An all-star cast checks into The Grand Budapest Hotel for Wes Anderson’s colourful farce. A tale within a tale the film begins in the present with ageing author (Tom Wilkinson) recalling the time he checked into the dilapidated Grand Budapest Hotel in the fictional Alpine region of Zubrowka in the late 1960’s. There his younger self (Jude Law) once met the Grand Budapest’s reclusive owner Zero Moustafa (F. Murray Abraham), a multi-millionaire who visits the hotel every year and insists on staying in the smallest room.
Zero recounts to the writer the story of his mentor Monsieur Gustave H, the impeccably mannered concierge at The Grand Budapest Hotel back in its heyday. Played in a rare comic performance Ralph Fiennes like a swearier version of 50s matinee idol Dirk Bogarde, the flamboyant Monsieur Gustave is loved by the guests at Grand Budapest Hotel, particularly the female residents towards whose every need Gustave pays close attention too.
Gustave is particularly fond of 84-year old Madame D. (a heavily made-up Tilda Swinton) much to the chagrin of her son Dmitri (Adrien Brody), a fascist with a menacing bodyguard (Willem Dafoe) who for some reason disapproves of his mother having intimate relations with a lowly concierge. A stolen painting and a murder throw Gustave’s life into chaos as both he and his trusty young lobby boy Zero (Tony Levoroli) are pursued across the Alps by police led by Henckels (Edward Norton). The Grand Budapest Hotel recalls classic screwball comedies from the early days of the Talkies when the Marx Brothers would make highly literate but delightfully silly movies like Duck Soup though this has an idiosyncratic charm all of its own.
Anderson’s highly stylised mode of filmmaking defies realism, instead relying on brightly coloured set design and a deadpan approach to storytelling. Characters in his films are usually eccentrics, all slightly crazy in their own way and often perplexed by the world around them. Though Anderson’s direction has a lightness of touch and his approach is comic there is an underlying melancholy usually taking the form of nostalgia for a lost time, place, or person. Dialogue is often hilariously absurd though delivered completely straight which makes it even funnier as in this exchange between two runaway children after a dog has been accidentally killed by a Khaki Scout with a bow and arrow in Moonrise Kingdom (2012).
“Was he a good dog?”
“Who’s to say? But he didn’t deserve to die.”
Other recommended films by this unique filmmaker include Rushmore (1998), The Life Aquatic with Steve Zissou (2004), and The Darjeeling Limited (2007).
A throwback to star studded guys on a mission war movies like The Dirty Dozen (67, Aldrich) and Kelly’s Heroes (70 Brian G. Hutton) George Clooney’s Monuments Men tells the true story of a group of veteran soldiers dedicated to hunting down missing works of art during WWII. Based on the book ‘The Monuments Men’ by Robert M. Edsel the film focuses on a disparate collection of middle-aged museum curators and art historians brought together during the last year of the War to recover rare artworks. The Monuments Men would eventually recover five million artefacts from the ruins of wartime Europeincluding pieces by Michelangelo, Da Vinci, & Vermeer. Star/director George Clooney has assembled an impressive cast led by Matt Damon, Cate Blanchett, Bill Murray, The Artist star Jean Dujardin, & Britain’s own Hugh Bonneville for this entertaining tribute to a group of unsung heroes.
George Clooney – Director Profile
Nobody would have pegged George Clooney as a potential movie star back in the Eighties. Sporting an unflattering mullet hairstyle which obscured his good looks and emphasised instead his slightly goofy smile the young Clooney usually appeared in sitcoms like the Different Strokes spin-off The Facts of Life and the first season of Rosanne though he did make a rare movie appearance in Return of the Killer Tomatoes (88, John De Bello). A decent haircut and playing Dr Doug Ross in ER changed all this making Clooney a household name and leading to opportunities in Hollywood. Since then Clooney has built an impressive CV combining mainstream fare with more eclectic films. Less keen to play the clown despite his easy charm and adept comic timing Clooney is an increasingly statesmanlike figure these days heavily involved in political causes.
