Tag Archives: Charles

Films that remind you of people – Amelie


Sometimes you really wish you could forget someone. Not because you want to but because you feel like you have to. People are forever telling you to “move on” from them, as if they were a shifty beggar in the street wasting your time. They have condemned you to the rubbish dump of their lives, so you should do the same. Whatever you manage to salvage from the wreckage of them will only remind you of the way things were before the crash, in a time you cannot travel back to. It’s time for a new stage of your life, minus them.

There are days when it feels like you might be able to do it. There are loads of things to live for, more pluses than minuses dotting the horizon of the future. But the thing is life has a knack of throwing reminders your way that jolt you back to her, to him, to them, to there. Oh look, memory sneers in a stage whisper from the shadows, it’s the bar you spent all night talking in, the river bank where you first kissed or the station she used to get off at. Even when you’ve succeeded in blanking them out from familiar places, their memories surprise you in other ways.

“This was our song” is a phrase you often hear from the devastated dumpee, just before their face melts in a cascade of noisy tears, possibly years after the breakup itself. Then there’s the novel that becomes ostracised on the book shelf because of a strange connection you are suddenly seeing these days within its pages. Even their favourite paper or magazine can give you a slap in the newsagents occasionally.

Some of the worst offenders are films. There will be the trashy romantic comedy given inexplicable significance because it happened to be your first date. There will be films that divided you and films you wished them to see. And there will be some favourites of theirs you never found the time to watch.

This was the case for me as I finally watched Amelie in its entirety. I had seen bits of it but never the whole thing. I knew that the music was fantastically whimsical and enchanting. I had watched an uplifting scene via YouTube in which Amelie spirits a blind man along a street, vividly describing everything in a whirlwind of sensuous movement. I knew it was French and starred Audrey Tautou. And I knew it was one of the favourite films of someone I wish I could forget.

In a way I was desperate to hate Amelie. I knew what it would be like because I knew the people that liked it. I was hoping that it would try too hard, alienate me with its quirkyness and annoy me with its arty farty simplifications. There were times I felt a little like that. But mostly I loved it.

Why did I hope that I wouldn’t? It was hard at points to be enjoying it so much because they enjoy it. How much easier it would have been to be repulsed and to have found another tiny reason to take another minute step forward and away from the past!

Amelie is about being alive, feeling alive and dreaming. It’s about the smaller things, so particular and peculiar that they must be real, containing a touch of magic that makes life worthwhile. It is extremely funny and eccentric, fresh and unique.

It’s the eccentricity that I thought might annoy me. I thought that Amelie might have been quirky for its own sake, as so many films of its ilk are. But Amelie’s comedy is crucial to its success. It is almost self mocking at times with the ridiculous and random nature of its details.

In the opening twenty minutes I fell in love with the narration. Normally voiceover is catastrophic and awful. Perhaps Amelie’s is so charming and intoxicating because it is French. Or perhaps it is that at once meaningful and light hearted tone, which doesn’t take itself too seriously. Amelie feels like a novel throughout its enjoyable beginning which explains her tragic yet amusing childhood. Characters are brought to life instantly because of their odd habits and Amelie herself has baffling, childlike musings about the world which add to her appeal.

I was disappointed when the narration became less frequent throughout the film, which is extraordinary given my usual distaste for voiceover. I loved the musicality of the voice, the specific details it would come out with and the telling but mysterious insights we’d instantly learn about characters. Most of all I loved the way it seemed to mock any work of art trying much too hard to stand out.

But the retreat of the narrator brings Amelie herself to the foreground. The wonderful lines from the narrator are replaced by some witty and surprising scenes of dialogue. The visuals and sounds of the film grow and grow until modern day Paris seems like a wondrous place, with deserving and interesting souls to be saved on every corner.

I expected Amelie to be preachy, perhaps patronising or too desperate to be different. I wanted to dislike it for my own good. But in the end I am glad to have seen it. I liked it because it’s good, not because of any associations it has with anyone. I thought it was unique and it made me feel alive and full of possibility, regardless of what others think. It’s a beautiful and beguiling film that reminds us how life can be so too, with dreams coming true, big or small, out of nowhere.

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Page and Screen: Flaubert’s cinematic Madame Bovary


Gustave Flaubert’s mid nineteenth century novel Madame Bovary might not appear all that remarkable if you read it today. At the time its focus on the limitations of marriage, along with its abundance of controversial ingredients like frequent and shameless adultery and suicide, made it a scandalous work of fiction. No doubt it would have been derided as deliberately explicit and shocking filth, masquerading as art, as D.H. Lawrence’s Lady Chatterley’s Lover would be around a century later. But today Flaubert is seen as the first truly modern novelist because with Madame Bovary he composed a recipe of ingredients that would be followed by countless storytellers, both on the page and the screen.

