Whatever happened to traditional ghost stories set in creepy old houses? Modern horror has become a competition between filmmakers to outdo each other’s gore or to find the latest and cheapest gimmicky trick (think Paranormal Activity). Rarely do we get creaky doors teasingly opening wide into dusty rooms frozen in troubled times. Rarely are the scares psychological, preying on childhood fears of monsters under the bed and the empty house that sighs forlornly from somewhere in its darkened depths at the end of the street. Rarely do bold, genius storytellers emerge from the ranks of horror directors these days.
Director Gustavo Hernandez is certainly brave. His chiller, The Silent House, is based upon an unsolved murder case in 1940s Uruguay. It is set within a seemingly picturesque, isolated and derelict house in secluded woodland. It is also filmed in one continuous take.
The effects of this are engrossing. The ambitious and meticulous technique works especially well for horror and has a surprising versatility. The camera essentially becomes a character. At first we feel like main character Laura’s imaginary friend, bobbing along behind her as she looks round the outside of the pretty house and listening in absentmindedly on the conversation between her father and the owner of the house, Nestor. Then later on, whilst still feeling tethered to Laura’s experience, we take up different positions and hiding places. Consequently we see things she cannot. And she sees, and does, things that we miss altogether.
Laura and her father are supposed to be clearing up the messy house filled with accumulated junk. They decide to sleep in the living room on armchairs and make a start in the morning. The owner Nestor has promised to return with food at some point. Laura does not drift off however. She is too distracted by the pounding noises from upstairs. She eventually convinces her father to investigate and then the nightmare begins.
Light and sound are always integral to successful horror. Here the atmospheric lighting is achieved through candles and electric lanterns mostly. One scene however, in which Laura picks up a camera when the lights go out, is comprised of glimpses of the horror via the flashes of the Polaroid. This was impressive, immersive and shocking. The sound effects are vital to the endless suspense, with the score also eerily winding up the tension to unbearable levels.
The Silent House is an amalgamation of old fashioned scares and modern frights. The setting is full of strange objects, antiques and family heirlooms cluttering the rooms. Multiple doorways leave hiding places everywhere. Later in the story though the scares become nastier, more brutal and unsettling, resembling the darker trend of recent horror flicks. The dialogue is minimal, so we never learn much about Laura. We simply share some of her experience. The shocks and surprises catch you off guard and the twist at the end comes out of the blue.
For cynical viewers, there are of course the usual annoyances of the genre. Why does Laura choose the moments after a vicious attack to become fascinated by bits of junk? Why does she minutely examine paintings and photos when she knows someone is lurking beyond the door? Why does she return to the house after escaping in a wave of fear? Why does no one contact the authorities?
The incredible suspense and the plots holes in this film really got me thinking about the ordeal of the psychopath perpetrating the horror, as well as the victims. At one point (minor spoiler) a body is moved to be propped up in a chair with a doll. How embarrassing would it be to be caught moving the body? The attackers in these films, who are determined to taunt their victims, must be as nervous and jumpy as the audience as they set up their disturbing scenarios in the shadows.
The genuine ambush of the twist at the end explains a lot of these holes and weaknesses, which would be left glaringly and irritatingly untouched by your average horror. The Silent House is far from average though. It is rightly hailed as a “technical tour de force” by The Guardian and its trailers can justifiably claim to offer “real fear in real time”. By avoiding the sometimes messy and often over the top cuts of most modern fright fests, and adopting a refreshing perspective on events, this film really drops you right into the action.
The Silent House is out on DVD and Blu-Ray on the 1st of August. Go for the Blu-Ray version if you really want to appreciate the achievements of the filmmakers, in particular the lighting effects. Also keep an eye out for the Hollywood remake, as the rights have already been snapped up.
