After all, it's just a ride….

Art

PTA’s Purpose….

Just a little something to keep you reprobates entertained and educated while I assemble my Get Out review. It was good.


Mercerism Inc…

The fact that this destructive bacteria, whom actually shares the namesake of PKD’s imaginarium of a false, withdrawn, corrupt & corporate overlord disrupting and frantically attempting to massage civilisation is beyond satire – and when was the last time you checked the legitimacy of your pets?;

BLADE RUNNER – Tribute from Philipp Acker on Vimeo.


The Other Side Of The Wind (1977) Trailer?

Well. wow. Reverberations are thundering around the cinephile world with this extraordinary news, especially given the connections between old and new media and all that such umbilical links could signal for the future. Here is some exhaustive context, and here is a glimpse of what’s in store;


The Secret World Of Foley

Ever wondered what one of those strange sounding Foley artists are in a movie’s credits? What, how does an award winning short sound?


Malick Muses…..

Apologies for the quality but I think you fellow cinephiles will understand, that we are definitely in the midst of an end times scerario. I expect to see Pynchon on Fox news next week;


Five Came Back (2017) Trailer

Beyond happy that they have produced a documentary of this fantastic book which I read a couple of years ago. It’s an apt reminder of what cinema can do in difficult times, and the influence the experience had upon the five when they returned to the industry is fascinating as a historical and artistic document – their work and the world they operated in was never the same;


Academy Awards 2017 Results

osc17So here we are again dear reader, here as we approach the end of all things. As is my idiom I have made a faint gesture to catch as many of the nominees as possible, but haven’t mustered the effort to craft full reviews for all of the films. This is mostly due to a paralysing inertia concerning some of the films qualities, or lack thereof, and a slowly diminishing Scorsese sized mountain to climb plus a Leone lensed  masterpiece that I managed to see at the BFI this weekend. On to the nominees Lion was quite effective and powerful, mostly it emotionally gripped me, but it is quite manipulative and hamstrung with some terribly underwritten characters. Jackie was quite the oddity, I’ve read some conflicting reports but I quite liked it, it is one part history lesson and a glimpse of the ‘Camelot’ White House which can’t help resonate differently in 2017, while Portman’s poised performance was quite different from the style that actresses seem to craft these days. On the negative side Hacksaw Ridge was predictably horrendous, one part Hallmark movie of the week, aching for some perfect 20th century pastoral America which never existed before diving deep into war pornography, replete with all the clichés you could possibly imagine, further poisoned with some hilariously overwrought religious iconography. I missed Loving despite being a big fan of Jeff Nichols as it vanished from screens after a week. Alas, I couldn’t face Fences as it looks too much like filmed theatre to me, but I did manage some of the documentaries and the likes of Deepwater Horizon from the technical nominees, not a great film but certainty worthy of that sonic and CGI nod. So as always the rules were to bold the films I’ve seen, italic the films I think should have won, left underlined my predictions, and greened the actual winners. Yes, as I have the opportunity I am staying up this year to consume proceedings, so apologies in advance for ill formed opinions, speeeling erors,  and associated misconduct…..

osc201Here is La La Land as directed by Lynch. Was this as political as some other awards shows have been recently? I’m halfway through now  and this is as tepid a response to recent events as expected, not that the Academy has ever been renown for rocking the boat, and the host is as tepid as a puddle of a  puddle. The in memorial sequence was particularly brutal with Carrie Fisher and the John  Hurt inclusions really hitting home, welcome to 2017 and I’m sure more to depressingly come. Finally it’s been a mixed event, as always we know this is only a travesty maintained by the tedious procession of pomp and ceremony, mostly irreverent – but you can always applaud the winner guaranteed 40% up lift on their box office positions. So it goes….and I might have achieved my best prediction quota ever;

Best Picture

moon1

DID I GET IT RIGHT? No

It’s nearly 6Am here and London and I don’t even care who has won any more, what a clusterfuck of a fiasco of a joke, although at least the better film won out ….