Read the blurb of Madame Bovary and its plot will resemble that of a lot of Victorian era fiction. The story follows Emma, a country girl living a simple life, whose charms captivate the young doctor who comes to treat her ailing father. The doctor is Charles Bovary, already a widower from an unsatisfying marriage. He and Emma marry and she becomes Madame Bovary. They move to the provincial small town of Yonville, where Charles takes a job. Holding such an important position in the intimate community, Charles and his wife become the centre of attention, be it from the atheistic chemist across the street with a high opinion of himself or the regulars at the inn. Emma quickly feels stifled by the rural and dreary existence, as well as her husband’s doting. She conducts two affairs, one with young clerk Leon and another with experienced seducer Rodolphe.

One of the ways in which Madame Bovary became a blueprint for the modern novel was its focus on the character development of Emma. It is often hailed as the first psychological novel because of this. Flaubert uses free indirect style to explore and articulate both Emma’s emotions and thoughts, be they gloomy, gleeful or giddy with romance. The technique allows the author to zoom in and out, at once using his own words and those that the character might use. Already we can see how this book not only inspired the form of later works but foreshadowed the methods of the filmmaker; sometimes sticking close to a character’s viewpoint, sometimes offering a broader overview of their actions and sometimes not seeing their actions at all.

Madame Bovary is cinematic in other ways too. Its entire structure is epic in the way that films often are, telling the story of a whole life, beginning at Charles Bovary’s school. In the early chapters we form an opinion of Charles as an ordinary but kind enough man, only to have this interpretation contrasted with Emma’s later bitterness towards him because of that very unsatisfying and indifferent kindness. This is another way the book is cinematic; it is constantly changing viewpoints amongst an ensemble cast. Despite the often intense focus on Emma’s romantic desires for meaning suppressed by bourgeois convention, we also regularly view Emma from the perspective of her lovers or the town chemist or some other figure. Cinema is constantly showing us how its main characters are seen by others to broaden our understanding of them.

Emma’s outlook on life is unquestionably romantic, some might say naive and neurotic, but it’s certainly passionate. However Madame Bovary was Flaubert’s masterpiece of realism, written to atone for what he saw as the excesses of his previous work The Temptation of Saint Anthony. One way in which the book achieved this realism was with its down to earth subject matter. Flaubert based the story on a marriage breakdown of the time and peppered it with themes from everyday French life, many of which still resonate today.

This was a novel about reality in which the main character read novels of escapism. This was a novel set in a simple setting that climaxes with Emma’s debts spiralling out of control, as she drowns in the luxuries purchased to sustain a dream life and fill the black hole left by her emotional emptiness. The ingredients are recognisable from everyday life but Flaubert ramps up the drama, just as producers, writers and directors do with films today, and storytellers have done for years. Grand language such as “she awakened in him a thousand desires” may match Emma’s desires for romantic fulfilment but is always counterbalanced by Flaubert’s realism. Throughout the novel, whenever Emma reaches a peak of ecstatic fulfilment, the decline begins shortly afterwards.

Much of Flaubert’s realist genius, diehard critics argue, cannot possibly translate from French to English without acquiring an air of clumsiness and familiarity. As James Wood points out in How Fiction Works, a sentence with magnificent and finely crafted rhythm in Flaubert’s native French, loses much of its magic in English. And if the translator tries to replicate the essence of the original too hard, he creates something laughable. “L’idée d’avoir engendré le délectait” becomes “The thought of having impregnated her was delectable to him” or if trying too hard “The notion of procreation was delectation”.

However Flaubert’s talent for precise and detailed description does translate and this is perhaps the most cinematic element of his realist style. Chapters will often begin with snapshots of detail or even lengthy passages really setting the scene of a particular room or place, sometimes incorporating a character’s mood and sometimes not. It might seem like an incredibly basic rule of storytelling, almost a childish one, to “set the scene” in this way, but Flaubert does so much more than just describe something. By selecting his details with the utmost care and deliberation, but seemingly effortlessly, he tells us everything we need to know about a scene.

At times he can do this incredibly concisely, with just a few telling details. One chapter, in which Emma has slipped away from Yonville to begin a love affair in the larger town of Rouen, begins like this:

They were three full, exquisite days – a real honeymoon.
They were at the Hotel de Boulogne, on the harbour; and they lived there, with drawn blinds and closed doors, with flowers on the floor, and iced syrups that were brought them early in the morning
”.

From our 21st century vantage point it’s very difficult to understand what upset the French so much when Flaubert was so tactful about his descriptions of sex and affairs. Very rarely does he resort to even explicitly describing a kiss.

Elsewhere he uses detail to paint lifelike pictures of minor characters, some of which, like this one, are never seen or mentioned again:

There, at the top of the table, alone among all these women, stooped over his ample plateful, with his napkin tied around his neck like a child, an old man sat eating, drops of gravy dribbling from his lips. His eyes were bloodshot and he had a little pigtail tied up with a black ribbon. This was the Marquis’s father-in-law, the old Duc de Laverdière, once the favorite of the Comte d’Artois.”

We can imagine a camera passing over a character such as this in a film, picking out the specific details Flaubert highlights, adding life to a scene and then moving on. Such descriptions have a quality James Wood terms “chosenness” whereby the author picks out a bunch of details that, together, give the most accurate and lifelike feeling of a person, place, object or action. This process is artificial, sometimes combining details from different time registers but writers like Flaubert make it appear natural. And film directors and editors do exactly the same thing. For example, when establishing the feel of a carnival, the editing process will cut together things happening at different times into one easily digestible chunk for the audience to swallow the best impression and mood of the scene.

