August 14, 2011

THE RED SHOES

Powell and Pressburger (1948).
'What do you want from life?  To live?'


'To dance.'




But what if that is the very thing that will kill you?




The red shoes represent what we search for beyond compassion and love from others: faith.  Art is 'religion'.  

August 1, 2011

THE PAWNBROKER

Pictures are not drawn much darker than this.  A powerful portrait of what happens if man willingly accepts the worst human afflictions;  the habits of loneliness and greed are isolated in The Pawnbroker (1964). Sidney Lumet directs a powerful characterisation of a jewish businessman in down-and-out post-war Harlem.

Rod Steiger unflinchingly portrays a man who's hope has been been stolen by experience of the Second World War - many suggest he was robbed of the Best Actor Oscar he was nominated for.  Quincy Jones' brooding jazz score does not allow the tension to dissipate whilst striking photography is appropriately claustrophobic and high contrast.

The characters relationships are illustrated by the distance between them - each has built an island in isolation from the other, and only when it is too late does our protagonist realise the implications of such determined self interest.  A chilling warning to anyone.

The film suggests there is no innocence or sentimentality associated with loss.  Bleak but beautifully effective - an antidote to light relief.
















The Pawnbroker is based on a book by Edward Lewis Wallant.  






Other must see films directed by Sidney Lumet are 12 Angry MenFail-Safe, & Network...


July 31, 2011

GILDA

As a second generation viewer of Gilda (1946) you might be more familiar with Rita Hayworth's flick from the film The Shawshank Redemption (1994).  Inmates Red and Andy get some jailhouse relief:

watch here.

Stephen King's original short story about prison escapism is actually called 'Rita Hayworth and Shawshank Redemption'.

Shawshank might be in many a 'top 10' list but I could not more promptly recommend a viewing of Gilda.  This sharp and dark film noir, comic whilst tragic, has more twists than Rita's bob.  It has love, murder, nazis, gambling, the hardest and fastest dialogue since... the Nazis, and did I mention Rita Hayworth?

'There is not a single pleasant character in this rather grim and sordid picture... it leaves such an unwholesome taste in the mouth.'
Monthly film Bulletin, April 1946.

Now showing at the National Film Theatre.
BFI link





February 2, 2011

WINGS OF DESIRE

How about the ability to fly?  Have limitless strength and stamina?  Cling to any surface?  Or walk vertically up the side of a building whilst appearing to be entirely horizontal?

Super-human desire is often played out in fantasy movies, very commonly by comic book mutants:  Superman, Spiderman, Batman…  Okay, Batman is not technically a mutant but if you can claim to be an expert in 127 different martial arts, be the worlds best scientist, tactician, detective, and master of disguise then you are not exactly human either. 

One might note that super mutant women are less prolific on the big screen, one can only assume feminine desires go further than just physical powers?

Gender arguments aside, the point is that we often see our physical boundaries as flaws.  By using super powers a character may imagine they can avoid human afflictions - problem solved!  But in fact the subtext often turns out that super powers turn out to be the flaws themselves.  Superman, Spiderman, and Batman alike cannot reveal their mutant identities because they want to be accepted in their communities as humans.  Ultimately they end up using their superior abilities in order to maintain human qualities. 

Physical boundaries are the very things that offer us solace in the end.  There is only so much that can be physically achieved meaning we can allow ourselves realistic expectations.

So rightly Wings of Desire (1987 - Wim Wenders) is a story of an angel - a super-being -  embarking upon a journey to become part of the far more satisfying human race.  It rejects the powers of invisibility, mind reading, and immortality for the simple pleasures of the human senses.  One might call it 'angel suicide'.  If that is not feel good then - heavens above! - I don’t know what is.  One-upmanship for the non believers perhaps.  An angel having had enough of eternal knowledge throws it all away to taste some of the good stuff down here amongst us humble folk.

The beautifully photographed picture draws much further than this.  The film includes a partial biography of a city that has at times required some angels.  The landscape of pre-unified Berlin offers a characterful and relevant back drop.  The search for pleasure in a bleak landscape that on the surface offers little hope - to find light within the darkness.  Wenders uses a provocative mixture of colour and colourless film to symbolise the journey between the sacred and profane worlds, but he also understands that building a wall between these two parallels is not just black and white. 

