Cast: Richard E. Grant, Paul McGann, Ralph Brown, Richard Griffiths
“We want the finest wines available to humanity. And we want them here, and we want them now!” Withnail
I am not one to believe in fate, but there has to be something magical about the random moment, at the age of seventeen, I was perusing my local video shop looking for a film to rent, and the cover of low-budget, British independent character drama, Withnail and I (1987), shone amidst the variety of Hollywood produced fodder. I picked up the box and for some reason the story of two unemployed actors mooching about at the fag end of the 1960s called to me. Perhaps it was the front cover featuring the debauched and worse-for-wear looking character of Withnail which drew me in? Or was it the casting of Paul McGann as the eponymous ‘I’, an actor I recognised from excellent TV drama, The Monocled Mutineer. Whatever the reasons, I rented the film and a special bond was formed forthwith. It lasts to this day.
Firmly in my top-ten-line-for-line-best-dialogue-ever-movies, Withnail and I (1987) simply bursts with memorable spats, insults, one-liners, and speeches. Another major strength of Bruce Robinson’s elegantly profane screenplay is the relationship between permanently inebriated and cowardly ‘thespian’, Withnail (Richard E. Grant) and his buddy, ‘I’ (McGann). It is a strange friendship full of mutual disrespect, petty bickering, and envy, but by the end of the film a kindly form of love is revealed. Withnail may seem an angry man, but ultimately, he’s using that ire to hide pain, sadness, and disappointment.
“I feel like a pig shat in my head.” Withnail
Richard E. Grant is incredible as the paralytic, pathetic and cowardly Withnail, who, along with ‘I’, laments a lack of career opportunities. Such bitterness, jealousy and ranting make him hugely obnoxious. However, Robinson’s exquisite writing and Grant’s subtly empathetic performance actually create an incredibly poignant character. Well, that and he’s absolutely hilarious, Indeed, it’s a hedonistic joy witnessing Withnail drinking every liquid known to humanity as he attempts to obliterate the now and tomorrow. Unbelievably, Richard E. Grant was teetotal, so director Bruce Robinson had to get him very, very drunk in preparation for a role he never bettered in his whole career.
Bruce Robinson, arguably, never reached the heights of Withnail and I (1987) again, although he does have other impressive writing credits. But this screenplay is one of the greatest ever written; conversely making it one of the funniest and tragic films of all time. Lastly, his often quoted but rarely bettered work is one of the greatest I have ever read, brimming with towering poetry, bilious insults, and drunken repartee. I mean there is little plot to the story of two actors getting drunk, going to the country, getting drunk and coming back. However, it remains one of my favourite films of all time, with one of the most memorable characters in Withnail.
My latest short film You Have A New Follower (2020) was screened earlier this week at the wonderful CineShots film night. The venue was the Streatham Space Project and a great night was had by all.
CineShots aims to give up-and-coming London filmmakers a chance to screen their films, get the feedback from a live audience, engage in Q&A and network with like-minded people for potential collaborations or just to talk film.
The only criteria the film has to fulfil is that the filmmakers are London-based, the film hasn’t been finished more than 12 months before submission and is not longer than 15 minutes. Please check out their website here and the cool trailer of the event.
All six films were received with fine appreciation by a decent crowd of filmmakers, actors and audience members. It was so good to get a premiere for You Have A New Follower (2020) too and watch it with many of the crew members. Overall, I would certainly recommend CineShots to anyone interested in attending a positive film screening night.
I look forward and hope that I can get more screenings of my film at festivals in the UK and worldwide. I am very proud of the film as it has powerful suspense, plus memorable themes relating to identity and anxiety in an urban setting. You can watch the short film trailer here:
YOU HAVE A NEW FOLLOWER (2020) – SHORT FILM UPDATE
Last year I wrote and filmed a new short film called You Have a New Follower (2020). It is now completed and it is now being prepared for submission to film festivals. Here are the details, credits and a trailer to watch.
Astrid Nilsson’s life begins to unravel when she is stalked by a mysterious hooded figure.
