Category / American Cinema

by hutchwp

The Seven Year Itch (Billy Wilder, 1955)

Billy Wilder’s 1955 romantic comedy The Seven Year Itch has proved to be one of his most popular films. It was his first pairing with Marilyn Monroe and whilst it fails to hit the peaks of 1959’s Some Like It Hot, it still has enough redeeming qualities to warrant its popularity.

The film concerns married man Richard Sherman (Tom Ewell), who is experiencing what psychologists refer to as the seven year itch – after seven years of marriage many experience discomfort brought on by extended monogamous relationships. Richard becomes infatuated with a girl (Monroe) living above his apartment whilst his wife and child visit Maine for the summer to escape the Manhattan heat. As he tangles himself up in his own mind his tendency to daydream takes over, a matter exacerbated by his increasing closeness to his new friend.

Marilyn Monroe is a breath of fresh air when she first appears.

It is these daydreams that provide most of the laughs. As the film progresses they become more surreal and the window into Richard’s mind becomes a portal to a place full of fear and panic. Ewell’s performance can feel a little forced at times and the actor fails to endear Sherman to the viewers, an essential requirement when we’re watching him attempt to commit adultery. Perhaps his acting was better suited to the Broadway stages where the subtleties of emotion need to be overplayed to ensure the back row sees it. After an estimated 900 performances in the role it would be hard to unlearn that. This would ultimately prove to be his defining role.

The script is the perfect platform for Monroe to unleash the naïve and bubbly persona that served her so well throughout her career. It works on this level and she’s a breath of fresh air when she first appears. 

A discussion about this film can’t go very far without mentioning the famous subway air vent scene, where Monroe’s dress flies up in the breeze created by the train passing by underneath. It is perhaps one of the most iconic shots in any film ever released. It doesn’t quintessentially add or detract from the story itself, so if you’re watching just for that scene you may be a little underwhelmed. Indeed, you may never see what you hope for – the famous full-length photo the world is familiar with was taken at the original shoot, which was unusable due to crowd commotion. The scene later had to be recreated in a studio. At no point does the full-length shot appear.

The film was actually name-checked in Sabrina, Billy Wilder’s previous film released a year earlier. It’s hard to resist comparing the two films. Side-by-side, this doesn’t really come close to the magic audiences had seen when Audrey Hepburn wowed the world by pairing her timeless beauty with a sublime acting performance. Monroe was never an actress of the same calibre as Hepburn and this isn’t helped by a much more shallow script.

The Seven Year Itch is available to buy on Blu-Ray now.

by hutchwp

Sabrina (Billy Wilder, 1954)

In 1954, Audrey Hepburn was at the start of a run that saw some of her most popular roles, having been nominated for an Academy Award for her role in Funny Face the year before and also winning a Tony Award for her title role in the stage production of Ondine in 1954. Sabrina’s release saw her cement her position as a global star, providing an Academy Award nomination for her role, a win for the costume design for Edith Head [1] and garnering critical and commercial success worldwide. 

[SPOILER ALERT] 

The following paragraph summarises the synopsis, but potentially has spoilers for the first fifty minutes of the film. I’ve not seen the trailer, but I imagine it reveals more. Also, the film was released 61 years ago, so it’s hard to complain about spoilers. Skip it if you’re concerned. 

Audrey Hepburn stars as title character Sabrina Fairchild, the young daughter of the chauffer to the Larrabee family. Sabrina has been in love with the playboy David Larrabee (William Holden) all her life, despite the fact he barely notices her. Sabrina begrudgingly agrees to go to Paris to attend a culinary school, but on her return two years later she is a completely changed woman, full of style, charm and sophistication. Inevitably, David immediately takes notice, and his attraction to Sabrina jeopardises a pre-arranged marriage that has been organised to benefit the family business, much to the dismay of workaholic older brother Linus (Humphrey Bogart), who formulates a plan to get the deal back on track.