Posted in Uncategorized
Tagged 1940s, 1st, 2010, 2011, Abel, Alonso, American, art, arthouse, arty, August, blog, Blu-Ray, bobbing, Bradshaw, camera, character, circuit, Colucci, continuous, date, derelict, director, DVD, Festival, film, films, flash, Flickering, Florencia, friend, fright, Guardian, Gustavo, haunted, Hernandez, Hollywood, horror, house, imaginary, latin, Laura, Liam, Maria, movies, Mrt'sblog, myth, Nesto, Nestro, newspaper, One, one take, online, Peter, Polaroid, release, remake, Review, Salazar, scare, secrets, shock, shot, showing, South America, stylish, suspense, take, tension, The, themes, thoughts, Trim, Tripaldi, twist, Twitter, Uruguay, Uruguayan, Verdict, website
What if? It’s a big question in all of our lives. What if I’d told her? What if we’d stayed together? What if I’d got that promotion? What if I’d worked harder in school? What if I had had just one more day with her and the chance to say goodbye? If we’re not careful we can get snowed in by “what ifs”.
We have to keep our heads down to escape drowning in never-meant-to-bes or choking on could-have-beens. The possibilities that we spotted passing by out of reach haunt us as regrets. The second chances we never even noticed are too numerous to contemplate and tease us occasionally in our dreams. Let the “what ifs” talk too loudly and their chatter overpowers the everyday routine. Let them grow too tall and even the little things are given dark significance in their shadow.
Sliding Doors is a film about the little “what ifs” bunching together in mundane ordinary life until they have enormous individual consequences. When it was released in 1998 it was greeted by a mixed critical reception but it has since gone on to gain a dedicated following. It stars Gwyneth Paltrow as fashionable young Londoner Helen, complete with believable English accent, who is fired from her job at a PR company. She heads for home via the tube. The film follows two separate paths through her life; one in which she gets the train and one where she fractionally misses it, unable to squeeze through the sliding doors of the title.
The actor Peter Howitt wrote the script and directs a very grounded take on the idea of parallel universes and an alternate reality. The concept could have been lifted straight from sci-fi but Sliding Doors watches more like a meditation on the nature of fate, albeit with an uplifting rom-com tinge. One Helen, the one that gets the train, finds her boyfriend shagging his ex in her bed, only to fall for a handsome stranger. The other is delayed again and again until she arrives home late and unaware of the affair. She therefore carries on her life as normal, working flat out to support him as he “writes a novel”.
The plot is not all that clever, despite the engaging concept of two storylines running in tandem, and the dialogue is not especially witty or sharp. The real strength of Sliding Doors lies with the overlapping lives of rounded, likeable characters, well realised with accomplished performances. Paltrow is accessible rather than whiny in the lead role. John Hannah is convincingly charming and funny because of the way he says things, rather than what he says. John Lynch is a great actor, as he proves in the upcoming Ghosted, and he doesn’t come off badly here despite playing the cheating Gerry, who is often just left to look bumbling and British on the end of a full on feminine bollocking. Jeanne Tripplehorn plays mistress Lydia as a caricature but she serves a purpose and Gerry’s mate Russell (Douglas McFerran) down the pub is hilarious as the sensible one.
None of it is sublime, even the characterisation is simply above average for the genre. The acting is very good but not career defining. That said I really liked Sliding Doors. Its commonplace tone makes it all feel like it could happen to you. There are some slightly surprising twists in the climax and I was a little moved and amused in places. Its parting message is somehow both more resonant and bearable than most romantic comedies. Some things are inevitable. And there’s always hope.
