Category: Directors

Twin Peaks: Fire Walk With Me (1992)


Laura Palmer and Dale Cooper trapped in Twin Peaks nightmare halfway house between this world and the next

Director: David Lynch

Cast: Sheryl Lee (Laura Palmer), Ray Wise (Leland Palmer), Mädchen Amick (Shelly Johnson), Dana Ashbrook (Bobby Briggs), Phoebe Augustine (Ronette Pulaski), David Bowie (Phillip Jeffries), Eric Da Re (Leo Johnson), Miguel Ferrer (Albert Rosenfield), Pamela Gidley (Teresa Banks), Chris Isaak (Special Agent Chester Desmond), Moira Kelly (Donna Hayward), David Lynch (Gordon Cole), Kyle MacLachlan (Special Agent Dale Cooper), James Marshall (James Hurley), Frank Silva (BOB), Kiefer Sutherland (Agent Sam Stanley), Grace Zabriskie (Sarah Palmer)

Twin Peaks was a mystifying, but very short lived, sensation. Its first series gripped America with its whodunit mystery around who killed Laura Palmer: it was an early 90s Broadchurch with added mysticism and twisted Lynchian psychosis. Just like Broadchurch, the second series stumbled from disaster to disaster as the answer to the mystery was revealed. Though this plot line was dark, disturbing and haunting, effectively contrasted with the surreal humour of the rest of the show, large chunks of the episodes were, to be honest, terrible. As Lynch’s attention turned elsewhere, the show fumbled through half a season of increasingly bizarre, pointless, laughable and plain rubbish episodes, before rallying at the end with a return to the mysterious dwelling on the nature of evil that the series is now best remembered for.

Twin Peaks is a rare anomaly – a show whose most die-hard fans would probably admit at least a quarter of the episodes were terrible. Ratings had dropped off a cliff as the series went on (sure enough it was cancelled). The cast and crew knew the show had lost something – several actors, most notably Lara Flynn Boyle (here replaced by Moira Kelly) refused to appear in the film. Even the show’s star, and Lynch surrogate, Kyle MacLachlan only agreed to return for this film for a few brief scenes (requiring an urgent re-write). However, Lynch’s interest in the concept had clearly been awakened during his writing and filming of (what would become) the final episode, surely one of the most surreal, unsettling, bizarre, intriguing and disturbing episodes of TV ever screened.

Twin Peaks: Fire Walk With Me was Lynch’s final reclaiming of the series from the toilet it had dropped into. It also served partly as a “retcon” to tie the foundations of the original series plotline into the mythology the show had deepened in its final few episodes (built upon many surreal elements Lynch had introduced in the first episodes, otherwise hinted at rather than explored). As much of this mythology was unsettling, this movie very much follows that mood, losing much (if not all) of the dark, surrealistic humour that contrasted the darkness so well in the series. Twin Peaks: Fire Walk With Me is a strange movie that is more like an expanded extra episode of the series, rather than a stand-alone. It makes no attempt at all to appeal to anyone who hasn’t seen every episode of the series: I’d go so far to say it’s almost completely impenetrable without having sat through all of Twin Peaks.

The film explores two plot-lines: the first an investigation by FBI Agent Chester Diamond (Chris Isaak) into the murder of Teresa Banks, a plotline referred to many times in the series. The film then flashes forward a year to cover the final few days of the original murder victim Laura Palmer (Sheryl Lee) and her relationship with her father Leland Palmer (Ray Wise), who is possessed by a demonic presence known as BOB, driven by it to perform acts of sexual and physical violence. Laura is aware – and terrified – of the existence of BOB (a greasy haired face from a thousand nightmares) but seems unable to recognise that BOB and her father are one and the same. It’s the discovery of this in the film that will help to tip her over the edge into despair.

If the film is about anything other than expanding the mythology around BOB and the mysterious “Black Lodge” between dimensions, where evil and violence abound, it’s about the damaging impact of domestic abuse. The film intensely explores the personality damage Laura (an excellent and fully committed Sheryl Lee, leaving nothing in the locker room in a performance of fearless intensity) has suffered as a result of years of sexual abuse from her father (Ray Wise equally good as his personality veers wildly between gentle father and possessed evil rapist). Laura’s fractured psyche is the root cause, Lynch makes clear, of her sexual promiscuity, drug addiction and flashes of cruelty. She’s even aware of the damage, as seen in her desperation to protect others (especially the gentle Donna) from being sucked into the nightmare of her life.

The unremitting bleakness of Laura’s disastrous life is intermixed with the horror of the scenes where we witness Leland’s destructive behaviour to her, while the final scene of her eventual murder is haunting in its skilful nightmare imagery and suggestive editing. Lynch’s direction remains humane and tender, and despite putting Sheryl Lee through the ringer she never feels exploited. Instead, the film has an incredible empathy for both her suffering, and the confused, damaged actions she is driven to carry out. It gives us an understanding of the damage that can be done to even the strongest seeming people by abuse.

Alongside this, Lynch unleashes the full range of dark surrealism through a series of disturbing images to build up his mystical backstory. This is a flat out horror film, with twisted images of monkeys, blood and forests guaranteed to haunt your dreams. Nearly every scene in Twin Peaks re-positions the often quirky town of many of the episodes as a nightmareish world of neon, darkened rooms and twisted sexual and physical violence. The portrayal of Laura Palmer’s fragile heart is as intensely moving as it is intensely filmed, while the views behind the red curtain into the hellish underbelly of Twin Peaks’ mystical mythology will stick with you for some time – and is sure to be central to the new third series.

Twin Peaks: Fire Walk With Me was met with intense hostility when it was released: “It’s not the worst movie ever made,” the New York Times review read, “it just seems to be”. David Lynch publically stated he had clearly done when the network couldn’t do, and successfully killed Twin Peaks. Of course that wasn’t the case – with the new third series finally coming to the screen 25 years after the screening of this film. The re-evaluation of the film has only grown in the intervening period. The nightmarish content (and the final scenes of the series) – the wicked BOB, the nightmare of the Black Lodge and the Red Room, the elements of psychological horror – these are the things that Twin Peaks is remembered as being about: the rotten core of the sweet pie of the town.

Rust and Bone (2012)


Matthias Schoenaerts and Marion Cotillard in an unusual romantic drama

Director: Jacques Audiad

Cast: Marion Cotillard (Stéph), Matthias Schoenaerts (Ali), Armand Verdure (Sam), Corinne Masiero (Anna), Céline Sallette (Louise), Bouli Lanners (Martial)

Audiad’s films combine cinematic artistry with profound, sometimes elliptical, character studies that provoke great work from talented actors. Rust and Bone is no exception.

It’s the plot of a melodrama, staged like social-realism. Written down it sounds like the purest Hollywood schlock: crippled killer whale trainer Stéph (Cotillard) enters into a friendship that grows deeper with would-be kickboxer Ali (Schoenarts), who has a troubled relationship with his 5-year-old son. But the realistic portrayal of the pain of losing your limbs (in a scene of raw intensity from Cotillard) and Ali’s troubled homelife, penchant for casual sex and occasional resorting to violence when frustrated, pegs the film style farcloser to a hard-edged Bicycle Thieves. The film also has a lyrical poetry about it, as their relationship gently develops from friends with benefits to genuine feeling, which stops it from feeling gritty or hard-edged.