The sacred can be found within our physical reality.  The previously spiritual being finds what he is looking for in the human form.  The love of another human.

So perhaps the characters physical metamorphosis just represents the inner change - a lost soul finding love. 

Inner change is the route to fulfilment and our physical inabilities enable our thoughts and imaginations to pursue a higher plain of being where there are no limitations.

Wings of Desire was inspired by the poetry of Rainer Maria Rilke.  The film inspired a less than desirable Hollywood re-make: City of Angels (1998 – Nicolas Cage & Meg Ryan).

January 24, 2011

BLACK SWAN


Black Swan awoke with a stunning opening sequence, gathered some speed, but ultimately failed to take off. 

While most elements of the film impressed and entertained Aronofsky could still learn a lot from the white swan.  In places the characters were drawn with a lack of control - less is more - the relationship between the artistic director (Vincent Cassel - La Haine) and his lead ballet princess' were over played.  For example we did not need to see him groping the white swan (Natalie Portman - Leon), it was obvious early on he was a chauvinist - this broke the tension between the two instead of creating more suspense.  More illicit scenes were questionably over done and did not mirror the a tone of beauty that this film had the opportunity to offer.  Yes, the story does portray a journey 'to the dark side' but this can be shown whilst retaining the characters integrity.

The tone of the piece was fragmented like that of the leading character.  The film did not seamlessly pirouette from drama to fantasy/horror - there seemed to be some genre confusion.  Even though there was a metamorphosis required this could have been more effectively dealt with through Portman's absorbing performance rather than using computer effects to illustrate her fantasy sequences - her mothers paintings coming to life, the black swans red eyes... suspense of disbelief was broken.  Computer effects were at odds with Aronfsky's directorial style - one that otherwise matured and settles well in this film - the hand held, vérité, off the shoulder shots were choreographed wonderfully with the dancing.

This film was a let down not because it was bad but because it could have been so great.  The poetry of the the swans curve from white to black, perhaps expectations from the ballet were too high.  It is also disappointing that serious themes that arose in the film such as self harming and excessive parental pressure were not properly examined.  These were brushed aside in favor of masturbating jokes, passé nightclub scenes, and lesbian fantasies from a male point of view.

I do not know anything about ballet but it gives the impression of being a complex and subtle art.  Imagination is far more powerful then what can be spoon fed to an audience - there is little accommodation in this film where one can pursue thier own fantasy.

If you want to see ballet, go to the ballet.  If you want to see a Darren Aronofsky film then watch The Wrestler, because it gets the balance just right.

CUTAWAY

Here is a sequence from my second feature screenplay called 'Cutaway' - currently at second draft stage.  This sequence comes about two thirds of the way through the story:


Having been cast off by his old cinema employers our protagonist Daniel has got a new job as a film archivist.  He fantasises that he becomes a character in the films he watches, the other characters are played by his friends, acquaintances, and of course... enemies.  Here he has become a private eye in a noir B-movie.


This is just work in progress...