Flaubert laid the foundations for new types of writing and storytelling that could marry the intentions of a realist and a stylist. It paved the way for novels that felt more journalistic with almost completely passive descriptions of people and places, from Christopher Isherwood’s Goodbye to Berlin to Ian Fleming’s James Bond novels, packed with lists of brand names. Isherwood even makes this statement early on in Goodbye to Berlin: “I am a camera with its shutter open, quite passive, recording, not thinking.” Then later on this passage mirrors even more closely than Flaubert a reel of edited film:

The entrance to the Wassertorstrasse was a big stone archway, a bit of old Berlin, daubed with hammers and sickles and Nazi crosses and plastered with tattered bills which advertised auctions or crimes. It was a deep shabby cobbled street, littered with sprawling children in tears. Youths in woollen sweaters circled waveringly across it on racing bikes and whooped at girls passing with milk jugs”.

The children cannot be “in tears” all of the time. Isherwood has perfected the technique that Flaubert pushed out into the open, for all writers to follow as a guide. James Wood sums up the passage far more succinctly than I could: “The more one looks at this rather wonderful piece of writing, the less it seems a “slice of life”, or a camera’s easy swipe, than a very careful ballet.”

It’s easy to forget that films too are intricate, vast and complex operations. Action scenes that burst into life spontaneously in shopping centres or even a stroll down a street in a rom-com are intensely choreographed. The plan laid out for the modern novel in Madame Bovary, and for writing detail in particular, has left us with as many terribly overwritten books as good ones. And even awful films are carefully managed. But the artificiality of cherry picking the best moments in life and stitching them together can be art at its best; art telling little white lies for a grander, more meaningful truth.

In the mood for a romantic comedy – a distracted review of True Grit on DVD


I always eagerly watch the trailers before a film. The best snippets of releases that are “coming soon” can be tremendously exciting. There is also an art to making good and great trailers, with the best of them standing apart from the movies they promote or making a crap film look irresistible. Many movie buffs appreciate this. But more often than not I’ll be watching something with someone urging me to skip to the film we’re actually watching. When I’m fortunate enough to be in control of the remote, I always insist on watching the trailers, even when I’ve seen them dozens of times before.

The first trailer of quite a few before the menu screen on the True Grit DVD, was for Morning Glory, starring Rachel McAdams. I’m mildly interested in seeing this at some point because of a rather different comic role for Harrison Ford, the strange appeal of the breakfast show subject matter and the feminine charms of McAdams. She is cultivating a line in cheeky but likeable performances, with a turn in Guy Ritchie’s Sherlock Holmes and the news that she’s been cast as Lois Lane in the 2012 reboot of Superman. There’s also a shot of her rounded rear that does the film’s appeal no harm in my book.

Next up was the Natalie Portman and Ashton Kutcher rom-com No Strings Attached. I’ve read a lot about this movie, including some pretty hilarious but ultimately unflattering reviews. I’ve seen the trailer more than once. It’s part of a trend of stories trying far too hard to be modern, about “friends with benefits”. In the 21st century what is wrong about a man and a woman, who know and trust each other, having casual but enjoyable sex on a regular basis? Well the rom-com likes to point out that love is the big stumbling block; it always gets in the way when you least expect it. I mean it’s frankly just an inconvenient and inconsiderate emotion. We all ought to hate its lies, its deceit and its inevitably devastating consequences.

And yet it always conquers all. Even those like Portman and Kutcher’s characters, avoiding love like the plague by making sex a satisfying physical transaction, get bitten eventually by that pesky love bug. Cinemagoers too are always infected because soppy idiots fall for the obvious, predictable, signposted, cliche and crappy happy ending.

Today I must’ve been after a happy ending. I wasn’t really in the mood for Joel and Ethan Coen’s Oscar nominated True Grit. I was inexplicably captured by the trailer to No Strings Attached, which as I’ve said I’ve seen several times before and I’d long ago concluded I wasn’t bothered about seeing. Perhaps its my persistent crush on Natalie Portman’s pretty and sexy features. Perhaps its simply my starved and hungry libido. Or perhaps it’s a longing for the perfect emotional satisfaction of the romantic comedy.

Whenever there was a lull in the action of True Grit and I was no doubt supposed to be reflecting on or contemplating the rugged wild west landscape or the moral terrain of the story, my mind drifted into daydreams prompted by No Strings Attached. I don’t think a trailer has ever disturbed my enjoyment or concentration of the following film in quite the same way.  

I pondered again and again what would happen to the relationships I had with people now, how friendships would shatter, grow or change beyond recognition. I planned imaginary grand gestures and pictured the romantic epiphany when I realised that yes, she was the one. I imagined myself living a busy, varied and satisfying life. The social groups that encircled it would be populated exclusively by young and attractive people, and some of them, perhaps just one or two, would care about me. And I’d have lots of sex. In short: I surrendered to fantasy.