[SPOILERS DONE]

It marked the first time Hepburn had worked with Billy Wilder, who was one of the most prominent film directors at the time. By this point he’d already notched up Double Indemnity (1944), The Lost Weekend (1945), Sunset Boulevard (1950), Ace In The Hole (1951) and Stalag 17 (1953), amongst others. His films had by this time won 8 Academy Awards and been nominated an additional 28 times. Ultimately, Sabrina would prove to be equally popular, adding an additional win and three further nominations to his belt.

The successes were completely justified. Wilder may be on comfortable territory with a fairly standard love triangle, but few director-screenwriters could inject so much life into the script. If you want to see Wilder capturing Hepburn at her most playfully charming, there are few finer examples than her journey back from the airport with Holden’s David. It’s perfectly written and delivered and is one of the film’s many highlights.

Much has been made of Bogart’s awkwardness on set. He was one of the most established actors in Hollywood and at the time was still one of the biggest box office draws. He frequently had disagreements with Wilder and Holden, and later publicly denounced Audrey Hepburn’s acting ability. The friction doesn’t really transfer to the screen, with all the actors apparently on top of their game. 

The only thing that stands out is the age of the actors in the love triangle. William Holden was 36, Hepburn 24 and Bogart 54. I agree to the much-discussed theory that Holden would have been better as the older brother Linus, with a younger actor appearing as David. Holden had proved to Wilder his depth as an actor in both Sunset Boulevard and Stalag 17 and by comparison the character of David seems a little shallow. He handles it well, but age-wise having Sabrina fall in love with a man 30 years her senior seems unusual.

Sabrina has been remembered as one of Audrey Hepburn’s finest moments. It’s a quintessential part of her filmography: she was in the process of becoming a star, was able to show off her acting ability, had one of the greatest directors of all time directing her and was wearing de Givenchy’s costumes for the first time. If you’ve seen Breakfast at Tiffany’s and My Fair Lady, then this is your next stop.

Sabrina can be purchased as part of the Hepburn Collection Blu-Ray boxset.

[1] The costumes that Audrey Hepburn wears are absolutely beautiful, much like the actress herself. Edith Head was credited with the Academy Award for Best Costumes, but there is an ongoing suggestion that they were mainly created by Hubert de Givenchy. Both were adamant that they were responsible for the costume design until their deaths, though the fact that de Givenchy became Hepburn’s go-to costume designer for much of her career suggests it is more than likely that Head had little involvement with her clothing. Whilst there were many other characters to dress, the Oscar was clearly given as a merit to Hepburn’s memorable costumes.

by hutchwp

Jurassic World (Colin Trevorrow, 2015)

One of my earliest cinema memories involves Jurassic Park, the 1993 action blockbuster directed by Steven Spielberg that has gone down in history as one of the greatest action films of all time. Sat at my local cinema – Apollo / Unit Four Cinemas in Brierfield in the heart of Lancashire [1] – with my brother and mum, we were all on the edge of our seats as Dr Alan Grant attempted to get Alexis and Timothy over a soon-to-be-electrified fence. As the shots flicked between the party on the fence and Ellie Sattler in the control room re-powering the park, the alarms start to blast out and the suspense was way too much for my brother. With perfect timing, he stood up with clenched fists and shouted “JUST JUMP!” at the top of his voice. It’s a story that is still retold at family functions to this day. Occasionally I just send him a text saying “JUST JUMP!”. It never gets old.

Actually, what is interesting about this highly memorable scene is the fact it doesn’t really involve any dinosaurs. It doesn’t require any special effects or CGI until an entirely believable puppet raptor bursts through a wall over Sattler’s shoulder. It’s just a bit of tense music and some mild panic for some characters we all really care about.

Throughout the whole film the exhilarating pacing was always there and the effects were obviously well thought out to ensure a realistic and believable option was utilised. This kind of intelligent movie making was sadly missing from the two installations we’ve had to endure in the intervening years. Fans of the original were hopeful that this would all be corrected with this year’s franchise reboot. Sadly their hopes won’t be realised with Jurassic World.

