who is played by Samantha Morton, is also involved in the production of the film, which Corbijn shot entirely in black and white, which seems very appropriate. Ian Curtis never really sang in colour, the band were all about dark brooding guitars and deep, doom-laden lyrics.
I was only 13 when he died and I didn't discover Joy Division until a few years later via the early New Order stiff. It is also true that the band were never that popular until his death made them so.

The film starts with Curtis still at school and takes us through to his death in 1980 at the age of only 23. Surprisingly he comes across as quite a likeable chap, more so than I ever though he was. He worked in the social security office and did a great job finding work for people with disabilities.

The film shows his struggle with epilepsy for which doctors give him a cocktail of pills to take, from which he suffers from the side effects. The doctors don't come out of it very well but then again he never went back to get his dosage reviewed. They also tell him to have early nights and stay off the booze, which is a tad difficult when you're trying to be a rock star.

The film also details his disastrous personal life. He married his childhood sweetheart way too soon, and then compounded his error by adding a child into the mix, again way too soon. You can't do the whole touring thing where the girls are throwing themselves at you, with a wife and kids back home. Consequently he gets off with a Belgian reporter and he's not strong enough to choose between the two women.



Curtis quickly reaches a point where juggling his home life, love life and life on the road is too much for him. Add into this his illness and the fact that he couldn't cope with the pressures brought on by the band starting to become popular; it all becomes an accident waiting to happen. Unfortunately we all know how's its going to end and it's partly a case of waiting for that to happen. The people around him don't seem to realise how bad his growing sense of despair is. When the band record the song 'Isolation', no one seems to notice that the lyrics are effectively his suicide note.



A matter of days before the bank were due to leave on their first ever tour of the USA, Curtis hanged himself from a rope in his kitchen.

The film is excellent, another great British film that deserves all the praise it will hopefully get. Sam Riley deserves enormous credit for mimicking Curtis. He has his singing style down to a tee, hunched over the mic one moment, dancing badly the next, epileptic fit the next. Also credit to all the other actors who played the band members. Although the portrayal of Peter Hook doesn't do him any favours. They also played all the songs, there's no miming to the originals here. Riley's performances of tracks like 'She's lost control', 'Transmission' and of course 'Isolation' are all excellent.

The choice of music can perhaps be a bit cliché at times. For instance the use of 'Love will tear us apart' when his marriage is falling apart and I suppose it was always going to end with 'Atmosphere' accompanying his death.

There are plenty of other great performances in the film, motor-mouth manager Rob Gretton has some of the best lines and the late Tony Wilson is also played well.

An excellent film and an excellent night, oh and we win the rugby too but a warning, if someone you love starts singing lines such as,

'In the shadowplay, acting out your own death, knowing no more'.

Be worried.

Deathproof

Tonight's film is Death Proof, Quentin Tarantino's answer to 1970's B-movies. Filmed in a grainy 70's style with poorly cut reels, screen flicker, scratches and burns but with mobile phones and mp3 players thrown in just to confuse. Then halfway through he gives up on this style and goes all black and white, then finally into glorious colour, where we stay all the way to the finale.
The film is about a psychopath called Stuntman Mike (Kurt Russell) who enjoys killing women but his weapon of choice is his virtually indestructible 'death proof' stunt car. There isn't really any story as such and what there is isn't very original and has stolen ideas from all sorts of places but that's our Quentin.



The film consists of two pretty random scenes. The first is of a group of girls in a bar who are talking tedious girl talk about boyfriends and making out. Tarantino himself plays the barman in the bar. The girls may be good looking but listening to them is like sitting near a group of teenage girls using their mobiles on the Red Arrow to Derby. I suppose it's a typical Tarantino scene that has nothing much to do with anything. The problem is, the talk goes on way too long. If he was trying to build up tension then it doesn't quite work. It made me not want to sympathise with the characters but then perhaps that was the idea.



Did he decide to make a Tarantino movie with girls instead of guys. Hence we get the usual long dialogues but with girls talking girl topics rather than guys talking guy stuff. Is he sending up men or women here?

Perhaps all the talk pissed Stuntman Mike off too, because after he befriends them, he decides to kill them. We get a great crash scene and some excellent decapitations. They are replayed, Ian McEwen style, from the perspective of each of the girls as they meet their gory end.



Then we get the second random scene. Another group of tedious girls who seem to re-enact the opening diner scene from Reservoir Dogs. A girl version that is. Again the talking goes on a bit. These girls like cars and get hold of one on a test drive. One of them, dressed in a cheerleaders outfit, stays behind as collateral with the dodgy looking chap who is selling the car.

Whereas the first group were completely passive and were an easy target, Mike has bitten off more than he could chew with this lot. They are much tougher and fight back when he attacks them. We get a good car chase, if somewhat repetitive, with stuntwoman Zoe Bell looking great writhing around on the bonnet. In the end the girls win out and do Mike over but I'm a bit disappointed she didn't put that pole to better use. Whereas you feel kind of appalled by the first slaughter, you really feel quite elated by the second.

It's the kind of movie you either love or hate but then you either, get Quentin or you don't or you just watch the movie. I thought Death Proof was pure unadulterated fun. Loud, silly, quite artistic, and brutally violent. It put a smile on my face. The whole movie goes nowhere, brilliantly. Very Tarantino. Russell is excellent as the utterly deranged Stuntman Mike and the soundtrack too is a well worth a listen.

Apparently Death Proof was originally released as a 75-minute short film in the States as part of a 70's style double bill with fake trailers in between. If that version involved less dialogue then that might cure the faults in this film.



However I'd like to know what happened when the girls took what was left of the car back and what happened to the girl in the cheerleader outfit.