In 2002 Clooney directed his first film Confessions of a Dangerous Mind based on the autobiography of American game show host Chuck Barris. Though known for presenting trashy TV shows like The Dating Game Barris made outlandish claims about being a hired killer for the CIA in his biography. Bizarrely nobody has ever managed to disprove his claims and Clooney’s film retains this ambiguity. Clooney’s father worked in television as a news anchor and journalist and the film has an insider’s knowledge and affection for the medium. As does Goodnight and Good Luck (05) set against the backdrop of the McCarthy hearings in 1953 as a journalist defies government policy and risks being jailed as a Communist. Less successful was Leathernecks (08), an attempt to recreate the classic screwball comedies of the 30’s which continued the long tradition of films about American football bombing at the box-office.
Haven’t done much writing lately. Overcome with a general feeling of malaise I can’t seem to kick. Still providing notes for screenings at The Station Restaurant though. Will update here with the few worth posting starting with The Railway Man.
|Courtesy of Lionsgate
The Railway Man is a fine tribute to the bravery of Eric Lomax (1919-2012). Captured by Japanese troops in 1942 Lomax was one of many Allied soldiers forced to work on the notorious ‘Death Railway’ in Thailand. Many years later he returned to confront the man responsible for torturing him. Adapted from Lomax’s memoir ‘The Railway Man’ by Frank Cottrell Boyce, the film stars Colin Firth and Jeremy Irvine as the older and younger Lomax respectively, Nicole Kidman as his wife Patti, Stellan Skarsgard as fellow survivor Finlay, and Japanese star Hiroyuki Sanada as the older version of his tormenter Nagase.
Colin Firth – Career Profile
Handsome and blessed with an old world charm, Colin Firth has taken the long road to success. Firth made his debut opposite Rupert Everett in Another Country (84, Marek Kanievska), based on the school days of the defector Guy Burgess. Everett was courted by Hollywood while Firth kept on doing fine work in smaller productions. Touching as a WW1 veteran restoring a church mural in A Month in the Country (87, Pat O’Connor), and winning a BAFTA for Falklandswar TV drama Tumbledown (1988). The lead in Milos Forman’s Valmont (89) would have impressed more had Stephen Frears version of the same source material Dangerous Liasons not been such a huge hit. Firth held his own opposite Peter OToole in the little-seen but haunting Wings of Fame (90, Otakar Votocek) which imagines the afterlife as a Grand Hotel where the famous get the best rooms until their reputations fade away. The Hour of the Pig (93, Leslie Megahey) is another oddity with Firth as a medieval lawyer defending a pig from a murder charge as the plague sweeps through Europe.
Mainstream success at last and heartthrob status with Pride and Prejudice (95) on television. Bigger films now but a supporting player. A cold fish aristocrat in Circle of Friends(95, Pat O’Connor), a cuckold in The English Patient (96, Anthony Minghella), a cuckolded cold fish aristocrat in Shakespeare in Love (98, John Madden). Girly fighting with Hugh Grant in Bridget Jones Diary (01, Sharon Maguire) and its sequel. Reunited with Rupert Everett for The Importance of Being Ernest (02, Oliver Parker). A trip to Richard Curtis land for Love Actually (03). All roles requiring Firth to display a stiff upper lip. Yet as he ages the work gets more interesting. a bullying Rat Pack style entertainer in Where the Truth Lies (05, Atom Egoyan). Achingly good as a gay man mourning his lover in fashion designer Tom Ford’s film A Single Man (09) An Oscar winner for The King’s Speech (10, Tom Hooper). Poker faced as one of the potential traitors in Tinker Tailor Soldier Spy (11, Tomas Alfredson). Next up after The Railway Man Firth will be providing the voice of Paddington Bear and playing a suave 007 type spy in The Secret Service for director Matthew Vaughn.
Writing accompanying notes for a film I missed at LFF and have as yet still to see. So a simple synopsis and brief overview of Stephen Frears career is all I could manage. Much prefer writing notes for classic movies when the opportunity arises.
Starring: Judi Dench, Steve Coogan, Sophie Kennedy Clark
Screenplay by Steve Coogan, Jeff Pope Based on the book ‘The Lost Child of Philomena Lee.’
Directed by Stephen Frears
Based on a shocking true story Philomena attacks its subject matter with passion and a dark sense of humour. Fifty years ago Philomena (Dench) fell pregnant out of wedlock and was forced into a convent. The child was taken away from her. After hearing her story at a party burnt-out journalist Martin Sixsmith (Coogan) agrees to help Philomena find her son and the two begin an unconventional friendship and a journey to uncover the truth.
