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MY BLOODY VALENTINE:  ALTERNATIVE VISIONS OF LOVE IN THE HORROR GENRE 

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MY BLOODY VALENTINE:  ALTERNATIVE VISIONS OF LOVE IN THE HORROR GENRE 

“Love is giving something you don’t have to someone who doesn’t want it.”

― Jacques Lacan

I continue to write articles for the excellent So The Theory Goes website and here once again is a slightly more academic approach to film analysis. You can read it here or below.

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An eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust?  Or is it the emotion you feel for a family member or person you have bonded with over time?  Is it nature’s way of tricking us into the act of pro-creation?  Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?  Maybe it’s simply all of the above!?

Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.

Love and sexual desire are a big part of everybody’s lives whether it’s the positive or negative and indeed the continuance of the species is very much reliant on it. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV show and adverts! Conversely the horror film genre, while not synonymous with romantic love, often explores the darker side of relationships and sexuality. Indeed, as a cultural phenomenon the horror genre is wholly malleable in its narrative omni-presentation; criss-crossing literary, theatrical, dance and televisual culture offerings.

Horror intends to elicit a physiological reaction through stress and shock while presenting: monsters, ghosts, aliens, the fantastic, the supernatural, murderers, bloody gore, kidnappings, mutilation, witches, zombies, psychopaths, natural and unnatural phenomenon, demons and many more aspects which draw on our inner, societal and global fears. But what of love and how is it represented in the horror genre? For this article I would like explore notions of love and sexuality within horror cinema. I will draw on genre, gender, feminist and psychoanalytic theories and how they can be applied within the chosen films. So, if you want an alternative to the usual Valentines-clichéd-cosy-rose-petal-drenched-chocolate-card-Love-Actually-type-movies, then these films are ones you should consider.

**CONTAINS SPOILERS**

AUDITION (1999) – DIRECTOR: TAKASHI MIIKE

It would be unfair to label Miike’s gory shocker a simplistic example of ‘torture porn’. It is in fact an incredibly scary and inventive revenge satire. In her highly influential essay, Visual Pleasure and Narrative Cinema, Laura Mulvey commits the powerful theory that cinema is coded via the “Male Gaze”. According to Mulvey, “. . . pleasure in looking has been split between active/male and passive/female.”

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Yet, while beginning with this dynamic, Audition turns it around with the female anti-heroine Asami reversing the gaze on her male contemporaries. What starts as one man’s attempt to find a wife, via his own creepy version of the casting couch, is turned into a violent proto-feminist-carve-up-par-excellence as Asami cuts and slices her male victims with vicious aplomb.

DEAD RINGERS (1988) – DIRECTOR: DAVID CRONENBERG

Freud’s work on the unconscious, dreams, repression and psychosexual stages is, of course, incredibly influential on both psychology, psychoanalysis and film theory. His concept of the unconscious feeding our everyday and the idea that repressed emotions drive our motivations is none more prevalent than in Cronenberg’s exquisite Dead Ringers.

In this psycho-incestuous-ménage-a-trois-love story, twin gynaecologists portrayed by Jeremy Irons, literally split and repress their identities in order to “romance” the same women. The film is a masterwork and encapsulates many of Freud’s theories relating to the Id, ego and superego; while the doppelganger theme also looms heavily over a dark, psychosexual and twisted narrative.

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HAROLD & MAUDE (1971) – DIRCTOR:  HAL ASHBY

While not technically a horror film as such Harold and Maude is a wonderful off-centre, gothic love story. The eponymous anti-hero cannot connect with his family and the world at large and through constant fake suicides he tortures his mother to the point of breakdown. It is only when Harold (Bud Cort) meets an eccentric older lady Maude (Ruth Gordon) does he begin to find some maturation. The film could be argued to embody many of the Freudian aspects of the Oedipal Complex.

Trevor Pedersen opines, “The Oedipus complex, in narcissistic terms, represents that an individual can lose the ability to take a parental-substitute into his ego ideal without ambivalence.” Indeed, through his unconventional relationship with Maude, who represents both love and death, Harold locates a maternal replacement, friend and platonic lover who brings him out of his depressed state.

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IT FOLLOWS (2014) – DIRECTOR: DAVID ROBERT MITCHELL

Mitchell’s low budget psychological horror gem contains many of the hallmarks of the ‘slasher’ subgenre which can be enshrined with the general trope, according to scholar Robin Wood, that teenagers, invariably female, are hunted down for their promiscuity. What makes It Follows such an intriguing anti-date movie is that we never see the actual evil force propelling the murders.

Maika Monroe’s heroine, Jay, finds herself in a chain of deathly sexuality which she can only break through further intercourse.  Jay therefore becomes an epitome of what Carol Clover calls ‘The Final Girl’ in her marvellously titled book, Men, Women and Chainsaws. Ultimately, It Follows subverts the ‘slasher’ tropes with a symbolic metaphysical force rather than a physical monster, as the “killer” ultimately represents sexual hysteria, guilt and the malevolent force of youthful sexual abandon.

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LET THE RIGHT ONE IN (2008) – TOMAS ALFREDSON

Ever since Bram Stoker’s classic novel Dracula was published we have welcomed, with fear and excitement, the vampire into our culture. Stoker’s Count Dracula was viewed as an inhuman force of destruction; as well as a metaphoric representation of sexual fervour. The vampire character is never more mesmeric and complex than in Let the Right One In. This is a sophisticated rites-of-passage-romance where a teenage boy, marginalised by his peers and family life, falls in love with a young female vampire.

However, the girl is clearly older than her looks, as the narrative bears the hallmarks of a Freudian sexual awakening for our protagonist Oskar (Kåre Hedebrant). In Eli (Lina Leandersson) Oskar finds a combination of: maternal protector, platonic companion and potential sexual partner within a complex psycho-sexual drama with hints of latent paedophilia. Of course, despite these sensitive themes under the surface, the film ultimately triumphs as a beautifully rendered story of innocence, love and friendship.

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PSYCHO (1961) – DIRECTOR: ALFRED HITCHCOCK

Arguably one of the greatest horror films of all time is Psycho. From a Freudian and psychoanalytical perspective, it is an absolute goldmine. The story begins with an robbery by Marion Crane (Janet Leigh) but twists into something altogether nightmarish when she hides out at the Bates Motel. The manager Norman Bates (Anthony Perkins) takes a shine to Marion, only for his “mother” to murder her. Norman’s character is the archetypal representation of the Oedipal Complex. Having killed both his mother and her boyfriend some years before the guilt he feels causes him to “become” Norma Crane in order to disassociate him from his crimes and absorb her identity.