What does it mean to be a romantic nowadays? At times I am happy to embrace the label and at others I am disgusted by it, depending on my mood or the particular definition. Is Mattie Ross, the heart of True Grit, a romantic? Some might say that’s nonsense given her realistic and often pessimistic outlook, with a tough maturity well beyond her 14 years. But she is also idealistic about bringing her father’s killer to justice, about the intentions of the law, and indeed her naive and childlike distinction between evil and good men, proven simplistic by her choice of hero.

Maybe it’s the peculiary romantic, noble and heroic ideas of Ross that helped my wandering mind off track. It could equally be of course that the isolation of True Grit prodded my loneliness into creating deluded distraction. The Coens have certainly crafted a film with darker and deeper depths than the 1960s typical John Wayne outing.

True Grit can also be surprisingly warm though. Mattie Ross is a character it’s impossible not to invest in and care for. Jeff Bridges plays Rooster Cogburn as a cold and hardened gunslinger at times, and a hilarious layabout drunk at others. There’s some wonderfully teasing interplay and banter between him and Matt Damon’s LaBoeuf. And the dialogue at times evokes the homely West so vividly that you want to take a trip there away from the boring variety of British dialects by comparison.

True Grit is as not as “fast paced” as some of the quotes on the cover would have you believe. But it’s not a dreary, arty take on the Western, as many attempts at the genre are these days. Its runtime is agreeable and its characters playfully portrayed. There is a fairly snappy climax with some good action and shocks. And Hailee Steinfeld’s performance as Mattie is a truly remarkable breakthrough. The plaudits have mostly been lavished on Bridges but she is the real star and the glue holding True Grit together. Damon is good too.

It wasn’t a masterpiece of filmmaking. But then I was barely paying attention. I know should be talking in depth about a film that chose to adapt a novel’s true nature rather than remake a Hollywood classic badly. The Coens usually make great and intelligent cinema. So perhaps it was majestic; I was simply in the mood for a cruder and more direct, perhaps even a crap, tugging of my heart strings. Is that a crime?

I suspect it probably is.

 

Battle of the Bonds: Michael Fassbender vs. Daniel Craig


Ok so I know technically Michael Fassbender isn’t a Bond but there was no way I was calling this anything else. If you’ve seen the new X-Men film you’ll know Fassbender essentially gives a super powered performance of our favourite suave secret agent. My review points out as much here.

Critics up and down this green and pleasant land are saying they’d like to see Fassbender play Bond in future. Some are even calling for the head of Daniel Craig now, just two films after Craig successfully rebooted cinema’s longest running franchise to acclaim from commentators and audiences alike. But the problem is Casino Royale was almost six years ago. Since then we’ve had the action packed disappointment of Quantum of Solace, in which Craig was still good but hampered and limited by a mostly naff script. We’ve also had the crisis of MGM delaying the release of Bond 23. All the while Craig has been ageing, the poor thing.

I am a huge fan of Craig’s interpretation of Bond but even I have to admit that he’ll be under pressure if Bond 23 doesn’t vastly improve on Marc Forster’s Quantum of Solace. Sam Mendes is at the helm and the signs are good but then most of us Bond fans were saying that on the web about the last one. Forster was supposedly a director who could tell a story but we were left with some decent action at the start, which felt like it was still part of Casino Royale, followed by a disappointing story with flashes of average action that was an unsatisfying epilogue to the reboot at best.

Because of the delays then, as well as the unstoppable onslaught of human decay, Fassbender has the edge on youth. His career is also shifting into a top gear; at a time when Craig’s is also attracting big enough projects that could tempt him away from Bond should the 23rd instalment prove be a sinking ship.

 Enough build up. Let’s compare a few necessary requirements for an actor playing a 00 agent. Bonds do battle.

FILMOGRAPHIES

Fassbender:
                                                                                                       
300 (2006)
Eden Lake (2008)
Hunger (2008)
Town Creek (2009)
Fish Tank (2009)
Inglorious Basterds (2009)
Centurion (2010)
Jonah Hex (2010)
X-Men: First Class (2011)
Jane Eyre (2011)

Craig:

Casino Royale (2006)
The Invasion (2007)
The Golden Compass (2007)
Flashbacks of a Fool (2008)
Quantum of Solace (2008)
Defiance (2008)
Cowboys and Aliens (2011)
Dream House (2011)
The Adventures of Tintin: The Secret of the Unicorn (2011)
The Girl with the Dragon Tattoo (2011)

Round 1 – Acting Chops

Going from both men’s biggest hits and breakthroughs to the mainstream in 2006 (300 and Casino Royale) to the present day, it’s probably Fassbender with the more impressive list. There were meaty roles for him in Hunger, Fish Tank and the upcoming Jane Eyre. Hunger in particular alerted directors everywhere to his talent. The film carries a 90% rating on Rotten Tomatoes and is “anchored” by Fassbender’s performance, according to Empire Magazine. Working with Quentin Tarantino is no bad thing for a CV either.