INT. PRIVATE DETECTIVE OFFICE - DAY
[STYLE:  Noir B-Movie]
Black. 
[SOUNDTRACK: 'The Edge' - David Axelrod.] 
Venetian blinds open casting a heavy shadow over DANIEL.  Smoke rises from his cigarette - he wears a fedora, his trench coat collars turned up, and a few days stubble.
                                            CUT TO:
The glass window of the office door is being freshly painted: 'D. Hughes, Private Detective.'
                                            CUT TO:
Daniel sits behind a desk and opens a drawer - a half empty bottle of bourbon inside.
DANIEL (V.O.)
Life is a dream, a fleeting shadow on a cloudy day.  This town was so gloomy I wasn't sure if the sun was still in the sky.
Daniel looks around as if looking for the source of the V.O.   He closes the drawer.  He opens another drawer - a pistol.
DANIEL (V.O.) (CONT'D)
I had a feeling... well let's just say I had a feeling.  This pond was too deep to go fishing for emotions, all I could hope to do is just sweep the scum off the surface.
Daniel closes the draw.  He opens it again and expectantly looks around waiting to hear something.  He closes it and strikes a match across the desk lighting another cigarette.
DANIEL (V.O.) (CONT'D)
A light inside me shone on the truth.  The brighter the flame, the more it burnt, and the further the shadows fell.
Daniel picks up a newspaper - the headlines read:  'MALONEY PRISON RELEASE,' and 'CRIME RATE DOUBLES.'  A photo accompanies the story: a mug shot of Tony Maloney.
A shadow crosses the office door window.  SMASH!  A fake hand shatters through the glass.  Daniel opens the pistol drawer.  TONY enters with his CRONIES brandishing guns.  They talk as hard as they do fast.
CRONY 1
I think someone forget their manners.
CRONY 1 takes the pistol from the drawer and a cigarette from the desk.
CRONY 1 (CONT'D)
Smokin' boss?
TONY
I don't smoke cheap cigarettes.
CRONY 1
Sorry boss.
DANIEL
It's polite to knock.
Crony 1 holds the pistol to Daniel's head.
TONY
Cool it fast fingers, he's got a fresh face, I would hate to ruin it.
CRONY 1
If that's a fresh face I'd sure like to see one that ain't.
Tony shoots a look at Crony 1.
CRONY 1 (CONT'D)
Sorry boss.
CRONY 2
Say boss, wasn't this Detective Smithee's office?
TONY
Smithee had an accident.
CRONY 2
Detectives in this city seem to be real accident prone.
The cronies snigger, Tony glances at them, they stop.
TONY
Smithee was running a little case for me.  Seems that Smithee liked to get a little too involved in his work.
Using his fake hand CRONY 2 puts a photo of Nicky on the table.
TONY (CONT'D)
Smithee was tracking this dame... she's an old friend of mine.  Shame she grew a sour face...
Sirens in the background.
CRONY 1
More old friends boss.
TONY
Let me recap Hughes.
Crony 1 holds a gun to Daniel again.
TONY (CONT'D)
One.  You find the dame.  Alive.