Marion causes Norman’s sexual feelings to arise thus Norma/Norman suddenly appears to repress these desires by murder. Charles E. Bakeland opines that if an individual is unable to reconcile a love-hostility-identification relationship with parents there will be strong desires which will weigh negatively on their relationships. This thematic dynamic makes Psycho’s narrative a psychoanalytical minefield as Norma/Norman battle over her/his mind, causing havoc for those characters they come into contact with.

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TEETH (2007) – DIRECTOR: MITCHELL LICHTENSTEIN

In his excellent book Genre, Stephen Neale argues horror monsters are predominantly defined as male with women as their primary victims. He continues with the idea that, “… it could be maintained that is it women’s sexuality which constitutes the real problem that horror cinema exists to explore.” One such film which reverses these notions in the excellent body horror film Teeth. Mixing body, horror, comedy with coming-of-age movies the main protagonist is a Christian virgin called Dawn (Jess Weixler). During a sexual assault by a college boy she fends him off via “Vagina dentata”; barbed teeth in her reproductive organ.

Played for shock and humour the story presents valid confirmation and subversion of Laura Mulvey’s proposal that women’s absence of a penis threatens male castration and therefore must be disavowed. Offering impressive gender satire within the sexual revenge narrative, Jess’ character refuses to be assimilated by the patriarchal order and comes of age within both her body, personality and sexuality.

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CONCLUSION

In my view many of the films mentioned above demonstrate the horror genre is rich with possibilities in regard to representations of love, romance, relationships and sexuality. Through theories relating to psychoanalysis, feminism and genre theory we can begin to dip beneath the surface of the darkness of love and humanity. Both masculine and feminine sexuality and identity are constantly in crisis and under threat of death and disease, demonstrating that the path to true love is never straight but more often than not, wholly twisted.

Articles, Comedy, music, Reviews

2017 EDINBURGH FRINGE FESTIVAL – CULTURAL ROUND-UP

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2017 EDINBURGH FRINGE FESTIVAL – CULTURAL ROUND-UP

You may or may not know this but the comedy you see on television via the sitcoms, panel shows, live performances etc. plus the Netflix or Amazon specials which are streamed online are just the tip of the iceberg in regard to stand-up, sketch and narrative comedy shows. Because, underneath is a huge population of individuals writing, rehearsing, directing, editing and performing their works live across the clubs, theatres, pubs, basements and attics of the world.

These unsung creative heroes and the occasional lunatic are, on the whole, slogging their guts out following a dream to hit the big time in their chosen stage craft. Either that or they simply revel in performing and delivering their stories, jokes or narratives to the public live. It’s a cathartic experience to release their heart and soul to the world in comedic, theatrical or musical form and most of these people should be saluted for their creativity.

One of the best places to find these purveyors of dance, comedy, performance, mime, acting, music and sometimes science is at the annual Edinburgh Fringe Festival. This year I went, with my wife, on holiday there for a week to check out some shows and sites and lovely restaurants and pubs!  Here’s a uncritical round-up of some of the things we caught up with. Amazing fun it was too!

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LODGINGS

Like many cities Edinburgh has many great places to spend the night including hotels and other bed and breakfast digs. Many of the acts performing at the Fringe have budgets so will use rented accommodation, hostels, vehicles and ditches too to sleep in. My wife likes some comfort when we stay places whereas I have been happy in the past with the gutter; well, a cheap B & B. So she chose Millers 64 on Pilrig Street and what a lovely place it was too. Run by Louise and Shona Clelland, we experienced some of the best hospitality we have ever had so they are highly recommended. Check out their website here.

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FOOD

Scotland and the North in general has been the focus of stereotypical gags at the expense of unhealthy living including: bad diet, alcoholism and drug abuse. I guess characters such as Rab C. Nesbitt and novels/films like Trainspotting only serve to strengthen such ideas. Of course, if you search it out you will find junk food and drink in any place the world over but I actually ate pretty healthily during my week in Scotland.

Of the places we visited I can definitely recommend La Favorita pizza place on Leith Walk. Moreover, the tasting menu at the Gardiners Cottage was beautifully presented and I very much enjoyed the Indian cuisine at Mother India. There are also hundreds of pubs, cafes and burger restaurants all over Edinburgh.

I enjoyed watching Tottenham Hotspur FC defeat Newcastle FC in the Kilted Pig on the Sunday but my favourite pub was probably The Pear Tree House on West Nicolson Street. It had great beer, food, a massive garden and a constant stream of lively entertainment and music.

Having said that the greatest epicurean treat I had was on my birthday at The Kitchin. The food was absolutely exquisite and what made it all the more amazing was my wife treated me to the meal just for getting a year older. I imagine it was very expensive but the whole experience was fantastic as we also visited the kitchen and met the aptly named owner/chef Tom Kitchin.

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MUSIC

As I only had a week and there is SO much going on at the Edinburgh Fringe Festival I did not see any theatrical presentations, which, if I’d been there for another week would certainly have been on my cultural agenda. Similarly with musical performances I chose the more comedic acts over others but enjoyed an excellent set by jazz guitarist Graeme Mearns despite this. However, the real humdinger of a show I could not miss was the one by gothic chanteuse Camille O’Sullivan. She is a dark storm of a performer who hails from Ireland and sings haunting and very dramatic versions of tunes written by Leonard Cohen, David Bowie, Arcade Fire and Nick Cave. In the elegant tent where I saw her show I was bewitched by the spine-tingling performance borne of fire, shadow, light and ice.

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COMEDY

I love comedy. It is a noble craft which on occasions can be propelled to the heights of art and was to the fore of my cultural menu in Edinburgh. In fact, on Monday 14th August I watched SEVEN shows beginning at 11am with the last one finished at 10.30pm.  It was a brilliant day and encapsulated all that is great about the Fringe Festival.  This is NOT a review of the comedians I saw during the week as all the shows I witnessed were BRILLIANT! I don’t believe in comedy competitions or star ratings as comedy is too subjective for that. But rather, it’s a round-up of and a shout out to a very talented bunch of individuals I saw; and there were thousands I missed too but there was just not enough time alas.

Musical comedy is something I have been really getting into and the alternative genius Robert White presented an exhilarating off-kiltered-joke-a-second-Gershwin-inspired operetta of his life in a show called Instru-mental. Equally energetic was the wonderful Pippa Evans in Joy Division; while the very talented Harriet Braine delivered some excellent cover songs which also educated us about the history of Art!

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I also saw some excellent club and storytelling comedians such as: free-wheeling Russell Hicks; Irish mirth-maker Rory O’Hanlon; Cheetah Adam Greene; intelligent Scot Stephen Carlin; conspiracy theorist Don Biswas; witty and frantic Nathan Cassidy; the brilliant comedy-swap laughs of Sketch Thieves; the crafty humour of Ben Clover; plus the ferocious, clever and frantic comedy of Fringe stalwart Richard Herring.