The film’s main strength is the brilliance of its two leads. Cotillard is outstanding as a passionate free-spirit whose entire world ends overnight. Her expressive face carries a host of confused feelings which shift and reform across her like a human kaleidoscope. Stéph’s vulnerability is married with a great strength of character, but Cotillard avoids many of the clichés of movie paraplegics by making her a woman who adapts without anger to her new condition. Instead, after overcoming depression, Stéph is looking actively (and with a curiosity) for something new to fill her life with.

Cotillard is so wonderful in the role, it’s very easy to overlook Schoenaerts’ skilful underplaying and Brandoish physical mastery. Ali is, I’ve got to be honest, a hard character to like – selfish, childish, in many ways thoughtless, blunt and fixated on himself. He’s also a terrible dad. Not malicious or cruel, just easily bored and frustrated with his kid. This frustration appears with anyone who doesn’t react the way he wants – “You’re so annoying!” he whines at both Stéph and Sam. Despite this, Schoenaerts’ is the heart of the movie. The film is his story, and he makes a difficult character engaging enough to carry the audience with him.

Rust and Bone is a film constructed around brilliant scenes and striking moments. In a wonderful sequence, Stéph repeats the arm signals she used to train the whales: at first she seems sad, then a warmth of enjoyment crosses her face. It’s the prompt for her to revisit the zoo, but the visit seems bittersweet: we see hugs with her friends, but Audiad cuts out the dialogue, adding to Cotillard’s own confused feelings about her return. Later she visits the whale that crippled her. Her mood here (with the camera to her back) is hard to read – is she forgiving the whale? Is she saying goodbye to this part of her life? Moments like this work so well because of the brilliance and humanity of the performances of both leads and Audiad’s patience and control as a filmmaker.

Audiad packs this beautiful film with moments like this. I particularly liked the bookend images he uses for each act. Each sets up the act thematically, from a bloodied tooth spinning on a pavement to the cover of a transit van flapping in motion. Audiad bathes the film in a series of cool blue colours, interspersed with flashes of light at moments of suggested revelation. He also has the discipline not to belabour the points of scenes or hammer home the feelings of characters (sometimes leaving you wanting more definition for the emotions they experience).

For a film immersed (to a certain degree) in a social realist world, there are odd gaps in logic: after throwing Ali out of her home (at gun point!) over his serial disregard for Sam, his indirect responsibility for her losing her job and his stroppy temper, would Anna really happily allow Sam to visit him a few months later? The disappearance of Stéph for much of the final reel of the film also pulls the focus from the central relationship and makes the final ending both rather sudden and slightly pat, out of step with the rest of the movie.

Audiad does bring a degree of engaging ambiguity to the story. The relationship between Ali and Stéph is intriguingly hard to define. She seems drawn to him for his lack of guile and his treatment of her disability with a matter-of-factness free of pity or embarrassment (qualities that linger around many of her other interactions). However, shifts in her character over the course of the film are deliberately kept low-key and open-ended, allowing moments where she surprises herself and the audience with the strength of her feeling. Similarly, the lack of depth in Ali’s personality makes his emotional development halting and discordant – he is attracted to her physically, but which qualities in her cause those feelings to deepen? It’s not immediately clear watching it – and I suspect many viewers would have different opinions from watching this curiously inscrutable film.

It’s a thoughtful film, but somehow never quite as moving as you expect. I think a lot of your connection with it depends on how much you feel Ali deserves redemption, or if you can forgive the constant stream of selfish and thoughtless things he does. I’m not quite sure I did. Similarly Stéph remains, for all the expressive humanity Cotillard brings to her, strangely unknowable.

That’s partly the problem with the film. Despite its beauty, it’s a little too enigmatic to be completely engaging. Wonderfully shot, and strangely haunting as it is, I think this is one every viewer will have a personal reaction to. I can imagine many would be deeply moved by its blue-tinted mystery and fragile dissection of damaged souls. For me it didn’t quite have the impact I think the film needs, and I didn’t feel this love story quite coalesced into a something truly profound in itself. It’s a beautifully made and intelligent film but not one I fell in love with – though I can imagine many people have.

Carol (2015)


Rooney Mara and Cate Blanchett in a moving dance of love and romance

Director: Todd Haynes

Cast: Cate Blanchett (Carol Aird), Rooney Mara (Therese Belivet), Sarah Paulson (Abby Gerhard), Kyle Chandler (Harge Aird), Jake Lacy (Richard Semco), John Magaro (Dannie McElroy), Cory Michael Smith (Tommy Tucker), Carrie Brownstein (Genevieve Cantrell)

It’s the way of things that gay love-stories in Hollywood are invariably relegated to a sub plot – often one that has a certain tragical element to it. This is not the case here in Todd Haynes’ superlative romance, which places a lesbian love story at its centre, sensitively building the characters and romantic journey between them.

Therese Belivet (Rooney Mara) is a lost department store worker, drifting through life. One Christmas, working on the toy stall, she recommends a toy for the daughter of socialite Carol Aird (Cate Blanchett). A spark of attraction between the two is immediately apparent, and Carol invites Therese first to dinner, then to spend an evening together and finally a Christmas road trip across America, during which their attraction grows and deepens into a flourishing love.

This wonderful love story, almost a twist on Brief Encounter, is a brilliantly done, extremely engrossing and moving romantic film, a film that manages the rare feat in Hollywood movies of not making a homosexual relationship something that requires narrative punishment. Haynes’ luscious 1950s filming style, stressing the aesthetics and manners of the era, combines brilliantly with a subtly murky photography style that darkens and lightens at different points to create an immersive fairy-tale quality. It’s a perfect tapestry for a deeply caring and sensitive story, anchored by a superb script and wonderful performances.

It has now got to the point where it is axiomatic to say Cate Blanchett gives a wonderful performance – she is, after all, one of the best actresses in the world right now. She is quite simply perfectly cast as Carol, her features having the flexibility to appear both cold and distant and soft and caring, a switch she is able to make with the slightest of gestures. Her patrician manner is deconstructed brilliantly. Her character is initially established as an almost predatory figure, a determined and manipulative woman; it’s only over the course of the film that this persona is slowly taken apart, revealing waves of emotion and pain from years of denial, loneliness and a sense of being trapped. Each scene slowly prompts us to reassess and reevaluate her character, and Blanchett handles this journey with astounding skill, revealing a hinterland of pained, self-doubting isolation and desperation to experience real love behind her cool and confident exterior. It’s a performance of phenomenal skill and emotional force.

It’s matched brilliantly by Rooney Mara as the object of Carol’s affections – and it must be said at the very least a co-lead of the film. Therese is a woman sleepwalking through life when we first see her, trotting through the motions of her interactions with others – a clear void in her, waiting for something to happen to her, but clearly with no idea of what that might be. Similar to Blanchett, Mara’s gentle and sensitive exterior deepens over the course of the film as she becomes more assertive to those around her, more of a determiner of what she wants from her own life. Mara’s soulful eyes and gentle face make her a perfect audience surrogate, creating a character whose feelings, doubts, anxieties and growing confidence we become immersed in. The film is in many ways her story, and Mara’s expressive gentleness is vital to our investment in the story.

The road trip at the heart of the movie’s plot is a charming, lyrical dance between two people juggling an unspoken attraction: one of them on the edge of all times of saying it, the other drawn towards an attraction she is still trying to understand and express. Haynes perfectly captures the small playful moments of first love that pepper these scenes, the camera intimately placed to make us part of this growing partnership of equal minds and hearts. Slowly they grow physically closer – both in their ease of body language, and through their slow progress towards sharing hotel rooms and finally (in an achingly romantic scene) a bed.

