ESSIE SPEAKS OF LUSCIOUS LEADS

I was just about to say to myself, well gosh, yet another week without a theme. But there is. And how could I have missed it? It’s luscious leads of course!

I know there are only two of them but come on. On the one hand we have Johnny Depp starring in what is possibly – very possibly – perfection on film as far as I’m concerned. The only thing is perfection as far as I’m concerned is a rather relative concept. You’ll get what I mean when you read the entry.

And then, for those who would like things a little more objective around these parts, I have a film that is, objectively, both brilliant, packed with suspense, brilliant directing and a-class acting. And it stars the gorgeous, charismatic Jeremy Irons. Now if that isn’t something to sink your teeth into I really don’t know what is.

Oh I am fine. I’m in the last lap of my organisational nightmare; I move houses on Sunday (it’s the second time this month but hopefully I’ll be staying put here for a while) and on Monday I start full time work again for the first time in 2 years. Well it’s an internship (for now). But then, I believe, routines and stuff will start setting in and who knows, I may even be able to kick the number of posts a week back up to three. But in the meanwhile, thanks for bearing with me. And enjoy !

happy viewing !

Essie

POSSIBLY MY IDEA OF A PERFECT FILM : I GIVE YOU KING "CRY BABY"

  I try to be professional while I write this blog. This may seem strange as I am actually doing this for pleasure not work. But still, standards must be kept up and all that, and I try and be objective and honest and all that when I review films. Like everyone, however, I have my Achilles heel. I don’t admit this too often, but those who know me know this well. If Johnny Depp is in it, the chances are I am probably going to love this film. No matter what the rest of the technical qualities. I mean, I will notice the rest of the film. I will bear whatever is wrong with it in mind when I talk about it. But I will also like it. For Johnny’s sake. *sigh*.

But into all that comes a film like Cry Baby. Ladies and gentlemen, you would be very hard pressed to squeeze more things I like into a single movie. It’s a musical. It’s a ‘50s musical. It has ‘50s music in it (in case you hadn’t made the connection). It has Johnny Depp in it. It has absurd comedy and kitch coming out of its ears. I am well aware that film critics everywhere may not necessarily agree with me but I just may have discovered perfection dear readers. In my universe, anyway.

So what is Cry Baby about? Well, we’re in Baltimore, the ‘50s. And the town can be roughly divided into territories of two gangs. One, the Squares, the “goodie two shoes”, who have the full support of the adults and the “Drapes” aka the juvenile delinquents (these are all real gangs by the way and based on the memories of writer and director John Waters but I’ll get to that in just a second). The head of the Drapes gang is Wade Walker, better known as Cry Baby, who can sing and croon like Elvis himself and can make the girls swoon with his ability to shed a single tear. Love, however, knows no boundaries and one day, he falls for a girl. The girl – Allison - happens to be very “high up” in the Squares gang. However, she is actually “sick of being good” and Cry Baby has a heart of gold for all his bravado and showing off and with a bit of a “bad girl makeover” Allison is soon the “queen” on Cry-baby’s arm. However, the small town, Allison’s ex-boyfriend and the “system” are determined to keep the lovers apart. Will they overcome the obstacles and get together in the end?

I love this film because it doesn’t put on airs and graces. It doesn’t take itself too seriously. Don’t get me wrong, it’s a serious (and successful) effort at making a brilliant film. But at the end of the day it is a fifty’s film full of fifty’s stuff that may well look like kitch to us today. Frankly, the film really, really doesn’t care. John Walker grew up in Baltimore where the Drapes (the real ones) and all their escapades ruled the headlines. Like all respectable kids growing up, he really wanted to be a Drape. Whether he succeeded or not (I got the impression not from the interview but who knows), he has put that whole era well, truly and completely into the film. And the comedy. The absurd comedy, oh my God. I know that both musicals and absurd comedy are acquired tastes more than anything else, but for those who like them, this film offers perfection, be it through the music or the performances. Johnny Depp is gorgeous as Cry-Baby and my other favourite in the film is without a shadow of a doubt Iggy Pop who stars as his “step-grandfather”. I’ll let you discover for yourself how that works out J

Now, if you’re going to feel all self-conscious and weird because you’re not watching the next “cool and hip thing” give this a miss. But if you’re not pre-occupied with “cool and hip” and want to really let rip, and I mean toe-tapping, guffawing and actually applauding the screen, this is the one. Plus it has Johnny Depp. I mean, come on, this is a proposition you just can’t refuse… Right? 