Stephen Frears – Selected Career Highlights
Now aged 72 years old Frears shows no signs of slowing down. Over a forty year period he has proven himself highly versatile and always at his best when working in tandem with a strong writer. Though he made his film debut in 1971 with the quirky thriller Gumshoe Frears spent the next decade or so honing his skills in television notably for the BBC’s ‘Play for Today’ series.
Frears returned to cinema with a trio of acclaimed British movies. In the understated The Hit (84) a beatific Terence Stamp unsettles two criminals escorting him to his death by calmly accepting his fate. The Hanif Kureshi scripted My Beautiful Laundrette (85) combines a gay love story with a satire about Pakistani immigrants embracing Thatcherism and made a star of Daniel Day-Lewis. Prick Up Your Ears (87) is an even-handed and touching account of the tragic relationship between 60’s playwright Joe Orton and his lover and eventual murderer Kenneth Halliwell.
Frears cracked Hollywoodwith Dangerous Liasons (88), a suitably chilly version of the Pierre Choderlos de Laclos novel, yet moving in its final moments. Martin Scorsese hired Frears to direct The Grifters (90), a bleak crime thriller about a small-time con-artist mixed up in a scheme with his estranged mother. The 90’s proved less successful though with expensive projects Accidental Hero (92), Mary Reilly (96) failing. Frears recovered, successfully relocating Nick Hornby’s much loved novel High Fidelity (2000) to the States. Gritty thriller Dirty Pretty Things (2002), and the Oscar-winning biopic The Queen (2006) won him more acclaim. Frears is currently filming a biopic of disgraced cyclist Lance Armstrong.
“It’s the enemy you know. Happiness. It puts doubt in your mind. Because all of a sudden you have something to lose.”
The remarkable race for the 1976 Formula 1 Championship is brought thrillingly to life in this colourful dramatisation of the battle between two drivers with contrasting personalities. Niki Lauda, impressively played by German actor Daniel Bruhl, is the dour pragmatist who adopts a tactical approach to racing and designs his own cars. Australian beefcake Chris Hemsworth is Peter Hunt, the dashing English playboy with a reckless streak. Rush recreates an era when Formula 1 was potentially lethal. For one of these men a rainy day towards the end of the 76′ season will have a profound effect on their life.
Ron Howard – Career Highlights
Though one of the most successful and versatile directors in Hollywood Ron Howard will always be best known for playing Richie Cunningham on the long-running sitcom Happy Days (1974-84). Born into a showbiz family, Howard appeared in countless TV shows as a youngster as did his brother Clint who some may remember as the blonde kid who befriends a Grizzly bear in Gentle Ben. Howard began directing under the tutelage of B-movie king Roger Corman who produced his first movie Grand Theft Auto (77). The comedy Night Shift (82) was a modest success but Howard’s next two films, Splash (84) with Tom Hanks falling in love with a mermaid and Cocoon (85) about a group of OAP’s given a second lease of life after an encounter with alien life-forms, were massive box-office hits. Sword and sorcery epic Willow(88) remains a favourite with 80’s kids. Parenthood (89) is a funny and wistful comedy about family life which makes great use of a young Keanu Reeves.
Backdraft (91) an exhilarating drama about fire-fighters in Chicago shows Howard developing an interest in stories about people working in high stress environments. The highly acclaimed Apollo 13 (95) is Howard’s first film based on real life events. Gripping thriller Ransom (96) casts swivel-eyed lunatic Mel Gibson as a businessman turning the tables on the kidnappers holding his son hostage. Howard won an Oscar for A Beautiful Mind (2001), starring Crowe as a mathematician struggling to cope with schizophrenia. Crowe again starred in the underrated Cinderella Man (05) as Depression era heavyweight boxer Jim Braddock. Huge box-office returns for The Da Vinci Code (06) and its sequel Angels and Demons (09) but neither film pleased the critics. Frost/Nixon (08) about the events leading up to President Nixon’s confession of perjury live on television marked Howard’s first collaboration with Rush screenwriter Peter Morgan. Howard also narrated the cult TV comedy Arrested Development and appears in the final season as a comic version of himself.