It’s a film about romantic longing between two people, the instant attraction. Therese’s first glance of Carol is across a crowded room, with the camera panning past Carol in a POV shot and then returning to her, before cutting back to Therese, now seemingly alive with an attraction she doesn’t quite understand. The Brief Encounter structure of the film is established with the film opening with Carol and Therese’s (possible) last meeting in a dinner. We see their interrupted conversation leading to Carol’s departure, leaving after touching a hand on Therese’s shoulder – the camera lingering on Therese’s back and her unseen reaction (and contrasting it with a meaningless similar touch from a male friend). When this scene is replayed later, we see it more from Carol’s perspective – and her pulsating emotion and longing.

The reason these scenes work so well is that the film continually shows Carol and Therese struggling to hide their growing attraction in plain sight, to maintain the balance between expressing their feeling and keeping a plausible deniability. This feeling grows because the film has the patience to take its time with building this relationship– and because we are aware of Therese’s feelings earlier than she is.

The film’s sensitivity extends to the sympathy it feels for all its characters. As useless as many of the men in the story are, they are confused, distressed or lonely rather than malicious or cruel. Carol’s husband Harge could have been a bullying monster, but he actually comes across as a frustrated and deeply hurt man, who understands on some level his wife’s sexual preferences, but is unable to fully comprehend the implications of this. On paper it’s a thankless part, but Kyle Chandler is superb, his Mad Men features perfectly suited to the role of floundering masculine figure. Many of Therese’s would-be suitors are similarly drawn reasonably sympathetically, however laddy, over-keen or dull they may be – Haynes’ film has an understanding that they are products of their time. In a lovely scene Therese talks about homosexuality with one of her male suitors, who can barely countenance its existence, as if she was talking about the man in the moon.

Haynes’s mastery of the aesthetics of the material is present throughout. Haynes increases the feelings of being trapped or surrounded by a number of shots through windows, using mirrors, from the other side of doors – divides that stress the characters’ sense of being trapped and enclosed in their lives. He also carries across just a small teasing touch of the melodrama of 1950s films – though I would argue this is no way a melodramatic film – with a gun making a deliberately misleading appearance, and a few beats that briefly suggest the film is heading in an entirely different direction.

Carol is a wonderful, soulful and entrancing film. It’s about two people showing each other hidden depths about themselves, uncovering truths and building each other’s capacity for love and ability to admit and understand their feelings. It makes this a tender and endearing film, with two characters whose fates we become completely involved with. It also avoids passing any form of judgement over any of the characters. Filled with subtle moments, open to interpretations (even their first meeting is full of code, from the recommendation of a non-gender-conforming train set to Carol’s gloves left invitingly on the counter) that constantly ask us to review how open we feel the characters are being with themselves and others. With brilliant performances by Mara and Blanchett (backed by Chandler and a very sensitive performance from Sarah Paulson as Carol’s former lover), this wonderful film is both profoundly moving and very uplifting.

Blood Diamond (2006)


Leonardo DiCaprio and Djimon Hounsou excel in this self important Hollywood message film

Director: Edward Zwick

Cast: Leonardo DiCaprio (Danny Archer), Djimon Hounsou (Solomon Vandy), Jennifer Connelly (Maddy Bowen), Arnold Vosloo (Colonel Coetzee), Michael Sheen (Rupert Simmons), David Harewood (Captain Poison), Basil Wallace (Benjamin Kapanay), Jimi Mistry (Nabil), Kagiso Kuypers (Dia Vandy)

Hollywood films set in Africa often have a difficult conundrum – they want to tell a story about that often troubled continent, but struggle to do so without feeling impossibly worthy – and often need to filter the story through the experience of white westerners in the region. Blood Diamond tries to avoid these traps very hard – but largely ends up falling into them.

In 1999, Sierra Leone is ravaged by Civil War. Fisherman Solomon Vandy’s (Djimon Hounsou) village is attacked by rebels, led by Captain Poison (David Harewood), and his son is taken as a child soldier. Captured Vandy is forced to work at the diamond mines, where he discovers a priceless “Blood Diamond”. After concealing it, Vandy is captured by government troops. Overhearing of the diamond’s existence from a confrontation between Vandy and Poison in prison, Rhodesian arms trader Danny Archer (Leonardo DiCaprio) enlists Vandy to claim the diamond – promising to help find Vandy’s lost family with the help of journalist Maddy Bowen (Jennifer Connolly).

The only thing that elevates this rather shallow film is the excellence of its two lead performers. Both DiCaprio and Hounsou give committed, energised and emotional performances way beyond the clichés and mundane predictability of the rest of the film. DiCaprio has a fairly standard redemption cycle, but invests Archer with an inner pain, a supressed sense of honour and a bitter anger at the world that acts as a shield against opening himself up to affection and friendship. Hounsou takes on the difficult task of effectively representing Africa, but makes Solomon a living, breathing man, a loving father but also a rash man, defensive but burning with emotions.

It’s a shame the rest of the actors aren’t given the time to build these sort of real human portraits out of this stodgy script. Jennifer Connolly in particular is cursed with a lousy part – every third line is either a plot device or a method of communicating facts and figures from the writer’s research. The film is bookended by tedious “G8” meeting scenes where (mostly white) politicians effectively sanctimoniously read the contents of Wikipedia’s Sierra Leone pages at each other. 

The film manages to tick most of the expected boxes of African-set Hollywood films, with poverty, violence, blood diamonds, war lords and child soldiers all mixed in. It’s very clear all involved were of the opinion they were making an “important” film. It’s this “on the nose” seriousness that prevents the film from being a really effective piece of message-film making, not helped by Zwick’s careful but uninspired direction. It’s not a bad film by any stretch, but it is only a competently well-made, average one.

Throughout, messages are heavily delivered and metaphors hammered home (a metaphor about the blood in the soil is whacked over our head at a crucial dénouement). The film overeggs the pudding for its emotional moments – the final scene certainly goes too far. Many of these problems come back to the script, which is so wedded to its research and earnestness, that it keeps getting in the way of the moments when the film tries to come to life. We never really feel we are actually sharing the experience of those most affected by events (even Vandy is really a supporting actor in his what should be his own movie, his experience filtered through the impact it has on Archer).

So this is a flawed film, but it still sort of works – and most of that praise needs to go to the leads, who deserved a far better film. It’s predictable and sanctimonious, keen to be a landmark piece of cinema, but really it’s just another Hollywood “message” piece. DiCaprio and Hounsou sell the hell out of the predictable story and stodgy script, and make it one that keeps your interest throughout, even if it never really hits you with the impact it desired.

Kagemusha (1980)


Identity, honour and duty all combine in Kurosawa’s samurai epic

Director: Akira Kurosawa

Cast: Tatsuya Nakadai (Takeda Shingen/The Kagemusha), Tsutomu Yamazaki (Takeda Nobukado), Kenichi Hagiwara (Takeda Katsuyori), Jinpachi Nezu (Tsuchiya Sohachiro), Hideji Ōtaki (Yamagata Masakage), Daisuke Ryu (Oda Nobunaga), Masayuki Yui (Tokugawa Ieyasu)

In his late career, Kurosawa made two epic “samurai” films, both sweeping broad canvas stories, crammed with epic visuals and tackling big themes. Kagemusha was the first of these – and Kurosawa himself claimed that the film was a dry run for his real aim: to make an epic Japan-set version of King Lear, which would become Ran. How does it hold up as film in itself?

