Films you've seen lately

[Serial_Apologist]

Funnily enough I held out for Bladerunner, utctenor, which I didn't manage for the excellent 'Hostiles' - had to make one of those fast dashes; but the old bladder doesn't splash it out at the same rate as it did in times past...frustratingly!!!

"Go with the flow" once meant something different.

[LMcD]

I saw the Tube scene in DH as a kind of legitimate symbolism. That's to say (granting the legitimacy of the portrait of Churchill with his military doubts and under political threat) by what means did he reach a view that he had enough popular support and practical means to go forward? One might interpret it as a kind of consultation, symbolized in the Tube scene. Did Churchill have any means of sensing public 'mood'? We are prepared for some of this by the earlier talk of 'riding the Tube' (a US idiom surely?) Is there any evidence that the 'ask the people' conversation with the King took place?

I have no problem with the Tube scene, which I found very moving.

[Conchis]

Yes I also watched The Servant on that channel - quite agree about DB's performance. Less sure about the film as a whole, particularly towards the end - some rather effortfully posed/styled scenes (of their period, I suspect), in contrast to DB's work...

The final 'orgy' sequences is the only scene in the film that doesn't work, I feel. There was probably a limit to what they could get away with in 1963 if they still wanted a certificate (even if was only an 'X').


The three central performances are excellent, though Bogarde dominates, quite rightly. He is astonishing. I always feel like applauding at his reaction to being caught in flagrante with his 'sister'.

[Conchis]

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... and, to accompany the excellent Victim [1961] and The Servant [1963], the later Accident [1967]. All deeply uncomfortable films, the last with a distinctly unsavoury tone that leaves you feeling queasy.

Wonderful stuff.

https://en.wikipedia.org/wiki/Accident_(1967_film)

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Three of the greatest films ever made, imo.

Blow Up may be my all-time favourite film, though I've always found the scene in which David Hemmings orgies with the girls tedious (apart from the first time I saw it, that is - when I was all of 13). Usually, I fast-forward through that bit, because I don't find it interesting. In today's climate, of course, it's deeply disturbing.

[Nick Armstrong]

The final 'orgy' sequences is the only scene in the film that doesn't work, I feel.

There's also that very odd sequence where James Fox's and Wendy Craig's characters visit her aristocratic parents - I recall odd static poses and strange camera angles and perspectives... One knows why - but it seems dated/stilted to me now.

Losey's style (or the style of film making in general) had matured imho over the following 7 or 8 years to make comparable scenes in The Go-Between far less mannered and yet conveying similar things. I'm with S_A's #340 above - The Go-Between is one of my favourite films of all (the number of times I've watched it must be in double figures).

[LMcD]

There's also that very odd sequence where James Fox's and Wendy Craig's characters visit her aristocratic parents - I recall odd static poses and strange camera angles and perspectives... One knows why - but it seems dated/stilted to me now.

Losey's style (or the style of film making in general) had matured imho over the following 7 or 8 years to make comparable scenes in The Go-Between far less mannered and yet conveying similar things. I'm with S_A's #340 above - The Go-Between is one of my favourite films of all (the number of times I've watched it must be in double figures).

I cherish the vision of all those ponchos galloping across the Argentinian plains....

[Conchis]

There's also that very odd sequence where James Fox's and Wendy Craig's characters visit her aristocratic parents - I recall odd static poses and strange camera angles and perspectives... One knows why - but it seems dated/stilted to me now.

Losey's style (or the style of film making in general) had matured imho over the following 7 or 8 years to make comparable scenes in The Go-Between far less mannered and yet conveying similar things. I'm with S_A's #340 above - The Go-Between is one of my favourite films of all (the number of times I've watched it must be in double figures).

Understand where you're coming from but I love that scene: the 'rigid positioning' of the Mountsets is, as you say, entirely deliberate and goes some way to changing our attitude to Tony and his fiancee (who are of the same class but a different generation - and they are as amused by the Mountsets as we are).

In one of the extras on the Accident DVD, Pinter says he thinks Accident is the superior film because it's 'less florid' and I'd agree but I find The Servant an easier film to watch, with oodles of welcome character comedy. And, yes, the ponchos provide a hilarious image....

[Nick Armstrong]

On the Beeb on Sunday past I watched 'Mr Holmes' with Sir Ian playing the title role in what I thought was a very good take on the Sherlock story - he's long retired and keeping bees in Sussex. It was a very beautifully shot film and had some great performances particularly from the young lad, Milo Parker, who befriends the ageing former detective.

Recorded this and watched it today - perfect film for a Sunday afternoon with the rain tipping down outside. I agree - an engaging film with some rewarding perspectives on the story of Sherlock H. I particularly enjoyed the idea that "he" might have lived on into the 1930s and 40s and hence gone to see - and be appalled by - cinema versions of "Watson's" stories...

Also very good - as always - was Laura Linney as the housekeeper, the lad's mother. I must say I started by wondering why they had recourse to an American actress, thinking there must be any number of good English actresses who could have taken the role of a very English housekeeper.... but as the film progressed, I thought that in fact her unique blend of stressed/anguished kindness was ideally suited to the part (plus technically of course she was impeccable at 'Englishness') and it was a great bit of casting.

[LMcD]

Recorded this and watched it today - perfect film for a Sunday afternoon with the rain tipping down outside. I agree - an engaging film with some rewarding perspectives on the story of Sherlock H. I particularly enjoyed the idea that "he" might have lived on into the 1930s and 40s and hence gone to see - and be appalled by - cinema versions of "Watson's" stories...

