Wednesday, 18 January 2012

The Shame of the Artist.



Shame and The Artist


Right...Before I upset the whole world I have to say that I thought The Artist was a very good film.

I don't feel I'm part of the club that is praising the film as a masterpiece, everybody is gushing about the films greatness and perfection, if anyone criticises that view than you will be derided as being heartless or a philistine.
I have a big heart; it’s the heart that fell in love with Hugo, a film that had much more magic.

The Artist has put me in a strange position.
A film I like but a film I feel I have to speak against even tough I liked it because I don't understand the talk of ovations and awards.

Either I'm a snob (quite possibly), I'm missing something, There’s a Emperors new clothes mentality going around and its spread very fast or I'm an idiot (highly likely).

The 2 films I have been looking forward to the most for a long time have been The Artist and Shame.

One of them has excelled my expectations and one of them didn't.

I don't think it’s a case of over hyping the films in mind.
It may be a case of over thinking.
I don't think its brave to release a silent movie.
If it was a French film that had been subtitled and released to a mainstream audience it may have been a brave release.
I'm sure it’s helped the American market. I wouldn't want to say it was a gimmick but it’s definitely helped to sell a black and white French film. I can't wait for the American remake with sound...and in colour, maybe 3D?

I'm not saying I'm an expert of Silent cinema but I have read about the early days of film and seen many stunning silent films over the years and I feel that The Artist doesn't fit right.
It has a very modern look and was filmed in colour then treated as Monochrome.
It jumps several styles of cinema in different scenes, which is jarring.
I've read that it’s merely a pastiche of early cinema but if you are being so brave why not go the whole hog? I feel the films of Guy Maddin are brave but there is no way his films will get to a level to pack out cinemas and receive so much press attention.
I feel upset that I'm not watching the film and getting back what everyone else is.
It doesn't capture my heart, I really couldn’t connect with the characters and felt like something was missing and it certainly wasn't the sound.
Jean Dujardin, Bérénice Bejo give enjoyable performances but I didn't get pulled in, the last 15mins did work for me and the final scene bought a tear so it managed to affect me on some level.
I watched The Artist again, this time in a projection booth. I've always wanted to watch a film in a projection booth since I was a little boy and it did feel magical but I'm not sure it helped to improve the film.
I will watch it again and hopefully I will join you pod people in my undivided love of the film.

I may even say, "As close to perfection as a film can ever really be" but I doubt it.

Shame isn't the good to the bad.
I don't want to say that, they are totally different films.
It is a masterpiece though. I have watched it twice and it gets better.
I found a lot more humour in the second viewing.
Don't think of it as a dirty sex film because it isn't.
It’s a day in the life. No explanation, no revelation, it just is.

I feel that Steve McQueen is one of the most important filmmakers that we have today and he has the potential to be our next Nic Roeg.
Art, great performances and non-linear story telling.

Shame is a film of silence, loneliness the very human ability not to connect.

McQueen and Abi Morgan’s excellent script is a story of New York, a city at best when the sun goes down. Michael Fassbender and Carey Mulligan are stunning.
I look forward to seeing them in films as I know they are going to give a performance with life. They do not disappoint here.
The framing in the film is superb.
Fassbender is usually shown at the edge of the frame, out of touch, lone.
Important conversations are shot from behind.
The date scene in the restaurant perfectly capture the nerves of the couple going on their first date as well as the nerves of their waiter. It feels honest.
Steve Mc Queen has said that this film is not reality.
I feel this hints towards Fassbender's character that maybe not all sexual encounters, stares and understandings are actually happening and may be fantasies.
In a further move to upset more people, I feel that the film isn't really that sexually explicit.
There is little sex in the film considering its subject matter.
It’s the story of a normal man.
It’s a story that asks more questions than answers, its your interpretation that matters.
It’s a great film.

Wednesday, 11 January 2012

Yay! Tickets are now available!

Get your tickets from:

http://www.screen22.co.uk/tickets

Well worth the money- they new set up in Screen 22 is brilliant. The sound system is unbelievable!

We will be showing possibly a couple of short films along side Santa Sangre (certainly at least one). We will update with the titles when this is confirmed.

Roll on 26th January!

Monday, 9 January 2012

Santa Sangre Tickets...

A few people have reported problems with the ticket link- it should be sorted today. We will post on Facebook/ Twitter when it's up again. Sorry for the inconvenience! If you continue to have problems please email us at thekinoklubb@gmail.com or send us a message via facebook.

