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Film: Kitchen Stories
Release date: 6th September 2004
Certificate: PG
Running time: 95 mins
Director: Bent Hamer
Starring: Joachim Calmeyer, Tomas Norström, Bjørn Floberg, Reine Brynolfsson, Sverre Anker Ousdal
Genre: Comedy/Drama
Studio: ICA
Format: DVD
Country: Norway/Sweden
Despite failing to make the cut as Norway’s 2004 submission for the Oscars, Kitchen Stories received extremely favourable reviews in the press. It’s a quirky tale which subtly wrings laughs from the relationship between the Norwegians and the Swedes, and the gradually thawing of a frosty relationship between the observed and his observer.
In 1940s Sweden, a home economics company (with more than a hint of Ikea about it) is conducting experiments on how to layout a successful and efficient kitchen. Having established the best set-up for women, they turn their attention to single men, and send their team of observers to watch how Norwegian bachelors utilise their kitchen appliances.
Seated on Baywatch style high-chairs, these impartial observers neatly and methodically log all movements within the kitchen. They are forbidden from interfering with their subjects in any way, and sleep outside the host’s homes in bizarrely bubble-shaped mobile caravans.
When Folke (Tomas Nortström) is assigned to log the movements of loner Isak (Joachim Calmayer) things do not look promising. More than a little disgruntled by the Swedish interloper, the elderly Norwegian initially refuses to let him in. But just as Folke looks set to quit, their relationship begins to slowly develop – and eventually blossom…
To say that the opening of the film is eccentric would be an understatement. Scenes of domestic science have rarely been as strange as these: Scandinavian housewives test all manner of kitchen appliances whilst rigged up to medical equipment and breathing apparatus, all in an attempt to gauge their effectiveness. It’s played utterly deadpan and extremely effective for it – the gravity afforded the job of ‘observer’ is established from the outset, and emphasises the sense of the absurd from the start.
This sense of the strange is accentuated as a fleet of pastel green cars cross the Sweden/Norway border, each of them towing an egg-like caravan. These are the temporary homes of the Swedish observers – barely big enough to lay down in, yet strangely homely. It’s a good job, too, as the subject Folke is sent to observe is unwilling to let him into his house.
The film is almost wordless at this point, as a series of short scenes demonstrate the stubbornness of the irascible Isak. It’s practically a silent comedy, as Isak locks Folke out, repeatedly turns out the lights on him, and even drills a hole in his own ceiling so that he can observe the observer from the bedroom above. Not only that, but he begins cooking his meals upstairs on a camping stove.
The slow transformation in their relationship is so effective as to be almost invisible. Tentative conversations begin, small favours are done for one another, and gradually the two characters become friends. The sharing of food is key to this – having seen each character eat alone, the sharing of birthday cakes and booze is in sharp contrast to a poignant scene of Folke eating alone in his caravan.
A Swedish smorgasbord is also served up at one point, with both characters enjoying the pickled herring which Folke’s aunt has sent him. It’s symbolic of the burgeoning relationship and understanding of each others’ culture that they can share such a typically Swedish meal, but also serves as a plot device when Folke’s boss turns up, and comes close to realising that the policy of non-interference has been utterly disregarded. It’s a rare moment of tension in the film, and works all the better for Reine Brynolfsson’s performance as the slimy jobsworth Malmberg.
The danger that the pair will be ‘discovered’ becomes central to the plot, as a number of near scares ensue. Isak repeatedly falls asleep in Folke’s observation chair, and is caught there by Malmberg. As well as talking his way out of trouble, he makes excuses for Folke, and thereby saves their friendship. But, more importantly, he saves the Swede’s life in a tragicomic scene caused by the jealousy of Isak’s best friend Ralph.
Clearly this is a touching and tender tale of friendship – and the fact that the characters are in the twilight of their lives makes it more touching still. But beneath the surface, the film has more to say. There are a few mentions of World War II, and its influence on the themes of the film is obvious – initial animosity between the Swedes and Norwegians has roots in resentment over their roles in the conflict. Whilst Norway fought, Sweden remained neutral, and it’s very apparent that the role of the Swedish observer in the film is a comment on their non-violent stance – perhaps implying that it’s not possible to remain neutral after all.
Kitchen Stories is a wonderfully understated – yet affecting – movie. Its heart-warming tale of friendship is what holds it together, but there is a smorgasbord of weird and wonderful events and characters which lift it above many similar films: silver fillings which transmit radio signals; a room filled with pepper; caravans pulled by horses and mishaps with mousetraps. Strangely, it’s not really a story about kitchens at all – cooking takes place elsewhere, and the kitchen scissors are used to provide haircuts. But that’s entirely apt in this beguiling, charming film. RW
Regarded by many as Jacques Tati’s masterpiece, Playtime is a surreal comic vision of modern life in which the director’s much-loved character, Monsieur Hulot – accompanied by a cast of tourists and well-heeled Parisians – turns unintentional anarchist when set loose in an unrecognisable Paris of steel skyscrapers, chrome-plated shopping malls and futuristic night spots.
This Dual Format Edition release (featuring the film on DVD and Blu-ray) sees Playtime presented in both High Definition and Standard Definition, and is packaged with an illustrated booklet, featuring a newly commissioned essay by David Furnham and Kevin Brownlow’s memories of interviewing Tati.
