Supporting performances are always tought ot choose from. On one hand nearly every performance is there to support the story, but you don't want a piece that could conceivably be called the lead, nor do you want to glorify a cameo (I may be about to do that). Of the 5 performances listed below only one is likely to get an Oscar nod, and I've completed ignored last years selection that could have been eligible (Brolin, Hoffman and Shannon), however all these actors have reached out and grabbed me in their own way. Each of them lifted the overall piece and that, surely, is worth celebrating.
1. Christoph Waltz - Inglorious Basterds. As you know I had big problems with the lack of humanity in this film, but strangely it was the least humane character who lights up the screen. Waltz veers from comic to serious poses often in the same sentence, and shows he can act in 4 different languages - no mean feat.
2. Fred Melamed - A Serious Man. Before Melamed enters we get a vague idea of his character from Larry Gopnik and his wife as they consider the forthcoming divorce, but nothing prepares you for his melodious voice and hurt dog tone. Possibly the worst person you'd want to lose your wife to.
3. Stephen Lang - Public Enemies. Lang is barely in Michael Mann's latest exercise in digital film; he's merely an additional agent called in by Christian Bale, but he carries himself, and speaks in such a way that you know he's seen every crime imaginable and he knows how to catch this criminal.
4. Rayniel Rufino - Sugar. The character is there as a foreshadow to our protagonist. He has moved to the states earlier and his career will dramatically change earlier, but with every decision Rufino makes with the part you can understand it and appreciate where's he's heading to.
5. Tom Wilkinson - Duplicity. This is a bit of a guilty pleasure, and I've probably seen better performances that fail to make this list, but Tom's proper bastard CEO relishes the competition he sets himself. He also is involved in a completely barmy bust up with Paul Giamatti so extra points for that.
Monday, 28 December 2009
2009 in Review - Best Supporting Actor
Wednesday, 26 August 2009
Inglorious Basterds
2009. Dir: Quentin Tarantino. Starring: Brad Pitt, Mélanie Laurent, Christoph Waltz, Eli Roth and Michael Fassbender. ●●●○○
I have an extraordinary dilemma in reviewing Tarantino's latest feature, in that over the last few days since I saw the film I have had three distinct reactions to it.
Whilst watching it, and indeed whilst whistling the closing credits on the way home, I was like a small boy. Imagining I could take on the entire Nazi party, wondering what levels of destruction I could do single handedly, gleefully chuckling as my (imaginery) machine gun torn off the face of passers-by who looked at me funny. Later my film theorist intellectual side reminded me of the various nods to classic cinema, nods to Ford, Aldrich and Godard among others. The intellectual revelled in the period detail and tha audacity of the project, praising the way that tension was built up in each scene.
With the Id and Ego satisfied I could have easily written a five blob review of Basterds on Saturday night, however it was then that the Super-Ego kicked in and I began to have very serious doubts about the film.
To understand this I ought to briefly describe the plot, or at least precis it as much as is possible. There are in essence 2 storylines involving revenge and vengeance. The first involves Shosanna Dreyfus (Laurent) surving the massacre of her family at the hands of Col. Hans "The Jew Hunter" Landa (Waltz) and then following a handy set of coincidences having the opportunity to take a few Nazi's out. The second revolves around LT. Aldo Raine's (Pitt) squad of Basterds, an elite group of Jewish scalp hunters who intend to demoralise German troops in France and their final mission involving the British and German undercover spies. Both storylines come to a head in the cinema owned by Shosanna and a bloody climax ensues.
Tarantino breaks this up into 5 chapters, each of which jumps to the opposing storyline and essentially allows the tension to build from scratch to a different shocking or exciting denoument. Each of the chapters specifically invokes ideas of different genres, and I don't deny I will almost certainly pore over a DVD copy when I can to look for the changes in the camera angles and lighting that reflect each chapter's core style. The tension is in a large part due to Tarantino's hyper-real dialogue with it's playful use of language. Conversations that dance and skirt around major plot points occur in every chapter, whether it's Landa interrogating a French peasant or gentle probing of adversaries to look for weakness as in the LaLouisiane scene.
