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.

CORNER OFFICE***

Joachim Back's directorial debut is a dark comedy that satirises the pre-pandemic office worker hell that is the open-plan floorplate staffed with irritating coworkers in cubicles.  Adapted from Swedish novelist Jonas Karlsson’s The Room, the movie has a low-key dystopian vibe with a deadpan voiceover from Mad Men's John Hamm, playing our protagonist Orson. Dressed as a schlubby middle-aged secret Machiavel, Orson holds his colleagues in contempt while treating them with a scrupulously minimum-required-amount of politeness.  "I just wanna do my job" he protests. "What do you think we're doing?", Danny Pudi's colleague responds. "I can't say with any certainty."  The condescension is cathartic for the viewer.  Orson's work-life is transformed when he discovers a secret office that is luxurious in its furnishings, but most of all in its silence and distance from other humans. Orson schemes to take possession of it, a task made all the harder by the fact that his colleagues won't acknowledge its existence. Others might be destroyed by this Kafkaesque denial of his truth, but Orson prevails. Is his thick-skin, and belief in the room, psychopathic? Or is he the last bastion of common sense in an insane world? 

I loved everything about this film - the acting, cinematography, production design, dry with - other than its length. It feels like it might have been better made as an hour-long episode of Black Mirror. The conceit is just too dry for a feature length movie. 

CORNER OFFICE has a running time of 101 minutes and is rated PG-13. It played Tribeca and Raindance 2023 and opened in the USA earlier this month.

London Film Fest 2011 Day 8 - CARNAGE

Roman Polanski is on top form with this whip-smart chamber comedy of manners based on the play by French playwright and documentarian of modern middle-class obsessions, Yasmina Reza.  The two have reworked her play into an English-language script of scabrous, raucous brilliance, and the four lead actors bring their best to it. This is hands down the best film of the festival to date for its jewel-like brilliance - its compact efficacy - the provocations it contains - the laugh-out-loud comedy. 

The movie opens with open credits played over the scene of some schoolboys rough-housing, culminating in one kid lashing out with a branch and, we later learn, knocking out the two front teeth of the other kids - an effervescent score by Alexandre Desplat (THE KING'S SPEECH) hinting at the mischief ahead. We then move to the meat of the film - a drama that will be contained in the superbly appointed Brooklyn apartment of the parents of the injured kid, Penelope (Jodie Foster) and Michael (John C Reilly), as they attempt to reconcile with the parents of the branch-slinging kid, Nancy (Kate Winslet) and Alan (Christoph Waltz).

At first, the hosts, Penelope and Michael are all touchy-feely liberal graciousness - looking for reconciliation, lessons learned, and sympathy over coffee and cobbler. But already we can see the start of a monumental breakdown of civilisation.  Penelope has clearly already judged the evidently richer, businesswoman Nancy as a fake and distant mother, and both Penelope and Michael evidently think Alan - a lawyer - is a rapacious businessman.  All three become increasingly frustrated by Alan's incessant use of his blackberry, suppressing a nasty pharma scandal - a fact that begins to unearth Michael's resentment.  Still, so far so good, the aggressor will apologise to the victim.....let's all leave. 

But oh no!  There is no escape. Little disagreements must be rehashed over more coffee and eventually whiskey.  Each character picks up on the others' resentments and they all collectively keep picking at each other's scabs until the room descends into outright insults, shouting and projectile vomiting!  The liberals are exposed as judgemental interfering bigots - Nancy is exposed as deeply unhappy in her marriage - Mike is exposed as a boorish old-school disciplinarian!  And Alan? Well, Alan, as played by Christoph Waltz is the mischievous, self-confident man - the only one of the party who is unashamed to believe in the god of Carnage from the first - who refuses to buy into the touchy-feely reconciliation - and seems absolutely delighted by the caged anger escaping right up until the point his beloved Blackberry falls victim!  

