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 titleCASEis 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.
Executive producer(s): Thomas Benski, Lucas Ochoa, Jane Featherstone, Gabriel Silver
Producer(s): Hugh Warren
Writers: Claire Wilson, Peter Berry, Joe Murtagh, Gareth Evans, Matt Flannery, Lauren Sequeira, Carl Joos,
Cast: Joe Cole, Sope Dirisu, Lucian Msamati, Michelle Fairley, Mark Lewis Jones, Narges Rashidi, Parth Thakerar, Asif Raza Mir, Valene Kane, Brian Vernel, Jing Lusi, Pippa Bennett-Warner, Orli Shuka, Richard Harrington, Jude Akuwudike, Emmett J. Scanlan, Colm Meaneyetc.
Production company(s): Pulse Films, Sister Pictures, Sky Studios
The British, or more specifically, London-based gangster narrative is a well-trodden pathway for writers, directors and filmmakers. In fact, when Guy Ritchie’s Lock, Stock and Two Smoking Barrels (1998) was a low-budget sleeper hit, agents and film companies were never more than a few feet away from a cheeky-chappie-laddish-gangster script. Ritchie obviously has made his name in the crime genre and his most recent film, The Gentlemen (2020), was another rollicking piece of entertainment. However, Ritchie’s stylish geezer model doesn’t always show the serious side of the British crime yarn. Films such as: Villain (1971), Get Carter (1971), The Long Good Friday (1980), Mona Lisa (1986), The Krays (1990), Sexy Beast (2000), Legend (2015), and many more, represent the dark and brutal face of hard-nut masculinity and the profession of violence. Enter the new Sky drama, Gangs of London (2020), which over nine episodes pitches itself as a similarly stern contemporary gangster fable, but with lashings of explosive action set-pieces, savage fisticuffs and a few severed hands thrown in for good measure.
From the opening scene — which finds heir apparent to the Wallace Corporation, Sean (Joe Cole), burning alive and dropping a low-level hoodie off a sky-scraping construction building — the brutal tone is set. Flashbacks then reveal the reason for Sean’s ire. His father, Finn (Colm Meaney), was murdered while on the Albanian mafia’s turf and thus he demands revenge. So far, so Hamlet! Yet, this is no singular character’s journey into the psychological depths of real or invented madness. Mostly, we find a sprawling, multicultural and international ensemble piece with the world of crime represented by aforementioned Albanians, Nigerians, Kurdish freedom fighters, Chinese gangs, Pakistani drug cartels, Welsh travellers and various other criminal elements.
While there is some soul searching for Sean as Finn Wallace’s buried secrets are latterly exposed within the drama, this is very much a symbolic and sadistic manifestation of Brexit. Moreover, it critiques the rise of gangster culture from the mean capital streets into the corporate boardroom. The Wallace’s billion-pound construction business acts as a front for money laundering, drugs deals, prostitution, people smuggling, gun-running and other nefarious crimes. Business has never been so good; that is until Finn Wallace is killed. Henceforth, all hell breaks loose on the streets of London and the police, who all seem to be in the pockets of the gangs, are unable or unwilling to control it.
The gangster genre can be a challenge for writers, directors and actors as they attempt to sidestep the cliches. Moreover, these stories predominantly show violent and amoral characters attacking or cheating or back-stabbing one another. Thus, it can be difficult to create empathy for such nasty people. Nonetheless, given the continued success of such narratives, the anti-heroic ensemble represented by the likes of the Wallace, Dumani, Afridi, Dushaj and Edwards’ families, among others, give the audience plenty to get our teeth into. There are so many different characters, motives, actions and desires on show that the sheer pace and twists in the narrative can leave one breathless. That isn’t to say the pace is rapid. There is a brooding suspense and grave depth to the overall direction. At times the drama, as well as the casting of Michelle Fairley (Lady Stark), reminded me of Game of Thrones in crime form. It gives us high-quality genre storytelling interspersed with some incredibly violent fight scenes and shoot-outs. It doesn’t quite have the heroes that Games of Thrones had though. The closest we get to a rootable character is Sope Dirisu’s low-level enforcer, Elliott Finch, who has a big secret to hold onto. Dirisu gives a powerful performance both emotionally and physically as he fights his way up the Wallace chain of command.
