LEE**

Lee Miller was a supermodel and a surrealist muse before becoming a photographer in her own right.  When World War Two broke out began by photographing the home front for Vogue before lobbying to be sent to the front line. She captured images of the Allies using napalm in France, and then of the liberation of Buchenwald and Dachau. Famously, she photographed herself in Hitler's bathtub, her muddied boots defiant in front of the tub.  She was tough, self-medicated with alcohol, "sex positive", and by all accounts a rather distant mother.  Her life is big enough for several films, or a miniseries. Sadly this film, produced by and starring Kate Winslet, can't seem to wrap its arms around its subject and wrestle it to the ground.

The first problem with LEE the film is its framing device. Winslet is aged up to be the seventy-year old Lee going through her old photos with a young interviewer (CHALLENGERS' Josh O'Connor).  The problem is that every time we get to a moment of dramatic tension and need to stay emotionally engaged we are ripped out into a different era.  The worst example of this is when we go from Dachau to Hitler's villa, now being used as a convivial officers' mess.  The contrast is sinister and surreal and Alexandre Desplat's score captures the weirdness of it. The problem is, the contrast is split by an interlude in the 1970s. I understand why Winslet the producer thought she had a duty to include this framing device - more of which in the spoiler section after the release info - but I think it was a distraction ad a mis-step.

The second problem with LEE is that the first act in St Malo is marred by the casting choice of Alexander Skarsgard as her lover Roger Penrose. Skarsgard simply can't do a convincing English accent and it's hugely distracting.  

The film is on firmer footing with the third and most impactful relationship that Miller had - her collaboration with the Life magazine photographer David Scherman. Andy Samberg is good in this role as far as it goes but the film isn't interested in exploring why this relationship worked when so many others didn't. And it criminally under explores his reaction to the camps. 

We are on firmer footing with Lee's female friendships.  Winslet is at her finest in scenes of tender intimacy, first with Noemie Merlant's surrealist artist Nusch - and most heartbreakingly with Marion Cotillard's Solange d'Ayen. This is not a convincing film but Cotillard's cameo is pure authentic tragic pain and deserves awards season recognition.  I also loved Andrea Riseborough (BRIGHTON ROCK) as the thoroughly decent and thoroughly straight-laced Vogue editor Audrey Withers.

The problem is that these moments of genuine heartbreak are scattered in a film that can't quite convince as a whole. I blame this mostly on the screenplay by Liz Hannah (THE POST), Marion Hume and John Collee (MASTER & COMMANDER).  I think the time spent in St Malo is good as a contrast to the wartime suffering, but I felt every moment spent with Roger or the interviewer was wasted. Most of all I just didn't feel that I ended the film understanding Lee more than at the start. The script felt reductive. Its Lee is a victim of abuse who protects the abused but cannot protect herself or her family from her alcoholism.  But is that the only explanation I am to have of why this beautiful privileged woman decided to go to Dachau? And was she an alcoholic before the war? Or just after Dachau?  And why don't we ever really see her suffer for that?  She is the most high-functioning alcoholic I have seen.

I also feel that the film is both dumbed down with exposition AND weirdly does not explain stuff I needed to know! There's lots of exposition - especially early on - but then no signposting that we are at Dachau, or really that we are in Hitler's actual house, or that the little girl in the camp was in a brothel. I only knew that because Kate Winslet referred to that scene in a Q&A. 

Is the film worth watching? Yes for the scenes with Riseborough and Cotillard and for Winslet's performance. But it remains a frustrating viewing experience.

LEE is rated R and has a running time of 116 minutes.  It played Toronto 2023. It opens in the UK on September 16th and in the USA on September 27th.

Spoilers follow:  Kate Winslet said in her Q&A that she felt a duty toward Lee's son to give him the conversation with his mother about her life that he never had in real life. This film was made in collaboration with the son and the Lee Miller estate. I feel that that sense of obligation was a burden for this film.  The lack of relationship between mother and son is only interesting if we really explore her post-war PTSD and as a reflection on what she saw. By wrapping the film up in it, and making it have a conversation with Lee's wartime experiences, it diminishes the power of the Holocaust scenes and adds little depth to our understanding of Lee.

