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MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

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MY CINEMATIC ROMANCE #23 – CHRISTIAN BALE

“Essentially, I’m untrained, so I just go with my imagination and try to put myself as solidly as I can into the shoes of whatever person I’m going to be playing.” — Christian Bale

It’s easy to forget that Christian Charles Philip Bale was only thirteen years old when he was chosen out of thousands of young actors for a starring role in Steven Spielberg’s war drama, Empire of the Sun (1987). From there on in he has become one of the most formidable actors of a generation. Unlike many young actors he has not fallen by the wayside, but rather delivered a series of tour-de-force and award-winning performances in both independent and big budget Hollywood blockbusters.

So, for my occasional look at the major talents of cinema I have turned to one of the greatest actors of the last twenty-something years, and chosen five of his best roles to illustrate that. An intense and natural talent he has been in many outstanding films and some not so good. However, whatever role Christian Bale chooses he is usually never less than powerfully magnetic. I must say, I have not selected any of his portrayals of Bruce Wayne and that very fine Batman performance, notably from a physical perspective. Even though in, Batman Begins (2005), he created a stirring existential vision of a wealthy child growing out of grief into the dark saviour of Gotham City. I just think he has given five better acting transformations on screen. Here they are.

***CONTAINS FILM SPOILERS***

AMERICAN PSYCHO (2000)

Having tread water in a career-sense attempting to traverse the difficult bridge from child actor to the leading man we have come to know, Christian Bale got a break in Mary Harron’s adaptation of Bret Easton Ellis’s notorious novel, American Psycho. And boy – did he make the most of it! I watched the film again recently and I have to say, other than perhaps Leonardo DiCaprio (who was originally cast in the role), no other actor could have delivered such an unhinged, evil and funny (yes he’s hilarious) portrayal of the Wall Street banker-turned-serial killer, Patrick Bateman. It’s a dangerous and sick character who Bale somehow manages to make you despise, yet simultaneously humanise.

THE MACHINIST (2004)

Possibly the greatest Christian Bale performance that hardly anyone has seen. Oh you have seen it? Wow, what an intense performance Bale gives as lonely blue collar worker, Trevor Reznik. Reznik is a haunted man who cannot sleep. He is also anorexic as Bale reduced his weight to 62kg for the role, demonstrating, not for the last time, a dangerous method of obsessive physical transformation. It works too as the skeletal Reznik struggles to overcome a slow descent into madness, with Bale, once again, showing incredible commitment to his craft in this under-rated and haunting noir nightmare of a film.

THE FIGHTER (2010)

While Mark Wahlberg was excellent as the lead actor in David O. Russell’s profile of tough Massachusetts fighter, Micky Ward, Bale absolutely steals the thunder with an incredible acting performance as Ward’s half-brother, Dicky Eklund. As a study of the nefarious curse of addiction, Bale makes the charismatic, but unreliable, Ekland both a loathsome and somehow empathetic character. Because while his crack cocaine addiction drives him to make bad choices for both him and his brother, there is at his heart a loving person battling to win over his illness and make his brother a champion. A story about family and human beings overcoming the odds, Bale punches out another memorably flawed individual in The Fighter (2010), deservedly winning an Oscar in the process.

HOSTILES (2017)

This revisionist Western did not get nearly enough attention on release. Yet buried in here is another quietly intense acting performance from Christian Bale. His other Western, 3:10 to Yuma (2007) is the more entertaining film, but in Hostiles (2017), he gives a much more complex characterisation as Captain Joseph Blocker. The weight of guilt and pain and death hang heavy on Blocker following years of brutal conflict. Scott Cooper’s film conveys the depressing murderous times borne out of the greedy need for progress. Hatred and white man’s guilt drives his character as Bale’s soldier initially refuses to take Chief Yellow Hawk back to his homeland. Is it more because of the deaths of his own men on the battlefield or because he does not want to face up to his own crimes against the Native Americans? The film explores this question superbly with Bale at the heart of the conflict from savage beginning to bloody end.

