MARIA***** - BFI London Film Festival 2024 - Day 10

Pablo Larrain's MARIA is a stunning film about iconic opera singer Maria Callas featuring a central performance by Angelina Jolie of such fragility and bravery that it destroyed me. It's a cinematic achievement at least on par with Larrain's Jackie Kennedy biopic, and arguably surpasses it. Every aspect is perfection.

The film focuses on the final week of Callas' life, sequestered in a grand Parisian apartment with her faithful housekeeper and butler (Alba Rohrwacher - HUNGRY HEARTS and Pierfrancesco Favino - WORLD WAR Z). Callas is dying of liver failure, ligament failure and is addicted to a variety of drugs.  Illness, dramatic weight loss, over-singing in her youth - whatever the reason - her voice has also failed her.  Publicly she claims that she will never perform again, but she is secretly rehearsing, with pitiful results. Added to the loss of her voice, we also know that she is suffering from heartbreak. Her big sister (Valerie Golina - PORTRAIT OF A LADY ON FIRE - in a deeply moving cameo) tells Maria to look forward but this entire film is of a woman trapped in her past.  Her mother pimped her out as a singer in Nazi occupied Athens and maybe more. Her first husband robbed her blind (though this is not shown here).  Her beloved Aristotle Onassis (Haluk Bilginer - The Turkish Detective) stopped her from singing, maybe made her have a forced abortion, and then left her for Jackie Kennedy.  Only her paid employees show her any love or concern for her health.

Robbed of love and health and finally her voice, Maria retreats into a drug-induced journey through her past.  Her drug Mandrax is personified by Kodi Smit-McPhee (Disclaimer) as a young interviewer. As befits a woman who has been a public persona her entire life, Maria chooses what to withhold, and what narrative to spin. She is deliberately enigmatic and mysterious. But this is a kind of defence mechanism and an act of desperation, and her spin is unsuccessful, not least in the way she discusses her maybe pregnancy.

Angelina Jolie is magnificent and fearless in this role.  Her final aria sung in a nightdress to an empty apartment (and a crowd outside, unknown to her) had me in tears. We believe in every ounce of lifelong heartbreak.  She is a diva and she is desperate. She is vulnerable and commanding all at once. Kudos to the technical team who found a way to blend Jolie's own singing with Callas' iconic recordings, particularly in her final week, where her voice is unsteady and uneven. I always believed that Angelina was singing, and this is no mean feat. We see her lips and vocal chords and body tremble and convey emotion.  It absolutely makes the film credible and moving.

Kudos also to cinematographer Ed Lachman (CAROL) for so beautifully capturing sunlit 1970s Paris, but also the crisp black and white flashbacks to Callas at her peak, and the grainy dreamed interviews with Mandrax.  This is a film whose technical brilliance is completely at the service of the narrative. And what a narrative.  Steven Knight - of Peaky Blinders fame - creates a script that in a short time gives us a lifetime of pain and hurt. And that uses music, always Callas' own music - to express her feelings and propel the narrative. For those of us who know these aria by heart, the lyrics, the knowledge of Callas' life, and Jolie's performance, blend into something transcendent.  

My only question is whether the film will work as well for those not familiar with Callas' work, given Pablo Larrain's refusal to give subtitles and translations of the opera. He explained before the screening that he tried to avoid surtitles when watching opera as a child and wanted to relate purely to the performance. I kind of agree, but feel this may be a barrier to some audience members.

MARIA has a running time of 124 minutes and is rated R. It played Venice and London 2024. It will have a limited theatrical release on November 27th and then will be released on Netflix on December 11th.

EL CONDE*****

Pablo Larrain returns to our screens after the histrionic and only partly successful Princess Diana biopic SPENCER with his mordantly black political satire about the Chilean director Augusto Pinochet, EL CONDE. Larrain has often covered the long shadow of Pinochet's brutal military dictatorship, not least in his brilliantly political comedy NO. But this film is darker, nastier and more challenging, if something of a one-trick pony. The big concept of this film is that Pinochet is reimagined as a vampire who first stirred up shit in the French revolution, before seizing power in a military coup in Chile, fifty years ago.  In Larrain's hilarious fantasy, Pinochet faked his own death in the mid 2010s, but now wants to actually die, leaving his avaricious wife and children with a logistical and financial issue.  So they bring in an accountant slash nun to both exorcise Pinochet so that he can be killed, but also to track down his hidden fortune. 