Film: Playtime
Release date: 29th November 2010
Certificate: U
Running time: 88 mins
Director: Jacques Tati
Starring: Jacques Tati, Barbara Dennek , Rita Maiden, France Rumilly, France Delahalle
Genre: Comedy
Studio: BFI
Format: DVD
Country: France/Italy
DVD Special Features:
•
Feature commentary by Philip Kemp
•
Rare audio interview with Jacques Tati recorded at the NFT in 1968, accompanied by stills and images from the BFI’s collections
•
Original theatrical trailer
•
Au-delà de Playtime: Documentary about the making and unmaking of Playtime
•
Script-girl: Continuity Supervisor Sylvette Baudrot on working with Tati
•
Tati Story: Short biographical film
•
Alternative ‘international’ soundtrack (revised by Tati to include more English dialogue)
Film: Angel-A
Release date: 29th January 2007
Certificate: 15
Running time: 87 mins
Director: Luc Besson
Starring: Jamel Debbouze, Rie Rasmussen, Gilbert Melki, Serge Riaboukine, Akim Chir
Genre: Comedy/Crime/Fantasy/Romance
Studio: Optimum
Format: DVD
Country: France
With its release in 2005, this became the first film in six years to be written and directed by Luc Besson. The French auteur’s name alone brings overwhelming expectation, but with an all new leading lady and Paris framed in enticing black-and-white, how has this exciting prospect faired as an addition to an already prestigious CV?
For petty criminal Andre, a fresh start is the only answer to his problems. His return to Paris is supposed to allow for him to leave his life of crime behind, but instead it intensifies his already desperate situation. Old debts catch up with him in the shape of underworld mob boss Franck and he is given an ultimatum: “You've got 'til tonight, midnight. After then it's tomorrow, and tomorrow you'll be dead.” With no allies to turn to or places to run, Andre is helpless to save his own life.
He turns to suicide and heads to throw himself off a Parisian bridge. However, he finds the beautiful Angela at the side of the bridge also entertaining ideas of suicide - his attempts to stop her only lead to them both jumping. Sat at the side of the river with the girl in his hands, he is amazed as she regains consciousness.
Angela vows to help Andre in his mission as thanks for him saving her life. The mystery of Angela grows, as she is able to produce the money that Andre so desperately needs - she does so by seemingly prostituting herself to an impossible bar load of men. This amazes and confuses Andre in equal measure, as he questions Angela’s motives and seemingly divine capabilities. He has been given a second chance to realise the potential within him, and to pursue the most unlikely of romances...
Prior to the release of Angel-A, Besson had by no means been hiding in the shadows. The man who asserted himself with classics such as Le Femme Nikita brought his distinguishable style and penchant for explosive action to Hollywood with Leon and The Fifth Element. These films created a buzz around his talent, but since their success he has failed to reach such great heights - he had been producing left, right and centre and scribed relative hits such as The Transporter and District 13, but fans have been left wanting another stand out Besson-esque picture. Sadly Angel-A is not it.
That is not to condemn it entirely, as it does have a lot of plus points. It provides a lot of visceral satisfaction with an ever appealing Parisian backdrop that features vibrant streets, genteel night-spots and landmarks, such as The Eiffel Tower and La’ Seine, featured in the shoot. The cinematography is stunning and shot in cinemascope black-and-white, which serves to paint a more stimulating picture of the ‘illuminated city’ than many have achieved onscreen. Besson is a Francophile, and this translates with the cinematic return to his beloved city.
The visceral qualities do not end with the setting, as Besson casts Danish actress Rie Rasmusen as Angela. The director’s love for beautiful leading ladies is something evident in a lot of his films and the physical resemblances between Rasmussen and Besson favourite Milla Jovovich is particularly perceptible. The character traits of Angela also seem a little familiar, as she kicks ass with a childlike indifference seen in The Fifth Element’s Leeloo. Unfortunately, the action is not as fulfilling - her super human powers grow wearier as opposed to slick and amusing. Her performance is not a standout, and the character is a much less appealing and forgettable Besson creation.
The mismatched romance between the two leads plays well on the likeability of Jamel Debbouzze. He carries all the comic timing and awkwardness into this role that had made him so memorable in hits such as Amelie. Andre is perhaps a character type, a fast talking, luck-riding loser whom for most of the film we struggle to see any redeeming features. Debbouzze, however, has the talent to make this work, and although the script doesn’t fully allow us to completely empathise with him, he has the capacity to make us laugh - and make us feel his pain (a scene in which he stares teary eyed into the mirror is the most memorable of the film). The drive of the film is his transformation, and that is the most affable premise here.
This is by no means a non-event but it is not the return to form we had hoped for Luc Besson. Although it lacks the original genius of many of his earlier successes, it does have a lot about it worthy of your attention. Paris has never looked so good and in Jamel Debbouze he has found a real acting talent. We can only hope the next big Besson hit isn’t too far away. LW
The film that brought Jacques Tati international acclaim also launched his on-screen alter ego: the courteous, well-meaning, eternally accident-prone Monsieur Hulot with whom Tati would from now on be inseparably associated.
The film is set in a sleepy French coastal resort, which is seasonally disrupted by holidaymakers in energetic pursuit of fun. At the centre of the chaos is the eccentric Hulot, struggling at all times to maintain appearances, but somehow entirely divorced from his immediate surroundings.
Tati’s beautifully orchestrated comic ‘ballet’ is a seamless succession of gently mocking studies of human absurdity.
This Dual Format Edition release, which include both DVD and Blu-ray discs, features the fully restored version of Jacques Tati’s definitive 1978 final cut as well as the original theatrical release version, and is packaged with an illustrated booklet, featuring a newly commissioned essay by film historian Philip Kemp.