VICE (2018)

While I agree with critics of Vice (2018), that it is cartoonish and simplistic, it is also a brilliant and scabrous work of satire. Yes, sure it’s preaching to the liberal and left-winged Hollywood choir, but it definitely presents a fascinating snapshot of Dick Cheney’s rise from alcoholic wastrel to powerful political figure. I mean let’s face it, Cheney, based on his reign in U.S. politics, is arguably one of the most dangerous men who ever existed. In Adam Mckay’s black political comedy Cheney is shown to be a manipulative puppet-master to Bush’s marionette President. McKay’s film, while certainly one-tracked, powers along picking apart one of the most shadowy political figures of recent years. But what about, Bale? Why take a role where he had to live on doughnuts for year to gain the weight required for the film? Well, because he likes to challenge himself and Bale should have won the Best acting Oscar! Rami Malek was decent as Freddie Mercury, but Christian Bale is astonishing. Fair enough, he takes a real person and delivers an emulation performance, but he also brings to Cheney to life with such intelligent style. Of course, the physical transformation takes the headlines, but in terms of emotion and mentality he really raises the bar. Cheney may be an enigmatic character but Bale brings menace, whispers and evil to the role. There is also a sly humour there too which makes Bale’s Cheney another unforgettable monster he’s brought to the screen.

Cinema, My Cinematic Romance, Theatre

MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

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MY CINEMATIC ROMANCE #19 – DENZEL WASHINGTON

In all the excitement, I seemed to have forgotten about this feature, but will reignite it here. Essentially, I pick a favourite film actor or director or writer or composer or film craftsperson, who I have followed and admired for some time, and pick out five of their works which resonate with me. Usually it is difficult to stick to just five selections, however, I find writing with a rule or discipline sharpens the critical mind. Today’s choice is one of the greatest actors to have walked the boards, appeared on the box, and graced the silver screen. His name is of course, Denzel Washington.

Born in Mount Vernon, New York and having initially attended a military academy, Washington would later gain a BA in Drama and Journalism from Fordham University. He began by acting in Summer Stock theatre, but his first major break was in the television series, St Elsewhere. His performances as Dr Philip Chandler would lead to castings in prominent film roles, notably as Steve Biko in Cry Freedom (1987). In that film he would receive his first Academy award nomination. From then on Washington would go from strength to strength traversing stage and screen roles with incredible range and skill. As writer, director and actor he is an artist who can span genres and disciplines, equally brilliant in commercial projects and more arthouse productions. Here are just five roles which I very much think he excelled. But to be honest, there are many, many more I could have included.

GLORY (1989)

Glory (1989) was the first major Hollywood film to profile the fight of black soldiers to free themselves from slavery in the context of the U.S. Civil War. It is an excellent drama with some brutal battle scenes and memorable characters. None more so that Washington’s portrayal of Private Silas Trip. He is quite understandably an angry man determined to fight all the way against oppressors. Washington delivered a searing performance which would earn him a Best Actor in a Supporting role award. It is an outstanding portrayal full of power and strength.

MALCOLM X (1992)

Washington worked with Spike Lee on many film productions and Malcolm X (1992), is arguably their most significant and impressive film. It charts the life and death of a man born Malcolm Little who would grow to be anything but. After a troubled childhood he became a drug dealer and criminal in order to survive. Having converted to Islam he rejected his slave roots, going on to become one of the most outspoken voices against black oppression the world has ever known. Both Lee and Washington should have won Oscars for their work, and Washington’s intense performance stands as a fine cinematic tribute to a true spokesperson for a generation.

TRAINING DAY (2001)

Washington has played his fair share of heroic and complex anti-heroes trying to find their way in the world, but in David Ayer’s brilliant cop drama Training Day (2001), he revels in the role of bad-ass corrupt cop, Alonzo Harris. Washington and Ethan Hawke are both brilliant as the mentor and apprentice narcotics officers who are about to have a very intense day of plots and double-crosses. Washington spits and chews up Ayer’s meaty dialogue as Harris, who has a devilish plan up his dirty sleeves. Ultimately, the respect between the two erodes and a violent power game ensues with surprising twists ahead. Washington won the Best Actor award at the Academy Awards, and while it was well earned, it was arguably more for his body of incredible film performances overall.

MAN ON FIRE (2004)

While not necessarily the best film on Denzel Washington’s amazing acting C.V., Man on Fire (2004) is one of the more memorable films he made with uber-Hollywood genre filmmaker, Tony Scott. Washington clearly respected Scott as a man and director, and while Scott’s flashy and bombastic style could drown his actors, Washington’s talent always shone through. As John Creasy, Washington’s characterisation is that of a broken ex-military man who has killed for his country, and now realised it was all for nothing as he lost and alone. Alcoholic and suicidal, Creasy finds redemption in the guise of a young girl, portrayed brilliantly by Dakota Fanning, who following her kidnapping, goes on a vengeful kill-crazy-rampage-search-for-justice. Washington’s acting is both muscular and tender in equal measure as Scott delivers an explosive genre film of the highest quality.