Posted in Uncategorized
Tagged 1998, accent, accident, actor, adultery, affair, American, Anna, banter, boyfriend, career, character, charm, cheating, Chelsea Bridge, clever, Comedy, concept, cult, death, dedicated, different, director, doors, Douglas, DVD, English, fate, film, Flickering, following, free will, fresh, funny, Gerry, Gwyneth, Hannah, Helen. John, Howitt, imdb, James, John, Liam, lives, London, Londoner, love, Lydia, Lynch, McFerran, moving, Mrt'sblog, myth, On, Paltrow, parallel, passion, Peter, pub, regrets, Review, reviewer, rom com, romantic, Russell, sci-fi, screenplay, script, Sliding, thoughts, Trim, Turner, twist, universe, what if, writer, Zara
Do you think you could hack it behind bars? If you’re a Daily Mail columnist you probably dispute the fact that prisons even have bars anymore. They’ve all been replaced you see, with tasty sticks of rock more in keeping with the dangerously liberal, comfortable satellite TV approach to treating filthy criminals. Being locked up is preferable to a five star hotel. Prisons are merely lavishly furnished warehouses for feral beasts that will be released back into the wilds of society unchanged. The fear factor has gone.
Bring back that shit yourself punishment and all of Britain’s ills will be cured. All this claptrap about human rights and civil liberties has been diluting the taste of our justice system since the 60s, so that it’s nothing more than a bitter sip of lemonade. Prisons should punish first and foremost, to act as a deterrent to the bad apples on the nation’s tree. When they fall they need to be crushed into a pulp and left to rot as an example to others; so the argument roughly goes.
Of course films are not the place to look for a frank and faithful look at the realities of prison life. Just because I’m put off a casual mugging by the possibility of gang rapes such as those in The Shawshank Redemption, doesn’t mean that actual perpetrators within the system encounter such things or that they are deterred by them. Cinema is a place for drama, tension and excitement. But a certain mould of gritty British drama always seems to capture something true about the cooped up existence of convicts, whatever the exaggerations.
In the case of Ghosted, the debut film of writer/director Craig Viveiros, the principal truth is that for many men, the haunting consequences of their crimes are punishment enough. There is also a heightened but believable look at the community of prison life, with its rival factions and dominating personalities pulling the strings. And much of the dialogue is insightful but understated, with main character Jack musing that, if nothing else, empty hours in a cell day after day give you plenty of time to think.
Jack (John Lynch) is a sensible prisoner, keeping his head down and away from trouble, serving his time. He is approaching the end of his sentence and desperate to get out to see his wife. But at the start of the film she fails to visit him and blanks him when he calls. Just as freedom is within sight his marriage collapses, destroying his hopes for a life on the outside. Gradually we find out more about Jack, eventually getting confirmation that his young son is dead. He burns most of his pictures of him because “sometimes the reminders are too hard in here”.
With just months until Jack is free, a new inmate arrives in the shape of young Paul, played by Martin Compston of The Disappearance of Alice Creed fame. Paul is immediately welcomed by the manipulative Clay, who is described on the marketing material as a “wing overlord”, which sounds like an all powerful evil super villain, but in reality just means a nicer cell, a mildly lucrative drugs racket and the odd fellow prisoner to bang. After the initial niceties Clay starts to use Paul, so Jack steps in and gets him moved to his cell.
This puts Jack in the firing line, resulting in some tense standoffs. The balance of the prison politics is disrupted and Clay is humiliated more than once, prompting him to get revenge. But despite the palpable sense of threat, the really interesting part of Ghosted is the relationship between Jack and Paul.
Jack is the heart of Ghosted and Lynch relished playing him, praising the creative talents of newcomer Viveiros: “It’s been a long, long time since I read a script that’s centred absolutely one hundred per cent on the characters”. In return the director praises his cast who “pumped blood into the story”. Both men are right.
Ghosted is well acted, with even the thugs coming across as something more than just two dimensional bad guys; they have their vulnerabilities too. But Ghosted is also well written and confidently directed so that it does not feel like a debut. Some of the scenes in which Jack and Paul open up to each other, often simply discussing old memories such as when Jack was in Brazil or when Paul was in care, are exemplary examples of characterisation rarely seen in today’s commercial world of cinema.
Ghosted is released in cinemas on the 24th of June and will be available on DVD from the 27th. See it to support a quality British drama with an all star cast, which simultaneously pays tribute to classic prison stories and approaches the issue from a new angle. Try to spot the emotional hammer blow of a twist at the end.