Craig on the other hand followed up his cold and commanding debut as Bond with the critically panned The Invasion with Nicole Kidman and average kids film The Golden Compass, which was supposed to launch an all conquering series to rival Harry Potter. Flashbacks of a Fool was a favour to directing friend Baillie Walsh, in which he gave a performances as a washed up actor fallen from grace. It was good but not the main role in the film, as the rest was told in flashbacks to childhood and in any case it wasn’t a big hit. He pulled off an impressive accent in Edward Zwick’s Defiance and generally convinced as a leader. Only recently has Craig got some really appetising projects on the go though, working with the likes of Spielberg for Tintin, David Fincher for Dragon Tattoo and Harrison Ford and Jon Favreau for Cowboys and Aliens.

Verdict: Even with that lull for Craig, it’s difficult to separate the abilities of these two.

Round 2 – Sex Appeal

I am definitely the wrong person to ask about this. But there’s no doubt that Bond has to be able to inspire a certain longing in the ladies, with a mere gesture or flirtatious glance. Both actors have charisma and cool credentials. Fassbender dresses up smart in the latest X-Men, as well as donning casual hard man leather jackets and camp superhero costume, cape and all. In Fish Tank his character’s raw masculinity was irresistible to mother and daughter alike. Inglorious Basterds saw him with slick and precise hair and a uniform. After starring as Mr Rochester as Jane Eyre later this year, further legions of women will join the ranks of his swooning admirers, with the earliest recruits hooked by the sight of his muscular and barely clothed physique in 300.

From what I’m told Craig is not a bad catch either. Certainly upon news of his casting as Bond and following the first viewings of those notorious blue Speedos, the females in my social circles could talk of nothing else in fits of giggles for days. Perhaps they’ll like the sight of him in a Cowboy hat.

Verdict: I really don’t know, they both seem to be handsome chaps and I imagine it comes down to personal preference. However if I had to make a decision, I’d say that Fassbender’s mixed Irish/German heritage makes him more exotic. Plus he seems taller. I hear that’s good.

Round 3 – Who would win in a fight?

Fassbender fought like a lion on speed in 300. And as I’ve said he had very little on. That’s impressive and a Spartan warrior takes some beating. However Bond doesn’t fight with swords, well not very often. He’s got to be able to beat a man to death with his fists, win shootouts and take out bad guys in witty ways. Fassbender did a lot of grunting and killing in 300 but where were the one liners? And in Inglorious Basterds he got shot almost immediately after some lengthy chit chat. Bullets are meant to swerve to avoid 007.

Or in Craig’s case, merely puncture his huge pecs. Craig has proven himself already as Bond, especially physically. His stunts and fight scenes have brought the series up to date. Some have criticised the mimicking of Bourne-esque action, which is valid for Quantum of Solace but off the mark for Casino Royale. In the past Craig has blown up enemies of Israel in Munich and taken on the Nazis in Defiance. Judging by the trailers he’s going to kick some Cowboy/Alien ass this summer too.

Verdict: Fassbender needs more time to learn the ropes but unless he’s got his metal moving powers still, looks like Craig will knock him out.

Round 4 – Staying true to Ian Fleming’s original

In X-Men: First Class Fassbender proves he can speak menacingly in Spanish, French and German. He is ruthless and suave and all action. He has a taste for the ladies and strong principles which he stands by. He is loyal. All of these qualities and more that Fassbender displays as the young Magneto, travelling the globe conducting his own private espionage, are those of Ian Fleming’s original spy. If Bond producers Barbara Broccoli and Michael G. Wilson were ever bold enough to take Bond back in time, Fassbender would be perfect for another reboot. His British officer look in Inglorious Basterds, combined with his Magneto, creates a pretty cool version of James Bond licence to kill.

It’s unlikely the producers will ever take Bond into the past and a Cold War world again because they feel that would tarnish the earlier films which covered that ground already. Bond needs to find a way to carry on in the modern world whilst retaining the best elements of the original. And Daniel Craig’s version of the character found that path with Casino Royale. His more human and more brutal portrayal took Bond back to his literary roots with tremendous results.

Verdict: Impossible to split. Fassbender has the potential to be a classic Bond as Fleming imagined him but Craig has already proven himself as a Bond inspired by the books as well as the films.

So at the end of that battle we know nothing new. It’s a draw on points. Basically Fassbender might be a good Bond when Craig steps aside but for now he’s doing a good job. What happens next all rests on Bond 23.

What do you think? Would Fassbender make a better Bond than Craig?

Film Review: X-Men: First Class


Flickering Myth ran a poll earlier in the year about which summer superhero movie people were most looking forward to. The contenders were surprise hit Thor, The Green Lantern, Captain America and this X-Men prequel, steered by director of Kick-Ass Matthew Vaughan. For me X-Men: First Class was the most anticipated of the selection by a mile.

The trailers promised a truly epic reinvention of a stagnating franchise. Vaughan went for a completely new look cast of mutants, with the exception of one comic cameo. Amongst this cast the partnership of James McAvoy and Michael Fassbender takes centre stage, with the enormous task of matching and exploring the rivalry portrayed by thespian heavyweights Patrick Stewart and Ian McKellen in the previous Bryan Singer films. For the most part, their youthful interpretations bring something different that really works.