You Have a New Follower (2020) is the latest short film from Paul Laight and Fix Films. It was shot in London and combines mystery, suspense and science fiction genres with dramatic effect. It’s a short, low-budget film which seeks to explore themes of paranoia, anxiety, and identity within the thriller genre.
ASTRID NILSSON – Tilde Jensen DAVID MARKER – Mitchell Fisher
CREDITS AND CREW
DIRECTED BY: Paul Laight and Tilde Jensen WRITTEN AND PRODUCED BY: Paul Laight CAMERA: Petros Gioumpasis LIGHTING: Sakis Gioumpasis SOUND: Marina Fusella EDITORS: Oliver McGuirk, Petros Gioumpasis COMPOSER: James Wedlock SOUND DESIGN: Simos Lazaridis LOCATION MANAGER: Melissa Zajk PRODUCTION ASSISTANT: Lue Henner
Written by: Jeffrey Hatcher – Based on The Good Liar by Nicholas Searle
Cast: Helen Mirren, Ian McKellen, Russell Tovey, Jim Carter etc.
**MAY CONTAIN SPOILERS**
Bill Condon is an interesting filmmaker. His movie choices oscillate between big budget Hollywood productions such as Beauty and the Beast (2017) and mid-budget, character-led productions like Mr Holmes (2015) and his latest film The Good Liar (2019). This is, by my reckoning, his fourth collaboration with the living legend that is Ian McKellen and casting him alongside Helen Mirren is a masterstroke. In this story we get a whole different kind of ‘Beauty and the Beast’ narrative.
McKellen portrays charismatic septuagenarian, Roy Courtnay. He meets Helen Mirren’s widow, Betty McLeish, and they begin a friendly courtship. As the romance blossoms, her grandson Steven (Russell Tovey), begins to suspect Roy is after more than companionship. I won’t spoil the twisting plot, but safe to say the story develops in a compelling fashion. Indeed, I love a good con-artist thriller and McKellen and Mirren’s chemistry on-screen was particularly impressive.
Overall, there’s much to enjoy about The Good Liar (2019). I love it when London is used as a main location, as I will see places I know and have been to. I have to say that the twists in the story, particularly one second act reveal are very well handled too. By the end you could see where the story was going, but not the why and how. My only gripes were some of the banking machinations were a tad sloppy and the final reveal did not necessarily connect all the dots successfully. Nonetheless, this is an enjoyable thriller with an excellent cast and solid direction. It does not have the scintillating scripts con-artist films such as The Sting (1973) and Nine Queens (2000) do, but not many do.
On Sunday the 30th June 2019 I did two of my favourite things. I took a long walk through the city of London and watched loads of short films.
London is obviously a very busy city and hive of activity during the week. However, on a Sunday it, despite there still being traffic, is way more peaceful. Well, especially from eight in the morning until around lunchtime. Indeed, until I got to the tourist trap that is Westminster it had been a pleasure to walk down the Thames Embankment and through the city of London.
I set out to walk from Clapham to Hackney and my destination was the Yard Theatre, Hackney. I made the walk of around ten miles in good time and the event was The Shortest Nights 2019 – Short Film Festival.
The Shortest Nights is an annual celebration of British short film. They bring you five cutting-edge programmes across a range of themes and genres featuring new works from emerging British filmmakers.
The people running the event are so enthusiastic and put on a great array of different British short film productions. Overall, there were thirty-nine short films and I watched all of them. It was a great day and I was especially impressed by the: comedies, horrors, documentaries, dramas, animation and art-house films on show.
There were low-to-high budget short films of brilliant quality and the programmes were broken down into five categories. So, if you ever get a chance to go to their film events I recommend it to all filmmakers and film fans alike.
As I’ve written before I’m an avid short film viewer and maker. To tell an impactful story in a lesser period of time to a feature film can be a very difficult but ultimately rewarding experience. Plus, as a member of the audience and filmmaker myself I love seeing the different ways other creatives tell their stories in this medium.