The question this film raises is where evil resides. Can it be isolated to Satan? To a single power- (and blood-) hungry general? To the soldiers that carried out his terror? To the businessmen and family members that grew rich in his regime? To the Catholic Church rich on ill-gotten donations? To the foreign political powers who supported his coups?  To the country, England, that had benefited from his military intelligence in the Falklands war?

As an ardent Thatcherite I might object at Stella Gonet's portrayal of Thatcher as a fellow blood-sucking political player, but that would to ludicrously miss the point. Thatcher DID admire Pinochet's fight against Communism and acknowledge Chile's help in the war. That realpolitik may not sit well with the British public but it's a truth we have to reckon with, just as Chile has to reckon with Pinochet's legacy in their own country.  The film uses provocative dark humour to rightly leave us all uncomfortable at our own complicity.

So kudos to Larrain and writer Guillermo Calderon for creating a deeply unsafe but also hilarious vampire movie, as provocative in its depiction of vampires and religion as Park Chan Wook's THIRST. But also a film that at root is a fucked-up five-person love story - the sexual and financial jealousy runs deep between Marie-Antoinette, Margaret Thatcher, Pinochet, his wife and his valet. Yep.  That's the kind of film this is.

Elsewhere, praise for cinematographer Ed Lachman (CAROL) for his stunning black and white photography, and to the actors Jaime Vadell (Pinochet), Paula Luchsinger (the nun), Gloria Muenchmeyer (Pinochet's wife) and a scene-stealing turn by Alfredo Castro as the valet.

EL CONDE has a running time of 110 minutes and is rated R. It played Venice and Telluride 2023, went on limited cinematic release last week, and is on Netflix this week.

WONDERSTRUCK - Day 2 - BFI London Film Festival 2017

I read Brian Selznick's WONDERSTRUCK upon hearing that his screen adaptation would be playing the BFI London Film Festival and immediately fell in love with it.  So many of its themes resonated with me - from the fear of having no place to fit in in society; to the love of collecting and old books; to the delight in architecture and models; and most importantly of all, a captivation with the history of cinema itself.  And that's all before one realised that this was going to be a profoundly beautiful treatment of the challenges and triumphs of growing up deaf.  Added to its thematic richness, Selznick's book was truly beautiful, unique and imaginative. He intertwines two stories of two kids from different eras - a girl called Rose living in 1920s New Jersey, and a boy called Ben living in 1970s Minnesota. Rose's story is told in beautiful black and white pencil drawings and depict a world of silent movie stars and the golden age of New York. Meanwhile Ben's story is told in text, but text that is beautifully and deliberately typeset. As the stories later meet and mingle, so to do the formats. The result is a visually stunning book.

Acclaimed auteur Todd Haynes admitted in his introduction to this film that he wasn't the obvious director for such a book at first glance - this is his first film aimed at a younger audience.  But when one considers its fascination with cinema history, who better than a director who has reinterpreted Sirkian melodrama for modern audiences? WONDERSTRUCK demands a director who is comfortable in different eras and styles, and who can harness the powers of pure cinema - visual, sound design, music - to convey emotional journeys and suspense. And this is what we get in this film.  In Rose's story, huge attention has been paid to texture - her hair, the patterns on her clothes, the thick ribbing on her tights, visually echoing the cross-grain drawings in the original book. And there's a delight and wonder at the stunning architecture of New York - we see it afresh in her eyes.  Millicent Simmonds - a talented deaf actress in her screen debut - is captivating in the part.  In Ben's story I feel Haynes really added to Selznick's world, showing a grittiness and griminess to pre-Giuliani New York and using music cues to great effect. In fact, Carter Burwell's score is one of the most impressive thing about this film, and holds the disparate themes together.

