It's Not a Gangster Film, It's a Western

Last Sunday I finally went to the marvelous BFI Future Film Festival. I got to see a panel of first time indie directors talk about their films and the harsh process of making an indie film, which was useful and actually quite amusing. I got to hear a talk about indie magazines from the people who make my favourite magazine, Little White Lies. I went to a blogging workshop which was helpful, so expect a few changes to this blog in the near future. And the best part of the day was watching a preview of actor Dexter Fletcher's debut film as writer and directer, Wild Bill. Simply awesome. Both Dexter and Will Poulter, who stars in the films stayed for an excellent Q & A after the film. It was a really great day and I can't wait til next year's festival.

But more about Wild Bill I think.

Now as usual here is the poster for the film, which was only released last week. Exciting stuff. But for this poster doesn't really sell how amazing this film is. Dexter Fletcher actually said that this film isn't a gangster film, it has gangsters in it but the story is about a father and his sons. It is also a western. This poster doesn't really say that. It says this is a British film, with gangsters. But I do like the colour scheme.

Enough about the poster. This film is amazing. The story is about 'Wild' Bill (Charlie Creed-Miles), who is released from prison after 8 years. He goes back home and finds his family in shambles. His two sons, Dean (Will Poulter) and Jimmy (Sammy Williams) have been fending for themselves for the past 9 months ever since their Mum ran off with a boyfriend. Dean has been providing for them as best he can by leaving school and working with a construction crew. At first Bill doesn't want anything to do with his family but things take a turn after his past catches up with him. There is more to the story but as I said before the focus is on the father/sons relationship.

From the start you can instantly tell this is a western, the same way Brick is a detective story. Everything has been thought out, from the costume designs to the setting of the story.It has been a while since I've enjoyed a true British film. Usually they are too gritty and no heart or they are the same sort of dribble like Adulthood and so on. But Wild Bill is serious and amusing at times and it has heart. The script is brilliant, all the characters have a chance to shine and stand out and don't feel like screen fillers, everyone has an actual purpose if if they are on screen for less than 2 minutes. They create a community that is believable. The cast are amazing, especially Will Poulter who I first saw in Son of Rambow, now he's all grown up and is becoming an exceptional actor.

I think it was luck that it was on at the festival because when I first heard about it, I was desperate to see it and I will definitely be seeing this again when it is released.

Here is the trailer to give you a taster: http://www.thisisfakediy.co.uk/articles/film/dexter-fletchers-wild-bill/

The Expected Oscars Rant

So, I stayed up until 4:05am to watch the awards but the links I was using to watch it kept breaking so I gave up just after Jean Dujardin won his award for Actor in a Leading Role. But the awards I missed, I heard the winners on the radio in the hazy hours of the morning, and all I could say was, of course Meryl Streep won, how dull and predictable.

Here is a link to the list of nominees and winners: http://oscar.go.com/nominees

First I couldn't believe that 'Hugo' had won so many awards, but this doesn't make me want to see it anymore, I just can't believe it. I was also annoyed when Chris Rock belittled animated films, that was awful and that fact that 'Rango' won??? Is just more insane. That award should have been Tintin's, because like most people have been saying, has their really been a better animated film this year? The answer is no! I was also disappointed that The Muppets didn't perform live in stage but the awards budget stretched so they could have that pointless giant book appear on stage and as host Billy Crystal said "That's the reason why there is a buffet". But at least Bret McKenzie won for Best Original Song. I was also really pleased with the Best Supporting awards, Octavia Spencer and Christopher Plummer.

There were a few crimes at the awards, but then again there always is. First, 'The Girl with the Dragon Tattoo' wasn't even nominated for Original Score, which was insane. Tinker Tailor Solider Spy didn't win Best Adapted Screenplay and was basically snubbed apart from nomination for Gray Oldman. But why am I surprised, the Oscars don't like British films unless they focus on the monarchy. FACT! I loved The Artist, and I think it really deserved Best Motion Picture, but as much as I loved Jean Dujardin, that Oscar should have been Gary Oldman's.

Moving on, I nearly threw up when Billy Crystal introduced "The original girl with the dragon tattoo" and I expected the original Lisbeth Salander, Noomi Rapace to walk on stage, but then an awful actress, disgusting person walked on stage instead, Angelina 'bint' Jolie. I think the Oscars need to retract that statement as it is that insulting.


My last rant/annoyance goes to Meryl Streep. She said she could hear half of America moaning she had won. Well it was 80% of the world then because she may be a good actress but this wasn't her time. She has played far better character/real people and in far better films. But that is sometimes the way, great actors/directors are nominated countless times but then they end up winning because its been too long not for the right thing.

When Bailey Met Shrimpton

Its been a week and I admit I've been neglectful, so here is a short analysis of 'We'll Taken Manhattan' which was on BBC4 a few weeks ago. The tone of it is negative which, on reflection is harsh, I actually quite enjoyed the drama and I though Aneurin Barnard was great as David Bailey. Have a read and see what you think.