TAKING THE NEXT STEP IN YOUR DEVELOPPMENT - IN THE CREEPIEST WAY POSSIBLE - "DEAD RINGERS"

I had a thing about this film for some reason. Not a good type of “thing” either. I’m not sure why I had this thing; it has everything I usually go for in a film. Plot twists, a brilliant director, a brilliant leading actor (I mean, Jeremy Irons, come on…).  I got the feeling that somehow it would be a little too creepy. I came across the film multiple times and avoided it. Until I saw it in the school library and thought, you know what, this is dumb. I need to get over this. And boy am I glad I did. Here’s for getting over one’s fears and moving on. It can be one heck of an experience. Just like meeting the Mantle twins – only slightly less creepy.

The thing that’s creepy about Elliot and Beverly Mantle is the fact that they are pretty much impossible to tell apart. And this, as you can imagine, is a fact that the twins take full advantage of. They are famous gynaecologists, in reality quiet and sensitive Beverly does the research and the outgoing Elliot implements it, managing the “PR” side of things. But be it in consultations, board meetings and even on dates, the twins live perfectly interchangeably. After all they are the only ones who can tell each other apart. Until, that is, Claire Niveaux, a sultry actress with a very interesting gynaecological problem waltzes into their lives.  The unthinkable happens. The shy and reticent Beverly falls madly in love with her. And for the first time in the twin’s lives, he wants to keep her all to himself. Now there are several problems with this plan. Firstly, what will Elliot – who is generally rather good at getting exactly what he wants in life – say about this and secondly, will either of them survive this first severing of their umbilical cord?

First of all, Ok, I do love the idea. And I am pretty sure that throughout history twins have abused their looks and replaced each other in various capacities. I wouldn’t know, I’m not a twin. However, my cousins are twins, one of my dearest friends is one of twins and I mean… Yes, they call them “identical” twins for a reason, but it is realistically quite easy to tell them apart. I guess it’s all about suspending disbelief and all that but I don’t know, possibly because I was hanging out with my cousins who are twins just before watching this, I found suspending that bit a bit hard. But let’s not split hairs. At the end of the day, some twins are almost impossible to tell apart. And although it is abundantly clear that Jeremy Irons plays both, he does both so well we can let it slip. By the way, this is an opportune moment to remark on how hard it actually must be to play not one but two very complicated parts in the same film. Congrats to Jeremy Irons,  it must be hard enough getting into one character but he very successfully manages to get into two at once.

Or is it two, really? Because, while playing around and using every gimmick in the book with the twins thing, Cronenberg is really asking, as far as I can tell, whether they actually are two people or two halves of the same person. The way Kusturica phrased it in “Arizona Dream” was “one person too big to go through life in one body” or something to that effect. We may well be able to say the same of the Mantle twins. It reaches the point when, every time Jeremy Irons appears on the screen, it is literally anyone’s guess which one he is. But don’t worry, clues are abundant. The insecurity lasts just long enough to shake you. And shake you this film will. It is definitely, definitely not for the faint of heart. But worth every spine chilling minute. 

ESSIE SPEAKS OF FAMOUS ANCESTORS

Ok, this week the theme just emmerged by itself. I just happened to watch them very close together. They do seem like chalk and cheese on first approach but look closer. I'm on to something here.

Both of them are cinema adaptations of very famous "things". Well, in all honesty, I guess Tintin is more of a "phenomenon" than anything else but still. Both have very "important" ancestors to live up to. You know, the Hollywood film thing when the hero starts off lacking in confidence about his older brother/father/mother/great uncle/whoever who was so much more successfull at whatever it is and ends up overcoming his fears and being successful in the end? Yeah, like that. Only with movies.

I'm well by the way, thanks for asking. I have now found myself a place to live but teleportation not having been invented, it entails me finding a way of transporting my stuff to said place. Oh and submit my dissertation. At the same time. Which reminds me, I really need to get going - I have a life that is in serious need of organisation.

happy viewing!
Essie

"THE ADVENTURES OF TINTIN" - RELOADED

Well now, here we have a film trying to live up to very famous ancestors. I mean, of course Tintin has had many “films” made of it before, but to the best of my knowledge, this is the first computer-generated / non “cartoon” (oh you know what I mean) cinema film made about it. And I mean, even if it weren’t, one goof, one error, one detail out of place and you will have a hoard of angry fans of many ages descending on you like the proverbial heard of locusts – ready to tear you to pieces. And yet, of course, be it the storyline or the effects etc, you have to still be able to have done something that no one else before you has done. It takes one heck of a director to be able to do that. Steven Spielberg for example.