Despite Chris Pratt's great performance, he can't save the film from its underachievements.

Despite Chris Pratt’s great performance, he can’t save the film from its underachievements.

The premise is excellent. Twenty-two years after the events of the first film, Isla Nublar, an island off the coast of Costa Rica, has been converted into the visionary park that Dr Hammond always dreamed of. Led by Dr Wu (the returning B. D. Wong) at the behest of Simon Masrani (Irrfan Khan), the scientific research team has secretly been working on genetic splices of dinosaurs in an attempt to turn around dwindling attendance figures. When their prize creation – an Indominus Rex – escapes from its enclosure, it is down to velociraptor trainer Owen Grady (Chris Pratt) and clueless park operations manager Claire Dearing (Bryce Dallas Howard) to rescue Dearing’s two visiting nephews Gray and Zach Mitchell (Ty Simpkins and Nick Robinson respectively).

Much has been made about Dearing as a weak role model for girls. I have to say that when I stumble across these kinds of articles I tend to roll my eyes, but in this case the anger is very much justified. As operations manager for such a huge island resort, she is immediately shown as weak-minded and out of her depth in her job, lacking in the basic facts required for her position and wholly reliant on people around her to bail her out. When she finally decides to knuckle down and help out the cause, she decides to keep her high-heels on. In the end she spends the remainder of the film hiding behind her alpha male counterpart, being rescued and generally not being much use. The only other prominent female is Zara Young, Dearing’s personal assistant, who is too engrossed in her phone to do her job. When the original film had two very likable and head-strong female characters, this comes as a bit of a disappointment.

Indeed, there are only two characters of any substance. Chris Pratt’s Owen Grady is a blast from the past, no nonsense hero who makes decisions by taking matters into his own hands and has superior knowledge of pretty much everything in the park. He is a little cliched, but it’s something that can be forgiven when everyone around him is so difficult to get behind. Ty Simpkins’s Gray Mitchell, the younger of the siblings, follows up assured performances in Iron Man 3 and the Insidious series with a solid turn as the know-it-all excited teenager. He may be Tim Murphy reincarnated but in comparison to his wooden older brother he is a breath of fresh air.

The only thing less believable than the majority of the cast is the woeful CGI. There were a couple of moments that impressed, though these were generally in the dark and in short bursts. For the most part and especially in the day time shots, the effects were a distraction and this is a sin in the art of storytelling through film. The best films take you into a world and fully immerse you in what you are experiencing. An overarching question hanging over this film is how they managed to actually make the dinosaurs less believable than Jurassic Park, despite the fact they spent more money doing it. The mind baffles.

Jurassic World is certainly better than Jurassic Park III, and perhaps on a par with The Lost World, but for all the hype around it, it never quite lives up to the expectation.

Jurassic World is in cinemas worldwide now.

[1] From my childhood home in Burnley, the Brierfield Apollo was definitely the closest to get to. It was the setting for almost all of my earliest cinema memories: Teenage Mutant Ninja Turtles (a hugely exciting 6th birthday treat in November 1990), The Never Ending Story II (December 1990), Robin Hood Prince of Thieves (July 1991), Hook (April 1992), Aladdin (another birthday trip in November 1992) and Jurassic Park (July 1993). The cinema shut down in 1997 upon the opening of Apollo Cinema in my home town Burnley, which then became the home of my teenage year’s of cinema (I think I saw two of the opening four films available in the first week – Batman and Robin then Beavis and Butt-head Do America – because there was a promotional offer to get people through the door). I think, however, all of these were preceded by a trip to see a re-release of Snow White and the Seven Dwarves at Loughborough’s Curzon Cinema in July 1987, which was abandoned because my grandma was ill.

by hutchwp

Blade Runner: The Final Cut (Ridley Scott, 1982/2007)

I think I’ve now seen the definitive version of Blade Runner. The Final Cut, which I’ve stupidly had in my possession for almost a decade, is now firmly in the number one spot. For the first time, Scott is firmly in charge and has been able to create the vision he had over 30 years ago. In beautiful HD transfer (4K, 6K or 8K depending on the scene) and 5.1 surround sound, it provides the ultimate viewing experience even before you consider the content of the film is spot on.