FENCES (2016)

Denzel Washington’s honest, down-to-earth and heart-cracking drama is a formidable character piece and acting tour-de-force. Adapted from August Wilson’s prize-winning play, the narrative bristles with authentic working-class lives of 1950s Pittsburgh, and is littered with some wonderful stories and dialogue. At the heart of the drama are Denzel Washington’s complex character, Troy Maxson, and his long-suffering wife, Rose; portrayed with significant humility by Viola Davis. Troy’s character is charismatic, and he delivers some hearty yarns from his past, but he’s also bullies everyone around him. Moreover, Washington directs brilliantly, “fencing” in the characters to create a sense of claustrophobia and intensity. By keeping the players mainly in the yard and the house we feel as trapped as they are by society, social status and their life decisions. It’s an intimate film about proper characters and real lives and overall, the performances alone make the film feel cinematic.

fences
BBC, Reviews, Television

BBC TV REVIEW – DRACULA (2020)

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BBC TV REVIEW – DRACULA (2020)

Created and Written by: Mark Gatiss, Steven Moffat

Based on: Dracula by Bram Stoker

Producer: Sue Vertue

Directors: Jonny Campbell, Paul McGuigan, Damon Thomas

Cast: Claes Bang, Dolly Wells, John Heffernan, Morfydd Clark, Joanna Scanlan, Lujza Richter, Jonathan Aris, Sacha Dhawan, Nathan Stewart-Jarrett, Clive Russell, Mark Gatiss, Catherine Schell etc.

**MAY CONTAIN SPOILERS**

Mark Gatiss and Steven Moffat are uber-television scriptwriters of vast experience and expertise. Solo and together they have been involved with fine TV programmes including: Sherlock, Doctor Who, Coupling, The League of Gentlemen, Press Gang, Jekyll and many other films, comedies and dramas. Their latest BBC project found them combining forces again and breathing new life into Bram Stoker’s classic vampire novel. Screened over three dark nights on BBC1 from January 1st, 2020 onwards, this horror adaptation mixed Stoker’s traditional vampiric tropes with fresh and bloody ingredients infused by Moffat and Gatiss’ typically iconoclastic approach to genre.

The structure of the first episode, Rules of the Beast, finds a gravely ill Jonathan Harker (John Heffernan), recounting his misadventures having travelled to Count Dracula’s (Claes Bang) castle in Transylvania. A haunted shell of a man, his stories of doomed employment, entrapment and the “children of the night” are delivered to Sister Agatha (Dolly Wells). Somewhat incisive, intelligent and irreverent for a nun, Sister Agatha becomes both our hero and main foe to Dracula’s nefarious uber-villain. Having said that, the fantastically witty script and Claes Bang’s charismatic representation of Dracula almost succeed in making him the hero. Indeed, other than being a life-sucking, murderous, blood-addicted, shape-shifting, immortal and homicidal maniac he’s actually quite charming and likeable.

Image result for dracula and sister agatha

The first episode, apart from certain structural alterations and differences in characterisation, stays kind of faithful to the spirit of Stoker’s gothic vision. The second episode especially is one of the best examples of horror television I have seen in a long time. Cleverly called Blood Vessel, the action merges suspense and terror with an Agatha Christie style of plot. Here the crew and passengers of the ship Demeter find they are at the mercy of a vicious killer. It doesn’t take a genius to work out who is picking them off one-by-one. The episode also contains an ingenious reference to the BBC anthology series Inside No. 9. Thus, overall, this was my favourite episode of the series.

By the third episode though, Gatiss and Moffatt couldn’t stop themselves taking a bold leap away from the original text. The Dark Compass contains some fantastic twists and ideas, but arguably the writers strive too much for reinvention and originality. So much so, it lost some of the narrative impetus of the first two in the mini-series. Nonetheless, I would love to see more of Claes Bang’s Dracula in the future. His performance and chemistry with Dolly Well’s Sister Agatha were a bloody joy. Likewise, the script was brilliant; full of fangtastic one-liners, poetic turns of phrase and fascinating plot developments. Lastly, I was grateful they did not spare us the horror too. There were many memorably gory deaths throughout, as Dracula and his wolves wreaked devilish havoc across land, time and the television screen.

Mark: 8.5 out of 11

Articles, Cinema, My Cinematic Romance, Television

MY CINEMATIC ROMANCE #14 – SALLY HAWKINS

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MY CINEMATIC ROMANCE #14 – SALLY HAWKINS

Sally Hawkins is such a formidable actor. She is likeable, bright, and funny; possessing an expert ability to bring pathos and emotion to every role. Having first really noticed her in Mike Leigh’s compelling period drama Vera Drake (2004), it’s mainly in the last decade she’s getting the leading roles her talent demands. Thus, here are five of Sally Hawkins most impressive performances that are well worth watching again and again.

