In memory of the genius actor Richard Griffiths OBE

Only two days ago we lost one of the UK's finest actors. Richard Griffiths, aged 65, was famed for his wonderful TV performances, and continually honoured for his talent on stage in plays such as The History Boys, Equus and The Sunshine Boys, driven from his earlier presences on the boards playing Shakespearean clowns for the RSC.

But it's his character acting in movies that he is truly loved for. A rare achievement to hold such calibre as an actor for the many years in the business, the Yorkshire born thespian has brought all manners of dark and light, paired with both humour and sadness in supporting roles that would have slipped through the consciousness of other performers. He breathed so much life into these personas that they are fixed in cinematic history as a testament to this wonderful man. So, as tribute to Richard Griffiths, here's a selection of some of his prize moments:

Monsieur Frick in Hugo (2011)

In a film full of known actors in supporting character roles, Griffiths was idyllic as Monsieur Frick, the gentleman pining for Madame Emilie (Frances de la Tour). Glancing from his newsstand, at the train station where the movie is set, Monsieur Frick would chance flirtatious look with cafe owner Madame Emilie, but any further encounter would be halted by the jealous growled warnings of her dog. That is until the warming moment that he arrives at the station one morning with a dog of his own - the two hounds make acquaintances, giving room for the two lovebirds to finally be close to each other.

Monsieur Frick and Madam Emilie meet at last!

Douglas Hector in The History Boys (2006)

Alan Bennett's play has received numerous plaudits on stage, and now on film. Griffiths played the boy's General Studies teacher, "Hector", on the boards and then reprising the character in the film. A complicated role, handled with such delicate consideration by Griffiths; he is a companion and favoured by the pupils but holds a dark secret regarding his attraction to some of the boys. A real juxtaposition in character, respected prior to this knowledge by his class for his disposition and words of wisdom, then derided for his actions following rides home on his motorbike.

"The best moments in reading are when you come across something — a thought, a feeling, a way of looking at things — that you'd thought special, particular to you. And here it is, set down by someone else, a person you've never met, maybe even someone long dead. And it's as if a hand has come out and taken yours."

Vogon Jeltz in The Hitchhiker's Guide To The Galaxy (2005)

I'm a huge Douglas Adam's fan, especially Hitchhiker's Guide, and I was always intrigued as to who would play what role in the film version. Awful poetry lover and intergalactic planet demolition expert Prosthetnic Vogon Jeltz was one of my favourite sub-characters of the entire cannon, and I was over the moon when I found out the Richard Griffiths would lend his voice to the general of the belligerent aliens, in a part that was extended to allow more involvement from these hilarious beings.

Griffiths eloquent delivery, paired with his ability to understand the canniest of personas, was a perfect choice for the role...

Vernon Dursley in the Harry Potter film series (2001 - 2010)

Of course, he is most known for playing Vernon Dursley, Harry Potter's begrudged uncle, in one of the biggest movie franchises of all time. Partaking in nearly all of the Potter films, Griffiths was perfect for playing a man who, as cruel as Vernon Dursely was to Harry over the years, was still loved for the humorously unavoidable moments of terror and embarrassment.

There are so many clips to choose from, but this is one of my favourites...

Henry Allardyce the Accountant in A Private Function (1984)

Sometimes forgotten, this is a wonderfully comical small British film starring on of our Monty Python's, Michael Palin, and a host of other great British stars, such as Denholm Elliot, Maggie Smith, Alison Steadman, Liz Smith, Pete Postlethwaite, Jim Carter, and many more, including our post-humorous guest. 

In a post-war Yorkshire town still enduring food rationing, quality meat is a luxury. Griffiths plays Henry Allardyce, an accountant who is arranging a private dinner with some select guests where the main course a young pig. It's a warm and comical role, where he deftly plays a man trying to impress his peers but still at odds with his conscience as he feels connection to the pig that he fondly named Betty.

In this funny scene, Griffiths as Henry Allardyce tries to tempt Betty the pig with a biscuit

Uncle Monty in Withnail & I (1987)

"My boys...my boys!"

He may be most remembered for Harry Potter, but true Griffith's fans will always remember him as dear Uncle Monty in one of the UK's finest comedies, Withnail & I. This is one of my favourite pictures of all time, and is known as one of the most quotable, mainly thanks to some incredible writing and performances from Richard E Grant, Paul McGann and Richard Griffiths.