Arrival
Fences
Hacksaw Ridge
Hell or High Water
Hidden Figures
La La Land
Lion
Manchester by the Sea
Moonlight

Best Director

la-la-3

DID I GET IT RIGHT? YES

 Heh. Ridiculous of course. Yeah you’ve started something, and could do something but when I look at your achievements in comparison, well no. Thank god it wasn’t Mel though, and the fact that Gibson was even in this race is a travesty…..

Arrival – Denis Villeneuve
Hacksaw Ridge – Mel Gibson
La La Land – Damien Chazelle
Manchester by the Sea – Kenneth Lonergan
Moonlight – Barry Jenkins

Best Actor

casey

DID I GET IT RIGHT? YES

Yup, worthy of the celebration so good for him – a good tip and celebration of Manchester’s numerous achievements;

Casey Affleck – Manchester by the Sea
Andrew Garfield – Hacksaw Ridge
Ryan Gosling – La La Land
Viggo Mortensen – Captain Fantastic
Denzel Washington – Fences

Best Actress

la-la-1

DID I GET IT RIGHT? No

No, wrong. She was up for this but this simply wasn’t a performance of the breath and depth that deserves such kudos, especially when compared to her peers, especially Elle and those definitions which are unsurpassed.  I’ll look forward to see what else she can achieve, she was better in one scene of Birdman than the entiret of her peers but this….no….

Isabelle Huppert – Elle
Ruth Negga – Loving
Natalie Portman – Jackie
Emma Stone – La La Land
Meryl Streep – Florence Foster Jenkins

Best Supporting Actor

moon2

DID I GET IT RIGHT? NO

Pretty flat and gag free opening, although the repeated mantra of no-one seeing the films that have been nominated seems…odd. Good for Ali, he was a central crux of that film, in true supporting action fashion, and a good start for Moonlight, maybe …..

Mahershala Ali – Moonlight
Jeff Bridges – Hell or High Water
Lucas Hedges –  Manchester by the Sea
Dev Patel – Lion
Michael Shannon – Nocturnal Animals

Best Supporting Actress

fences

DID I GET IT RIGHT? YES

Rylance nails his speech and projects his expected manner, he’s come a long way from that long resistance of being involved in any ‘Hollywood’ film over the past few decades. But back to the matter of hand, I haven’t seen the Viola film so cannot comment, but this celebration seems like another incremental step of progress and I look forward to seeing the film. And another win for me.

Viola Davis – Fences
Naomi Harris – Moonlight
Nicole Kidman – Lion
Octavia Spencer – Hidden Figures
Michelle Williams – Manchester by the Sea

Best Adapted Screenplay

lion2

DID I GET IT RIGHT? NO

Superb, can’t fault this one as the winner is worthy;

Arrival
Fences
Hidden Figures
Lion
Moonlight

Best Original Screenplay

manch

DID I GET IT RIGHT? YES

Yes, and a hope that similar material will optioned to come….

Hell or High Water
La La Land
The Lobster
Manchester by the Sea
20th Century Women

Best Animated Feature Film

moana

DID I GET IT RIGHT? YES

Not exactly my specialised area so I’m happy with an educated guess. Awards are coming thick and fast now so it is gets tricky……

Kubo and the Two Strings
Moana
My Life as a Zucchini
Zootopia
The Red Turtle

Best Cinematography

la-la-1

DID I GET IT RIGHT? YES

No, having seen Moonlight that was the real winner, the real marriage of space, culture and character, all in service of the final film. Still, I got lucky…

Arrival
La La Land
Lion
Moonlight
Silence

Best Documentary Feature

oj

DID I GET IT RIGHT? YES

Ah, cool, to bring out a real hero, Catherine Johnson who was instrumental in NASA history. And my first hit……for BBC denizens its on iplayer I think so give it a watch as it moves beyond the obvious…..