I can see why some people have been less than impressed by WONDERSTRUCK. It is patient and deliberate in how it unravels its story - the plot reveals depend on "big" events happening that may feel too many or too obvious - and its essentially a rather melancholy story about loss.  But I also feel that it's a deeply moving story about finding one's place in the world, triumphing over loneliness, and forging one's own path.  And I must admit that the final half hour had me in tears. Fans of the book will not be disappointed, and I feel that in the technical brilliance of the film, neither will Haynes fans if they open themselves up to the young adult material. After all, aren't so many of his films about misfits struggling to find a place in oppressive bourgeois conventional society?

WONDERSTRUCK has a running time of 117 minutes and is rated PG.  The movie played Cannes, San Sebastian, London and New York 2017. It opens in the USA on Oct 20th, in Hong Kong on Oct 26th, in France on Nov 15th, in the Netherlands on Dec 7th and in Belgium on Dec 20th.

CAROL - BFI London Film Festival 2015 - Day Nine

In 1952, Patricia Highsmith, author of THE TALENTED MR RIPLEY, wrote a novel called The Price of Salt, about a young girl and an elder married woman who fall in love and try to make a life together.  It was so controversial, not just in showing homosexual love but also not punishing the characters for it, that it could not be published under her name.  Nonetheless, it was a success, maybe because it was the only place people could read about such things.  But also, I think, because regardless of gender, it's a wonderfully authentic depiction of a coup de foudre, of falling in love and of trying to conform - which are all deeply relatable matters. Moreover, in Carol, Highsmith created a wonderfully charismatic character. Self-assured but sometimes nervous - tender but also uncompromising - a good mother but also self-aware enough to realise that she cannot be other than herself.  Few of us would envy Carol's position as a woman  divorcing her husband at a time when the odds were stacked against her, but many of us have come to admire her.  By contrast, the young girl Therese Belivet is perhaps closer to how we feel ourselves - unsure, grasping at self-knowledge, acting on a whim, and unwilling to let go the tide. 

London Film Fest 2010 Day 14 - HOWL

HOWL is a beautifully made film about Allen Ginsberg's iconic Beat poem, published in 1955. Honest, raw, sexually explicit, Ginsberg described the reality of life on the road in the counter-culture - how young urban hipsters were really living and feeling. That rawness and authenticity - the proud joy at enjoying sex, drugs, literature, music and good company - and the anger at the establishment, the bourgeoisie, still translates. I guess a lot of us can remember a time in our teenage life when we first read Howl, and then maybe Kerouac's On The Road or Burrough's Naked Lunch.

Acclaimed documentarians, Rob Epstein and Jeffrey Friedman (THE TIMES OF HARVEY MILK) have produced a film that has the authenticity and immediacy of a documentary, recreating iconic photographs of Ginsberg; using a script that is almost entirely based on interviews and transcripts of the court-case wherein publisher Lawrence Ferlinghetti was charged with obscenity for having published the poem. This is, however, no court thriller - especially as we know the outcome! Rather, Epstein and Friendman use the court-case as a door through which to explore contemporary reactions to the poem - from prudish shock and patronising contempt through to bewildered admiration and excitement. And that's the genius of HOWL. It's a movie that dares to give us what is, essentially, literary criticism rather than a prurient examination of The Beats' sex lives or a conventional biopic. In other words, the film-makers want us to understand why Howl was important, artistically and socially. And in doing so - in showing us Ginsberg talking about how he wrote, and why he wrote, we get as much of a picture of the man as any straight-ahead biopic would've given us.

Stylistically, one has to give Epstein and Friedman credit for the sterling recreation of the 1950s - from cramped apartments to the costumes. The attention to detail in recreating photos is superb and DP Edward Lachman LIFE DURING WARTIME, FAR FROM HEAVEN) moves with ease from honey-coloured 1950s court-rooms to grungy beat apartments in black-and-white.

We also get an imaginative animated version of the poem that is inter-cut with court-room discussion of the same lines, and then Ginsberg reading them, or explaining them. All this adds up to a rich discussion and understanding of the text, although I personally could've done without the pictures - the words are enough for me. I wish they'd trusted more in the power of the words to carry our interest. The film is also populated with a fine cast of major names even in very slight roles - principally Jon Hamm as the prosecuting lawyer; David Strathairn for the Defence; Bob Balaban as the judge; and Mary-Louise Parker as a particularly amusing defence witness. These actors are all great, but in such small roles I found them to be more of a distraction, and wished that the film-makers had used character actors instead.