So, what adventures, what dangers and mysteries do Tintin and Snowy find themselves embroiled in this time? This time, Tintin stumbles on the mystery quite by accident when he decides to purchase a rather ornate and beautiful model ship in the flea market. The ship attracts an inordinate amount of attention from the word go, strange men offering extraordinary amounts of money to buy the ship off him. Tintin, naturally, gets suspicious and refuses to sell. His journalistic instincts and quick wits will lead him to a sunken treasure, a story spanning half way round the globe and a family curse and feud involving the Haddock family… This time, a lot is at stake – not least Captain Haddock’s family honour!

First of all, I thought the film thought up a brilliant way of “introducing” Tintin and Captain Haddock. Secondly, the film is brilliant. Of course, as we mentioned above, there are quite a few challenges to making this film. It has to, up to a point anyway, follow a formula. It’s expected, it’s even wanted by the fans. However, it has to be an original artwork in its own right at the same time.  Now, a director like Spielberg is one of the best people to face these challenges, because he works mainly in the minefield of mainstream Hollywood movies. The fans of these “genre” films want certain very specific things from the films they watch. But you simply cannot regurgitate a single magic formula – there is no way of holding on to an audience under those circs. So you have to find just the right balance of the familiar and the original to make a really good film. I don’t think I need to spell it out to you guys, Spielberg has done this quite a few times in his time, and he has, in actual fact, done it again. The film is a wonderful, exciting ride into an adventure filled world that we are, in fact, quite familiar with. The film may be – and in fact is – an animation, but do not sneeze at this fact, as the film was so successful artistically, that it has gathered nominations and awards in contests as prestigious as the Oscars®, BAFTAs and Golden Globes. If ever a progeny lived up to a famous ancestor, this one is it people. Not to be missed. 

"21 JUMP STREET" - ALSO RELOADED

So, hand on heart, what do you guys make of the whole remake of ‘80s stuff phenomenon? I mean, it’s bad enough with the “never ending sequel” phenomenon but this is just ridiculous (I mean seriously, zombies for example. If I see another ad for “28 – insert time measurement of choice – Later” I will SCREAM). That is why, you may be surprised if you happened to check out www.imdb.com for the rating of 21 Jump Street – the 2012 film remake of the classic tv series – you might be mighty surprised to find out it’s 7.3. I wasn’t. I had already watched it, you see.

And honestly, when we started watching it with my friends, we didn’t expect much from it. We had just ordered pizza, we wanted a “silly” comedy to complete that extremely replete feeling you have lounging about on the couch after ingesting ridiculous amounts of pizza. We got the comedy bit right. The thing is, it was utterly brilliant. One of the best tribute / remakes ever and FUNNY. Yes, in block capitals.

Now, I’m pretty sure many of you remember the story of 21 Jump Street. But maybe you don’t. Besides, this is the film. Schmidt (Jonah Hill you may remember him from Moneyball actually, I thought he looked familiar!!) and Jenko (Channing Tatum) are cops. They happen to be high school buddies. Back in the day Schmidt was the “nerd”, Jenko was the “jock” and Jenko bullied the heck out of Schmidt. But years have gone by, and the twosome have realised that they actually seem to complete eachother rather well – brains / brawn wise and have become best buds. However, no matter how complementary their talents are, this doesn’t make them all that successful in the police department. After utterly ruining their first arrest, they are sent to a special undercover unit on, well guess what, 21 Jump Street. Their mission? To stop the spread of new – and deadly – synthetic drug. By returning to high school – undercover.

Ok, it’s probably pretty obvious that this film is not some dark comedy wittily commenting on pertinent issues of our times. It’s something to kick back and relax to, have a proper old bellyful of laughs with friends to. But the thing is, it’s not so easy making a good comedy, even if it doesn’t necessarily entail making witty commentaries about the world. I mean, there is, in the first instance, the slight problem that most storylines worth their salt have already been exploited. You can find a new angle, use new actors and it may well work, but you have to be careful. Using an already popular concept can make you look pretty damn silly if it blows up in your face – especially with a particularly strong concept to compare your work to. Then there is the problem this film specifically faces. The 21 Jump Street television series. Or maybe I should say the highly popular, almost legendary 21 Jump Street television series. How do you cope with making a film (as opposed to a series – completely different kettle of fish ) about a concept that was SO popular without blowing it up in your face?