The film starts off brilliantly with Fassbender’s Erik Lehnsherr and McAvoy’s Charles Xavier on separate paths. Xavier is a brilliant Oxford academic with a fondness for pubs and science heavy chat up lines, which seem rather redundant when he can read minds. Lehnsherr however is driven by revenge into stalking the globe in search of his enemy and his mother’s murderer, Kevin Bacon’s Sebastian Shaw.

We see both of our key protagonists as children. The film starts with the young Erik, played rather limply by Bill Milner, being threatened in a Nazi concentration camp, by a toying doctor who turns out to be Shaw, into manipulating metal by moving a coin. We see the young Charles, far more convincingly played by Laurence Belcher (who was also excellent in the Doctor Who Christmas special), finding a fellow mutant, shape shifter Raven, in his kitchen and taking her in as a sister.

Things really get interesting when Xavier has graduated as a Professor in genetics and the CIA come to call on him. He then demonstrates his mind reading telepath tricks in a variety of ways, until he is believed enough to get free rein to create a team of mutants to take on Shaw, who is engineering a nuclear war via the Cuban Missile crisis, which he hopes will leave only mutants as Earth’s dominant species. The best bit of First Class however, is Fassbender’s pursuit of his Nazi nemesis.

What really excited me, more than anything else, was the historical setting of this film. Fassbender has been championed as a future 007 in the past and there hasn’t been a review of X-Men: First Class that doesn’t praise the mini James Bond adventure within it. Adult Erik travels in stylish, suave period suits to banks in Switzerland to interrogate the keepers of Nazi gold for info, by painfully plucking out fillings with his powers, and to bars in Argentina in cool summer gear to kill hiding Nazis with flying knives and magnetically manipulated pistols. In all these locations Fassbender speaks the native tongue and oozes the steely determination of a complex and damaged killer. His quest is a snapshot of what a modern Bond set in the past, bilingual and faithful to Fleming’s creation, could be like.

Aside from the dreams of a reinvented Bond though, the Cold War setting is exciting and thought provoking for other reasons.  The mutant situation mirrors the struggles at the time for civil rights for black Americans and other minorities, such as homosexuals (hinted at by the line “Mutant and Proud”). The whole film can make the most of the visual benefits of period costume, with fabulous suits and dresses, as well as period locations and set designs. The rooms on Shaw’s secret submarine resemble a villainous Ken Adam Bond set. And the ideological conflict between the US and Russia, echoes the differences in outlook between Xavier and Lehnsherr.

Despite rave reviews at first, respected critics have given X-Men: First Class an average rating. I think this is mostly because the film doesn’t live up to the enormous possibilities of its setting and doesn’t explore as well as it could the beginnings of the relationships in the X-Men. It is still a good film. For a blockbuster this is a slow burning watch, which I liked, but I admit that the action scenes could have been more frequent; even though a couple are terrific the film never really ignites. All in all Vaughan’s prequel is good but not as good as it could have been.

One of the reasons cited for disappointment is a lack of focus on the rest of the X-Men. It was a difficult balance to strike, with Xavier and Lehnsherr’s relationship proving so fascinating and McAvoy and Fassbender having so much chemistry, both comic and serious. I actually thought that characters like Beast and Raven were fleshed out more than I was expecting. A much criticised code name scene, in which the younger X-Men members sit around joking about what they’d like to be called, has been pummelled with criticism. I thought this scene was funny, as much of the film is, for not taking itself too seriously and entertaining for introducing the powers of the characters.

X-Men: First Class will divide audiences. Some will think it’s boring, others will love its action punctuated with character development and solid acting. Fans of X-Men will differ with some salivating over the explanations to Professor X’s wheelchair and Magneto’s helmet and others feeling letdown by the promise of so much more. Perhaps the most reliable fan base for this film is James Bond fans waiting for next year’s Bond 23. Fassbender’s literally magnetic and chilling performance is Bondian, as are the locations, the villains and babes on show like January Jones and Rose Byrne.

BlogalongaBond: You Only Live Twice – A review from memory


After getting the ball rolling last month with the underwater mad, but still in my view underrated Thunderball, I was looking forward to sitting down to the even grander and more SPECTRE dominated You Only Live Twice. Here was a Bond film not only hell bent on exotic thrills but a whistle-stop tour of Japanese culture for a Western audience. With such a diverse location to work with, a script adapted by Roald Dahl from one of Fleming’s best novels and the fresh direction of Lewis Gilbert, this would surely be bigger and better Bond. I licked my lips at the prospect of rediscovery.

Unfortunately I came across a substantial stumbling block perusing the beloved and holy row of Bond DVDS. I do not own a copy of You Only Live Twice. I am anxious to keep this knowledge from my friends. Among them my, perhaps unhealthy, obsession with all things 007 is the stuff of notorious legend. I am counting on the fact that they are not good enough friends to read my blog.