Of the shows that arguably had longevity in terms of their narratives then Darius Davies’ Road to Wrestlemania was really funny. It’s a fast-paced narrative of how, when a naïve teenager, he tried to become a World Wrestling star.  Successfully employing multi-media, costumes and music to tell the story it made me laugh (and almost cry) throughout. I also really enjoyed Dominic Holland’s very funny and touching Eclipsed. Holland, who has been a very successful author and comedian found his career eclipsed by his son Tom Holland who last year became the new Spiderman!  It’s a brilliant story about success and family togetherness amidst some excellent comedic observations of everyday life.

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Of all the comedians I saw I was transfixed by the mercurial delivery and off-centre ideas of Tommy Tiernan. A comedy veteran and Grandmaster of the comedic dark arts, he flits around the stage nimbly while his rich Irish brogue delivers a stream of jokes, observations, non-sequiturs and the occasional barmy rant. He covers many subjects such as: life, death, religion, sex, family, immigrants, football, age and so on. An hour in his company is not enough as I could have listened to him for hours.

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OVERALL

So, that was my first Edinburgh Fringe Festival. The whole experience was fantastic to me as I was around the things I love such as comedy, music, food and booze for an intensely concentrated week of pure culture. If you’re like me and hanging around watching shows and feeding off the energy of a cultural oasis then I highly recommend it. I would say a week is definitely not enough for what’s on offer in bonnie Scotland during the month of August!

Articles, Comedy, music

EDINBURGH FRINGE FESTIVAL 2017: PHOTO MONTAGE REVIEW

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EDINBURGH FRINGE FESTIVAL 2017 – PICTORIAL GALLERY

I attended the Edinburgh Fringe Festival last week for a holiday and had a brilliant time. I saw loads of comedy shows, ate at some great restaurants, witnessed some great architecture, experienced some fine nature and drank a fair amount of fermented water i.e. booze!

I will doing a little write-up of some of the shows I saw and places I went but for here a just a few of the photos I took while there.  I would definitely recommend visiting Edinburgh in general and during the Fringe Festival as it a culturally rich city. Here are just a few images to support that view.

As I say, it’s a fantastic time to go and a week just was not enough!! There are so many talented people there and some lunatics too but all told a great time was had by all!

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Articles, Game of Thrones, Six of the Best, Television

SIX OF THE BEST #9 – GAME OF THRONES MEMORABLE MONOLOGUES!

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SIX OF THE BEST #9 – GAME OF THRONES MEMORABLE MONOLOGUES!

Whereas the sex, death and battle scenes are the flesh of HBO’s Game of Thrones, the bones of the show can be found in the characters and serpentine narratives. From the characters, by way of the writers, we always get some cracking monologues throughout the show too. Here are a mere six from the first six seasons which stand out for me.

**CONTAINS MASSIVE SPOILERS!**

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THEON GREYJOY – “WHAT IS DEAD MAY NEVER DIE!” – S2 – EP. 10

Having made a bold move on Winterfell the tragic Theon attempts to rally his bedraggled troops in order to fend off the enemy at the gates. It’s an excellent speech that really belongs in the mouth of someone a bit nobler, as the humorous punchline really sums up the pathetic nature of his character. After a sabre-rattling speech he’s then ignominiously thumped by Finchy from The Office. Brilliant!

JAMIE LANNISTER – “LANNISTERS HAVE ALWAYS BEEN TRUE FRIENDS.” –  S3 – EP. 5

What makes this speech stand out is that it’s a quiet scene with both Jamie and Brienne naked and vulnerable in the bath. They are both stripped of their armour and Jamie is quite pitiful having lost his hand to Locke of House Bolton. Broken, he confesses as to why he killed the Mad King, and so begins a potential redemptive path for Jamie through his touching relationship with Brienne.

PETYR BAELISH – “CHAOS IS A LADDER!” – S3 – EP. 6

Varys and Baelish’s exchanges have been missed since they went their separate ways. With Aidan Gillen’s rasping delivery this wonderful speech captures everything evil and great about the duplicitous nature of humanity within the show. It’s made all the more powerful by the images of Joffrey killing the prostitute and Jon Snow and Ygritte scaling the Wall together!

TYRION LANNISTER – “I’M GUILTY OF BEING A DWARF!” – S4 – EP. 6

I was going to choose Tyrion’s brave speech at the Battle of Blackwater Bay but this one is so full of pain and pathos at his betrayal by the women he loves, Shay. His vicious tirade at his captors contains many a fist-bump moment as Peter Dinklage spits revenge and venom while delivering a truly grandstanding monologue.

CERSEI LANNISTER – “THIS IS YOUR GOD, NOW!” – SEASON 6 – EPISODE 10

As revenge goes Cersei Lannister blowing up the Sept. was something else, not only wiping out the High Sparrow and his Faith Militant but also most of the Tyrells too. She then goads Septa Unella, the nun who was her jailer and rang the bell during the “Walk of Shame.” In villainous fashion Cersei confesses her “sins” and states she does it because she ENJOYS IT! She then brings in the Mountain!

DAENERYS TARGARYEN – “KILL MY ENEMIES IN IRON SUITS!” – S6 – EP. 6

Daenerys has some wonderful fiery moments throughout the battling slavers, barbarians, sorcerers and soldiers. Here, atop of a dragon, she belts out her vision for the future and that of the Dothraki hordes. The music, Drogon the dragon, the cheering men and Emilia Clarke’s passionate fervour all add up to a highly impactful Game of Thrones speech.

Articles, Doctor Who, Television

13 REASONS WHY DOCTOR WHO WILL BE FINE!

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13 REASONS WHY DOCTOR WHO WILL BE FINE!

The 16th July 2017 the news was passed, after the Men’s Singles Final at Wimbledon, that there would be a new actor playing BBC TV’s long-running sci-fi fantasy character Doctor Who; and that person will be the very talented Jodie Whittaker.

So, as Roger Federer was holding aloft the trophy to worship and cheer, the internet was quickly going into meltdown as Doctor Who fans and geeks cheered this exciting news about the soon-to-regenerate Timelord/Lady!  Meanwhile, in the darkness and under the bridges of the world-wide web the naysayers, fiends and trolls began sharpening their claws and keyboards ready to protest most vehemently at this gender shift.

My initial reaction was one of excitement and now the dust has settled slightly I continue to feel a keen sense of anticipation for the next season and the casting of Jodie Whittaker! So, here are thirteen reasons why the next season will, in my opinion, be fine.

CALM THE F**K DOWN – IT’S JUST A TV SHOW!

