Friday, 30 December 2016

strange_complex: (Vampira)
As noted in September, there is a big gap in my film review write-ups for this year. And indeed book reviews stretching back into last year. All sorts of things have got in the way - illness, elections, death, work - and I'm never going to be able to review things I watched or read several months ago as fully now as I might once have done. However, it is weighing on me and I do want to catch up. So here begins an attempt to do so, even if only briefly for each item.

5. Casablanca (1942), dir. Michael Curtiz
A Cottage Road Classic, seen with [livejournal.com profile] ms_siobhan. We came out marvelling at how beautifully-crafted it is, in spite of the world being in such turmoil while it was made, and how every single word and image in the film is so rich with meaning. We also reminded ourselves that part of the reason it is so powerful is that almost every person in the film was a real-world refugee. Indeed when I Googled to refresh my memory of the details, I realised that half the reason I know this is because of an LJ post by [livejournal.com profile] nwhyte from 2014 cataloguing the cast's backgrounds. Thanks for that!

6. Jaguar Lives (1979), dir. Ernest Pintoff
Lent to me by magister because it has Christopher Lee in it and I hadn't seen it. It's basically an absolutely dreadful martial arts action film, which gives away its own supposed twist both in the title and in an opening scene featuring one character assuming that another had died, while it was all too obvious to the audience that he could easily have escaped alive. Lee's performance is perfectly solid of course, as they always are, in a role clearly based on his portrayal of Scaramanga in The Man With the Golden Gun, and Donald Pleasance puts in a good turn being utterly deranged as well. But there will be no need for me to watch this film ever again. I can now tick it off on my list of Lee's performances, and let it rest unmolested.

7. Dracula (1931), dir. George Melford
Watched with [livejournal.com profile] ms_siobhan, this is the Spanish-language version of the Universal Dracula starring Bela Lugosi, filmed with a different cast at night on the same sets. The performances of the women in particular are more passionate than in the English-language version, but the main thing that struck us was that much of the action just took longer to get through, as is reflected by the respective running-times of the two films: 1h25 for the English-language version and 1h44 for the Spanish one. It's certainly worth watching for afficionados, but we did feel it start to drag a bit at times.

8. A Girl Walks Home Alone At Night (2014), dir. Ana Lily Amirpour
The celebrated recent Iranian vampire film - well, sort of, in that it is set in Iran and deeply engaged with Iranian culture, but was actually filmed in California by a second-generation Iranian immigrant. Again I watched this with [livejournal.com profile] ms_siobhan, I think in the same evening as Dracula, and we were very impressed with the beautiful black-and-white photography and somewhat surreal atmosphere. Actually, the whole thing reminded me quite strongly of Martin, both in its portrayal of small-town life and its problems, and in the way it plays around with the established convention of the vampire genre. The girl of the title is a vampire, but she also protects the human women in her town, saving them from predatory men by killing them herself, and eventually offering a form of escape for the main character from the hopeless world he had been trapped in.

OK, that's a start. There will need to be a lot more of these entries. Sorry in advance if they get boring!

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strange_complex: (Me Mithraeum)
Another little blast of these, this time spanning the dark middle part of the year when my mother died - probably a reason in itself why I haven't exactly rushed to revisit all this and catch up on the reviews before now.

9. The Innocents (1961), dir. Jack Clayton
Another one watched with [livejournal.com profile] ms_siobhan, I think at her house on DVD. It's probably the best-known screen adaptation of Henry James' The Turn of the Screw, with Deborah Kerr as the governess, and is very effective indeed. The cinematography is the work of Freddie Francis, who went on to direct Dracula Has Risen From the Grave for Hammer - one of my favourites in that series, and in no small part because of how stylish and innovative its camerawork is. Certainly, this film makes the most of its locations and employs clever lighting in a similar style, so I think his touch is identifiable in both.

10. Curse of the Crimson Altar (1968), dir. Vernon Sewell
Taped off the telly, and watched chez moi. This one constitutes another tick on my list of Christopher Lee films I have seen, and also features Boris Karloff, Michael Gough and Barbara Steele for good measure. It is not actually that great, but it does have what would now be described as a 'Folk Horror'ish feel to it, by dint of a story-line involving three-hundred-year-old witches, Satanic sacrificial rituals and people wearing animal masks. Lee is fine in it as ever, and it's nice to see him interacting with chum and neighbour Boris Karloff, who is nearing the end of both his career and his life, but does a nice turn in twinkly naughtiness.

11. Sing Street (2016), dir. John Carney
Seen with [livejournal.com profile] ms_siobhan and [livejournal.com profile] planet_andy at the Hyde Park Picture House. It's a very good film, featuring a teenaged boy in 1980s Ireland who is sent to a rough local school so that his parents can save money, and finds meaning, identity and romance in setting up a band with some of the other kids he meets there. It was compellingly characterised, with a lot of really good stuff about adolescent struggles, and I particularly liked the older brother who has already more or less given up on his own dreams, but helps the younger one to sharpen up his musical sound and take the risks he needs to take to make it all work out. But by the time we saw this my own mother was in hospital and I knew she was probably dying, and I found one moment of it very hard watching: the teenaged central character sneaking into his parents' bedroom at night to steal the money he needs to get away to London and make his fortune, looking down at his sleeping mother and saying (something like) "So long, Mom. I'll be seeing you." Different circumstances, but the motif of saying goodbye like that seriously choked me up, leaving me wanting to sob helplessly in a way that's not really acceptable in the cinema. So. Not nice to be trapped with that kind of feeling in public when you can't do anything about it.

12. Carry on Behind (1975), dir. Gerald Thomas
And this one I watched the day after Mum had died. It was a Saturday, and we had already done everything we needed to or could do for the time being regarding funeral directors etc the previous day, so I told my Dad I wasn't going to do anything at all that day, and made myself a nest on the sofa in the lounge of the family home. This is what was on TV that afternoon, and as it was a Carry On film I hadn't seen, and set in the 1970s, it seemed like a very good choice - and indeed it was. It's absolutely rubbish as actual Carry On films go, coming not long before they called it a day, and featuring hilarious jokes along the lines of people sitting down on chairs which have just been painted and not being able to get off again without ripping the seats of their trousers. But it was cheerful and nostalgic and undemanding, had some vague plot-line about archaeologists finding a Roman encampment just next to a caravan park, and included some lovely flares. So it was actually just what I needed on that day, and in fact really helped me to just calm down, concentrate on something else, and escape from everything that had just happened. I am eternally grateful to the television scheduling gods for serving it up just when I needed it.

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