Gone with the Wind-Giving a Damn

An epic review for an epic movie?  Quite the expectation from my girlfriend regarding her favourite film of all time! One thing I can certainly say is that this film has lent itself to over 70 years of critique, angst and adoration, which if anything indicates its power to divide and unite opinion and consecrate itself in American history.

The difficulty in knowing where to begin reflects the immense scale of the film and just how many themes, points and attractions people and fans latch on to.  In essence, a popular and mainstream summary of this film would be that it is an epic telling of the demise of the South and the rise and fall of her personifying heroine.  However the film, particularly clocking in at just short of four hours, clearly delves deeper than purely chronology. I have to confess that I haven’t read the book and only seen this film once so I may fall short of a deeper interpretation.

 Feminist interpretation is rife concerning this film though I fail to see to exactly how that specifically pertains to Vivien Leigh’s stunning portrayal of Scarlett O’Hara. I would in fact say that Scarlett offers little benefit to a traditional feminist movement and instead taps into Americas discourse and mood of the Great Depression.  Her resolution at the end of Act 1 to never go hungry again and her consequent commitment to not only survive but to thrive is certainly inspiring. But not because she is a woman, not because she is pretty and not because she is spoilt. It is inspiring because she has been broken, lost everything and vows to protect her family and endure.  To elevate it as a feminist heroine breaking free despite her gender, in my opinion, completely devalues her plight. The odds on her succeeding are limited, but that is more due to her attitude and good looks rather than gender, which she rapidly alters to achieve her goal. It strikes me as hugely unsighted to see Scarlett’s rise as inspiring due to her gender. I would even argue that the incessant feminist argument supporting and glorifying Scarlett do more to undermine feminism rather than deify. Scarlett should, if anything, be heralded for her character not gender.

Indeed, a lot of the story is about womanhood, manhood and duty but about redefinitions within the actions of the characters rather than playing on traditional stereotypes. Scarlett, for all her capitalist and industrious endeavours, remains frustratingly obsessed and captivated with the dull, uninspiring Ashley. It’s not his fault that any man would struggle to look more charming or charismatic against the might of Gable but Ashley is one of the weaker characters I have ever seen on screen.  Any feminist argument of advance, in my opinion, is frequently undermined by Scarlett’s regression for attention and love from this loveless helpless man.  Rhett claims that Scarlett isn’t helpless, ‘Anyone as determined and selfish as you are never helpless’. Yet her strength, morals and resolve deteriorate when Ashley is on screen with her.  Scarlett convinces herself and us that money, status and sustainability is what drives her and defines her, yet she repeatedly attempts to be with Ashley knowing that if she was to elope she would have no status, wealth and very little sustainability. For me, this is where my opinions on Scarlett reach their conclusion. I find her very frustrating and difficult, particularly as she is prepared to risk it all for someone so wet.

I’m aware she has many more faults than her preoccupation with Ashley. She lies and twists her way to the top, willingly endorses and profits from slavery, steps over her friends and family and has no remorse for it. However, these faults don’t bother me as much as the Ashley conundrum. Heroes don’t owe us moral platitudes. Scarlett does what she feels she has to do to keep her family warm and sheltered and naturally it evolves into obscene wealth but that defines the American Dream. A compelling argument for seeking the dream of rags to riches would be during the 1930s. If I consider other morally bereft heroes in cinema, we don’t tend to criticise them as much as we criticise Scarlett. Michael Corleone willingly kills, extorts and plots to protect his family and often those lines get severely crossed in his dream.  Yet no one judges The Godfather as ‘epic but Michael is so flawed and mean’ so I don’t see why people attack Scarlett either.  You could even draw parallels with Dirty Harry, morally defunct and hideously chauvinistic but he is the films hero and he is driven by a greater good of protecting the neediest. Scarlett is not without her faults but she is a true and arguably defining anti-hero. I can see the cost of her decisions and can easily foresee the demise of her actions but I still somehow root for her and sympathise. It takes a hell of a lot to draw sympathy despite her actions.

Speaking of sympathy, Gable was superb.  From his entrance scene, he played a rouge scoundrel to the highest degree.  The chemistry between the two was just brilliant and, having seen a few Gable films; I am convinced that Gable’s chemistry is with the viewer rather than his co-star. He sweeps us up with rushed honest dialogue and gives the impression that he is in fact on stage rather than on screen, so electric is his performance.  If there is anything to define the two it is one of these two quotes, ‘You, sir, are no gentleman. And you, miss, are no lady’ and ‘I believe in Rhett Butler, he's the only cause I know’. His appearances in the first act were almost spectral. He had an uncanny knack of appearing just when needed, dressed in white and always having the answers. Casing points would be the rescue of Scarlett from Atlanta and the rescue of Ashley from the Yankees. His role of a blockade runner doesn’t quite explain his vast wealth but that only adds to his mysterious nature. Despite his roguish sentiments, I felt for his plight and am moved when he weeps, much to Gable’s own chagrin.  Although I can see Errol Flynn playing this role well, I am delighted it was Gable and I’m glad he was allowed to be himself so much.

In terms of how the film is made, I was constantly amazed. A film of this length needs momentum, and although it occasionally slowed down in spots, the drive and sense of occasion kept the film moving. I feel like the structure was broken down into little playlets, which served to keep characters moving and developing quicker than if they were left to their own devices. Within each of these playlets, the several directors were really enabled to explore clear cut themes more intensely. I particularly enjoyed the use of light and dark, it truly enhanced the benefit of shooting in colour and a significant scene was when Rhett was sitting in the dark mourning his daughter, who was bathed in light, an innocent in the power plays between her parents. Life and death were constantly highlighted in light and the blazing fire on an evening background of the burning of Atlanta emphasised the demise of the South.  Finally, arguably the most iconic silhouette of the tree at Tara transposed against a majestic dawn shows the ever present life of earth and land against the short termism of war.

If there was to be an ever present feature of this film its land and earth. The opening exchanges between Scarlett and her father, ‘Do you mean to tell me, Katie Scarlett O'Hara, that Tara, that land doesn't mean anything to you? Why, land is the only thing in the world worth workin' for, worth fightin' for, worth dyin' for, because it's the only thing that lasts’. And it certainly is, although tomorrow is another day, land will always be there. It kick starts the film and Scarlett is drawn there at the end of act one and the film finishes there too. It is what homes and lives are built on, it is what food is grown in and it is where people are buried. Houses, lifestyles and excess can be blown away in the wind but not land. Perhaps what the films suggests is that, when tomorrow is another day, means that life goes on and grows, that is the only constant in life-fertility and nature. What will also be ever present will be Gone with the Winds place in cinematic history and Scarlett’s role as a definitive anti-hero.

No Country For Old Strawdogs-Skyfall Review

Having seen Skyfall last night I was very impressed. Easily the best directed Bond film that's ever been made, and not just because of the higher calibre cast or because we need one. Though saying that, I remain a big and possibly the only fan of Quantum of Solace. Skyfall however represents a step up in standards and a return to the big boys of cinema.

What Skyfall did was, if Casino Royale hadn't already, was cement Craig as the best Bond. Examining Craig's journey through his three films, we see a development of a smooth sophisticated rookie, Casino Royale, a ruthless and investigative spy in Quantum to a capable driven visceral hero in Skyfall. Only in Skyfall, did I genuinely believe he could save the day. We've seen in the recent Nolan Batman films, where there very clear parallels in Skyfall, that people are much more expecting of reality and humanity over fanfare and farce. The opening half hour reminded me of the eponymous Indiana Jones (effectively the American Bond) claim 'its not the years, its the mileage'. We got the luxury of genuinely not knowing whether Bond was up to the task thanks to the retraining scenes and it is reassuring to see a hero get genuinely battered and bruised and feel some effects from it. Usually Bonds of Bond past tend to move on from kill to kill and quip to quip without remorse or regret.  One fatal flaw of Bond that will be ever present, and I therefore cant blame the franchise, was that Bond obviously hadn't died during the opening mini-film and it was hugely likely that Silva was not going to spend his entire role in his glass cage. There was consequently no surprise when they escaped/survived and I was questioning why bother kill Bond to have him return. Why not have him MIA or go into a guilt spiral for blowing the mission.

 These thoughts led me to examine further why to bother killing Bond and after about forty minutes I had worked it out. There are very strong themes throughout of duality and rebirth coupled with clear designs on homaging classic Bond and classic cinema. This was a film for both film lovers and Bond lovers-which made it very much my cup of tea. Mendes explored rebirth through his consolidation of the franchise, effectively changing the state of play with M and Moneypenny entering the fray and establishing Bond as more weary and aware rather than being Doctor Who-ified each film. Killing Bond and blowing up MI5 effectively tears up any previous script, and gives him license to do whatever he wants to the characters. Having Bond fall thousands of feet into a thematic watery rebirth, he can resurrect Bond to his design. From there on, the rules have changed and we happily get on board. The genuinely funny moment of Bond bursting through the carriage and immediately checking his cuff links was a clear nod to Moore's Bond and the infrequent farce that tended to follow him. But after the 'death' we saw a much more serious Bond and a lot more visceral violence and language.

Mendes added further substance and credibility with his exploration of mirrors and reflection. these tools reinforce ideas of duality and paradox. Bond was constantly looking in his mirrors and seeing himself stare back but in reverse. Bond, in reverse, is effectively Silva. Silva was M's favourite and then he was betrayed and left for dead and went evil. Bond, was also M's favourite and left for dead too, yet remains on the good side, the good side of the mirror. This is also amplified by the shaving scene. Bond looks in the mirror and sees his scars and examines what the job and service has done. He attempts rebirth by shaving his bedraggled beard but is interrupted by Eve. He both affirms the rebirth cycle with his choice of a 'cut throat razor' rather than modern technology and then rejects the mirror in favour of Eve shaving him. Naturally he had some alternative motives but Bond was constantly questioning his role in the service and his morals with his preoccupation with mirrors. Eve doesn't have this dilemma at all as she is very much in love with MI5 and isn't world weary enough to question her role. She appropriately smashes off both her wing mirrors in her car without a moments hesitation.

If Bond was to look hard enough he might see Silva staring back at him. But his love for the service and M keep him straight. Perhaps I am over reaching here, but there could be an argument for Silva being a photo negative of Bond. Bond with his shorter darker hair and pale complexion is an opposite to Silva's long blond and darker complexion. This theme was also explored in The Dark Knight Rises where Bane was perceived to be the Batman in reverse. Both born from the same cave, raised by same father but chose different paths. The only part of Batman that is revealed is his mouth and the only part of Bane that is concealed is his mouth. Effectively they are a ying/yang of eachother. Bond and Silva also chose to fight with opposing technologies, Silva with high tech gadgetry and Bond choosing more traditional primative weapons. They are opposing forces equalling each other to the bitter end. Furthermore, the end of Bond on the roof surveilling London  was very Batman-esque

In my opinion, a Bond film needs a lot of humour instilled otherwise it is spy murdering people for British interests and is unlikely to be taken seriously. Or it becomes farcical as Bond goes from joke to joke amidst casual violence. The Bourne trilogy is indeed fantastic, but takes itself so seriously, that if it didnt, we would question its purpose. Furthermore, Bourne goes against the system rather than on behalf of it so we have more sympathy for him. Skyfall delivers humour well and appropriately. There are few quips, which have lost their weight in post millennial cinema and concentrates on in jokes and tapping into the British pride. After all, these are British films with British sympathies, it is funnier to hear Judi Dench say fuck and mean it than Meryl Streep to say it for effect. The brilliant Goldfinger cameo of the car and ejector seat interplay between Craig and Dench summarised Mendes' objectives perfectly-let's get Bond back to best and cut the crap.

As well as the humour, I particularly liked the homages to the older Bonds, Moonraker with Silva's teeth, Goldfinger with the car, Tomorrow Never Dies with the motorcycle chase and a return to the Casino. There was a real sense of purpose and message about this film and I know that Mendes sat down with Craig and other players in the franchise to discuss what was best and what was worst about the Bond series. Thank god the inherent Bond racism was taken out and the sense of adventure and duty was reinforced. Ralph Fiennes role was pretty obvious as soon as his name of Mulberry was mentioned and that ruined the ending quite a bit for me. But I highly rate him and although Dench was superb, Fiennes will be brilliant too, I am sure of it. I am sure he is looking forward to an extended role as the good guy for a while.

I also picked up on other films having a strong impact. As previously stated, Nolans Batman trilogy was heavily prevalent here. Silva's escape very similar to the Jokers as were the attempts of realism coupled with a fine supporting cast. Silva, in his escape from the tube, resembled his Chigurh role from No Country For Old Men and the siege in the country house must have been a homage to Straw Dogs. To those not familiar, Straw Dogs is a thriller in which the hero, Dustin Hoffman, defends his house with traps and shotguns from invaders, becoming a man at the time and protecting his own sense of worth and masculinity above anything else. Either that or Home Alone..

Overall, really enjoyable film. It waas great to see some directorial flair and a clear concise message. It was quite long and I found it predictable, however all Bond films are predictable to a high extent and we have to remember that. Craig has signed up for another two and I cant wait!

2004's Best Five Films for Brighton Cinecity

2004
Oldboy

Incredibly good and moving. Wins a huge amount of points for original storyline, man is suddenly imprisoned for 15 years, subjected to mental and confined torture only to be suddenly released and instructed to find his captor within 5 days.

The story unfolds with a frantic disorientating direction and we as the audience can simply not predict what will happen. When all ends are finally tied up, the ending is ambiguous and reopens the floodgates of contemplation and fear. It is scary and horrific, moving and violent and fully perpetuated by fantastic performances.

Shaun of the Dead


Simply brilliant, it makes me laugh and cry and obsess. Such an original storyline despite paying full nerdy tribute to a genre that rarely gives comedy and is often bastardised by appalling additions to a fascinating genre.

The in-jokes are in abundance, the performances by Pegg and Frost are so naturalistic and British and although we, this side of the pond, consider this as one of our greatest exports, it is simply one of the greatest additions to cinema history.

Ray


A very moving and compelling film that, for me, remains the most true and well made biopic that's ever been made. It is very difficult to make a biopic that doesn't simply go through someone's life chronologically and could be found in the most mainstreams of autobiographies.

Ray transcends above this, bringing in the joyous music and feel of the times, coupled with just a scintillating performance by Jamie Foxx who I doubt will never be better. It doesn't pander to Charles' blindness or race but celebrates the man and his music. Just great cinema.

Million Dollar Baby


The beauty of Million Dollar Baby is that we already can predict the ending from the opening 20 minutes but we still cant wait to see the ending. On paper, the characters are very one dimensional. A grizzled sexist trainer, a poor enthusiastic female boxer and Morgan Freeman being himself. But the pace, the concentration on emotions and feeling rather than glory and muscle makes this an entirely accessible film

The gravitas comes in the final third where the film evolves from being a rags to riches tale to a humanistic, moving and fierce drama. Everyone is so likeable and Eastwood has never had better chemistry with anyone else in my book. Stunning drama and worthy of its plaudits.

Sideways




A bitter sweet comedy that confronts a deep down tragedy with hilarious humour that confuses the viewer. We shouldn't be laughing at someones breakdown and mental/social failures but we still do. Haden Church's Jack plays the selfish best friend who embodies some seriously irredeemable qualities yet still is endearing.

It is a testament to Alexander Payne that he can meander comedy and pathos so seamlessly and so relatable. Our opinions and views of the characters involved twist about throughout and we are never quite sure as to who to sympathise with. Also, lots of wine!

2003's Best Five Films for Brighton Cinecity

2003 
Monster
Monster

Very moving drama with exceptional leading and supporting performances by Theron and Ricci. For such a vile context, it is a testament that the audience are moved and captivated by the story. We never forgive or condone but we are treated to a humane, upsetting and  sympathetic view of Ailen Wuornos. The touching relationship of codependence between Ricci and Theron balanced out the murders and other upsetting scenes which made the film challenging for the viewer in terms of displacing sympathies.

Obviously plenty has been said about Theron's performance, really channelling Wuronos deeper than just makeup and voice. There is a real balance of pain, menace and hope which consistently disorientates and challenges conceptions over her actions. A thought provoking film with stunning performances that refrains from glorifying the sensationalism of the crime but the plight of humanity

Master and Commander

Crowe's performance, on the slight downward trajectory from previous works of A Beautiful Mind, Proof of Life and Gladiator is still raw, uncompromising and energetic. I cant think of a film where I have ever actually suspected Crowe was enjoying his work other than this. The level of detail and feel of adventure is palpable as are the effects which do more to perturb me than 3D has ever done.

This film could have sunken into the deep if it hadn't been the strong interplay between the clearly close Bettany and Crowe. Their relationship is touching and adds real relation between audience and cast. Roger Ebert noted that it achieves the sense of epic without losing sight of the human. The context is brutal and alarming but the interpersonal relationships keep it grounded and relevant.

Mystic River

A long, powerful drama heralded but powerful dramatic actors. Bacon has never been as good and this is my personal favourite performance of Sean Penn. It has its faults and the opening scenes are pretty easy to find abhorrent in order to grab our attention. But what follows, Eastwood orchestrates into a story unashamedly powered by emotion. The facts and details take second stage to the protagonist's search for truth, absolution and escape.

They are all burdened by the past and conflicted with the different paths that evolved from the opening scene and are forced to confront that under harrowing circumstances. Eastwood creates a moving evocative drama that lets everyone express themselves with scintillating results.

Lost in Translation



A wonderful, sentimental film about companionship and comfort in the context of alienating assertive Tokyo. On paper the plot doesnt seem inviting or interesting but the meandering almost dreamlike development of the two characters grounds the film. There are hints of sexual attraction, need and rest. But what Sophia Coppola does best is that the less said in the film about their relationship the more evocative it is.

Murray gives an extremely moving performance, bereft of cliche and inneundo and delivers his sadness without his customary deadpan. This makes it even more intriguing as the witicisms you expect to break up the dialogue never come. There is humour but it is internal humour, one that induces wry smiles and salutary nods. One of the most balanced, thought provoking uplifting films about people you will ever see.

The Lord of the Rings: Return of the King  The ending to end all endings! The Fellowship of the Ring launched the millennium in breathtaking fashion, irritatingly spawning countless tributes and imitations, attempting to recreate fantasy, action and story. The Return of the King seals the deal and climaxes the extraordinary trilogy in epic fashion. Yes the ending took as long as some feature films but after three years and 10 hours we could take it.

It is not my favourite of the three but the action scenes have never been replicated, the sense of occasion is huge and sentiment runs true. Everyone has an ending and The Return of the King delivers it all in blockbuster fashion. Amidst the action and set pieces we too easily forget great and likeable performances of McKellen, Mortensen, Lee and Wood.  I can't wait until the Hobbit this December.

2002's Best Five Films for Brighton Cinecity

The Best Films of 2002
Road to Perdition


A great gangster film with minimal fuss or clichés. Sam Mendes doesn't make many but when he does they are always memorable. Mendes' skill at portraying relationships, seen in American Beauty and Revolutionary Road are very much showcased in Road to Perdition. Tom Hanks gives a reserved, controlled and distant performance. I do like Hanks but I am always more aware of him rather than finding myself immersed into his characters. Nonetheless his gruff fatherly approach to Michael Sullivan works well. A great cast including Jude Law in a sinister creepy assassin role, Daniel Craig as a spoilt son and the fantastic Paul Newman. The whole premise revolves around fatherhood and duty and the gangster elements enhance rather than devalue the plot.

The film is beautifully and sentimentally shot with a real sense of occasion. It is thoroughly enjoyable and provokes a great range of emotions.

City of God


Fantastic brutal film where it is impossible to predict the unfurling events. Filmed in favellas in Brazil, we find ourselves mesmerised and terrified at the lifestyle that is so far removed from our seat in the multiplex. Lil Ze is fearsome and truly unpredictable and we are thrilled by the danger. The narrative mainly stems from Rocket's camera offering an objective uncompromising view point which gives the audience familiar photos they would have seen from Brazilian favellas but with additional context.

The film is beautifully made, showing a life far away but with strong authentic characters. I am reminded of Goodfellas but it doesn't go as over the top and the action seems much more visceral and confrontational. Rather than a Scorsese soundtrack, we are treated to beautifully frantic vistas of Brazil. It is intense, exciting and very well balanced.

28 Days Later

A zombie film without zombies! Danny Boyle delivers an original horror film right on to the streets of England and delivers it at a frightening pace. The iconic London scene still moves me today. The apocalyptic wasteland depicted is made all the more scary due to the lack of special effects and the sense of realism. The realism is the strongest aspect of this film, my girlfriends stays away from 'zombie' films as she claims they are too unrealistic to make sense or scare her.  However you really feel part of the action as an witness rather than viewer. The  psychological infection, rather than physical, makes the infected scarier as does their speed. There is something scarier about being pursued from sprinting infected rather  than a sleepwalking one.

Cillian Murphy gets launched on to the big screen with a fantastic every man performance and is supported well by Brendon Gleeson, Christopher Eccleston and Naomi Harris. A measured beginning, evolves into a frightening realisation of how people would indeed react if this was real. In fact, the scariest creatures are the soldiers acting under the pretence of protection but their motivations become ever more terrifying. One of the things I liked about The Mist was that the scariest characters were not the bugs outside, but the people coping with the stress inside. 28 Days Later is violent but its more violent mentally than physically and will never be made obsolete by bigger budget features.
 

 
Russian Ark


Directed by Aleksandr Sokurov, this film was filmed in continuous shot and it only took 4 attempts which is just incredible and achieved in one day.. Set inside the Winter Palace, we are taken through the interior and, in dream like fashion,  witness the last 
300 years of Russian history and culture. The attention to details is fantastic and each room represents something new and exciting about Russia's identity. Sokourov, like many Russians, is incredibly passionate about Russia's identity and sees the Winter Palace as the gatekeeper to all that has been important to Russia. We see a real sense of pride and awareness and the style and pace is so hypnotic we too feel as if we are in the same dream as the camera. The full version is on Youtube, I recommend watching uninterrupted.to get the full feeling. The direction is innovative and mesmerising and you cant help feeling afterwards that you've witnessed something tremendous and spiritual.




Insomnia

 

Christopher Nolan's remake of the same titled Norwegian film delivers fantastic performances from actors who, to put it kindly, weren't actually on form. Too many of Pacinos post 1990 films have been shouty and charisma driven rather than balanced and the less said about Patch Adams the better. Though he clearly is capable of grand performances, see Good Will Hunting and One Hour Photo. Nolan brings his excellent acting coaching skills to the forefront and creates a real feel of dread and mystery to a very uneventful film. So much is driven by mental fatigue and paranoia, it is a tribute to Nolan that the pace doesn't suffer.

The dark mysterious setting is perfect to amplify the cloud, mist and confusion mentally preoccupying Pacino and the interplay between Williams and Pacino is exciting and threatening. We are relatively confident as to how the film will end but we are drawn in slowly and the slow tempo gets very disorientating. As the action unfolds we are as weary as Pacino and almost as paranoid. A really well delivered film, showing that it is OK to be slow paced and methodical.

The Fifty Best Films of the Last Ten Years For Brighton Cinecity's 10 Year Anniversary

2002

Road to Perdition
City of God
28 Days Later
Russian Ark
Insomnia


2003 
 
Monster
Master and Commander
Mystic River
Lost in Translation
The Lord of the Rings: Return of the King
 

 
2004
 
Oldboy
Shaun of the Dead
Ray
Million Dollar Baby
Sideways


 
2005

Brokeback Mountain
A History of Violence
Walk the Line
Sin City 
Batman Begins
 



 
2006
 
Déjà vu
Last King of Scotland
Little Miss Sunshine
Blood Diamond
Casino Royale 

 
 
 

2007

There Will Be Blood
Juno
Across the Universe
I'm Not There
Zodiac
 


 

2008
 
Let The Right One In
Milk
The Dark Knight
In Bruges
Frost/Nixon





 
2009
 
Zombieland
The Hurt Locker
In The Loop
Inglorious Basterds
The Secret in Their Eyes


 

2010
 
Kick Ass
Black Swan
Inception
The Social Network
The Fighter




2011 

Tyrannosaur
We Need To Talk About Kevin
Shame
Tinker, Tailor, Soldier, Spy 
Drive 

2012 

The Dark Knight Rises
Prometheus
The Avengers
Looper
7 Days in Havana