Posted in Uncategorized
Tagged action, Alice, art, BBC, blog, Britain, British, Cameron, character, cinema, cinematic, Coalition, columnist, Compston, consequences, Craig, Creed, crime, Daily Mail, date, David, death, debut, dialogue, director, Disappearance, DVD, Ed, Eddie, emotional, England, film, Flickering, football, funny, gaol, heartfelt, history, Holby City, jail, John, June, Labour, Liam, life, London, love, Lynch, Malik, Martin, movie, movies, Mrt'sblog, myth, narrative, new, newcomer, novel, opinion, overlord, plot, Politics, prison, punishment, purpose, Real, reform, release, Review, Rick, Schofield, screenplay, script, sentence, sex, story, style, The, The Living Daylights, thoughts, thug, tv, twist, Twitter, Verdict, Viveiros, writer, writing, youth
Yet again I am late with my thoughts on the latest episode. I’d actually been putting off my standard pre-blog second viewing, for two reasons. On the one hand I was so blown away by the unexpected cliff hanger that I didn’t think I would be able to say much besides “what will happen next week?” in various different ways. On the other, I was disappointed with The Almost People.
I should qualify that statement by explaining that when it comes to Doctor Who, even a below par outing is a must see event I can always derive satisfaction from. A bad Doctor Who episode is merely relatively poor, compared to the greatness of other episodes, and still one of the best things on telly.
Why was I disappointed though? It’s difficult to pinpoint an exact reason. As the Guardian series blog points out, the shocking and momentous twist at the end would overshadow whatever came before it, no matter how good it was. But The Almost People was certainly not as good as it could have been and not as good as the promise set up in The Rebel Flesh. In fact there were some shockingly bad elements.
As I said in last week’s piece, Matthew Graham’s script was inconsistent. After watching The Almost People for a second time, I liked it a lot more and appreciated the extremely intricate and clever plotting. All of the character development ploughed into the Gangers, for Jimmy and his son, Cleaves and her blood clot, even the Doctors shoe swapping, made more sense once you knew that this was all part of the Doctor mulling over Amy’s impostor. The Doctor still gets the odd good line; with Matt Smith making most of the disappointing ones look good too with a varied and vibrant performance. Re-watch it and see the burden of worry about where the real Amy is on his face, way before we find out.
However Graham’s script also contained such truly awful lines as “who are the real monsters?” and “It will destroy them all”. And whilst you can see the idea behind the development of the Gangers far more clearly after a second viewing, it doesn’t always come off, with stereotypical northern Buzzer not convincing at all as he moans “I should have been a postman like me dad”. Then there’s the terrible acting, which I touched upon last week, even more noticeable this time. Cleaves and Jennifer in particular are woefully portrayed.
So despite a lot of potential, with intelligent moral dilemmas and frightening psychological horror, this double bill never really grabbed my attention completely. Until the climax that is. With the rather random and forced CGI monster out of the way and the ridiculous farewell hugs when the beast was supposedly breaking down the door, the Doctor becomes grave and ushers Amy and Rory into the TARDIS. He had a reason for his visit to the factory with the flesh. Amy has not been with them for some time.
But how long? She must surely have been there for the Doctor’s death at the beginning of the series? Did the swap take place during an adventure we saw on screen or another in between time? It would seem a bit of a cop out if it just happened somewhere along the line and we’re not given a precise explanation as to when.
There are endless other questions, and knowing Moffat, the majority will be left unanswered. We are promised that next week’s A Good Man Goes to War will see the unveiling of River Song’s true identity though. And the trailer shows us that the Cybermen are back, but once again, knowing Moffat, they’re unlikely to be the real masterminds behind it all. Who impregnated Amy? Was the Timelord child from the opening two parter hers? The Doctor shouts something about not using a baby as a weapon in the trailer, to mysterious eye patch midwife Madame Kovarian, so how exactly does she do that?