With so many brilliant moments, I can't bring them down to one easy choice, so instead I've uploaded the entire scene where we first encounter him for you all to enjoy. If you've never seen Withnail & I, I urge you to. If you have, I urge you again. If you've seen it a million times (like myself) I should not have to convince you to press play on that DVD player, so you can quote along with Monty to your hearts content. But for the moment, enjoy this wonderful moment...

Effervescent, charismatic, direct and overtly camp, Uncle Monty is one of the best supporting characters of any British film, and this is thanks to the genius that is Richard Griffiths OBE. 

British cinema is already lost without you, but will never forget you along with your fans.

Richard Griffiths OBE (1947 - 2013) R.I.P.

Please feel free to share your favourite moments from Richard Griffiths career or add your thoughts on the man by posting in the comments section below.

filmbore pick of the week - Sightseers

Sightseers

Director: Ben Wheatley

Screenplay: Alice Lowe, Steve Oram, Amy Jump

Starring: Alice Lowe, Steve Oram, Eileen Davies, Richard Glover

Year: 2012

Language: English

UK rental release: March 2013

IMDb

LoveFilm

Rotten Tomatoes

Were returning to the awards based features this week, and will do with a few more week's to come. And with the most recent event being the 2013 Empire Movie Awards, I thought I'd cherry pick one from the successes of the night to talk about. One fits my, as always, fussy criteria - the piece which won Best British Film, Sightseers.

Tina (Alice Lowe, of Garth Merenghi's TV series fame) is 34 and lonely. She lives at home with her smothering mother, Carol (Eileen Davies) -  an isolated life. She hasn't travelled much and would like some adventure.

She's finally found her match in Chris (Steve Oram, It's All Gone Pete Tong) who has a love for caravans, nature reserves and museums. He's a nice chap on the whole, but feels disrespected by everyone he meets and angry of other people's lack of consideration to nature and the countryside he loves so dearly. Together, they're a sweet couple, who seem to have found each other through the realms of their unique, quirky little world. Carol doesn't trust Chris though, and on the knowledge that they're about to go on holiday together she's worried for her daughter being away with him. Does she see something we don't or does she covet Alice far too much?

Said trip is a tour around several locations around Yorkshire, taking in museums and camping spots along the way, with their first stop being the Crich Tramway Museum. On a tour around the site on a rare tram, a fellow passenger causes an upset by dropping rubbish on the vehicle's floor. This starts to put Chris on edge, showing a more perturbed side that Alice may not have noticed before; a stressful inner soul clawing its way out.

Ruining their experience of the museum, this leads to Chris reversing over the litterbug with a gruesome outcome. Alice runs round to see and is shocked by the terror before her, unable to tear her eyes away from the dying man. Chris, on the other hand, feigns surprise but seems faintly pleased.

This first "accidental" death opens Alice's world to one of exciting dark adventures. As she slowly works out what Chris is up to she slowly steps into his warped view, a new life to step into to escape from her current imprisoned existence. However, the more Tina understands Chris' bleak, esoteric underside, with a desire to be there with him, the more they begin to drift apart.

For those that have followed filmbore thus far may be aware of my love for Ben Wheatley's work from when I previously reviewed Down Terrace and Kill List. Of the two, it does feel a little closer to his debut Down Terrace, especially through it's altogether improvised feel, with natural conversations playing their own part in the established script. Yet, it's clear that this is his most sincere and upfront black comedy yet, especially when exposing some of the brutality in such a nonchalant manner.

There are such striking differences between the horror and the normality too, which is key to making a dark comedy work. And in those heavier moments, Wheatley still hides some of the gruesomeness by putting it out of shot, as he has before, allowing our mind to conjure up the horror behind the curtain. Except, this time around he's unafraid to pop in a few blatant reveals of the aftermaths to add further shock. Somehow though, these methods make for more rambunctious laughs, where Wheatley's usual relaxed attitude to violence in his films is used in great effect as a tool for comic timing. Sightseers is gory as hell in these brief slap-in-the-face moments, and is quite happy to carry the humour with it. 

It's important to recognise that there is more depth to the comedy than bloodied slapstick. There's great dry humour, especially between the leading pair. The laughs grow as the film goes on, with the characters slowly embedding themselves into the story, and once Tina starts to understand and buy in to Chris' violent actions it allows for some hilarious domestic arguments during the craziest situations.