Kagemusha means Shadow Warrior, and the film follows the life of a convicted criminal (Nakada) saved from crucifixion because of his uncanny resemblance to warlord Shingen (also Nadada). When Shingen is mortally wounded on campaign, the Kagemusha is recruited to pretend to be the warlord, to guarantee the peace and security of the Takeda tribe – whose enemies are kept in check by their fear of Shingen’s reputation. The Kagemusha struggles at first to fill the role, but gradually becomes more and more consumed by the identity of the warlord.

Kagemusha is a beautiful film to look at. It’s totally visually stunning. Kurosawa had spent years planning the film, struggling to raise the cash, he had even attempted suicide when it looked like he would never make another film again. Kurosawa had painted many of the scenes in advance, and his film captures this effect brilliantly in a swirling, breathtaking display of colour and imagery.

Battle scenes take place against blood red or pitch black skies. Armies march in silhouette past a burning sun. The colours of the sects of the Takeda army contrast and dance together. Foliage and bodies intermingle on deserted battlefields, with the camera taking in the destruction of battles with a cool, imposing stillness. A marvellous tracking shot early in the film follows a soldier running through a sleeping army in a castle, each group of soldiers waking and rising behind him as he proceed. Even the still (one shot held for seven minutes) opening shot is brilliantly framed and strangely compelling.

The final battle sequences have a strange, dream-like quality. Kurosawa films charging horses and men, gunshots, but no coming together of these things – we see waves of men going forward, see the guns firing, cut to the shocked reactions of the Takeda generals – we never see men mown down. The imagination alone presents what the generals are seeing – and makes us share their helpless horror. The final image of a body floating past Shingen’s personal banner, abandoned in a blood-stained lake, as the camera pans up and away is brilliant – hammering home the tragic loss of lives for the hubris and pride of a clan leader.

Of course, the most extraordinary use of colour is the Kagemusha’s dream, where he sees himself chased by the embalmed corpse of Shingen. The dream takes place in an explosion of painterly colours, a huge backdrop completely unrelated to anything real. This really ties into your unworldly memory of dreams – while Shingen’s relentless movement forward and his meaningless, unclear emotions (is he angry? Is he looking to take possession of the Kagemusha?) have the terror of a nightmare. The scene ends with the Kagemusha trapped in a pool of water, the motions of the waves breaking his reflection, a neat commentary on his own lack of identity. You’ve not really seen anything like it before.

The Kagemusha’s dream – the colours are beyond striking

In terms of storytelling, Kurosawa also uses some interesting techniques. I was surprised how many key events happen off-screen. Along with the two major battles (the one described above and the one fought under the Kagemusha’s “leadership”, which occurs mostly at night in confusion a distance away) we never see the Kagemusha’s training, Shingen being wounded (instead we see a sniper tell his master how he did it), never see the Kagemusha’s ill-fated attempt to ride a horse. Time seems to slide unclearly throughout the film – years seem to go by in minutes. The whole structure of the film flows in slight fits and starts – it feels rather like (guess what!) a dream, where the logic of events and time never quite holds together. Perhaps fitting in with Kurosawa’s love of visual language, it’s like looking at a series of canvasses by a master-painter – a series of snapshots or moments, or comments on moments, with the viewer left to fill in the gaps.

The film’s visuals are its real strength, but it touches on questions of identity and of leadership. As the Kagemusha, Nakada’s acting style has much of the expressionistic wildness of many of Kurosawa’s leading men, but married with a subtler quietness, making the Kagemusha a lost, gentler soul struggling to define himself within the role of Shingen. Nakada’s Kagemusha is a conflicted contrast to the ramrod certainty of his Shingen – a humanist, who grows to love his position – who perhaps even grows to believe he is Shingen – but has an ease with Shingen’s grandson the warlord never had (“He’s not so scary now!” the boy exclaims – and he is the only character who suspects a change). Is he a better man than the warlord but a worse leader? When unmasked, does he haunt the court because he has grown to care or because he can’t let go of the illusion of being Shingen? 

Kurosawa also explores the Kagemusha’s success as Shingen – expressly linked to his ability to voice key slogans with commitment (“The mountain does not move!”) and sit calmly during battle. Kurosawa seems to be criticising implicitly the deference inherent in much of Japan’s past. These soldiers are devoted to the Kagemusha, but he says and does nothing. When revealed, they reject the same man totally and instead follow with the same dedication the orders of Shingen’s inadequate son (many even while believing it will doom them). Identity is a theme we cling to in the West, but I think for Kurosawa it’s the blankness of our leaders that interests him – the idea that we follow people because of what they represent, rather than what they necessarily are. It’s an idea that feels subservient to the mood of the film, but it’s there.

Kagemusha is a film of wonderful visual style and accomplished cinematic grace. However, the main blockage to calling it a masterpiece (as opposed to just a very, very good movie) is the slight sense of intellectual emptiness at its core. Despite touching some of the monumental themes I’ve mentioned, I’m not sure the film really has that much to say about any of them in. Questions of personal identity and the function of leaders in our society are skirted around but never truly tackled. Considering the epic runtime of the film, its story and ideas are surprisingly simple and transparent, its focus split between those and the inspired visuals. To be fair, Kurosawa never lectures us, which is a comforting change from many mundane filmmakers, but he also doesn’t strike me as having much original to say on his themes – or that he aspires to do so.

That’s always the clash of priorities with Kurosawa: he is at heart a painter and a visualist rather than an analyst, a director telling large stories in broad, beautiful brushstrokes. The Kagemusha always remains a cipher: of course this is part of the point, but the character’s internal struggle and clash still seem rather glossed over, as if mentioning them was the same as actually exploring them. Some of this is intentional, and I suppose could say the film is inviting us to reach our own conclusions without prompting, but it’s hard to shake the feeling that this is a film that hangs out with ideas rather than really getting to grips with them.

Kagemusha, like Rashomon, is a film I’ve have been hard on – and Kurosawa is a director I expect so much from, because he is so overwhelmingly talented. Visually he is up there with Lean, but I feel Lean gets a better balance of depth and images. Kurosawa’s visual language is sublime, but this film is also strangely empty in places, a mighty epic and beautiful piece of cinema that saysthings but isn’t really about things. I don’t feel it truly explores its points, or gives us anything to really think about after.

Saying that, this is a vital and impressive piece of cinema and one of the most beautiful films you are going to see. Kurosawa is not the most profound film maker, but he is more than thoughtful enough compared to most and while he doesn’t claim the potential of some of his ideas, what he offers us is a true artist’s vision, a graceful mastery of the camera and enough feeling to immerse you in the story. He also – and I feel sorry for not dwelling on this earlier – brings out some wonderful performances from his actors: Nakada is superb and there is wonderful work from Yamazaki, Hagiwara, and in particular Ōtaki who is marvellously genial but imposing as Shingen’s closest general. Kagemusha isn’t his masterpiece, but for the vast majority of film-makers it would be.