Sorry again guys!

Wednesday, 4 January 2012

Rising



Valhalla Rising (2009)

Finely got round to watching Valhalla Rising tonight and I'm very glad I did.
Its a fantastic piece of film making - Mystical, Meditative and Haunting.
Its the film between Nicolas Winding Renf's Bronson and Drive and contains elements of both.
Nicolas has said that he thought of Valhalla Rising as an acid film and its full of psychedelic imagery.
It has its own sense of rhythm,very little narrative and a mute hero who explodes from stillness into kinetic ultra-violence...Very similar to Drive.
It really felt like Herzog's Aguirre Wrath Of God and Nicolas shoots Scotland as stunningly as Herzog did Peru.
Morten Soborg's cinematography is beautiful and I love the films pallet and dream like dissolves.
You could also find echoes of Terrance Malick's work in this film especially Thin Red Line and The New World. Also shades of Apocalypse now, Hunger and Lars Von Trier's work.
Special mention for the moody throbbing soundtrack too.

I guess I did love this film!

A film of Madness, Brutality, Faith, Hell and Sacrifice.

Friday, 30 December 2011

Magic


HUGO (2011)

Magic...I will use that word several times.
Martin Scorsese is a wizard and Hugo is magical.
Hugo is a kids film made for everyone, it doesn't dumb down for kids or feature a "sassy" Toucan voiced by Robbin Williams. It's a film that shows the wide eyed beauty of cinema, a film made by a man who loves the magic of cinema, about a man how was the first to bring magic to cinema, for an audience who is in love with the magic of cinema.
It just looks stunning and has some of the best use of 3D I have seen, the 3D is such a part of the story, Scorsese uses a lot of tight close-ups to give the feeling that the film can't be contained in the small black box of the screen. He also understands the limitations of 3D and avoids the blurring of fast motion by creating beuatifully constructed shots and using the depth of field to its fullest.
The sets and desgn work and also superb. Cogs,clocks and Automatons what's not to love?
There are some great montages of early film including the shot from The Great Train Robbery (1903) which inspired the shot of Joe Pesci pointing his gun towards the audience in Goodfellas (1990). I don't want to spoil the film for anyone but Scorsese does a very nice trick with the films of Melies which helps add to their magic spectacle.
Ben Kingsley gives a great troubled performance as Georges Melies and as many of the characters in the film is a broken man who is trapped by the pain of his past.
Sacha Baron Cohen stands out in the impressive cast as the Station guard, a role which could have been the pantomime villain, he is another broken character in pain.
This film has really touched me and it may have bought more than one tear to my eye but they were tears of happiness. It said more about the creation of cinema than a straight biographical film of Georges Melies would have done because it achieved what Georges Melies wanted from film cinematic illusion and the magic of dreams. A true visionary.

Saturday, 12 November 2011

The Phantom Carriage



The Phantom Carriage has just become my new favourite Christmas film. I say Christmas film because it reminds me a little of A Christmas Carol; it is about a man who is given another chance to mend his selfish ways as he is forced to see the error of his past actions and all the pain he has caused. It's such a heart warming story and I have to admit I was pretty close to tears at the end. The film is a silent film from 1921, directed by and starring Victor Sjostrom (who went on to play the central role of the elderly professor in Ingmar Bergman's Wild Strawberries). It was very influential, and made a particularly strong impression on Ingmar Bergman. This can be seen in his portrayal of Death in The Seventh Seal and his 1957 film Wild Strawberries. Stanley Kubrick's iconic 'Here's Johnny' scene in The Shining was perhaps also influenced by this film- see similarity in the clip below:



The cinematography is fantastic. The special effects used to show the spectre of death with his carriage and the spirits of the recently dead were very advanced for the time and look great- there is a scene where death goes with his carriage into the sea to recover the soul of a drowned sailor which is particularly haunting.

The soundtrack in the version I watched was really beautiful; in some parts it was vaguely reminiscent of Sigur Ros. There are several versions with different soundtracks- the one I heard was by Matti Bye, a Swedish Silent film composer. The clip I've posted at the top is from the Tartan (now Tartan Pailsades) release and this features a soundtrack by KTL, an electronic duo including Stephen O'Malley of Sunn O))). I'd like to watch the film again with the KTL soundtrack as I think it will give the film a whole different feeling.

(by Tara Hill, masquerading as Joey)