First of all, there is the concept of the series that came before. I mean, how do you cope with that one? 21 Jump Street does this by inserting clever tributes to the series all through the film. Ok, so what if they’re copying it – one can’t really ignore something like 21 Jump Street – the series – so they embrace their lineage. And there is categorically NOTHING wrong with that, so long as you do a good job of your own work. And well, the film is just HILARIOUS. The jokes and gags are very relevant, very cleverly updated from the 1980’s. The acting – and I know you’re probably going to say that it isn’t exactly Shakespeare, but sometimes the simple things are in fact just as hard as the fancy stuff – is also brilliant. Everything is tasteful and cleverly done as opposed to “silly” and relying overly on physical gags and the like. Put your prejudices to one side and give it whirl I say. You will NOT regret it. 

ESSIE SPEAKS OF LOOKING BACK IN HISTORY

I've just realised something. This week really is all about looking back in history. First of all, a personal note. Today is exactly one year to the day since I moved here from Turkey. Strange days (not the movie). Such a lot has happened since then, it feels like so long ago...

And of course, there is a lot to do with films. And looking back in history. Because we have another little tribute to Tony Scott. It's a tribute with a personal connotation for me, as will be explained in the post if you scroll on down.

Then we look back, with surprising clarity and objectivity at a historical figure that was true big league player in world history.

happy viewing!
Essie

WE REMEMBER TONY SCOTT - AND I THINK I REMEMBER SOMETHING ELSE : "TOP GUN"

Ok, Mom? (Ok, this is a small aside concerning the film to my Mom – of course you can read it, it wouldn’t be on the blog otherwise) Mom? Yeah, do you remember I kept asking you a couple of months back about a series concerning pilots? Something I watched when I was very small, about pilots and a flying school, and you hadn’t the foggiest idea what I was talking about? I’m semi convinced this is it. You will no doubt point out, as you are a very observant woman, that this is not a series but a film. I was very small (I mean, the date for Top Gun fits, I’d be three – or a tiny bit older maybe as it was on TV) so maybe my sense of time was a bit warped back then, what can I say? And I mean, if it wasn’t this it was something very, very similar to this. Do try and check it out and see if it reminds you of anything, I’m getting a tad obsessed with it…

Ehm… Well we all have our hang-ups in life, what can I say? Ok, so this is yet another little tribute looking back at the work of the late great Tony Scott. I will, over the course of the next couple of weeks, try and go through his major works and let you know how I progress. I have a feeling you’ll be hearing a lot of him if Top Gun is anything to go by. Like I said above, it’s either something I watched and loved as a child or very, very similar to something I watched and loved as a child and what can I say… As an adult, I have watched it and once again LOVED it. I mean no wonder there’s a “Top Gun day” (May the 13^th). I mean, I’m no great fan of such “days” but I might change my profile photo for it or something next year. Seriously.

God that was one heck of a sidetrack. So what’s the darn film about? Well, Top Gun, the opening credits inform us, is a flight school for the best of the best of pilots from the U.S. army. The aim of the school is to teach these elite pilots the lost art of dogfighting. The film takes place in 1986 – or the mid to late ‘80s at any rate – so the Cold War is still continuing so actual enemy encounters are both real and frequent. ‘Maverick’(a rather young and dishy Tom Cruise) is a hot headed, hot shot pilot. He flies well but recklessly, gets into Top Gun by the skin of this teeth and for all his confidence, he still has a lot to learn about life and flying. For the flying, there really is no better place than Top Gun. As for life, well, the beautiful civilian contractor working in the school as an instructor may have a thing or two to teach him…

Now this, this is the kind of feel-good movie I love. There is steaming romance and passion, there is action and adventure… There is just enough adrenaline that you actually hop up and down in your seat but deep down you’re pretty sure the main characters will turn out alright in the end. That being said, it isn’t some “cliché” either. I mean think about it – and I was actually talking to my cousin about this the other day – how many of us are actually interested in planes? Oh I know you enthusiasts are out there and I’m more than fine with it, but my point is for the most of us, unless we’re undertaking international travel, planes are background noise. I mean, there’s a lot of it (noise) but you get what I mean. It takes quite something to make a film so appealing about a rather specialist subject that you actually get caught up in complex technical manoeuvers and explanations. Before that panics you, don’t let it. That’s precisely the point I’m trying to make. Firstly, I mean yes they’re technical but not so much that a layman (like me) couldn’t follow it. Secondly, you’re so caught up in the film that you’re basically highly motivated to understand it. So you do. If you see what I mean. And who can forget the Oscar ®winning song that accompanies Maverick and “Charlie” s romance, “Take My Breath Away”? This is the stuff legends are made of boys and girls. And it just so happens that Tony Scott is a legend. For good reason.