There are, if you are unaware, five common versions of the film: Workprint (1982), Original Theatrical Cut (1982), International Cut (1982), Director’s Cut (1992) and Final Cut (2007). However, there are more detailed in an excellent article on Wikipedia. [1]

That there are so many versions clearly implies that the fans of the film are so enthusiastic that they keep coming back for more. Different people have their favourites but I’m on the Final Cut bandwagon.

The film is based in 2019 L.A. and centres around police officer Deckard, played by Harrison Ford, as he comes out of retirement to complete one final task as a “Blade Runner”. His job is to track down and kill four Tyrell Corporation Nexus-6 replicants (bioengineered humanoid robots) who have come to Earth illegally, possibly to extend their lives beyond their standard four year lifespan. As he tracks each down, he begins to question his own moral outlook and the nature of the replicants and his own humanity.

It's amazing what can be achieved when you eschew using digital effects.

It’s amazing what can be achieved when you eschew using digital effects.

Fans of sci-fi keep coming back to this film, and for good reason. Stylistically it was way ahead of its time and still looks stunning. It was a creation that predates CGI and the result is that there isn’t one set that doesn’t look like you could inhabit it. It’s a grim, dark look into a future which, at the time, seemed a long time away. Adjusted for inflation, the film cost just $70m, which is less than, for example, the entirely naff looking Dracula Untold.

A beautiful film with one of the greatest soundtracks of all time is all well and good, but it has to be driven by a gripping storyline. In my opinion, one of the enduring factors in the continued conversation is the many unanswered questions left after the original versions. The Final Cut does clear up at least one of the very critical questions. I imagine that advocates of previous versions would prefer to not have these questions answered but this is just the side of the fence I sit.

If you’ve not seen this film yet and have any inkling towards sci-fi of any kind, or indeed film noir, police dramas or classic cinema, then you need to put this right at the top of your “to watch” list. It simply needs to be seen and now that this definitive version is available there are no excuses.

I picked up this version of the film. It contains all five versions, heaps of bonus material, an artbook and a Syd Mead-designed collectible car model. There are other packages available but this, for me, is the ultimate package.

This 30th Anniversary Collector's Edition package is the ultimate version available in the UK.

This 30th Anniversary Collector’s Edition package is the ultimate version available in the UK.

[1] The three additional versions are San Diego Sneak Preview version, the US Broadcast version and a four-hour version shown to studio execs by Ridley Scott early in the film’s edit.

[2] This beautiful poster was designed by Jeremy Romand otherwise known as Caparzofpc.

by hutchwp

Listen Up Philip (Alex Ross Perry, 2015)

A fast-paced and uncompromising opening scene introduces us to our lead character Philip Lewis Friedman (Jason Schwartzman), a well-regarded writer on the cusp of releasing the follow-up to a popular and critically praised debut novel. On a rampage to rub his success into people from his previous life, he exposes all his character flaws. He’s rude, frank and cynical and it’s hard from this point to feel any sympathy for him, which on an emotional level makes it hard to connect with him as a central character. Indeed, not many of the characters emote any kind of solicitude at any point in the film, bar perhaps Philip’s long-suffering girlfriend Ashley (Elisabeth Moss). This, however, doesn’t necessarily make for a bad piece of cinema. Quite the contrary.

Schwarzman is at home in a role full of self-importance and low in empathy for those around him.

Schwartzman is at home in a role full of self-importance and low in empathy for those around him.

Philip’s story carries on from here, through the prolonged breakdown of his relationship with Ashley, making a connection with similarly cynical writer Ike Zimmerman (Jonathan Pryce) and his lonesome daughter Melanie (Krysten Ritter) and later on a young and jealous academic Yvette (Josephine de la Baume). It doesn’t refrain from taking gambles on the attention span of the audience, taking several sharp turns in the storyline to cover a lot of ground in a short time frame (109 minutes).