Film: Les Vacances De Monsieur
Release date: 29th November 2010
Certificate: U
Running time: 88 mins
Director: Jacques Tati
Starring: Nathalie Pascaud, Micheline Rolla, Raymond Carl, Lucien Frégis
Genre: Comedy
Studio: BFI
Format: DVD
Country: France
Special Features:
•
Alternative ‘international’ soundtrack (revised to include more English dialogue)
•
Original theatrical trailer
•
Richard Lester interview: the acclaimed filmmaker discusses Les Vacances de M. Hulot with film historian Philip Kemp
Taking a staggering 1.7 million admissions in its French opening weekend and in the UK Top 10 chart for several weeks, the film marks director Pascal Chaumeil’s feature debut, and stars the gorgeous paring of Vanessa Paradis and Romain Duris.
Alex (Duris) is a charming, funny, effortlessly cool, and, most importantly, irresistible to women. He offers a professional service; to break up relationships. In just a few weeks, for a fee equivalent to his reputation, he promises to transform any husband, fiancé or boyfriend into an ex. Hideouts, phone-tapping, fake identities, a devastating smile, anything goes when it comes to fulfilling his contract.
Juliette (Paradis) is a young, beautiful, free-spirited and independent heiress, with a passion for shopping, fine wine, and a word-perfect knowledge of Dirty Dancing. In ten days, she’s due to marry the man of her dreams (Lincoln), much to her father’s disapproval.
When Alex is hired to break up this seemingly perfect couple, he is thrown into an action-filled race against time. Taking him through the sun-drenched streets of Paris to the fast cars and high fashion of Monaco, in his own hilarious seduction ‘mission impossible’ that risks him being caught by his ruthless personal creditors, angry exes, and Juliette herself. But worst of all, will he discover at his own cost that when it comes to love, the perfect plan doesn’t exist?
Film: Heartbreaker
Release date: 22nd November 2010
Certificate: 15
Running time: 105 mins
Director: Pascal Chaumeil
Starring: Romain Duris, Vanessa Paradis, Julie Ferrier, François Damiens, Héléna Noguerra
Genre: Comedy/Romance
Studio: Revolver
Format: Cinema
Country: France
Germain Chazes (Depardieu) is a middle-aged loner who lives in a van outside his mother's home and does odd jobs for a living.
When he meets Marguerite (Casadeus), a highly cultured and well-read elderly woman living in a nearby retirement home, she introduces him to her passion for literature.
As Germain's desire to learn to read is ignited, a deep bond develops between the unlikely pair.
Film: My Afternoons With Marguerite
Release date: 12th November 2010
Certificate: 15
Running time: 82 mins
Director: Jean Becker
Starring: Gérard Depardieu, Gisèle Casadesus, Maurane, Patrick Bouchitey, Jean-François Stévenin
Genre: Comedy/Drama
Studio: Picturehouse
Format: Cinema
Country: France
Film: The Concert
Release date: 8th November 2010
Certificate: 15
Running time: 122 mins
Director: Radu Mihaileanu
Starring: Aleksei Guskov, Dimitri Nazarov, Melanie Laurent, François Berleand, Miou-Miou
Genre: Drama/Comedy
Studio: Optimum
Format: DVD
Country: France
Four years after the internationally acclaimed Live And Become, Radu Mihaileanu attempts to hit a lighter note with comedy-drama The Concert, staring French actress Mélanie Laurent. A story of redemption, can Mihaileanu’s colourful cast walk the line between the melancholic and the jocular?
The Concert, above all else, is a story of the underdog. Aleksei Guskov stars as Alexei Filipov, who works as a cleaner at the Théâtre du Châtelet in Paris. But he used to be something much more. His turmoil dates back thirty years, when, as the conductor of the legendary Bolshoi, he refused to omit Jewish musicians from his world-famous orchestra. He never conducted again.
In his disgrace, and, at times, spiralling alcoholism, Alexei and wife Irina dream of a house in the country, working with obsessive devotion to attain these far-fetched desires.
The film picks up on the day Alexei discovers a fax on his boss’ computer inviting the Bolshoi to play a concerto in Paris. Destroying any evidence of the fax, Alexei embarks on an ambitious plan to reunite his orchestra, and conduct the concerto himself.
Joined by charismatic sidekick Sacha (Dimitri Nazarov), Alexei finds many of his former musicians are now deadbeat drunks, but nonetheless endeavours to deliver a one-off ground-breaking performance which will finally allow him to let go of his bitter-sweet past…
The film endeavours, at first, to introduce its audience to some familiar stereotypes within the comedy genre. With some sassy screenplay, and intricate script work that swiftly demonstrates the archetypal character traits, we meet Alexei, the regretful but likeable failed conductor, and Irina – devoted, and passionate, someone Alexei can rely on to push him into the background and conduct his rants for him.
In next to no time Sacha, the yang to Alexei’s ying, presents himself as the discerning best friend who ridicules Alexei’s plans but goes along for the ride. Plump, hearty, never far from losing his temper, Sacha, on more than one occasion, steals the show, largely due to the talents of actor Dimitry Nazarov.
It is also not long before we meet Anne-Marie Jacquet (played earnestly by Mélanie Laurent, who recently shot to fame with her role in Inglourious Basterds), a young prodigy with supreme talents on the violin, who brings a fresh face to the marketing behind the concerto. At the helm of the marketing campaign lies Olivier Morne Duplessis, manager of the Théâtre du Châtelet – typically arrogant and self-assured in order to hide the fact the theatre may be going under.
