Tag Archives: life

Cinema, Classic Film Reviews, Reviews

CLASSIC FILM REVIEW: WINGS OF DESIRE (1987)

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CLASSIC FILM REVIEW: WINGS OF DESIRE (1987)

Directed by: Wim Wenders

Written by: Wim Wenders, Peter Handke, Richard Reitinger

Produced by: Wim Wenders, Anatole Dauman

Cast: Bruno Ganz, Solveig Dommartin, Otto Sander, Curt Bois, Peter Falk, Nick Cave, etc.

Cinematography: Henri Alekan

*** MAY CONTAIN SPOILERS ***

I hadn’t seen Wim Wenders cinematic masterpiece, Wings of Desire (1987), for many years. Probably thirty-three years. I’m glad I waited so long because I think I am mature enough now to appreciate the poetry of the filmmaking style and the soulful gravity of the characters and themes on display.

I am of the belief that cinema is a collaborative craft in general. Yet, on fleeting occasions a film will be released that transcends the craft of the medium and become art. Wings of Desire (1987) is such a film. Moreover, while I am not a religious person watching Wings of Desire (1987) is as close to experiencing a spiritual filmic happening as I could have. It truly is a thing of transcendent beauty concerned as it is with the afterlife, the soul, humanity, angels, life, love, death and rebirth.

Angels walk amongst the living in a Berlin separated by the wall. Voices reveal their inner most thoughts as said Angels listen, watch, witness and gather human experience, thoughts and emotions. The Angels led by Damiel (Bruno Ganz) and Cassiel (Otto Sander) inhabit Berlin aiming to assemble, preserve and testify reality. In a stunningly beautiful opening sequence the gliding camerawork, chiming harps, poetic voiceovers and sublime photography introduces both a majestic world and compelling characterisations. The monochrome film sets a moody glow illuminating and beautifying the urban locales. If you didn’t know, the black & white sequences were shot through a filter made from a stocking that belonged to cinematographer Henri Alekan’s grandmother.

Wim Wenders directs Wings of Desire (1987) with an assured confidence throughout. Every stylistic and formal choice is driven by the characters’ hearts and an imaginative vision of both reality and the afterlife. It is incredible that Wenders and his production team did not have a traditional script when filming began. Thus, the poetic feel of the film derives from a series of experimental concepts and improvisatory creative choices. Having said that, there is a strong narrative spine amidst the seemingly loose narrative and episodic bones. The anchor amidst these hypnotic vignettes is Damiel’s journey of falling in love, ceasing to be immortal and becoming human.

As Damiel experiences the pain of existing outside human life, Bruno Ganz’s performance is heartbreakingly moving. Damiel also finds love too for Solveig Dammartin’s circus artist. His romantic longing and empathy for her and humanity overall is unforgettable. I mean this celestial and immortal being desires the opportunity to feel, taste and love. There is also humour amidst the pathos too, with a supporting story that follows the actor, Peter Falk, working on a film in Berlin. His brilliant scenes provide a quirky counterpoint to Damiel’s celestial crisis and fledgling romance. Indeed, Peter Falk called his role in Wings of Desire (1987) “the craziest thing I was ever offered”. When Wenders told him his part had not been developed yet, Falk responded, “I’ve worked that way with John Cassavetes. I prefer working without a script.”

Wings of Desire (1987) is deservedly acclaimed as one of the best films ever made. I couldn’t agree more, such is its cinematic power and beauty. It combines both visual, aural and literary styles almost to perfection. Thematically it is just as impressive. While it is a universal story about life, death, love and sacrifice, the fact it is set in Berlin adds an incredible gravitas. The politics and separation caused by the Cold War course through the veins of the film like ice. Nevertheless, Wim Wenders and his creative team wholly reject the gloom of oppression, choosing hope, life and love over said deathly wall.*

Mark: 10 out of 11

(*Note: Interestingly, filming the actual Berlin Wall was prohibited, so a replica of the wall twice had to be built close to the original. The first fake wall warped in the rain because the contractor cheated the producers and built it from wood.)

Cinema, Films That Got Away, Reviews

SKY CINEMA REVIEW: MINARI (2020)

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SKY CINEMA REVIEW: MINARI (2020)

Directed by Lee Isaac Chung

Written by Lee Isaac Chung

Produced by: Dede Gardner, Jeremy Kleiner, Christina Oh

Cast: Steven Yeun, Han Ye-ri, Alan Kim, Noel Kate Cho, Youn Yuh-jung, Will Patton, etc.

Cinematography: Lachlan Milne

Music by: Emile Messeri

*** MAY CONTAIN SPOILERS ***

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I missed Minari (2020) at the cinema. Which is a shame because out of all the Oscar-nominated films from earlier in the year it is now my favourite. Further, it should certainly have won the best film award. (Note: I have yet to see The Father (2020).) It has the heart and warmth and realistic hope that eventual winner, Nomadland (2020) lacked. Chloe Zhao’s powerful character study was arguably too meditative and glacially paced, without any real diversion from the plodding repetition of monotonous existence. I love slice-of-life and character-driven work, but I want some drama too. While Minari (2020) has certain meditative qualities, writer-director Lee Isaac Chung has crafted a supeb cinematic memoir of tender power and emotion.