However, for all that, I still loved this film. It was an hour and a half of pure literary indulgence. And what really sets this film a cut above is the performance of James Franco as the young Ginsberg, with his perfect reproduction of that bizarre lilting way in which Ginsberg spoke and the physicality of how he carried himself. It was marvellous to see Ginsberg young and striving, rather than as the old balding man, established, that we often remember. Here he was - here the the Beats were - at the creation. It's exhilarating to watch. But a more interesting question is perhaps how far this film will translate to people who aren't as familiar with the poem. Will they be won over to its importance and artistry?  And will they find Ginsberg's speech patterns bizarre and off-putting rather than charming and particular? Evidence from my Gentleman Secretary suggests the latter.

HOWL played Berlin and Sundance 2010. It was released in Italy in August and in the the US in September. It opens in Denmark on November 25th. It opens in Germany on January 6th, in the UK on February 25th and in Finland on March 25th.

London Film Fest Day 3 - LIFE DURING WARTIME

Todd Solondz is back in the place he loves best: contemporary Jewish-American middle-class suburbia where normal looking people deal with drug addiction, perversion, pedophilia, suicide, neuroses, and anything else you might deem "inappropriate" to talk about in front of the kids. Solondz picks up characters from his previous, brilliantly disturbing films WELCOME TO THE DOLLHOUSE and HAPPINESS and has them deal with events from those flicks. In the case of the family recovering from the father's child rape conviction, the action takes place in sunny Florida rather than the more typical Jersey ("a state of irony") bu the grim humour remains the same. In short, if you like Solondz you'll love this film.

Tech credits are, as ever, polished, with sunny-suburban production design contrasting with the painful subject matter. Casting is superlative. Special praise is due for Allison Janney as the wife of the convicted paedophile, and Shirley Henderson as her sister, who works with convicts and whose lovers have a habit of topping themselves. Ciaran Hinds skulks around as the pederast and achieves something very difficult: he evokes our sympathy. Charlotte Rampling is typically strong in a cameo as frustrated older woman. The glue that binds all these characters together is the idea of forgiveness.

LIFE DURING WARTIME played Telluride, Venice (where it won Best Screenplay), Toronto, New York and London 2009.

IMPORT/EXPORT - immigration agitprop from Austria's enfant terrible

IMPORT/EXPORT is Austrian auteur, Ulrich Seidl's, new agitfilm about the economic relationship between "old" and "new" Europe. It's an unflinching and sporadically very funny look at the profound economic and social disruptions that have come in the wake of the end of the Cold War and the extension of the European Union. The movie tells two symmetrical stories. A single-mother living in deep poverty in Ukraine can't make ends meet as a nurse. Refusing to become a sex-worker, performing over the web for rich Germans, she comes to Austria and works in an old-people's home. Her story is mostly tragic and realistic and will certainly resonate with those of us living in Western European capital cities benefiting from the influx of East European cleaners, plumbers and waitresses, half of them working well below their qualifications. At the same time, an Austrian father and step-son are disenfranchised in their own land - along with many Western European manual workers who have found themselves out-competed by cheaper, better trained and harder working eastern Europeans. They end up journeying to the Ukraine as truckers, and while their situation is laughably pathetic, they can still use their Euros to sexually humiliate local girls. The resulting film is provocative, handsomely shot, and more entertaining than the grim subject matter might suggest. Highly recommended.

IMPORT/EXPORT played Cannes and Toronto 2007 and opened in the Czech Republic, Germany, Austria and Greece last year. It opened earlier this year in Poland, Belgium, Sweden, the Netherlands, Russia and Romania. It is currently on limited release in the UK and is also available on DVD.