You might ask why I haven’t simply gone out to buy a copy. I am not marooned on a desert island with no access to British high streets and if HMV should prove woefully stocked the internet is of course at my disposal. If it were a missing fragment of any other film series I wouldn’t hesitate. But my James Bond collection is comprised of two disc Ultimate Editions with beautiful matching packaging. To my horror, around the release of either Casino Royale or Quantum of Solace on DVD, the Ultimate Editions were re-released with all new (and vastly inferior) packaging. Reluctant to tarnish the perfection of my sacred DVD area, I have refrained from buying a newer copy of You Only Live Twice and have been unable to find a copy to match my collection.

Oh I know you feel my pain reader. Life is a cruel and unpredictable mistress. I felt resigned to my fate and the torturous wait till June where the snowy delights of On Her Majesty’s Secret Service lurked in the Alpine trees. I was on the verge of giving up and leaving a gaping hole in my own personal BlogalongaBond journey. But then I got to thinking: why didn’t I own You Only Live Twice? Why hadn’t I made it a priority when assembling my shrine to the world’s most recognisable spy?

For Sean Connery of course it was the film that took the character too far and into the realm of the ridiculous. He resented the space age driven plot and the increasing repetitiveness of the one liners. In particular he must have felt like a first class prat being initiated as an honorary citizen of Japan, with a haircut that made him look like a monk (perhaps M really did want him to be “half monk/half hitman”). For fans looking back on the whole series of 22 films, Connery’s concerns might seem rather unfounded compared to the silliness to come with the Moore era. But clearly the Scot didn’t agree with the direction of travel away from intimate plots like those in From Russia With Love. The scale of this, the franchise’s fifth film, couldn’t be beaten without being dreadful.

I think some of Connery’s conservatism must have rubbed off on me. As a child YOLT was one of my favourite Bond entries. In particular I thought the climactic battle at the volcano base was one of the most exciting things in the universe, a totally awesome shootout with the baddies. I would have called it “an engrossing and epic finale on an impressive scale. One of the classic scenes in film history” had I had the required vocabulary. I also loved all the scenes featuring Little Nelly, as my Dad would chirp on and on about it, building the anticipation until the treasured scene would grip the household with awe and laughter.

But then as a teenager I obviously sought to reject the things my parents thought of as “good”. Little Nelly became silly. It was the sort of bland nonsense my Dad would always blabber on about. Later on I would find my love for Bond rekindled by the approach in Daniel Craig’s Casino Royale, so that I rapidly acquired and devoured the books (none of Fleming’s are missing from that collection). So enthralled was I by the dark and bleak novel that pushed Bond’s character to the limit, that my attitude to the film as a whole became lukewarm at best.

Most of all it was my view of Blofeld that changed so dramatically after reading YOLT the novel. I was struck by the complete contrast between the cinematic and literary characters, even in terms of physique. In the books he was tall, in the films a short, bald, fat and often wheelchair bound man with a fluffy white pussy. I don’t mean that he was a woman; the contrast wasn’t quite that shocking.

Anyway I might be being unfair because it’s Austin Powers’ Doctor Evil that creates such a daft cultural vision of Ernst Stavro, rather than the portrayals from the Eon films (aside from perhaps the PTS of For Your Eyes Only). But after reading the book I was no longer captivated by Donald Pleasence’s iconic performance. He was THE Blofeld to me and countless others, but after my personal enlightenment he became a wasted opportunity, a stupid cardboard cut out villain and an imitation.  

I’ve already mentioned that unintentionally hilarious assimilation of Bond into the ninja community, which ruined the pace of the film and its focus upon Japanese culture. Another definite reason I came to find YOLT a turnoff was that it tried too hard to do its location justice at times, almost showing too much respect. That is not to say there wasn’t beautiful cinematography of the landscape and cities, just that too much was made of the whole “culture clash” angle. Having said this there were some wonderfully contrasted Ken Adam interior sets, which simultaneously showcased the equally beguiling faces of modern and traditional Japan.

In the aftermath of the recent earthquake and tsunami it is fitting and poignant to watch YOLT this month. Sadly, as I’ve explained, I am not. Everything I have said so far I have said from memory. Some of these files have been saved since childhood, others downloaded from more recent viewings. The trend seems to be that boy me loved it, more recent me had reservations. There are things about the film that the younger me hated that I now love however. Nancy Sinatra’s title song was whiny and not very Bondian back in the 90s, but now I find it a refreshing and beautiful track. Likewise John Barry’s score, which picked up substantially on the Japanese themes at times if memory serves me right, now strikes me as majestic when once it was irritating and plodding (not that I’d have used those words).

I genuinely wish I owned YOLT on DVD, despite what might be a tone of negativity coming across because of my love for the pages of the book dripping in revenge and sensual doubt. I know that the last time I saw the film on TV I found it to be a wonderful snapshot of both 1960s and Japanese culture, with fun as well as thrilling moments and the fresh angle of the space race. In many ways it is the classic film of the entire franchise, adhering more to the globally recognised Bond formula than Goldfinger and coming complete with spiky dialogue with Blofeld; the ultimate confrontation.

 But perhaps this is also why I can’t quite bring myself to love YOLT. Like Connery, and with the added benefit of hindsight, I see YOLT’s sensational and epic tone as the start of a trend away from the style of the early films. I adored these grander and dafter cinematic Bond adventures for different reasons, but in the early films I could indulge my love for the books and the movies at the same time. Whilst good, perhaps YOLT symbolises the end of my own personal Bondian bliss and this is why my memories of it are so mixed.