Fire at Sea
I am Not Your Negro
Life, Animated
O.J. Made in America
13th Hour

Best Documentary Short Subject

DID I GET IT RIGHT? YES

Ah cool, and a it’s been brooding some momentum recently so I hope this helps…

Extremis
4.1 Miles
Joe’s Violin
Watani: My Homeland
The White Helmets

Best Original Score

lala.png

DID I GET IT RIGHT? YES

Should they even bother opening the envelope? Its 4:16 at this point and OK, oh, here’s Scarlett;

Jackie
La La Land
Lion
Moonlight
Passengers

Best Original Song

la-la-5

DID I GET IT RIGHT? YES

As above, and now we are rocking before the arrival of the sad in memodioium sequence;

“Audition” – La La Land
“Can’t Stop the Feeling” – Trolls
“City of Stars” – La La Land
“The Empty Chair” – Jim: The James Foley Story
“How Far I’ll Go” – Moana

Best Foreign Language Film

edrmann

DID I GET IT RIGHT? NO

Well, this is shock. Evidently we must track this Salesman picture down. Still, the winners managed a solid speech. A succinct speech . Oh no, not fucking Sting….Jesus….

Land of Mine
A Man Called Ove
The Salesman
Tanna
Toni Erdmann

Best Animated Short Film

DID I GET IT RIGHT?  NO

Blind Vaysha
Borrowed Time
Pear Cider & Cigarettes
Pearl
Piper

Best Live Action Short Film

DID I GET IT RIGHT? NO

Yeah, great, whatever. There is a genuine lack of thunder at this point. Jesus I didn’t expect much but c’mon….

Ennemis Interieurs
La Femme et le TGV
Silent Nights
Sing
Timecode

Best Costume Design

jacks

DID I GET IT RIGHT? NO

And we are three for three, as in a immediate trilogy of failure –  . Colleen Attwood is great though, she has worked with some of the best (look her up, off the top of my head and without resorting to other sites she did has worked on some genuine classics) so I can’t complain too much;

Allied
Fantastic Beasts
Jackie
La La Land

Best Makeup and Hairstyling

suic

DID I GET IT RIGHT? NO

Suicide Squad, a dreadful film, can  capture this nod? Well, the art of making movies is not a effort without different dimensions, and the various elements arnt without succeeding independent of their peers. This is stil worst nominee, although the nominees weren’t exactly outstanding…

A Man Called Ove
Star Trek Beyond
Suicide Squad

Best Sound Editing

human

DID I GET IT RIGHT? YES

This  seems like a very stilted production, the Oscar show that is. But this is a superb result, so I’ll take it…hoping for the next one to complete the duo…..

Arrival
Deepwater Horizon
Hacksaw Ridge
La La Land
Sully

Best Sound Mixing

hack

DID I GET IT RIGHT? YES

Got it right…action and combat films usually do well in this category,  and so here we are. Terrible film though;

Arrival
Hacksaw Ridge
La La Land/
Rogue One: A Star Wars Story
14 hours: The Secret Soldiers of Benghazi/ Oh yeah. Hmmmm

Best Film Editing

/ arrival

DID I GET IT RIGHT? NO

Dreadful, dreadful decision, losing the will to live at this point. No offence to the winner but what exactly did you manage to bring to the art form? Nothing than assembling a very, very poor film…;

Arrival
Hacksaw Ridge
Hell or High Water
Moonlight
La La Land

Best Production Design

hail

DID I GET IT RIGHT? YES

Yeah, sure, great. whatever,  I’m a little drunk and catching up Another map to the  old-school Hollywood vibe, so predictably great …

Arrival
Fantastic Beasts
Hail, Caesar!
La La Land/
Passengers//

Best Visual Effects

deep1

DID I GET IT RIGHT? NO

The Jungle Book was amazing I have to say, they really pushed the whole animal reproduction to another level. And nice to see a non SF film win for a change……

Deepwater Horizon
Doctor Strange
The Jungle Book
Kubo and the Two Strings
Rogue One: A Star Wars Story


BFI Scorsese Season – Raging Bull (1980)

bull1‘You never knocked me down Ray… I’ve never particularly cared for Raging Bull. It’s a shocking admission as on paper it should be among my favourite films, what with that triumvirate of Scorsese, Schrader and De Niro in the driving seat, particularly when the latter was at the peak of his powers. I’ve always suspected that the film was ahead of me, that I lacked the insight and wisdom to fully appreciate it when I first saw it as a teen, and again through a handful of revisits over the intervening years. I could always  appreciate the craftwork, Schoonmaker’s astounding assembly of the punishing fight scenes, Scorsese’s dizzying camerawork, and of course De Niro’s method madness with the weight gain and boxing regime he undertook to don those gloves of pugilist Jake La Motta, a commitment to the physicality of a performance that has since acquired mythic status. I’ve always wanted to revisit this on the big screen, an approach which could activate the revelatory experience this classic, and I have conducted some research into the films history which might also contextualise the film not only in the Scorsese oeuvre, but also in the wider channel of American cinema as it came to that crossroads of the late 1970’s and early 1980’s.