Quo Vadis (1951)


Peter Ustinov revels in the Status Quo (Vadis) of Imperial Rome

Director: Mervyn LeRoy

Cast: Robert Taylor (Marcus Vinicius), Deborah Kerr (Lygia), Leo Genn (Petronius), Peter Ustinov (Nero), Patricia Laffan (Poppaea), Finlay Currie (St. Peter), Abraham Sofaer (St. Paul), Marina Berti (Eunice), Buddy Baer (Ursus), Felix Aylmer (Plautius), Ralph Truman (Tigellinus), Rosalie Crutchley (Acte), Nicholas Hannen (Seneca)

In the 1950s, epic films were the way for the movie studios to defeat the onslaught of television. What better way to best the creeping presence of the small screen in every home than offering more action, sets, crowds and colour than could ever be squeezed into that small box in the corner of the room? Quo Vadis was the first film that started a wave.

Returning to Rome after years on campaign, Marcus Vinicius (Robert Taylor) falls in love with a Christian hostage, Lygia (Deborah Kerr). Gifted Lygia as a reward by the decadent Emperor Nero (Peter Ustinov), Marcus slowly becomes fascinated by her religion – and more aware of the insanity of Nero. Petronius (Leo Genn), Marcus’ uncle and Nero’s cynical retainer who hides his barbs under double-edged flattery, unwittingly plants in the Emperor’s mind the plan for a Great Fire in Rome. After the mob reacts with fury, Nero kicks off a persecution of Christians that will end in slaughter in the arena…

There is a charming stiffness to some of this film which actually makes it rather endearing. Like many films that followed it, this balances a po-faced reverence for Christian history with a lascivious delight in sex, destruction and violence. This means the audience can be thrilled by Rome burning, entertained by Nero’s decadence, watch Christians mauled by Lions and burned alive – while also being comforted by the triumph of good-old fashioned Christian values and persuaded the film has some sort of higher purpose because it ties everything up with a nice faith-shaped bow.

Of course this all looks rather dated today, but back in 1951 this was the studio’s most successful film since Gone with the Wind and the biggest hit of the year: it started a nearly 15-year cycle of similarly themed religious epics. The money has clearly been chucked at the screen – the sets are huge, the casts sweeping, the staging of the Roman fires and Christian sacrifices very ambitiously put together. Perhaps the only surprise is that the lush, attractive cinematography isn’t in wide-screen – this was the last film of this kind to not be filmed in the widest lens available. 

Despite its nearly three-hour run time, this is quite an entertaining story, laced with enough real history to make it all convincing (even if it telescopes the last few years of Nero’s reign into what seems like a week or so). Despite this, the storytelling does feel dated at times as we get bogged down in back and forth about Christianity (told with an intense seriousness by the actors, mixed with long-distance-stares type performances), and the homespun simplicity of its message lacks the shades of grey we’d expect today (as well as being a little dull) but it just about holds together.

The main problem is the lead performers. Robert Taylor is an actor almost totally forgotten today – and it’s not difficult to see why here. Not only does he speak with the flattened mid-Atlantic vowels recognisible from American leads in historical films from this era (the jarring mixture of accents in the film is odd to hear) but he is an uncharismatic, wooden performer sorely lacking the power a Charlton Heston would have brought to this. Marry that up with his character being a dull chauvinist and you’ve got a bad lead to root for. The relationship between him and Deborah Kerr’s (equally dull) Christian hostage is based on a terminally dated, borderline abusive, set-up: he kidnaps her from her home and wants her to change her faith, she won’t but never mind she loves him anyway without condition and surely her love will make him a good man, right!

Despite the efforts of the leads and some decent supporting actors (Finlay Currie in particular makes a very worthy Peter) the Christian story never really picks up. There are some nice visual flourishes – the recreation of some Renaissance paintings is well-done, and the stark image of Peter crucified is striking – but the Christian story isn’t what anyone will remember from this film. It’s all about the corrupt Romans.

Not only do they have the best lines and all the best scenes, but in Leo Genn and Peter Ustinov they also have the only actors who perhaps seem to realise they are not in a work of art, but a campy popcorn epic. Both actors give wonderfully complementary performances. Genn’s dry wit as the cynical Petronius (whose every line has a cutting double meaning) underpins his wry social commentator to fantastic effect, delivering many of the films laugh-out loud moments. He elevates many of the best lines in a dry but educated script.

Genn’s low-key performance also brilliantly contrasts with Ustinov’s extravagance as Nero, making the emperor a sort-of sadistic Frankie Howerd. Ustinov has enormous fun in the role, cheerfully going up and over the top with Nero’s man-child depravity, bordering on vulnerability and a needy desire to be liked and respected by the people and his underlings. Depictions of his singing are hilarious, his petulant sulking extremely funny. Yes, it’s an absurd performance – more a comic sketch almost – but it somehow works because (a) everything else in the film is so serious and (b) Genn’s world-weary cynicism anchors the character for the first two-thirds of the film, giving Ustinov much freer reign to go over the top. 

So it’s all about the baddies – as was often the way with films of this era. You’ll remember the scenes of Nero holding court, and the archly written dialogue between Petronius and Nero. Ustinov and Genn are, in very different ways, terrifically entertaining (both received Oscar nominations). The Christian message of the film is on-the-nose (to say the least), and the lead actors are more like kindling for the Great Fire than actual characters. It’s a strange film, at times a bloated far-too-serious religious epic, at others a campy tragi-comedy with a dry wit. Yes it’s dated and far from perfect, but it’s also strangely entertaining and even a little compelling.

Annie Hall (1977)


Diane Keaton and Woody Allen on the quest for love and romance. How much of this is autobiographical eh?

Director: Woody Allen

Cast: Woody Allen (Alvy Singer), Diane Keaton (Annie Hall), Tony Roberts (Rob), Carol Kane (Allison Portchnik), Paul Simon (Tony Lacey), Janet Margolin (Robin), Shelley Duvall (Pam), Christopher Walken (Duane Hall), Colleen Dewhurst (Mrs. Hall), Donald Symington (Mr. Hall)

Why is love so damned difficult? And, as it is, why do we keep setting ourselves up for a fall with it? Why are we all such relationship addicts? These are questions that Woody Allen tackles in Annie Hall, the film that elevated him from comedian to Oscar-winning cinematic super scribe (he won three Oscars for the film – Picture, Director and Writer). Does it deserve its reputation? You betcha.

Alvy Singer (Woody Allen) is a neurotic New York comedian (is it any wonder he was seen as synonymous with Allen himself?), twice divorced and incapable of maintaining a relationship. He meets Annie Hall (Diane Keaton, Allen’s ex-girlfriend playing Allen’s character’s eventual ex-girlfriend, using Keaton’s real name as a character name – confused?) over a game of mixed doubles tennis, and their immediate chemistry and shared sense of humour leads to a romantic relationship. Their only problem? Their innate neurotic self-analysis that stands forever in the way of maintaining a relationship.

Annie Hall is a deliriously funny film – I actually think it might be one of the funniest I have ever seen – with an astounding gag-per-minute hit rate. Allen uses multiple techniques to deliver gags: commentary, voiceover, celebrity cameos, an animated interlude, “what they are really saying” subtitles, flashback, direct to camera address – and the blistering parade of delivery styles never seems jarring, but ties together perfectly. Large chunks of the film are inspired high-wire dances where a punch-line is a few beats away, and the film never settles into a style or becomes predictable. So many of the jokes have become so familiar due to their excellence that it’s almost a shock to see them minted freshly here – and the fact they all land so effectively is a tribute to the performers. 