Despite some promising moments of humour, particularly when the film looks for subtler laughs, The Concert is often over-reliant on more chaotic moments of comedy, a number of which are so unfathomable that it prevents the intended reaction. A shootout at a wedding early on in the film borders on the ridiculous, and is only saved by the conversation between events promoter Ivan and world-class cellist Pyotr Tretiakin, as they agree a deal whilst avoiding gunfire.
In terms of cinematography and construction of mise-en-scène, Mihaileanu, with assistance from cinematographer Laurent Dailland, saves the best until last. Although consistent throughout, it is Alexei’s concerto that brings a third dimension to Mihaileanu’s work. In the moments leading up to the main event, with more pace and fluidity than earlier scenes, the audience witnesses the impending chaos backstage and the overriding nerves on stage, creating an air of anticipation as well as dread for what will happen next.
Another area that the film does excel is in its soundtrack. Radu Mihaileanu utilises the works of Mozart, Tchaikovsky and others to convey emotion from his characters and audience alike. Music plays a central role in this film, and Mihaileanu manages to manipulate the soundtrack, building toward crescendos for important scenes, and he even manages to generate slapstick humour without the music’s epic nature ever feeling misplaced. During the concerto itself, a moving piece of music compounds the final revelation, but perhaps fails to conceal the sad truth that the final twist is neither believable nor anything to write home about.
Although everything is left resolved within the film, The Concerto is perhaps guilty of a failure to commit to comedy or drama. What results is a slightly confused atmosphere throughout, where the audience is unsure whether to laugh or cry. What strikes the most, despite characters played with warmth and gusto, is that the funny moments are not scripted to perfection and thus suffer from bad timing, and the dramatic moments fail to evoke the desired emotion. MC
Film: Big Tits Zombie
Release date: 11th October 2010
Certificate: 18
Running time: 73 mins
Director: Takao Nakano
Starring: Sora Aoi, Mari Sakurai, Minoru Torihada, Io Aikawa
Genre: Action/Comedy/Horror
Studio: Terracotta
Format: DVD
Country: Japan
The popular, well-endowed sex goddess, Sola Aoi, an idol in the Japanese adult video industry, stars in one of the daftest film titles of the year - Big Tits Zombie. If that isn’t enough, she also pops up, and pops out, in 3D. Available to buy on DVD this month, what’s not to like?
Lena is a young dancer trying to find her way in the world. Returning to Japan from Mexico, she is offered a job at the Paradise Ikagawa theatre, a struggling club in a deserted suburban town where she performs with four other girls, despite its lack of clients.
With little to do other than bitch at each other to pass the time of day, one of the girls happens upon a hidden door in their dressing room, leading them to a basement beneath the condemned Health Spa across the street.
Discovering a mysterious well, a box of money, and otherworldly possessions such as the book of the dead, dancer Maria inadvertently summons the fallen back to life. With a thirst for the red stuff, the zombies attack anyone who stands in their way.
Lena and the rest of her posse must band together if they are to overcome the mass hordes of slaughtered souls, but Maria, learning she actually has the power to control them, has other ideas…
Barely attempting to construct anything resembling a plot, Takao Nakano is content to allow his adult video starlets to run proceedings, even if they are just squabbling for the first half hour. Though there is brief nudity here, the action is surprisingly less explicit than the title would suggest.
Therefore, other than an intriguing introduction that will please most hardened splatter fans, there is little in the opening act to sustain too much interest, unless scantily clad girls scrapping and bemoaning their shortcomings gets your adrenalin pumping. Considering that the five girls are supposed to be dancers, it’s little wonder they have no punters – 3D or not, they make Anne Widdecombe look like Anna Pavlova.
Only on the discovery of the hidden door does the film come to life, and boasts some memorable highlights. Obviously fans of Sola Aoi and Risa Kasumi will be glad to see them here, and Sola certainly holds her own in the acting department. In fact, all of the five female leads acquit themselves well and offer a few good chuckles here and there.
Highlights include sushi zombies, zombies playing table tennis, and Maria’s realisation that she can control the deadheads after failed attempts using lollipops and her obvious attributes. Then there’s the revisited opening stand-off, an old man who “looks dead all the time,” the apologetic blue ogre, and a scene stealer involving a flame-throwing vagina. The latter sits so out of place with the movie’s otherwise tame shenanigans you’ll be forgiven for picking your jaw up off the floor, and frustrated that nothing that follows comes even close to it.
The martial arts bloodbath is slightly let down by the use of CGI blood, and it has to be said, the title may disappoint those seeking a bit of titillation. It is on offer here, but only fleetingly, and although big is rarely better, the movie would benefit from a title that doesn’t deceive its audience. They should’ve just called it Zombie. However, those gore-hounds that seek such a provocative moment will be rewarded eventually…
As for the 3D, for some bizarre reason the viewer is treated to it only sparingly, with a hilarious countdown in the top left corner encouraging them to reach for those ill-fitting glasses. Whether it works is another thing – two owned pairs did little other than induce a headache – it will be interesting to see whether or not specs that improve the final result are given away free on its release. And if they are, and they do add a much needed element, why are some scenes that appear to be designed for this purpose completely ignored in favour of 2D?
Gripes aside, at times, Big Tits Zombie is nicely shot, and boasts a wonderfully catchy score reminiscent of a spaghetti western. The plot also benefits from the character Maria going power-mad. She creates much needed conflict in the final third, other than that generated by the zombies, whom all boast shoddy make-up that wouldn’t even terrify a 3-year-old. At least the girls are pleasing on the eye, with Sola Aoi looking the most comfortable in her zombie-whipping-ass-kicking role; shame her weapon of choice, the chainsaw, doesn’t always appear to be fired up - even if it’s making the right noises.