This makes it an original spin on a caravan holiday. The best comparison I can muster is that it's like Mike Leigh's Nuts In May cross bred with Oliver Stone's Natural Born Killers. I know...it sounds ridiculous, but it will make sense once you see it. Even though there is a vibe of the familiar, there's no disputing it's originality. This feel is generated by Wheatley's deft hand, but can only be brought to fruition by the tale that binds this all together. The story, created by our stars Alice Lowe and Steve Oram, came from an idea grown between our two stars many years ago combining their experiences on caravanning holidays. The treatment was turned down frequently due to it's dark veins, but Edgar Wright came to the rescue (who Lowe worked with on Hot Fuzz and is an Exec Producer on this feature), injecting some life into the arteries of Sightseers, finally drifting into Ben Wheatley's hands and heart. With Amy Jump, Wheatley's regular collaborator, as a third scribe, the script could be finally be fleshed out. With some great written pieces, with some wonderful one-liners thrown in ('Are you saying "Murder Is Green"?!'), together they've manage to tie this all up in a wonderful tale.

The story takes us to some interesting sites too. The tale's premise means we get the opportunity to see parts of the British countryside that we rarely do in cinema. We're treated to some great shots of the Yorkshire countryside, highlighting its vibrant beauty in the earlier, happier times of the picture, while exposing its eerie mysticality as the movie progresses. 

It's fair to say that Wheatley's films have a very specific look to them. Take the moment where Chris is disgruntledly stalking across the hills after a camper walking his dog: with handheld moving shots and great use of natural light to create long crisp lens flares and moody silhouetting, it's a template that you can clearly identify him by. Tied into some of Ben's trademark handheld close-up shots, and visually it really stands up over more recent outputs.

It helps that those he's getting close to are so absorbing. As is usual in a Wheatley picture, there are strong characters throughout the piece, even down to the smaller roles. The cast is very small, but every persona is embodied perfectly by each actor playing them. They don't detract from the presence of the main characters either, instead emphasising their richness. Tina is immediately likeable. Her idiosyncrasy is endearing, and you feel a little pity for her when you begin to get to know her. But as her identity flourishes you're drawn to her peculiarities.

Chris' character is the most intriguing of all. He craves esteem from his peers, even strangers, and feels cheated somehow. And his care for the countryside, along with his hatred for others who don't feel the same, mirrors his own preservations and lack of self worth. He clearly feels misunderstood but instead of seeking the means to express himself, he takes out his desires through bizarre acts on innocent people, then finding some justification for his outbursts. It's an astonishing combination of attributes, building a man who you feel, no matter how much you peel away, you'll never reach his core.

This comes across so well thanks to Steve Oram, who is great in the role of Chris. Seemingly sweet until the foreboding takes over, embodying the frustration through bludgeoning, then dropping it all to whinge about the smaller things in life, apathetic to recent events - it's a very well balanced, subtle performance, that he handles delicately and wisely. And in tandem with Oram, Alice Lowe as Tina is delightful...incredible in fact. It's about time she had a shot on the big screen. This situation feels similar to when Wheatley gave Neil Maskell an opportunity in Kill List. She holds the heart and soul of the entire film, and we experience Sightseers with her. She is a unique character, who follows her own own confused, blind path but you still assimilate with her. It sounds bizarre when considering what happens, but you'll see what I mean when you reflect on the film. This is only possible thanks to such an assured execution from Lowe, and her turn in the limelight is a welcomed one.

Typically British and deserving of the acclaim it starting to amass. I wasn't sure how Wheatley could have continued after his fantastic debut, Down Terrace and against the mighty Kill List, but with Sightseers he's knocked it out of the caravan park!

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Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

Top 10 "Non-Spandex" Comic Book Conversions

With Season 3 of The Walking Dead drawing to a close, and of the continued & improved success of comic book movies last year, I thought it best to focus my next Top 10 on filmed conversions of inked mythology.

As a friend of mine from Sheffield, UK (Andy "The Epicentre" Stockton) used to say when asked about what comics he liked..."I'm into it as long it's not spandex!". He's referring, of course, to the deluge of super hero based comic books that Marvel and DC are so famous for.