I'M NOT THERE - a daring conceit that mostly pays off

I'M NOT THERE is Todd Haynes audacious attempt to make a film, not so much about Bob Dylan's life, as about the way in which Dylan himself manipulated his own image and was in turn manipulated by his fans and the press. Haynes tackles head-on the difficulty of creating a linear, neat biopic about a poet, musician and political icon, who shifted shape so often. Dylan often seemed deperate to make us realise how non-chalant he was of what we thought of him. He wanted to appear aloof and enigmatic. As a result, I get the feeling that Dylan is a paradox and a mystery. But not to the extent that he'd like us to believe! Haynes response to the tangled web of image, fact and manuipulation is to create a collage of scenes, both real and imagined. He takes on a surreal journey into Dylan's alter-egos. He recreates iconic documentary-footage and press conferences. Most notoriously, Haynes casts a number of actors to depict Dylan's various self-creations. He weaves their stories together, leaving the viewer to pick through the minefield of information and misinformation.

I admire the bravery of Haynes' concept and for the most part, I think it pays off. The young actor, Marcus Carl Franklin, is brilliant as Woody-Guthrie-Wannabe-Bob. This was the point where a middle-class Jewish boy with a lovely singing voice transformed himself into an Old Time blues singer, inspired by the laments of the Great Depression and the radicalism that came out of it. He transformed his voice, his name and his stance, in a manner that is as radical as having a teenage white man played by a pre-teen African-Amercan boy. In another incarnation we see the fantastically talented young British actor, Ben Whishaw, play Dylan the Poet. He's filmed face-on to the camera in black and white, explaining his stance on language, politics and poetry. He's already complaining about how slippery language and labels can be - a true post-modernist - and will return throughout the movie. Next up, we have Christian Bale as Acoustic-Folk-Bob, who latches onto the folk movement and takes it from an underground anti-establishment scene to the very heart of the mainstream. In faux-documentary footage, we see a Joan Baez type figure played by Julianne Moore tell us how quickly Dylan put himself in opposition to the movement, becoming cynical about its chances of success. We then have the radical break that will forever define Bob - his use of the electronic guitar and move from political songs to songs of personal experience. Cate Blanchett is note perfect (and painfully thin - intentionally?) as Electro-Bob. She plays Bob at his most scabrous, cynical, manipulative and spikey. It's glorious stuff. Finally, we revert back to Christian Bale as Born-Again-Bob.

All this material is superbly acted and filmed with a technical mastery of different types of film, lens and style. If Haynes had left it at that, he would have had a tightly-knit, fascinating film of about 90 minutes in length. The problem is that he adds two other "Bobs". The first is Actor-Bob who plays Folk-Bob in a movie. He's played by Heath Ledger - the least comvincing portrayal. Actor-Bob has a long set of scenes with Charlotte Gainsbourg playing his wife. I suppose the point of these scenes is to show us how cruel Dylan was to some of the women in his life. I thought this could have been more effectively portrayed by expanding the role of the Joan Baez figure in the Folk-Bob scenes. The second redundant Bob is Richard Gere's portryal of Bob as a Billy the Kid figure. Gere is fine in this role, but the segment seemed the most pointless, the most random and the least well though out.

I'M NOT THERE played Venice 2007 where Todd Haynes won the Special Jury Prize and Cate Blanchett won the Volpi Cup. It also played Toronto, London and Vienna 2007. It opened in Italy, the US, Denmarl. Canada, France, Finland, Belgium and the UK in 2007. It is currently on release in Israel and opens in Norway on January 18th. It opens in Austria on February 1st, Sweden on February 8th, Germany on February 28th, the Czech Republic on March 6th, the Netherlands on March 13th and Japan on May 17th 2008.

A PRAIRE HOME COMPANION - Li-lo in decent performance shock

A PRAIRIE HOME COMPANION is the story of one of America's most famous and best-loved public radio programmes. Broadcast out of Minnesota, then New York and then Minnesota, the programme was conceived by Garrison Keillor and combines country music acts performing in concert and adverts for fictional products. The show has all the ingredients for a classic Robert Altman movie, and the director essentially apes all his previous greats, such as GOSFORD PARK.

First, Altman finds a milieu in which a bunch of eccentric, fascinating characters can interact. So, where Gosford Park had an English country house, we now have the theatre where the final radio show is about to be recorded.