ragingbEven if you accept 1/10 of what Biskind alleges in the seminal Easy Riders, Raging Bulls reportage this was a turbulent period. Scorsese’s private and artistic life was in crisis after the immense financial and critical failure of his previous film New York, New York and his tempestuous romance with the rarely stable Liza Minnelli was in freefall. Plagued by insecurities during a terrible shoot he’d worked with De Niro with the last three movies and wasn’t jumping at the chance for another failure, and as was the environment they were all seriously hopped up on deep coke habits – Schrader was doing four grams a day – and after a Telluride festival a combination of contaminated powder, his asthma medicine and overwhelming exhaustion Scorsese experienced a medical convulsion and almost died, and during recuperation in a New York hospital he had what  addicts term  ‘a moment of clarity’ and poured this destructive angst into a project he could now see from the inside out, the self destructive impulses, the aesthetic impotency and growling, Neanderthal, masculine insecurity  – these are the hammer blows of Raging Bull.

bull3Amusingly the film went into production the same month as Cimino’s Heavens Gate which struck the death knell of the decade, where Raging Bull can be considered its artistic apogee. Long time Scorsese scribe Mardik Martin made a first pass on Jake LaMotta’s autobiography, but something pivotal was missing. Schrader’s second assault  introduced the tension between brother Jake (De Niro) and Joey (Joe Pesci), inflaming the jealousy that was absent in the book but forms the dark nucleus of his life and the carnage he wrought in and out of the ring.  At first the United Artist executives were nervous, they didn’t feel such a reprehensible character won’t exactly entice in the ticket receipts, but Rocky had made all boxing projects hot properties, even shorn of their triumph of adversity  plot predictability. Scorsese insisted on a tabloid feel, highly influenced by the work of photographer Weegee (a patron of Kubrick’s early Time career by the way) hence the insistence on the black & white palette which while problematic was a little more receptive to the suits after the relatively recent success of The Last Picture Show. Crucially this was also the first collaboration of arguably the greatest director and editor team of all time, Scorsese hiring Thelma Schoonmaker, although I’m sure you fact fans will be fascinated that the previous two films of his had been cut by a certain Marcia Lucas, wife of George, who was instrumental in the craft of New York, New York and a little modest picture called Taxi Driver – more on that later….

bull4Raging Bull opens with a framing device in 1964, the corpulent once champion now fallen from grace, muttering his street soliloquy to a mirror before cutting back to his physical and celebrity prime, Thus the scene is set for an epic fall from grace, a man demolished by his own demons and insecurities, an aligned marriage of career and substance that pushed Scorsese to his artistic borders.  The environment is a vividly reconstructed New York once again, Scorsese intimate since birth with those sweltering summer sidewalks, the red brick townhouses and tenement ambiance of overlapping arguments and domestic distress, a cacophony of constant barking animals and shrieking sirens. In this way the film is constantly, well, its angry and energetic, there are few calm asides nor allusions, a maelstrom of near constant flux and threat. This was Cathy Moriarty’s first film and she by her own admission completely ignorant of the practice of filming, but she had that undeniable chemistry with De Niro on screen, she wasn’t intimidated by him and handled herself admirably by tossing lines back during improvised scenes and sequences,  so it seems a shame she never had much in the way of a subsequent career. Also look out for Frank ‘shinebox retrieval instructor‘ Vincent in his screen debut.

