The boast of heraldry, the pomp of pow’r, And all that beauty, all that wealth e’er gave, Awaits alike th’inevitable hour. The paths of glory lead but to the grave. Thomas Gray, 1751
Stanley Kubrick is the greatest filmmaker who ever lived. That is a fact. He made films in all genres but indelibly stamped his own genius on the war, comedy, thriller, horror, satire, crime, science-fiction, historical and drama films he adapted and created for the big screen. His work contains a litany of iconic images, searing soundtracks, stupendous performances, great intelligence and provocative thought which ensures his films linger in the memory of those who have witnessed them. All hail a true cinematic master.
Paths of Glory (1957) was Kubrick’s fourth feature film and certainly his biggest budget film to date. His previous film had been a B-movie crime masterpiece called The Killing (1956), which meticulously examined the planning, progression and aftermath of a racetrack robbery. Using a documentary style and surgically precise narrative structure The Killing is indicative of Kubrick’s subsequent ability to reinvigorate a genre with his masterly eye. However, Paths of Glory was, emotionally speaking, even more powerful than The Killing.
The story is set in France, 1916, during the heated battle and burning mud of WW1 trench warfare. World War I is rightly (and then wrongly) thought of as the war to end all wars with millions of soldiers and civilians losing their lives in a coruscating damned hellish indictment against humanity. As if the incredible number of deaths between the warring factions were not enough the powers-that-be would also shoot their own men for cowardice and desertion believing this to be “good for morale” or at very least a warning to those who refuse the fight. This is the frankly insane setting for this formidable dramatic tale.
The main action concerns the court martial of four men chosen, apparently, at random to face a firing squad following a botched attack on a key enemy position called the ’Anthill’. War is a desperate prison even at the best of times but here the men are shown as broken, battered, starving, shell-shocked and on their knees spiritually even before the attack. When the suicide mission unsurprisingly flounders, ambitious and sociopathic General Mireau – portrayed with venal glee by George Macready – proclaims death to all who failed the glory of France. The seemingly more reasonable, yet equally poisonous Major General Broulard (Adolphe Menjou) lowers the numbers to be shot in a chilling scene that reduces human life to no more than barbaric bulls-at-a-market bartering.
The voice of reason amidst all this insanity is Kirk Douglas’ former-lawyer Colonel Dax; who himself was part of the failed raid on the ‘Anthill’ and could testify to the impossibility of the task. Dax is the audience’s conduit to the madness of those in charge; from the: choosing of one soldier by lots; the farcical trial and even the final execution where one unconscious soldier is woken up only to be shot dead moments later. Douglas is imperious in the role demonstrating a range of emotions from incredulity, despair, anger and a powerful sense of the righteousness. The final heart-breaking scene where he gives his men a few more minutes listening to the folk song tells us Dax is a sane man in an insane world run by psychopaths. The song is delivered hauntingly by the captured German girl (the actress Christine Harlan was later to become Kubrik’s wife) to men who are destined to die in the barbed-wire brutality of war.
Kubrick’s work (Barry Lyndon, Dr Strangelove, Clockwork Orange to name a few) is full of damning critiques of the upper classes, high falutin politicians and war-mongering men who use the working or lower classes to do their filthy bidding. In this film they are represented by Menjou’s politically-driven Broulard who sits comfortably in his Chateau quaffing wine and scissoring quail; all the while brave men are skewered in battle. Full of tragedy, wicked satire and black humour the screenplay based on Humphrey Cobb’s novel is eighty-eight minutes of sheer cinematic perfection, power and heartwrenching injustice and emotion.
Quite rightly Paths of Glory has been proclaimed a masterpiece and one of the greatest anti-war films of all time. Filled with the now-iconic tracking shots of bloody battle, plus many tremendous performances notably Macready, Menjou, Douglas and the scene-stealing, druggy sop that is Timothy Carey. Overall, I have watched this classic many times when young and having seen it on the big screen at the BFI recently I can testify that it has lost NONE of its grandstanding power. Forget the insipid blockbusters of today and revisit the master of cinema where and when you can: his name is Stanley Kubrick.
