Tag Archives: Mark Rylance

NETFLIX FILM REVIEW: THE TRIAL OF THE CHICAGO SEVEN (2020)

NETFLIX FILM REVIEW: THE TRIAL OF THE CHICAGO SEVEN (2020)

Directed by: Aaron Sorkin

Produced by: Stuart M. Besser, Matt Jackson, Marc Platt, Tyler Thompson

Written by: Aaron Sorkin

Cast: Yahya Abdul-Mateen II, Sacha Baron Cohen, Daniel Flaherty, Joseph Gordon-Levitt, Michael Keaton, Frank Langella, John Carroll Lynch, Eddie Redmayne, Noah Robbins, Mark Rylance, Alex Sharp, Jeremy Strong, etc.

Music by: Daniel Pemberton

Cinematography: Phedon Papamichael

***CONTAINS HISTORICAL SPOILERS***



In 2006, screenwriter Aaron Sorkin met Steven Spielberg met to discuss a film project which would focus on the 1968 riots at the Democratic National Convention, which occurred in Chicago. After the meeting Sorkin has admitted he had no knowledge of said riots or the infamous trial which took place afterwards. Sorkin would remedy this with much research and complete his screenplay in 2007. Having been in development for some time eventually Sorkin himself has directed, The Trial of the Chicago 7 (2020). Part-historical drama, part courtroom-thriller and part political satire, the film illustrates skilfully the shocking attempt by the U.S. Government to convict, initially eight, then latterly seven individuals believed to have conspired to cross state lines with the desire to incite violence and mayhem in Chicago.

I, like Sorkin back in 2006, knew nothing of this huge legal and political event from the late 1960’s. But, The Trial of the Chicago 7 (2020), while obviously taking narrative liberties with the temporal order and specificity of certain events, provides an entertaining and insightful flavour of the before, during and aftermath of the incendiary trial. Opening stylishly and rapidly, Sorkin establishes the major characters who will be charged with causing violence on the streets of Chicago. Notable amongst these are civil rights and counter-culture figures such as: Abbie Hoffman ( Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), Tom Hayden (Eddie Redmayne), Bobby Seale (Yahya Abdul-Mateen II), David Dellinger (John Carroll Lynch et al. Swiftly, Sorkin then takes us into the trial itself, which took place in 1969, and structures the narrative around flashbacks from witnesses on the stand to events leading up to conflict between police and demonstrators.


Given the gravity of the socio-political importance of this trial, I was surprised how much I was laughing during, The Trial of the Chicago 7 (2020). The humour, and later pathos, comes from both the absurdity of certain events and behaviour of the characters on trial. Indeed, in a trial which lasted an incredible five months, there was clearly an abundance of rich material for Sorkin to mine. Thus, we get a greatest “hits” summation of this politically driven farce, explained as being influenced by, U.S. Attorney General John Mitchell’s ire, at being snubbed by his predecessor. Moreover, the trial itself escalates into further absurdity as Judge Hoffman (Frank Langella) takes exception with the majority of the defendants and their lawyers, bringing most of them up on charges of contempt, notably the attention-seeking Hoffman and Rubin. It was not surprising as there were often mocking and zinging one-liners from them and even more vociferous protests from Bobby Seale. Nonetheless, that does not excuse what Judge Hoffman did to Bobby Seale in court. That remains a low in the history of the American justice system.

As The Trial of the Chicago 7 (2020) progresses, the comedic elements transition to a more serious tone and many heartfelt speches are given. The demonstrations and violent scenes from the riots bleed through to the fore also. My understanding is that in the United States there is such a thing as freedom of speech and the demonstrators were attempting to have their say on the war in Vietnam. They wanted their voices heard against what they considered to be an unjust war. Of course, I cannot possibly know what occurred that day as I was not there, however, given the U.S. Government’s fear of opposing views, as demonstrated by their handling of race issues and the McCarthy-led investigation into the Communist threat, one must surmise they were scared of anyone protesting a different perspective from theirs. From such fear comes a desire to wield power and suppress such voices; something which the Chicago Police Department appeared to do during the fateful Democratic National Convention.