Set in 1983, Minari (2020), centres around the Yi family. They had been working in California, but have moved to Arkansas to farm the land. The father, Jacob (Steven Yuen) dreams of growing produce to sell to fellow Korean businesses. However, the farm and static caravan he has purchased is remote with no guarantee of water to ripen the fruits and vegetables. Jacob must either pay exorbitant prices from the water company or find a natural spring underground. Alas, rain rarely threatens the Arkansas plains.

Jacob’s wife, Monica (Han Ye-ri) hates the caravan and does not share his farming dream. This marital conflict drives the much of the narrative as the two argue constantly. Monica is especially angry that her young son, David (Alan Kim) is so far from a hospital. The boy has a heart condition and like any good mother she consistently worries. Their teenage daughter, Anne (Noel Kate Cho) is too young to be a full-time caregiver to David while Jacob and Monica support themselves working at a local chicken factory. To placate Monica, Jacob brings grandmother, Soon-ja (Youn Yuh-jung) to the farm for support. Here a beautiful and funny parallel plot begins as David and his grandmother’s relationship comes to the fore.

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I watched Minari (2020) on a Sunday morning at home, relaxed and cosy, filled with breakfast and coffee. I loved experiencing the film. The music wondrously supports the beautiful photography that illuminates the green and wheats that fill the lens’ gorgeous palette. Like the masterpiece, Parasite (2019), Minari (2020) represents a working-class family striving to stay together and survive in difficult times. The main difference though is the Yi family were doing it with honest hard graft rather that grifting, ducking and diving. The Yi’s connect with nature and the land rather than skimming the city and the rich. I really rooted for the Yi’s. Jacob’s desires and battles to find water reminded me of the equally moving French classic, Jean De Florette (1986).

Minari (2020) doesn’t take the obvious route of making the Arkansas locals racists who rail against the Yi’s. While there are some scenes involving cultural clashes, much of the drama and humour derives from the families interactions with each other. Indeed, the scenes where David antagonises his unconventional grandmother are hilarious. Youn Yuh-jung as the elderly matriarch is fantastic, deservedly winning a best supporting actress role at the Oscars. Moreover, Lee Isaac Chung gets a miraculous performance from child actor, Alan Kim. Special mention for a busy, but nuanced portrayal of a troubled but helpful worker, Paul, by Will Patton. His deeply pious character could have easily been made an antagonist, but Chung ensures he is another relatable human being in a film full of them.

Mark: 9.5 out of 11

Cinema, Reviews

CINEMA REVIEW: ANOTHER ROUND (2020)

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CINEMA REVIEW: ANOTHER ROUND (2020)

Danish: Druk (2020)

Directed by: Thomas Vinterberg

Produced by: Sisse Graum Jørgensen, Kasper Dissing

Written by: Thomas Vinterberg, Tobias Lindholm

Cast: Mads Mikkelsen, Thomas Bo Larsen, Magnus Millang, Lars Ranthe

Music by: Janus Billeskov Jansen

Cinematography: Sturla Brandth Grøvlen

***MAY CONTAIN SPOILERS***

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“First you take a drink, then the drink takes a drink, then the drink takes you.” – Francis Scott Key Fitzgerald

I love drinking alcohol. Perhaps TOO MUCH at certain periods of my life. Indeed, for many years I bordered on addictive reliance or at the very least some form of functioning alcoholism. I’ve binge drunk in my life, abstained for weeks and months on what one would call being “on the wagon”, and in a personal experiment I gave booze for almost twelve months in 2019. It was the longest year of my life. Thus, the old adage of doing everything in moderation certainly works for me where alcohol is concerned. It is all about balance.

In the Danish film, Druk (2020), four middle-aged Danish men attempt their own experiment with alcohol. Apparently, stuck in a rut and suffering inertia where work, family and relationships are concerned, they decide to follow a theory by psychiatrist Finn Skårderud, who has posited that having a blood alcohol content of 0.05 makes you more creative and relaxed. So, the rules are put in place as Martin (Mads Mikkelsen), Tommy (Thomas Bo Larsen), Peter (Lars Ranthe) and Nikolaj (Magnus Millang) — all teachers of variant levels at the same school — set about drinking a specific amount of booze to see if their lives improve over time. Fun and games are certainly had as they begin their “theorizing”, with Martin especially finding his teaching and home life improving. Have the four friends found the secret to happiness, or are these just false victories, with alcohol providing a screen to hidden existential pain?

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The film is structured well in establishing the various, admittedly privileged, white males in crisis. Martin’s marriage is crumbling, and his students hate his teaching methods. Tommy lives alone, seemingly overcoming the loss of his partner. Peter appears the most together, but he suffers from a lack of love, while the more academic, Nikolaj, struggles with being an adequate father and husband. As their drinking increases the relative first world problems are not really solved, but become exacerbated as the alcohol exerts a tight grip on them. There are some hilarious scenes where the four get blind drunk and make fools of themselves. However, as they take drink after drink, the demon liquor begins to take them. As the film moves toward the final act, their previous drunken joy leads to both emotional and physical pain. In fact, tragedy is not far away for the friends.

It’s not surprising there are reports of a Hollywood remake because Druk (2020), has a perfect hook and set-up for a classic mid-life crisis comedy. However, with Thomas Vinterberg’s expert direction, evocative natural cinematography, and Mads Mikkelsen giving yet another acting masterclass, the humorous narrative soon leaves the laughs behind to become a bittersweet, yet still uplifting, work of Nordic cinema. I must admit I was slightly disappointed there wasn’t more debate and exploration of the alcoholic experimentation. Because ultimately the theory is used as more of a springboard for the examination of men, friendship and their issues. While Martin is a fine character to lead the journey, overall his story dominance meant the other three, especially Tommy’s arc, were mildly undercooked. Yet, I am nit-picking here, as overall I really enjoyed going a few rounds with my Danish peers and one probably won’t see a more joyous end to a film in many a year and many a beer!