But, what comics are there without caped crusaders, I hear you cry? Actually, there are tonnes! I'm a bit of a late fan to the genre, returning to comic books with more expertise and passion than any of my younger years, thanks to the awareness of the more mature outputs, especially from the DC sub-publisher, Vertigo. And The Walking Dead has recently become one of the more famous series of books thanks to the excellent AMC production.

So, in honour of the zombie-filled impending series finale, here are my Top Ten "Non Spandex" comic book adaptations...

The criteria: Unlike The Walking Dead, these must be conversions into movies not programmes...this is filmbore, after all. These must be adaptations from comic books that have no costumed heroes in them, hence the point of this Top 10. For example, even though satirical and hefty, while not for the younger audiences, I've not permitted Watchmen to be on this list I'm afraid for this very same reason. Plus, Kick Ass and Mystery Men, even as comedies poking fun at the genre, also don't get a mention due to the fact that they are still filled with caped crusaders.

WARNING! Very mild spoilers ahead.

10. The Adventures Of Tintin: The Secret Of The Unicorn (2011)

Even though still aimed at younger audiences, Tintin is probably the most famous of all non superhero comic characters. Spielberg and Jackson's project to bring Hergé's creation to life was satisfyingly successful, incorporating the right level of excitement and comedy. And that chase scene through a Moroccan town while being flooded is sensational!

9. Sin City (2005)

Frank Miller's dark noir was always destined for a movie adaptation with it's dramatic plots and sharp lines & visuals. Not only was Miller's trademark look captured perfectly in the film, the casting of some of Sin City's biggest characters was genius, especially in the cinematic return of Mickey Rourke as the hugely misunderstood Marv.

8. A History Of Violence (2005)

David Cronenberg had already wandered down a different path with 2002's Spider, but it was with his adaptation of John Wagner's grim graphic novel where he reestablished his position in the business. Viggo Mortenson is the perfect actor to play Tom Stall: a simmering local hero type with a bucket full of secrets to bear, but the truth starts to emerge following an attempted robbery at a diner that he prevents, raising a few eyebrows in the process.

7. Coraline (2009)

As a huge Neil Gaiman fan (The Sandman being one of the greatest comics around) I had to include this enigmatically dark children's tale about defiance and desire. In her new family home, Coraline Jones discovers the Other World: an alternative realm similar but more sinister to her own. Henry Selick's stylistic stop-frame adaptation lends an extra personality to this already charming tale.

6. Persepolis (2007) 

Adapted from her autobiographical graphic novel of the same name, Marjane Strapi wrote and directed this movie adaptation of her upbringing during the Iranian Revolution. A rebellious young girl in an oppressive culture, we get to see how her values and responses shape her decisions and future. But this isn't as heavy as it sounds, as it's refreshingly funny in all the right places too.

5. Scott Pilgrim vs. The World (2010)

Like someone's just bred a hybrid of a Commodore 64 and an iPod, Edgar Wright's version of the hugely popular comic series packs a plethora of punches. Scott's in love with Ramona Flowers, but in order to date her he has to defeat her seven evil exes, boss fight style! Full of typical Wright humour, this is a must for gaming fanatics.

4. Akira (1988)

The king of anime! There have been so many conversions from manga to movie over the decades, but this still stands head and shoulders above the rest. Set in the post-nuclear city of Neo Tokyo, many are put off by it's twisting, confusing plot but once you buy into the story it will not let you go. An allegory to bullying and how power can change you, Akira is still one of the finest films of the 80's.

3. The Lone Wolf & Cub Series (1972-74) / Shogun Assassin (1980)

Another manga conversion, the eponymous Lone Wolf & Cub movie series tells the gory tale of a ronin and son, travelling the plains of feudal Japan, taking on assassin assignments on their trail to avenge the death of his wife. Only six films were ever completed from the 12 books, but we were treated to the video nasty Shogun Assassin: an English dubbed remix of the first two chapters with an incredible electronic score from Mark Lindsay.

2. The Crow (1994)

The film that took Brandon Lee's life still has a huge impact. Caliber Comics gave James O'Barr's story a chance back in 1989; of a tale that he wrote to help deal with the death of his girlfriend to a drunk driver. Both the book and film attain cult status, speaking as the voice of a generation. It translates beautifully from comic to celluloid and garners Brandon's best, if final, performance.

And the winner is...

1. Road To Perdition (2002)

Most people don't even realise that Road To Perdition is an adaptation of a comic book story!