DAVID BYRNE'S AMERICAN UTOPIA - BFI London Film Festival 2020 - Day 8

David Byrne's American Utopia is the concert film we need right now.  It's hard to believe this guy is 68 years old. His voice is still so strong and his creative instincts still so full of energy and innovation.  A year ago he took his new album American Utopia to Broadway, mixing it up with classing songs from the Talking Heads canon.  But rather than have a flashy stage set-up or costume changes or a conventional band playing static on stage, he decided to strip everything back to 11 people, wirelessly hooked into a sound system, with the same grey suits.  The joy and excitement of the stage performance comes - then - simply from their movement, their music and a kick-ass lighting design.  I've never seen something so kinetic and organic and authentically brilliant.  The music and message speak to a kinder, more inclusive America.  And it's sheer joy just to see so much talent on stage.  Praise should also go to Spike Lee for knowing just when to show the choreography in full, or when to focus in on the artists, and for matching the energy of the show with his kinetic, flowing camera work.  

DAVID BYRNE'S AMERICAN UTOPIA has a running time of 105 minutes. It played Toronto and London 2020 and was released in the USA yesterday. 

A LITTLE CHAOS - LFF14 - Day Ten

You can listen to a podcast review of A LITTLE CHAOS here or by subscribing to Bina007 Movie Reviews in iTunes.

A LITTLE CHAOS is a charming amuse-bouche - a witty historical fantasy - gently telling us much about the perils of court life. It stars Kate Winslet as a gardener, Madame Sabine de Barra, in the court of Louis XIV.  We watch her charm Power by speaking Truth, triumph over court intrigue and create a little chaos in the carefully ordered gardens of the newly built Versailles. In all this she is aided by her frank and simple manner and the kindness of many aristos - not least the King’s brother and sister-n-law - a delightfully flamboyant and honestly dutiful couple played by Stanley Tucci and Paula Paul. Sabine also falls for the married Master of the gardens, André Le Nôtre (Matthias Schoenaerts), who throws off a typically cynical court marriage to pursue the affair. And what of the king himself? Alan Rickman plays Louis XIV as weary, conservative but willing to listen in a handful of charming cameo scenes.

The movie is so very dripping in charm and liveability that it’s easy to forget that the basic concept of a gauche outsider finding favour in surprising circumstances in lifted from many a genre movie. Alan Rickman’s direction is stylish, elegant and all elements combine so gracefully that it may seem a more frivolous thing than it really is. For behind the sumptuous clothes and reawakening of life are a handful of delicately played scenes about the reality of court life - trapped, bending to the will of the king, discarded as beauty fades, and unable to show public grief. I think the approach Rickman takes is superbly judged and best summed up in a brief scene where Sabine meets the discarded King’s mistress (Jennifer Ehle). It’s not the grandstanding scene with the king that I like, but rather the one that precedes it - as women of all ages meet in secret intimacy to discuss their figures, their loves and their children.

Praise then to Rickman, his cast and perhaps particularly to debut screenwriter Alison Deegan for giving herself the license to go off-piste with history. My only criticism, if criticism there must be, is that I was rather disappointed with just how formal and hard Sabine’s garden was. After all, having spent the opening scenes in debate with Le Nôtre about formalism vs organic beauty it might’ve been nice to see something of that in her final creation.

A LITTLE CHAOS has a running time of 116 minutes.  The movie played Toronto and London 2014 and will be released in the UK on February 6th and in Portugal on March 5th.

AWAY WE GO - twee

AWAY WE GO is a great step forward for Sam Mendes, whose previous directorial efforts (AMERICAN BEAUTY, REVOLUTION ROAD) have been story-boarded and designed to within an inch of their lives. In this film, he hangs loose, allowing his story and characters room to breathe. The movie looks and feels lo-rent, almost casually thrown together, rather than distracting us with a high-gloss finish. Great.

Problem is, Sam Mendes hasn't moved beyond his other fatal flaw as a director - being patronising. I have yet to see a Mendes movie that does carry with it an air of smug self-satisfaction. AWAY WE GO features John Krasinki and Maya Rudolph - two actors better known for comic roles on TV - in a semi-serious character driven drama. They are well-adjusted, right-thinking, warm-hearted, in-love and pregnant. When his parents decided to move to Antwerp on the eve of the birth of their child, this prompts a crisis. Well, no, they are too banal to ever have a crisis. Rather, the young couple are concerned that they haven't figured out how and, indeed, where, to live. So follows a road trip, visiting friends and family, hoping to learn.

The couple are basically good people (and indeed, are portrayed by good actors). As shown here, they don't really have anything to learn. This is a road-trip with no real emotional journey. The couple are confronted with a series of increasingly caricatured couples, and it's a no-brainer that these are not the guys to learn from. In particular, the hippie couple depicted by Maggie Gyllenhaal and Josh Hamilton were so absurd they completely took me out of the film. And then it all winds up with an ending that is as schmaltzy as it unbelievable.