Mark: 8.5 out of 11

All 4, Articles, Reviews, Television

ALL 4 DRAMA RESIDENCY – INCLUDING REVIEWS OF: THE ACCIDENT (2019), CHIMERICA (2019), KIRI (2018), NATIONAL TREASURE (2016) and more…

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ALL 4 – DRAMA REVIEWS

So, I don’t get paid for doing this. I do it because I enjoy watching films and television and writing about them. It helps me to review stuff critically from both a creative perspective and absorb knowledge for when I make my own low budget films. Also, it’s something to do isn’t it; a hobby and means to immerse oneself in something that interests me. Lastly, one also learns much from the hours of viewing, especially if the narratives are grounded in reality, representations of history and social issues.

CHANNEL 4 has always been at the forefront of producing intelligent drama television built to inform, entertain and provoke thought. Their streaming platform called ALL 4 is a great place to catch up with Channel 4’s product and I have already reviewed many of their shows here on this site. Having said that, I thought I should put an even bigger effort to catch up with some of their dramas. After all, ALL 4 is — aside from watching a few adverts — is absolutely FREE! I’m glad I did because they have quality production values and are very powerful, skilfully tackling social themes and historical events. So, here are some quick reviews of Channel 4 television dramas both recent and not so recent with the usual marks out of eleven.

THE ACCIDENT (2019) – Mark: 9 out of 11

What I found from my All 4 residency was that many of the shows were written by Jack Thorne. He is a clever writer with a keen eye and ear for drama relating to everyday people’s lives. The Accident (2019) is set in Wales and concerns a small community whose lives are ripped apart by an explosion at a construction site. Many children are killed, but given they were trespassing the blame initially falls on both them and building company. The ensemble cast lead by Sarah Lancashire and Joanna Scanlan are uniformly excellent, as the impactful drama echoes actual events such as Aberfan and Grenfell Tower disasters.

CHIMERICA (2019) – Mark: 8 out of 11

Based on Lucy Kirkwood’s play of the same name and set during the 2016 American Presidency election, this political drama sees Alessandro Nivola’s once-lauded photographer attempt to locate the “Tank Man” from the 1989 Tiananmen Square protests. Part-redemption and part-historical expose, the writing is excellent as Cherry Jones and F. Murray Abraham easily steal the acting plaudits. I was more interested in the plight of Zhang Lin’s (Terry Chen) China-set parallel storyline than the photographer’s, but, overall, I was drawn into detective plot and human conflict throughout.

THE DEVIL’S WHORE (2008) – Mark: 9 out of 11

The wonderfully titled The Devil’s Whore (2008), features a fine cast of actors including: John Simm, Peter Capaldi, Andrea Riseborough, Michael Fassbender and Dominic West. The drama focusses on the historical era of Oliver Cromwell and Charles I, filtered through the eyes of Riseborough’s strong, yet scandalised heroine, Angelica Fanshawe. Peter Flannery’s excellent script is full of violence, political and religious intrigue and works well as both a work of entertainment and chronicle of key characters from the bloody English Civil War!

I AM. . . (2019) – Mark: 9.5 out of 11

Dominic Savage is a skilful and experienced filmmaker, who recently made the semi-improvised feature, The Escape (2017). It focussed on unhappy mother portrayed by Gemma Arterton, and while an interesting character study, it ultimately felt a little flat dramatically. Using the same improvisatory and documentary style with the anthology triptych, I Am. . . (2019), Savage casts Vicky McClure, Samantha Morton and Gemma Chan in three separate stories of women in various states of domestic plight. All of the narratives are brilliantly acted and directed, focussing on coercive relationships, gaslighting debt escalation and painful maternal inertia respectively, all delivered with tremendous emotional power.

FALLING APART (2002) – Mark: 8.5 out of 11

Mark Strong and Hermione Norris excel is this shocking drama about domestic violence. Seemingly the perfect couple, Pete and Clare fall in love and marry, only for Pete’s aggressive tendencies to come to the fore soon after the honeymoon period. Clare forgives Pete and blames work and herself and then finally thinks he may have a problem. An honest and bleak look at love gone wrong, there are many scenes that make one flinch and feel bad for those women trapped in similar situations.

KIRI (2018) – Mark: 9.5 out of 11

Sarah Lancashire is exceptional as the social worker hung out to dry when a fostered child, Kiri, is killed after a family visit to her paternal grandparents. Jack Thorne writes a subtle and compelling script which explores issues relating to: adoption, social care, race, class, and child murder. As well as Lancashire, Lucian Msamati, Paapa Essiedu, Wunmu Mosaku, Lia Williams and Sue Johnston give exceptional performances. Finally, what begins as a murder mystery drama unfolds into something far more complex, with an ending that leaves you stunned with its brave, narrative risk-taking.