In many ways, Annie Hall is a series of sketches loosely tied together with an overarching plot line. In fact Alvy’s constant commentary on events (a brilliant playing with conventional cinematic storytelling form), add to the feeling this is in some ways an illustrated stand-up routine by a gifted self-deprecating comedian. The material seems so synonymous with Allen’s personae (and the characters of Alvy and Annie so close to what we know about the actors who play them) it’s very easy to see the whole film as auto-biographical. Not that there’s anything wrong with that – particularly as the hit rate of the gags here is so phenomenally high. 

But what makes this film such a classic is that it is more than a collection of excellent jokes. Allen is also telling a story about romance – or rather or need for romantic connection, and how easily we can sabotage or undermine this through our own mistakes, errors and (above all) neuroses. Alvy Singer is almost chronically incapable of embracing happiness and contentment, with every good thing merely an interlude between crises. Annie is the most promising opportunity he has had for long-term contentment – and still his neurotic self analysis gets in the way. As such the film is about the quest for love – and the title Annie Hall(not the character) is a metaphor for this – to Alvy Annie Hall represents the perfect relationship, something he (and indeed she as well) will never accomplish. 

The film perfectly captures the dance of first meeting – the shy, stumbling early conversations of people who are attracted to each other but are both trying too hard (the subtitles here are a brilliantly funny choice – we’ve all thought to ourselves “what am I saying?” in that situation!). There is a wonderfully playful scene where Alvy panics over the cooking of lobsters – clearly playing up for Annie’s delighted engagement in it, as she photographs his distress. These photos appear in the background, framed on their wall, as their relationship breaks up relatively amicably later. At another point, Alvy attempts to recreate the same moment (same location, lobsters again) with a new girlfriend – only to be met with unamused, annoyed confusion. It’s a perfect little vignette that captures the magic of chemistry – and the difficulty of finding it or holding onto it.

Because what is striking is that Allen allows the relationship to break apart surprisingly early. Roger Ebert has written about Annie almost “creeping into” the film – and this is true. She is only briefly seen in the first 25 minutes (the first third of the film almost!) as the focus is on Alvy’s discussion of his background and childhood, and his past romantic failings and sense of disconnection from people. Then very swiftly after its establishment, the relationship is past its prime, with both parties finding it hard to keep the interest going. The second half of the film follows them amicably drifting apart – meaning this is probably the most romantic film about a long break-up ever made.

The film has a beautiful little wistful coda of Alvy and Annie meeting outside a cinema, each with new partners. In long shot we see them engage in an animated and engaged conversation while their new partners look on, nervously smiling. The magic link between them hasn’t faded away, and their importance to each other, and natural chemistry, hasn’t changed – but, the film seems to be saying, their natures work against them. It’s one of several touching moments in the film that demonstrate the heart that underpins the jokes. After their first break up, Annie calls Alvy round to get rid of a spider in the bath. He does so with comic incompetence, then in a still medium shot he comes to Annie in the corner of the frame sitting on the bed. They reconcile and then embrace tenderly – it’s a beautiful, moving, gag-free moment, all the more effective as its reality is contrasted with the humour throughout the rest of the film.

The film is a full of tender and real moments like these in between the jokes: it’s a nearly perfect balance between them. The parts are perfectly written for the actors: Allen is so brilliantly good here as Alvy that the character has essentially become the public persona of Allen (and allegedly his desire to never make a sequel was linked to his unease with the association between Alvy and himself). Diane Keaton (her real surname being Hall and her nickname Annie) also had this part perceived as a loose self portrait (her past relationship with Allen not helping). Truth told, it’s a very simple part and Keaton actually has to do very little in the picture beyond react (the focus is so strongly on Alvy) and deliver the role with charm – but she captures the sense of an era shift, a woman stuck between transitioning from the hedonistic 60s to the ambitious 80s, an ambitious free-spirit. The Oscar for the role was generous, but not undeserved.

For all the film’s emotional understanding and complexity, it’s the jokes though that you will remember, and they are glorious: Alvy’s schoolfriends telling us what they are doing now as adults; Alvy’s description of masturbation; the accident at the cocaine party; Christopher Walken’s monologue on driving; the puncturing of the pretention of a loud-mouth know-it-all in a cinema queue – it’s a blistering array of comic genius and it will have you coming back for more and more. It’s Allen’s most garlanded movie and it’s certainly the best balance he ever made between “the early funny ones” and his “later serious ones”. It’s simply shot, but told with heart, feeling and emotional intelligence and with dynamic, comic wit – it’s one of Allen’s greatest movies.

Arrival (2016)


Amy Adams tries to build an understanding with Earth’s visitors in this thinking man’s sci-fi film

Director: Denis Villeneuve

Cast: Amy Adams (Louise Banks), Jeremy Renner (Ian Donnelly), Forest Whitaker (Colonel Weber), Michael Stuhlberg (David Halpern), Tzi Ma (General Shang), Mark O’Brien (Captain Marks)

Aliens in Hollywood movies don’t often seem to mean well. For every ET you’ve got a dozen Independence Day city destroyers. But few films have really dealt directly with the complexities that might be involved in engaging with a species for the first time. How would we talk to them? How could we find out what they want?

Those are the questions that Dr Louise Banks (Amy Adams), the world’s leading linguist, has to juggle with after she is called in by Colonel Weber (Forest Whitaker) to establish communication with the inhabitants of an alien ship, one of 12 that have appeared across the globe. Working with physicist Ian Donnelly (Jeremy Renner), Banks strives to build trust and a basis for common language with the aliens. Throughout, she must deal with her military superiors’ lack of understanding of the painstaking nature of her work, the paranoia and fear of the nations of the world, and her own increasingly intrusive dreams and memories.

This is grown-up sci-fi, directed intelligently by Denis Villeneuve, whose confidence and artistry behind the camera oozes out of every shot. It’s a film that wants us to think, and urges us to consider the nature of humanity. Communication between humans and the “heptapods” is the film’s obvious focus, but it is equally interested in demonstrating how distrust and paranoia undermine how we talk to each other. Not only is this in the clashes between nations, but on a smaller scale by the communication between military and science, the uniforms in charge largely failing to grasp the slow and painstaking nature of Banks’ work. On a personal and emotional level, we see the slow growth of understanding between Banks and Donnelly, their increasing ease with each other as they break down the barriers between them, and between humanity and the aliens. 

Far from the bangs and leaps of inspiration that science normally sees itself represented by onscreen, this film attempts to follow the methodical process of building an understanding of a concept from nothing, and the careful hours of work that underpin sudden revelations. The film is very strong on the complexities of linguistics and the difficulty of conveying exact translations, including intent, context and meaning, from one language to another. In fact it’s a wonderful primer on the work of linguistics experts, offering a fascinating breakdown of how language is understood, translated and defined between two groups without a common tongue. 

This is also helped by making the aliens truly alien: I can’t remember a set of Hollywood aliens as otherworldly as these are. Not only is their language completely different (based on symbols and strange echoes like whale song), but physically they bear no resemblance to humans at all (I confess that I was momentarily distracted here, as their tentacles and residence in a gas-filled box rather reminded me of The 465 in Torchwood: Children of Earth). They lack clear arms, legs or even faces. Their technology is advanced and immediately unsettling. Jóhann Jóhannsson’s wonderfully eerie and imposing score brilliantly helps to capture this otherworldly sense, as does the crisp photography and unique production design of the alien ship. The film walks a brilliantly fine line between wonder at the aliens and a sense of unsettling dread that means we (like the characters) are never comfortable in making assumptions about their motives.