P.S. I have an idea. I know you guys aren’t that hot on comments – which is fair enough, especially if you’re kind enough to return week after week to read my opinions on films. But maybe, if you remember this, you can help me out. I’m trying to remember the name of a TV series I watched when I was very young. It was similar to Top Gun, eerily similar, but I’m not sure that this is it. It was about flying school and fighter pilots. Possibly set in WWII but I don’t remember it that clearly. Probably American or possibly British in origin, it would have aired around the mid to late’80s or possibly very early ‘90s but I’d put my money on it being mid to late’80s. I LOVED it when I was a child. I’m convinced it’s real but my mother smiles benignly and says “you had such an active imagination as a child” when I mention it (yes, it has reached that point). I know it’s not a lot to go on (hence I can’t even begin to figure out how and where to figure out its name), but  if anyone knows what I’m talking about PLEASE get in touch. Please… :S

THE TRUE STORY OF A TRUE LEGEND: CHE (PART 1 AND 2)

Ok, moral dilemma. If you’re talking about a single project that is technically made up of two films, are you cheating by writing a single post about it? Yes, you heard it, blogging is indeed fraught with pitfalls such as this. But I reckon if the post is both long enough and written well enough neither Soderberg would mind. My first chance to see this wonderful film came along a few years back during the Istanbul film festival. I missed it – both of them. And this fact has bugged me ever since. Luckily, discerning institutions like my university library possess DVD copies of things like that so recently that little obsession was laid to rest. The experience was so fulfilling, the story so vivid and the film itself so entirely brilliant; I simply had to share it with you guys. So here goes.

So, Che is made up of two different films. Che Part 1 is basically the story of the Cuban uprising against the Batista regime. With great clarity and honesty we follow Che, from his first meeting with Fidel Castro and his getting involved in the movement to the jungles and Cuba. Hardships, war and loss of comrades are all par to the course. But well the rest, as they say, is history.

Che Part 2 is the story of another revolution, the attempted armed uprising in Bolivia where Che ultimately lost his life. Che resigns entirely from his life and family in Cuba and sets off to Bolivia to lead and support the communist movement there. However, the Cold War is taking hold, the stakes have grown considerably since Che last dabbled in those waters…  And neither the Bolivian jungle, nor the people who live in it are really as familiar as Che thinks they are…

Now, I have heard there was quite a bit of negative feeling as far as first impressions of thet film go. Ok, first there’s the political aspect and you can’t really have a serious film about Che without involving the politics – the man was all about politics after all. Secondly, there’s the violence. I have actually heard people almost refused to watch the film because it might be supporting violence and war etc. I don’t think these are the correct ways to look at these films. Let me explain.

First of all the politics. I mean you can think what you like of Che and the politics he supported. I won’t get into all that here, this is a cinema blog. But think what you will, Che was a very important historical figure. The political goings on of the era, both in Cuba and in Bolivia are definitely historical events that merit being remembered and depicted. And to be fair, Soderbergh does a damn fine job of depicting them without getting into the politics too much. I feel this must be the effect of the many documentary projects he has worked on over the years but I feel, just as it should be, that both films strike an excellent balance between the poetic and fictional and the documentary. They have the benefit of being open, no-nonsense depictions of what happened. No corners are cut; nothing is either prettified or demonised.  And this is, in itself a wonderful cinematic achievement. I think this alone is a good reason for watching both films, if only because such honest and clear depictions of such politically fraught events are very rare to find.

But don’t go thinking that this film is a dry old documentary or something. The first film is shot in a “dialectic” style, with Che being interviewed about his early years during a visit to the United States and uses flashbacks etc... The second is closer to a classical fiction film. But the performance from Benicio Del Toro is just so good… And the emotion of the time so well given… It almost knocks one speechless, it’s like time travel.    Again, just like the film in general, Che is portrayed as a man. Neither the completely perfect “saviour” some make him out to be nor the “demon” others claim he is. He is a man. With great talents, but faults that go with them. Who made great and successful military decisions but made mistakes as well. These films are, I feel, a wonderful chance to get a good perspective on these great historical events no matter what your personal or political feelings. We mustn’t forget that nothing is either completely good or completely evil in this world and Soderbergh’s two films, I feel, provide food for thought no matter what your convictions. 

ESSIE SPEAKS OF BRAVERY AND CONTROL

My life is a logistical nightmare right now. If you don't believe me ask my flatmate. He had to semi book an appointment for me to join his birthday celebrations. And even then, I could only come round later.

Luckily, later means they had moved to the pub. And I have particularly nice flatmates so there was even a slice of cake left. Chocolate cakes and drinks with friends help in times like these. As do films.

With me, pretty much any film does help but animations have a special place in my heart (as you may have noticed) so it's not surprising that I took some time out to watch Brave (Now in cinemas!) the other day. Actually I've hatched a plan about this Now in Cinemas bit (well ok technically it was Mom's idea) but you're just going to have to wait for a time in my life when I am not CONSTANTLY running somewhere. And the second is a true story (and we haven't had one of those in a while) and the film I mentioned the other week. You know, my favorite (*bounce, bounce, bounce*).

anyway, enjoy, people. I have to dash (not kidding, I have to be out of the house in roughly 20 minutes as I write)

happy viewing!
Essie

BRAVE - A MOTHER - DAUGHTER TALE...

Ok. It’s a Disney – Pixar movie. Needless to say, I am going to rant about this one. Like a lot of people I spoke to, until I actually set foot in the cinema, I had only the vaguest idea as to what the film was about. A brave young girl, finding your own destiny, there were the vignettes with the three little brothers, Billy Connolly comes into it at some point… But I mean. It’s Pixar. How bad could it be? Naturally it was brilliant. Calendars may claim I’m going to be 30 in an alarmingly short while but my inner child needs Disney. And Pixar. Especially the two together. And don’t you hide in the back there, I know a lot of you out there agree with me.

So what IS Brave about, I hear you cry. Well, the premise of the story is quite a classic one. But I mean, is there really such a thing as a truly original story these days? I reckon not. With the exception or real life tales (because the truth is almost always stranger than fiction) I find that that you can foresee the course a lot of tales are going to take, especially in more mainstream films. But it’s not always about the story is it? It’s also about the execution. Especially in Pixar. And with me anyway, the fact that I could pretty much guess what was coming in no way meant I didn’t wave and shout at the screen (there were a lot of children in the cinema, I think it went unnoticed) and get very weepy frequently (the only thing stopping a full-blown bawl was the fact that I had makeup on and was going out later that evening). “Oh do get on with it!” I hear you cry. Fair point. So here is what Brave is actually about.

The person who is brave is Merida. She is a princess, the daughter of the head of a Scottish clan who lived in ancient times, when magic still lived in the world. But along with magic, existed families, tradition and duties. And although Merida would infinitely prefer riding, archery and woodland adventures as daily duties, her mother insists she must learn to be a lady. And if Merida wasn’t in enough trouble with learning to sow and play musical instruments, the day comes when tradition dictates Merida should marry one of the sons of the clan chiefs. Merida is NOT amused by this prospect, especially when said clans, clan chiefs and their sons arrive almost unannounced (to Merida at least) on her doorstep.  What Merida needs, as far as she is concerned is to change her destiny. And that would involve nothing short of a miracle. Or magic. This is why Merida jumps at the opportunity when fate leads her to a witch’s cottage in the woods. Surely a little magic can only help her predicament? The thing is, as we all know, when making requests from witches and other magical creatures, one needs to be specific. If one is not, one can find oneself in trouble. A lot of trouble…

This film is all a Disney film should be, with all the benefits and gloss of coming out of Pixar. It’s brilliant. It’s funny. It’s very emotional. And the reason it’s emotional is that it’s all about mothers and daughters. It’s a funny old bond, isn’t it really? One’s mother is often the one person you can count on through anything and everything and yet mothers and daughters especially almost seem to be made to fight. I should know, and if you don’t believe it ask my Mom. My Mom means everything to me now, she’s my confidante, agony aunt and I would be completely lost without her. But the road leading to this point in our relationships was fraught with screaming, slamming doors and flying furniture (I'll give you a hint, my mother neither screams, nor throws furniture. What can I tell you, I was a difficult teenager). That’s what this film is about. I defy any daughter who is close to her mother today to watch it and not need a slew of tissues (one little girl sitting near us actually had to be physically cuddled and comforted by her Mom during the film at some points. But don’t worry, the film doesn’t go all Bambi on you). Now. You go and watch Brave. Then do me a favour, go and give your Mom a hug if it’s physically possible. I know that’s what I wanted to do. (Mom, consider yourself cuddled. I love you.)          