The actors given these scenes manage to excel Waltz and Laurent do an especially good job, but the performances from Fassbender as British film critic turned spy Lt. Archie Hicox and Diane Kruger as German film star Bridget von Hammersmark are very impressive. Pitt, Roth and the rest of the Basterds are so grossly underwritten that their sections could easily have been cut out completely but for the connections with the other plot strands.
In keeping with the references to other cinematic landmarks Tarantino does his best to constant remind you that you're watching a film. There are a couple of bizarre narrative sections from Samuel L. Jackson, character names are scrawled on the screen, history is revised to such an extent that it makes Braveheart seem accurate and there's even a burst of David Bowie in the soundtrack. With all of these elements together the film can safely be excused as a fantasy, a nerdy film geek getting his own back on history and executing his own private revenge on Hitler.
However there is something rotten at the core of Inglorious Basterds. There were three key moments in the movie where Tarantino clearly shows his hand and possible shows his contempt for humanity. SPOILERS follow from here, so please do not read on unless you are prepared.
1. The Basterds have beaten a German squad during an engagement and now have three prisoners. They interrogate the Sergeant in order to identify the location and armaments of the next nearest unit. Unsurpringly he refuses to tell them so "The Bear Jew" (Roth) is called to execute him, using a baseball bat naturally. The German soldier is prepared to die, Roth asks him whether he received his Iron Cross for killing Jews, he replies "for bravery" then wham! Roth beats him to death. It is bloody and deliberate and close to being funny. The implication is that the bravery doesn't matter, that in some way that Sergeant was complicit with the greatest crimes of the Nazi's, purely due to him putting the uniform on. I disagree with this sentiment whilst discrimination and segregation of ethnic groups was commonly practised most Germans were unaware of the genocide being committed by the Nazi party at the time. It is also sad that we are not given an understanding of the extraordinary peril this soldier would have faced to be given his Iron Cross.
2. Bravery by soldiers leads us nicely to another point. The only German creditted with any extraordinary ability is Fredrick Zoller (Daniel Brühl) who as a sniper killed over 200 allied troops from his bell tower vantage point. For most of the film he seems couteous and, whilst not shy about his talents, at least humourous and diffident in front of Shosanna with whom he has become infatuated. During the final cinema scene, watching the Nazi propaganda piece Nation's Pride based on his accomplishements and starring Zoller he visible shuffles in his seat, and eventually excuses himself. For a moment I imagined that he had doubts about what he had done, feelings of guilt or compassion. He goes to Shosanna in the projection room and then turns into an agressive bully - suddenly seeming like he's more likely to rape her than woo her. The possiblity of a noble German or a character identifying the sanctity of human life is again dashed.
3. Finally the film ends with a massacre. Many people are killed. Lots are Nazi generals and politico's, others are simply film makers. The issue of killing civilians, or whether it is right to replace one brutal regime with another is not raised. The victims are shot and then fall down dead, there are no injuries or pain just turning from one state of living to a state of death. The treatment of war is not just cartoonish but frightening.
SPOILERS OVER.
All these elements add up to make me feel that in spite of the brilliance at work, in spite of how enjoyable the film was, I simply cannot endorse a film which treats people which such contempt. Thare's a lot of gloss here, but no humanity.
Friday, 21 August 2009
Out this week (21/08/09)
After a few weeks where European films have easily won the film of the week races it's good to see Hollywood pulling out the big guns. Of course in order to get the top spot it takes a film almost exclusively set in France; an international cast speaking in French, German, Italian and English; and a director revered as an auteur by the Cannes selection committee. Of course any Tarantino film might have won this week, but it's Inglorious Basterds that's making me itch to get to the cinema.