**CONTAINS MILD SPOILERS**

FINGERSMITH (2005)

Yes, I know it says “cinematic romance” and Fingersmith was a two-part British TV programme, however, Sarah Waters’ novel was also made into a film by Park-Chan Wook called The Handmaiden (2016), so it kind of counts.  Hawkins portrays Sue Trinder, raised to be a thief in Victorian England, who enters into a scam to rob an heiress. However, her relationship with the ‘mark’ becomes very complex indeed as the twisting complex plot becomes a veritable joy. Hawkins is a sympathetic criminal faced dealing with the sexist oppression of the day and she delivers thoughtful acting combining vulnerability and romance. One of Hawkins early starring performances shows what a great talent she is and will become.

HAPPY-GO-LUCKY (2008)

When I first saw this film I really did not enjoy it. Perhaps I was in a bad mood or just not up for any kind of positivity. I was also surprised Mike Leigh had delivered something, in comparison to Vera Drake (2004), a film so inconsequential. However, having re-watched it in the last year I must admit I was a total fool and wrong. Sally Hawkins character work and acting as Poppy Cross is a joy. Her character is very natural, optimistic and care-free. She enjoys her job as a primary school teacher and drifts through life happily. Hawkins imbues Poppy with a light comedic touch and her timing of a look, little giggle and innocence gags just make you feel better about life. If everyone was like Poppy the world would be a far better place.

BLUE JASMINE (2013)

While Woody Allen’s work has been re-evaluated in light of his very questionable personal choices, there’s no doubting his casting selections are absolute quality. It’s becoming more and more difficult to separate the creative from his apparent sins this in no way impacts on the sterling work of Cate Blanchett and Sally Hawkins in an excellent family comedy full of barbed wit and conflict. Hawkins performance as Ginger, an every person just trying to get by, sparks and conflicts with Blanchett’s neurotic socialite in effervescent comedic fashion. The two actors excel and Hawkins was nominated for an Academy award for ‘Best Supporting Actress’ as Blanchett took away the main prize.

MAUDIE (2016)

Perhaps overshadowed by the success of the big budget monster/love story The Shape of Water (2017), the low-budget Maudie features another stunning Hawkins turn. She is quietly powerful in the role of Nova Scotia painter Maud Dowling who came to prominence for her painting in the late 1960s and became somewhat of a cult treasure. Hawkins and Ethan Hawke steal the acting honours as the unlikely husband and wife, as Aisling Walsh directs a fine tribute to a small woman with a massive artistic talent. Hawkins is just brilliant though as the bullied and beaten women who refuses to break as the performance demonstrates a human being small of stature but big in spirit.

THE SHAPE OF WATER (2017)

Sally Hawkins plays mute cleaner Elisa Esposito, who works at a top secret U.S. army base. Silent from birth, what she lacks in voice, Elisa more than makes up for in courage, compassion and confidence. When a mysterious “Asset” is delivered to Elisa’s place of work she suddenly becomes entwined in an incredible story of sacrifice and love. Hawkins and Doug Jones performances are entrancing as two silent characters are able to say more with a look, hand signal and touch than a thousand words could achieve.  In any other year Sally Hawkins would have walked away with all the Best Actress honours; yet she was up against the incredible Frances McDormand. Nonetheless, Hawkins gives us such a nuanced and heart-rending performance you forget that she cannot speak.

Articles, Cinema

R.I.P – JOHN HURT (1940 – 2017) – PICTORIAL OBITUARY

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R.I.P – JOHN HURT (1940 – 1977) – PICTORIAL OBITUARY

The masterful actor John Hurt passed away today and to celebrate his works as a stage and screen performer I pay homage with some pictures and videos of his work. He was always able to imbue a character’s worth and emotion on screen and gave some incredible performances over the years.  Rest in peace John Hurt who was never ever less than brilliant whatever the role.

Articles, Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #5: MADS MIKKELSEN

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MY CINEMATIC ROMANCE #5:  MADS MIKKELSEN

You know the drill.  I pick an actor and have a gander at some of the finest roles in their cinematic/televisual Curriculum Vitae.

For my latest tribute I have a look at the mercurial Mads Mikkelsen; a Danish actor who has impressed me more and more in each role I have seen him in.  Here’s FIVE of his finest moments.