NATIONAL TREASURE (2016) – Mark: 9 out of 11

Not to be confused with the Nicolas Cage film series, this searing drama, written by Jack Thorne again, springboards off the recent #MeToo and Operation Yewtree news events. Robbie Coltrane takes the lead as Paul Finchley, a once successful comedian of the 1980s and 1990s, now hosting a television quiz show, while his wife is portrayed by the exceptional Julie Walters. Finchley’s life and career is turned upside down when he is accused of rape and sexual assault, something he vehemently denies. The drama unfolds in an engrossing fashion as we flash back and forth between Finchley’s present day and past history. Again, a potentially sensationalist subject matter is dealt with mesmeric power, as it all culminates in a tense and emotional court case.

ON THE EDGE (2018) – Mark: 8 out of 11

Excellent set of short anthology dramas which focus on various issues affecting mostly younger people in Britain today. Issues explored include: knife crime, body shaming, race, neurodiversity, date rape, depression and social work. All are extremely well acted and directed, giving excellent examples of diverse drama Channel 4 excels at.

Reviews, Star Trek, Television

TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

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TO BOLDLY REVIEW #10 – STAR TREK: NEXT GENERATION (1991 – 1992) – SEASON 5

Based on Star Trek & Created by: Gene Roddenberry

Season 5 writers (selected): Michael Piller, Michael Wagner, Rick Berman, Jeri Taylor, Lee Sheldon, Melinda Snodgrass, Richard Manning, Ronald D. Moore, David Bischoff, Joe Menosky, Drew Deighan, Brannon Braga, J. Larry Carroll, Hilary J. Bader, Harold Apter, Stuart Charno, Sara Charno, Maurice Hurley, Susan Sackett, Sara Charno, Stuart Charno, Randee Russell, Peter Allan Fields, Rene Echevarria etc.

Season 5 directors (selected): Jonathan Frakes, Winrich Kolbe, Corey Allen, Robert Weimer, Les Landau, Robert Scheerer, Cliff Bole, Paul Lynch, Chip Chalmers, Timothy Bond, David Carson, Gabrielle Beaumont, Patrick Stewart, David Livingston, Marvin V. Rush, Chip Chalmers, Peter Lauritson, Robert Lederman, Paul Lynch, etc.

Main Cast: Patrick Stewart, Jonathan Frakes, LeVar Burton, Whoopi Goldberg, Colm Meaney, Michael Dorn, Marina Sirtis, Brent Spiner, Wil Wheaton, Gates McFadden, Michelle Forbes, Majel Barrett, Rosalind Chao, plus guests: Matt Frewer, Ashley Judd, Kelsey Grammer and Famke Janssen etc.

Music/Composers: Alexander Courage, Jerry Goldsmith, Dennis McCarthy, Ron Jones, Jay Chattaway

Production Company(s): Paramount Television, CBS Television

**** CONTAINS SPOILERS ****

I have just finished boldly watching Season 5 of STAR TREK: THE NEXT GENERATION and it was an extremely excellent raft of science fiction television episodes. I have to say though that TWENTY-SIX episodes was a hell of a lot of TV to produce. I know they had big budgets and an army of staff working on the show, but to produce such high quality viewing, albeit within the established formula, is overall incredibly impressive.

Season 5 was up there in consistency of quality writing, acting and directing with the superlative Seasons 3 and 4. Once again the creatives and storyline team explored issues of the day (i.e. 1990s) and married them to the STAR TREK values and philosophies. Of course, we get the usual alien enemies, such as the Romulans and Ferengi, paying a visit to the Enterprise. Yet, we also found new foes, obstacles and allies encountering the Enterprise. Lastly, the formidable Michelle Forbes as the Bajoran, Ensign Roe, was a welcome addition to the crew.

Sadly, Gene Roddenberry passed away during this particular season’s making. This would cause create sadness in the STAR TREK universe, but the production was, by now in very safe hands, as they paid fine tribute to their creator during Season 5. Here are SIX of the best episodes well worth visiting or revisiting. Live long and prosper.

REDEMPTION – PART II – EPISODE 1

The concluding part to the prior season’s cliffhanger found Lt. Worf (Michael Dorn) continuing to fight for honour alongside his brother, Kurn (Tony Todd), against the Duras hordes. There are many moments of high tension throughout the episode with Dorn impressing again as the divided, but ultimately united and redeemed Klingon. Overall, the episode is full of memorable plot turns and fantastic Romulan and Klingon villains, notably Lursa and B’Etor.

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UNIFICATION – PARTS I & II – EPISODES 7 & 8

Chosen more for nostalgia as opposed to stellar storytelling, UNIFICATION is a two-parter which sees the return of a famous Trek character, namely Spock (Leonard Nimoy). We also get Mark Lenard’s final appearance as Spock’s father, Sarek, as he and Picard (Patrick Stewart) share a thoroughly moving final scene together. The story finds Spock attempting to repair years of conflict between Vulcans and Romulans, however, Starfleet believe he has defected. Thus, Picard and crew attempt another search for Spock. The narrative pace is steady, nonetheless it is great to see Nimoy don the ears and ultra-logic for a further outing as Spock.

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CONUNDRUM – EPISODE 14

While STAR TREK: THE NEXT GENERATION had more than its fair share of emotionally powerful episodes, sometimes a fast-paced and twisting plot with a bit of space espionage was more than welcomed. In CONUNDRUM, the Enterprise crew have their memory wiped by an unknown force dedicated to destroying an alien race. The audience finds suspense and dramatic irony in knowing the crew’s minds have been tampered with as they race against time to prevent war. Riker (Jonathan Frakes) and Ensign Ro’s (Michelle Forbes) simmering sexual tension adds romance and humour to a packed storyline.