‘Thrill of the Chase’ was curated by the London Film Festival and featured five shorts from Europe and I must say they were of the highest quality. I mean some of the budgets on these must have been very good because they were shot, acted and edited to an exceptionally brilliant standard.The first short, 1745, was a period pursuit drama. Two slaves, wearing big, colourful, tartan, traditional and unwieldy dresses of the Jacobean era, have escaped from a nearby castle and are chased by a steely Scottish Laird, hell bent on recovering his “property”. It’s incredibly well shot as the colour of the costumes countered the misty, green and vast mountainous landscapes up close and from a spectacular god’s-eye view. Overall, it’s a commendable story of two women escaping patriarchal oppression and abuse, set amidst an exquisite looking but harsh Scottish Highlands.
Next up was Oksijan. Set in the harsh contemporary now it also involved a set of characters escaping an oppressive regime. This time is was a group of Asylum seekers, adults and children, encased in the potential moving tomb of an articulated lorry transporting them from a refugee camp. Their deadly journey from Calais to the United Kingdom was made perilous by the air running out. A thrilling and suspenseful short it both raised the pulse and important issues in regard to the plight of human beings fleeing war torn countries.
After Scottish and English film productions we next had Hot and Cold from Poland. This was a very harsh film, thirty-five minutes long, and all shot in one take. Technically, it was incredible as the camera follows a young junkie mother throughout her day and her encounter with woman looking to get revenge on her husband. It’s a towering study of motherhood, grief and addiction which creates a claustrophobic nightmarish drama with the colour-bled bleakness of Polish council estates. I wasn’t sure the one-take was actually necessary as the narrative could’ve been pruned but it was very powerful nonetheless.
The final two films came from France and Germany respectively. Both reminded me of mini-versions of excellent feature films. The French film Les Miserables (not the Victor Hugo version) concerned cops on a dangerous estate and their heavy-handed dealings with gang-members. It’s well filmed and acted, containing the bruising feel of the classic French movie La Haine (1995).
Similarly, the final short was another drama but this time of the romantic kind. Till One Cries concerned two drug-addled millennials sharing a crazy night within an urban German milieu. It reminded me somewhat, without the shot-all-in-one-take business, of the brilliant crime-romance Victoria (2015) and showed the hedonistic highs and lows of two free-wheeling characters.
Overall, the programme was full of gripping drama and thought-provoking subject matter. I’d say the ‘Thrill of the Chase’ title was slightly misleading in my mind, as the films tended toward, not your classic genre thrillers, but rather more social realism and cinema verité than movie artifice. Indeed, it may have benefited throwing in a shorter, punchier thriller with an element of comedy to break up the incredibly heavy themes of the films presented. Nevertheless, this was a set of Premier League short films, in terms of production, performance and storytelling quality.
SCREENWASH – 2016 BFI – LONDON FILM FESTIVAL SPECIAL
The 60th BFI London Film Festival took place between the 5-16 October 2016 and it has very much become a cultural highlight of my year. If I could afford it I would love to take a holiday and go and see as many films as I could as the Festival offers a wonderful array of movies from all kinds of talent, genre, philosophical and geographical parts of the world.
Thanks, on the main, to my wonderful wife booking tickets, I was able to see a number of films this year. I have reviewed them individually on my blog, however, for ease of reference here’s a quick-fire review with marks out of eleven for each film I witnessed. Overall, they were all very good choices and should definitely be caught at the cinema when, and if, released. By the way, full spoiler-free reviews can be found on my blog.
