What was the last film you watched?

[Mel O'Drama]

Speaking of Top Ten homework...

Touch Of Pink (2004)

Despite the presence of "Cary Grant" in this film (albeit the imaginary spirit of Cary, played by Kyle MacLachlan), and Jimi's character's mother referencing Doris Day in That Touch Of Mink more than once, the title's play on words took until the latter part of the film to click with me. It's one of a number of Grant-related Easter eggs in the film. Some are obvious - such as actual scenes from old films - while others are less so and seem to be there to ensure the viewer is paying attention. At one point on their tour of London, Giles takes Dolly to a boutique where she buys a suit based on one Doris Day wore. The sign outside names the dressmakers as "Bristol-Leach".

Some of it turns out to be built into the plot as relating to the characters' psyches: a comforting creation from characters' psyches, based on the Hollywood imagery that they found so reassuring in years past (an element that WandaVision would later do incredibly well). All the same, while not without novelty, this aspect of the film feels rather gimmicky.

A little like Pride, the casting for this film involves a whole lot of switcheroos. British Jimi Mistri plays a Canadian living in London. Canadian Kris Holden-Ried is his British lover. American Kyle MacLachlan plays Bristolian Cary Grant, sustaining Grant's trademark bizarre attempt at a mid-Atlantic accent throughout.

While completely unplanned, the film has many similarities with My Beautiful Laundrette, particularly with the lead character trying to reconcile his conventional Muslim heritage with his very unconventional relationship. Touch Of Pink feels comparatively more frivolous and safe, and even twee at times. It also suffers from a degree of quirk of the mid-Noughties variety, but the charm of the actors carries it through.

There's one aspect of the ending that, while probably not unrealistic, I found unsatisfying, since one person's conduct was glossed over rather too quickly to wrap things up which ultimately left me feeling their partner could have done better. But such is life, and I suppose it keeps things from being too perfect.

It's not the best film I've watched this week, but I've seen much worse.​

 

[Willie Oleson]

Top Ten homework

I like that!

CAROL (2015)



There are films that I love, and then there are films I fall in love with. Off the top of my head: Brief Encounter, Roman Holiday, Melody and Local Hero - and now this brilliant film by Todd Haynes.
No idea why it's taken me so long to watch it since I've enjoyed some of his other films, especially Velvet Goldmine. Julianne Moore's Safe is still on my to-watch list but it's only available on an out-of-print Criterion DVD.

Anyway, back to CAROL, the first thing to like is the department store, and this made me realise that I usually like shops-in-films or TV series. From Constance MacKenzie's bookstore in Peyton Place to the the mini-supermarket in Number 96 to The Store in Dallas to the Italian department store in Elizabeth Taylor's The Driver's Seat.
Actress Cate Blanchett often reminds me of Glenn Close, it's that balance between intrigue and intensity, and with just the right amount of vulnerability - and this is exactly what CAROL needs.
None of the other characters are upstaged, certainly not Cate's co-star Rooney Mara, and Sarah Paulson and Kyle Chandler are terrific in their respective supporting roles.
In fact, I would watch the other version of "Carol" from the husband's point of view. That would not be a prequel or sequel but an....equel?

Miraculously, I had managed to avoid all trailers and spoilers, and since it's a story about uncertain situations with impulsive actions and reactions it kinda felt like watching it play out "live".
Cinematography and soundtrack are pitch-perfect without a single moment of overdoing it, and the scene of the custody settlement reminded me a lot of Sable and Jason Colby's divorce settlement.
As a lush melodrama (with an LGBTQ theme) it simply doesn't get better than this, but it remains to be seen if it will top my Top Ten Gay movies. There's also the ethereal Moonlight (2016) and William Friedkin's visceral film adaptation of The Boys In The Band.
That's going to be another tough ranking but I'll just think of it as a luxury problem.

 

[James from London]

Gordon Warnecke (whose very familiar face I could swear I remember well from EastEnders even though IMDb says he was only in six episodes) has great chemistry with both his screen father and uncle. There's something incredibly hopeful and optimistic about his expressive face, with a novel smile and an excited sparkle behind the eyes in any given situation.