Also very good - as always - was Laura Linney as the housekeeper, the lad's mother. I must say I started by wondering why they had recourse to an American actress, thinking there must be any number of good English actresses who could have taken the role of a very English housekeeper.... but as the film progressed, I thought that in fact her unique blend of stressed/anguished kindness was ideally suited to the part (plus technically of course she was impeccable at 'Englishness') and it was a great bit of casting.

Laura Linney can do no wrong in my book.

[LMcD]

Last night I watched the DVD of "Victim" I bought myself for Xmas. Unlike those who have expressed criticism at gay stereotyping, I've always considered this an extraordinarily brave film for its time (1961), and, in every *meaningful* way, one of the most telling pieces of acting of Dirk Bogarde's career. It would have been nice to have had imput from Sylvia Sims, whose portrayal of Bogarde's upper middle class wife is a tour de force of acting. There is an interview with the main character in the "Extras", taken at Bogarde's home just prior to the film's release: Bogart, though chain smoking, either manages to act over any insecurities he may have been feeling, or is totally at ease with a line of questioning that seemed commonplace back then in its unmannered, unfussed, non-fawning directness. Those were times when a famous actor could be totally undefensive in admitting his or her preference for doing non-commercial roles. Hollywood is presented as a very different community from how leading British actors today present it, though the fact that Bogarde didn't think much of the end product might have jeopardised future prospects of starring there again doesn't seem to have been part of any consideration in relating his experience there. Fascinating too to hear those upper class vowels that one just took for granted and didn't think of as snobby, back then.

I've finally got round to watching this film - a mere 57 years after it's first release! All I can say is that it was worth the wait. So many good things to highlight:
- DB already displaying what became his trademark subtlety of expression, gesture and intonation
- A wonderful demonstration of the editor's art
- Fine acting all round (including Trigger's dad, if I'm not mistaken )
- A number of memorable lines, among them: 'Well, it used to be witches. At least they don't burn you'
- Some striking images, including the punch bag

[Stanfordian]

I've just seen Darkest Hour, essentially about Churchill becoming PM, the Dunkirk fiasco, the 'fight them on the beaches' speech et al, his relationship with Clemmy, and his terrible self-doubt which was new to me.

As a '45-er who grew up with the shadow of the recent war hanging over Austerity Britain, and over my family for very partiular reasons, Churchill figures hugely in my personal history. When he died in January 1965, one of my University friends went up to London to see the cortege, on the grounds that this might be one of the last great state funerary occasions*. That now seems like more than 53 years ago.

In various ways (young) Joe Wright's film takes a very 21st-century view, which is of course all it could take. I found myself continually wondering Did they research and find that out? - especially his insecurity about his decisions, revealed only to Clemmy (magnificently played by Kristin Scott Thomas); very heavy drinking (The King: 'How do you manage to drink like that during the day?'; Churchill: 'Practice'); miserable begging calls to Roosevelt for money,tanks, ships, anything, when the President's hands were tied by the US's neutral status.

It's quite funny in parts and yet I found myself unaccountably deeply moved by Gary Oldman's portrayal of Churchill's vulnerability, and by the heroics of the Great Speeches. (It's bad timing for remainers for this film to come out just now!)

I hope older forumites - in particuar, not exclusively! - who've seen the film will comment too on whether and how their perceptions of Churchill have been rocked by the film.

* Edit: from Wiki: The funeral was the largest state funeral in world history up to that time, with representatives from 112 nations; only China did not send an emissary. In Europe, 350 million people, including 25 million in Britain, watched the funeral on television, and only the Republic of Ireland did not broadcast it live.

Hiya kernelbogey,

I saw 'Darkest Hour' yesterday and thought it was marvellous! I was gripped from start to finish! Oldman gave an award winning performance.

[johncorrigan]

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... a wonderful film -

Three Billboards Outside Ebbing, Missouri

We saw it yesterday, and it is still reverberating (in a good way). Yes, I know the critics have raved over it, and given it five stars &c - for once I think they're right.

Stonking performance by Frances McDormand, and excellent Woody Harrelson, Sam Rockwell and others. Written, produced, and directed by Martin McDonagh, who did In Bruges and The Guard. Beautifully paced, literate script, which wrong-foots you again and again. The best thing in quite a time.

https://en.wikipedia.org/wiki/Three_Billboards_Outside_Ebbing,_Missouri

[ ... wiki entry contains spoilers ]





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Mrs C and I eventually got to see Three Billboards yesterday and very enjoyable it was indeed, though I didn't find it funny, as some reviews had been suggesting. As you say, vinteuil, great performances from a very fine cast. I was particularly pleased to see Peter Dinklage who played the role of James...he was one of three excellent performers in a film I'm very fond of, 'The Station Agent'.

[Belgrove]

Another thumbs-up for Three Billboards... . A rather literary film in terms of how the the elements satisfyingly came together and the ambiguities surrounding who or what action is good or bad. Splendid acting from all. It did raise a laugh, at least when I could understand some of the particularly opaque southern accents.

[gurnemanz]

Agree about Three Billboards. I chortled out loud several times as did others in cinema. The humour was often in the hard-boiled language more than the situation e.g. Mildred's Malcolm Tucker-esque deployment of the f-word in plentiful permutations. Compelling narrative, cogently and snappily put across with an array of well-drawn characters, eg good cop Willoughby.

[Nick Armstrong]

Laura Linney can do no wrong in my book.

You can come to London in June and watch her in the flesh.... and perhaps hover round the stage door afterwards...

Laura Linney's London stage début: https://bridgetheatre.co.uk/whats-on...s-lucy-barton/