After this disappointing pair of episodes following the superb The Doctor’s Wife by Neil Gaiman, doubts resurface, for me at least, about trying to do too much with the story arc. In overlaying so many secrets, which are often tagged onto the ends of episodes, Moffat risks devaluing the standalone stories and turning the increasingly strained relationships within the TARDIS into soap opera. I’m sure that A Good Man Goes to War will be an improvement on The Almost People, if only in terms of the quality of the dialogue. But hopefully, with some real answers, Doctor Who will also begin to get back to just telling damn good stories every week too.
Posted in Uncategorized
Tagged 6, 70s, 80s, A, acting, Almost, America, Amy, appreciate, Arthur, Ashes to Ashes, Auton, autumn, CGI, character, Christmas, classic, Cleaves, cliff, clones, Cybermen, Dan Martin, Darvill, Davies, development, dialogue, Dicken, dilemmas, Doctor, drama, episode, ethics, Flesh, forums, Frankenstein, future, Gaiman, Gangers, Gillan, ginger, Goes, good, gossip, Graham, Guardian, hanger, hints, horror, impostor, inconsisten, industrial, intricate, Jennifer, Jimmy, Karen, legs, Life on Mars, Lord, man, Matt, Matthew, Miracle Day, Moffat, monastery, monster, moral, mouth, Neil, opera, people, performance, physical, plotting, Pond, portrayal, pregnant, psychological, rebel, relationships, River, Roman, Rory, Russell, sci-fi, screenplay, script, season, second viewing, Series, series blog, silence, six, Smith, soap, son, Song, Space, split, spoilers, Steven, story arc, summer, T, TARDIS, The, The Doctor's Wife, themes, time, Timelord, To, tone, Torchwood, trailer, travel, twist, Wales, war, Who, writer
The most stylish person in a room looks different to everyone else. Often the first step to style, the boldest move towards quality, is doing something different and distinctive. A lot of the time these risky moves will end in tears but some people just have the knack for it.
Three such people are directors Quentin Tarantino, Jason Reitman and Roman Polanski. Recently I’ve watched some of the best known, latest works of all of these men and it’s clear they’re endowed with the lucky gift of success when embracing the unconventional.
Firstly Tarantino’s Inglorious Basterds is such a fascinating, intriguing picture. Events within the plot and elements of the execution bear Tarantino’s sensational touch – leading Nazis weren’t slaughtered in reality in a cinema in Paris – but that does not mean there aren’t serious elements to this film too. On the surface it’s a simplified, warped version of history, with a non-existent band of American Jews exacting revenge for the Holocaust, which wasn’t widely known about until the discovery of death camps at the end of the conflict. But at the very least it’s a sumptuous exercise in the best of filmmaking and with its faithful use of various languages, does say something factual rather than fictionalised about the misunderstandings and deceptions of war. It’s also, somehow, hilarious.
As the film’s star Brad Pitt says in one of the interviews on the Blu-Ray disc, this film plays out more like a novel. It’s broken into chapters, the first handful of which establish the characters and the rest bring them together for an explosive, visually stunning finale. Only a few of these characters are typical and expected for the wartime context; the French farmer in the marvellous opening scene for example. But the rest are Tarantino creations. They’re extremely vivid and engaging but also wild, sometimes implausible extremes, almost as if plucked from the pages of a striking graphic novel. Somehow the director/writer makes them wonderfully believable and then gives them bags of room to play in his chapters, which often consist of one, long and extended scene.
The opening scene establishes the marvellous character of the “Jew hunter” played by Christoph Waltz. There are some splendid, picturesque shots of the French countryside, followed by a wonderfully tense dialogue scene indoors. The interrogative German is sinister through his politeness, only to reveal the true nature of his visit. Other scenes in the film get similar space to breathe and come to life, in particular another edge of the seat, tense encounter in a tavern. This is the film’s longest scene and is incredibly realistic and satisfying as the spies, including the wonderful Michael Fassbender, attempt not to blow their cover. Language again plays an important role, and does so throughout, becoming almost another character. Often Inglorious Basterds feels more like a play, only for some explosive action to remind you that only a film could deliver such thrills, laughs and intrigue. Ultimately the spot-on dialogue, lengthy scenes, exploration of language and sensational characters and events, is not only stylish but says something worthwhile about the war.