He just popped up in my Enders re-watch as the male half of a teenage arranged marriage involving the show's first Pakistani family, the Karims. It's a screamingly obvious storyline to give an Asian family, but Warnecke elevates his small-ish role with the same charm and optimism that he exhibits in My Beautiful Launderette. This would have been in 1990, by which time, of course, Daniel Day Lewis was already a major film star in a way that Warnecke just couldn't be because that simply wasn't an option for Asian actors.

Then there's Daniel Day-Lewis. I believe this is the first DDL film I've watched

His career benefitted hugely from Launderette coming out at the same time as A Room With a View (which I just loved), in which Lewis is pretty much unrecognisable as Helena Bonham Carter's socially awkward, slimily unappealing suitor. He'd been offered the romantic lead, but famously turned it down in favour of the smaller, more eccentric role. The contrast between his performances in the two films, coming as they did when he was a complete unknown as far as the public was concerned, pretty much sealed his reputation.

 

[Mel O'Drama]

I would watch the other version of "Carol" from the husband's point of view. That would not be a prequel or sequel but an....equel?

A... hequel, if you will.

it remains to be seen if it will top my Top Ten Gay movies. There's also the ethereal Moonlight (2016) and William Friedkin's visceral film adaptation of The Boys In The Band.
That's going to be another tough ranking but I'll just think of it as a luxury problem.

Since you mentioned it, a few previously-watched films have sprung to mind, then I've found myself questioning if they're gay films or just films which happen to be about gay people. For instance, I'm still deciding if Prick Up Your Ears qualifies (I'm feeling more and more certain it does), and likewise Rope (I don't think it does, but an argument could be made).

He just popped up in my Enders re-watch as the male half of a teenage arranged marriage involving the show's first Pakistani family, the Karims.

Oh, that rings bells. Thanks for the refresher.

Warnecke elevates his small-ish role with the same charm and optimism that he exhibits in My Beautiful Launderette.

And this probably explains why he remained familiar to me for this one smaller role.

This would have been in 1990, by which time, of course, Daniel Day Lewis was already a major film star in a way that Warnecke just couldn't be because that simply wasn't an option for Asian actors.

As I watched the film, I found myself wondering why Gordon hadn't had the level of high profile success enjoyed by Daniel when they both gave great performances. You've pinpointed exactly why. It's screamingly obvious now you mention it, but didn't even occurred to me as I puzzled over it.

His career benefitted hugely from Launderette coming out at the same time as A Room With a View (which I just loved), in which Lewis is pretty much unrecognisable as Helena Bonham Carter's socially awkward, slimily unappealing suitor. He'd been offered the romantic lead, but famously turned it down in favour of the smaller, more eccentric role. The contrast between his performances in the two films, coming as they did when he was a complete unknown as far as the public was concerned, pretty much sealed his reputation.

Understandably. The stars definitely seem to have been an alignment, but it's impressive that he was bold enough to make such choices at an early stage of his screen career.

Whenever I see his name, I always think of My Left Foot which I've never seen but remember was acclaimed at the time for his performance (I actually found the buzz a bit off-putting at the time, but would certainly like to check it out now that the hubbub has long since died down). A Room With A View is a very familiar title but, again, a film that's eluded me. Now I'd be interested in watching to see his performance there (as well as the performance that could have been with the lead).

 

[Willie Oleson]

then I've found myself questioning if they're gay films or just films which happen to be about gay people. For instance

Good point.
While there are some gay aspects in DEATH IN VENICE I feel that's not really what the film is about.
I've also removed MYSTERIOUS SKIN from my list because it's about child abuse and one of the characters just happens to be the gay. Not that that character isn't important, but I feel he's defined by his sociopathic behaviour rather than his sexuality (it wouldn't be much different if he wasn't gay).

On the subject of the very commited actor Daniel Day Lewis, his role in THERE WILL BE BLOOD is by many people considered one of the most extraordinary acting performances in the history of film. It's that difference between playing a character and becoming a character.
A few days ago I've added his film IN THE NAME OF THE FATHER to my prime list, thinking it would be about that kind of "Father". But I still have to find out if that's the case.
Phantom Thread and The Crucible are also very good.