Even more intriguing is the fact that the graphic novel itself was loosely based on the premise of our no.3 selection, Lone Wolf & Cub. Known more recently as an author of books, expanding on known TV crime series' (such as Dark Angel and the CSI franchise), Max Allan Collins made a name for himself by taking over the Dick Tracy series in 1990. It wasn't until the late 90's, however, that he would reach his zenith in crafting the absorbing tale of a mobster and his son, on the road during the Great Depression.

Michael Sullivan (Tom Hanks) is an enforcer, who is truly loyal to his boss & adopted father, the malevolent John Rooney (Paul Newman). However, Rooney's natural son, Connor (Daniel Craig), is quite the opposite and is a tyrant crawling under the family's skin. As internal friction grows in amidst the pair, it leads to an unprecedented slaughter of Sullivan's family at the hands of a jealous Connor. This heart-wrenching event forces Sullivan to take action, with his only option being that to take to the road with his surviving son, Michael Jr (Tyler Hoechlin).

Tearing across the US, they forge a plan to crumble Rooney's empire and to take vengeance for the losses they have felt. This won't be so easy, as a loose cannon with a camera, Harlen (an out-of-comfort-zone Jude Law) is hot on their trail to stop them in their tracks. With as much cunning as Sullivan but far more perverse enjoyment out of what he does, both father and son will have to keep an eye on their rear view for this unpredictable assassin.

Sam Mendes is always a trusted pair of hands, and he scatters his own blend of visual delight and canny cool to make an incredibly emotive piece. He takes notes from the tale's original medium, leaving space for those locked off vanity shots that marry so well with the comic book world. Never has this been released so perfectly as the finale...I won't spoil it for you, but it has received compliments over the years purely for it's use of rain (in Blu-ray, this particular scene is one of the best pre-HD shots I have encountered). And, even though the founding tale is influenced by another comic, there's no disputing the clear brilliance of this movie.

With a cast like this, such a brilliant story and a director who is adept at anything, it's a winning combination...with gusto and tommy guns!

Just Missed Out: American Splendor, 300, RED, Death Note, V For Vendetta, Hardware

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.

filmbore pick of the week - Tales Of The Night

Tales Of The Night

Director: Michel Ocelot

Screenplay: Michel Ocelot

Starring: Julien Beramis, Marine Griset, Michel Elias

Year: 2011

Language: French

UK rental release: October 2012

IMDb

LoveFilm

Rotten Tomatoes

A slight detour from my award themed reviews (I should be returning to them next week) as I take a look at an animated feature, wrongfully missed in the nominations - Michel Ocelot's Tales Of The Night.

In a small cinema, it's early in the morning and three writers are discussing a new story, sparring ideas between each other. They throw a few concepts around, design an era, suggest looks. After a bit of research and a brief discussion they settle on the spine of a tale and enter the information into their computer. Two of the trio get kitted out for the leads of their new plot and prepare to act it out immediately.

Ready the set, and we're transported to medieval Europe. We meet a young princess, who is crying. She has lost the love of her life to her elder sister, through traditional royal family traditions. The prince, Jan has just confirmed his interest for the other princess and the announcement of their engagement upsets her our maiden. She feels deceived by her sister as she feels that she is destined to be with Jan. Yet, there is something far deeper to this new predicament. Jan has a secret that he cannot bear to share...he's a werewolf!

The chain he wears around his neck holds the power to return him to human form after the full moon passes. Feeling deceived herself by the secrecy of this second life, the elder princess steals the chain following his transformation. As his lupine form stays true, the hunt begins...

As the chapter concludes we return to the theatre, and our scribes are debating once again on another fable to perform. A new setting this time... the Caribbean! It's posited that a curious boy shall find a cave. After more altercations, we're transported to a new world once more. 

A travelling boy chances upon a cave, as conceived, and after a ride through it's many tunnels arrives in a strange land. Chancing across an old fellow, he discovers that he is in the Country Of The Dead. As the only living person, by right, he can take the King's daughter's hand in marriage and inherit half of the kingdom. However, before he can do so he must pass three deadly challenges against giant beasts ready to devour him. Will he take the old man's advice in handling these creatures?

