Has any rock group inspired – and paid for – as much cinema as the Rolling Stones? From Jean-Luc Godard’s Sympathy for the Devil to Scorsese’s gilded concert footage for Shine a Light in 2009, the Stones have woven themselves into film history at the same time as they became rock legends. The Maysles Brothers’ Gimme Shelter is even in the Criterion Collection and footage from it informs a central chapter in Brett Morgen’s documentary (auto)biography of the band, Crossfire Hurricane.
As the 1969 Altamont free concert deteriorates into murderous anarchy, the still-living Stones provide their own 40-year-on perspective in croaky voiceover and it’s these audio-only reminiscences that provide the main novelty of a film that – at only two hours – struggles to contain the full majesty of “the greatest rock and roll band in the world”. There’s plenty of unseen (by me at any rate) new backstage and behind-the-scenes footage too, in an intricately edited portrait which is as honest as any band-authorised and Jagger-produced documentary is likely to be.
Dedicated to Anderson’s hero, Robert Altman, Blood is a beast of a different colour to Old Men: a heavy-weight Western-style epic pouring oil on the myth of the American dream and then dropping a match on it. The amazing Daniel Day-Lewis plays independent prospector, oil man and misanthrope Daniel Plainview. Determined to separate simple people from the oil under their feet he uses his adopted child in order to resemble an honest family man while he plots the downfall of his enemies.
There Will Be Blood ruthlessly dissects the two competing powers of 20th Century American life: capitalism and religion, each as cynical and corrupt as the other. Paul Dano (the comically mute son in Little Miss Sunshine) is a revelation as charismatic pastor Eli Sunday, the only character strong enough to merit a battle of wills with Plainview – a battle to the finish.
Listless rom-com 27 Dresses comes to life for one amusing montage of weddings and dresses (about half way in) but otherwise this star-vehicle for Katherine Heigl (Knocked Up) seems under-powered. She’s joined in the film by James Marsden (Enchanted) (not normally a cause for rejoicing, and so it proves once again here) and Malin Akerman (The Heartbreak Kid) who isn’t nearly as funny as she thinks she is. Heigl plays a supposedly plain, self-effacing, young woman who organises the lives (and weddings) of all those around her while secretly pining for a wedding of her own with Boss Ed Burns.
Rogue Assassin is big and dumb and doesn’t even succeed on it’s own limited terms. Former member of the British Olympic Diving Team, Jason Statham (Crank) plays an inexplicably English-accented FBI agent in the Asian Crime Unit. He’s on the trail of an ex-CIA hitman named Rogue (Jet Li) who is engaged in a Yojimbo-like plot to destroy San Francisco’s Yakuza and Triad gangs. Fans of Jet Li’s trademark balletic martial arts will be disappointed as anything more than standing around looking stern seems to be beyond him now. The daft twist at the end will provide some much-needed amusement.
Danish provocateur director Lars von Trier recently announced his retirement from filmmaking due to depression. He hasn’t ceased involvement in film, though, as his company Zentropa is still producing some of the most unusual and challenging films around and Red Road is a perfect example, the first release in a new project called The Advance Party. Zentropa producers Lone Scherfig & Anders Thomas Jensen (Wilbur Wants to Kill Himself) created several characters and then gave those characters (and a set of rules about how they should be used) to three writer-directors in the hope that the three films together would prove greater than the sum of the parts.
The first film, Andrea Arnold’s Red Road, isn’t just an interesting experiment, it’s actually very good. Lonely Glasgow CCTV operator Jackie (Kate Dickie) is haunted by an unspecified tragedy from her past. When she sees an unexpected face on her monitor she, in spite of herself, is forced to confront him and her own grief. The Red Road council estate, that gives the film it’s name, makes Newtown Park Flats look like the Isle of Capri, and the whole thing has a Loach-ian grit that is happily well-balanced by some beautiful cinematography. The film itself plays out slowly, but not inevitably, and the surprise revelation at the end is less powerful but somehow more moving than you expect.
Printed in Wellington’s Capital Times on Wednesday 20 February, 2008.
Notes on screening conditions: There Will Be Blood screened at Rialto Wellington on Saturday afternoon. The image was incorrectly masked so that the vertical cyan soundtrack along the left of the screen was clearly visible throughout. The projectionist was alerted but he shrugged his shoulders and said there was nothing he could do about it. We have about six more weeks of Rialto Wellington and I volunteer to swing the first wrecking-ball.