Jodie Foster has never been so raw, so exposed, so prickly.  John C Reilly superbly plays the transition from quiet house-mouse to macho boozer. Kate Winslet quickly turns from demure, prim conciliator to aggressive child-defending mother. But it's Waltz who turns perhaps the least sympathetic character (in these greedy capitalist bastard -hating times) into the centre of the movie - the most charismatic, comedic and insightful character of the piece.  Behind the camera, kudos to production designer Dean Tavoularis in creating the well-appointed apartment that catches the characters with it's twisting halls and rooms; to Pawel Edelman for his superb framing; and above all to the master of the madness that claustrophobia can unleash - Roman Polanski.

CARNAGE played Venice 2011, where it won the Little Golden Lion; and opened earlier this year in Italy. It opens in Greece on November 4th; in Spain on November 18th and in Germany on November 24th. It opens in France on December 7th; in Russia on December 8th; in Turkey and the US on December 16th; and in Portugal on December 29th. It opens in the UK on February 2nd and in Sweden on February 24th.

THE GHOST WRITER - the joy of skewering Bliar

I eagerly anticipated the release of Roman Polanski's latest film, THE GHOST WRITER. Partly because I think Polanski is a fascinating director, with a technical mastery beyond many of his contemporaries and an obsession with the sinister that is as compelling as it is unwavering. Partly because I have always loved Robert Harris' intelligent, well-researched, political thrillers. And partly because his novel, "The Ghost", is a thinly veiled skewering of a particularly slippery figure - Tony Blair. I was not disappointed. THE GHOST WRITER reminded me a lot of MICHAEL CLAYTON - it's intelligent, suspenseful, provocative and beautifully made. Indeed, quite superbly photographed by DP Pawel Edelman.

The plot centres on an un-named writer (Ewan McGregor) who has been hired to ghost the memoirs of an oleaginous former Prime Minsiter, Adam Lang (a perfectly cast Pierce Brosnan). The plot is driven by his investigation of the accusation that Lang illegally handed war criminals to the CIA. The Ghost doesn't know whether to trust Lang, his wife Ruth (Olivia Williams), his mistress (Kim Cattrall) or his aides. And of course, this being Polanski, there are no idealistic pay-offs for truth-seekers.

When I left the screening I had a wistful feeling. Because as polished and convincing as THE GHOST WRITER is, somehow, because you know it was made by Polanski, and you know what he is capable of achieving, you end up feeling a little short-changed by a "mere" good thriller. I loved the Hitchcock reference, but it wasn't necessary to the plot. And that kind of slight mis-step seemed to me indicative of a true auteur turning in a "place-holder" film.....

THE GHOST WRITER played Berlin 2010 where Roman Polanski won the Silver Bear. It is on release in Germany, Switzerland, Austria, Poland, the US, the Philippines, Belgium, France, Canada, Greece, Israel, Estonia and Italy. It opens this weekend in Denmark and Norway. It opens on April 8th in Portugal and on April 16th in Finland, Spain, Sweden and the UK. It opens in May in Thailand, the Netherlands and Romania. It opens in June in Hungary and the Czech Republic, and on August 19th in Argentina and Slovakia.

ALL THE KING'S MEN - really not so bad as all that....

....but not so fantastic either. ALL THE PRESIDENT'S MEN attracted a lot of critical brick-bats when it was released last autumn and made no money at the box office either. So I was expecting a tedious over-blown movie. But, you know, it's not as bad as all that.

The movie is an adaptation of the famous political novel by Robert Penn Warren, which was in turn loosely based on the life of the Louisana Governor, US Senator and one-time potential presidential candidate, Huey Long. Long was a populist demagogue, who got elected on the 'hick vote' and proceeded to threaten the vested interests with a programme of wealth redistribution and massive infrastructure investment.

In the movie, the Governor is called Willie Stark, and is played by Sean Penn as a fire-brand orator of superb skill. He begins as a man of fierce integrity, who won't touch alcohol and stands on street corners warning the electorate of the corruption of their local officials. When he discovers that he's been put up as a Gubernatorial candidate to split the Hick vote - that he's a patsy - he starts campaigning for real and wins a landslide election to become Governor. Many critics have taken Penn to task for his exaggerated Southern accent and wild polemical style. But if you look at the most successful orators in history some have had exactly this kind of over-the-top style. This is precisely what translates to the gathered hordes at the back of the stadia. Frankly, I found his performance mesmerising.