All of these films say something worthwhile. Juno chips in with messages about taking people at face value and what really makes relationships work, as well as challenging views of young people. And The Ghost, whilst being primarily an impressive exercise in storytelling rather than a substantive study of politics, does have some underlying messages about identity and ethics.
If you had one word to describe Juno, chances are it would be “quirky”. Anywhere you look online you’ll find this label plastered to the film’s witty face. Personally it seems an unfair, limiting term for such an intelligent, funny, well-acted production. But I guess it is undoubtedly true. Juno isn’t your average teenager. She’s witty, quick and cynical. She wasn’t used by some sex mad male but got knocked up by banging the best friend who’s crazy about her out of boredom. She sets about helping a deserving couple, rather than unthinkingly obliterating the fledgling life inside her.
The couple she decides to “donate” her child to are almost as important to the story as Juno. Played by Jennifer Garner and Jason Bateman, they are the grown-up heart of the film, the crucial counterpoint to Juno’s usually happy exuberance. All the cast deal superbly with fast, funny dialogue, including Juno herself, Ellen Page, as well as her Dad and Step-Mom, J.K. Simmons and Alison Janney. And of course the love that suddenly blossoms at the end with Michael Cera, is wonderfully touching and encompassed by the duet which ends the film.
Of all these films it’s The Ghost with the most stylistic flourishes, perhaps ironic given the everyman Brit accent adopted by Ewan McGregor. There are no jaw-dropping stunts in this film; all the drama comes from the story and suffocating, tense locations. When crucial, potentially stunning events occur in the plot, Polanski deals with them with the utmost style. The film starts by simply showing an abandoned car to heighten the mystery surrounding the death of the previous Ghost Writer, rather than showing a spectacular murder scene. At the climax of the film McGregor’s character is abruptly hit by a car out of shot; we only see papers scatter and swirl in the traffic, littering the street.
Rich in detail, in The Ghost we learn surprisingly little about anything ever. Polanski somehow captures the Dan Brown like, page-turning twists of the novel and distils them on film, whilst also adding a layer of intelligence to the swerves of the plot. You are gripped, determined to keep watching for the big reveal. A reveal cunningly disguised throughout and then stylishly unveiled with an anticipation building close-up of a gradually passed note. The Ghost is immensely enjoyable and stylish; I couldn’t take my eyes off it.
So filmmakers do something different, unpredictable and restrained if you want to make it big and be lavished with praise.
Posted in Uncategorized
Tagged action, American, anticipation, atmosphere, baby, Basterds, Bateman, bold, Brad, Brosnan, Brown, car, chapters, characters, Christoph, climax, costume, couple, crafted, Dad, Dan, death, deception, detail, dialogue, different, director, distinctive, duet, Ellen, ethics, Ewan, eyes, fashion, Fassbender, fierce, filmmaking, Garner, ghost, gift, gripping, Harris, heart-warming, Holocaust, identity, Inglorious, it, Jason, jews, Juno, knack, language, lengthy, litter, location, long, love, McGregor, Michael, Michael Cera, Mom, musings, narrative, nazis, note, novel, off, Page, papers, people, period, Pierce, Pitt, play, plot, Polanski, Politics, pregnancy, Quentin, quirky, Reitman, relationships, restrained, reveal, Review, Robert, Roman, romance, scene, sensational, sex, spies, step, stereotype, story, style, stylish, suits, suspicion, Tarantino, tavern, teen, tense, The, thoughts, touching, turns, twist, unconventional, Verdict, violence, Waltz, witty, writer