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CAUSE AND EFFECT – EPISODE 18

Easily one of my favourite TNG episodes of this and many a season. This is because it features a fantastic temporal-causality loop plot and extremely high stakes where the Enterprise is concerned. Here the crew are trapped in a perpetual time cycle where the end of it results in the destruction of the Enterprise. Essentially GROUNDHOG DAY (1993) in space (even though this episode came before that classic film), it truly fizzes along with a brilliant script and powerful drama. Kelsey Grammer also guests, adding to the overall quality on display.

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I, BORG – EPISODE 23

Could an evil machine ever be humanized? That is just one of the fascinating questions posed in this thoughtful and provocative episode? While they owe much to the Cybermen, the Borg remain a powerful weapon in the STAR TREK storytelling arsenal. The only problem is they are virtually invincible, so tough to write stories for. Rather cleverly in I, BORG, the episodes isolates a single unit and Picard, Guinan (Whoopi Goldberg) and La Forge (LeVar Burton) especially, confront their hatred and desire for revenge. As the Borg unit, or Hugh (an excellent Jonathan Del Arco) as he becomes known, spends time on the Enterprise he positively changes. This provides much to consider for the crew with their emotions shifting toward Hugh/the Borg.

I Borg Star Trek TNG HD.jpg

THE INNER LIGHT – EPISODE 25

Not only is this one of the best episodes of STAR TREK: THE NEXT GENERATION, but it is also one of the best episodes of STAR TREK ever. The story is precipitated by an unknown probe which scans the Enterprise and directs an energy beam at Picard, who wakes up to find himself on Kataan, a non-Federation planet. Here Picard attempts to escape his existence as Kamin, but over time he grows into this strange new life. What begins as a simple body swap plot, unfurls into something all the more emotionally grander. We know Patrick Stewart is a fine actor, but he imbues Picard/Kamin with a gravitas of enormous propensity. I also loved how Picard, the Captain, is humbled by a more domestic life full with life and love. Lastly, Jay Chattaway’s score is absolutely beautiful.

Articles

CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

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CLASSIC FILM REVIEW: BLIND CHANCE/PRZYPADEK (1987)

Directed by: Krzysztof Kieślowski

Produced by: Jacek Szelígowski

Written by: Krzysztof Kieślowski

Cast: Bogusław Linda, Tadeusz Łomnicki, Zbigniew Zapasiewicz, Boguslawa Pawelec, Marzena Trybała, Monika Gozdzik, etc.

Music by: Wojciech Kilar

Cinematography: Krzysztof Pakulski

Edited by: Elżbieta Kurkowska

**MAY CONTAIN SPOILERS**

The English translation, according to Google, of the original title of Kieslowski’s classic film, PRZYPADEK, is CASE. Clearly this was considered too simpler a name to give to such a complex film, thus it become known as the more evocative, BLIND CHANCE (1987), when distributed to Western audiences. The title CASE is quite appropriate as the lead character is a case subject in a trio of varying narratives. The brilliant screenplay splits the lead protagonist’s fate into three potentialities and shows how random chance can shape people’s lives. If you think this idea sounds familiar then the films SLIDING DOORS (1998) and RUN LOLA, RUN! (1998), used the same concept in the romance and crime genres, respectively.

Set against the background of Communist Poland, the narratives follow Witek, a medical student at a crossroads in his life. His father dies and he questions whether he wants to be a Doctor. He takes a break from studies and gets a train to Warsaw to explore future possibilities. Kieślowski dramatizes Witek’s journey as a series of three strands, where fate can be decided by chance as well as choice. The splitting point of the story is Witek rushing to catch his train. In the different scenarios he is shown to board the train and not get on the locomotive. Structurally the film is fascinating as the three different episodes explore Witek’s life from a political, spiritual and personal perspective. Popular Polish actor, Bogusław Linda, brings great empathy and humanity to the characterisation of Witek. Each of the strands finds him in difficult situations politically, romantically and philosophically. However, he is a very sympathetic character, who I very much wanted to succeed, because he always tries to make honest and righteous choices.

If you find yourself absorbed by compelling human dramas that make you think, then you will definitely enjoy, BLIND CHANCE (1987). Kieslowski is a truly masterful filmmaker who creates complex ideas and emotions, but delivers them in a digestible fashion. Kieslowski is not overly intellectual or pretentious, even when positing deep existential questions. Are we tied to fate or do we have some element of control over our lives? Does pure chance rule our world and should we fight against our fate? As such, the film is both fascinating analysis and absorbing drama, because Witek is such a believable character. He desires a career, friends, love and belonging. Moreover, Kieslowski uses Witek as a case study to critique both politics and religion, at the same time opining the importance of loyalty, love and family.

Revered Polish filmmaker, Kieślowski, wrote and directed BLIND CHANCE (1987) in 1981, but due to heavy censorship it was not released for a number of years. Even on initial release many scenes which were cut as they were considered to have critiqued the Polish government. The version I watched on Arrow Video thankfully was restored expertly with just one scene missing. The crisp restoration also highlighted Krzysztof Pakulski’s exquisite cinematography. Indeed, while the use of natural lighting techniques is quite commonplace today, the mood and atmosphere of the composition really compliments the seriousness of Witek’s various journeys. Overall, while there are no easy answers to the questions raised, Kieslowski’s remarkable ending to the film will leave you in no doubt as to his feelings toward life’s rich but fatalistic tapestry.