Much of the film’s success as a viewing experience also depends on knowing very little about it. For me this film delivered one of the most effective late-plot re-evaluations I’ve seen: I had no inkling of this gear shift, or how a late piece of information demands that we adjust our understanding of everything we have seen so far in the film. This is actually one of the best done examples I’ve seen of a twist (calling it a twist seems somehow a little demeaning, as if this was a Shyamalan thriller, but a twist it is) – I in no way saw it coming, but it suddenly makes the film about something completely different than you originally believed it would be. I won’t go into huge details, but the film raises a number of fascinating questions around pre-determination and fate that challenge our perceptions of how we might change our lives if we knew more about them. To say more would be to reveal too much, but this twist not only alters your perceptions of the films but deeply enriches its hinterland.

I would say the film needs this enrichment as, brilliant and intellectual as it is, it’s also a strangely cold film that never quite balances the “thinking sci-fi” with the “emotional human drama” in the way it’s aiming for. Part of this is the aesthetic of the film, which has a distancing, medical correctness to it – from sound design to crisp cinematography – and which, brilliant as it is, does serve to distance the viewer emotionally from the film. Despite the excellence of much of the work involved, I never quite found myself as moved by the plights of the characters, or as completely wrapped up empathetically with Adams’ character, as the film wanted me to be. While the ideas in the film are handled superbly, it doesn’t have quite as much heart as the plot perhaps needs to strike a perfect balance.

What emotional force the film does have comes from Amy Adams. It’s a performance that you grow to appreciate more, the longer you think about it. It’s a subtle understated performance, soulful and mourning, that speaks of a character with a deep, almost undefinable sense of loss and sadness at her core. You feel a life dedicated to communication and language has only led to her being distanced from the world. Adams is the driving force of the film – though very good support is offered from Renner as a charming scientist who also convinces as a passionate expert – and the film’s story is delivered largely through her eyes, just as the aliens’ perception of humanity becomes linked to her own growing bond with them. I will also say that Adams also has to shoulder much of the twist of the film – and it is a huge tribute to her that she not only makes this twist coherent but also never hints at the reveal until the film chooses to. 

Arrival is a film that in many ways is possibly easier to respect than it is to love: but I find that I respect it the more I think about it. It does put you in mind of other films – the aliens have more than a touch of 2001’s monolith to them and Villeneuve’s work is clearly inspired by a mixture of that film and Close Encounters. But this is a challenging, thought-provoking piece of work in its own right and one that I think demands repeat viewings in order to engage the more with its complexity and the emotional story it is attempting to tell. It may well be that on second viewing, removed from puzzling about the mystery in the centre, I will find myself more drawn towards it on an emotional rather than just intellectual level. That is something I am more than willing to try and find out from a film that I think could become a landmark piece of intelligent sci-fi.

Brief Encounter (1945)


Love and life at a crossroads: Celia Johnson and Trevor Howard in one of cinema’s greatest love stories

Director: David Lean

Cast: Celia Johnson (Laura Jesson), Trevor Howard (Dr Alec Harvey), Stanley Holloway (Albert Godby), Joyce Carey (Myrtle Bagot), Cyril Raymond (Fred Jesson), Everley Gregg (Dolly Messiter)

Brief Encounter is often hailed as one of the most romantic films ever made. This is astonishing really, as it’s actually a film about an affair where two married people with young families toy seriously with the idea of walking out on these families to run off together. Put like that, you can imagine thinking, how could I sympathise with this situation? The film’s magic is that you do.

Laura Jesson (Celia Johnson) is a middle-class woman, married to loving but dull husband Fred (Cyril Raymond) with two young children. Every Thursday, Laura travels to Milford for the day for shopping and a trip to the cinema. One day she meets Alec Harvey (Trevor Howard), a married doctor who works one day a week at the Milford hospital. Enjoying each other’s company they agree to meet again, but quickly find their ease and comfort with each other developing into a deeper relationship – with infidelity on the cards.

Brief Encounter in many ways gets close to a perfect film. Its impact on people seems to be pretty near to universal. Perhaps because the film speaks to a certain universal truth: who hasn’t, at some point in their life, found themselves attracted to someone they shouldn’t be, and who hasn’t been tempted at some point to throw their life up in the air and embrace something new and exciting? The film carefully presents these temptations in a totally non-judgemental and empathetic way, and acknowledges the romance and enticement of the forbidden.

The film also perfectly captures the magical discovery of falling in love, the tingling excitement of every second spent in the company of that new found love-interest. It’s there throughout Johnson and Howard’s interactions: their smiling eagerness, the way their eyes light up and body language opens out when they speak to each other (compare to how closed off they are when speaking to anyone else). There is a relaxed pleasure about it – an innocence and spring-time joy that makes you forget that this is a couple toying with shattering their families in a passionate affair. There is a reason the film is set in a train station – it has a transient, chance-meeting sense about it, with the station being a “neutral” ground far away from both characters’ homes where it is easier for them to pretend to be “other people” – it removes many of the possibilities for the film’s would-be affair to be perceived as sordid or wrong.

The plot also hinges effectively on fleeting moments of chance that cause either joy or pain (usually the latter). Most obviously we have Doll’s interruption of their final moments – enough to make any of us scream at the screen – but their very first meeting is caused by the random chance of a piece of grit flying up at the right place at the right time. The relationship is only unconsummated due to Alec’s friend returning to a flat early (and his sneering contempt for Harvey’s planned adultery is the only scene where a third party shatters the illusion of a perfect romance that could cause no harm to anyone). The lovers encounter friends and have to concoct unconvincing spur-of-the-moment reasons for why they’re together. It’s this constant feeling of chance and chaos around the edges of the drama that provides the sense of danger that keeps this relationship alive and empathetic.

Laura and Alec are grown-up and intelligent adults, aware of the consequences of their actions, and the film keeps this constantly at the forefront. Part of the reason we can “relax” into this would-be affair is that we have already seen at the start that the relationship will end, meaning we can simultaneously root for this meeting of hearts and minds, while knowing that no one (other than the couple themselves) will be hurt. Imagine if the film had opened with Fred’s tear-stained face? Would all the romantic boat rides and illicit kisses on a country bridge still have made us feel warmly towards Laura and Alec?

Watching this film again, I actually started to think about how Lean developed as a director from these smaller scale, script-led Coward films to the sweeping, grandiose epics that he is best remembered for today. In Brief Encounter his command of mise-en-scene is so complete – and in Celia Johnson he has such an expressive actor – that the dialogue in voiceover (for all of Johnson’s excellent delivery) often feels superfluous; it tells us nothing that simply looking at the picture hasn’t already communicated. 

Look at the scene after Laura flees Alec’s borrowed apartment: Johnson’s stunned, panicked, guilty face is the camera’s focus, as we follow her, head down, moving fast through the streets without aim or direction, the score swelling behind her. Later she sits smoking on a park bench. Her conflicted emotions of guilt, shame and shock that she should do such a thing are clear, not just from the acting, but also the construction of the scene. Although the score helps, you could watch the scene silent and know exactly what was happening and what Laura was thinking about. But the film continues with Laura’s voiceover as she details everything her face is telling us. Take a look at the sequence here (64minutes and 42 seconds in):

Was it at points like this that Lean started to move towards his later films, where the language of cinema took the place of the language of speech? Later he would place so little information about the real Laurence of Arabia in that film’s script that nearly everything is interpreted from O’Toole’s expressive face. I think you can see the roots of it here – brilliant visual touches that capture the immediate intimacy between Alec and Laura, or the way the camera holds itself steadily on Laura while she prepares her evening make-up and calmly lies for the first time in her life to her husband. In the entire construction of this film, its detailed and perfectly paced building of a sense of Greek tragedy around a slim story, you see a master film-maker, a genius of visuals and compositions. You don’t need the extra explanation, it’s all there on the screen for us. 