AWAY WE GO was released earlier this year in the US, Canada, Greece, Denmark, the Czech Republic, Israel and the Netherlands. It is currently on release in the UK and opens next week in Belgium. It opens in October in Finland, Norway, Germany, Australia, and Romania. It opens in November in New Zealand, Portugal, Sweden, Argentina and Spain. It opens in Russia on December 10th.

BERLIN aka LOU REED'S BERLIN

Julian Schnabel's concert film on Lou Reed's never-before-performed 1973 album "Berlin". The concert is played against a background of screens showing dreamy images of Emmanuelle Seigner, and the resulting footage is layered with those same images. Not sure if all this adds up to much - indeed sometimes it feels like it's getting in the way of experiencing the concert. I far preferred Jonathan Demme's less invasive style in HEART OF GOLD (which Ellen Kuras also shot, along with SHINE A LIGHT). Still, there's great pleasure to be had in seeing Lou Reed play classic songs about a failing relationship from an album that inexplicably bombed on first release. Reed gets a full choir and string section to back him up and highlights include "Caroline Says", "Satellite of Love" and an "off-album" version of Candy Says show-casing Antony and the Johnsons.

BERLIN played Venice and Toronto 2007 and was released in 2008. It is available on DVD and opens in Spain on May 15th.

BE KIND, REWIND - a love letter to VHS

BE KIND REWIND is the first of two movies starring Danny Glover as an old man forced to adapt to modernity. In this film he owns a crusty video shop in New Jersey. The building is so decrepit that the local council is going to demolish it to put up some shiny new condominiums. And in the age of DVD blockbusters, all Mr Fletcher's customers are leaving him for his rival West Coast Video. Glover plays Mr Fletcher as hardened to life's knocks. He faces up to reality, decides to move his stock to DVD and, if all else fails, to grit his teeth and move to the Projects. Against Mr Fletcher's realism we have the delightful optimism of Jack Black, Mos Def and Melonie Diaz, aka Jeff, Mike and Alma. These three goofballs decide to replace the videos that Mike has accidentally magentised with a bunch of home-made 20-minute "homages"/spoofs or "Swedes". These movies become super-popular with the customers, tired of homogenised Hollywood fare. Audiences delight in their shared experience of classic movies - the scenes we all know by heart - and finally start taking part themselves. Of course, the Feds stomp on the vids for copyright infringement, but not before one final hurrah - a movie about Jazz piano legend Fats Waller. Never mind that Waller didn't actually grow up in Passaic, NJ. That's the joy of shared memory and experience - we own it, and we can change it!

The first hour of this movie shows us the machinations of how all the video tapes got wiped. It's a pretty convoluted tale and has none of the honest simplicity of the similarly themed movie, SON OF RAMBOW: A HOME MOVIE. The movie only really feels like it lifts off in the second half hour, when the gang starts making the flicks. Cinephiles will take sheer delight in seeing those childhood movies recreated. As Michel Gondry proved in last year's outstanding THE SCIENCE OF SLEEP, he is the king of things to make and do. I also love the theme of the flick - far better to go out and do stuff yourself - gonzo-style - than be the passive recipient of other people's dreams.

You can't deny that the movie has a lot of heart. And I always find that Jack Black is more funny when restrained by a strong ensemble cast and director - so I prefer him here to, say, NACHO LIBRE. Mos Def is charming, and it's great to see Melonie Diaz (who's been consistently impressive since RAISING VICTOR VARGAS) get a proper starring role too.

My only real criticism is that BE KIND REWIND takes too long to get to the good stuff, and that everything about how we get to the Sweded films seems hopelessly contrived. If you like this film, I strongly recommend you check out SON OF RAMBOW to see how the same light-hearted material can be grounded in something real and, therefore, all the more emotionally engaging.

BE KIND, REWIND played Sundance and Berlin 2008. It opens in the US and UK today. It opens in March in France, Israel, Iceland, Norway, Australia, Singapore, Finland, Turkey and Russia. It opens in April in Spain, Sweden and Argentina. It opens on May 8th in the Netherlands.