The level of negative comments on Facebook pages, newspaper comments, online fan forums, YouTube and other geeky websites was absolutely ridiculous. Den of Geek even had to issue a warning because of some of the vitriolic comments. I think humanity has a problem if they’re losing their mind of the casting of a woman into a historically male role.   It’s not a matter of life or death or a war or cancer! It’s just a bloody TV show and everything will be fine!

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IS IT POLITICAL CORRECTNESS GONE MAD?

Many online comments have been that this is political correctness gone mad and I find this offensive to be honest.  I don’t believe this is motivated by feminism or tokenism or positive discrimination. This is a creative decision based on who the showrunner’s think are best for the role.

DOCTOR WHO IS NOT ABOUT GENDER!

The character is about regeneration. The 13th Doctor’s regeneration is coded as female in gender! It’s not about rewriting history but presenting the character in a whole new context within the narratives, drama and humour.

JODIE WHITTAKER IS A BRILLIANT ACTRESS!

Jodie Whittaker is perhaps best known as Beth Latimer in excellent ITV drama Broadchurch. In it she acts her heart out as a young mother struggling with the loss of her son.  She’s also appeared in many stage productions and also has form appearing in sci-fi stories such as Attack the Block (2011) and the Black Mirror episode The Entire History of You (2011. Overall, she is a sterling actress with a great range who will bring a tremendous verve and energy to the role.

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JODIE WHITTAKER IS WORTHY!

The character of the Doctor is all about taking on injustices across space and time and this takes a hell of a lot of courage from the character. By taking such an iconic role dominated in history by male actors, Jodie Whittaker proves she has the backbone to stand up to the ridiculous backlash that has occurred and make the role her own.

TIMELORDS ARE SHAPE-SHIFTING ALIENS!

As the show has demonstrated recently with the Master transforming into Missy, Time Lords are confirmed as shape-shifting aliens and therefore it makes sense they can change gender. It’s only reactionary thinking and resistance to change which doesn’t recognise this.

DOCTOR WHO IS TIMELESS!

Doctor Who is an institution that has been going for 53 years. Even when the TV show was on a break it regenerated into other mediums. There are fans worldwide who attend shows and conventions now we have an industry full of Doctor Who comic books, novels, audio books, radio adaptations, paintings, posters and many more social media outlets.

SO MANY FAMOUS FEMALE DOCTORS!

I feel ridiculous for even using this as justification; but there have been so many amazing Doctors who happen to be female. I mean do we live in the dark ages where idiots refuse to be seen by female Doctors. Anyway, click here for a list of just a few famous Doctors:

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NEW DRAMATIC PERSPECTIVE

Changing the actor of the Doctor opens up a whole new different set of dramatic possibilities. The casting of Jodie Whittaker will present a marked move away from the Doctor as a middle-aged eccentric male. They broke this mould when casting Matt Smith and he was excellent, so I expect the new Doctor to just as positive in the next season.

BRAIN OVER BRAWN!

Based on many of the morons commenting online it’s the end of the world as we know it with the casting of Jodie Whittaker. But the character of the Doctor has NEVER been about using stereotypical brute force associated with male action heroes. The Doctor uses brain, cunning, experience, humour, smarts and their overall genius to overcome the monsters.

IT WILL CONFUSE THE HELL OUT OF THE ENEMY!

The Daleks, Cybermen, Weeping Angels, Sontarans, The Silence, The Silurians, Humans and many, many more have come a cropper due to the Doctor’s ingenious skills. Thus, a female Doctor could potentially screw with their brains initially. Well, all of them except perhaps the Master/Missy; whoever that may be next!!

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POST-HUMOUR!

As well as the wonderful science fiction and horror tropes present in Doctor Who there’s almost always humour in the show. Patrick Troughton and Matt Smith were very good at acting the clown, while Tom Baker was also very good at acting insane when in times of trouble. Peter Capaldi brought a wonderful sarcasm and a litany of zinging one-liners during his tenure, but with the new Doctor the dynamic will change. Thus, I look forward to a different kind of humour with hopefully some satirical gags at the change in gender.

NEW SHOWRUNNER!

Chris Chibnall has carved himself out an impressive television writing CV, including work on: Law and Order, Torchwood, Doctor Who and Broadchurch and I think he will breathe new life into the show and characters. Chris Chibnall says of the new casting:

“After months of lists, conversations, auditions, recalls, and a lot of secret-keeping, we’re excited to welcome Jodie Whittaker as the Thirteenth Doctor. Her audition for The Doctor simply blew us all away. Jodie is an in-demand, funny, inspiring, super-smart force of nature and will bring loads of wit, strength and warmth to the role. The Thirteenth Doctor is on her way.”

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IT’S NOT THE END OF THE WORLD!

In my humble opinion Jodie Whittaker will be brilliant. If she isn’t or the show isn’t very good I won’t complain. I will just stop watching the show based on creative and qualitative reasoning. I won’t use the reason she is a woman as a negative because WE LIVE IN THE 21ST CENTURY!!

And remember – it’s just a TV show!  It’s not the end of the world because if it was we will always have the Doctor to save us!

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Articles, Cinema, Essays and Theory

EXPLORING UNOFFICIAL REMAKES IN HOLLYWOOD!

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EXPLORING UNOFFICIAL REMAKES IN HOLLYWOOD! 

Here’s a re-blog of an article I wrote for the excellent http://www.sothetheorygoes.com website. It’s arguably a better researched article than I usually turn out and the original can be found here.

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OVERCOMING THE MONSTER

As an avid cinemagoer and fan I watch a hell of a lot of movies. I am aware that Hollywood film releases rarely contain original screenplays due to the massive flux of literary, journalistic, radio, televisual and comic-book adaptations. Moreover, there are reboots, remakes and re-imaginings of older and, in the case of the recent Spiderman releases, not-so-older films too.  I have even noticed another trend where on top of the usual remakes there are a number of films which are unofficial remakes of other films. Does this mean originality is finally dead in Hollywood and is now cannibalizing itself to produce product. Or, has it always been that way?

I want to explore the nature of storytelling, mythmaking and modes of classic Hollywood film production to consider whether there is a trend toward unofficial remakes in the current filmmaking era. I will examine cultural theory and film history to decide whether filmmakers are knowingly copying other works but hiding their intentions; or subconsciously replicating past cinema works while emulating both the historical traditions of storytelling and the classical Hollywood mode of film production. I will look at some recent film releases to further reflect on such theories.

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THE QUEST

The blockbuster or big budget spectacular has been a major business tool of Hollywood production since movies. In his book Blockbuster, Tom Shone points to the 1970s as the beginning of the blockbuster summer movie era with films such as Jaws (1975) and Star Wars (1977), making huge money and beginning a business convention which continues today. However, there has always been huge behemoth product coming out of Hollywood with the likes of D.W Griffiths’ Birth of a Nation (1915), Gone With The Wind (1939), Cleopatra (1963) being examples of big-budget spectacular produced down the years. As such the blockbuster is as much a genre in its own right as opined by Shone and also Peter Biskind in his book: Easy Riders, Raging Bulls: How the Sex-Drugs-And Rock ‘N Roll Generation Saved Hollywood.   