It is communicated in a form that serves as a kind of fake biography, with a narration taking a matter-of-fact tone that gives us a knowing reassurance, almost as if the person behind the voice is channeling his words from a future where it is known that Philip Lewis Friedman is one of the world’s most renowned writers. This is reinforced by the closing credits, where we see a montage of book covers released by the characters from the movie. To be honest, it is the only way the film could tie itself together. Each character is introduced to us from a position of imbalance and for the most part they spiral into a world of depression and failure. It wasn’t until a brilliant final scene that I felt like there was a reason to drag us through the emotional dirt; it perfectly balanced a fine moment of acting from Schwartzman with some clever lighting and cinematography, on top of which laid an overarching statement that justified the cause behind the story itself.

Elisabeth Moss gives an emotional charge to Ashley as she grows in confidence

Elisabeth Moss gives an emotional charge to Ashley as she grows in confidence.

Schwartzman is in fine form throughout, in a role not too dissimilar to others we’ve loved to hate him in (Rushmore, Scott Pilgrim vs. The World). Irritating and overly-confident characters are something of his forte, which is funny if not just because he comes across as anything but irritating in interviews he gives. Moss is also given the opportunity to portray a character of real emotional depth who grows in confidence as the story progresses. It’s a shame that her segment of the film seems like something of a departure from the central thread that was otherwise progressing nicely, though overall it was necessary for the final payoff.

I’ve intelligently reviewed this as this film exits cinemas, though it is seeing a home media release on Masters of Cinema Dual Format Blu-Ray & DVD in late July.

by hutchwp

Melody Time (Jack Kinney, Clyde Geronimi, Hamilton Luske and Wilfred Jackson, 1948)

Walt Disney Studios had a glorious start to the production of full-length motion pictures. The first five releases are still considered to be up there with the best animated films ever released: Snow White and the Seven Dwarves (1939), Pinocchio (1940), Fantasia (1940) Dumbo (1941) and Bambi (1942). However, the early 1940s brought a fresh set of problems to the company. First, a union strike led to a mass exodus of staff (around 40% left). Then, when the US and Canada entered World War II, almost all of the animators and production team were either signed up as soldiers or drafted in to produce propaganda cartoons for the war effort. The main production studio was occupied by US military for various reasons. A disinterested public meant that Bambi sold less than expected. 

With a skeleton staff still in place, Disney opted to produce several of what would become known as package films. The first two – Saludos Amigos (1942) and The Three Caballeros (1944) – gave Walt an excuse to leave his normal settings and escape for a few months to South and Central America. Make Mine Music (1946), Fun and Fancy Free (1947), Melody Time (1948) and The Adventures of Ichabod and Mr Toad (1949) followed, though they were approached from a position of compromise. Their sole purpose was to recoup money lost in various venture so, including the production of war propaganda films for cost only. 

Whilst these films have their own merits, they were mainly box-office flops and over the years clearly haven’t been as well regarded as the films released before of after this spell. [1]

The films tended to feature several short films on an associated theme (with the exception of The Adventures of Ichabod and Mr Toad, which was simply two unrelated stories fixed together), often based around some kind of musical accompaniment in the same vain as Fantasia, which was a huge success and is a classic film rich in experimentation and ideas. Melody Time, unfortunately, cannot be classed in the same league.

Melody Time features seven mini-musicals. Of note is the reappearance of The Three Caballeros in the short Blame It On The Samba, which gives us another chance to enjoy some crowd-pleasing characters. Another highlight is Bumble Boogie, which is essentially a cut from Fantasia that never made it near to full production at that point. If you’re a huge fan of both Fantasia and Fantasia 2000 then this is another good place to see similar styles. A personal favourite is Once Upon A Wintertime, which features a classic Disney tale backed by a perfectly chosen piece of music.