Sadly, he is let down by poor casting of the other roles and a poor script. Penn's Governor Stark is propelled to power thanks partly to the help of a journalist played by Jude Law. This character should be one of the most intriguing in the movie. He is the son of a wealthy establishment family - precisely the kind that Stark's policies are aimed against. Indeed, when Stark needs to side-step an impeachment trial, he asks the journalist to investigate his own godfather - a man with whom he is incredibly close. The moral decision that the journalist makes: whether or not to dig dirt on his own surrogate father to further the career of a politician that he knows has become corrupt - should form the emotional and moral heart of the film. Instead, the viewer is constantly distracted by Jude Law's inability to consistently hold down any variant of a Southern accent. The same is also true (but with less serious damage inflicted because they have smaller parts) of Kate Winslet and Anthony Hopkins as the girlfriend and the godfather respectively.

The other big flaw is in the development of Sean Penn's character. Instead of sliding into the mire of corruption and compromise, he seems to go to sleep one night as candidate with integrity and wake up as a corrupt Governor. There is no middle ground. This makes the movie infinitely less interesting and once again focuses attention onto Jude Law's character as the centre of the moral drama - leading to the aforementioned frustrations.

Still, for all it's faults, I was never bored watching this lengthy political thriller and despite its manifest flaws, I enjoyed Sean Penn's performance and the handsome production (Pawel Edelman (DP) and Patrizia von Brandenstein). I even enjoyed James Horner's orchestral score, although I have heard it described as clumsy and over-worked.

ALL THE KING'S MEN was released last autumn and is now available on DVD.

OLIVER TWIST - a dull, disappointing Roman Polaski film

Let me say at the top of this review that I am soft on Charles Dickens. I really do think he is the greatest writer in the English language after Shakespeare and before Anthony Trollope and George Elliot. However, I find Oliver Twist to be one of the weaker novels. (This is relative, it's still so much better than 99.9% of novels out there.) My dissatisfaction lies in the fact that this is a novel written when Dickens was young, and so the balance is not so subtle between humour and social critique. In addition, the array of characters is not so socially varied as in later novels. Finally, I find the Oliver of the novel to be a cipher. He shows up the attitudes of the people he meets, but feels rather intangible in himself.

So, when I say that Roman Polanski's new adaptation of Oliver Twist is faithful to the novel, that is not exactly a compliment. But fans will find all the classic, mythic, scenes in place and untampered with. We see Oliver, a poor orphan in a Dickensian workhouse, draw the short straw and have to ask for more food. We see Oliver meet a gang of pick-pockets let by Fagin, and assisted by the wonderful Artful Dodger. We see the violent, evil Bill Sykes murder his soft-hearted girlfriend Nancy for trying to save Oliver. And we see Sykes shopped by his own dog! Finally, we see brave young Oliver try and convert Fagin to Christianity in prison - a raher unpalatable scene to modern ears.

The good stuff: the acting performances from British actors young, old, famous, new, are uniformly well-judged. The sets and costumes are wonderful. The movie is faithful to the source. The bad stuff: For all that, the movie is rather a dull walkthrough of familiar material. There is none of the cinematic vision and authority of previous versions. Whatever Roman Polanski told the cast, this will not be spoken of as THE Oliver Twist. Strange to say, but Polanski has created a rather, well, conventional and mediocre adaptation. Perhaps this is because he deliberately made a film for his kids, rather than a film for himself. Artists may often by egoists, but they serve their art better by following their instincts. If I were feeling mean, I could say that is more of a HBO special than a cinematic release. But even here I think it fails the test, and people who want to see a more authoritative, visually and dramatically inventive and emotionally involving version should check out the BBC's recent adaptation here.

OLIVER TWIST premiered at Toronto 2005 and went on global cinematic release in autumn and winter 2005. It was released on Region 2 DVD this week.