The summer blockbuster film release is clearly a huge money-making enterprise on behalf of Hollywood studios. Indeed, according to a recent Indiewire article films such as The Force Awakens (2015), Avatar (2009), Avengers: Assemble (2012) have together made over $2.5 billion dollars in at the box office. With the Marvel and Star Wars universe or franchises ever increasing their reach across galaxies far, far away it is important to note that the new Hollywood is still following the classical Hollywood system in regard to mode of production.

In their book The Classical Hollywood Cinema: Film Style and Mode of Production to 1960, Staiger, Thompson and Bordwell, a Hollywood film derives its’ competitiveness from a standardized norm and differentiated delivery. Film genres take place between the dialectic of standardization and differentiation which allows films to be produced along a conveyor built quickly and more profitably while some innovation generates differentiated elements to enable successful marketing of the product. For example, Ford produced and continued to produce a lot of the same model motor vehicles but change the colours and extras to differentiate the product. Likewise, Hollywood produces a hell of a lot of action, superhero and blockbuster films but in using different actors, directors, composers and source materials they are able to blind the audience to the storytelling structures and plots being used.

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But is this a mode of production considered lazy, unoriginal, uninspired or even plagiaristic? Possibly, yet it seems to make sense that Hollywood studios, while risking a hell of a lot of money on their blockbusters, standardize their product and use what has worked before to protect their investment. While some of us would like to see David Lynch given $200 million to direct a Marvel Universe movie, his idiosyncratic vision of the world would be such a leap of differentiation it would possibly – like his adaptation of Dune (1984) – create a potential box office bomb. Even a brilliant director like Edgar Wright was considered not “house style” enough for the Marvel film Ant Man (2015) and left the production due to the oft-quoted “creative differences”.

Is it fair to accuse Hollywood studios of unoriginality or even plagiarism? Are writer and filmmakers merely following the rules of the world?  I mean according to Christopher Booker’s text The Seven Basic Plots: Why We Tell Stories, there are in essence only a limited number of narratives including the: ‘Overcoming the Monster’, ‘Rags to Riches’, ‘The Quest’, ‘Comedy, ‘Rebirth’, ‘Tragedy’ and ‘Voyage and Return’. Booker echoes too the studies of mythologist Joseph Campbell who argues that the ‘Hero’s Journey’ or monomyth is the common template of most stories. Christopher Vogler followed on from Campbell’s extensive work in his book, The Writer’s Journey: Mythic Structure for Writer arguing that most popular stories can be narrowed down to a series of basic structures and archetypes.

Thus, we could argue that originality is in fact impossible and Hollywood blockbusters, as well as following the classical Hollywood model of standardization and differentiation; are simply passing on the traditional and mythical structures which hark back to the cave drawings of our ancestors, Greek myths and those wonderful stories in the Bible.  Let’s have a look at some examples of recent blockbuster films which echo the theories of mythic storytelling, concentrating specifically on those that could be considered unofficial remakes of previous films.

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VOYAGE AND RETURN

The biggest box office hit of recent years is the JJ Abrams directed The Force Awakens (2015). After Disney paid an absolute fortune to Lucasfilms for the rights to own the Star Wars franchise it’s safe to say that there was no way the studio would be taking any risks on their product. Thus, in my opinion, JJ Abrams and his writing team took a safety first approach to the storyline by unofficially remaking the original Star Wars: A New Hope (1977). They standardized their product by using most of the same characters, settings, design, costumes, music and themes. Moreover, on the whole it follows the same “Hero’s Journey” and “Overcoming the Monster” models within its structure as at its core a plucky young “orphan” must rise up and defeat the dark side of the Empire. Conversely, the original Star Wars could be argued to have heavily borrowed its structure and archetypes from Akiro Kurosawa’s Hidden Fortress (1958). However, George Lucas’ epic space opera was so original in presentation and design one cannot reconcile notions of plagiarism.

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A Force Awakens was only marginally differentiated with more diverse casting as the female leading character Rey (Daisy Ridley) took the Luke Skywalker role. The only main difference is her character was arguably more passive in the narrative compared with the dynamic enthusiasm of Mark Hamill’s Luke Skywalker. In remaking A New Hope, complete with a total-replica-ending culminating in the rebels destroying the Death Star, the filmmakers tick all the fan boxes yet with just enough difference in the details so as not to be accused of self-plagiarism. For me, however, A Force Awakens  is not as credible a story as Rogue One (2016), which, while invoking World War II “suicide-mission” genre structures such as: The Dirty Dozen (1967) and Guns of Navarone (1966), had more original characters and differentiation and thus felt a fresher product.

Unofficial remakes or the echoing of known texts are rife in the blockbuster era. James Cameron’s environmentalist Sci-Fi fantasy Avatar (2009) has exactly the same “Voyage and Return” structure as Kevin Costner’s revisionist Western Dances with Wolves (1990). In both films our hero, a soldier, finds himself at first a prisoner and then falling in love with an indigenous tribe’s more natural lifestyle; ultimately defying the patriarchal and oppressive capitalist society from where he came. Both culminate in a thrilling battle at the end where our gone-native hero overcomes the monstrous enemy.  Avatar, of course, differentiates markedly in presentation to Costner’s epic due to the incredible special effects on show but the structure and storylines are exactly the same.

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Screenwriters have not just plundered cinema’s back catalogue for narratives. The original storyline of Marvel comic books The Hulk is an unofficial adaptation of Robert Louis Stevenson’s Dr Jekyll and Mr Hyde; with a scientist splitting his personality between man and monster following an experiment gone wrong. Marvel indeed are experts at absorbing literary texts into their works as Age of Ultron (2015) echoes the story of Frankenstein as Stark’s experiment wreaks monstrous havoc on the Avengers. Moreover one of the best Marvel films Captain America: Winter Soldier (2014) uses the plot of spy thriller Three Days of the Condor (1975) as a springboard.

Of course, these are very loose interpretations, however, with Avengers: Assemble (2012) the filmmakers have, in my mind, essentially remade Kurosawa’s Seven Samourai (1954). Of course Seven Samourai has been remade many times as The Magnificent Seven in both 1960 and 2016, respectively. Indeed, in Avengers Assemble the plot of the villagers-in-peril being protected against a vicious foe by a rag-tag bag of gunslingers is mirrored by the Earth being guarded by the Avengers against Loki and the Chitauri. Even the beats of the story are similar with Nick Fury (Samuel L. Jackson) building his team in the way Chris (Yul Brynner) did in the Western version and Kambei (Takashi Shimura) did in the original. Overall, The Avengers is a terrific film, with a very solid narrative founded on the powerful structure of works released before it.