Irredeemably trashy and, at times, fun, Big Tits Zombie goes straight for the splatter-audience jugular and only just misses the target. Lacking in skin, and with an opening act that moves along slower than the walking dead, it’s a relief to eventually discover an often amusing film that finally manages to surprise and entertain - up to a point. DW
This is an English-Language release.
British remake of the French crime caper of the same name, starring Bill Nighy and Emily Blunt.
Victor Maynard (Nighy) is a lonely, uptight middle-aged mummy's boy who also happens to be a lethally efficient professional hitman. His last assignment before he retires is to take out con artist Rose (Blunt) for gangster client Ferguson (Rupert Everett). But finding himself increasingly attracted to the bold and beautiful Rose, Victor is unable to complete the job, and instead ends up trying to save her and delivery boy witness Tony (Rupert Grint) from the murderous intentions of his less-than-happy client.
Film: Wild Target
Release date: 11th October 2010
Certificate: 12
Running time: 94 mins
Director: Jonathan Lynn
Starring: Bill Nighy, Emily Blunt, Rupert Grint, Rupert Everett, Eileen Atkins
Genre: Comedy/Crime
Studio: Entertainment In Video
Format: DVD
Country: UK/France
Film: Casanova ‘70
Release date: 6th September 2010
Certificate: 15
Running time: 111 mins
Director: Mario Monicelli
Starring: Marcello Mastroianni, Virna Lisi, Marisa Mell, Michèle Mercier, Enrico Maria Salerno
Genre: Comedy/Drama
Studio: Mr Bongo
Format: DVD
Country: Italy/France
Mario Monicelli’s 1965 comedy Casanova ’70 is very much a product of its time, starring Marcello Mastroianni as a suave ladies man hot on the heels of roles in Fellini classics La Dolce Vita and 8 ½. Despite its frothy ‘60s comedic stylings, the film (attributed to six writers) was nominated for a Best Original Screenplay Oscar in 1966, highlighting the clever wordplay between characters.
As the smooth talking and globetrotting NATO Officer Andrea Rossi-Colombotti, Marcello Mastroianni has a way with the ladies that rivals even Ian Fleming’s James Bond 007. With a high-ranking job taking him to glamorous locations (including France, Switzerland and Italy), Andrea catches the eye of a number of beautiful women, including his original first-love Gigliola (Virna Lisi).
However, Andrea has a significant problem; he can only seduce women in dangerous circumstances, and is addicted to risk. This leads to a procession of hijinks and comedic mishaps as Andrea stumbles from one beautiful woman to the next, constantly enticed by danger in order to fuel his libido.
As the element of danger increases from woman to woman, Andrea eventually finds himself wrongly accused of killing off the wealthy husband of one of his lovers in a court of law. Consequently, he faces trial by judge, with his demented psychiatrist, and all of his (almost) conquests appearing as witnesses, detailing his obsession with sex and jeopardy…
From a modern viewpoint, Casanova ’70 does appear somewhat antiquated with its ‘60s sensibilities and washed out style. The idea of a risqué sex comedy in this style seemed very prevalent at the time of the uninhibited swinging ‘60s, and familiar to British audiences in films such as the Carry On... series. Yet Casanova ’70 does feel somewhat different, and perhaps edgier with its subject matter, with the central character in Andrea appearing as an early parody of James Bond-esque conquests and well-travelled thrill-seeking (even before Peter Sellers in the 1966 version of Casino Royale).
The film relies heavily on the performance of Mastroianni, who charmingly mixes suave sophistication in his initial pursuit of attractive ladies with the inevitable slapstick pratfalls he takes in an attempt to instigate danger for himself. Mastroianni somehow maintains the charm of NATO Officer Andrea, where otherwise a character who is effectively a compulsive liar able to leave one beautiful woman in pursuit of another on a whim might be viewed much more unsympathetically. For instance, when Andrea travels to the Swiss Alps following his psychologist’s diagnosis of “the devil inside him” in an attempt to change, he once again falls in love. This time, however, he proposes marriage, and promises commitment. Yet before long, on a date with his bride-to-be at a circus, Andrea is enticed to answer a female lion-tamer’s challenge for any man brave enough to kiss her in a lion’s cage. Of course, Andrea kisses the woman a little too passionately in front of the circus audience, where his Swiss engagement is effectively ended leaving him to make a swift getaway from the country.
There are numerous sequences in the film that all ultimately end in this way, with Andrea seemingly stumbling from one set piece into the next. Thus, while the character remains rather endearing through the natural charisma of Mastroianni, Andrea is unquestionably shallow and two-dimensional in his motivations. The only signifier perhaps of any depth to Andrea beyond his ‘condition’ is in his respect for the true love he shared in his youth with Gigliola, where Andrea cannot bear to seduce a woman he truly cares for, so instead leaves to spend the night with a woman who is said to bring bad luck to all men who have a liaison with her.
The film is well staged and directed by Mario Monicelli, despite the fact that the cinematography is showing its age on DVD. One stand-out scene involves a multiple car chase of Andrea from a group of men angry at his method of duping them into allowing him to seduce a local Sicilian girl in their family, where Andrea’s car is unexpectedly nudged off a cliff only for the NATO Officer to miraculously escape. Also worthy of note is the extended cameo performance of Enrico Maria Salerno as Andrea’s psychiatrist, who increasingly reveals his own eccentricities after spending so long with the mentally unstable. For instance, in an exchange which sums up the humour of Casanova ’70, the psychiatrist reveals a predilection for women’s stockings. Andrea agrees that he too likes a woman in stockings; only for the psychiatrist to reveal that he means he has a predilection for them because he likes to wear them himself.