Gangs of London (2020) was created by Gareth Evans and Matt Flannery for Cinemax and Sky Studios. Evans, of course, is the talented Welsh filmmaker who had to go all the way to Indonesia and direct Merantau (2009),The Raid (2011) and The Raid 2 (2014), in order to make a name for himself in the film industry. He is a director with a special set of skills, especially when it comes to the knuckle-breaking and heart-stabbing fight sequences. Thus, the episodes he directs stand out among the best of the series. Notably Episodes 1 and 5, which feature an incredible bare-knuckled-table-leg-glass-in-the-face bar fracas and a bloody-mercenary-raid-on-a- country-farmhouse set-piece respectively. The remainder of the series arguably pales a little where the action is concerned, however, there remains some shockingly grotesque acts of violence as the corpses mount up the further the series proceeds. Indeed, as Sean Wallace attempts to locate his father’s killer and order from the chaos, he will find little in the way of salvation, redemption and satisfaction in the life of a London gangster. If only he’d watched more crime films, he’d know that already.
“If there’s specific resistance to women making movies, I just choose to ignore that as an obstacle for two reasons: I can’t change my gender, and I refuse to stop making movies. It’s irrelevant who or what directed a movie, the important thing is that you either respond to it or you don’t. There should be more women directing; I think there’s just not the awareness that it’s really possible. It is.“— Kathryn Bigelow in 1990
Having most recently directed the searing period drama, Detroit (2017), Bigelow has been making feature films, since her debut, The Loveless (1981), for over thirty-nine years. With a strong academic background, having studied at the San Francisco Art Institute and Columbia University, it’s fascinating to review a career which has eschewed arthouse cinema and essentially been spent working mainly on big-budget genre films. However, one can see in her directorial canon that Bigelow, while striving for commercial success, is constantly testing the boundaries of genre storytelling.
Along with a powerful visual style that attains symbiosis with the core material, she intelligently explores themes relating to violence, individual freedom versus the system, masculinity in crisis, gender representations and socio-political corruption. Lastly, her characters are often outsiders, morally complex and dealing with deep personal trauma. In short: Bigelow’s worldview is one of both healthy scepticism and cynicism, but also an element of hope within the longing for control. So, here are five of Kathryn Bigelow’s most impactful cinematic releases.
***ARTICLE CONTAINS FILM SPOILERS***
NEAR DARK (1987)
While The Lost Boys (1987) is rightly regarded as a very entertaining 80’s vampire film, Near Dark (1987) is way, way superior. Despite not catching fire at the box office, this neo-horror-western contains a fantastic cast of James Cameron alumni, including: Lance Henriksen, Bill Paxton and Jenette Goldstein. These great character actors inhabit this snarling gang of vampires perfectly as the film contains shockingly brutal violence and hard-bitten dialogue amidst a tender love story.
BLUE STEEL (1990)
While Jamie Lee Curtis is generally better known for her horror and comedy film performances, Kathryn Bigelow made excellent use of her dramatic acting ability as a rookie police officer caught up with Ron Silver’s psychotic commodities trader. Blue Steel (1990) is a variegated genre film which takes a standard police procedural narrative and twists it into something far more psychologically compelling. Lee Curtis excels, as does vicious bad-guy Silver, aptly named Eugene Hunt!
POINT BREAK (1991)
This classic heist meets surfing movie meets gay subtext bromance is jam-packed with classic action scenes and faux-deep philosophical musings. Keanu Reeves is the daftly named cop, Johnny Utah, who goes undercover, amidst the beach brigade to find a bunch of bank robbers. His suspicions fall on Patrick Swayze’s elemental surfer-dude-god and a dangerous “bromantic” game of cat-and-mouse ensues. Bigelow scored her first major hit with Point Break (1991), infusing it with some incredibly visceral stunt, surfing, robbery and chase sequences in an exhilarating film experience.