***CONTAINS MASSIVE SPOILERS***

CASINO ROYALE (2006)

Mikkelsen was an awesome Bond villain in Daniel Craig’s first outing playing the shifty-banker-come-gambling-addict Le Chiffre.  A fantastic Ian Fleming creation, here he’s visualized with classic bleeding tear duct, pitch black hair, and shark-eyed deadpan stare. Mikkelsen’s ability to convey a callous cold demeanour provided a perfect counterpoint to the free-running energy, muscularity and snarling passion of Craig. Furthermore, Mikkelsen’s intelligence, angularity and range allow him to play striking villains and ALMOST have you rooting for them.

FLAME AND CITRON (2009)

This is a thrilling Danish WW2 story charting the exploits of Danish Resistance fighters/assassins codenamed Flammen and Citron.  Mikkelsen portrays Jorgen, the latter of the partnership as he and compatriot Bendt laid waste to Nazis and their Danish collaborators amidst the German occupation.  Mikkelsen is very good at playing smooth characters but here he’s nervy, dirty, sweaty and living-on-the-edge. He brings his classic mournful look to a character fighting inner demons, traitors and Nazis; all the while trying to cling to the family he loves. War brought the worst and best out of people; sometimes at exactly the same time as this film ably illustrates.


HANNIBAL (TV – 2013 – 2015)

It took me a couple of attempts to get into Gaumont/NBC’s lavish adaptation of Thomas Harris’ iconic characters and indeed I bailed watching it the first time round as I didn’t get it.  However, buoyed by fan-boy admiration for Mads and also encouraged by my American girlfriend I tried again and have just whipped through the first two seasons of a killing, cooking and bloody-curdling TV feast. Mikkelsen plays an elegant, urbane and vampiric Hannibal Lecter far removed from the over-the-top-grand-theatrics of the brilliant Anthony Hopkins.  His pursuers are once again Will Graham (Hugh Dancy) and Jack Crawford (Lawrence Fishburne) as they attempt to track down a number of serial-killers all knocking about the United States of Annihilation.

There is death and blood galore in this series all presented via a beautifully shot and very artistic editing design full of surreal imagery and Rorschach-style montage.  Mikkelsen as Lecter is a delight as he kills and grills his victims with epicurean aplomb. If you like gory imagery, psychological mind games and gothic narrative then this is the show for you. Mikkelsen excels as usual as he can convey a moment of pure evil and black humour with a single look or gesture.  He’s also no stranger to cannibalistic characters having played a sympathetic yet murderous meat-man in the Danish black comedy Green Butchers (2003).  Bring on Season 3!


THE HUNT (2012)

This is one of the best dramas I have seen in a long time.  Mikkelsen is a well-respected Primary teacher in a middle-class Danish village. Following a seemingly innocuous incident with a young girl he is suddenly accused of being a paedophile.  The matter escalates and escalates as he is shunned by those around him and he becomes isolated while protesting his innocence.  Mikkelsen is incredible as this tortured pariah who is terrorized by the equivalent of villagers with torches and pitchforks pursuing a monstrous Frankenstein creation to its doom.  The genius of this challenging film is creating an antagonist out of a kindergarten child’s blurred memory subsequently fuelled by fervent and fundamentalist mob rule. It’s arguably Mikkelsen’s finest performance; full of nuance and pathos as his character Lucas suffers a kind of modern day Kafkaesque ordeal.  Deservedly he won Best Actor at the Cannes Film Festival.


PUSHER (1996)/PUSHER II (2004)

Mikkelsen’s debut was in Nicolas Winding Refn’s gritty drug drama Pusher where he played the scumbag Tonny; a lowlife mate of dealer Frank.  He certainly made an impact because when Refn made a sequel he put forth Tonny as the main character of the story.  Pusher II is even more relentlessly grim than the original featuring all manner of dumb, lower-class hoods trying to scrape gold from Copenhagen streets paved mainly with smack and dog-shit. It’s an unglamorous and honest realisation of criminal-life with a lot in common with Scorcese’s Mean Streets (1973), as low-level pushers fuck one another over on a regular basis.

Mikkelsen’s Tonny is a tragic character who is left rudderless by a manipulative father and just cannot cut a break due to both his own lack of intelligence or positive role models.  Tonny’s portrayed like a blind dumb bear chained to a metal stake swiping at those around him as he attempts to find the means to escape or redemption only to realise he’s all alone in the dark.  Never has there been so much sympathy for a movie thug like Tonny as Mikkelsen extracts every bit of humanity he can from the poor beast.