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REBIRTH

In summary, the unofficial remake is probably not a recent trend as I am sure further investigation will reveal more examples of this occurrence in Hollywood film production. The question remains though: is there evidence of plagiarism within the modern Hollywood blockbuster and cinema examples used? I would say there probably isn’t. Filmmakers today are generally following the age-old tradition of passing on stories and myths, combined with the conscious structural safety of following genre conventions and the standardization and differentiation models Classical Hollywood cinema established decades ago. Either that or they are following Quentin Tarantino’s lead when he says,

 “I steal from every single movie ever made. If people don’t like that, then tough tills, don’t go and see it, all right? I steal from everything. Great artists steal, they don’t do homages.”

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Articles, Cinema

R.I.P GEORGE A. ROMERO (1940 – 2017)

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R.I.P GEORGE A. ROMERO (1940 – 2017)

One of the legends of cinema passed away a couple of days ago in George A. Romero. Here was a filmmaker who will always remain an inspiration to me as a movie fan and independent filmmaker.

He is most famous for single-handedly inventing the modern day zombie film, however, that, in my opinion is to simplify his legacy. What he achieved on low budgets with films such as: Night of Living Dead (1968), The Crazies (1973), Dawn of the Dead (1978), Martin (1978), Day of the Dead (1985) and more, was nothing short of incredible.

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His films indelibly etched images, sounds, music, sequences and of course bloody gore into my mind; some of which I will never forget to this day. Most importantly, though his horror films were of the fantastic variety, they were filled with incredible insight into the socio-political machinations of the day.

Because, George A. Romero knew that the horror on the screen could never match the horrors of war, oppression and death that humanity bestowed upon itself down the years and in the now. For being an independent, intelligent and political filmmaker is how Romero should be remembered.

Articles, Reviews

TIME TO SAY GOODBYE – DR WHO – SERIES 10 REVIEW

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TIME TO SAY GOODBYE – DR WHO – SERIES 10 REVIEW

TIME AND RELATIVE DIMENSIONS IN SPACE

I love Doctor Who and have written many times about it on this blog with reviews and articles. I think what I love about it most is that within the genre structure of a Time Lord and companions doing battle against foes is the fact that you can end up anywhere in time and space; in scientific reality and magical fantasy. Each episode contains surprise and mystery and imaginative ideas which draw you in again and again. So, here I go with a review of the at times completely genius, occasionally so-so, but mainly brilliant entertainment that is Season 10. If you also wish to read last season’s review please do so here.

SPOILERS AHEAD, DARLING

Couple of minor gripes before I start!  Please stop with the preview spoilers BBC!  There were too many dramatic surprises within the series given away across the TV screens and T’internet. Firstly Capaldi’s departure from the show AND John Simm would be coming back as The Master. Oh, and the origins of the Mondasian Cybermen was revealed too giving away another surprise from the exceptional double-headed finale. Lastly, now Chris Chibnall is to take over from Steven Moffat as showrunner, I hope he’ll dispense with the incessant characters dying and coming back to life trope. This has now literally been done to death. However, putting these minor grumbles aside I was very entertained by the season overall.

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WHAT’S IN THE VAULT?

When the commanding character actor, musician, director and writer Peter Capaldi was announced as the new Doctor Who a few years ago, I was very excited. Here was an experienced actor full of gravitas, energy, wit, light and dark humour, who would no doubt bring his own vision to the role of the ancient Gallefreyan. And I was not disappointed at all!  I really loved Capaldi’s Doctor because he was very rounded and in his face you could see the years of time-travelling experience. And wow – can he deliver a grandstanding monologue too!

In Season 10, he was meant to be anchored to Earth guarding the Vault, having taken an oath to ensure Missy/The Master does not escape. Instead he attempted to redeem Missy – portrayed with devilish brio – by Michelle Gomez. Did he succeed? Well, it’s open to interpretation. Nonetheless, this story arc was way more convincing and emotional than Season 9’s confusing “Hybrid” arc. In fact, I’d say Steven Moffatt nailed the dramatic arc and emotion on this one.

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THE NEW FACES

The Doctor, as well as looking after the Vault, found two new companions in tow. They were Bill Potts, played with a wide-eyed and naïve charm by Pearl Mackie. We also had a former rogue-but-now-kinda-sweet cyborg called Nardole, portrayed by the brilliant comedic actor Matt Lucas.  In a terrific meta-gag from Steven Moffat, during World Enough and Time, Missy called them “Exposition” and “Comic Relief”; however, I think they were a bit more than that.

As usual the audience were reflected in Bill’s character as her initial wide-eyed and open-mouthed awe at the Doctor and the Tardis’ capabilities gave way to an awe and wonderment at the space adventures that ensued. Bill proved herself a valuable sidekick to the Doctor. She had a kind soul and there were some emotional pull to her due her being an orphan, plus being gay created an extra dynamic in the storylines as well as some humour too.

Nardole, on the other hand, was mainly played for laughs as he had some fantastic banter with the Doctor. Lucas did not go over-the-top wacky though and gave Nardole a world-weary trudge and set of grumpy looks and fine one-liners. At the same time he remained very loyal to the Doctor and really came into his own in the latter episodes when his hacking skills were used to combat the Cybermen.

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THEMES

Thematically this season of Doctor Who was very strong. Of course the Doctor remained stalwart in his world view of protecting the oppressed against evil. But he also had a redemptive plan where Nardole and Missy were concerned. Reading between the lines it appeared Nardole had a shady past so the Doctor employs him to do right by his oath to guard Missy in the Vault. Missy however, was a more difficult proposition and during Extremis it is revealed the Doctor saves her from death, with a view to redeeming her soul. This theme plays out really well within the individual episodes, especially in the wonderful denouement of The Doctor Falls where Missy and her older self, The Master (fiendishly portrayed by John Simm) join forces against the Doctor; only for Missy to kind of atone and attempt to join the Doctor in the fight against the Cybermen.

Love was another powerful emotion and theme to pervade the season.  The Doctor’s love for, or at least yearning for the childhood friendship he had with Missy/Master shone through during those final episodes. Bill’s love for her deceased Mother was palpable too, playing a big part in defeating the Monks in The Lie of the Land. Also, it was Bill’s love for Heather during the The Pilot episode which eventually saved her and the Doctor from certain death during The Doctor Falls. It was a big leap of faith in the storyline to believe this substantive narrative call-back, but I think it really worked and I was pleased Bill survived. What becomes of the Doctor we shall see?