THE HURT LOCKER (2008)
After the box office failures of her previous three films, the under-rated sci-fi thriller, Strange Days (1995), enigmatic mystery, The Weight of Water (2000), and stodgy cold war film, K-19: The Widowmaker (2002), Bigelow’s seemingly took a career break. She would, however, come back with her most critically acclaimed and Oscar-winning film, The Hurt Locker (2008). From a brilliant script by Mark Boal and led by Jeremy Renner’s standout lead performance, The Hurt Locker (2008), put the audience right at the heart of a bomb disposal unit in Iraq. Putting aside the politics for a moment, the film is full of incredibly tense and superbly edited scenes which have your heart in your mouth. Simultaneously too, the film also shows the devastating emotional, physical and mental effect war has on the people of Iraq and the soldiers sent to fight this horrifically unjust conflict.
ZERO DARK THIRTY (2012)
Whereas The Hurt Locker (2008) had highly emotional and empathetic protagonists, Bigelow and Boal’s next film Zero Dark Thirty (2012), is a much more clinical and technically efficient cinematic experience. In parts, both a war drama and espionage thriller, the story also has a feel of an old-fashioned Western as American military and CIA operatives, led by the excellent Jessica Chastain and Jason Clarke, hunt down Osama Bin Laden. Politically speaking this is a film which makes me feel very uncomfortable for a number of reasons. It plays out like a revenge story. It also seems to both criticize and vindicate torture in the early scenes. This makes me uneasy as I understand the 9/11 attacks were just horrific, yet they seemed to get used as a motive for many more atrocities by the United States government. I guess that was what Bigelow and Boal were going for. They attempted to create a morally and emotionally complex war thriller that lets you interpret the events yourself and conclude one’s own judgements.
Produced by: Jon Kilik, Spike Lee, Beatriz Levin, Lloyd Levin
Written by: Danny Bilson, Paul De Meo, Spike Lee, Kevin Willmott
Cast: Delroy Lindo, Jonathan Majors, Clarke Peters, Norm Lewis, Isiah Whitlock Jr., Mélanie Thierry, Paul Walter Hauser, Jasper Pääkkönen, Jean Reno, Chadwick Boseman etc.
Music by: Terence Blanchard, Marvin Gaye
Cinematography: Newton Thomas Sigel
***MAY CONTAIN SPOILERS***
Shelton Jackson “Spike” Lee has been a prolific actor, director, producer and polemicist for some time now. An ultra-talented and outspoken cinematic artist, he has directed thirty fiction and documentary films since his debut feature film She’s Gotta Have It (1986). Plus, all manner of promos, commercials, music videos, short films and television series. An energetic firebrand of a director he has made films in many genres and is a risk-taker in subject, theme and style. Whether you agree with what he has to say he is a filmmaker who is always creating situations and characters who must be heard.
His latest film, Da 5 Bloods (2020), is a timely Netflix film release which encapsulates crime, heist, political, war, drama, Blaxploitation, comedy, documentary, love and experimental film genres. Lee has never been afraid of taking risks and sometimes his films have not worked because of it. However, with BlacKKKlansman (2018) he succeeded in making one of the best films of 2018 and should have won Best Film Oscar in my view. Da 5 Bloods (2020) grabs the power baton of Lee’s prior film and runs with it, delivering an entertaining, funny, thought-provoking, stylish and brilliant genre-blending story full of sustainable socio-political arguments in the era of the Black Lives Matter movement.
The narrative begins by establishing four aging Vietnam veterans, portrayed by the magnetic ensemble of Delroy Lindo, Clarke Peters, Norm Lewis and Isiah Whitlock Jr. They meet in Ho Chi Minh City in order to venture into the jungle and locate the remains of their squad leader. During some very stylised, richly colour-saturated and impactful flashbacks, it is revealed their friend, “Stormin Norman” (the charismatic, Chadwick Boseman), was killed in combat. Furthermore, and this is the money reason they are back in ‘Nam – there is army gold in those hills. Thus, the comrades set out to locate their friend’s body, and the gold, in order to find reparation and hopefully some form of redemption.
