SIX OF THE BEST #26 – ENNIO MORRICONE – (R.I.P – 1928-2020)
“If you scroll through all the movies I’ve worked on, you can understand how I was a specialist in westerns, love stories, political movies, action thrillers, horror movies, and so on. So, in other words, I’m no specialist, because I’ve done everything. I’m a specialist in music.”Ennio Morricone
As if 2020 couldn’t get any more dramatic, one of the greatest musical composers and dramatists ever known has passed away. Ennio Morricone, rather incredibly, wrote the scores for over four hundred films and television works. He also managed to write well over one hundred classical pieces. To say Ennio Morricone was a prolific genius is somewhat of an understatement.
Morricone won six BAFTAs, eleven Nastro d’Argento, three Grammy Awards, three Golden Globes, six BAFTAs, ten David di Donatello, two European Film Awards, the Golden Lion Honorary Award and the Polar Music Prize. In 2007, he received the Academy Honorary Award for his outstanding commitment to cinema. Moreover, he was also nominated for a further six Oscars. Lastly, Morricone had to wait until 2016 to receive his only competitive Academy Award for the haunting score to Quentin Tarantino’s The Hateful Eight (2016). For Morricone to receive only one Oscar for musical composition is astounding and proves once again there is no justice in the world.
A meagre blog piece from a London-based hack will never be enough of a tribute to a composer who worked in every cinematic genre and with an incredible array of famous and infamous filmmakers. Notables include: Sergio Leone, Oliver Stone, Warren Beatty, John Carpenter, Quentin Tarantino, Sergio Corbucci, Dario Argento, Duccio Tessari, Sergio Sollima, Henri Verneuil, Bernardo Bertolucci, Mauro Bolognini, Giuliano Montaldo, Roland Joffé, Don Siegel, Mike Nichols, Brian De Palma, Barry Levinson and many more companies including advertisers, singers, recording artists and fashion designers. Morricone even found time to compose the 1978 World Cup theme song.
Thus, as a tribute to one of the greatest cinematic artists I have selected six of Morricone’s best film orchestrations. Although given his brilliance and spectacular output, one could certainly pick many more; even sixty of the best!! Riposa in pace, Ennio, il maestro!
Executive producers: Alex Garland, Andrew Macdonald, Allon Reich, Eli Bush, Scott Rudin, Garrett Basch
Cast: Sonoya Mizuno, Nick Offerman, Jin Ha, Zach Grenier, Alison Pill, Stephen McKinlay Henderson, Cailee Spaeny, Karl Glusman, Jefferson Hall, Liz Carr, Janet Mock, Aimee Mullins, Linnea Berthelsen etc.
Cinematography: Rob Hardy
Composers: Ben Salisbury, Geoff Barrow, The Insects
Distribution / Screening Platform: FX / Hulu / BBC
*** MAY CONTAIN SPOILERS ***
“I read more about science than anything else, and it started with two things. One was getting my head around this principle of determinism, which basically says that everything that happens in the world is based on cause and effect. . . One is that it takes away free will, but the other is that if you are at a computer powerful enough, you could use determinism to predict the future and understand the past.”Alex Garland – Creator of Devs
Alex Garland has an impressive literary, cinema and now televisual curriculum vitae. He gained acclaim as the writer of the novel, The Beach, before moving onto screenwriting duties with fine films such as: 28 Days Later (2002), Sunshine (2007), Never Let Me Go (2010), and Dredd (2012). He made his directorial debut with Ex Machina (2014), which earned him an Academy Award nomination for Best Original Screenplay. His second film,Annihilation (2018), garnered further acclaim, so much so, FX bypassed a pilot and went straight to series for his latest science fiction narrative, Devs (2020).
While I am a massive fan of Garland’s work, I wasn’t too enamoured of Annihilation (2018). I found it brilliantly made with some fantastic concepts and incredible moments, yet overall it was too slowly paced. With the eight superlative episodes of Devs (2020), Garland has kept the meditative pace of Annihilation (2018), but also delivered a story which really connected with me this time. With Devs (2020) he has successfully merged a compelling technological espionage plot to an intelligent exploration of philosophical thought and behaviour. Moreover, Garland presents a complex group of themes and characters relating to Silicon Valley tech firms and how their work could control individuals, companies, governments, society as a whole, and actual time itself.