**MAY CONTAIN SPOILERS**
A MONSTER CALLS (2016)
This is an impressive monster movie for all the family. The performances of all involved are excellent, notably Lewis MacDougall as the angry and afraid Connor; a youth facing uncertainly over his unwell mother (Felicity Jones). Spanish filmmaker J.A. Bayona directs very confidently, with a dark palette of live action, effects and animation that give the audience an exciting canvas to gorge on. Moreover, Liam Neeson’s-voiced monster is, while initially threatening, a fantastically animated screen beast. The stories-within-a-story are deftly weaved and overall this is a film which, while scaring the very young, will provide fine entertainment for everyone. (Mark: 8 out of 11)
THE BIRTH OF A NATION (2016)
Nate Parker’s impressive drama is a compelling watch and while not as startlingly stylistic as the big-budget-spaghetti-slave-Western Django Unchained (2012), The Birth of a Nation is a heart-breaking narrative which posits the power of the scriptures and damns the beast of humanity which allowed free people to be stolen and made to serve others. Overall, the film works as a lower-budget epic in the vein of Braveheart (1995) and Spartacus (1960), while covering similar ground thematically as Oscar winner 12 Years A Slave (2013). Parker as writer-producer-director-star deserves incredible praise for independently producing such a moving film on such a relatively low budget. (Mark: 8 out of 11)
FREE FIRE (2016)
Free Fire is an all-out-ballsy-gritty-shoot-em-up which employs a wonderful 1970s setting to dress his actors up in flares, beards, sideburns, dagger-collars, long hair and Cuban heels, all while delivering a fast-paced-high-octane-gun-fest. The premise is very simple: an arms deal between a Rhodesian gun runner and the IRA descends into chaos as opposing sides split amidst a series of bullets and double-crosses. The cast are brilliant, but I personally loved Armie Hammer’s suave Jewish hit-man and Sharlto Copley’s obnoxious Afrikaner; plus Sam Riley is also a standout as the junkie prick whose behaviour ultimately screws the deal. Ben Wheatley is a talented filmmaker and here he moves away from the insane satire of High Rise (2015) to give us an altogether more satisfying genre bullet-fest. (Mark: 9 out of 11)
This is one of those films which moves at its’ own pace and in scenes of quiet drama, sporadic violence and subtle flashbacks, filmmaker Kenneth Lonergan builds a truly formidable narrative and character study. Casey Affleck portrays a lost soul with such exquisite pathos you could feel his characters’ pain jump out from the screen. His scenes with Michelle Williams genuinely made me want to cry because they were so sad. Yes, this is Affleck’s film as he haunts the screen with a truly award-winning performance. I wholeheartedly recommend this heart racking drama which stretches the emotions while also providing flickers of light amidst the pain of existence through humour and empathy for the tough working class characters. (Mark: 10 out of 11)
Julian Barratt is portrays a failing actor who reignites his most famous character to assist the police in a grisly crime. Overall, this is an uneven comedy in terms of the plot and lacks the cinematic verve of the ‘Cornetto trilogy’ created by Edgar Wright and Simon Pegg. However, Barratt is a comedy genius and his performance, some silly costumes, wigs and set-pieces make this worth watching. Barratt filters his cowardly, proud and foolish ‘Howard Moon’ persona into the flailing thespian with much hilarity. Moreover, Simon Farnaby hams up his Danish stuntman role to perfection and Russell Tovey is hilarious as “The Kestrel” (don’t ask!) The sight gags, parodies and one-liners come thick and fast and this is recommended for everyone who loves offbeat comedy. (Mark: 8 out of 11)
PHANTASM (REMASTERED) (1979)
This classic horror film gets the 4k restoration treatment from JJ Abram’s Bad Robot company and the film remains a right royal horror blast today. Phantasm is a synthesis of genres from rites-of-passage, suspense, horror and science fiction. Ultimately, it’s the epitome of a cult classic and a triumph of concepts over finance. It’s full of mood and atmosphere and has a creepy synth-based soundtrack that cranks up the fear factor. Overall, super-positive director Don Coscarelli created an imaginative fantasy concerned with death and mourning that has stood the test of time. (Mark: 9 out of 11)
This is a very animalistic and instinctive film dealing as it does with beasts both human, canine and equine. The lead actress Marillier is a prominent force throughout as her journey follows a carnal, chemical and gory path following a student initiation ‘ceremony’. Ducorneau, the director, gets a great performance from this young talent as her character transforms from angel to devil without the loss of audience empathy. This is both an entertaining contemporary horror film and a very intelligent one. It works on so many different levels with themes covered including: veganism, peer pressure, animal cruelty, sexuality, lesbianism, homosexuality, hedonism, nature versus nurture, cannibalism, family etc. It crosses genres effortlessly and has one of the most disgusting scenes I have had the pleasure to see for some time. (Mark: 9.5 out of 11)
And while I did not see loads of films they were ALL excellent. The best of the best for me though was MANCHESTER BY THE SEA (2016).