Afterschool
Interesting looking American indie from first time director Antonio Campos sees a web obsessed teenage boy accidently capture the death of two of his fellow students on film. The film hits it's technical marks, but a little less navel gazing may be needed for Campos' career to blossum.
Runs like a Gay Excitometer: ●●●○○○○○○○
Chiko
German film focussing on the lives of Turkish immigrants as they balance the duties of family and the Mosque, against the lure of drug crime. Grimy and realistic.
Runs like a Gay Excitometer: ●●●○○○○○○○
Dance Flick
You. Yes, you. You went to see Scary Movie 26, and Noir Movie and you only encourage to make this sort of rubbish. I should make you sit in the cinema and watch it on rotation until you're driven insane.
Runs like a Gay Excitometer: ●○○○○○○○○○
I Love you, Beth Cooper
Wish-fulfillment fantasy where the uber-geek admits his love for the cheerleader, only for her to feel the same way - or at least enough to show him the time of his life one night. The natural progression of the rise of the nerd. Starring Hayden Panettiere who's clearly unafraid of typecasting.
Runs like a Gay Excitometer: ●●○○○○○○○○
Inglourious Basterds
It's finally here, Tarantino's long awaited foray into WW2 complete with Jew-hunting Nazi's, Nazi scalping rednecks, countless double bluffing agents and re-writing history. The definition of unmissable cinema.
Runs like a Gay Excitometer: ●●●●●●●●○○
Kanthaswarmy
Pulled back from last week. I'm still none the wiser about the trailer, so it still gets a 2. Robin Hood meets 21st century gangsters in a comedy. The trailer blends a potent mix of wire-fu, flourescent cock fighting, sex in the back of a limo and makes no sense whatsoever. Watch it here.
Runs like a Gay Excitometer: ●●○○○○○○○○
Shorts
And finally Robert Rodriguez makes another film for kids. I know of no other director who so easily jumps from his adult to under 12 audiences. Maybe's it's because his adult films are really kids films with bullets? Anyway this looks fairly harmless. With the interesting techniques of non-linear storytelling, working almost as a collection of... "Shorts".
Runs like a Gay Excitometer: ●●●○○○○○○○
Tuesday, 7 July 2009
Trailers - Inglorious Basterds
In August 2 bona fide auteurs will be showing their latest visions to the British cinema going public. The first of which will be Tarantino with his World War 2 epic: Inglorious Basterds. I'm a huge fan of Quentin, even when he misfires it's worth seeing, so I'll definitely be at the front of the queue when this comes out.
Join me next Tuesday for the second auteur...
Basterds opens on 21 August 2009.
Friday, 2 January 2009
20 for 2009 - Inglourious Basterds
I'm a fan of Incontention.com and very much enjoy the work of Kris Tapley, however ysterday he published his most anticipated films for 2009 and Tarantino's war epic is down as his least anticipated film. In the comments Kris justifies this by saying "that script is a piece of shit", however it is still bizarrely less anticipated than Emmerich's 2012 and, if you assume every film not on the list is more anticipated than Basterds, Road Trip 2 comes higher on Kris' things to do in 2009.
I will confess that I've not actually read the script. Partly due to not wanting to spoil my enjoyment of the finished film and also even with my limited experience of short films I'm only too aware of the chasm that exists between a script and a final product. But I do include amongst those I am looking forward to for a couple of reasons.
Primarily because every Tarantino film is worth seeing. You might not like them, you might think they're poorly made and overly self-referential, but you cannot deny that Quentin is a major influential force in American cinema.
This may be a controversial opinion, but I'd also like to see a War film where it's not all doom and gloom. Yes War is hell, but war films need not be. I believe it's time for a film that harks back to the manly adventures of The Dirty Dozen and Where Eagels Dare.