Keen-eyed readers will remember that a year ago I nominated The Golden Compass as my most-eagerly-awaited title of 2007. So, how did it pan out? I’m one of those who consider Philip Pulman’s His Dark Materials books to be the most important works of fiction produced in the last 20 years and I was surprised at how closely the film followed Book One (“Northern Lights”), possibly to its detriment. I was worried that a film with much exposition and detailed scene-setting might prove unwatchable but my companion (unfamiliar with the books) found it thrilling whereas I found it hard to let myself go and relax into it – maybe second time around.
Disney’s Enchanted saw Amy Adams reprise her Oscar-nominated wide-eyed naïf from Junebug. Unfortunately, as Princess Giselle from the animated kingdom of Andalasia, she couldn’t overcome the collective blandness of James Marsden as fictional-world love interest or Patrick Dempsey as real-world love interest; diversions were provided by Timothy Spall and the first of several animated chipmunks to land this Christmas.
The next fluffy rodents to arrive were the “singing” trio from Alvin and the Chipmunks, a recreation of someone’s favourite childhood pop butchers. Jason Lee is a waste of space as the songwriter who discovers them but the little critters themselves will keep your inner 8‑year-old amused for a while.
Also for the kids was the well-meaning but slightly po-faced Loch Ness monster fantasy The Water Horse, another high-class product of the family-friendly Walden Media/Weta/NZ confederation. A tremendous overseas cast led by Ben Chaplin and Emily Watson are joined by familiar and reliable local faces like Joel Tobeck and Geraldine Brophy.
National Treasure: Book of Secrets saw Nicolas Cage arise from his coma and make a little more of an effort than he did earlier this year in Next: it’s a noisy romp in which unlikely characters and implausible situations combine to bamboozle any seeker after logic. Helen Mirren, Harvey Keitel and Ed Harris add gravitas.
Will Smith returned in the oft-made man alone thriller I Am Legend, a perfect example of a poor script made palatable by classy direction and a superb leading man at the top of his game. Smith plays Lt-Col Robert Neville: decorated war veteran, ace micro-biologist and (judging by his address opposite the Washington Square Arch) heir to the Rockefeller fortune too. A genetically mutated virus that was supposed to cure cancer has gone rogue. 99% of the population has died, 1% have turned into bloodthirsty zombies and only one man is immune – handily for our purposes the one man who might know how to create a vaccine. Lots of frights, lots of great action and a magnificently seamless creation of abandoned New York make it certainly worth a look. At least until the last 15 minutes when, sadly, it just gets stupid.
Finally, to the arthouse: Sweet Land is an unheralded gem set in beautiful rural Minnesota among the Northern European immigrants who were making their lives on that land in the first quarter of the last century. Elizabeth Reaser plays German immigrant Inge who travels from Germany to meet Lars, the man who is to be her husband. But she speaks no English, has no papers and the locals are suspicious of Germans – the marriage is forbidden. True love conquers all but not before the bitter sweet tale ties three generations and the fertile farmland together. Recommended.
A monument to the Digital Intermediate Colourist’s art, The Kite Runner is an adaptation of the beloved novel by Khaled Hosseini, directed by Marc Forster (Finding Neverland, currently shooting the new Bond). Affecting but manipulative, The Kite Runner is a story of guilt and redemption (usually catnip to me) but in the end it relied too much on outrageous coincidence to be truly satisfying. Great performances from Ahmad Khan Mahmidzada as Young Hassan and Homayoun Ershadi as Baba mean it is never less than watchable.
Priceless is yet another French film about mistaken identity and class restrictions: they seem to be more obsessed about class and status than the poms. Gad Elmaleh (The Valet) and Amelie’s Audrey Tautou play two ambitious individuals from the serving class: he walks dogs and tends bar at a flash hotel and she is a gold digger trying to snare a rich old husband. The fact that both actors are of North African descent (and therefore are excluded from the ranks of the real French who sit at the top table) is either a subtle stroke of genius or dodgy racism depending on the degree of Christmas spirit you want to demonstrate.
Finally, The Darjeeling Limited is a winning tale of lost young men, searching for a father figure, from the modern day poet of father figure searches, Wes Anderson (The Life Aquatic). There’s no great thematic or stylistic leap made by Anderson here but he is honing this stuff to a fine art. Adrien Brody, Owen Wilson and Jason Schwartzman are three brothers on a spiritual journey across India but it is the recently deceased father who casts the longest shadow. Well made and often very funny, The Darjeeling Limited is very easy to enjoy and Anderson’s taste is exquisite.
To be printed in Wellington’s Capital Times on Wednesday, 16 Jan, 2008. I am taking a weekend off, away from the Internet and cinema so will catch up with the week’s new releases next week.