CONTROL - THE TRUE STORY OF A MUSIC LEGEND

I watched this film a while ago during the Istanbul film festival. I loved it. The time went by and my memories of it dimmed a bit. I still remembered it as good though. Now, I shared this on my facebook page the other day so some of you may remember this comment but here’s the thing. I was wrong. It isn’t good. It’s f.cking brilliant. It’s the kind of film that makes you (well me anyway) run out, buy everything Joy Division ever recorded and listen to it on a loop for ever. And I would; only it wouldn’t be very practical. I will rant about why I like Joy Division’s music and more specifically Ian Curtis’s singing in just a sec. Let me tell you about the film first.

Ian Curtis was a rather extraordinary teenager. He was just over six feet tall, very into both reading and writing poetry (no doubt the birth of his lyrics later on) and rather quiet. He had friends, went out from time to time, but didn’t talk much. He met Debbie when they were in their late teens and by the time they were 18, they were married, much to the surprise of his friends. When a few of the local lads took him on as the lead singer of their band (then called Warsaw), they didn’t expect him to change their lives. At rehearsals (and this is actually quoting one of the band members) he just mumbled into the microphone barely audible. But once they hit the stage… Ian’s booming voice took over the room. His dancing (now a thing of legend) was incomprehensible to most who assumed (wrongly, history teaches us) that he was very high on drugs. He was on a natural high, lost in the music. Fame swept over Joy Division taking them to heights they never expected. In the meanwhile, Ian was diagnosed with epilepsy that doctors couldn’t seem to be able to help him with. He had a daughter now, but his marriage broke down when he fell deeply in love with Annik a Belgian embassy worker. And everything aside, Ian never wanted to be famous. Feeling unable to control his health, his emotions or his career, Ian Curtis took his own life, aged only 23 years old. Control is his story.

Corbjin, originally a photographer of great fame, does a fantastic job in this film. And his direction is only rivalled by Sam Riley’s performance, portraying the awkward, sensitive, angst filled lead singer of Joy Division. The film shows a Curtis torn between his responsibilities as a husband and father and his heart. I am not generally speaking at all supportive of extra-marital affairs but one can see how this happened. They were married so young. And then they grew up. Debbie continued loving Ian, but Ian had a new life with his new found fame. What is more, the film portrays his relationship with Annik as something very deep and emotional, not just a “passing fad”. Could one blame him?  I don’t think so.

The film itself, shot in black and white, gives a very clear portrayal of the underlying angst that dominated Curtis’s life and finally overcame him. The emotions are so sensitively, artistically conveyed, I defy you to not feel literally heart-broken by the end of the film. And the one other thing dominating the film is it’s extraordinary soundtrack. Filled with all the classics by Joy Division along with music from greats such as Bowie, Iggy Pop and the Sex Pistols Control is a true trip back in time. And possibly a chance to discover Joy Division. When I’m feeling down, when I’m confronted with a challenge I not sure how I am going to overcome, I find there is something incredibly and strangely cathartic about the music of Joy Division. Curtis’s singing, along with the lyrics convey a certain sense of sadness. This cannot be likened, in literary fashion, to a stormy sea. This thing is grey. It is dense. Like a fog, only it grips at your throat. And it is no shape, no form, no end. For most of us, the fog then slowly clears, for Curtis, it did not. But what makes me feel good about his singing is that, to me, that is what sadness sounds like. I don’t know what else to call it, but Ian knows. He gets it. And it’s very cathartic to listen to his voice and know that he gets it. Or got it. And knowing that someone else got it, always clears the fog for me. I am not sure if that last paragraph makes a lot of sense to anyone but me. But I guess what I’m trying to convey is that listening to Joy Division and watching Control are very healing, soothing things for me. And this film matters to me, a lot. I hope you enjoy it.

P.S. As an interesting aside, it’s rather sweet to note that the actor who plays Ian, Sam Riley and the actress playing Annik, Alexandra Maria Lara, started a relationship after meeting on the set of the film five years ago and live together in Berlin to this day…