Mark: 9.5 out of 11

Netflix, Reviews, Television

NETFLIX REVIEW: DARK (2020) – SEASON 3 – AND SO CONCLUDES ONE OF THE BEST TV DRAMAS EVER MADE!

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NETFLIX REVIEW: DARK (2020) – SEASON 3

Created by: Baran bo Odar, Jantje Friese

Written by: Jantje Friese, Ronny Schalk, Marc O. Seng, Martin Behnke, Daphne Ferraro

Directed by: Baran bo Odar

Cast: Louis Hofmann, Karoline Eichhorn, Lisa Vicari, Maja Schöne, Stephan Kampwirth, Jördis Triebel, Andreas Pietschmann, Paul Lux, Moritz Jahn, Christian Hutcherson, Oliver Masucci, Peter Benedict, Gina Stiebitz, Deborah Kaufmann, Daan Lennard Liebrenz, Julika Jenkins, Carlotta von Falkenhayn, Tamar Pelzig, Dietrich Hollinderbäumer, Mark Waschke, Leopold Hornung, Christian Pätzold, Will Beinbrink, Hermann Beyer, Christian Steyer, Lisa Kreuzer, Anne Ratte-Polle, Walter Kreye, Lydia Maria Makrides, Tom Philipp, Nele Trebs, Tatja Seibt, Lea van Acken, Shani Atias, Max Schimmelpfennig, Ella Lee, Peter Schneider and many more.

Composer(s): Apparat, Ben Frost

Executive producer(s): Justyna Müsch, Jantje Friese, Quirin Berg, Max Wiedemann, Baran bo Odar,

Cinematography: Nikolaus Summerer

Original Network: Netflix

***MAY CONTAIN SPOILERS***

“Time is an illusion.” ― Albert Einstein

And so the end is nigh, and we reach the final season of uber-drama, DARK. If you have Netflix and you like to have your mind scrambled and heart moved, then I urge you to watch it. It is easily one of the best television dramas I have seen in a long time. It’s edgy, nightmarish, confusing, twisted and to be honest, virtually unreviewable. I say that because I don’t want to give away any spoilers but, trust me, if you like emotionally, structurally and artistically complex plots involving multiple characters, locations and timelines then this German thriller is for you. It had me confused in a good way and totally immersed in the plot and characters. You will be lost, searching for the light, yet you will be astounded too by the audacity of the writing, direction and looping insanity of the show.

Time, space and dimensional rifts are central to the drama. The cycles of life and death are also integral within the fabric of DARK. The action occurs in the German town of Winden as the narrative entwines the past, present and futures of four families: Kahnwald, Nielsen, Doppler, and Tiedemann.  One could argue that the state of Saṃsāra is invoked as a key theme. Saṃsāra is a fundamental concept in all Indian religions. It is linked to the karma theory, and refers to the belief that all living beings cyclically go through births and rebirths. The term is related to phrases such as the cycle of successive existence, including the karmic cycle or the wheel of life. What occurs within the twenty-six episodes of DARK is a cyclical lunar convergence of 33 years, taking place initially in 1987 and 2020. Well, that’s just in season one. From season two onwards things temporally twist beyond into other years on the cycle.

During season two and much of season three I was often lost with the various characters criss-crossing each other on different timelines and at various ages of their lives. I finally found some semblance of understanding in DARK, after much frustration and almost giving up, by distilling the events to the human strands of childhood, adulthood and old age. Like a moving vision of Titian’s painting, The Three Ages of Man, all the major characters, notably Jonas Kahnwald, Claudia Tiedemann and Ulrich Nielsen, feature in these three stages of existence. Interestingly, the programme events show they have different agendas and perspectives, with older versions either teaching their younger selves or acting as their own nemesis. Proving that existentially speaking life is ultimately a constant battle with oneself.

Temporal paradox is central also to DARK. More specifically, it features the Bootstrap Paradox. This refers is a theoretical paradox of time travel that occurs when an object or piece of information sent back in time becomes trapped within an infinite cause-effect loop in which the item no longer has a discernible point of origin. Indeed, closed causal loops, such as the Predestination Paradox or Bootstrap Paradox, find time running in a repeating circle. When such circles over-lap in DARK, conflict is derived in the story because certain characters are trying to keep the loops going and others are trying to destroy them.

Which brings us to another major theme of the drama, the death of the self and death of the world. With the spectre of Chernobyl hanging over the town of Winden, the nuclear power station becomes a central harbinger of catastrophe throughout the various cycles. In the early years it is a beacon of prosperity, energy and employment. In later years it is the precipitous location for the apocalypse. Lastly, philosophically the textual richness in DARK is endless. While temporally speaking the looping timelines can be confusing, the final season, while leaving many questions unanswered provides a satisfying closure to this extremely human story. Amidst the science fact and fiction and philosophical explorations of life and death this is ultimately a television series about family and community. Because as soon as the cracks begin to show in the family unit we are destined to fall through the fissures of destiny. Only together can we conquer fate; but only if time allows.

Mark: 10 out of 11

Cinema, My Cinematic Romance

MY CINEMATIC ROMANCE #18 – KEN LOACH

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MY CINEMATIC ROMANCE #18 – KEN LOACH

I haven’t done one of these articles for a while, but in light of the Conservative Party victory in the General Election the other day, I thought it interesting to lean toward a more political filmmaker for my latest post. Thus, I once again pick five highly recommended films by one of my favourite cinema creatives. Today, I look at the work of Ken Loach.