 

[Willie Oleson]

In preparation for PRIEST '94

Which I have watched just now, and it was just as good as I remembered.
The two stories of secrets and guilt and forgiveness come together beautifully in the emotional finale but at the same time it adds a bit of a potboiler-y tone to the story.
The dialogue about celibacy and homosexuality in the church is there, but I felt it could have gone a little deeper.
No decision is being made about the future of Father Greg's sex life, is he going to have his cake and eat it or not, and what does that mean in the grand scheme of things?

Nevertheless, the film is very entertaining on all levels, the drama: the romance, the friendship, the humour and the Bishop's shocking bitchiness.
There are some nice surprises from the supporting cast, like the wild guy on the beach who literally drops in the middle of a conversation, tries to steal their coffee and then starts chasing the seagulls.
Linus Roache plays Father Greg with convincing anguish, resulting in some uncomfortable but very interesting scenes.

 

[James from London]

No decision is being made about the future of Father Greg's sex life, is he going to have his cake and eat it or not, and what does that mean in the grand scheme of things?

The bit that's always stayed with me is the older priest whom Linus Roache has confided in saying that while he (the older priest) has been given the gift of celibacy, Roache's priest has been given the gift of faith. I guess that means there is no black and white solution.

 

[Monzo]

I recently watched Mort sur la piste, a French TV movie starring Jason Priestley as the male lead.

Jason Priestley plays an American detective and former racing driver who comes to Le Mans on an exchange detective program just before the famous 24 Hours of Le Mans race and - quelle surprise ! - just before the race a murder occurs, which Jason Priestley's character helps the French police investigate.

I was amazed at how much (not necessarily well) Jason Priestley speaks French. Only when his character gets emotional does he switch to English. The film has a good set-up thanks to the race, but in terms of plot it is the typical French crime of the week: even if you try hard, after half an hour or an hour you don't know who the murderer is and what his motive is. There are many red herrings, but it's not until the last quarter of an hour that everything becomes clear.

 

[Willie Oleson]

while he (the older priest) has been given the gift of celibacy, Roache's priest has been given the gift of faith

Yes, at least it raises the question, what's more preferable: the flawed believer or the flawed celibate.
Interestingly, the only person who knows exactly what he's doing and isn't plagued by any sort of dilemma is Lisa's abusive father (who also happens to be a devoted Catholic).
I was very surprised by the confident explanation he gives during the confession, and while that takes nothing away from the criminal aspect (pedophilia, sex without mutual consent) there is something about the way he describes the desires of "men" that made me think it might not be entirely false.
Again, that doesn't justify his actions but sometimes I find it more challenging and interesting to delve into the dark psyche of humanity.
Not to find a way to agree with it, but to understand it. Sometimes, knowledge can be just as rewarding and useful as thinking "I'm right and the other person is wrong".

I also wasn't sure if Father Greg asked for forgiveness for being gay or for his homosexual actions. After all, if he hadn't done anything - and therefore never been caught - no one would have to know about his sexuality.

I guess that means there is no black and white solution

I'm not sure if I wanted a perfect solution but at the same time it does feel a bit like a cop-out. One can continue to sin because it will be forgiven anyway - ironically, that's what the confessions seem to be all about.
But what makes the finale so great - and it's written as a story after all - is that he's not forgiven by the bigots but by the only person he had seriously wronged.

But if the dilemma about celibacy and homosexuality couldn't be explored to the fullest in the story itself, I think they could have at least dropped it in the lap of the viewer. In this case I feel it doesn't particularly linger on.
I don't know if it's related to any of this, but the film has many short "cuts" and sometimes it disrupts the emotional flow and urgency of the dilemma.

Or perhaps I simply shouldn't have watched FIRST REFORMED in preparation for PRIEST. But the DVD, despite its underwhelming picture quality, will be added to The Collection, so I guess it's still a winner anyway.

 

[James from London]

sometimes I find it more challenging and interesting to delve into the dark psyche of humanity.
Not to find a way to agree with it, but to understand it. Sometimes, knowledge can be just as rewarding and useful as thinking "I'm right and the other person is wrong".

Then I think you'd really like Cracker - '90s TV show written by the same man as Priest - which does that sort of thing all the time, within the format of a detective series.

 

[Willie Oleson]

And I think that's also what made CRIMINAL:UK so fascinating. (are they still making new episodes?)

 

[James from London]

And I think that's also what made CRIMINAL:UK so fascinating. (are they still making new episodes?)