Of course I am taking Kris' concern on board as there are still 18 films coming higher on my own anticipated list. The way the script has been leaked and ripped apart on the net may work for or against the film, but the casting certainly seems way off the mark. Mike Myers, Eli Roth, Rod Taylor as Churchill - thank goodness for the German cast who seem to be a much better selection. And I cannot possibly object to any casting of Brad.
He also has assembled a great crew headed by Robert Richardson (Platoon, Kill Bill, Casino) as the DP and Sally Menke, his regular editor, returns.
This could be a disaster - but whatever it is it is a must see for 2009.
Monday, 11 August 2008
Coming Soon (Maybe)
It's time to do a quick catch-up of the latest rumours and news that have hit my interest.
Inglorious Bastards 
The casting of Quentin's new flick carries on with Brad Pitt, Eli Roth and B.J. Novak all signing on the dotted line. I'm still pretty ambivalent about this at the moment (although Brad is making me change my mind). Satying that if the promises of a completed film for Cannes next year are kept to than I'll have to see it just to see how the project comes across.
Don Quixote
Terry Gilliam is taling about resurrcting his Don Quixote. Originally planned in 2001 the adaptation of Cervantes' novel was due to star Johnny Depp and Jean Rochefort and was beset by as many disasters as the titular hero. It's a perfect fit for Gilliam's style and way of thinking and Lost in La Mancha 2 would be fantastic.
Antichrist
Lars von Trier has secured funding for his Antichrist project. It's a horror film. From the director of Dogville and Dancer in the Dark. How can you not want to see it?
Scared Straight 
Nicolas Cage. In a prison. There's a riot. He has to rescue people from the really baad men. Is this Con Air, without the Air?
Finally Bioshock
I wouldn't normally look twice at a videogame adaptation (luddite snob that I am) but as this is being developed by Gore Verbinski whose Pirates movies, or at least the first one, showed that he's capable of making something from the most unlikely sources then my interest is piqued. The game seems to be an underwater Doom of sorts (feel free to correct me in the comments) so there could be some opportunities for suspense and less chance of multiple unnecessary double crosses. 
Monday, 28 July 2008
Coming Soon (maybe)
It's been a while since I last did a coming soon post so I'm afraid there's a lot to catch up on. In no particular order (but read the last couple of paragraphs for soem audience participation):
Inglorious Bastards
The script for Tarantino's latest opus (and one that's been on the rumour mill for years) was sent out to just about every studio that might be able to finance it until The Weinstein Company offered, unsurprisingly, to pay up. The script reviews on the net were fairly positive but I'd wait until the final product before judging it, especially if Quentin splits it into 2 films as hinted.
True confessions of Charlotte Doyle
Pierce Brosnan continues with his career resurgence playing against Saoirse Ronan in this adaptation of the popular novel - maybe one to take the teens to.
Nine
Next years Fellini musical is gathering one of the most interesting casts of all time: Daniel Day-Lewis, Nicole Kidman, Kate Hudson, Penelope Cruz, Judi Dench, Marion Cotillard and Sophia Loren. 6 Oscars and 11 further nominations between them - that's going to be a fun trailer.
Twilight, Body of Lies and W have all released trailers. I'd link to them but I haven't the time. Consider "Don't teenage vampire's have lovely skin","Nice goatee, Leo" and "Those were the best bits?" as suitable commentary.
Darren Aronofsky has been confirmed as the director of the updated Robocop and Philip Noyce is directing both Captain Blood and Edwin A. Salt. Honestly I'm not making this stuff up.
Alice in Wonderland
Tim Burton has his Alice (Mia Wasikowska - no, I don't know her either) for his part live action part animated version of Lewis Carroll's classic children's book. There's plenty of dark down that rabbit hole for Burton's sensibilities but so far no-one has made a really satisfying version of it. Let's hope that he doesn't just fill it with pointless star cameo's - hang on maybe he should.
Johnny Depp as the Mad Hatter
Helena Bonham Carter as the Queen of Hearts
Make your comments please...