Set now in San Francisco, the narrative opens with two employees of the Amaya Corporation, Lily Chan (Sonoya Mizuno) and Sergei Pavlov (Karl Glusman), attending work. Sergei has a big presentation to pitch to Amaya CEO, Forest (Nick Offerman) and chief designer, Katie (Alison Pill). It goes well and Sergei is invited to work on the mysterious DEVS project. At DEVS he finds wondrous halo-style lighting in the woods and an incredibly expensive set of buildings, capsules, platforms, workstations and screens. Dominating the landscape also is a gigantic model of a young girl (Forest’s daughter, Amaya) who looms over the company and the San Franciscan horizon. These spectacular props, sets and locations are complimented by impressive cinematography from Rob Hardy throughout the eight episodes.
Sergei’s tenure at DEVS does not last long though as he goes missing. Lily, who was in a loving relationship with Sergei, is distraught and, with the help of ex-CIA head of security, Kenton (Zach Grenier), attempts to locate him. When Sergei turns up dead from an apparent suicide, Lily is convinced there is a conspiracy occurring in the Amaya company so begins a dangerous investigation. Even more intriguing, however, is the work that is occurring at DEVS itself. Led by Forest’s desire to “resurrect” his deceased daughter, this complex computer programme can somehow view events from the past, recreated via particle-driven software and projected on huge screens. Using this application the developers and programmers are attempting to determine the future from what has occurred in the past. If they can determine the future they may be able to control it. Mind blown yet? Safe to say, Lily’s investigation into Sergei’s death and the DEVS system become inextricably linked as the drama unfolds. As such, the drama works well as a conspiracy thriller as well as thoughtful sci-fi as Garland punctuates the brooding pace with some crushing stunts and brutal murder set-pieces.
I’ll be honest, the technological side of Devs (2020) was outside my knowledge repertoire as I do not comprehend coding or programming jargon. Nonetheless, I did understand what was occurring in the narrative as it was presented in a clear and digestible fashion. Unlike say the most recent seasons of HBO’s Westworld, which tied itself in knots with looping and over-lapping timelines, Alex Garland’s deft script, excellent direction and fantastic cast make Devs‘ (2020) complex science and tech theories comprehensible throughout. While Garland is dealing with theories relating to free will and deterministic cause and effect, the elegant structure, both linear and with flashbacks, builds a gripping narrative which maintains emotional impact for the characters and the choices they must make. Indeed, Lily Chan is a very empathetic leading protagonist and Sonoya Mizuno gives a compellingly magnetic acting portrayal. It was also fascinating to see Nick Offerman outside of his Parks and Recreation ‘Ron Swanson’ persona playing a highly driven and grieving father. Thus, to conclude, if you enjoy clever, meditative and Kubrickian style television in the science-fiction genre, then you should definitely use your free will and be determined to watch Devs (2020).
I’ve been busy trying to avoid the booze in the fridge most days, although I did fail miserably on Saturday. But I was kind of celebrating fifteen years of low budget short filmmaking. If you didn’t know my production company is called Fix Films Ltd. Here is my latest showreel video. It’s basically a look back at all the films we have made. Also, it’s a tribute to all of the talented people we have worked with.
Fix Films are a filmmaking collective. Since 2005 they have been involved in the creation of many, many short films and promos. They self-produce, write, direct, edit and score their own films to a very high standard despite the low budgets. They are true independent filmmakers.
This showreel features images, clips and music from most of our major short films productions.
Fix Films Ltd are:
Paul Laight, Gary O’Brien and all the amazing people we have worked with.
THE NETFLIX PROCLAMATION – FILM REVIEW CATCH-UP MARCH 2020
With COVID-19 threatening the world’s population, it is a time to remain calm and, if required, stay indoors out of the way of potential infection. As long as the Internet holds then there are thousands of films and TV shows to watch online to keep us all occupied. Obviously, one must also take a deep breath and pray that aside from the illness affecting the world, society manages to keep it’s social, financial and medical structures in place too.
Clearly, we need distractions at this difficult time. Films may not be the solution, but they can offer diversion at least. Thankfully, I love staying in and watching movies as it is a major hobby of mine. Indeed, I have been busy lately catching up on some of the latest releases Netflix has to offer. Thus, I present some quick reviews of films currently on the streaming platform, all with the usual marks out of eleven.
***MAY CONTAIN SPOILERS***
A PRIVATE WAR (2019)
Rosamund Pike is absolutely enthralling as the brave war correspondent, Marie Colvin. Putting her life and sanity on the line to report the terrors of conflict in Sri Lanka, Libya and Syria, to name a few, Colvin was both fearless and crazy in equal measures, but remains an incredibly powerful voice. This fine biopic feels haphazard and structurally chaotic but is certainly an impressive tribute to an iconic journalist. (Mark: 8 out of 11)
Nicole Kidman gives another excellent performance in this gritty neo-noir-cop-procedural drama. The clever structure — which tracks back and forth between Kidman’s burnt out character in the present and her violent past going undercover in a crime gang — arguably works against the emotional power of the film. However, director Karyn Kusama and Kidman make a formidable team in delivering a moody, bruising and bitter revenge thriller. (Mark: 8 out of 11)
EARTHQUAKE BIRD (2019)
I really loved director Wash Washmoreland’s previous film, Colette (2018), because it was such a vibrant. colourful and sparkling biopic of a fascinating character. I was thus surprised to see he had followed it up with an under-cooked thriller like Earthquake Bird (2019). Alicia Vikander portrays a dour ex-patriot in Japan who gets drawn into a love triangle involving the effervescent, Riley Keough, and photographer, Naoki Kobayashi. The film felt, like Vikander’s protagonist, depressed; ultimately drifting toward a tepid denouement. (Mark: 6 out of 11)
Rosamund Pike again! Here she is cast alongside Daniel Bruhl as they portray two Germans who joined a Palestinian military group that hijacked an Air France Flight in 1976. While the politics of the Israelis versus the Palestinians is explored to some extent, I felt more could have been done during the hostage situation to examine such complex issues. Instead, we get something more generic from director Jose Padiha, who inexplicably uses dance troupe montage to convey nebulous emotion and meaning. (Mark: 6 out of 11)
I LOST MY BODY (2019) – (Contains spoilers)
Both original and generic in terms of story, this romantic drama contains some of the most wonderful animation concepts I have seen in a long time. Brilliantly rendered and directed by Jeremy Chaupin, the narrative has two major strands. A severed hand – yes, a hand – seeks to unite with its body. Simultaneously, flashbacks reveal young Naoufel attempting to romance the girl he loves, Gabrielle. I really wanted to enjoy this more as the filmmaking is stunning. But, the final act of the film was too poetic, and it left me feeling cold and confused. (Mark: 7 out of 11)
THE KING (2019)
David Michod has been a filmmaker worth keeping tabs on since the release of brutal Australian crime film, Animal Kingdom (2010). After the big budget military satire War Machine (2017), failed, in my view, to hit the target, Michod has gone with another big production in The King(2019). Adapting Shakespeare’s Henry V trilogy (co-writer with Joel Edgerton) is no easy task and they deliver a film full of bravura cinematic moments. Timothee Chalamet is impressive in the lead role as the reluctant, but strong-of-heart young Prince Hal/King Henry. Lastly, Sean Harris, Robert Pattinson, Edgerton (as Falstaff) and Thomasin Mackenzie provide excellent acting support in a stirring period epic. (Mark: 8 out of 11)
THE LAUNDROMAT (2019)
Filmmakers Scott Z. Burns and Steven Soderbergh are usually so reliable in their cinematic endeavours. However, a star-studded cast including: Meryl Streep, Gary Oldman, Sharon Stone, Antonio Banderas, Matthias Schoenaerts and Jeffrey Wright cannot save this misguided comedy-drama about the Panama Papers scandal. I’m sure there is a great film in such financial crimes, but this was not it. (Mark: 5.5 out of 11)
MID 90s (2019)
Jonah Hill adds director to his already very successful acting, writing and producing curriculum vitae. Mid 90s (2019) owes much to the low-budget, improvisational and gritty style of filmmakers like Harmony Korine and Larry Clark, however, Hill’s approach is less extreme. The loose and episodic rites-of-passage narrative centres on Los Angeles based skater gangs and specifically Stevie (Sunny Suljic). He longs to grow up too fast and his experiences reminded me of an American version of Shane Meadow’s This is England (2006). While it’s a solid work of cinema, full of heart and believable performances, it’s ultimately quite underwhelming from an emotional perspective. (Mark: 7 out of 11)
THE TWO POPES (2019)
Fernando Merielles directs this adaptation of Anthony McCarten’s play featuring two giants of the acting world in Anthony Hopkins and Jonathan Pryce. The two heavyweight actors portray the real-life Pope Benedict XVI (Hopkins) and future Pope Francis, Cardinal Jorge Mario Bergoglio (Pryce). The duo conflict, debate and laugh about serious matters related to the history of the Catholic Church; plus, some not-so serious matters such as pizza and football. Having sat through Paulo Sorrentino’s uber-pretentious TV series The New Pope (2020) recently, I was not in the mood for more theological drama. However, the two leads are excellent, especially Pryce; and while the film is very dialogue driven, the flashbacks of Argentine history from Cardinal Bergoglio’s early years were powerfully evoked. (Mark: 8 out of 11).
Cast: Tom Berenger, Glenn Close, Jeff Goldblum, William Hurt, Kevin Kline, Mary Kay Place, Meg Tilly, JoBeth Williams
I started this particular series a while ago and posted a few times here and here with multiple entries. However, I have now decided to make it a feature, like Classic Movie Scenes and Under-Rated Film Classics. Like those I will now that concentrate on singular films rather than a group. This enables me to be more focused and detailed with the articles.
The Big Chill (1983) was co-written and directed by Lawrence Kasdan. It concerns a group of seven former college students who gather for a weekend reunion after the funeral of one of their friends. Joining them is their friend’s girlfriend, who also mourns the loss. Having moved to different areas of the country and taken different roles in society, the friends catch up, reminisce, regret, plan, argue, laugh, cry, make love, get high, and try and work out why Alex took his own life.
Kasdan had directed neo noir thriller Body Heat (1981) and co-written screenplays for The Empire Strikes Back (1980) and Raiders of the Lost Ark (1981). He also got industry notice for writing the original screenplay of The Bodyguard (1992); eventually made years later. Thus, his stock was very high. But rather than go for a big budget production he wrote and directed The Big Chill (1983). It’s a more intimate story of grief and nostalgia with an ensemble cast, character led script and incredible soundtrack. It was a big hit on a lowish budget and the terrific mix of songs from the 1960’s and 1970’s became one of the best-selling soundtracks ever. It’s funny, smart, sad and brilliantly acted film with an amazing cast!
Glenn Close and Kevin Kline were relatively well known for their stage endeavours and William Hurt had established himself as a prominent film actor, so they, along with TV Emmy winner Mary Kay Place, were probably the most well known of the ensemble. Having said that, along with Tom Berenger, Meg Tilly, JoBeth Williams and Jeff Goldblum they were very much more toward the start of their respective careers. If you take a look back now over the last thirty-seven years since the film was made, you will now see a whole host of Oscar, Emmy and Tony award winners. Plus, they are a group of actors who have been in some of the biggest grossing films of all time. Not forgetting that Hollywood cinema giant Kevin Costner, in a very early role as the deceased friend, was edited out of the final cut. Thus, it truly is an incredible work of casting.
Having watched the film again recently I have to say that while it is definitely in the “first world problems” territory, the universal themes of grief, love, relationships and existential reflection resonated with me. Also, having lost a friend to suicide I very much connected with the group’s emotions. On reflection, through millennial eyes, the film also severely lacks diversity. However, Kasdan and his amazing cast are witty, warm, annoying, joyful and intelligent company. Moreover, that soundtrack is an absolute blast, with many memorable musical montages to counter the heavier moments of soul searching. Oh, interesting note, the house used in the film is apparently the same one used in Forrest Gump (1994).
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
FILMS THAT GOT AWAY #6 – THE UMBRELLAS OF CHERBOURG (1964)
Written and Directed by: Jacques Demy
Produced by: Mag Bodard
Music by: Michel Legrand
Cast: Catherine Deneuve, Anne Vernon, Nino Castelnuovo, Marc Michel, Ellen Farmer, Mirielle Perrey etc.
**MAY CONTAIN SPOILERS**
I knew there were good reasons to get married. The obvious one is the positive nature of a caring relationship and not becoming a lonely, bitter old man. The other is that given my wife loves films too, she will introduce me to the occasional classic film I may have missed. Thus, we went to the BFI and watched the classic musical The Umbrellas of Cherbourg (1964). While she is a massive fan of the musical genre, I can take or leave it generally. Every now and then though I will really love a musical film. The Umbrellas of Cherbourg (1964) is now one of them.
Starting in 1957 and structured over three acts that end in 1963, we follow the lives and loves of two main protagonists, Genevieve (Catherine Deneuve) and Guy (Nino Castelnuovo). The ups and downs of their romance drives the narrative. The two struggle to keep their love alive amidst the obstacles of military conflict, social convention and family pressure. While the story is relatively simple, Jacques Demy’s wonderful script and direction warms you to the two young lovers. So much so, by the emotionally gut-wrenching ending, even a grizzled cynic like myself felt like crying.
The Umbrellas of Cherbourg (1964) is not your classic all-singing-all-dancing musical. It is more an opera of everyday life and love. The actors sing the dialogue all the way through and once I got used to this, the device really worked well for the story. Of course, Michel Legrand’s incredible score literally drenches the colourful sets and mise-en-scene with wonder. Moreover, Demy’s cinematographer, Jean Rabier, works miracles; his camera gliding around the actors in small spaces such as shops, garages, apartments and French cafes. Lastly, Catherine Deneuve and Nino Castelnuovo are such an attractive, but beautifully tragic screen couple. Clearly their touching story, amazing music and Jacques Demy’s cinematic brilliance had a massive influence of Damian Chazelle’s splendidLa La Land (2016).
Cast: Eddie Murphy, Da’Vine Joy Randolph, Keegan-Michael Key, Mike Epps, Wesley Snipes, Titus Burgess, Craig Robinson etc.
Music: Scott Bonnar
**MAY CONTAIN SPOILERS**
DOLEMITE IS MY NAME (2019)
It’s obvious to say that as I, like many others, love watching films, love writing about films and love talking about films with other film lovers. But, does that mean one also loves films that are actually about making films? Yes, of course it does! I love watching and writing about films that are about filmmaking. Therefore it stands to reason I would love Eddie Murphy’s latest role as comedian/actor/filmmaker/singer, Rudy Ray Moore.
Having burst on the cinema screen in the early 1980’s in a series of classic hits, notably 48 Hrs. (1982), Trading Places (1983) and Beverley Hills Cop (1984), Murphy became one of the most bankable movie stars in the world. His talent, stamina and comedic genius have meant his career is still going strong, despite many career ups and downs. However, it’s a bit disappointing that Murphy hasn’t stuck with more dramatic roles or character driven roles, as he cast himself in more family and light comedy-oriented films. This is because Murphy is an incredible actor, as demonstrated once again in Dolemite is My Name (2019).
Set in 1970’s Los Angeles, Dolemite is My Name (2019) finds Rudy as a struggling comedian, compere and record shop manager still trying to crack his dream of becoming famous. Time and opportunity have knocked him back for years, but he still has the energy and drive to continue. I identified with Rudy as I have a dream of being a successful filmmaker, but if I’m honest that ship has not just sailed, it’s crashed on the rocks. But I will carry on. Because I really enjoy it.
Inspiration comes to Rudy when he creates a new character and begins rapping routines in the clubs as flamboyant pimp, “Dolemite.” Recording his own comedy albums and selling them out of the trunk of his car slowly brings dividends, and Moore becomes a cult hit. Then the fun really starts as Rudy decides he wants to make a movie. But he has no money, crew or equipment. Cue many fantastic filmmaking scenes that make fun and pay homage to Moore’s energy as a producer/actor/writer and kung-fu “artist”.
Accompanying Murphy as Moore in this delightful and hilarious film is a stellar ensemble cast that includes: Titus Burgess, Da’Voy Joy Randolph, Keegan-Michael Key and Craig Robinson. Not forgetting a scene-stealing turn by Wesley Snipes as a wide-eyed drunken movie actor-turned-director, D’Urville Martin. The cast, given energetic direction by Craig Brewer, fashion likeable characters and performances. Moreover, the funky music, colourful costumes, wicked dancing and comedy timing hit their marks constantly.
Overall, I’m a sucker for films about filmmaking and this one is highly recommended. Dolemite is My Name (2019) could have been a bit more dramatic in places and perhaps commented more on the socio-politics of the era and Blaxploitation film genre. However, as a film about Rudy Ray Moore’s energy, passion and never-say-die attitude it is a fine cinematic tribute. Above all else, it’s a testament to the ability, talent and infectiousness of Eddie Murphy. Rudy Ray Moore is a part he was born to play and he smashes it out of the park.
Developed by Steven Levenson and Thomas Kail – based on Fosse by Sam Wasson
Executive Producers: Steven Levenson, Thomas Kail, Joel Fields, Lin-Manuel Miranda, George Stelzner, Sam Rockwell, Michelle Williams
Producers: Erica Kay, Kate Sullivan, Brad Carpenter
Directors: Thomas Kail, Adam Bernstein, Jessica Yu, Minkie Spiroetc.
Writers: Steven Levenson, Thomas Kail, Deborah Cahn, Tracey Scott Wilson, Charlotte Stouldt, Ike Holter, Joel Fields
Main Cast: Sam Rockwell, Michelle Williams, Norbert Leo Butz, Margaret Qualley, Nate Corddry, Paul Reiser, Jake Lacy, Susan Misner, Peter Scolari, Kelli Barrett, Evan Handler and many more.
Original Network: FX – UK Network: BBC
No. of Episodes: 8
**MAY CONTAIN SPOILERS**
I’m not a massive fan of musical shows or films as a genre. However, when the subject material or narrative connects with me, or the craft of song and dance transcends the form I will enjoy them. Thus, musicals I have seen and enjoyed on stage in the last few years include the brilliant Gypsy, Funny Girl, and Company. On the other hand, I could not stand Hamilton, despite the incredible talent involved in the production. Ironically, Hamilton director, Thomas Kail, is a major driving force behind this adaptation of Sam Wasson’s book about Bob Fosse and Gwen Verdon.
On the cinema screen the likes of: The Wizard of Oz (1939), Singing in the Rain (1952),Grease (1978), Moulin Rouge (2001), Chicago (2002), are just a few great examples of the genre I liked. But, the best and most exceptional musical I have seen in terms of form, style and subject matter is the Bob Fosse directed, Cabaret (1972). It’s not just a great musical, but it’s also a incredible piece of cinema. It oozes dark class in the musical set-pieces, ambiguous and fractured characterisation, sleazy sexuality and the thematic political subtext of pre-World War II Germany.
The making ofCabaret (1972) is one of the many creative events featured in Fosse/Verdon (2019). As the title suggests, it is an extensive biographical television drama about legendary director and choreographer Bob Fosse (Sam Rockwell) and the genius dancer, Gwen Verdon (Michelle Williams). Both their artistic and personal lives were entwined from the time they met on the Broadway musical Damn Yankees in 1955, to the moment of his death in 1987.
If you’re interested in musicals and the work of Fosse and Verdon then you will absolutely love this warts and all biopic. We get extensive rehearsal, on stage, on screen and edit room scenes showing Fosse and Verdon’s creative process. Songs and dance numbers from Cabaret, Sweet Charity, All That Jazz, Pippin, Chicago and many more, feature heavily in the play and fantastic soundtrack. Further, both Fosse and Verdon, were dancers from a very young age and we therefore get scenes from their formative years paying their dues in dives and flop-houses.
We also get the heavy drama of Fosse and Verdon’s marriage battles. The former being a pill-popping workaholic and womaniser was the biggest issue in their relationship. His constant affairs and narcissistic tantrums took their toll eventually. Indeed, Fosse, while an amazing creative force, is quite despicable in his lecherous use of the casting couch and exploitation of his position and power. Perhaps, even more could have been done to critique his negative acts, especially in light of the #MeToo gender issues relevant today. However, there is no aggressive damnation of his actions, but rather agnostic reflection and acceptance that this was prevalent masculine behaviour for the era.
Sam Rockwell as Fosse is outstanding. He conveys the sadness of a junkie, haunted by a dysfunctional and abusive childhood. Yet, where his work is concerned his energy and obsession is non-stop and formidable. This, in no small part, is down to his constant amphetamine abuse; something which would lead to mental and physical health issues. Similarly, Michelle Williams is incredible as Gwen Verdon. She inhabits this classy performer with an energy and drive, but also a fighting spirit when clashing with Fosse creatively and matrimonially. She is more his match than his muse though. Indeed, Verdon, is his equal and deserves to share many of his plaudits and awards. They ultimately would push each other to greater heights and achievements.
The supporting cast, including the magnetic Margaret Qualley as dancer, Anne Reiking, and Norbert Leo Butz portraying writer, Paddy Chayefsky are excellent. Also, the talent and look of the era is convincingly evoked on and off the stage. The cavalcade of dance numbers are superbly mounted and the editing perfectly reflects the fractured nature of the characters’ show business lives. Lastly, the jigsaw structure, which zigs and zags from the characters’ past to Fosse’s final days, charting triumph and adversity, complements the complexity of the characters.
Thus, overall, this works as an honest analysis of a flawed genius and his equally talented dance and life partner. It is highly recommended for those drawn to the darker side of creative artistry and personal relationships. But the question remains: should the work of Fosse be re-evaluated, especially in light of his extremely sexual and sexist behaviour? Is there a statute of limitation for genius and all that jazz? The Primetime Emmy awards panel do not seem concerned given Fosse/Verdon (2019) has received seven major nominations at time of writing. All of which it stands a great chance of winning!
Series Producers: Mark Herbert, Derrin Schlesinger, Rebekah Wray-Rogers
Cast: Thomas Turgoose, Vicky McClure, Joseph Gilgun, Stephen Graham, Andrew Shim, Stephen Graham, Andrew Ellis, Rosamund Hanson, Danielle James, Kriss Dosanjh, Chanel Cresswell, Johnny Harris, Michael Socha, George Newton, Jo Hartley, Katherine Dow Blyton, Stacey Sampson, Perry Fitzpatrick, Joe Dempsie etc.
Cinematography: Danny Cohen
Music by: Ludovico Einaudi
**CONTAINS SPOILERS FROM – THIS IS ENGLAND ’83, ’86 & ’88**
So, just to reiterate if you have NOT seen the previous film or TV series of This is England, I would advise you start with the film and watch them in order of release. Safe to say that this review also contains MASSIVE SPOILERS from the previous productions too.
As the title says we are now in the year 1990, some two years after the trauma of Lol’s (Vicky McClure) suicide attempt. Her and Woody are now thankfully back together and he, the gang and Milky have reconciled. Structured into a seasonal order of Spring, Summer, Autumn and Winter the show shifts focus to a more ensemble narrative presentation. Here more secondary characters such as Lol’s sister Kelly (Chanel Creswell) and Milky (Andrew Shim) are given meatier storylines over the four episodes.
As it’s the 1990’s we get some of my favourite music of all time presented. Indie, pop and rave tracks by the likes of The Stone Roses, Happy Mondays, The Pixies, The La’s, James, Beats International and many more dominate the soundtrack. Thus, the Spring and Summer months begin in an upbeat mood for the characters on the main. Gadget, Harvey, Trev, Shaun and Kelly are into the rave and Madchester scene, popping pills with heady abandon. This is where Kelly’s story veers into dark drama as her grief for the loss of her father spills into drug addiction and self-destructive behaviour.
This reaches a head in the Summer episode. Beginning as a humorous drive to a field in the England becomes, for Harvey, Gadget, Trev and Shaun a narcotic escape out of Midlands mundanity. However, for Kelly it leads to a dark, drug-induced and sexualised nightmare. For the first time in the series though I felt the drama was slightly gratuitous and felt uncomfortable with Kelly’s ordeal. However, Chanel Cresswell gave a haunting performance of a character lost in a fog of addiction and despair.
With Kelly’s character adrift in the Autumn and Winter months, the narrative also brings back Combo (Stephen Graham) into the mix. As the racist thug in the original film, his character had ventured into some twisted redemption when taking the blame for Lol and Kelly’s Dad’s death. With Combo about to be released from prison the series examines whether people can change and most importantly be forgiven for prior crimes. It is hard hitting stuff and Stephen Graham is a superb actor who lives and breathes the mistakes of his characters’ past. His Winter scenes with Milky are particularly painful and ultimately shocking.
Indeed, during the Autumn and Winter episodes we get some of the most painful and dramatic scenes in the whole series. The scene around the dinner table when Lol decides to confess to her mum, Kelly and Milky the actual events regarding her Dad’s death are so compelling. Meadows directs this scene with simple and devastating effect. He allows the amazing performances from the cast to create emotion via long and tense takes. News of Combo being released impacts them all and the aftermath leads to a vengeful decision by Milky which haunts both him and the audience.
Meadows, co-writer Jack Thorne, the cast and the production team of This Is England ’90 deliver another nostalgic, humorous and hard-hitting drama series. It ends with the characters moving toward the light but with darkness not too far behind. Lol and Woody finally get married in as close to a feel-good ending you get with Shane Meadows. Overall, as slices of life go, these films and TV programmes are genuine British classics and a must watch if you are drawn to gritty, realistic dramas which chuck everything at you — including the kitchen sink.