Courtesy of Warner Bros
F. Scott Fitzgerald died of a heart attack at the age of 44 after years of heavy drinking took their toll. His friend Edmund Wilson edited together a draft version of Fitzgerald’s final work ‘The Last Tycoon’ for publication. In the foreword Wilson wrote about the people in Fitzgerald’s stories living for ‘big parties at which they go off like fireworks and which are likely to leave them in pieces.’ Traditionalists balked when the flamboyant director of ‘Strictly Ballroom’ (1992) Baz Luhrmann announced his plans to make a version of Fitzgerald’s 1925 masterpiece ‘The Great Gatsby.’ Fitzgerald is a subtle writer, while Luhrmann’s movies are gaudy coloured confections which move at a breathless pace. They do not at first sight seem a good match. Yet Wilson’s comment about wonderful ruinous parties suits Luhrmann too. ‘William Shakespeare’s Romeo + Juliet’ (1996) and ‘Moulin Rouge’ (2001) set up their doomed love affairs during lengthy and elaborately designed set-pieces that wouldn’t look out of place in an old-fashioned Hollywood musical. Fitzgerald and Luhrmann may have differing approaches to their respective crafts but both men clearly know how to party.
For all Luhrmann’s showiness though this is still at heart Fitzgerald’s story. 1922, young writer Nick Carraway (Tobey Maguire) attends a lavish party thrown by mysterious millionaire Jay Gatsby (Leonardo DiCaprio). Luhrmann’s visually spectacular approach to filmmaking is evident in how he arranges the first meeting between Carraway and Gatsby. In the novel the two men happen to stand next to each other at a party and begin talking. Luhrmann’s encounter is a seismic moment, there are fireworks in the sky. Music soars. DiCaprio’s movie star smile lights up the screen. Like Truman Capote’s Holly Golightly Gatsby is a fake but a genuine fake. The parties are a ruse intended to attract the attention of the love of his life Daisy Buchanan (Carey Mulligan) who lives across the bay and is now married. As with ‘Moulin Rouge’ Luhrmann uses contemporary music which in a period piece should feel anachronistic but instead comments on either a particular scene or a character’s emotional state. Lana Del Ray’s joyously melancholic song ‘Young and Beautiful’ reappears throughout as a refrain as Gatsby and Daisy attempt to rekindle their love affair behind the back of her ruthless businessman husband Tom (Joel Edgerton).
Station regulars will remember F. Scott Fitzgerald and his wife Zelda appearing in ‘Midnight in Paris’ as bright young things partying with the Lost Generation of writers and artists. Later they drank their fill, too many gin rickey’s and late nights did for them both but Fitzgerald seems to have known this would happen. In his novels the comedown from the parties and the damage done afterwards was always irreparable. Luhrmann maintains this undercurrent of loss. Gatsby is a difficult part and requires a movie star with enough presence to catch the attention at first glance and DiCaprio delivers. Not just in terms of beauty but in his easy charm and vulnerability. It is a great performance, anchoring this wild ride of a movie with the yearning of a man who wants the unattainable.
THE ANSWER LIES WITHIN
Cast & Crew
Aamir Khan – Inspector Surjan Singh Shekhawat
Kareen Kapoor – Rosie
Rani Mukerj – Roshni Shekhawat
Reema Kagti Farhan Akhtar, Zoya Akhtar, Anurag Kashyup
Directed by Reema Kagti
Running time 131 minutes
Though largely ignored by Western audiences Bollywood movies are big business in one of the largest territories in the world. Once mocked for their low budgets (visit Youtube and search for the Bollywood version of Spielberg’s Jaws for a cheap laugh) these days Hindi movies are as stylish as their Hollywoodcounterparts. Many of these films are musicals and influenced by the work of classic directors like Stanley Donen (Singin’ in the Rain). The tone is one of pure entertainment, escapism from everyday life. For an idea of how gloriously demented and funny they can be seek out Om Shanti Om (2007, Farah Khan).
Talaash is something else entirely, a sleek crime thriller with a phantasmagorical edge. The opening credits set the tone with a jazz torch song playing over images of neon-lit strip joints, working girls plying their trade, and beggars in the street. An unusually bleak opening for a Bollywood movie and one which tells us director Reema Kagti is taking a more realistic approach to the material and will not shy away from showing the rougher side of life in one of Mumbai’s roughest areas.
Crime thrillers are as much about the man investigating wrongdoing as they are about criminal activity. Inspector Surjan Singh is a grieving father with a crumbling marriage who becomes obsessed with a seemingly unsolvable case involving a dead movie star. Singh develops a bond with Rosie, a prostitute who guides him through the backstreets of Mumbai as he searches for the answers he seeks. Rosy however seems to know more than she is letting on and what began as a simple car accident becomes something much stranger.