Two.  Then we find you.  Three.  You know what three is don't you Hughes?
DANIEL
Remind me?
Crony 1 pushes the pistol right into Daniel's face.
CRONY 1
Looks like he ducked detective school boss.
TONY
You ain't workin' for no one, and that's why you workin' for free.
SMASH!  Crony 2 has smashed through the exterior window.
TONY (CONT'D)
Lucky your a fast learner Hughes.
Tony and his cronies climb out of the window.
Three armed POLICE OFFICERS enter through the office door.   Daniel reaches for the empty pistol drawer.
POLICE OFFICER 1
I didn't catch your name, detective?
PolICE OFFICER 2
Wait... you're Hughes.  7th Prescint... discharged... you were working the Durati case... found not guilty... lack of evidence...
POLICE OFFICER 3
Washed up in a detective outfit, better than the pigeon feed you get in the force is it Hughes?
POLICE OFFICER 1
(Kicks the glass)
So who's the visitors Hughes?
DANIEL
The cleaners are little heavy handed.
POLICE OFFICER 3
Knuckle dusters are they Hughes?
Officers 2 and 3 snigger, Officer 1 looks at them, they stop.  Officer 1 looks at photo of Nicky on the desk and whistles.
POLICE OFFICER 1
Married Hughes?
Daniel puts the photo in his pocket.
DANIEL
It's a case I'm working.
POLICE OFFICER 2
He's tracking his wife!  She packed up and left him.
POLICE OFFICER 3
Was it the bottle Hughes?  Or she left you for another man?
JO enters.
JO
Sorry I'm late.
POLICE OFFICER 2
Had a bit on the side did you Hughes?!
JO
Miss Jackson, the detectives secretary.  And...
POLICE OFFICER 1
It's not a social call madam.
(Looks her up and down)
...all though next time it might be.
JO
And you have a warrant for that officer?
POLICE OFFICER 1
Boys, this lead's hit a dead end.
POLICE OFFICER 3
Hear that.  Dead end, Hughes.
POLICE OFFICER 1
Detective, we'll let you finish your housework.  Miss Jackson.
POLICE OFFICER 2
We're watching you Hughes.
The Police Officers exit through the window.
JO
Your lettin' off an awful lot of heat.
DaNIEL
So this is Smithee's office?
JO
Was.  Looks like your the second act. You have the same taste in cheap suits.
Daniel picks up the paper.
DANIEL
And you know this guy?
JO
Sure, everyone knows Maloney, he runs this town, that includes a successful glazing racket.  Lets get out of here before you have a tea party.
Daniel goes to the office door.  Jo is climbing out of the window, Daniel follows.
INT. DIVE BAR - NIGHT
TREVOR and SIMON are performing magic tricks on stage.
DANIEL is at the bar.
Daniel
Bourbon.
The BARMAN takes a bottle of liquor.
DANIEL (CONT'D)
Keep it cheap, straight up.
The barman takes a different bottle and serves the drink.  Daniel takes the photo of Nicky out of his pocket.
DANIEL (V.O.) (CONT'D)
I knew the type.  The kind of girl who broke your heart before you've even met her.
TREVOR
Now our deadly gorgeous assistant... Miss 'disappearing' Lewis.
DANIEL
This place stunk like a trap, I could taste last night's catch in the air.
NICKY enters stage.
DANIEL (V.O.) (CONT'D)
Every heart in the room skipped a beat.  My heart ran around the room then tried to drown itself in my drink.
Daniel downs his bourbon.
NICKY
Take a good look boys.
SIMON
And now the disappearing act.
HECKLER
Give us a song first doll face!
The WAITRESS 'accidentally' spills her drink over the Heckler.
Trevor and Simon tie Nicky to a post.  They pull a curtain around all three of them.  The crowd hold their breath.
Nicky opens the curtains and Trevor and Simon have disappeared!
NICKY
Keep on lookin'.
HECkler
All right!
Confused applause and the curtains fall.
INT. BACKSTAGE - NIGHT
NICKY is struggling to climb out of a window.  DANIEL enters.
DANIEL
You ain't so good at disappearing.
NICKY
What's a girl gotta do to get some fresh air?  Don't I know you from some place?
DANIEL (V.O.)
I didn't know what that place was, but I was about to dive in with a lead belt tied round my waist.
DANIEL (CONT'D)
I gather you've met my detective friend, apparently we have the same taste in suits.
Nicky gives up with the window.
NICKY
I ain't interested in no private eyes.
DANIEL
Maybe you need to get better at answering questions?
Nicky provocatively approaches Daniel and strokes him.
NICKY
Maybe the questions ain't in question?
DANIEL
What's the matter.  You worried about gettin' washed up?
NICKY
Like you said, I ain't so good at answers.
DANIEL
You can't run you're whole life.  Sometime you gonna have to except what's put in front of you. 
NICKY
If you wanna order starters whilst I'm finishing desert, then that's your choice, mine is a huge hunk of future pie and you ain't gonna be tryin' it.
DANIEL
(Holds Nicky)
You got me all wrapped up and I don't know the way out.
NICKY
Well, I like a man who knows where he's goin', so you better get outta here.
DANIEL (V.O.)
Maybe I had to sink to the bottom before I could come back up.
Daniel pulls Nicky closer to him - behind Daniels back Nicky's hand takes a knife from the makeup table.  They are about to embrace - Nicky aims the knife.
WAITRESS (O.S.)
Scccreeeeeeeeeeeeeeeeeeeeeeeaam!
Daniel turns knocking the knife out of Nicky's hand.
INT. UNDERNEATH STAGE DOOR - NIGHT
TREVOR and SIMON are tied up - blood dripping dead.  The WAITRESS drops her tray on the floor.
INT. BACKSTAGE - NIGHTNICKY clobbers a chair over DANIEL's head knocking him to the ground, then smashes it through the window and climbs out.
Enter POLICE OFFICERS.
POLICE OFFICER 1
Hughes!
Daniel clambers up picking up the knife and severs a rope - a rack of costumes and props fall on top of the officers obstructing their path.  Daniel jumps out of the window.
INT. CAR - DAY
JO is waiting at the steering wheel and DANIEL jumps in.  They SCREEECH off!  Through the windows we see back projected street.
DANIEL
You see the dame?
JO
You ain't the only one with a getaway driver.
DANIEL
Nice wheels.
JO
Deuce coupe de luxe, flathead Ford V8, with two piece.  The Baby Lincoln was a real find.
Sirens in the background.
JO (CONT'D)
They call these suicide doors.
Jo opens the door backward using it as a shield whilst unloading at the flashing blues.  BANG!  Daniel takes the wheel and skids around oncoming traffic taking off a wing mirror.
JO (CONT'D)
It's okay, the baby ain't mine.
DANIEL
Who's your friend?
Shoots.  BANG!  Returned.  BANG!
JO
38 Smith and Wesson 1905 M n' P, 8 inches...
DANIEL
I mean whose wheels?
JO
It was parked on 60th before 5th... I should find the owner, I need a man with a strong motor.
BANG!  Daniel takes a corner.
DANIEL
She's a lot to handle.
BANG!  They return fire and smash the rear window.
JO
I ain't the kind of secretary that waters the office greenery.  I prefer aiming at this kind of plant life.  You might be wearing the trousers Hughes, but if you don't stick with me you'll be wearing your brains.
DANIEL
I'm starting to loose track who's the good guys here?
JO
Look, you don't want to end up drinking coffee at the police headquarters.  Why do think they are so cranky?  And they are more bent than my shootin'...
She hands him the gun and takes the wheel.
JO (CONT'D)
...it ain't so straight, I've been sleeping crooked.
Daniel leans out the window and takes some pot shots.
DANIEL
Arghhhh..!
Daniel has taken a bullet.  Jo offers a sideways look.
                                     FADE TO BLACK.
DING. DING. DING. DING. DING. DING.  The car has stopped in front of a rail crossing and a train rattles past.  DANIEL has passed out, he is woken up.
DANIEL (CONT'D)
Uh!
JO
Cattle trucks!
DANIEL
Arghhhh...
JO
Whilst you been sleeping beauty, we been on the trail into go'damn no where.
DANIEL
Where is she?
JO
We been on the trace for hours and now we gone and go'damn lost the scent.
DANIEL
Arghhhh... I got shot.
JO
It's a scratch.
JO winds down the window to a man holding flowers (disguise).
CRONY 1
Flowers lady?
JO
Can you tell me the name of this go'damn hill billy town?
CRONY 1
Sure lady, you just drived straight into stick up city.
CRONY 1 reveals a gun inside the bunch of flowers.  CRONY 2's fake hand smashes through Daniel's window.
                                     FADE TO BLACK.
EXT. RAIL TRACKS - DAY
DANIEL is getting drenched by water pumped out of a water tower.
TONY
There's no point in crying Hughes!
The CRONIES stop drenching Daniel and pick him up - his hands are tied together behind his back.  There are two sets of train tracks, NICKY is tied to one and JO the other - mouths taped up.
TONY (CONT'D)
Which side of the tracks do you lay on detective?
The sniggering cronies carry Daniel into a signal box.
INT. SIGNAL BOX - DAY
The CRONIES handcuff DANIEL to the points levers.
TONY
You used to have a train set Hughes...  Now you got mixed up playing with the big boys. 