When this second vignette concludes, we return yet again to our our cinema, ready for a new premise from our storytellers. On and on this process goes, as we are taken around the world, through different ages to witness stories of unreachable love and misunderstood folk. We travel to the Aztecs, to Africa, to Tibet. We meet lords, princesses, musicians, sorcerers, wise men and ogres. And along the way, we take the morals each scenario leaves in its wake.

I fear a lack of awareness of Tales Of The Night has prevented such an original piece of animation from appearing at any award ceremonies. Usually, especially at the Oscars, the category for films of this nature is usually dominated by the more mainstream features (which, I agree, are commonly excellent) but sometimes a breakthrough piece seeps through (see The Secret Of Kells, which still, inevitably, lost to Pixar's heartwarming Up). It's a shame that Tales Of The Night wasn't at least recognised with a nomination at the ceremony only two years later. Ocelot has been recognised in other awarding bodies in the past, including the BAFTA's, so this omission eludes me.

The overall content is one of the strengths that the film has that should have brought it more recognition. With nearly all of the chapters being comprised of parts from Ocelot's series Dragons et princesses (with a new tale added for good measure) each segment play as a fable, infused with a love story. Threaded with standard fairy tale culture, it throws around numerous emotions and dilemmas into each chapter - sadness and happiness; love and death.

As expected, each of these fable carries a moral. Intertwined into the stories we cover aspects of karma, greed, self belief, honesty, to name just a few. These ethics hold together thanks to the magical, wonderful plots written by Ocelot, making each vignette magnificent - especially "Tom Tom Boy", which I found the most enjoyable. At the joining moments, you're always wondering what fable they'll make next. In fact, I've refrained from giving away too much plot above (some elements aren't even mentioned here) as it's the intrigue you feel for the next story that drives your enjoyment of the film.

There's always a level of entertainment in a film with this structure however. With portmanteaus, the story's are usually connected to a central plot, evolving into it's own tale by the climax of the picture, in the same manner as the cult British horror films of Amicus Productions fame, or more recent releases such as Pulp Fiction. However, here the central story actually parents the tales and only truly exists to portray each vignette due to the desire of the creators. It's a different way to approach this material, making it one of the most unique portmanteau films I've seen to date, and it's all the better for it.

Said creators in the film are at the behest of those behind it. Michel Ocelot directs his animators, utilising his own experience in the art form, and the team have crafted the picture with an original computer animation style which is smooth and stylish. Take the wolf transformation for example: it's swift, superfluous, yet still artistic. Using a silhouetted method for the entire picture has great impact, allowing for more creativity in what may normally be perceived as a limiting technique. 

The settings are extravagant, with backdrops of explosive colour and vibrant design. Great care has been taken to selecting the necessary template for each chapter, so they all sit within their own font and scheme. Comparing the shots from different sections, you can really see the changes between them, which is sensational when considering that our key characters and foreground is predominantly shaded black for the entire movie.

This combination of expressive detail and creative forms is what so captivating. Visually it's gorgeous. Every cell is a piece of art, where either minimalist or exciting, a landscape or a cave, of a village or a city of gold. The artwork throughout is simply outstanding and stands as the leading character in the film.

Michel Ocelot and his crew have birthed a really individual entity in Tales Of The Night. The blend of stunning visual presence and interesting story lines make it an enticing piece. It's a real hidden gem! 

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Alternatively, you could contact me directly about this film or my other reviews on pickoftheweek@filmbore.co.uk

Top 10 Musicals With A Difference

Here I am with another of many Top Tens to come, and the recent success of the British produced Les Miserables at the multiplexes, it seemed apt to publish a list based on musicals. But, in true filmbore style, these aren't your run-of-the-mill singing pictures! Instead, I want to ensure we recognise the movies that are technically musicals but recognised in other genres so rarely included in many of the other "top whatever" musicals out there, and for the films that aren't as big as the more recognised pictures of this category but deserve selection through their unique approach to music and their brilliant songs.

Here was my dilemma however...I started out putting together a list of Top Ten Comedy Musicals, to bring the necessary air of difference to the top ten, which looked great. But then, I thought, there are other films that need to be recognised too, so I tried my hand at Top Ten Coolest Musicals, leaving me with two lists. Then, to make matters worse, I decided to attempt a Top Ten Darkest Musicals as well, leaving me in a state of uncertainty overall.

So, I've taken the executive decision to mix all three of them together for a Top Ten Cool, Dark And Comedy Musicals so each gets a fair shot...or Musicals With A Difference, as the tile above states. But more importantly, this is MY list of favourite musicals. I know many of you may disagree with my opinions here but that's fine, as I like a good debate.