The episodes generally were very strong and Doctor Who also gave some terrific social commentary in between the monsters, robots and general temporal trickery. Thin Ice critiqued racism, while Oxygen did the same with corporate greed. Rogue landlords and the student life were satirized in Knock Knock and most powerfully religious, medical and military control were examined and disparaged during the trilogy episodes: Extremis, Pyramid at the End of the World and Lie of the Land. Visually the show was also very striking with agricultural, urban and futuristic locales merging with some wonderful beasts, humanoids, robots and space zombie foes. Thus, overall, in my humble opinion, it was a very impressive and rich raft of Doctor Who episodes.

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EPISODE REVIEW AND RATINGS (with more SPOLIERS)

  1. THE PILOT – Steven Moffat

This was a terrific opening episode full of fine sci-fi and fantasy concepts which established a melancholic desire for belonging and love across the stars. Bill meets the Doctor and is pursued by a strange alien force in oil form and we see the Vault for the first time. (Mark: 8 out of 10)

  1. SMILE – Frank Cottrell Bryce

Bill and The Doctor visit an Earth colony run by Emoji-faced robots which somehow had been programmed to treat grief and depression as a disease. A beautifully designed other world setting mixing future and agricultural landscapes is the strength of this episode. The Bill and Doctor dynamic also developed very nicely too.  (Mark: 7.5 out of 10)

 

  1. THIN ICE – Sarah Dollard

Set in London 1814, the story found a nasty English Toff exploiting a beast below the iced river of the Thames for super-fuel. Bill discovers the Doctor is not a stranger to death and as a critique of the racist and prejudicial nature of the upper classes the episode works very well. (Mark: 8 out of 10)

 

  1. KNOCK-KNOCK – Mike Bartlett

Strange landlords, cockroaches and a house that eats people are the dangers that face Bill and her flatmates in this episode. David Suchet is on excellent form as the antagonist compelled to keep his Mother alive in a touching reveal at the story end. Capaldi’s Doctor is kind of in the background but, of course, comes to the fore when danger strikes. (Mark: 8 out of 10)

  1. OXYGEN – Jamie Mathieson

This was a terrific episode set on a space station where the air is literally paid for by the breath. Space zombies run amok as the Doctor, Bill and Nardole join a panicked crew into battling both monsters and a capitalist algorithm hell-bent on increasing profits. It’s full of great space mechanics, plot twists and race-against-the-clock excitement. Plus, the biggest gut-kicker is the Doctor goes blind; and the ramifications are very dramatic in later episodes. (Mark: 8.5 out of 10)

 

  1. EXTREMIS – Steve Moffat

This was a tricksy episode because, amidst the Doctor’s blindness, we also got the Doctor saving Missy from a fate worse than a fate worse than death. We also got The Monks who, similar to the skull-faced Silence were a religious baddie determined to take over Earth. It was wonderfully crafted with a fine Monty Python “Killing Joke” homage and convincing critique of organised religion and suicide cults. Arguably the simulacra-twist at the end undermined the drama a tad, but on second watch it was a very clever and well-written episode. (Mark: 8.5 out of 10)

  1. THE PYRAMID AT THE END OF THE WORLD – Peter Harkness and Steven Moffat

Following on from the religion heavy previous episode here the writers took a swipe at the military and the scientific folly of humanity. The Monks now reveal themselves openly and clearly to the world and that they will save the Earth from a biochemical catastrophe. The most powerful aspect of this episode is Bill’s decision to save the Doctor’s sight even though it means the Monks gaining control. Here the emotional power of the script was impressive and Capaldi was awesome in both wit and gravitas. (Mark: 8 out of 10)

 

  1. THE LIE OF THE LAND – Toby Whithouse

The Monks trilogy came to an end with the world plunged into a dystopic Big Brother style mind-controlling of stupid and gullible human beings. The Doctor has sided with the Monks and Bill and Nardole must track him down to attempt a reversal of fortune. Again Bill is at the centre of the emotion here as Pearl Mackie delivers a fine dramatic performance. Safe to say the Doctor and Bill’s love for her mother defeat the Monks somewhat fantastically but a strong denouement nonetheless. (Mark: 7.5 out of 10)

 

  1. EMPRESS OF MARS – Mark Gatiss

A meta-mish-mash episode from Mark Gatiss, as Zulu meets the Icemen of Mars! This fast-paced episode was reminiscent of old Doctor Who as the British Empire soldiers find they are no match for the Icemen and their recently awoken Empress. A direct cousin to the Gatiss-penned episode Cold War, what it lacked in emotion it made up with in humour and derring-do. (Mark: 7 out of 10)

 

  1. THE EATERS OF LIGHT – Rona Munro

More soldiers but this time the episode features the Picts and legendary 9th Roman Legion which mysteriously went missing in 2nd century Scotland. There was a lilting Celtic vibe to the music and cold landscape as a vicious beast feeds on the light and any humans in its way. I enjoyed the witty script and mix of historical and science fantasy made it very watchable indeed. (Mark: 7.5 out of 10)

 

  1. WORLD ENOUGH AND TIME – Steve Moffat

This was my favourite episode of the season; only spoilt by the BBC ridiculous policy of giving away plot details in the trailers.  Here the Doctor, Nardole and Bill land on a humungous space-ship over 400 miles high which is perilously close to a black hole. The Doctor gives Missy a chance to shine as er… The Doctor and much hilarity ensues. Michelle Gomez owns this episode and the moment she meets her past Master is a wonderful twist. I loved the duality of evil theme and the ship with different temporal states was just a brilliant concept from Moffat. Bill’s slow transition into a Mondasian Cyberman is directed with creepy imagery and fear-inducing dread; while Capaldi’s face when he realises he’s too late is damned heart-breaking. (Mark: 10 out of 10)

  1. THE DOCTOR FALLS – Steven Moffat

The Doctor, Nardole and Cyber-Bill join together to battle the gathering Cybernetic storm. In their way though are the old Master and an on-the-fence-good-bad Missy. Bill’s realisation that she is a Cyber-person adds real pathos, while the Missy/Master axis of evil contains some dark wit between the action. The Doctor stands strong, until even he cannot sustain life amidst the beatings, electrocutions and explosions he suffers. With the Doctor and Bill virtually dead, and the Master and Missy killing each other, it is left to Heather (from The Pilot) to save the day. It was a big narrative pill to swallow but I loved the sentiment of love conquering space and time. Lastly, the final image of the Doctor, dying in the snow, being found by his original self was a wonderful payoff to lead into the Capaldi’s regeneration episode. (Mark: 9 out of 10)

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THE FUTURE

I read on the social media forums a lot that, amidst the more level-headed Dr Who fans, people are very critical of how the show has gone under Steven Moffat. Like a football supporter unhappy with their manager they have been complaining that Moffat’s writing is not very good and episodes have become stale and repetitive or even worse boring. Everyone is entitled to their opinion but I say to those people to stop watching.