Loach is now, at time of writing, eighty-three year’s old, and has just released a new film called Sorry We Missed You (2019). At the cinema alone he has singularly directed twenty-five films, plus been involved with many television productions too. His ‘Wednesday Play’ Cathy Come Home (1966), was voted in the top ten best British television programmes of all time at the turn of the millennium. It was so powerful in its depiction of a struggling homeless character, the issues were raised in Parliament at the time. His work continues to address socio-political issues even now and has often provoked controversy.

Loach works generally in the dramatic or social realist genre. However, his raw, almost documentary style, which centres on working or characters from the under-classes, does have much comedy going through it too. Structurally his films build empathy with his characters in a generally linear fashion; slices of life which more often than not result in tragedy. While the landscapes he displays are quite depressing, his characters aren’t victims though. They are always strong and passionate and striving for the best outcome. However, poor life choices, poverty, bureaucracy, gangsters, criminality, addiction, military, and unfair government laws and procedures provide fierce obstacles.

Some have accused Loach of, over the years, being a ‘Champagne Socialist’, comfortably attacking the ruling classes from a position of privilege. He’s also been accused of vicariously holidaying in the land of the under-privileged, for what gain I’m unsure of. Personally, I am always compelled by Loach’s cinema, the issues raised and the characters he presents. He is a true humanist director and storyteller, who has made some consistently brilliant films. Whether you agree with his politics or views, he is at least attempting to reflect the injustices in the world and the underdogs within in it. Here are five films which capture this perfectly.

**CONTAINS SPOILERS**

KES (1969)

Based on Barry Hines’ novel, Kes is one of the finest British films ever. It concerns the everyday existence of Billy Casper (David Bradley) and his attempts to survive the harsh realities of Northern life in Barnsley. Billy struggles at school, but finds salvation when he adopts and trains a young kestrel. Kes represents a microcosm of working-class life where the kids are either damned or sent down the pit to work. Simultaneously warm, harsh, bitter, funny and tragic, Kes is a memorable early work from Ken Loach and deserves revisiting over and over again.

MY NAME IS JOE (1998)

Anchored by an incredible leading performance from Peter Mullen, My Name is Joe, centres on Joe Kavanagh and his attempts to stay sober. Joe has been a destructive alcoholic for some years and uses AA to control his drinking. The narrative drive comes from Joe’s attempt to assist recovering drug addict, Liam (David McKay), plus Joe’s blossoming romance with a local health worker, Sarah (Louise Goodall). It’s a raw rendition of Scottish working-class life with romance and tragedy lying side-by-side in a moving portrait of addiction, love and life’s everyday struggles.

THE WIND THAT SHAKES THE BARLEY (2006)

Incredibly controversial when released, Loach’s war drama is set in 1920’s, Cork, Ireland. It centres on the conflict between the Irish Republican Army and the British army, as civil war broke out prior to the Anglo-Irish Treaty. The lead protagonists are two brothers portrayed by Cillian Murphy and Padraic Delaney. As the war and violence heightens the two brothers, their families and their compatriots are devastated by harsh British rule. Loach was described as “anti-English and traitorous” by the English press and Conservative politicians, when the film was released. However, irrespective of your politics, it is a stunningly human work of cinema; both shocking and heart-wrenching in equal measures.

LOOKING FOR ERIC (2009)

Films about football (soccer in the U.S.A) and footballers can be very tricky to get right as the game itself arguably works better as a live spectacle, rather than at the cinema. However, Loach scored a big win with this really moving story about a lowly postman, Eric Bishop (Steve Evets), who is struggling with family, love and work pressures. Depressed and almost suicidal, Eric finds unlikely help in the magical appearance of Manchester United football legend, Eric Cantona. Sprinkling the kitchen sink realism with fantasy is a departure for Loach, and Paul Laverty’s wonderful script brilliantly espouses the need for teamwork, fraternity and community within its touching narrative.

I, DANIEL BLAKE (2016)

Having worked for the Benefits Agency a few decades ago, I have some understanding of social security and government assistance schemes. Via the titular character of Daniel Blake (the brilliant Davey Johns), Loach savagely criticises Conservative austerity measures. The systematic turning of the screw has seen many British people have their benefits stopped because of somewhat Kafkaesque measures. Of course, the system should work to stop people abusing it, but many deserving people suffered too. This is demonstrated here in this heartfelt drama of one man, who having suffered a heart attack, battles for his pride and future.

Cinema, New Releases, Reviews

THE FAREWELL (2019) – CINEMA REVIEW

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THE FAREWELL (2019) – CINEMA REVIEW

Written and directed by: Lulu Wang

Produced by: Daniele Melia, Peter Saraf, Marc Turtletaub, Andrew Miano, Chris Weitz, Jane Zheng, Lulu Wang, Anita Gou

Main Cast: Awkwafina, Tzi Ma, Tzi Ma, Diana Lin, Jiang Yongbo, Zhao Shuzhen, Lu Hong, Chen Han, Aoi Mizuhara etc.

Cinematography: Anna Franquesca Solano

Music: Alex Weston

**MAY CONTAIN SPOILERS**

High concept film pitches usually take a tremendously marketable idea that can hook you in seconds, but also cost tens of millions of dollars to make. Sometimes though you’ll get a lower budget, more art-house character film, which will have an equally alluring premise for a fraction of the price. Lulu Wang’s second directorial release, The Farewell (2019), is one such film.