The film begins warmly as we enjoy the company of these great actors portraying reunited friends on an old boys outing. However, the film, as it introduces further subplots involving Jean Reno’s suspicious businessmen, Desroche and Delroy Lindo’s Paul crumbling mental state, moves into far darker territory the further the men get into the jungle. Lindo himself gives arguably the best performance of his career as a soldier grieving for his lost friend and desperate to get compensation for the unjust loss of so many lives in Vietnam. His character’s downward mental trajectory is one of the most powerful elements of Da 5 Bloods (2020). No doubt Lindo will be nominated come awards time and so he should be.
The cinematic excellence on show too from Spike Lee and his production crew is to be applauded too. Lee’s box of magic tricks includes: jump cuts, aspect ratio switches, colour saturation, Shakespearean soliloquies, documentary footage, flashbacks, conveyor-belt camera tracks, stills photography, slow-motion, direct address and many other devices. The exceptional cinematography is drenched in an opulent score from Terence Blanchard and the incredible voice of Marvin Gaye. I guess my main reservations about the film would be the elongated running time, with some scenes indulgently over-running. Moreover, there were also a couple of convenient plot coincidences which could have been ironed out. Nonetheless, with Da 5 Bloods (2020), Spike Lee has delivered another bravura mix of genre and socio-political filmmaking which, like classics such as The Treasure of Sierra Madre (1948) and Apocalypse Now (1979), stare into the dark heart of humanity and find greed, war and death there. Unlike those two films though, Da 5 Bloods (2020), also contains hope, light in the tunnel, and the idea that togetherness brings strength in the face of adversity.
Cast: Robert De Niro, James Woods, William Forsythe, Jennifer Connelly, Elizabeth McGovern, Joe Pesci, Burt Young, Tuesday Weld, Treat Williams, William Forsythe, Richard Bright, James Hayden, Brian Bloom, William Forsythe, Adrian Curran, Darlanne Fluegel. Larry Rapp, Mike Monetti, Richard Foronji, Robert Harper, Dutch Miller, Gerard Murphy, Amy Ryder, Julie Cohen etc.
Music: Ennio Morricone
Cinematography: Tonino Delli Colli
***CONTAINS PLOT SPOILERS***
If you were, like me, thoroughly absorbed by Martin Scorsese’s recent directorial gangster epic, The Irishman (2019), you should definitely check out another incredible gangster drama, Once Upon A Time in America (1984). It is directed by acclaimed Italian filmmaker, Sergio Leone, he of “Spaghetti Western” fame. Indeed, Once Upon A Time in America (1984), was the first feature film he’d made since A Fistful of Dynamite (1971). Sadly, it was to be his final film.
With a director’s cut running at a behemoth 250 minutes and original theatrical release lasting 229 minutes, Once Upon A Time in America (1984), is certainly a marathon viewing experience and fitting epitaph to Leone’s cinematic craft. Yet, the film rarely feels over-long or slow because there are so many memorable scenes, fascinatingly complex characterisations, incredible intrigue and enough narrative density present to satisfy any audience member with the patience to let it absorb you. Structurally, the film is epic in nature too as it cross-cuts between three, arguably four, separate timelines in: 1918, the 1920’s, the 1930’s and 1968. Interestingly, I watched it via Amazon Prime in two sittings and is so long even the original ‘Intermission’ card remains.
Leone and his amazing production cast and crew took almost a year to film Once Upon A Time in America (1984). It’s reported to have had somewhere between eight to ten hours of footage on completion. He originally wanted to release it as a two-part epic, but the studio insisted it was distributed as one film. The almost-four hour theatrical release was received to great critical acclaim in Europe, however, a severely chopped down 139-minute version was put out in America. It was a critical and box office bomb. American critics however, lauded the European version, lamenting the non-release of Leone’s full cinematic vision.