Second, Altman assembles a fantastic ensemble cast, largely on the strength of his reputation as a world-class film-maker. We have Meryl Streep and Lily Tomlin - perhaps the finest actess and comedienne of their generation - as two country singers, plus Streep's on-screen daughter Lola, played by Lindsay Lohan, in what may be her break-out performance. I have always thought that Lohan had a great on-screen presence. She has the ability to make you want to spend time with her and, HERBIE: FULLY LOADED aside, has made some fantastic good quality comedies. (And yes, I AM being serious here.) We also have Dusty and Lefty (Woody Harrelson and the fantastic John C Reilly) as two cowboys who sing crude songs and tell fantastic off-colour jokes. My personal favourite, "Why do they call it PMS? Because Mad Cow was already taken." A special shout-out has to go Kevin Kline - the shambolic PD who provides the solid centre around which the ensemble cast turns. (How odd and sad to see him in this marvellous flick, and then the execrable new PINK PANTHER movie in the same week.) True to cliche, Kline gets hooked by an enigmatic blonde, in the form of Virginia Madsen.

Finally, Altman just follows these guys around. It's as simple as that. There are no big melodramatic moments, no epiphanies, but an authentic rendering of the little amusements, tensions and wonders of every-day life. With a cast this good, and a script this charming, you really don't need much else. The audience feels like it is part of the action thanks to the mobile camera-work of Edward Lachman, apparently using hand-held Hi Def cameras.

Is this a great film? Maybe. It is surely a sweet and funny film with some great performances and great lines. Some film-makers are shooting for worthier things, and a very small portion are succeeding. But you know what? I'll take a film-maker who can make me laugh over one that can educate me any day of the week.
A PRAIRIE HOME COMPANION premiered at Berlin last month, where it did not win the Golden Bear. It lost out to a great and worthy film about the aftermath of the Balkan War. Now, I am not saying that worthy films shouldn't win anything but sometimes you have to wonder why the "academy" does not praise comedies enough. Making someone laugh is, to be facetious, a serious business, and there is no lesser talent involved in playing it for laighs as in playing it straight. Anyways, PHC goes on release in the US in June. I'll add European release dates when I have them.

UNION CITY - brings new meaning to the term "art movie"

UNION CITY is a bizarre little (by which I mean comparatively short) film-noir made by the artist Markus Reichert and released back in 1980. Today it is notable for the surreal, tense atmosphere achieved on zero budget and the screen debut of Debbie Harry. On the release of a shiny new DVD edition, I am here to plead its case for viewing outside the cultish band of noir-film-makers and David Lynch fans.

The movie features Dennis Lipscomb as Harlan, a paranoid, repressed accountant, living in Jersey, with his beautiful wife, played by Debbie Harry. Lipscomb becomes obsessed with the mystery man who keeps stealing the milk bottles from outside his house and concocts elaborate plans to entrap said thief. Meanwhile, his neglected wife starts pleasuring herself, not to mention carrying on with the super, played by Everett McGill. The plots sounds absurd, but somehow Reichert manages to maintain a serious tone to the piece. This is partly thanks to his use of small sets and odd camera angles. It always feels like the camera has been squeezed into a small corner, and that the viewer is a voyueur. The creeping sense of claustrophobia lends credibility to Liscomb's inceasing paranoia. Kudos to cameraman, Edward Lachman, who made this possible. In this low budget flick we have a small taste of the kind of work we'd later see in movies such as The Virgin Suicides, Far From Heaven, and the marvellous new Robert Altman movie, A Prairie Home Companion. In addition, praise is due to the score by Chris Stein.

I should make it clear that, even after being cleaned up, the DVD print does look pretty dated, and one suspects that this is just because the production values on the original shoot were constrained by lack of hard cash. In addition, the acting performances, dialogue and substance of the film are highly stylised: this is an art movie in a true sense of the term, and closer to, say, Eraserhead than Blue Velvet. I have to say that technical defects and obvious absurdity aside, the film does suck you in. You want to know who is stealing the milk, you want to know what Lipscomb will do, you want to know if Debbie Harry will finally break out of her stultifying marriage. Why? Like I said, the tone of the piece is right. But secondly, artifice aside, UNION CITY is one of the most honest portraits of a bad marriage that I have seen on screen. It resonates. And that makes it, for me, a successful film.

UNION CITY is available on a newly cleaned-up DVD complete with Debbie Harry's original screen test and previously unseen deleted scenes.