My ongoing series writing about cinema stuff I love, has gone from eulogizing actors to directors and now to genres; oh, how progressive am I? Seriously though, in this piece I choose FIVE time-travel films which are just brilliant examples of the (sub)genre.
I love time-travel films and the main reasons are:
They offer fantastic and paradoxical narratives and “what if” scenarios.
They really get your brain working overtime.
The concepts fit all manner of different genres from action to comedies and thrillers and even the Western.
The philosophical concepts at play often examine the nature of existence; especially where one tries to make sense of life or find meaning where there probably is none.
As evidence I present FIVE such time-travel films which meet all of the criteria and are representative of most genres. Please note I have concentrated solely on time-travel films released in the cinema so Doctor Who remains parked up for this particular piece.
**HERE BE MASSIVE SPOILERS**
BACK TO THE FUTURE (1985)
This is probably the most perfect Hollywood movie. It’s a high-concept-time-travelling-Oedipal-narrative-joy-fest which combines action, comedy, romance, sci-fi, and nostalgia genres while backed by a past and present pop music extravaganza! A young teenage innocent called Marty McFly is thrown back to the 1950s. In the 50s he unwittingly begins to undo his own future by accidentally beginning a romance with his own mother. Allied to that he must help his father (Crispin Glover) overcome his social weakness plus battles with horrible bully Biff Tannen (Thomas F. Wilson). Following the basic temporal rule that one’s actions in the past will affect your future the tremendous script is jam-packed with so many wonderful gags, twists and chases; while the race-against-time narrative is a thrill-a-second. The rich iconography – notably the mad scientist’s DeLorean “time machine” – plus cracking performances from Michael J. Fox and Christopher Lloyd, render this one of the most exhilarating time-travel films ever.
GROUNDHOG DAY (1993)
Bill Murray is obviously praised as a wonderfully funny man but he’s also a deviously good film actor. At times he doesn’t actually seem to be doing much but his mind is always working as he gives a sly look or a sarcastic smile or a silent sigh from his deadpan, hangdog face. In Groundhog Day he runs the gamut of ALL emotions from anger to desperation to insanity to bliss to apathy to suicide to pride and finally to LOVE! This is a wonderful film with a tremendous “what if” premise which offers the idea we can only move on in life if we’re prepared not only to accept change but also throw off cynicism and find romance. The exceptional script mines the Sisyphean narrative for so many brilliant sequences as Murray relives the same day over and over again. At the beginning this temporal immortality offers an array of gifts to his jaded weatherman Phil Connors; however, by the end his life becomes a dreaded nightmare and repetitive hell. Ultimately, time-travel has never been so funny, tragic and romantic!
I think most time-travel films are paradoxical by nature and holes can always be found in the logic but as a time-travel/thriller genre film Predestination worked really well while providing an intriguing gender-political angle too. The nature of the loner and finding love for others and oneself was also an interesting theme plus the inevitability of fate was there in the subtext too. There’s been a lot of big budget dross at the cinema recently but for the running time this gem offers far more than many other star-driven, big-budget movies. Even though I enjoy seeing stuff blown up on screen I do love a brain-twister too and this film presents one hell of a challenging narrative. Starring Ethan Hawke and with a breakout performance from brilliant Sarah Snook this film from German/Australian directors has intelligence, thrills, heart and several mighty plot twists which bear up under successive viewings.
THE TERMINATOR (1984)
This is one of my favourite films ever. It propelled Arnold Schwarzenegger and James Cameron to mega-stardom in their respective fields and has often been parodied and imitated but rarely bettered. While story is simple: a killing machine has been sent back from the future to destroy Sarah Connor – the soon-to-be mother of uber-rebel leader John Connor; the journey is an absolute humdinger. Cameron’s lean, mean and muscular action screenplay combines brains, brawn, cracking one-liners and explosive set-pieces. Moreover, Linda Hamilton excels as the endangered young woman who turns from a flaky waitress to formidable matriarch over the course of the film. The sequel was brilliant too but the original will remain, despite being made for just $6.4 million dollars, the epitome of a tech-noir-futuristic-time-travel-action classic.