Camera choices are sublime: look at the staging of Alec/Laura’s final meeting: first time round, the camera moves lightly past them, focused on Holloway and Carey’s characters. Despite that, we get an overwhelming sense that something important is happening just out of shot – reinforced when Dolly interprets them. Flash forward to the end of the film, as the scene is restaged – now Dolly practically forces herself into the frame (in one great shot, the camera watches Alec leave through the door before Dolly literally walks in front of the shot to sit down at the table). The careful, comfortable composition of Alec and Laura sharing the frame together – and the way she never does so with her husband (until the very end of the film) alone tells us visually as much about the relationships as any dialogue could.

What is fascinating is that this is remembered by so many people as being about the control of emotions. Watching it again, I remembered how far this was from the truth. Alec and Laura speak their feelings for each other with an almost wild abandon once the floodgates are open – Alec’s expression of devotion while they dry off in the boat house is as frank and heartfelt a declaration of love as you are likely to hear. Laura’s emotions – her joy and her pain – are not only written across her face, but spilled out across the screen in voiceover. The characters button this up when with others, but alone they are as high on love as a pair of first-date teenagers. Throughout, the writing of their dialogue is spot-on – from their initial slight shyness to the way their lines interlock and complement each other. Again, compare how Laura talks with Alec – naturally, freely, each line developing smoothly from the other – with how she communicates with everyone else in the film (haltingly, distant, talking at cross purposes, subject matter changing from line to line). I could do without chunks of the voiceover, but the dialogue is sublime, both in its style and its construction.

You can’t go far wrong either when you have actors as good as this, with such chemistry. Celia Johnson gives one of the most perfect, iconic performances in the history of cinema. Does she strike a wrong note once? I’ve already waxed lyrical about her expressiveness – but watch her in every scene, you always know what she is thinking. Her understanding of Laura is complete, and she brilliantly shows throughout the torn loyalties between the life she has and the one she could have – between making herself happy and doing “the right thing”. The film is really her story and Johnson creates a character I can’t imagine someone not relating too. Her voice is in a way ripe for parody with its crisp 1940s tones, but along with her beautifully expressive eyes under the surface of that stiff-upper lip sharpness, there are wonderful beats of emotion and desperation.

Trevor Howard is equally good as Alec Harvey – it’s amazing to think this was only his second film role. Harvey is a character we are slightly distanced from in comparison with Laura – it’s arguable that, since the film is delivered through Laura’s voiceover, we only see him (except in the opening moments) as Laura perceives him. Howard has a charm, a gentleness and an honour about him that make him a man we can relate to, but the actor also brings an edge of danger to him that make him a plausible would-be adulterer. Early in the film it’s Alec who makes the running, pushing for dinners and bunking off work for cinema trips. It’s he who sets up the possibility of consummating the relationship, and makes the first formal declaration of affection. In fact you can see, in that slight edge that Howard gives it, why some have plausibly argued that Harvey could be a serial seducer. But that’s subtext – like Johnson, Howard is perfect.

Brief Encounter is one of those films that rewards constant reviewing. It’s a brilliantly told, tightly structured and beautifully shot story that is also deeply moving and emotional, because it feels so real. It’s possibly one of the best expressions on film of falling in love, and all the excitement and danger that it brings. Perhaps that is why it moves us, and continues to have such appeal – all of us have had that excitement of spending every moment you can with someone else, of sharing everything with them. It’s an addictive and exciting feeling, and this film captures it perfectly. It also moves us because, deep down, we like sad tragic endings – they have real impact when we have related so strongly to the characters, and they stick with us. Because, you always remember when you have been heartbroken – and seeing it so vividly brought to life by Celia Johnson in a truly great performance helps to make this film permanently rewarding.

Jack Reacher: Never Go Back (2016)


Tom Cruise and Cobie Smulders on the run – not as exciting as it should be

Director: Edward Zwick

Cast: Tom Cruise (Jack Reacher), Cobie Smulders (Major Susan Turner), Aldis Hodge (Captain Anthony Espin), Danika Yarosh (Samantha Dutton), Patrick Heusinger (The Hunter), Holt McCallany (Colonel Sam Morgan), Robert Knepper (General James Harkness)

Titling a sequel to any film Never Go Back is a real hostage to fortune. It’s not a great surprise that a quick internet search for reviews of this film throws up a plethora of puns around the film’s subtitle. It’s pretty obvious: but considering the general meh nature of this film, it’s also kinda fair.

Jack Reacher (Tom Cruise) travels back to Washington DC to visit Major Susan Turner (Cobie Smulders), a Military Police officer who has helped him with a number of problems in the past. He arrives, however, to find her under arrest for espionage – and after he starts asking questions, he quickly joins her in lock-up, under arrest for murder. Busting out of prison, they go on the run together to try and find out who has framed them.

Now I loved the first Jack Reacher film: I’ve seen it three times now and it has a brilliant combination of well-cut action sequences, witty lines, an involving plot and some interesting eccentric fringe characters (not least Werner Herzog’s Russian mobster mastermind), which fleshed the movie out into an entertainingly different man-gotta-do movie. This sequel shakes up the formula – but in doing so makes itself much more of an identikit movie, full of tropes we’ve seen before.

For starters, the main appeal of the first Reacher film was the character himself: a loner who plays by his own rules, operating like some sort of master-less samurai, was interestingly different; it was hard to predict how he might react in different situations. Here, teaming him up with Turner (good as Smulders is in the role) and a character who may-or-may-not-be his daughter turns Reacher into just another leg of a mismatched trio, an odd bunch on the run. Cruise tackles well Reacher’s conflicted reactions to taking on a father-child bond that has never crossed his mind before, but adding this parental element to the mix makes the movie start to feel like a high-class Taken reprise.

Secondly, Zwick’s direction doesn’t have the zing that the rather dry and uninvolving plot needs to bring it to life. There is very little of interest in the script, and no memorable lines at all. The best scene in the film is Reacher’s introduction – practically the only scene that captures the character’s slightly cocky defiance of authority, his seemingly omniscient awareness of how events will unfold and his simmering potential for violence coupled with a strong moral code. The storyline that built up to that opening scene sounds really interesting: I wish the film had been about that. No scene after that point really comes to life again. Zwick’s action directing is perfunctory and he can’t add the visual wit that Christopher McQuarrie introduced to such great effect in the first film.

Thirdly the story is just plain not that interesting. The conspiracy is hard to fathom (or care about) and the villains are poorly defined ciphers. In fact, outside of Smulders and Cruise, not a single actor makes an impression in this film: each supporting character is little more than a plot device, sketched with broad strokes. The family dynamic between Reacher-Turner-Dutton feels rather old-hat and robs us of Reacher’s most unique asset as a character – all part of turning the film into another run-of-the-mill thriller. For a fourth or fifth film in the series, doing something very different with the character might have worked: here we still want to explore the loner.

That’s really harsh: it’s not a bad film, just a disappointingly average one. There are some decent scenes and some grins. Cruise and Smulders give good performances. I’m glad they made a Reacher sequel. I just wish it had been a better one. I’m sorry, I can’t resist – this is one film that you will probably Never Go Back to.