Creative Writing: The Handmaid’s Tale and Alice in Wonderland Transformation Mash-up: Part 2


Here is the commentary explaining my creative piece in previous post, which was also a required part of the coursework:

Handmaid’s Tale Transformation Commentary

My transformation is based on the novel The Handmaid’s Tale by Margaret Atwood. Atwood creates a dystopian, totalitarian society in the near future born out of religious fundamentalism and fear. The reader is plunged into this world with no background and merely shown the narrative voice of Offred, until historical notes at the end of the novel offer some outside perspectives on events.

A key change I made for my transformation was to take the narrative viewpoint from Offred and view events and themes of the novel from one of the minor character’s perspective. There was plenty of scope to do this as the narrative is completely focused on Offred’s experiences and descriptions and opinions of characters she interacts with are inevitably coloured by her own relationships with them. For example her impression of the Commander is understandably negative and associated with unpleasant duties.

I decided to write a transformation concerning Nick and also made the decision to avoid the first person approach used in the novel. I also sought to avoid a simplistic change of genre to a dramatic monologue which would merely have Nick explain his feelings and attitudes to the regime.

Despite the conscious decision to avoid a first person narrative the significance of Offred’s narrow and occasionally confused storytelling remained central to my thinking. It seemed to me a vital aspect of The Handmaid’s Tale that Offred began to doubt her own recollections and felt the need to constantly qualify the facts, such was her isolation and desperation. On several occasions she recounts different versions of events, and in the case of the fate of her fiancé she cannot confirm to the reader which is true, as she simultaneously believes them all. Therefore I aimed to create a transformation that explored the idea of reality but also how one person’s story and their version of reality can be insignificant for others.

Lewis Carroll’s Alice in Wonderland, with its fantastical dream-like narrative and emphasis on nonsense and meaning, enabled me to explore those themes of reality and storytelling. I settled on a reworking of Alice in Wonderland’s opening chapter Down The Rabbit Hole, centred around themes of The Handmaid’s Tale and the motivations of Nick’s character.

My transformation begins with Nick descending into boredom in ordinary circumstances, as Alice does but also as Offred often does in the novel. In fact at the beginning of The Handmaid’s Tale Offred offers us insight into the only world she has with simple description of her plain surroundings, “A chair, a table, a lamp”. Atwood often has Offred minutely describe things and then drop blunt “bombshells” that hint at the scale of the totalitarian oppression around her, as Offred concludes the description began above with “They’ve removed anything you could tie a rope to”. I tried to mirror this technique early in my piece with the list of ordinary objects, with the exception of a “uniformed chicken”.  Clearly my “bombshell” is more light-hearted than Atwood’s and is more in the spirit of nonsense found in my style model. However it reflects themes of inactivity, detail and true reality raised in the base text.

I tried to create a distinctive idiolect for Nick through my lexical choice despite writing in the third person. I used the technique of free indirect style to convey Nick’s attitudes; “some bimbo would no doubt fetch him.” The word “bimbo” is clearly Nick’s own rather than the narrator’s and reflects views of women looked at in the base text. I continue to echo this theme when Nick “groped around in his mind”. This sordid view of women, and Nick’s cynical attitude towards the complications of life and business, conflicts with the simplistic optimism of the hen, based on inviolable sacred truths. I aimed to reflect the blind simplicity of religious fundamentalism, a constant presence in the base text, with the rhythm of the hen’s speech and her lexis. I have her use simple but grand abstract verbs like “sacred”, “brave”, “freedom” and “wicked”, that for cynical non-believers like Nick are silly or devoid of meaning. For her, like the believers in the base text, nothing is more straightforward than her faith. Her sentences are often just lists of things that to her are simply facts; “That is you and your Commander and your lover”. I also refer to the religious fundamentalism of the novel in other ways, such as the exclamation of “BLASPHEME!” at the end of the transformation and the hen’s belief in “the Book” and preordained events, which comes back to the unifying theme of narrative.

Identity is important in the base text and I try and reflect this in a number of ways. From the start Nick’s waiting leads him to doubt whether his own employment really suits him and then the hen insists on not being mistaken as a chicken, which should also provide humour. I then reflect the importance of possession and identity in the novel as shown through Of-fred and the Commander, with my own Chief Executive in the real world and White Queen and Red Princess Down the Elevator Shaft. Nick is also confused throughout by the hen’s version of his identity, just as Offred doubts what little is left of herself due to other characters’ views of her.

I reflect the dystopian aspect of The Handmaid’s Tale with the debris strewn lobby setting. I also have Nick descend into chaos (as Offred does) via the fall in the elevator shaft; an image that appears in the base text when Offred describes betrayal as “like being in an elevator cut loose at the top”. I suggest that Nick has perhaps been betrayed, with textual references like “She had told him he had a French face”. I show that something has been taken away, as women’s rights were in the novel, with the list of “no guards…” I also reflect the anarchy seen in the novel through the “joyful abandon” of “trash”.