Having viewed all of the rebooted Dr Who seasons many times I think, for a science-fiction family show screened at teatime on a Saturday it is actually on the main brilliant. Some of Moffat’s over-elaborate timey-wimey arcs have probably been too complex and fantastical, however, he has tried to be imaginative and experimental and for that should be congratulated. He has done great service to the grand Time Lord and he, the production crew, actors and writers should be proud of their wonderful efforts.

We await a new Doctor and a regenerating writing team led by Chris Chibnall of Broadchurch fame. Broadchurch was a brilliant police show set in a coastal community and if he can bring the emotion and depth of character to Doctor Who, I believe the show will be in safe hands. And who will be the next Doctor! Well, my choice would be the superb actor Reece Shearsmith and if they so happen to make the character female then I would go for Olivia Colman. Who it will be only time (and space) will tell.

 

Articles, Cinema, Short films

FIX FILMS RETROSPECTIVE #5 – ELEPHANT TRUNK (2008)

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FIX FILMS RETROSPECTIVE #5 – ELEPHANT TRUNK (2008)

“Matt’s about to have a night he wishes he could forget!”

TITLE:                         ELEPHANT TRUNK (2008) – short film (15 mins)

DIRECTOR:                 GARY O’BRIEN

PRODUCERS:             ROBERT WARD, PAUL LAIGHT, GARY O’BRIEN

WRITER:                     PAUL LAIGHT

CAST:                          TOM FREDERIC, LUCIA GIANNECHINI, CHRIS CROCKER, MIA AUSTEN, HARRIET JEFFREY

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If you didn’t know, as well as writing reviews of films, TV, Tottenham Hotspur FC, South Park and Doctor Who, I also write and produce short films that will one day be watched by at least sixty-four people on YouTube! Hopefully anyway! Although having said that my last Star Trek fan film called Chance Encounter has over 30,000 views and counting! Not quite that cat playing Gangnam Style on a piano but not too bad. Anyhow, the 5th film I wrote and produced was a dark, romantic comedy called Elephant Trunk.

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Elephant Trunk – which if you didn’t know is cockney rhyming slang for drunk – came into production before The Hangover (2009) was released in the cinemas the following year. While not precisely the same story it still involves varieties of drunken mishaps as all manner of chaos ensues that destroys our hero Matt Sherry’s life as he attempts to get home while pissed. It’s a work of fiction but grounded in the many drunken nights I attempted to get home while hammered and follows the basic comedy rule that what can go wrong – WILL GO WRONG!!

I, and director Gary, could not have made this film without the help of my very good school friend Robert Ward, who for some kind reason, offered to put up the budget for the film; which as I recall was around £1000. As is usually the case myself and Gary smashed the script around building the protagonists’ journey as he lurches from one disaster to another; and looking back it remains a fun film to watch. We were also assisted by friends and family who got involved in the production and lent their time, bodies and properties throughout.

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Again, we cast the film very well with some excellent talent and much praise to everyone involved. I think Tom Frederic in the lead was absolutely brilliant! His young executive “everyman” has a simple arc in terms of the story. Tom brings a fantastic bemusement and physical commitment to the role, as his character falls, flails and fails over the course of the night. Amidst the slapstick there is some romance too as this story was an attempt to demonstrate our range in terms of writing and directing. Indeed, much of the production was shot guerrilla style (without permission) on the streets of London and on public transport. The urgency in the handheld camerawork and fast paced editing really enhances the “drunken” state of the hero during his plight.

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My two major regrets for this very entertaining short film was we had to cut (due to budget constraints) one very strange and creepy scene where Matt found his way into a house where a “sex party” was taking place involving a Gimp-like character. Also, that my distribution skills were absolutely terrible and, asides from one riotous screening night back in 2008 at the Exhibit Bar in Balham, I did not get Elephant Trunk the festival screenings I think it deserved. Anyway, maybe you think differently – here’s the film:

Articles, Doctor Who, Six of the Best, Television

SIX OF THE BEST #6 – ACTORS TO PLAY THE NEXT DOCTOR WHO!

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SIX OF THE BEST #6 – ACTORS TO PLAY THE NEXT DR. WHO!

In my occasional series called Six of the Best, I select six of something or other which I like the best. So here goes with six of the best actors who I personally would love to play the next Doctor Who!  Obviously, they won’t play the Doctor at the same time but if they were chosen they would be great choices.

As a big Doctor Who fan I reviewed the show many times on this blog and the next choice of everyone’s favourite time-traveller will be an interesting one. The new showrunner will be Chris Chibnall of Broadchurch fame so I look forward to his choice. The bookies odds are currently:

Latest Doctor Who Betting

Phoebe Waller-Bridge – Evens
Natalie Dormer – 4/1
Kris Marshall – 5/1
Tilda Swinton – 5/1
Michaela Coel – 7/1
David Harewood – 8/1
Richard Rankin – 10/1

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Personally, I’m not warming to any of these choices other than Tilda Swinton that is. So, these are my preferred choices:

Reece_Shearsmith

REECE SHEARSMITH

The star of:  The League of Gentlemen (2000), Psychoville (2009), Inside No. 9 (2014), Chasing Shadows (2014) and many many more, is my number one pick. He has the humour, versatility and dark spirit needed for the role of Doctor!

oliviacolman

OLIVIA COLMAN

Given her experience of working with Chris Chibnall on Broadchurch, Colman would be an appropriate choice. She has a wealth of acting roles behind her in both comedic and dramatic roles and is just a brilliant actress.

helenmccrory

HELEN McCRORY

An actress of immense quality and charisma, McCrory would bring a sophistication and Gothic heart to the role of the ancient Gallifreyan. She has also been a villain in a previous Doctor Who episode but I can forgive her given she has an excellent acting CV.

Rory-Kinnear-Doctor-Who

RORY KINNEAR

He was bookies favourite in 2013 before Capaldi got the gig. While Capaldi has put in some fine performances I still think Kinnear would have been better. He has great acting experience, vulnerability, intelligence and steel which could serve the role well.

Doctor-Who-Into-the-Dalek-Zawe-Ashton

ZAWE ASHTON

Fleabag star Phoebe Waller-Bridge has been offered up and would be an okay choice but if the producers wanted to be adventurous then Zawe Ashton is a better pick in my view. She’s funny and quirky and has a cool irreverence as seen in the comedy Fresh Meat.

Neverland

RHYS IFANS

The laidback Welsh actor has been delighting us for years with his insouciant performances in indie and blockbuster movies. He can play intelligent, complex and simple characters; but it’s his sly wit and stoner charm which I think can take the Doctor in an interesting direction.

Anyway, they are my choices. Here’s a video from What Culture with their picks: