My review of Ironclad can be found here – http://flickeringmyth.blogspot.com/2011/03/movie-review-ironclad-2011.html – over at the always fabulous Flickering Myth. I’ll also post it here for my archives. Along with some photos I took in Soho, where I went to De Lane Lea studios, for the screening. It was incredibly exciting and inspiring to be sitting in their waiting room, with signed photographs from most famous actors you can think to name. That’s cliche, and I’m not bitten by the fame bug like some. But you just felt like you were somewhere talented people gathered to make things happen, for the world to see. As a Bond fan, it was exciting to see Quantum of Solace posters and know the sound for the film was mixed there. Waiting for the time of the screening allowed me to discover that Soho itself was fascinating. It’s the hub of London’s film industry, with studio HQs everywhere. Also a wide range of Bloomsbury publishers inhabited the smarter buildings, near various TV production companies, such as Tiger Aspect, which I found in a corner of Soho Square, opposite a house the black, celebrated nurse of the Crimea, Mary Seacole, used to live in. All of this upmarket, swanky, creative establishment stuff, nestled side by side with posh restaurants and seedier strip joints. A diverse place for sure. A mini London – a place I could easily love to see everyday.
A party raged at The Soho Theatre (see above) to Rihanna music on a trendy London balcony. My camera struggled with the light to capture a shot down Dean Street of Post Office Tower.
Anyway here’s my review of Ironclad in full, it’s worth seeing:
The King’s Speech ruled at the Oscars and did so because of and despite of, three core ingredients. It’s a film that’s independently financed, based closely on historical events and proudly British. It proved that independent films could be both critically acclaimed and box office smashes. It brought to life even stuffy costumed history in a dramatic and engaging way. And it highlighted the world’s appetite for thoroughly English storytelling.
Director Jonathan English is aptly named then in the film industry at this precise moment. His latest project, Ironclad, is out on the 4th March. It shares many of The King’s Speech’s potential handicaps. It took eighteen hard months to raise the money for its ambitious scale and according to the earnest production notes, is a tale “torn from the pages” of English Medieval history. All those involved with the Ironclad team will be hoping that their film also shares some of the success enjoyed by this year’s big Academy Award winner. Producer Andrew Curtis certainly believes that like Tom Hooper’s Royal epic, English’s gritty medieval battle drama will prove that Britain is more than “this little village of filmmakers”.
It’s very hard to find anymore comparisons between Ironclad and The King’s Speech. Yes there’s a Royal involved, but Paul Giamatti’s megalomaniac King John in 1215 is poles apart from Colin Firth’s stuttering Bertie. He’s just been forced to sign the Magna Carta, a vital document that would go on to form the foundations of common law in England. This much is well known history, but the film claims the untold story is what John did next; hire an army of Scandinavian mercenaries to kill those behind the drafting of Magna Carta. It’s a piece of paper that concedes too many of John’s powers over his citizens, a humiliation, that he’s pretty damn pissed about. In a rage John sets out to retake his kingdom, only to be blocked by a handful of opponents at strategically important Rochester castle. From the very start Giamatti plays John, a historical villain we’re all very familiar with, as a man having an endless strop with catastrophic consequences. Revealingly Giamatti comments in the production notes that “I play Hitler, basically”.
Ironclad’s impressive cast is undoubtedly an asset for the film and most of the actors are likeably convincing in their roles. But just as there is a vast gulf between the characters of King John and King George, there is a chasm separating the performances of Firth and Giamatti. In the trailer my expectations for the film were drastically lowered by the sight of Giamatti’s unavoidably ridiculous face barking angry orders; adorned with a silly beard clogged by drool and drizzle. To my pleasant surprise he was better as John than the trailer makes him appear. This however does not change the fact that the American’s accent regularly has the odd wobble and that his scenes are generally the least enjoyable in Ironclad. There’s something about his portrayal of the King that just failed to convince me. Admittedly I do think a lot of this doubt was down to my unease at his weak, unintentionally comedic appearance, obvious from the very beginning and before he had opened his mouth.
I was astonished to read a quote from Rick Benattar, one of the film’s producers who had worked with Giamatti before on Shoot ‘Em Up, that said: “We got him (Giamatti) signed up to play King John and cast the movie around him. That’s how it really started.” Now as I’ve said, Ironclad’s cast is genuinely impressive. British heavyweights like Brian Cox, Derek Jacobi and Charles Dance, star alongside established actors Mackenzie Crook, Jason Flemyng and Jamie Foreman. One of Giamatti’s better scenes in the film is so good because he’s trading insults and witty jibes with the formidable Brian Cox, manning the ramparts of Rochester Castle with his soldiers. There’s also impressive young talent on show in the form of Kate Mara as the central love interest and Aneurin Barnard as a youthful, idealistic and inexperienced squire. I found the concept of a Medieval Magnificent Seven intriguing and those actors within the castle walls pull it off. But Giamatti’s John is Ironclad’s single biggest flaw and I find it incomprehensible that he was the starting point for such a diverse, quality cast of Brits. More than anything else, he just doesn’t look right as King John.
Enough negatives then, let’s start talking about the good Ironclad has to offer. Perhaps the main reason I was so surprised by how integral Giamatti was to the creation of the project, was that James Purefoy seemed to have the far more pivotal (and praiseworthy) role. He plays an initially mute Templar knight called Marshall, which is an interesting background for the hero of any movie to have. Marshall’s characterisation in the script may not all be remarkably subtle but it is for the most part original and Purefoy’s performance captivating. He more than capably handles the physical side to Ironclad’s action and apparently enjoyed wielding an authentic 5ft sword.
As producer Benattar says, Purefoy made his name as a “spectacular leader and lover” in HBO TV series Rome. Whilst he again plays the man that rallies those around him and falls for a woman in Ironclad, his restrained Templar knight battling a crisis of faith, is very different to arrogant, swaggering Mark Anthony and demonstrates Purefoy’s range of ability. Looking back at his career it’s a real shame that Purefoy hasn’t had more opportunities to completely inhabit a central figure in the narrative as he does here. Before Daniel Craig’s casting as Bond, Purefoy was talked of as 007, and he certainly would have looked the part and had the acting chops coupled with a distinctive style. He is the heart of Ironclad and that’s saying something given the rest of the cast.
Aside from assembling such a well known, talented cast, director English was keen to make Ironclad stand out with visceral, realistic and gritty action. From the point of view of historical accuracy, Ironclad feels authentic, whatever liberties it probably took with actual events. The variety of weapons and the set all tend to convince, with the exception to the realistic feel being some dodgy CGI of the castle and surrounding area during otherwise good action set pieces. At times the desire to be hard hitting and true to the reality of Middle Ages gore also went too far, with some blatant green screen shots of limbs being cleaved off or bodies hacked in two. But again generally the filmmakers’ attempts to show “what it’s really like to kill someone with an axe” translate into gripping action.
What picking such fine actors allowed English to do was really ramp up the violence, action and drama and then count on his performers to lighten the sombre mood now and again. An interesting side plot of love between Derek Jacobi’s character’s young wife, played by Kate Mara, and Templar Marshall, is slightly different and a touch more interesting than your conventional diversionary romance, due to the knight’s vow of celibacy. There are also flashes of genuinely amusing, and very British humour, I wasn’t expecting from such a dreary looking film shot in rain battered Wales.
Vibrantly realised characters deliver one liners, which could be terribly bad, with attractive style. Asked whether the French will really come to the rescue, Charles Dance’s kindly Bishop of Canterbury, wryly quips “God knows”, glancing to the heavens. And Cox’s Baron D’Albany warns his companion as he makes him hold his sword, that “We may need protection” as they enter a brothel. Only such screen legends could deliver these lines in a way that doesn’t deflate the drama but enriches it with humanity and sprigs of light.
I cannot help but applaud Ironclad for what it proves; that British cinema can compete with the world and produce well acted, exciting action movies. It feels real and very English and director Jonathan can be proud; he deserves his film to succeed. But I can’t help but have reservations. Apart from the occasionally disappointing visual effect, Ironclad’s Achilles heel is Paul Giamatti. He is not terrible but feels out of place with the tone of the rest of the story. It’s a shame the producers felt the need to recruit an American star as an integral part of a very British project. For me his casting undermines the aim of a successful, British and independent film somewhat. That uneasy feeling I regularly got during his moments in the limelight was the only real disappointment of Ironclad; otherwise I found it a good and engaging film.
Posted in Personal, Uncategorized
Tagged action, actors, Anthony, appearance, aspiring, authentic, axe, battle, Benattar, bloody, Bloomsbury, blue, Brian, British, brothel, brutal, Budget, captivating, cast, catapult, celebrity, celibacy, Charles, Colin, costume, Cox, Crimea, dance, De Lane Lea, Dean, Derek, director, English, exciting, fight, film, Firth, Flickering, funny, gag, Giamatti, Gladiator, gore, HBO, history, horse, humour, impressive, Independent, interesting, interviews, Ironclad, Jacobi, James, John, Jonathan, Kate, King, King's Speech, Liam, limbs, London, love, Magnificent Seven, Mara, Mark, Mary, mini, movie, myth, notes, nurse, Oscars, performance, plaque, posh, Post Office Tower, producer, production, projector, protection, publishers, Purefoy, quotes, Review, reviewer, Rochester, Rome, Room, Rotten, screening, Seacole, Shoot 'Em Up, siege, Soho, Soho Square, sound, stars, stocks, Street, studios, superb, swords, Templar, tension, The, Tiger Aspect, Tomatoes, trailer, Trim, tv, Verdict, visceral, vow, Wales, war, weak, wet, writer
In today’s Observer Barbara Ellen gets the issue of the Coalition’s plans for tuition fees spot on. Firstly she rightly insists that for too long the student community, traditionally a proactive, revolutionary portion of society, has remained dormant on the issues of the day. Even before the programme of cuts now being initiated there were challenges like climate change that a youthful generation ought to be passionately highlighting en masse. Finally on Wednesday students will march through London and I will be among them. Those who dismiss the march as futile miss the point. If you cannot be idealistic and stand up for lost causes as a student then what hope is there for the rest of society? And as Ellen points out, the rest of society is about to feel hard-hitting cuts too. Crucially though she insists that the government strategy of portraying students as some sort of better off elite that should cut back with everyone else is misguided and wrong. Yes students may not feel the bite of recession as strongly as some more deserving groups of the poor and deprived, but this does not mean we should accept a deal that is still unfair to students and does not even fix any problems. The withdrawal of public funding for universities announced in the Spending Review means that the rise in fees will simply plug a gap and not secure the future high quality of British higher education. The Coaltion’s constantly repeated promise that greater help than before will now exist for the poor under the new system also misses the point and is simply a smoke screen. The wealthy politicians at the heart of Coalition policy cannot comprehend how fees and debts of £9,000 a year could put off a potential student. It’s also a harsh reality of such means tested funding for poorer students that some genuinely deserving talented scholars will miss out and others who do not need the money will find some way of benefitting. It also ignores the bulk of students from ordinary families who will be too well off to qualify for financial aid but nowhere near the sort of level where they can comfortably pay their own way. The heaps of additional stress alone added to the application process will deter sixth formers from applying. Ellen makes so many good points and destroys the coaltion argument as to why these proposals are necessary and fair. They neither do what is necessary or ensure fairness. Even the raising of the salary threshold, above which debts must be paid back, to £21,000, is not as progressive as the government would have us believe. This is still an average wage and aren’t graduates meant to lift themselves above average? Surely they should only start paying back when their education has delivered its promised benefits? Read her article, which expresses far better than I why students should march in outrage at the creation and protection of elites.
A leading article in the Independent on Sunday points out the highly risky phrase “we’re all in this together” frequently deployed by the Prime Minister and his Chancellor. As the tuition fees situation and other cuts show, we simply aren’t all in this together. If cuts and taxes have been aimed at the rich, they have been balanced by other concessions to soften the blow. For example the bank levy is a token gesture when the savings the banks will make from a cut in corportation tax is considered. And as this article points out the Prime Minister must be more considerate in his decision making at a time when millions will feel the pinch as a result of his cuts. Paying a personal photographer is a luxury; the sort he has ranted against, an inefficiency that shows his detachment from the reality of most voters.
Matthew d’Ancona also discusses Tory strategy in The Telegraph and insists that the failings of their plan at the last election highlight why those hoping for a right wing replication of the Tea Party activism gaining success in the States right now will be disappointed. He is spot on when he points out that Cameron’s popularity surge dissipated when the Tories switched tack to warning of the deficit and an age of auterity to come. At the time I viewed the sudden shit in rhetoric as a shameless u-turn, when in Opposition Cameron had often supported Labour’s actions to avert financial meltdown and had not mentioned the deficit before. In his attempts to distance himself from Labour and simply offer the change, any change, that the electorate so desperately wanted, Cameron moved his modern, detoxified Conservative party to the right and this may have cost him outright victory. There will be no repeat of the Tea Party here, not a credible one at least, and the Lib Dems ought to halt any drives to return to radical Thatcherism, or what is perceived to have been her legacy.
My final link is a well written investigation into the resurgent popularity of the flat cap and its history over the years. I recently purchased one and I’m planning to team it with my scruffy beard for the student march on Wednesday. I’ll probably look more like the farming yokel than the celebrities seen sporting them though.
Have a good Sunday, hope everyone has enjoyed the fireworks.
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Tagged 10th November, 2010, application, austerity, Barbara Ellen, Cable, Cameron, celebrity, Chancellor, class, Clegg, Coalition, college, Comment, commentary, Cuts, debt, deficit, election, elite, fashion, flat cap, Guardian, Independent, London, march, Matthew d'Ancona, Money, NUS, Observer, opinion, Osborne, Politics, poor, Prime Minister, rebel, Republican, revolt, right-wing, sixth form, smart, strategy, students, style, Sunday, Tea Party, Thatcher, trend, tuition fees, uni, university, Wednesday