For those of you who are interested in the original three however, near the bottom of this article I've included them as well, so you're getting 4 for the price of 1!

The criteria: Each film has to be able to fit into any of the three categories mentioned: Comedy, Cool or Dark. Also, they have to have enough songs within them to be classed as a musical, and not just have the odd musical moment (like the brilliant moment in Magnolia, where the cast sing to Aimee Mann's "Wise Up"). And finally, to be a true musical, either the story is driven by interlaced songs that narrate and guide the tale, or the characters themselves have to suddenly break into song amidst scenes (or both, in some cases).

WARNING! Some links ahead link to content with explicit language.

10. Krush Groove (1985)

As an ex-emcee myself, I can't ignore the old skool rap musicals out here (like Wild Style and Beat Street) but none are as enjoyable as the tongue-in-cheek story of the founding of Def Jam Recordings, including the careers of Run DMC, The Fat Boys, Sheila E and Russell Simmons himself (renamed Russell Walker). Cameoing some other great rap stars it still stands out for its joyous interlude of The Fat Boys All You Can Eat.

9. Once (2006)

One of the most original musicals you will ever see, Once tells the beautiful story of an Irish busker and a Czech immigrant who find a connection through song. Their relationship with music replaces the growing love usually felt in romantic dramas, building a refreshing look on the power of feelings and craft. Glen Hansard and Markéta Irglová, the film's stars, have collaborated in the past and wrote all of the music for this stand out success.

8. The Wizard Of Oz (1939)

I'm sorry, I can't help it! I know it's a famous musical but I'm a huge fan of this classic and there so much depth here which is usually ignored. There's incredible humour, some scary moments (flying monkeys people...FLYING MONKEYS!!) and so many memorable scenes that it stands tall in this list. Even more important are some classic film moments: the witch's boots curling, the switch to technicolour, the wonderful crane shot on Follow The Yellow Brick Road, the tornado effects and "I'm melting, I'm melting"....pure genius!

7. Wave Twisters (2001)

Based on DJ QBert's album of the same name, Wave Twisters is the first ever turntablist musical. Fully animated, it tells the tale of a dentist as a space travelling superhero out to save Hip Hop from the evil clutches of Lord Ook and his henchmen. You think that sounds crazy, wait until you see the film itself! There is no movie like this one, and it's a rare DVD too (which I fortunately have a copy of myself. I'm not lending it out!) so it's a prize if you find it.

6. Ill Manors (2012)

Another musical/album tie-in, Ben Drew a.k.a Plan B's screenplay & directorial debut has split audiences, but deep within is a truly harrowing but eye opening crime story based around a number of residents of Forest Gate, London. Each song, by Plan B too, narrates each thread together perfectly, creating the necessary links to the web of drug dealers prostitutes and misunderstood youths of today, and is proof that Drew has even more talent up his sleeve.

5. Willy Wonka & The Chocolate Factory (1971)

The musical adaptation of Roald Dahl's classic proves the perfect symbiosis of music, comedy and darkness. You forget until you watch it again how many famous songs have come out of it (especially Pure Imagination), yet it's difficult for such numbers to stand up to the might of the Oompah Loompah songs strewn throughout, illustrating the perils of each of the child's errors...well, except for the frightening Wonderful Boat Ride!

4.  This Is Spinal Tap (1980)

Even though the simultaneously produced British equivalent Bad News (from Comic Strip Presents...) is ever so slightly better, there's no disputing the brilliance of Christopher Guest's masterpiece.  Following David, Nigel and Derek (and their doomed drummers) as a British metal band touring the US, trying to re-ignite their careers, this mockumentary has inspired many comedy TV shows and films over the years with it's dry, natural, satirical approach.

3. South Park: Bigger, Longer & Uncut (1999)

Not only is this brilliantly more offensive than its small screen counterpart, but it's also a genuinely excellent musical. Keeping its trademark humour, each song has catchy melodies, big choruses and huge notes. Though full of profanity, Blame Canada still managed to gain an Oscar nomination, and rightfully so, but nothing demonstrates my point better than the medley La Resistance Lives On. 

 

2. Little Shop Of Horrors (1986)

A funk and soul musical is a rare thing, and even rarer it is to top this masterpiece of cool, darkness and comedy. Levi Stubbs from the Four Tops as Audrey II - cool. Flower shop boy help a man-eating plant from space get lunch - dark. One of the key songs To Be A Dentist - hilarious, with Steve Martin at the height of his game. It still stands up today and it's songs can be some of the biggest ear worms out there after just one watch!

And the winner is...

1. The Blues Brothers (1979)

Even though Little Shop... is perfectly balanced across all three of my musical sub-genres, it's a difficult task to overpower the behemoth that is the Saturday Night Live creation, The Blues Brothers.

Jake has just got out on parole and is met outside prison by his equally suited brother Elwood, sporting a new vehicle...The Bluesmobile. Taking their new chariot to the orphanage they grew up in, they learn that it's threatened by closure unless a tax bill of $5000 is paid in full. Following an epiphany, there's only one solution - get the band back together!

On their "mission from God" they pull together their old jamming buddies to put together a concert to raise the funds needed. Along the way they encounter angry country folk, a volatile weapons-heavy ex-girlfriend and modern Nazi's amongst the other crazy happenings on their adventure through music, culminating in the craziest car chase you will ever see.

Said car chase is one of the reasons this takes the top slot. Each of the songs from start to finish hold their own, stamping their right on the soundtrack, but the forgotten hero is the cataclysmic demolition derby through the Chicago Streets. Not only is this outrageously hilarious and completely preposterous, it's the final tune to the already jam packed score. Cars fly balletically over each other, to the melodies of police sirens and screeching tyres. The collisions get more incredible, as they build to a crescendo leading to the funniest car plummet you will ever see on celluloid.

Other elements to the film's humour is helped along by some great cameos from some of the biggest names at the time (can you spot a young Steven Spielberg?) but the cool element to The Blues Brothers is thanks to already mentioned soundtrack. It's the perfect compilation of blues and soul, raising your funk-o-meter to 11 (sorry Spinal Tap!), especially with the well known toe-tapper Everybody Needs Somebody To Love.

The fact that this is regularly missed out on so many Best Musicals lists is a travesty! Not only does it contain some of the best songs to come out of any film in existence, and that the band comprises of some of the greatest jazz musicians the US has ever produced, but it has soul royalty strewn throughout: Cab Calloway, James Brown, John Lee Hooker, Aretha Franklin and the legendary Ray Charles on the finest version of Twist It (Shake Your Tail Feather) out there. In fact, if I haven't said so already, all the songs in this movie are superb and I challenge anyone out there to find a funnier and most certainly cooler musical than this one!

Just missed out: The Commitments, The Nightmare Before Christmas, Labyrinth, Tommy, Fear Of A Black Hat, The Muppets (2011)

Other Top Ten musicals...


Comedy Musicals

1. This Is Spinal Tap
2. South Park: Bigger, Longer & Uncut
3. The Blues Brothers
4. Little Shop Of Horrors
5. The Muppets (2011)
6. Willy Wonka & The Chocolate Factory
7. Fear Of A Black Hat
8. School Of Rock
9. Cannibal The Musical
10. The Muppet Movie (1979)

Just Missed Out: The Commitments, CB4, The Artist, Labyrinth, The Nightmare Before Christmas.

Coolest Musicals

1. The Blues Brothers
2. Ill Manors
3. Wave Twisters
4. Once
5. Little Shop Of Horrors
6. Buena Vista Social Club
7. Tommy
8. The Commitments
9. Krush Groove
10. The Artist

Just Missed Out: West Side Story, Beat Street, Corpse Bride, Sweeney Todd: The Demon Barber Of Fleet Street, This is Spinal Tap.

Darkest Musicals

1.  Little Shop Of Horrors
2. Ill Manors
3. The Nightmare Before Christmas
4. Willy Wonka & The Chocolate Factory
5. The Wizard Of Oz
6. Sweeney Todd: The Demon Barber Of Fleet Street
7. Corpse Bride
8. Cannibal The Musical
9. Labyrinth
10. Repo! The Genetic Opera

Just Missed Out: The Rocky Horror Picture Show, Amadeus, West Side Story, Wave Twisters.

If you disagree, and have other suggestions, please post comments at the bottom of the post. Or, email me directly on topten@filmbore.co.uk.

And don't forget, you can tweet me @filmbore or post on my Facebook page here.