This film is a curiosity more than anything. It’s not the best of the package movies but stands alongside the Fables releases as something worth checking out to build up a full picture of the company during the late 1940s and early 1950s.

Melody Time is available on DVD but currently there are no plans to bring it tk Blu-ray.

[1] The five films released after the return to full-length motion pictures were Cinderella (1950), Alice in Wonderland (1951), Peter Pan (1953), Lady and the Tramp (1955) and Sleeping Beauty (1959). Some return to form!

by hutchwp

Tabu: A Story of the South Seas (F. W. Murnau, 1931)

The last of four films Murnau made after moving to America – the others being the Oscar winning Sunrise, the excellent City Girl and the now-lost Four Devils – Tabu marked something of a departure for the master director. He travelled to Bora Bora near Tahiti with documentary filmmaker Robert J. Flaherty. Setting out to make a docufiction film as co-director, it quickly became apparent that Murnau wanted complete control and Flaherty was bought out of his share of the film.

Despite the unusual setting, this has all the hallmarks of a classic Murnau romance.

Despite the unusual setting, this has all the hallmarks of a classic Murnau romance.

The result of this is an opening sequence that seems very much like a documentary film, with native islanders (almost every actor in the film was an untrained native, along with most of the production crew) fishing, playing and acting naturally. According to the extensive booklet notes (thanks again Masters of Cinema), this was the only sequence Flaherty directed before he encountered technical issues with his camera and brought in cameraman Floyd Crosby to assist. The upshot of this was that the rest of the film was the responsibility of Murnau.

Subsequently, we then pick up on a more traditional method of storytelling. A girl named Reri (Anna Chevalier) is chosen by aged emissary Hitu of neighbouring island Fanuma to be the replacement maiden to the Gods. She is to be transported to the island to live there free of any kind of relationship; from this point on she is “tabu”. This is terrible news for both Reri and her lover Matahi, who defy this command and escape the island to a French-colonised island nearby.

The story of two lovers remaining together despite adversity is reminiscent of both Sunrise and City Girl, and other than the unfamiliar setting Murnau is on safe territory. It doesn’t feel stale, but it’s certainly the least dynamic of the three available Hollywood films. Both lead characters give assured performances in their roles despite a lack of experience. Matahi never worked on another film following this release. Anne Chevalier worked on two subsequent films (Polish film Czarna Perla and an uncredited role in John Ford’s The Hurricane) but neither are as fondly remembered as Tabu.

F. W. Murnau’s final film was actually released a week after his death. Whilst working on the sound for the film, Murnau was being driven up the coast from Los Angeles by a 14-year-old Fillipino servant and was involved in a car crash, dying a day later in hospital. It’s a shame that this was his last film and a tragedy that his life was cut short so early, robbing the world of countless more exceptional films. He had actually spent most of his final months on the island Bora Bora, having enjoyed his time there so much.

The definitive version of Tabu is available on Masters of Cinema Blu-ray and DVD dual-format release, packed with extras (deleted scenes, a short film directed by Flaherty using leftover footage, a documentary) and with an immaculate transfer. It also restores scenes that were cut before its original release, as well as those taken out in subsequent cuts over the intervening years (the explanation for all of this is in the extensive booklet that’s included in the box)

by hutchwp

Film review – Tomorrowland: A World Beyond (Brad Bird, 2015)

The big live-action summer blockbuster for Disney is always hotly anticipated [1]. The previous three summers’ blockbusters were John Carter (2012), The Lone Ranger (2013), Maleficent (2014) [2], and before that there were plenty of Pirates films to chew on. These have all been at worst reasonable sellers but have received middling to good reviews. As long as the basic premise is generally acceptable to cinema-goers and there’s enough advertising involved, they tend to do well. In recent times, it seems Disney’s summer blockbusters have been review-proof.

So how will Tomorrowland fare? It is an action-adventure film with a young female lead (Britt Robertson as the intelligent and headstrong Casey), a child as a prominent supporting character (newcomer Raffey Cassidy as humanoid robot Athena) and a big name alongside them both (guaranteed ticket-seller George Clooney as Frank Walker), so it has a good chance on that front. It is also in good hands with director Brad Bird at the helm. His previous work for Pixar as director includes The Incredibles and Ratatouille, two of my favourite animated films. He’s also responsible for excellent film The Iron Giant, a film which broke him as a director [3].

Visually stunning, but wrapped up in its own spiderweb of overthought plot.

Visually stunning, but wrapped up in its own spiderweb of overthought plot.

However, there has been a distinct lack of the blanket media coverage we’ve come to expect from these kinds of films. It’s almost as if Walt Disney Pictures hasn’t really got faith in it. Inevitably, this disinterest in the film has seeped its way down to the general public, who are simply not checking it out. It is currently on track to lose money, with a global taking of $133.2m against a budget of around $190m. It’s still ploughing on and might break even after Blu-ray sales and merchandise is taken into account.

The premise of the storyline is loosely based on the futuristic area of the Disney Theme Parks, which is also the source of the film’s name (it was originally titled 1952). It’s a time-travelling adventure with absolutely stunning visuals that make the film very easy on the eye. It’s actually very similar visually to The Rocketeer, and I felt as though this is what would have been achieved had that film been released today rather than 1991.

It’s a problematic film, however, and I put this down to the hard-to-follow plot. I don’t think it’s overly complex, I just don’t think it’s explained very well. Alongside Brad Bird as co-scriptwriter is David Lindelof of Lost fame, whose scripts tend to walk a fine line between intrigue and confusion. When he gets it right (the earlier episodes of Lost, Star Trek: Into Darkness), it can be the most gripping sci-fi around. Sometimes, though, he misses the mark and becomes far too confusing to follow. Tomorrowland is certainly in this category.

The problem is that the plot loses the plot, and therefore its own essence. I’ll try to summarise (SPOILER ALERT!). Casey, the daughter of a NASA engineer, finds a magical pin that transports her to a Utopian parallel universe. However, it has a limited lifespan and counts down to expiry, meaning you only get a glimpse of the alternate universe (we later learn it’s an advert). It also means you co-exist in the alternate reality, so if you move around in the alternate reality you might bang your head in the real world. She tries to track down a second pin and finds herself teaming up with Frank, who can access the real universe via a secret rocket inside the Eiffel Tower, and can get them there by a secret teleportation device he invented. When they get there, the Utopia is now derelict, but evil genius David Nix (played by Hugh Laurie) doesn’t want to let anyone else in, even though humanity will end within 60 days.

I won’t ruin the ending but as you can see, it does get quite far-fetched and I do seriously question whether or not the children in the cinema were fully on board with it. Indeed, it took five of us about ten minutes of debating until we settled on what exactly we’d just seen [4]. We still had some questions remaining though. Firstly, I’m assuming the robots that were sent to kill Casey were sent by David Nix. If so, he didn’t seem to know who she was when she arrived. Why weren’t they trying to kill Frank instead? He was the one known entity. Perhaps they assumed she would lead them to him, but I didn’t feel this was explained very well. Following on from this, why weren’t they all killed immediately after they arrived in the Utopia? It seemed there was a “well, they’re here now, let’s give them a shot” sort of vibe going on. I wasn’t buying it. Finally, why had the Utopia got so run down? I feel there was a huge area of the plot to explore here but it wasn’t mentioned. Oh, and why the Eiffel Tower?

In the end, it was just a huge advert for world peace, creativity, Coca-Cola, Chevrolet, and not stifling imagination. And Disney merchandise (yes, you can buy your very own copy of the Tomorrowland pin that is so integral to the plot). It was a missed opportunity. I don’t recommend you avoid it. Perhaps I’m not as intelligent as I once thought and it’s my fault alone that I don’t understand a film aimed at 12-year-olds. It’s visually stunning and is almost worth seeing just for that. Just don’t get your hopes up and don’t try to overthink it.

[1] It doesn’t necessarily mean they’re good.