Oh I don't know. I'm Notflix these days so I'm a bit out of the loop.

 

[Willie Oleson]

Brexit, Notflix...my God, what's becoming of this world?

 

[Toni]

Have you seen Black Narcissus?

That one is great, it influenced film photography so much that it´s perceptible even today. The remake miniseries was quite faithful to the movie and the acting was good (there was too much blue-screen footage, though the movie also had most of it shot in studio with fake exteriors).

And then there was Jean Simmons...

​

 

[Willie Oleson]

THE FLY (1986)



So...this is basically a story about three characters: super scientist Seth Brundle, ambitious journalist Ronnie and her publisher/ex-boyfriend Stathis Borans (at least it's a fabulous name).
The story has little introduction (you wanna see my teleporter?) and yet it all unfolds very slowly. That's a good opportunity to create characters and the world they live in - but that doesn't happen.
All three actors sleepwalk through the script although Stathis becomes a different character in every scene he's in.
Sometimes the ruthless editor, sometimes the hilarious stalker and sometimes a knight in shining armour, all we know is that they're played by the same actor.
The only reason I continued to (re)watch was because of a morbid fascination to see how bad it would get.

Science fiction doesn't have to be believable but Brundle's computer that controls the telepods reminded me of the Batcomputer.
For something that is supposed to be such a big discovery it all looks terribly stupid and boring.
I wonder if Geena Davis' scenes were filmed seperately and later edited into the film because none of her actions or reactions make any sense.

Seth Brundle's character gets a boost when he starts to transform, first as a superman and then later as a monster.
There's a lot of goo and gore but because it's so obviously done to repulse the audience it becomes unintentionally funny. However, this is when the film becomes a lot better because Seth hasn't only become a fly, he has also developed a sense of humour which makes him much more characteristic.
I find the last scene after the accidental SethFly/telepod hybrid surprisingly gloomy and endearing.

I think it's a very problematic and uninspired film with only a few good bits in it, exactly how I feel about most David Cronenberg films (except for THE BROOD which I really like).

 

[Mel O'Drama]

Beautiful Thing (1996)

Another bit of future Top Ten research that's been on my viewing bucket list for many years.

What did I know about this ahead of time? Well, very little, as it turns out. I knew it was a gay coming-of-age film. I knew it features the music of Mama Cass, of course (I owned the soundtrack on CD many years ago and it was heavily-played. The CD was later cleared out, but most songs remain in iTunes. All the same, I spontaneously re-ordered the CD immediately after watching). And I read (perhaps in the CD leaflet) the intriguing titbit that the film features an "ingenious use of peppermint foot lotion", which sounded rather kinky. And that was where all my knowledge ended.

I had it in my head that this was set in Liverpool. Perhaps I was subliminally aware that writer Jonathan Harvey is from Liverpool. Or perhaps, between Brookside, Priest, Hillsborough, etc., I just have that city on the brain. But nope, it's set in Thamesmead, South East London (on some of the same locations as A Clockwork Orange). The actors whose faces were known to me mostly had EastEnders in common, and it does indeed feel like it has that gritty British soap thing going on (among lots of other things).

From posters and the very premise, it's apparent the two lead characters are young, and I wasn't sure how I'd feel about it watching for the first time as a cynical middle aged viewer. Happily, this film perfectly captured the world of the teenager, from its rules, threats and insecurities to its freedom, magic and fun, and it helped that it was made and set at a time where some of my own experiences aligned with those of the characters (Jamie even has the same Home and Away annual I had, which raised him even further in my estimation).

The performances of the two lead actors are unforgettable. Like all the characters in the film, the place and time in which they live informs how they behave. Most characters behave in ways that are hard, unpleasant or anti-social, but just underneath it all there's a fragility and tenderness. I imagine it's not easy to write and perform in a way that's both truthful and accessible, but this story nails it (I'd thought the film was later adapted into a stage show but actually it's the other way round and the stage version came first).

Linda Henry (Enders' hard-faced Shirley. And before that, Mandy Salter's hard-faced mum) is the hard-faced mum here. She's one of several important supporting characters who made me feel I had their number on first sight, but went on to surprise me with their complexities and vulnerability. The other key example of this was her boyfriend Tony who I was convinced was a wrong 'un but turned out to be anything but.

Tameka Empson was a knockout as the Cass-loving neighbour. As I watched, I found myself seeing similarities with early Sixties Barbara Windsor. A special call out goes to Jeillo Edwards, playing Tameka's mother, who kept stealing the show with every little look. There's also Olive from On The Buses who alternates between scowling at her neighbours, caterwauling renditions of Big Spender during karaoke night at the social club where Sandra works and parading on the balcony outside the flat with swimsuit, bling jewellery and cocktails, nibbling cheese and pineapple on sticks. Meera Syal also did wonders with a very small role, with two lines in particular making me laugh out loud. Her cry of "Balls, Mr Bennett!" is the most easily-remembered line from the film.

On this subject, the dialogue is brilliant. I'm sure it's highly quotable, which is a reason to watch again and again. There's a nice selection of them here, but really almost every line is golden and some also very nostalgic. Like Sandra ordering Jamie to get crying Ste a tissue by saying "there's a box of autumnal shades by me bed". And there's lots of prosaic greatness, like the discussion about Sally from Coronation Street also being called Sally in real life, or everyday put-downs that mix pop culture references ("when you can keep up with the questions on Bob's Full House, you get back to me"). But there's also a lot of deeper stuff that reaches the heart. Some of it's like poetry. Some like rap. Frequently it's both. Even the dialogue is lyrical and makes this feel like a borderline musical.

Then there's the soundtrack. You could say this film is to Cass Elliot what Muriel's Wedding is to ABBA. I've long enjoyed the music of Cass and The Mamas & The Papas, but this film has done something incredible by creating new associations and deepening that love. Before watching I'd hoped this might happen, but I didn't count on the degree to which it would do this. There are a few tracks that will now give me chills thinking about the related scene in this film.

What I love about the choice of music is that it's plays against the sometimes bleak realism seen throughout. It's like the voice of hope, but also a joyful expression of youthful energy and optimism. The whole film feels like a mass of contradictory things, which is why the "urban fairytale" tagline fits so well. Characters are rude and foul-mouthed.... and all the more hilarious with it. They're aggressive or even violent, and somehow that creates more sympathy for them because it's clear they want to be more but don't know how. This makes the moments of vulnerability hit harder, especially when it's an unexpectedly sweet line.

And (spoiler) the film lives up to its name. It takes the ordinary and makes it beautiful. It's gorgeously shot and looks like art come to life, from the grey, brutalist landscape surrounding them (which, seen through the prism of this film feels inviting and warm and larger than life) to the twilight dance through the woods which in this romantic haze look very much like the backdrop to a Disney film.

I suppose in the most literal sense the titular beautiful thing is love or connection or truth. Or all the above. That "sweet contentment deep inside" which Cass sings about over the opening titles in It's Getting Better. And it delivers. Dancing happily between stark reality and sweet fantasy, the film lives its message.

With this film, it's difficult to decide if it was everything I would have wanted and more. Or if it was not at all what I might have expected while still speaking to me in a most unexpected way. But I came away from the film feeling both surprised and satisfied. And a whole lot more besides.

Something that almost never happens: I actually found myself rewatching this in full again today, which is the highest form of praise I can lavish on any film.

And an almost-bang-up-to-date review of the film:

 

[Seaviewer]

The Borrowers (1997)
I've never really grown out of the big fantasy films like Mary Poppins and Chitty Chitty Bang Bang. This is not on that scale - literally, being about a of four-inch-high people who live secretly in the house of a normal sized family borrowing (not stealing) what they need.
I haven't read the books it's based on so I don't know how faithful it is, but the story is fun and the effects excellent. All it needs is a score by the Sherman brothers.

 

[Mel O'Drama]

Prick Up Your Ears (1987)

It's probably the better part of two decades since I last watched this, but with it being mentioned in the Eighties thread (and possibly fitting into another round in the near future), I felt it was time for a revisit.

While I'm familiar with the story, I'd forgotten a lot of the detail, even down to the people involved in producing it. This time round it struck me as interesting firstly that an actor played John Lahr in a film adapted from the biopic written by Lahr (it serves both as an adaption of the biopic and as a film about the writing of it), and secondly that the screenplay to the adaption was done not by Lahr but by Alan Bennett. There are wonderful little Bennettisms scattered throughout that make the wry dialogue so memorable. One of my favourites was a woman marvelling about the gentrification of her locality: "there are two antiques shops and the pub serves salad".

Also of note, since I watched it just days ago, the director is Stephen Frears who had previously directed My Beautiful Laundrette.

I'm not especially well-versed with Joe Orton's life, knowing him primarily from the numerous references to him in Kenneth Williams's diaries and letters, and - of course - from the tragic murder-suicide which ended the lives of Joe and his partner Kenneth Halliwell. Because of this it's difficult to say how accurate the minutiae in this film is. It does come across as fairly balanced, though. It's certainly not a rose-coloured glasses approach and leans into being more salacious than sanitised. Joe doesn't always come across in a flattering light, and it's even heavily implied his celebrated career was built by taking credit for someone else's work. All the same, Gary Oldman's portrayal gets past the cruelty, self-promotion and hedonism to show someone who is also engaging, charismatic and funny. He certainly captures an overconfident, satyr-like sexualised energy that I suspect Orton had by the bucketload. Watching this, it's easy to believe he deserved his success and reputation no matter where the truth lies.

This time round I really felt sympathy for Kenneth Halliwell, who seems to have been treated very poorly and had his partner's promiscuity flaunted while he's thrown very little. And adding insult to injury, he feels he receives no credit for his part in Joe's success, and seems to be barely tolerated -and often openly disliked - by Joe's coterie of friends and hangers on. Alfred Molina brings a vulnerability and sadness to Halliwell, but the writing also shows a wit and fast mind that would have make him attractive to Orton. If this is to believed, he thrives when delivering bitchy repartee, frequently turning it on himself.

Vanessa Redgrave does great things with the part Maggie Smith turned down, hiding Joe's diaries from publishers and providing a lurid, detailed of Joe's first sexual encounter in a public toilet over dinner before complimenting the melon to the hostess in the same breath. Shamefully, I don't believe I've even seen many of her performances, so that might have to be rectified at some point before death.

Julie Walters has a small-but-memorable part as Orton's mother, forever losing her dentures, while Joan Sanderson has tiny-but-sporting turn as John Lahr's mother-in-law who is asked to decipher Joe's shorthand accounts and read them aloud in crisp received pronunciation:

...And had a lovely long, slow wink.

Wink? Are you sure that's an 'i'?

No dear. I'm not sure at all.

Overall, it's a much more entertaining film than I remember. It's also a reminder to me to check out the film adaptions of Entertaining Mr Sloane and Loot.

 

[Willie Oleson]

The pornography looks too much out of context and I believe it was filmed seperately from the story scenes, so there's already the idea of two films edited together.

It also got hours of alternative and deleted scenes and one of those scenes was filmed in Charlie Chaplin style (maybe it was simply the wrong speed) and I thought, hey that works!

I am very excited about the news of the CALIGULA remake....that has remade itself from tons of unused material.
This isn't only unique for Caligula, but also for the history of filmmaking.
The trailer of this ultimate-definitive-platinum-deluxe cut looks great, like the story I had wanted to see.

 

[Willie Oleson]

The Shawshank Redemption (1994)

It’s always been one of my favorites and today I watched it for the first time in quite a few years. As is often the case with these things, I was wondering if I would feel differently about it now.

I was pleasantly surprised that I still enjoy this movie just as much as I did 30 years ago. It is an amazing story to watch from the time we see Andy arrive at Shawshank in the late 40’s until his escape almost 20 years later.

I'm not sure if it deserves to be rated as one of the greatest films ever made (as the 9.3 score on IMDB would suggest) but I can definitely see what makes it a "favourite".
Very likeable characters vs. very hateful villains, their victories and comeuppances. Even by 1990s film standards it already feels slighty old-fashioned but in a very pleasant way, and the passing of time (decades) made me think of the epicness of the 1980s mini-series (or older films like GIANT, I guess).

After the film had ended, Prime's autoplay continued with The Green Mile, which seems like a very reasonable choice if only to see how it compares.
But after checking some clips on youtube I suspect I'm going to hate myself for watching a big black man blubbering like a child for three hours, so I've decided to steer clear of it.