Two overlooked music docs of the month - BRASILEIRINHO and DAVE CHAPPELLE'S BLOCK PARTY

Two very different music docs out on DVD. The first is a doc called BRASILERINHO from Finnish director (and brother of Aki) Mika Kaurismäki. For 90 minutes we get virtuosi Brazilian musicians playing choro - the prescursor of samba and the first truly Brazilian form of music. It combines European classical dance forms, complex inprovisation and counter-point, and African rhythem. At first we see small ensembles playing in concert halls - mostly guitars and mandolins. Slowly we add in tambourine players, brass players, singers and veen dancers, before a rousing big band finale. The documentary is evidently a labour of love and passion and the virtuosity of the musicians shines through. The quality of music is exceptional and the director has the good sense not to complicate matters with over-editing. What we do have is a very high quality sound mix (Uwe Dresch) and lensing (Jacques Cheuiche) that holds a steady close admiring view of the players. Because the doc does not spend too much time contextualising the music or imposing a narrative structure on the music, non music-buffs might be frustrated. For my part, this was a fascinating concert doc, and when it was over, Doc007 and I immediately went back and played our favourite tracks over. Perfect for a rare balmy London evening.

The second doc is DAVE CHAPPELLE'S BLOCK PARTY. This is a production that brims over with good-will - as befits a project wherein a super-rich comedian local-boy brings a bunch of world-class rap stars back home to Bed-Sty for a free street concert. There's enough of Dave Chappelle charming people into turning up and free-style riffing on stage for those of use who've never caught his Comedy Central show to realise what a good comedian he is. And there's enough concert footage for us to appreciate the musicianship. But the doc lacks the simple focus of BRASILEIRINHO - the sets are too short and the comedy too fleeting. I love Jill Scott and The Fugees and there simply wasn't enough of either! I'm also unconvinced by Michel Gondry and Ellen Kuras (DP)'s shooting style. The movie seems seems to unsettled - too choppy - and distracts from the musicians. Still, all of us waiting for that Fugees reunion will take what we can get.

BRASILEIRINHO played Berlin 2006 and was released in France and Belgium in 2005, in Finland and Hungary in 2006 and in the UK on March 23rd 2007. It is now available on DVD.

DAVE CHAPPELLE'S BLOCK PARTY played Toronto 2006 and Berlin 2006. It opened in the US, UK, Germany, France, Czach Republic, Greece, and Japan in 2006. It is available on DVD.

NEIL YOUNG: HEART OF GOLD - when there is this much talent on screen you don't need pyrotechnics

NEIL YOUNG: HEART OF GOLD is one of those rare things - a movie where the audience sits right through to the end of the end-credits and then breaks into applause. This feels right because the movie is essentially like watching a music concert given by a truly great singer-song-writer and a bunch of his old-school collaborators. Sure, for the first ten minutes we have a bit of footage of everyone rolling up the to the auditorium in Nashville. There is some talk of how the different musicians first came to play with Neil Young. There is also some discussion about the Young's discovery that he had a potentially fatal brain aneuryism. But pretty soon we are plunged straight into the performance of the album - A Prairie Wind - that was written by Young in response to this news.

The music is performed by a large group of musicians - including ten guitarists at one point - a small-ish gospel choir, a horn section and string section, not to mention people like Emmylou Harris as mere backing vocals! The songs are acoustic and cover subject matter from 9/11 to Young's father suffering from senile dementia before he died, to Young's daughter leaving for college. In between we get classic songs such as Heart of Gold. When the concert is over, we have Young sitting alone on stage, his back to the camera, singing unaccompanied to an empty auditorium before packing up his guitar and stalking off. Meanwhile the end credits roll.

Although there is a definite feel that we are seeing some real old school high quality music, the concert is very definitely staged. The backdrops are a series of murals featuring sepia tinted prairie landscapes or prairie home interiors. The musicians all wear beautifully designed costumes. I also like the decision by director Jonathen Demme (SILENCE OF THE LAMBS and PHILADELPHIA) to shoot the concert with fixed cameras. Foregoing moving cameras draws less attention to the fact that this is a movie and makes it feel more like watching an actual concert. This is reinforced by the decision not to show the audience.

The resulting film is a wonder for fans of Neil Young's acoustic work. I have to say that I was pretty unaware of his music beyond the big hits but thoroughly enjoyed the film nonetheless. It's always a pleasure to see real artisty whatever the genre, and this movie makes a fine companion piece in tone and subject matter to Altman's wonderful A PRAIRIE HOME COMPANION. Unfortunately this movie didn't get much of an international release so it's worth checking for it on DVD. (Although, clearly, if you hate country music you should probably give it a miss.)

NEIL YOUNG: HEART OF GOLD went on limited release in the US in February 2006 and is now available on Region 1 DVD. It was released in Australia in May, Italy, Sweden and France in June and opens in Germany on August 17th. I do not know of a cinematic release date for the UK.