[2] Despite being classed as a box-office flop, John Carter actually made money on its $263m budget at global box offices alone, pulling in $281m in receipts. Once you factor in sales of merchandise, video games, DVDs, Blu-rays and downloads, it must have made a huge amount. Not bad for a flop…

[3] Surprisingly, he also directed the music video for “Do The Bartman”, right at the start of his career. It’s less of a surprise once you know he was already involved in The Simpsons from earlier on, though this knowledge could help win you a pub quiz one day.

[4] I went to see this one with a couple of good blogger friends, whose blogs can be found at the following addresses: Nesbitt Web and Ahoy Small Fry. They’re both very different blogs but I enjoy them both on a regular basis. Check them out!

by hutchwp

The Fireman (Charlie Chaplin, 1916)

The second in the Mutual Comedies series (the first, The Floorwalker, I have previously reviewed), The Fireman is another great example of master craftsmanship from Chaplin. It involves an insurance fraud setup whereby a man (Lloyd Bacon) colludes with a local fire chief (Eric Campbell) to collect on the insurance money. However, things don’t quite go to plan when a real fire breaks out on the other side of town and the whole plot falls over to humorous results. Chaplin plays a fire engine driver who fails at everything he is involved with and this character is the source of most of the humour, especially in his interactions with the fire chief, played by the brilliant Campbell.

It’s not quite Chaplin at his best, nor is it really quite as effective as The Floorwalker, but it has its charm and is worth watching if only for the few big laughs dotted throughout. There are much worse ways to spend 28 minutes of your day.

I preferred the original Fotoplayer music and sound effects as performed by Robert Israel on this one, but both audio tracks compliment the original visuals perfectly well. It comes down to personal preference and I’m more of a traditionalist.

Charlie Chaplin – The Mutual Comedies is out now on BFI Blu-ray and DVD.

by hutchwp

The Floorwalker (Charlie Chaplin, 1916)

On 25th February 1916, Charlie Chaplin signed a $670,000 deal with the Mutual Film Corporation to produce a film a month over a one-year period. This made him the highest-paid entertainer in the world. The deal came as a surprise to the film industry; many had expected him to sign with a larger studio and Mutual hadn’t really been considered as an option. However, the money (according to Dollar Times online calculator it was equivalent to $15.2m in 2015) and the creative freedom swayed him and production began in earnest.

The first of these films, all of which were short comedies, was The Floorwalker, released on 15th May 1916. The basic story involves a department store floorwalker (Lloyd Bacon) who is involved with embezzlement of money with the store manager (Eric Campbell). When they receive a letter informing them that detectives are on the way to investigate the finances, they decide to run. However, when the floorwalker spots a near-perfect lookalike in a tramp (Chaplin), he decides to offer to switch personas with him, without realising that the tramp himself is in trouble with the police for property damage in the shop.

The film has a couple of classic Chaplin comedy moments. The first (which is reused throughout to great hilarity) involves the tramp’s inability to go up or down an escalator. It is just pure comedy gold and though it has been imitated many times over, never has it been done so effectively. Another set piece that has had its imitators over the years is the first meeting of the trap and the floorwalker, in which they become intrigued by one-another and begin to mirror the other’s movement. It requires perfect comic timing and is brilliantly executed. It is perhaps more fondly remembered in The Marx Brothers’ comedy Duck Soup, though the gag in that film involved a mirror so isn’t strictly a copy.

All twelve films from the Mutual Film Corporation period are collected in an excellent Blu-ray (and DVD) released by BFI this month. The presentation of each includes two scores (all have one score by Carl Davis and an alternative score by a range of composers), an audio commentary and a brief discussion in the extensive booklet. The restorations are evidently full of care and attention to detail, which I’ve come to expect of BFI releases but will never stop appreciating.

Go out and buy a copy now and support the important restoration projects for classic cinema. You won’t be disappointed with this release.

Charlie Chaplin – The Mutual Comedies is out now on BFI Blu-ray and DVD.