Casanova ’70 features a fine central comedic performance by Marcello Mastroianni, bringing a somewhat two-dimensional James Bond-esque role to life with a curious mixture of suave cool and charming slapstick panache. Monicelli’s Italian language film is most definitely a product of its era, and somewhat repetitive in parts, although with an added comedic edge that makes it worth a watch. DB
Film: Delicatessen
Release date: 13th September 2010
Certificate: 15
Running time: 96 mins
Director: Jean-Pierre Jeunet & Marc Caro
Starring: Jean-Claude Dreyfus, Dominique Pinon, Marie-Laure Dougnac, Pascal Benezech, Karin Viard
Genre: Comedy/Drama/Fantasy/Thriller
Studio: Optimum
Format: Blu-ray
Country: France
The bizarro team of Jean-Pierre Jeunet and Marc Caro (in their debut) present the idiosyncrasies of post-apocalyptic French life where cannibalism, musical monkeys and a malevolent postman are just part of the everyday.
Clapet is a butcher; he also owns his own apartment building, where the tenants rely on him as their only source of sustenance. In this ambiguous world where “nothing grows anymore”, Clapet has only one source for his wares. Unfortunately, this method tends to mean that his building never gets any serious maintenance work done.
Louison, an unemployed Circus Clown, is the latest tenant/caretaker/victim, and his sweet nature causes him to form a romance with Clapet’s daughter, Julie.
In a bid to save Louison’s life, Julie plots with the Troglodistes, a group of Vegetarian freedom fighters to end her father’s reign of terror for good…
The plot is only half the story; Jeunet and Caro are more interested in style and character. A mix of Lynchian nightmare and Gilliamesque chaos, Delicatessen is as oddball an experience as one could hope to see. The outside world is barely viewed, and when it is, it is shrouded in thick fog (probably as much due to budgetary constraints as artistic vision), and so what we do see is a strange group of people, living in a strange house in a world we don’t fully understand. Amongst the group is an old man who keeps his room like a swamp (complete with live frogs) to attract snails for him to eat, a pair of brothers who manufacture “moo boxes,” and a woman who can’t commit suicide because of faulty plumbing.
This plethora of eccentrics add nothing whatsoever to the aforementioned plot, but they do assist in adding detail to a rounded world that as an audience we don’t mind spending ninety minutes in - which makes things far more exciting than your average plot mechanics.
With so much wall to wall quirk, it would be easy for the film to lose its heart; thankfully Jeunet and Caro are too smart for that, and have created the chaste romance between Louison and Julie, a courtship so sweet and so timid that we’re left with no choice but to root for them from the start.
Highlights include Louison and Mademoiselle Plusse (Clapet’s ‘lover’ - a term used as loosely as possible) testing the bed to find the creaky spring (not as smutty as it sounds), and a gloriously absurd moment where the tenants are almost dancing in unison as they go about their daily routine (to the sound of the abovementioned spring, no less).
Jeunet went on to added fame ten years later with the critically acclaimed Amelie, and his more recent output (A Very Long Engagement, Micmacs) proves that he hasn’t lost his eye for offbeat weirdness, but as with many artists with a singular vision, it is hard to forget what is was like to see them at work for the very first time.
Delicatessen isn’t perfect, it loses it’s way towards the end as the need for a resolution becomes necessary (Pixar’s WALL-E actually springs to mind), but it is a thing of absolute beauty, and even at nineteen years of age it looks stunning on Blu-ray, proving that if a film is well shot it can be spruced up just as beautifully as the latest hi-definition releases. And most importantly, like Delicatessen’s own setting, can be absolutely timeless.
As gorgeous a film as you’re ever likely to see - with enough charm to make the nonsense work. The thinness of the plot is actually a plus, and the inherent sweetness is enough to disarm even the sternest of viewers. SEAN
Film: Dinner For Schmucks
Release date: 3rd September 2010
Certificate: 12A
Running time: 114 mins
Director: Jay Roach
Starring: Steve Carell, Paul Rudd, Zach Galifianakis, Jemaine Clement, Stephanie Szostak
Genre: Comedy
Studio: Paramount
Format: Cinema
Country: USA
This is an English-language release.
Le Dîner De Cons: intelligent, raucous and thought provoking - words you don’t tend to associate with the majority of Hollywood’s output. But they do insist on highlighting their failings.
Everything is going well for Tim. He has an easy, well paid job, a stunning girlfriend, and a flash apartment - but he wants more. He desires promotion to the next level of the firm he works for, a chance to gain more income, and impress his girlfriend who has thus far refused to bow to his relentless marriage proposals – he also becomes increasingly insecure she will find herself in the bed of the charismatic artist she’s working with.
Despite impressing at a board meeting, Tim must attend his boss’ annual dinner to ensure his promotion goes through – the catch: each attendee must bring a fool, who will provide the boss and his guests (including an orange David Walliams as Swiss royalty set to invest millions into their company) with entertainment.
Despite the protests of his girlfriend, Tim sees an opportunity too good to pass up when he mows down the slow minded Barry whilst distracted on his cell phone. Barry shows excitement that he’s been hit by a Porsche, and even offers to payoff Tim, despite being the victim – he’s the perfect candidate.
However, Tim will soon regret extending his dinner invite to Barry, as his presence soon sends his life into chaos…
It’s hardly going to be a surprise to read a website purveying in foreign-language filmmaking slate an American remake of one of France’s golden comedic achievements, Le Dîner De Cons. But we never wanted much. We always knew this was going to be a dumbed down version, but with the likes of Steve Carell, Paul Rudd and director Jay Roach at the helm, who have been involved in many of America’s more palatable releases in recent years, we would have forgiven the sledgehammer approach for ninety minutes of mindless, throwaway entertainment. It never comes close to such modest expectations.
Steve Carell has always struggled when moving into Jim Carrey territory – most obviously in his follow-up to Bruce Almighty – and whilst his ‘fool act’ was tolerable in the likes of Anchorman, where he had a much smaller role within an ensemble, here he comes painfully unstuck. Unlike Carrey who had such success playing dim-wits in the likes of Dumb & Dumber, Carell doesn’t have the physique, the facial elasticity or persona to carry off goofy behaviour whilst retaining the audience’s empathy (even if he sports the same haircut as Carrey’s Lloyd Christmas character in Peter Farrelly laugh-out-loud original). He simply becomes infuriating. More so, when he’s given such inconsistent and barrel scraping material to work with.
The early premise made by Rudd’s over reactive partner is that laughing at people who are odd is wrong, yet all attempts at humour stem from mocking Carell’s Barry character, whose OTT appearance and behaviour is an attempt at milking as many laughs as possible from somebody who surely has a mental disability. Yet despite these tasteless sets up, where, for example, Barry is given a telephone number containing a series of 1’s and doesn’t understand the strange noise from the handset informing him he’s misdialled, he’s managed to retain a long-term job working for the IRS (perhaps a dig from clearly overpaid scriptwriters bemoaning their tax bill); has previously been married (although he had to look under the sofa and still couldn’t find the cliterous); and can create intricate and detailed dioramas, populated by dead mice he preserves, makes up and dresses in custom made costumes – yet you are supposed to believe he would find it impossible to get himself dressed in the morning.
Carrel has proven when he plays it straight – Dan In Real Life, Little Miss Sunshine – he’s a competent actor, but he comes unstuck when asked to absurdly destroy a stranger’s flat play fighting with a leather clad stalker. Although, in fairness, he never comes to Rudd’s do-gooder love interest for exasperating viewers.
As with Carrel, Rudd is another actor whose limitations were easily overlooked within Farrell’s star-vehicle Anchorman, and whilst he’s become the unfunny ‘go to’ comedy actor for Hollywood within recent years, he serves no purpose when the lead fails so miserably. He’s clearly type-cast as the ‘well off’, career type with a beautiful partner, who jeopardises it all once he makes acquaintance with a dysfunctional male. He’s diminutive and plain in a stereotypically good looking way, so he’ll never distract from the star turn of a Seth Rogen (Knocked Up) or Jason Segel (I Love You, Man), and, with no obvious failings, he’s perfectly credible when it comes to the requisite Hollywood schmaltzy ending, but the more Carrel floundered, the more dislikeable he became. His vacant expression throughout the film’s running time was the only appropriate inclusion, as we were asked to root for a selfish character who displayed only monetary greed and dishonesty throughout. No story or character arc prepared us for the clichéd ending, which is swiftly tagged on despite ample time to build up to such predictability.
That brings us to the film’s running time. Two hours is too long for most films, particularly comedies, and when you are throwing out so many misses, it’s arduous to say the least. Roach has form with the Meet The Parents and Austin Powers franchises, but there were enough original set pieces – and two confirmed comedy actors in Ben Stiller and Mike Myers respectably – to maintain interest in those earlier hits.
Producer Sacha Baron Cohen has proven with characters Ali G, Borat and Bruno that he has little shame, but hopefully he’ll show some red-faced humility in apologising to the likes of David Walliams, Zach Galifianakis and Kristen Schaal who provide the only guilty chuckles, although Lucy Punch (recently enjoying success in BBC 2’s Vexed) is made to look ridiculous as the crazed stalker that wants Carell to spank her like a school girl (“You’re a little old to be a school girl, aren’t you?”). Let’s also hope this isn’t a sign of things to come for Jermaine Clement, whose cult television hit Flight Of The Conchords is in a completely different league to this offering.
Dinner For Schmucks has somehow managed to be worse than any fan of the original could possibly have feared when the remake was announced. ‘Nuff said. DH
Film: OSS 117 - Cairo: Nest Of Spies
Release date: 23rd February 2009
Certificate: 12
Running time: 99 mins
Director: Michel Hazanavicius
Starring: Jean Dujardin, Bérénice Bejo, Aure Atika, Philippe Lefebvre, Constantin Alexandrov
Genre: Adventure/Comedy/Crime
Studio: ICA
Format: DVD
Country: France
Based on a series of 1950s and 1960s spy films, which were in turn based on a series of novels by French author Jean Bruce, the movie both parodies the original OSS 117 franchise along with other spy movies from the time, especially the Connery-era James Bond films.
The story is a simple fish-out-of-water comedy, whereby the suave, (not so) sophisticated Hubert Bonisseur de La Bath is sent by his superiors to Egypt during the 1950s to find out what happened to another agent – and Hubert’s old friend – Jack, who is believed to have been killed.
Upon entering the country, agent OSS 117 encounters beautiful women, religious fanatics, people of all races and nationalities, and even has run-ins with Nazis inside the pyramids…
The plot is very basic, loosely holding together a series of comic situations. The film literally throws every cliché of the spy genre at the screen which, while unorganised, ultimately prevents the film from becoming too predictable as you never know what insane plot twist will occur next.
Much of the film’s humour derives from Hubert’s old-fashioned, 1950s sensibilities, and although his xenophobia and sexism will not be to everyone’s liking, the humour is generally handled well, ensuring that it is Hubert who is being ridiculed and humiliated and not his supposed targets.