Aaron Sorkin and his incredibly adept ensemble cast deserve much praise for taking such a complex case and distilling it into such an enlightening work of cinema. Sacha Baron Cohen and Jeremy Strong stand out as a fine double act, while Mark Rylance attends his usual intelligence and class to the role of defence lawyer, William Kunstler. In fact, all the cast are exceptional in bringing to life Sorkin’s witty and storming screenplay. Ultimately, one could argue though that The Trial of the Chicago 7 (2020), is simplistic fodder, designed to spoon-feed the liberal left and preach to the millennial choir. In all honesty, it is that and arguably full of caricatures and one-dimensional storytelling. However, given the United States, and the world, have suffered recent and extreme political dumbing down from one of the worst U.S. Presidents of all time, Sorkin’s one-dimension is still more nuanced and deep than those in power could ever be.

Mark: 9 out of 11

LFF – ROUND-UP REVIEWS INCLUDING: CALM WITH HORSES (2019), COLOR OUT OF SPACE (2019) & WAITING FOR THE BARBARIANS (2019)

LFF 2019 – ROUND-UP REVIEWS

One of the great things about film festivals is you can find loads of lower budget and independently made cinematic gems, amidst the big studio projects. Thus, I like to try and see as many smaller scale films if I can, rather than just watch the ones that are likely to go on general release anyway.

Due to my daily work commitments I didn’t get to see as many films as I would like, but here are three I have seen this week. Each is very different, but they all demonstrate, despite featuring some well- known actors, an independently-minded cinematic spirit.

***** SPOILER FREE *****


CALM WITH HORSES (2019)

First time director Nick Rowland has an assured debut with this contemporary rural gangster film set in Southern Ireland. Caught between the right and wrong side of the law, Arm, portrayed with brutal tenderness by Cosmo Jarvis, finds his loyalties torn between his family and venal crime bosses. The ever-impressive Barry Keoghan features as his drug dealer friend, who doesn’t necessarily have his best interests at heart.

It’s a harsh tragedy with an element of hope represented by Niamh Algar’s struggling single mum, hoping to escape for a better life. Ultimately, the story beats inhabit familiar territory, with elements of Mean Streets (1973), Of Mice and Men (1937), Bullhead (2011) and Miller’s Crossing (1990), echoing amidst the slashes of violence, colourful language and tough Irish characters.

Mark: 8 out of 11



COLOR OUT OF SPACE (2019)

Filmmaker Richard Stanley had not directed a film for over twenty years, so when I saw he had filmed a HP Lovecraft short story – I WAS IN! Stanley was famous for being sacked from the ill-fated Island of Dr Moreau (1996). Indeed, the 2014 documentary, Lost Soul (2014), is still one of best docs I have seen about filmmaking. Mainly because everything went wrong, but also because Richard Stanley is such as interesting person too. Thankfully, this latest low-budget horror film was completed without too much trouble.

Given it is an adaptation of Lovecraft, Color Out of Space (2019) is unsurprisingly a cosmically bonkers horror film, which descends into all manner of insane occurrences. It centres on the Gardner family, portrayed by Nicolas Cage and Joely Richardson, who along with their teenage kids, must confront the terrors that befall them when a meteorite hits their isolated farm. Building slowly, all hell breaks loose in the final act, as Cage lets rip with another crazed performance. Trippy and stylish with some fantastic gore, it lacks depth, but has cult film written all over it!

Mark: 7.5 out of 11



WAITING FOR THE BARBARIANS (2019)

Set in a desolate border town, the film opens with the kindly Magistrate (Mark Rylance) meeting Johnny Depp’s venal Colonel Joll for the first time. Joll is convinced those “Barbarians”, who live in the desert and mountain areas are going to threaten the fabric of the mighty Empire’s society. So, Joll begins a campaign of torture and oppression against them. The Magistrate and Joll constantly clash as the former seeks understanding and empathy over brute force.

This cerebral and allegorical drama is based on a famous literary classic, written by J. M. Coetzee. Brought to the screen by the ultra-talented Columbian filmmaker, Ciro Guerra, it’s quite slow, but I found it absorbing nevertheless. Mark Rylance is absolutely spellbinding. No one can do contemplative acting quite like him. His character was so noble and just, I really felt for him and the oppressed indigenous peoples’ cause. Arguably, the film could have been more dramatic in places, however, it still presents a damning indictment of colonialism and heavy-handed military rule.

Mark: 8.5 out of 11


DUNKIRK (2017) – CINEMA REVIEW

DUNKIRK (2017) – CINEMA REVIEW

**CONTAINS MILD SPOILERS**

Firstly, the evacuation of Dunkirk, France, during World War II was simply put one of the most incredible acts of survival and escape achieved. From the historical articles and documentaries I have read and seen the Allies were on the ropes and pinned back by the German army causing 400,000 beaten, starving and bedraggled human beings to be trapped on the beach waiting desperately for rescue.  It’s no spoiler to state that many brave people enabled that rescue creating that well-known phrase “Dunkirk spirit” to enter our vocabulary.

dunkirk_1

Put yourself in that position for even just a minute and the fear drains one cold and feeling so lucky that I will never have to feel that threatened. These are people, young soldiers fighting against a fascistic foe who are backed into a corner and whose lives are about to be extinguished. So, think about that when you wake up in the morning because Christopher Nolan’s epic film, as do many other films, books and television shows about the war, give your life meaning about how lucky we are to not have to live through that. Count your blessings you’re not in a war and the life we live has relative freedom.

These and many more emotions flashed through my being while experiencing the incredible epic that master director Nolan and team have delivered via Dunkirk. Throwing us immediately into the action we are shown the hell of war from three perspectives: land, sea and air. Nolan works from a simpler focus and premise compared to his other works and this makes it all the more powerful an experience. Where films such as Inception (2010), Interstellar (2014) and Memento (2000) had complex, shifting narratives relying on heavy exposition, grand concepts and plot twists, Dunkirk deals with one simple sterling idea: survival!

dunkirk7

I found the whole experience immersive and pulsating from a cinematic perspective. Christopher Nolan, and his production team, have in the: editing, cinematography, composition, colour, acting, framing, sound, score and movement created pure and poetic cinema. From the safety of my comfy seat I felt real danger, peril and claustrophobia. The narratives’ drive comes from fragmented moments of fear and blasts of explosive danger. The impressionistic style was full of scenes containing quiet doom as well as noisy, confusing and fiery terror. Even the smallest situation such as the locking of a cabin door takes on great significance, sending a chill down the spine. As the enemy closes in from above and below and water fills the screen and lungs of our heroes, then death moves in for the kill.

Nolan eschews the solid build-up of traditional characterisation to create emotion through the visual form with a chopping style which serves to heighten the panic. There are so many haunting images as men and boys are stuck behind doors and ships and in boats and underwater and in the air and on moles and piers, compressed, suffocating and unable to breath as bullets, torpedoes and bombs pepper their souls. The coruscating soundscape, montage and hypnotic score from Hans Zimmer only add to the dread within the non-stop action. The dialogue is spare and at times muffled as character development is also sacrificed due to the compressed timeline. Yet, for me, empathy was garnered through verisimilitude, form and style rather than a conventional storytelling and a simplistic three-act transformational arc.

hardy_dunkirk

The characters are archetypes but serve the story very well. Kenneth Branagh’s noble sea Commander brings gravitas while Mark Rylance brings a naturalistic humility to the stalwart and duty bound Mr Dawson. Aneurin Barnard’s silent soldier allows his haunting eyes to dominate, while the pathos emitting from Barry Keoghan’s young George is incredibly powerful. Fionn Whitehead and Harry Styles, while inexperienced actors, represent the palpable fear any young man would exhibit when faced with certain death. Tom Hardy adds star quality in his role of RAF pilot, Farrier, and the image at the end of his plane burning in the sunset is indelibly etched in my mind.

But, overall the film belongs to the masterful direction of Christopher Nolan who, in delivering 106 minutes of pure dramatic exhilaration demonstrates he is more than just a genre filmmaker but a cinematic artist echoing the works of Sergei Eisenstein, Martin Scorsese and Stanley Kubrick within this war and disaster film masterpiece. Dunkirk was a savage defeat for the Allies but it rallied the nation against the enemy and Nolan has produced a film that stands as a worthy tribute to those who lost their lives and those brave people who survived.

(Mark: 10 out of 11)