Based on a true story or “actual lie” as the prologue text reveals, the narrative revolves around a Chinese family and their decision not to reveal to their paternal Grandmother, or Nai-Nai (Zhao Shuzhen), that she has terminal cancer. This leads to a bittersweet series of scenes, full of comedy and pathos, as the whole family must keep the secret while arranging a fake family wedding in China.

While it is an ensemble cast generally, the audience conduit is Awkwafina’s Billi Wang. As her character, along with her mother and father, have lived in America for several years she believes that the Grandmother she loves has a right to know about her illness. As the scenes unfold, she clashes with various family members creating a palpable suspense as to whether Billi will reveal the truth. Moreover, we get many scenes where the family debate the various cultural and philosophical reasons why Nai-Nai should or should not be told. These I found very thoughtful and engaged both my heart and mind in equal measure.

Overall, it’s a low-key character study but nonetheless gripping, funny and sad throughout. I was especially drawn in because I wondered what I would have done in that situation. Personally, I think it is best to tell the person they are ill, but as the film wore on, I could see the other side of the argument too. In other hands this could have been turned into a poorly conceived farcical comedy, but as this is based on the writer and director’s Lulu Wang’s real-life experiences, we ultimately get a very touching film about life, death, family, love, culture and truth.

Personally, I would have liked Billi’s character to have been a bit more fleshed out at the start. Mainly because I was unsure of her personality and she just seemed a bit depressed. I mean was she a writer or a pianist and what was her job? Having said that, Awkwafina provides subtle brilliance in her role as Billi, yet, Zhao Shuzhen steals the show as the effervescent Nai-Nai, whose character shows an unabated lust for life throughout this fine film.

Mark: 8.5 out of 11

All 4, Reviews, Television

ALL 4 REVIEW – THE VIRTUES (2019)

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ALL 4 REVIEW – THE VIRTUES (2019)

Directed by: Shane Meadows

Produced by: Mark Herbert and Nickie Sault

Written by: Shane Meadows and Jack Thorne

Cast: Stephen Graham, Niamh Algar, Helen Behan, Frank Laverty, Mark O’Halloran etc.

Composer: PJ Harvey

Original Network: Channel 4

**MAY CONTAIN SPOILERS**

The Virtues (2019) is the latest drama from British filmmaker Shane Meadows and was released on Channel 4/All 4 recently. Over the four episodes we experience the traumas of Joseph (Stephen Graham), as he attempts to overcome events in the present and those which haunt him from the past.

The story begins in Sheffield and introduces forty-something, Joseph as he’s about to say goodbye to his nine-year old son and former partner who are emigrating to Australia. While he’s putting a brave face on this emotional upheaval, internally the separation slowly tears him apart. It also precipitates memories of events which occurred to Joseph when he was young and living in Ireland.

It was at the age of nine when his parents died. While his sister is adopted, Joseph is placed into a care home. It is here that he suffers an unspeakably horrendous trauma. On returning to Ireland as an adult, painful memories he had blocked out until now suddenly resurface. As an adult Joseph tries to come to terms with what occurred, make peace with his sister and at the same time battle his ongoing alcoholism. It is altogether gruelling and compelling drama.

Shane Meadows and Stephen Graham had worked together on the This Is England film and TV series. While that was very much an ensemble piece, this is a more individual focused, personal and painful character study. Stephen Graham is absolutely amazing as the character of Joseph. He has been broken by life, let down by the system and traumatized as a child. Graham lives this pain in virtually every scene he inhabits. His eyes darting nervously, he mumbles, looking down and around, trying to hide; only coming alive when he has alcohol in him. His problem with alcohol is he cannot stop, and this invariably leads to Joseph hurting himself physically and emotionally.

Alcohol as self-medication is just one of the issues addressed in this startling and raw drama. Meadows and co-writer, Jack Thorne also address families, adoption, child abuse, religion and the care system. While the series doesn’t venture into outright socio-political criticism, it explores the damage that can occur to individuals in care. Through Joseph’s sister, Anna (Helen Behan) though, we also get a more positive view of adoption. Her character is strong and determined and a fine mother. But she did not suffer the events Joseph did, so their journeys travelled different paths.

Shane Meadows directs with his usual naturalistic brilliance. Scenes with all the actors feel honest and believable. Meadows is not afraid to shoot simply and allow the performances provide the emotion. Having said that there are some highly stylistic choices. The flashback editing and montage is a case in point. Moreover, when Joseph goes on a bender, we get the camera-harness point-of-view shot I remember first seeing in Scorsese’s Mean Streets (1973). This allows us to step into Joseph’s drunken psyche as the soundtrack pounds and a voice-over sermon pipes out on screen. Lastly, the flashbacks to Joseph’s younger years are shot on, what seems like, DV-Cam or an old-style video-camera. This creates an additionally sinister feeling to the events.

Overall, this is another powerful drama from Shane Meadows. He gets amazing performances from all the actors, notably Stephen Graham, star-in-the-making Dinah Algar; and an Irish actor I hadn’t seen in a while, Mark O’Halloran. My feeling is Meadows could arguably of told the story in a two hour film. This is because the four episodes slightly stretched out the story in places. Be warned though, The Virtues is not for the faint-hearted. It is very painful to watch. Such is the emotional power of the story, by the end, your heart will feel like you’ve gone ten rounds with a heavyweight boxer. But as a drama about fighting back against the punches life throws at you it will certainly remain with you for some considerable time.

Mark: 9 out of 11