TIME CRIMES (2007)
This fascinating Spanish thriller has a narrative like a Russian doll as it is structured on an enigma within a conundrum within a paradox. It concerns an ordinary Spanish bloke, who having seen some weird behaviour going on in the woods near his house, ends up looping and pursuing multiple versions of himself throughout one very bizarre day. Similar to Triangle (2009) – an underrated time-paradox gem directed by Brit filmmaker Christopher Smith – the enjoyment derives from immersing yourself in the weird and unexplained reasons why Hector (Karra Elejalde) has begun a psycho-sexual, violent loop of death involving a number of temporal leaps. This is all paradoxical plot and wicked thrills and while there is little in the way of characterisation the filmmaker Nacho Vigolondo has created the closest equivalent to a movie version of an Escher painting.
CHANCE ENCOUNTER: A STAR TREK FAN PRODUCTION – LATEST UPDATES
If you didn’t know from reading my blog, as well as writing film articles and reviews for fun, I also write and produce short films. My short film production website can be found at: www.fixfilms.co.uk.
Our 9th and latest short film is a Star Trek fan production which contains a wholly original story; a romance full of pathos and philosophical drama. Our aim was not to copy characters and space species such as: Kirk, Picard, Spock, Riker, Romulans, the Borg, Bones and Scotty etc. but to create our own set of characters within the Universe. This is a low-budget and affectionate homage to the Star Trek universe and not an attempt to parody or take the piss basically.
Currently we are in the midst of the production and it is going really well. So, if you’re interested please check out our latest updates below. Our thanks once again to the www.kickstarter.com folks who contributed the budget for the film.
Hope you enjoy some of the latest updates:
Star Trek and all related marks, logos and characters are solely owned by CBS Studios Inc. This fan production is not endorsed by, sponsored by, nor affiliated with CBS, Paramount Pictures, or any other Star Trek franchise, and is a non-commercial fan-made film intended for recreational use. No commercial exhibition or distribution is permitted. No alleged independent rights will be asserted against CBS or Paramount Pictures.
My general viewing in July was an eclectic mix of splendid art cinema and excellent genre television shows. So, here’s what I watched with marks out of eleven and MASSIVE SPOILERS:
ANT-MAN (2015) – SKY CINEMA
Saw this in the cinema last year and it was one of the most entertaining films of 2015! It’s simplistic narrative-wise but what it does have is a fizzing script full of zingers and comedic moments as well as some great action set-pieces built around the well-orchestrated final act heist. It is just terrific seeing charismatic Paul Rudd in big-budget film plus fun supporting cast including: Michael Douglas, Evangeline Lilly, Michael Pena and scenery-chewing baddie Corey Stoll all add class to proceedings. This is great fun and proves that not ALL superhero films have to be HUGE as sometimes small is beautiful. (Mark: 8.5 out of 11)
DAREDEVIL (2016) – Season 2 – NETFLIX
I absolutely loved this noir superhero show. Season 1 was brilliant and, despite the faceless one-dimensional Ninja villains, this was as good, if not even better! We follow on from Daredevil’s capture of the “Kingpin” Wilson Fisk as he finds new friends and foes in Frank Castle, “The Chaste”, Elektra and “The Hand”. This has it all including: amazing fight scenes, bloody violence, rip-roaring action and hellish derring-do. I think John Bernthal’s “Punisher” takes the plaudits with a fine origins story and great Lee-Marvin-Charles-Bronson-tough-guy-bone-crunching-performance. Once again Charlie Cox as Matt Murdoch is brilliant combining subtlety and physical prowess during his turn as blind lawyer AND the Devil of Hell’s Kitchen. (Mark: 9.5 out of 11)
JONATHAN STRANGE & MR NORELL (2015) – DVD
This seven-part fantasy-period drama had everything: wonderful effects, dark villains, magical narratives and sterling performances from Bertie Carvel, Alice Englert, Eddie Marsan and Marc Warren. However, at times I was perplexed and a bit bored because unfortunately, despite the stunning imagery, design and imagination on show the narrative stumbled from beginning to end failing to create empathy for the main characters and entertain me with cogent plot strands. Susanna Clarke’s original novel is apparently a literary classic thus perhaps it may have benefited from a connecting voiceover. Yet, it remains a prestige BBC product which many will love; it just did not connect with me on an emotional level. (Mark: 6.5 out of 11)
MEN AND CHICKEN (2015) – CINEMA
This is one of the most hilarious, unsettling and philosophical comedies you will see in a long time. Similar in tone as last year’s terrific arthouse hit The Lobster (2015), Anders Thomas Jensen has written a cross-pollenated comedy-slapstick-art-horror film that centres on two adopted brothers and their search for their biological father. Mads Mikkelsen and David Dencik portray the siblings who find quite disturbing answers on the Island of Ork where all manner of genetic experimentation has been carried out by their father. This is a weird yet compelling story which lurches from hilarious physical violence to examinations of religion and science that I can only describe as being like the Three Stooges meet The Island of Dr Moreau. One of the most original, odd and strangely moving films you will see all year.(Mark: 9 out of 11)
THE NEON DEMON (2016) – CINEMA
Being an admirer of Nicholas Winding Refn’s Pusher trilogy, Bleeder and Bronson films I am well aware his films do divide opinion. Drive (2011) with Ryan Gosling was a brilliant noir romance yet his last film Only God Forgives (2013) (with Gosling again) was nihilistic, brutal and virtually unwatchable. However, I think his latest The Neon Demon works really well as a surreal horror film that savagely satirizes the fashion industry. The film moves at a glacial pace with an anti-narrative style and strange acting more down to the director’s strategy than poor performance. Nevertheless, it is a magnetic watch with a succession of beautifully designed shots which are way more imaginative than the usual multiplex popcorn fodder. The sumptuous photography, score and grand gore throughout make it a welcome return to form for the always intriguing formal cinematic anarchist Winding Refn. (Mark: 8 out of 11)
ORANGE IS THE NEW BLACK (2013 – ) – Season 1 – NETFLIX
Waspy-blonde-rich-spoilt-bitch-Private-Benjamin-type gets banged up the slammer for a historical crime and we’re meant to feel empathy for her? That’s what the premise of this excellent drama asks the audience to do AND actually succeeds in doing through compelling writing and a marvellous ensemble cast. Taylor Schilling portrays the brattish Piper Chapman brilliantly and there’s fine “inside” support from Kate Mulgrew, Uzo Udoba, Taryn Manning and Danielle Brooks to name a few. The structure follows newbie Chapman as she fails to cope with prison life; plus variant flashbacks filling in details of her and inmates’ prior life events. It’s a gripping and funny show with lots of character twists and turns; and somehow it remains fresh despite the potential cliché pitfalls within the subgenre. (Mark: 8 out of 11)
SPECTRE (2015) – SKY CINEMA
Overall, I was disappointed with this Bond outing from last year. I mean there was a lot to like, notably: Daniel Craig’s performance; the stunning cinematography; the brilliant opening ‘Day-of-the-Dead’ and fight-on-train set-pieces; plus the criminally underused Christophe Waltz. However, the story, from a usually reliable John Logan and his screenwriting cohorts was non-existent; relying mainly on callbacks from the previous Craig outings and Bond films of yesteryear. The action was decent but the anorexic plot and weak romance left much to be desired. For a proper moan see my review from last year below. (Mark: 6.5 out of 11)
STAR TREK: BEYOND (2016) – CINEMA
I was bored by this. Even as a summer blockbuster the film fell short; and finally Star Trek has been turned into a soulless-plotless-video-game with set-pieces “stolen” from other better popcorn films such as Jurassic World (2015) and Guardians of the Galaxy (2014). The cast are decent but the formidable abilities of Idris Elba were masked under deep make-up for most of the film. Even if it was to be a latter second act reveal Elba’s presence was given away in the trailer so why not build his character up from the beginning. Plus, the “rogue” agent storyline was done much better in Into Darkness, which I enjoyed as a spectacle. Let’s hope the forthcoming Netflix series has more character and depth than Beyond. (Mark: 6 out of 11)
STAR TREK: NEMESIS (2002) – SKY CINEMA
The final of the Next Generation movies which ended the franchise prior to JJ Abrams’ hit-and-miss reboot, is a pretty decent science-fiction actioner with enough brains to keep you interested. A very young Tom Hardy plays the Reman rebel out to destroy Starfleet and Jean Luc Picard specifically. The themes of cloning, doppelgangers and telepathy serve the action very well and the set-pieces are decent enough. However, as Picard and Data get much of screen time the rest of the crew seem to side-lined throughout. This is not as good as the other Next Gen films but it is still more involving and cerebral than the soporific Star Trek: Beyond. (Mark: 7 out of 11)
STRANGER THINGS (2016) – NETFLIX
Oh, Netflix – I love you! Not only do you present affordable boxsets, docs, TV and film product, but you also produce some damn fine original programming. Netflix’s latest sci-fi drama is an excellent nostalgia-fest which evokes the 1980s perfectly in design, sound and look. Indeed, it wears it’s Spielberg, Stephen King, John Carpenter and George Lucas influences not so much on its sleeve but as a whole outfit. Written and directed by the Duffer Brothers, it centres on the search for a missing child in (where else) Indiana, an ultra-dimensional netherworld and a telekinetic kid called Eleven who’s on the run from a secretive and nefarious US Government facility. Archetypal characters such as embittered drunken cop (David Harbour), distraught nutty mother (Winona Ryder), Gooniesque geeky teens all try and track their missing friend in a drama which has some wonderful stand-out and monstrous moments throughout. Arguably, the eight episodes were padded out in places and it could have been culled for pace but overall it was an excellent watch with a terrific score and soundtrack to boot. (Mark: 8 out of 11)
TALE OF TALES (2015) – CINEMA
Having directed the brutal and gritty kitchen-sink gangster film Gomorrah (2008), filmmaker Matteo Garrone, completely changed style with this ultra-imaginative set of grim fairytales based on the ye olde short stories of Giannbatista Basile. Like a medieval Pulp Fiction the film weaves tall tales called: The Queen, The Flea and the Two Old Women in a superb fashion as flashes of horror, fantasy, amorality and comedy clash with bizarre beasts and bloody death. The cast including: Salma Hayek, Vincent Cassel, Toby Jones, and Shirley Henderson all get on board amidst the insane plot occurrences and overall I found it a fine anathema to the bland kids offering Hollywood churns out. While the original stories were taken from an anthology called Lo cunto de li cunti (Entertainment for Little Ones), this is definitely for adults and not the little monsters at home. (Mark: 8 out of 11)
WAKOLDA (2013) – DVD
I was gripped by this slow-moving drama set in 1960s Argentina. It follows a hotel-running family and their encounter with a mysterious Doctor. Writer/director Lucia Pacenzo carves out a compelling story which finds the Doctor inveigling himself into the family’s world and carrying out seemingly innocent medical procedures which ultimately have a horrific impact. The film is a real eye-opener into the terrors of the time with many South American countries harbouring fleeing Nazi criminals and Àlex Brendemühl’s performance as the charismatic Doctor expertly glues this fascinating story together. (Mark: 7.5 out of 11)
Z-NATION (2014) – NETFLIX
Fox’s The Walking Dead has quite rightly taken a lot of plaudits for its incredibly well-written, humanist take on the zombie-horror drama. It offers rich character development, political analogy and of course some fine gore. Z-Nation on the other hand offers something far more fun and humour and downright silliness with zombie dogs, babies, rednecks and bears on the menu. Basically, a ragtag group attempt to transport a zombie-experiment-survivor to a medical facility while assisted by DJ Qualls isolated NSA computer geek. The group fight off an endless supply of zombies, cannibals and religious cults in a tremendous show that counts as a fantastically gory and comedic guilty pleasure. (Mark: 8 out of 11)