filmbore wants you! Musings of May 2013

filmbore wants you! May 2013

Of what has become the most drawn out article this site (and probably many others!) has seen, the final recap of filmbore's first year in existence is finally here. I'll put up one final post very soon to re-list the candidates so you can get another chance to vote on the first 52 films reviewed from June 2013 to May 2013. They are all have the opportunity to enter a coveted top 20 of the best films from this initial year of filmbore's life, showcasing the best of the bunch. Without further ado then...

Let's muse over May 2013!

The second half of filmbore's horror season continued with three very different films, a further Top 10 themed from scary movies surfaced, we said goodbye to another legend, plus timing blessed us with another bonus review:

One of the most iconic names in cinema history is Ray Harryhausen. He has inspired numerous filmmakers over the years and has entered the hearts of generations of movie fans. The godfather of effects modelling and stop-frame animation, he has influenced the course of the film industry with his creative and imaginative talent. He passed away on May 7th 2013 and is missed by so many. 

Many articles were posted across the net, recalling his most famous moments. I wanted to do something more personal; something from a movie fan. Instead, I published this little number, (admittedly posted in June, but his passing was in May,hence it's presence here) highlighting a more comical collection of notes on cameos from the great man and some homages from some of the most iconic media in the industry.

Speaking of alternative articles, in order to emphasise the ongoing horror festival on filmbore, I presented a new Top 10 of the best ever Zombie Killers. Relentless, daring and sometimes hilarious, these are the warriors you want by your side when the apocalypse happens.

And finally, and what we've all been waiting for, the reviews...

Well timed weekends meant that the last month of year one for filmbore meant we had five reviews. But which sticks with you the most? Were you touched by the emotionally original and surprising beautiful horror A Tale Of Two Sisters? Did you ignore the critics and enjoy the playful, creative side to portmanteau revival V/H/S? Are you a fan of Oskar and Eli in this unusual scare-fest of loneliness and friendship in our final film from our horror season, Let The Right One In? Maybe you're a documentary fan, and were shocked, if amazed, by Frédéric Bourdin's story of identity fraud in The Imposter? Or do you just love a good experimental, art house with the enjoyable and funny Run Lola Run?

An bizarre blend from all over the globe, but you must choose. Should one, some or all of these films be considered in my ultimate Top 20 from filmbore's first year? Make your decision and comment below.

filmbore pick of the week - Secrets & Lies

Secrets & Lies

Director: Mike Leigh

Screenplay: Mike Leigh

Starring: Brenda Blethyn, Marianne Jean-Baptiste, Timothy Spall, , Claire Rushbrook, Phyllis Logan

Year: 1996

Language: English

UK rental release: August 2001 (DVD), 1997 (VHS)

IMDb

LoveFilm

Rotten Tomatoes

Back to the UK this week. And, for those of you who are also from my home land, you will be aware of the looming cold weather about to hit us over the next few weeks. So, let me take this opportunity to warm you souls with a comedic drama from one of our country's finest directors with Secrets & Lies.

Hortense (Marianne Jean-Baptiste, Spy Game, The Cell) is suffering a loss. As the tears fall effortlessly down her face at her mother's funeral, she contemplates the next phase of her life.

Her life is a successful one, however. She makes a good living as an optometrist and owns her own apartment. This comfort doesn't deter her yearning  to uncover some truth from her past. Hortense has known from a young age that she was adopted and, with her adoptive mum's recent passing, intrigue into her heritage has surfaced and she feels ready to go and find her birth mother.

Maurice (Timothy Spall, The Damned United, the Harry Potter movie franchise) does well for himself too running his own photography business. Wedding work is coming through regularly now, which makes him very busy. Yet, he never has time to see his family and with his niece, Roxanne's (Claire Rushbrook, Under The Skin, Doctor Sleep) birthday due soon, he's thinking of paying them a visit.

He and his wife, Monica (Phyllis Logan, of Downton Abbey - TV series fame) are in on the family secret. Nobody knows, or tells, of the time his sister passed over her baby to the adoption services.

The mother in question is Cynthia (Brenda Blethyn, Atonement, Little Voice). She gave birth to Hortense at the age of just 16, driving her to give her child away. With Roxanne, she still has a mother-daughter relationship but resents the life it has brought her. She feels trapped, regretting the unadventurous outcome to her existence. 

A sudden and brave phone call is about to change everything, however...soon, all the secrets will come out!

Those of you not from the isle of Blighty may have assumptions of what life is like here in the UK through years of the media portraying us as either quirky wizards, bowler-hatted bankers or cockney gangsters. If that is you, then you really need to watch Secrets & Lies in order to experience what it's really like here. Thanks to Mike Leigh's graceful ability at portraying reality in his movies, you'll be hard pressed to find anything closer to true British living as most of us understand it.

I'm surprised that I haven't chosen one of his films early in filmbore's existence: the brilliant Mike Leigh, who's exercise in evolving scripts, characters and performances from improvised rehearsals is an example of how experimental film making can produce such rich and rewarding features. 

And Secrets & Lies is one that stands out from his incredible roster of pictures. It's a beautiful little story, of different paths taken which eventually lead to the same destination; about the bringing together of two lost souls in need of enrichment through their joining. What's wonderful too is that, amongst this core plot drive, there are other dynamics and complex relationships between the main characters, only subtly drawn upon in order to delicately create a fictional world but with tangible references. This works excellently mainly thanks to the tender, tasteful and comical handling of such topics as class and race.

It's the comedy in the picture that needs further analysis, as this is a particular element to Secrets & Lies that sets it above most films. There's seriously genius placement of comedic bites within dramatic scenes, each nugget recalibrating the emotions you're feeling when they choose to reveal themselves. One moment, you're close to tears (or just crying your eyes out! It's okay...no one else is around!) and in a flash, when you least expect it, you're laughing out loud through a perfectly timed one liner or change of expression, only to then be taken back into the realm of drama but with even more force than before. These verbal and visible juxtapositions are rare in cinema, and it's something Mike Leigh has always been able to handle with such penetrative nature.

There are the odd moments of direct comedy that still act to oppose the melancholic aspects, such as the scene at Maurice's photography studio, where we see a succession of poses from his customers. It features cameos from some Mike Leigh regulars and other recognisable faces of British acting. Further portraits made in the same manner punctuate other points in the picture, lightening the mood when it takes a turn.

Speaking of the lens, you may notice the "matter-of-fact" camera work on show here. For most of the film, Leigh just locks off the camera with one simple angle, trusting the plot and performances to grant personality to the feature. In segues however, you will see some gentle pans, and quirky angles, but nothing too prominent. Thankfully, this is the right balance, as this is a tale of humanity and people and not a vehicle for an art house, expressive piece. 

This film, as with any Mike Leigh film, is all about the performances and how these are manifested. Leigh is famous for his unusual approach to film making, and there are still whispers to the precious method that he uses. For those of you unaware, most of Leigh's films are effectively improvised. A loose plot is formed, which can change through the process, and a rehearsal space is taken up by the cast to start forming characters and sub-plot lines. Lines are made up on the spot, and altered frequently until there is some shape to the "script" (there isn't one, really). And then, when shooting begins, improvisation is still used heavily, creating a sense of a genuine and perceptible environment.

This is all achieved thanks to Leigh's team of acting greats. Over the years he has built up a team of sensational performers that he can depend on to handle the gruelling rehearsal process and deliver during production. In this particular piece, each and every actor is extraordinary. Even the briefest in roles is portrayed with beauty, sensitivity and indelible presence. 

The core cast themselves are very strong. You'll be blown away by each and every one of them, with such precision in their execution of their parts. Jean-Baptiste, Spall, Rushbrook, Logan... it's difficult to choose between them, as each brings something special to this tale, all with stand out moments of their own.

  

The main reason to watch Secrets & Lies though is Brenda Blethyn. She is, without doubt, one of the finest actresses the UK has ever been blessed with, and she completely owns this entire film. Everyone is astounding but Brenda pips them all with her incredible talent. I've seen this picture several times, but she gets me every single time. I'm still moved when she's struggling, and sometimes failing, to hold back to tears. I still laugh at "that cafe scene" when she questions her own knowledge and race in doubt of the truth. I'm still drawn to her when she's not even leading a dialogue. 

This is how a performer truly nails a role. Once you've seen her in this, you'll be hard pressed to find anything stronger from many of today's actors. That's why, alongside the film winning the Palme d'Or at Cannes in 1996, it was fitting that she also won the gong for best actress at the same festival. No argument here.

Admittedly, Secrets & Lies was quite successful. Some of you may feel that it doesn't meet the usual criteria to be selected as filmbore's pick of the week. Yet, it's here for two reasons. Firstly, even with it winning some awards, including the already mentioned Palme d'Or and receiving five Academy nominations, it's strange that a lot of people haven't heard of this, which is a travesty. Secondly, the budget is modest (at about $4.5 million), it's sensationally British and an example of a small film UK film doing what it does best...showing the big guns how we do it!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

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

filmbore pick of the week - Like Someone In Love

Like Someone In Love

Director: Abbas Kiarostami
Screenplay: Abbas Kiarostami
Starring: Rin Takanashi, Tadashi Okuno, Ryô Kase
Year: 2012
Language: Japanese
UK rental release date: October 2013

IMDb
LoveFilm
Rotten Tomatoes

This week, we jet over to Japan to take in a wonderfully filmed drama from director Abbas Kiarostami, known for the multilingual success Certified Copy. We enter the misunderstood world of escorts with his second piece outside of his home country of Iran with Like Someone In Love.

Akiko (Rin Takanashi, Goth, Neo Ultra Q - TV Series) is a sociology student, who earns a little extra money in the evenings as a high class escort. Persuaded in not seeing her visiting grandmother, or revise for her pending exam by her boss, she is sent to see a special client.

She's sent to meet Watanabe Takashi (Tadashi Okuno) who lives an hour away from the bar. She uses this time to catch up with some much needed sleep, thanks to the exhausting lifestyle that she leads. She still fast asleep when she arrives at her destination, so Takashi waits patiently in his apartment while she gets ready.

He's a professor of great magnitude and highly respected in his profession. His kind nature impresses upon Akiko, especially as one of his specialities is sociology. Through discussing his work and the mutual appreciation of a painting on his wall, they begin to open an unexpected connection between them both.

The next morning, Takashi drives Akiko to her college. There's more going on her life than just education and work, however, due to some trouble she's having with her boyfriend. Higuchi Noriaki (Ryô Kase, Letters From Iwo Jima, The Sky Crawlers) runs a car garage and sees himself as a successful businessman; a rightful husband to Akiko. He only wants to protect her. Yet, he has been pesturing her a lot recently and intervenes as she tries to attend an exam.

As both men wait on Akiko, they begin to talk. Mistaken identity leads Noriaki to believe that Takashi is Akiko's grandfather. It seems obvious that Noriaki has been bothering Akiko, but from his view it's purely through his love for her and his desire for them to wed. He has an air of honour and tradition about him, believing that must marry but only after he has presented himself formally to her family. 

She hasn't allowed this yet, but this chance encounter with her "grandfather" could be his opportunity. Yet, Noriaki has started to figure out what Akiko's job is and begins asking questions. Takashi becomes involved in something he shouldn't.

As soon as the disc to Like Someone In Love has loaded up the main menu, your speakers are filled with the dulcet tones of Ella Fitzgerald on her song of the same name. It immediately sets the tone for this delicate and sweet drama.

This simple tale is thoughtful and tender, encompassing the touching connection between a call girl and a widower. It holds a strange innocence embedded into its seemingly seedy, if attempting to be classy, subject matter. It really is quite refreshing to see such a brave approach, turning such substance that could have been distasteful into something charming and exquisite.

A lot of this seems to be achieved through its patient demeanour. Even though it is slow, granting the picture a gentle mood, its very involving. When our two leads first meet in Takashi's apartment their conversation is endearing and pleasant. Yet, the hustle and bustle of the busy streets outside intertwine at the same audible level, infusing a strong undercurrent to the piece, leading us emotionally into the events that will soon follow.

There is some intelligent use of sounds throughout the entire picture. The final scene in particular has great use of audio (I can't really say why though without giving too much away!), with externalised noise throwing tension through the glass window that separates the apartment from the outside world.

These external and juxtaposed sounds carry an air of biplicity about them. This is very important to pick up on, as polarity and dual identity are strong thematics overall, and can be attuned to all three of our main characters, like Noriaki's mistaken identification of Takashi, but it's most prevalent when considering Akiko's lifestyle. 

Glass also plays a major part in this tale, as do the reflections they carry within them. Frequently, we are presented with window shots, with these panes acting as barriers between the two existences that Akiko bears. In an early scene, we see the impression of her reflected within a TV as she talks with Takashi, really highlighting the duplicitous nature of her career.

Besides symbolic reference, reflections also help to influence some graceful visuals. Take one of the earlier shots, for example, when Akiko's boss leaves the bar to take a phone call: the camera is smartly placed outside the window, focusing on Akiko, capturing what unfolds inside while, in the same frame, we also see her boss on his call, peeping over his shoulder from time to time. It's brief and it's subtle, yet the delicately blended imagery clearly demonstrates the deft camera work from both Abbas Kiarostami and cinematographer Katsumi Yanagijima (a highly regard DOP in Japan, who has worked on such titles as Battle Royale and Sonatine).

The camera doesn't let up for one moment, each shot capturing the elegant performances from the cast while they're beautifully framed, or using the environment to enhance what is already stunningly captured by the lens. Whether it's when the camera holds steady as the neon lights of Tokyo dress the face of Akiko during her taxi ride, or the trusting, lingering shots that stand their ground like in the opening bar scene, Like Someone In Love relies on the lens to tell this affecting story.

A collaboration between MK2 Group (France) and Eurospace (Japan) on a relatively modest budget of $4.8million, it took a mere eight weeks to shoot. This is a sensational achievement when considering how small the crew were on this film. The outcome is a sensitively felt tale, conveyed by deep thematic undertones and a look that should be an example of a masterclass in camerawork. Sometimes, you don't need a monstrous bank account to create such visual allure...just a little bit of light, a decent lens and some eyes that know how to show you beauty in such simplicity. Truly stunning!

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

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

Another overdue overview!

Here's an overview...and another!

So I'm still finding it tricky to keep the momentum up at present. I've missed yet another overview from last month so I'm bundling them both up into one little package for you to enjoy. Sometimes two heads are better than one!

Time to summarise...

September saw the (long drawn out) continuation of the Top 20 filmbore picks, choosing the best pictures reviewed on the site from June 2012 to May 2013 (I promise I'll finish this soon readers!), plus we had our usual reviews.

Onto October, and things got rocky. We had another four reviews but the timing was a little out. So much so, that filmbore pick of the week has now moved to its new slot on Sunday evening (UK) instead.

Okay...let's recap in September and October's picks:

Pick of the week - Recap of September

My first anime review on filmbore had to be something special due to my adoration for this genre, hence why I had to choose Satoshi Kon's Paprika. It challenges the strengths of the boundaries between dreams and reality. Deliciously bizarre it's one of the most visually creative animes you'll ever see.

Italian crime caper goes all edgy and serious on us in Gomorrah, a snapshot of lives all centred around the Casalesi clan. It's an incredible blend of art house and drama, presenting us with some intriguing dilemmas and delivering some stellar performances from this ensemble cast.

Night Watch takes us over to Russia, with an unusual look at the horror and fantasy genre. Unfortunately misunderstood by so many, this brave picture by Timur Bekmambetov bends the rules on typical conventions for a truly alternative approach to film.

Tying up September is the beautiful tale of the months leading up to the day that Ernesto Guevara became known as "Che" in The Motorcycle Diaries. It's an enjoyable of powerful insight into the revered freedom fighter, in his final years in medicine, travelling the road of the Americas with his pal Alberto.

Pick of the week - Recap of October

Moving into October, we started with the emotional story of four Algerian and Morroccan men, who volunteered to free France with countless others in Days Of Glory. The cast are sensational in this and their story is incredibly touching. This is war film that ventures into the soul more than obligatory action. 

An Oscar nominee was our star for week two, with the thrilling drama A Prophet. Tahar Rahim and Niels Arestrup totally own the screen as our lead and supporting characters, as we see the rise of a petty felon on his way to becoming a crime overlord.

JSA: Joint Security Area was a long overdue returning visit to one of my favourite countries for world cinema, South Korea. An early venture by Park Chan-Wook, you'll be surprised at the more conventional approach taken in this beautiful tale between soldiers and borders.

Completing October is the breathtakingly shot Once Upon A Time In Anatolia. Set over a night and a day, this Turkish mystery brings together a collaboration of characters from different professions, working together with the aim of locating a missing dead body.

Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here.

Or, you can email me directly at overview@filmbore.co.uk.

filmbore pick of the week - Persepolis

Persopolis

Director: Vincent Paronnaud, Marjane Satrapi

Screenplay: Marjane Satrapi, Vincent Paronnaud

Starring: Chiara Mastroianni, Gabrielle Lopes Benites, Catherine Deneuve, Simon Abkarian, Danielle Darrieux, François Jerosme

Year: 2007

Languages: French, Persian, German

UK rental release: August 2008

IMDb
LoveFilm
Rotten Tomatoes

I'm back to reviewing an animated movie again this week. And with another big season of comic book movies underway, it seems apt to respond with a filmboresque nod to the genre. This is one of the films I selected for my Top 10 Non-Spandex Comic Book Conversions back in March this year: the eye-opening, yet charming true life story of Marjane Satrapi in Persepolis.

Marjane Satrapi (Chiara Mastroianni, Carnage, Les Chansons d'Amour) has a plane to catch. Returning to her home country of Iran, she's incredibly hesitant to board. Holding herself back from committing to the flight, she lights a cigarette and ponders over her past...

Young Marji (Gabrielle Lopes Benites), however, isn't your normal Iranian girl. Outspoken and controversial, she finds it difficult to be restrained by the religious and political culture that her nation delivers her. Living in Tehran was always going to be difficult, no matter how much Bruce Lee she channels, or how much she believes that she will become a prophet. Yet, no one could stifle her ambition and imagination. 

Her parents, Tadji (Catherine Deneuve, Belle De Jour, Potiche) and Ebi (Simon Abkarian, Ararat, The Army Of Crime) regularly support the protests against he rising of the Shah Of Iran, fuelled by their self belief that a better society can be reached by opposing this rising tide. Amidst this brewing political time bomb, Marjane has the grounded support of another family member, her grandmother (Danielle Darrieux, Madame De..., 8 Women), her wise presence helping to influence and shape her into a strong willed individual. 

One day Marji's uncle, Anouche (François Jerosme) arrives for dinner, following a nine year stint in prison. He's a hero in her eyes, as he regales his experiences of running from the government and his rebellious ways. His tales inspire Marji, feeding her a brand new perspective towards her the ways of her country and where it could be leading.

It isn't long until the Iran-Iraq War breaks out. The state becomes governed by Islamic Fundamentalists, re-shaping the cultural landscape. Anouche is arrested once more and Marji has to witnesses her father being condescended by teenage officials, aggressively holding him at gunpoint just to check his papers. And when she has to see her critically ill uncle slowly wither away, with no chance of treatment allowed for him her disaffected disposition begins to truly evolve.

Marji begins to rebel in her own way, taking in western culture and flaunting it where she can. But as she's "bangs her head" to punk and metal in her room, Tadji worries that she could push things too far, fearing that she'd be apprehended. She decides to send Marjane to Vienna, Austria where she will not meet these barriers of oppression and can easily express herself; where she can be safe. 

However, over the coming years as she grows up, she'll struggle to adapt as her outspoken and naturally anarchistic nature will put her through some unexpected troubling times.

Adapted from Marjane Satrapi's autobiographical graphic novel, Persepolis is very personal coming of age story. It managed to scoop the Jury Prize at the 2007 Cannes Film Festival (a joint win with Carlos Reygadas' Silent Light) and was nominated for an Academy Award for Best Animated Feature in 2008, unfortunately losing out to a well known rodent base Pixar number.

Even with providing an English version of the picture (which included such major names as Gena Rowlands and Sean Penn), it was always going to be difficult trying to win against that behemoth of an animation house. Especially when considering the nature of this film and the fact that it is, thankfully, traditionally animated. Rarely do we see this form in film today and this piece in particular thrives of this technique.

There's a wonderful mix on styles too, blending full colour with black-and-white animation to illustrate the past and the present, plus it's not frightened to move into more stylised methods when attempting to portray an alternative take on events. There's some incredibly strong imagery, especially in the scenes where we are shown the incidents during the rallies against the Shah's uprising. With silhouetted illustrations interpreting the events, these moments are both artistic and very moving.

The accompanying score helps with these alternating tones, morphing continually throughout, accentuating each scene delicately. Each piece of music pairs perfectly with the events as they unfold, gently emphasising the emotive senses you are already experiencing as you enjoy this fascinating account on Marjane's life.

In fact, all of these techniques feed into an intense array of character and enthusiasm, which is present throughout the entire picture. It doesn't let up for one moment. It's fast paced and electric, with rapid edits and cinematic angles. It's a broadly approachable film, while still retaining an honourable and respectable edge, especially when considering the source material.

Which is of course centred around the Islamic revolution in Iran. This film doesn't aim to alienate or brutalise religion in any sense, but doesn't hold back on the effect such a drastic change can have on a country. Yet, even with it's blunt portrayal of this period in Iran's history, Persepolis manages to handle the clash of the cultural and the political with tasteful regard, which is a perspective just as well balanced when see Marjane attempting to adapt to a more western way of life after her move to Vienna.

It's a very honest portrayal, not necessarily from the occurrences during Marjane Satrapi's life but her generosity in exposing her own being in story form to both open our eyes and entertain us. She doesn't paint herself as a kind of hero, or a gentle soul, but a rambunctious, candid, challenging girl and an even more forthright woman in her later years. It's this method that breathes life into Persepolis. The picture would have been superb if a more conventional manner was taken, but this authentic approach imbues the film with virtue and soul.

As extreme as her life has been, there is something we can all take from her story. Buried deep within the horrific events, and over bearing fundamentalist oppression is a tale of where a person should stand in the world. Marjane's struggle, whichever country she is in, awakens that troubling beast inside us all that asks "do I belong?". The fact this is prolifically present from her time as a young girl in Iran to a woman flying home to that same country only serves to accentuate that thriving urge in us to fit in; that longing we all try to conceal, in fear of exposing our own vulnerability. 

Yet, Marjane seems unafraid of lowering that guard, living a rich life for us all to spectate. Her experiences can enrich us all, and I'm glad that, instead of taking a more conventional route in expressing her experiences, she has chosen to tell her tale through the medium of animation and in a manner which mixes both drama and, quite surprisingly, plenty of humour (I'm a particular fan of the brilliant vignette where she sings "Eye Of The Tiger").

Altogether though, amidst the politics, comedy, religion, oppression and war, this film still manages to do something spectacular... it's actually quite sweet in an unusual way. Strangely, with its hefty and melancholic undertone, you come out the other end feeling refreshed and a little enlightened... not so much from the plot's core elements, exposing you to the bleakness and polarity found through merging cultures but from it's genuinely enthralling and beautiful composition. Hugely enjoyable!

I can't think of another film like this. It's a truly individual piece. Many may compare it to other satires, ones that may not take themselves too seriously, but there's so much importance in some the story's elements for that aspect to fully take form. While this may be the case, it's still brilliantly funny when it wants to be. A true original. 


Don't forget to leave comments below, tweet me @filmbore or post on my Facebook page here. 

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