bull9Older and wiser in the ways of cinema I can now recognise something of the street confessional, the raw virtue of early Pasolini which was an evident influence, channelled through the earlier pulses of the home countries Italian Neo-Realism. Bit Scorsese took this influential infrastructure and strained the character   through a specific  American lens  of the punishing dream, of pulling yourself up by your bootstraps and achieving victory at all costs, no matter the impact on your marriage or soul. To have as your main character a narcissist, misogynistic self hating abuser, a man so paranoid he accuses and beats his own brother was a tough sell as you never sympathise with LaMotta and his distressing antics, but De Niro keeps you glued to the screen through sheer force of personality and profundity. As Schrader frequently attests for him character is action, what they do marks who they are rather than relying on the techniques of long soliloquys or illuminating dialogue, and we are in the orbit of a thoroughly odious, yet curiously understandable ogre. Whilst the contemporary parallels are evident Raging Bull strums  deeper than surfaces, it has a wider breadth to suggest how we all fight, sometimes against ourselves and our own self destructive impulses and instincts, in the theatre or boxing ring of life. This being Marty we are treated to an expert entrance steadicam shot,  the fight scenes took ten weeks alone to shoot, two and a half months, improvisation utilised to keep the energy and tempo consistent through what was a gruelling experience.

bull3After the exhausting shoot was tapped out the post production schedule was almost as brutal, the sound mix alone took six months, Scorsese in perfectionist mode as he insisted on delicate completion of the Foley signalled rifle shots into melon to replicate the assault of flashbulbs and punches.  Seen now the thundering  editing in the fight scenes are intoxicating, in terms of sheer physicality these are among the greatest fight scenes committed to celluloid, dizzying, delirious and deadly. Crucially the camera stays in the ring with LaMotta during his dance with his opponents, a third character ducking and weaving through the melee, with special, almost expressionistic designed sets expanded beyond the realistic curtilage, giving every fight scene it’s own individual schemata that represents a different stage of LaMotta’s career as it closes in and fails. These were all specially designed and storyboarded in pre-production, Scorsese not opting for a traditional three line camera crew covering various angles, but instead resorting to one camera, perfectly choreographed like a dance movement with high speed interludes and expressionistic touches like the blood literally dripping from the encircling ropes.

bull5At this stage in his career and psyche Scorsese assumed this would be his last film, and he’d retreat into teaching or academia after the films assumed failure, and I love how he termed it as  ‘kamikaze film-making’, hurling  everything into the picture and going for broke with nothing to lose. The results are there to see even as much as it simply still doesn’t connect with me, as much as I can fully admire the immense craft and dedication. It remains a text which you can’t deny  for the sheer sweat and passion, crucial to the bruised and battered body of work, even if it doesn’t still  engage on a personal level. Seeing it on the big screen at last revealed some of the films sheer technical prowess which leaves you shell shocked on a visual level, punch drunk and reeling from the sheer assault of sound, image and intensity, and that alone ensures its seminal status in the lexicon. Now, we all know how P.T. Anderson lifted the final monologue for that notorious final scene in Boogie Nights, which in turn traces a  lineage through Kazan’s On The Waterfront of challenging characters throughout American cinema, all human beings, wrecked and wracked with their own failures, struggling to be better men despite their own burdens;


Kubrick Remembered….

Some enterprisng soul has uploaded this from the recent Blu-Ray box set which has now dramatically dropped in price, 80 minutes and change of Stanley related reminiscence;


Gimme Danger (2016)

I’m a mere twenty minutes into this documentary about Iggy & The Stooges and have already learnt three valuable things – a) Iggy likes to be interviewed in the laundry room of his home, b) He was raised in a trailer that was identical  to that of the Doris Day picture The Long, Long Trailer and c) Iggy for president – he’s a fucking survivor. Jim Jarmusch has assembled this fantastic documentary, it is quite amusing to me to finally realise that the Stooges split four years before the Sex Pistols arrived, and I haven’t even got into the Berlin / Bowie era yet – so talk about being ahead of the curve;

EDIT – Having been raised by my brother on a diet of 1960’s musical imagination – The Doors, Who, Zepplin and of course the overrated behemoths of the Beatles & Stones I always knew there was a missing piece between the decades, beyond the understood mix of MC5, The Ramones and the Velvets, and I’m sure half a dozen other bands that Q magazine subscibers could lecturer me on. Great documentary, the equal of those great music history efforts that BBC 4 have been producing over the past few years…