It was described as a drama about the love affair between photographer David Bailey and model Jean Shrimpton. Set in 1962, the year both model and photographer traveled to New York for a Vogue fashion shoot where they managed to change the world of fashion, but only after many arguments with their fashion editor.

At first glance, this drama felt like a snap shot of a much bigger story and that it had been condensed so it was easy to watch. In the first few scenes, it was obvious that time needed to pass rapidly, so the audience could get to the main point of the story. The introductions of both David Bailey (Aneurin Barnard) and Jean Shrimpton (Karen Gillian) gave the exact impression that the audience needed to see. The generation of that time would have known all about David Bailey and Jean Shrimpton, their love affair and how they changed fashion. But it felt that this particular drama was aimed at a younger generation, who needed to be told what to think about these people, and it came across as the bare minimum. 

After the introductions, the characters felt underwritten, the story continued but the characters barely changed. Having been sold ‘an explosive love affair’ it was disappointing to watch the basic passion the two leads had for each other. The dialogue between them was dreamy and dry, it seemed as if the actors were given a few things to say and that was it but it was obvious they wanted to say more. The fact that Bailey ended his marriage over his affair with Shrimpton didn’t come across to the audience at all, meaning there was hardly any attention given to their love affair. 

In terms of story the script worked well, on the surface; girl meets photographer, fall in love, go to Manhattan, change fashion, become icons in history. For an British audience, setting a drama in the past is always going to successful and adding New York is usually a good sign too that it will have a good story. But the script rather underplays Manhattan, which is odd as it’s in the title. Landmarks are mentioned in the script as they are where the photographs were taken but there just feels like a lack of enthusiasm for the city. Culture clash is hinted at briefly in a diner when Bailey wants chips but Shrimpton has to intervene and say “He means fries, sorry we’re British”. To emphasise this ‘clash” would have brightened up the script and a metaphor. A clash of cultures as well as creative ideas between Bailey and Lady Clare. 

Whereas there are weakness’ in the characters and the location, the strengths of the script lies within the basic storyline but mainly with the interaction between Lady Clare (Helen McCrory) and David Bailey. The focus on her ideals of the past and his creative ideas of the future are riveting. The scenes where they discuss, or argue about what is best for the shoot and what the readers want feels more like the centre of the whole drama as there seems more passion in Baileys speeches about photography than there is with his romantic scenes with Shrimpton. In this instance Bailey and Lady Clare’s characters don’t seem under written, because of the passion and determination they share about fashion, it is the ultimate creative clash that should be explored in detail but within the time limit does come across to the audience as, the turning point in fashion. The script is successful with this point coming across.

Overall the weakness’ in the script such as the characters lacking depth and the location of the title being underused, out weight the strengths of the creative clash of ideas within the script. It is a good period piece set in the 60’s and is a great example, even though it feels brief, of an icon changing an industry for the better.

What a Couple of Bitchy Agents

Yes, I am talking about J. Edgar Hoover and Clyde Tolson. And I loved how bitchy they were.

Not the best poster. Its just a tad odd with his mouth open, but it does capture what J. Edgar Hoover is like in the film, an angry ranting little man.

For those who don't know who J. Edgar Hoover, he was appointed director of the Bureau of Investigation which was a predecessor to the FBI, in 1924, he was crucial in the founding of the FBI in 1935, where he remained director until his death in 1972. He was also responsible for  'a centralised fingerprint file' which the police and FBI use today.

But on another note he was also known as a 'mama's boy' and a closeted homosexual. The latter being more controversial, some people don't believe this to be true, even people Hoover used to work with believed this, but then later said that he wasn't gay to save his reputation. Having looked Hoover up before and after the film, I think he was. Mainly because his life long Deputy, Agent Clyde Tolson, never left his side. They ate every meal together, they went on every holiday together and Hoover left everything in his will to Tolson. There just had to be something there.


Back to the film. I expected this film to be deadly serious, after all it is an Eastwood film, but it really wasn't. Edgar came off as a moody mama's boy who got angry with the slightest thing. He fired a man for having a moustache and if he didn't get his way, he went and held a conference/meeting. It was amusing in places and I'm not quite sure if it was meant to be but overall I really enjoyed it. As always Leonardo DiCaprio was great as Hoover even if he did look a little odd when he got older and had lots of extra make up applied. Armie Hammer was also brilliant as Agent Clyde Tolson, Hoover's alleged lover. They made quite a bitchy pair. Didn't matter what scene they were in together, they always managed to make fun of someone and or have a snide comment ready. It was great! But there were a few scenes where it turned darker. There is a scene where the two men are at the Races in California, they have just finished bitching about some woman, when Hoover says how much he likes Tolson, and he replies 'I love you Edgar'. Its incredibly sad, because Hoover then begins to talk about a woman who has met up with and 'got physical with' (but hes not convincing anyone). Tolson is heartbroken. They fight and Tolson goes to storm out, Hoover begs him to stay and as Tolson walks out in a very camp huff, Hoover whispers 'I love you Clyde' and breaks down into tears. As I said it really is sad at this point. But if you watch the film there are a few reasons why he doesn't go further. Hint: Mother issues, she's a homophobe.

In case you are screaming at me, 'You've just given everything away!' I really haven't. History has beaten me to it. There are countless books about him and there is plenty of info on the internet, so don't yell at me yet. I really did enjoy the film and if you're curious about this man, go see it but if not, just read about him at least.

Silence is Indeed Golden but in Black & White

I recently saw for the first time OSS 117: Cairo, Nest of Spies and really enjoyed it. I watched it for two reasons, first I just really wanted to see it, french film like Bond but humourous. Secondly, both lead actors from The Artist play the leads. I have to say I didn't think much of Berence Bejo in the film and fell in love with Jean Dujardin, but to be fair she was playing the straight part to his comedic spy. By the way go and rent/buy/borrow the film, its well worth a watch.

I had first heard about The Artist in the summer when it was at Cannes and how it had been nominated for awards, and Dujardin actually won best actor. I was annoyed at first because I didn't know anything about it, then after some research, to my delight it was a completely silent film about a silent film actor. The concept alone won me over. Then with every article, photograph, trailer seen/mentioned anywhere I was got more and more excited.

The film is immense. Completely silent except for the fantastic score and two moments of well used sound. Title cards included plus one amazing dog played by Uggie the Dog. For those who don't know the story is follows the successful career of silent film star George Valentin, a matinee idol in Hollywood before the dawn of talkies. His marriage is far from perfect, and one day he meets ambitious chorus girl Peppy Miller and is smitten. Very quickly thereafter, sound comes to the studios and George refuses to make films with sound. So while he sinks all his money into one last epic silent film, Peppy Miller becomes a star in the new era.

Described as a comedy-drama but that's putting it lightly. There is dancing and music (the score) and in some parts, the story turns dark, but thanks to Uggie the dog, never too dark as he saves the day. Whether you're a fan and enthusiast of silent films or you enjoy stories about Hollywood in the 20's or you just love a good film, you will enjoy it. There is NEVER a dull moment. And finally, I usually dislike films where the animal has a major role but this is an exception, Uggie is awesome. The human cast are also beyond brilliant. Go see this film!

Five Courses of Tea and the Long Awaited Musical

For Mum's birthday, my Dad organised a few surprises. First, Afternoon Tea at the Savoy, then tickets to see The Lion King on stage.

But before we surprised Mum, we went for a wonder around Covent Garden and oh what a surprise I had there. We found The Moomin Shop, the most amazing Moomin Shop. I was spoilt for choice, I felt like a child in a candy/Moomin shop!

We climbed up the amazingly designed staircases, past all the regular characters and went into the attic like store. No photos of that I'm afraid, but I'm sure you can find one on the internet. They literally had every kind of product but I settled for a Moomin biscuit cutter, so expect some biscuits to appear in the near future.

At 3:30pm promptly we went for our Afternoon Tea at The Savoy. The room was beautiful, paintings on the wall, a gazebo type structure in the centre of the room, with a pianist playing music from all kinds of films, musicals and pop culture. Everything was so elegant, especially the staff. All smartly dressed and pouring our tea whenever we were running low. We each got to choose our own tea, Annie and me both went for the Lychee Red tea, an amazing tea! Then we enjoyed delicious finger sandwiches (I'm getting hungry just thinking about it) and they said 'don't be shy to ask for more if you want'. But, they brought out plates more anyway. With the sandwiches we had a scone each with clotted cream and a choice of raspberry jam or lemon curd. Of course I tried both and they were amazing. Straight after that, a plate of pastries was placed in front of (the nut free ones) and I finally got to try a whoopie cake thing. All the pastries were very dinky but oh so rich in taste. And then to top it all off, as well our third pot of tea (each) they brought a selection of cake! I and everyone else could only manage one slice of Apple & Cinnamon cake. When our server told us about what each course was I thought cake and pastry were the same course. It was an amazing tea! Just before we left, my Mum said to us, 'I know I'm going to regret saying this but, I've just realised where the pianist was."

We went for a walk around The Savoy as my Dad claimed we could leave through the Riverside entrance, but no, it was locked so we dashed back, past all the Gilbert & Sullivan production names and left with dignity, always dignity.

After climbing many staircases, we got to the upper circle of the Lyceum Theatre. We were sitting in the front row so we had an amazing view, but it was very high, very very high. I kept clinging to the railings on the walk to my seat as well as clinging to the wall when we had to leave. I don't do heights very well, not at all. Once in my seat I was able to enjoy the beyond amazing production. I had waited years to see it and it didn't disappoint. The music was just like how it was in the film, with added songs. The costumes and set were brilliant, and the puppets great. I forgot how much I love puppets!

The entire day was amazing!! I recommend both The Savoy and The Lion King, but just watch out for the balcony in the theatre if you're not fan of heights.