As well as the ‘humour of awkwardness’, there are also plenty of visual jokes and slapstick comedy that make the film extremely accessible for people with varied senses of humour. Furthermore, the supremely likable Jean Dujardin delivers a performance that ensures the audience continue to enjoy Hubert’s company despite his flaws, and Berenice Bejo is an excellent counterfoil as the seductive, strong, and intelligent love-interest, reversing more traditional roles for a nice contemporary twist.
Our introduction to the eponymous OSS 117 – eyebrow and gun cocked, white teeth sparkling – occurs during a black-and-white, pre-credit sequence set towards the end of WWII, where he and his comrade must steal a briefcase from a fleeing Nazi. From there, we are launched into the glorious and gaudy Technicolor of a 1960s movie, with the filmmakers lovingly recreating the look and feel of works such as the early Bond movies, down to minute details; usually evoking these as jokes as well as a faithful homage. As such, the direction and cinematography comes across as deceptively simple, but it all adds to the enjoyable nature of the film.
Unlike its overblown, overly politically-incorrect and disappointing sequel, OSS 177 - Lost In Rio, Cairo: Nest Of Spies is a far more concise and compact movie, overflowing with jokes and fun.
Nothing in the movie should be taken seriously, except maybe the beauty of the filmmaker’s attention to period/cinematic detail and the joyous soundtrack (there’s even a musical number!) - in short, the movie is a breezy, colourful comedy that should delight all those who are not easily offended.
A must for fans of the Naked Gun and Austin Powers films, or anyone who enjoys the early James Bond movies, OSS 117 - Cairo: Nest Of Spies is a wonderful guilty pleasure. CD
Film: Patrik, Age 1.5
Release date: 23rd August 2010
Certificate: 15
Running time: 103 mins
Director: Ella Lemhagen
Starring: Gustaf Skarsgård, Torkel Petersson, Thomas Ljungman, Annika Hallin, Amanda Davin
Genre: Comedy/Drama
Studio: TLA
Format: DVD
Country: Sweden
A country notable for its tolerance of homosexuality, gay adoption has been legal in Sweden since 2002. Compared to the UK, where same-sex adoption was legalised in 2005, and Scotland, where the bill only passed in 2009, a film that explores the issue from a more established perspective deserves attention. Originally a play by Michael Druker, the film received a warm reception at LA’s Outfest in 2009. Following the media interest and Channel 4’s recent documentary about gay millionaires Barrie and Tony Drewitt-Barlow, who have three children through IVF and surrogacy, this is a timely release.
Göran and Sven Skoogh are a loving couple who have just moved into a neighbourhood so perfect it could have been designed by Ikea. Unfortunately, some of the residents also have readymade attitudes towards homosexuality. The couple do not allow this to faze them - they want a child to cement their relationship, and so the arduous process of adoption begins.
Göran is a GP and the soft-featured, nurturing type who makes the local housewives lament his sexual orientation. Meanwhile, Sven is a hard-headed, hard-drinking businessman with a Dolly Parton poster and a daughter from a previous marriage. When there is a clerical error and the couple are given responsibility for 15-year-old Patrik, a homophobic delinquent, their opposite approaches to people and parenting have mixed results from disastrous to heart-warming…
Patrick, Age 1.5 is as much a critique of attitudes towards same-sex adoption as it is of bureaucracy in Sweden - in fact, the latter is what provides some of the strongest punch lines of the film. Sven’s fury at the error of Social Services is compounded by a parking ticket; he reaches boiling point when the priggish police receptionist seems more interested in reminding him to stay outside the carefully measured perimeter around his bulletproof glass.
The same can be said for the head social worker when Göran decides he does want to adopt Patrik and not hold out for a baby. He replies, “You think we’re just giving out children?” when, due to their own incompetence and limited opening hours, the couple have been looking after Patrik for the best part of a week. Despite the liberal subject material, however, there is still room for a little good old-fashioned xenophobia - if they cannot have a Swedish child, they would happily adopt from any country, although “not from Denmark,” remarks Sven.
Badly behaved and misunderstood, Patrik may look typically Swedish with his Nordic looks, but his attitude is far from tolerant. He is quick to point out, with much bravado, that he once attacked a homosexual, and that he thinks Sven and Göran are paedophiles. Göran, someone apt to make the best of things, teaches Patrik how to say paedophile properly and discovers his unlikely talent for gardening. A mutual respect quickly grows between the two, threatening his relationship with Sven, who continues to behave with a fear of the unknown verging on the Neanderthal.
Ljungman commendably plays the part of an abrasive and overlooked teenager, a role that is by no means easy and often performed very poorly, but it is Gustaf Skarsgård as the winning Göran who carries the film. Many of the most poignant scenes that deal with attitudes towards homosexuality are tackled by him. For instance, his honest conversation with an inquisitive boy he is meant to be immunising is spoilt when the boy’s father stampedes in, furious that his son is being treated by a gay doctor. Or when one of his neighbours, who is openly cheating on his wife with a younger woman, remarks on how convenient it would be for Göran to have someone like Patrik around.
Patrik, Age 1.5 ably confronts the controversial subject of same-sex adoption. The film does not shy away from some of the more unpleasant assumptions held against the gay community, undermines preconceptions and underlines some of society’s double standards. This may be a tall order, but Patrik, Age 1.5 succeeds and yet remains a gentle, thoughtful and, at times, provocative comedy. What better way to celebrate the legalisation of same-sex adoption in Argentina? SR