Tell him fast fingers.
CRONY 1
The train gonna' come a puffin' through over little blondie at twenty one zero four.  Run like clockwork boss.
TONY
What's the time no fingers.
CRONY 2
It's twenty one zero two boss.
TONY
That's unless you change your mind, if you change these points.
Crony 1 pulls the lever Daniel is handcuffed to.
CRONY 1
...that gonna choo-choo on over you're little secretary friend.
Crony 1 pushes the lever back.
TONY
Say, what's the time now fast fingers.
CRONY 1
(Sniggering)
It's twenty one zero three boss.
TONY
At the levers of power Hughes.  Your finger prints all over this rail set. 


When's the boys in blue going to be here no fingers?
CRONY 2
On their way now boss.
TONY
Looks like you walked right into the frame Hughes.
TONY and his cronies exit.
EXT. SIDE STREET - DAY
MALONEY's car stops next to a police squad car.  CRONY 1 passes a bundle of cash through the window.
MALONEY
I think that'll be enough to charge him on all counts.
POLICE OFFICER 1
I sure think so boss.
Maloney's car screeches off.
INT. SIGNAL BOX - DAY
DANIEL tries to break free from the lever.  He can't.
Water drips of his face. 
We hear the tracks creaking - a train coming.
Ding. Ding. Ding. Ding.... (O.S.)
Daniel closes his eyes.  He pulls the lever.
EXT. RAIL TRACKS - DAY
HOOOOOOOOOOOONK!  The train batters past.

                       © 2010  Alec Rossiter