For a filmmaker who was drawn to stories set in the America, Leone would generally film in European studios and locations. While some exteriors for Once Upon A Time in America (1984) were shot on location in Florida and New York, many of the interiors were recreated in Rome’s Cinecitta. Furthermore, a Manhattan restaurant was built in Venice, and incredibly, Grand Central Station was rendered at part of the Gare du Nord in Paris. Having said that, Once Upon A Time in America (1984), is so carefully and exquisitely designed and filmed, you would not notice. While possessing more than an air of European arthouse sensibilities, the film, based on a novel called The Hoods, represents Leone’s and his co-screenwriter’s tarnished vision of the American dream. Most significantly is the theme of a loss of innocence. 1920’s New York is presented through the eyes of these Jewish working-class children, many of them sons and daughter of migrants from Europe. These are tough times and the story explores the collision between young innocence and adult corruption by society and humanity. Once Upon A Time in America (1984) is also a story about friendship, loyalty, passion and crime.
The narrative revolves around the lives of young gang of Jewish friends growing up in Brooklyn called: Noodles, Max, Patsy, Cockeye and little Dominic. It’s majestic storytelling of the highest quality as we flit between past, present, now and future. Robert DeNiro’s older Noodles reminisces both from 1930 and 1968. There is a sense that he may be projecting from the hazy and drug-addled glow of an opium den. That is open to interpretation though. Thematically, the framework hangs a history of childhood friendships, juxtaposing it with the same people as adults and their victories, losses and betrayals. Further themes include: love, lust, greed, crime, broken relationships, Prohibition, union corruption; as well as focusing on the rise of mobsters in American society.
Noodles as portrayed by an imperious Robert DeNiro is calm on the outside, however, his often-rash actions show him as impetuous, emotional and wild on the inside. James Woods’ Max is much more careful, calculating and ice-cold in his business. But the two forge a friendship as teenagers which continues in adulthood. Their childhood gang subsequently becomes a renowned bootlegging and criminal outfit. Leone does not ask us to like or find sympathy for the characters, but rather respect that they are a product of a ruthless era. Sure, they could have got day jobs, but they decide to become criminals and very successful they are too. Even after Noodles gets out of jail for killing a rival, Max has saved a place for him in their illegal liquor trades. Only later does the true deception occur. Ultimately, while their stories are incredibly compelling, these men are violent lawbreakers who spill blood, bribe, threaten, kill and rape, all in an attempt to rise up the ladder of the American capitalist system.
I don’t want to spoil any more of the story, but safe to say the cast in this classic film are amazing. Along with DeNiro and Woods’ brutally convincing performances a whole host of young and older actors are directed beautifully by Leone’s careful hand. The standouts for me are Jennifer Connelly in a very early role. She portrays the younger Deborah, while Elizabeth McGovern is the older version of the same character. Connelly is a picture of angelic innocence and Noodles is smitten with her from the beginning. It’s sad therefore that when the adult Noodles’ is rejected by Deborah, his reaction is both toxic and unforgiveable.
Undeniably, sex and violence are powerful features in Once Upon A Time in America (1984). Sex especially is rarely, if at all, romantic or part of loving relationship. There are two brutal rape scenes in the adult years. Even when they are kids the character of younger Peggy is shown to use her promiscuity as a weapon to blackmail a police officer. There are some tender moments though, notably during the scene where young Patsy seeks to lose his virginity with Peggy. Her payment would be a cream cake, but Brian eats the cake and saves his innocence. Yet such scenes are fleeting as mob rule, violent robberies, fiery death and murder ultimately dominate the character’s bloody existences.
As I say, the actors all give memorable performances and the supporting cast including the likes of Treat Williams, Danny Aiello, Tuesday Weld and Joe Pesci are extremely strong too. A special mention to James Hayden who portrays the older Patsy. He doesn’t have the most dialogue compared to the characters of Max and Noodles; however, he has a quiet power which steals many scenes via strength of personality. The fact that Hayden died of a heroin overdose, in 1983, after completing filming only adds to the cult of tragedy. Dead at 30 years of age, James Hayden never got to see any completed version of Once Upon A Time in America (1984).
Given this review is getting near epic proportions itself I will begin to wrap up by heaping praise on the incredible production design. The costumes, locations, vehicles, props and era are slavishly and beautifully recreated. So much so you can almost smell the smoke as it drifts up from the Brooklyn streets. Moreover, the film is superbly photographed by Tonino Delli Colli. The music! I haven’t even mentioned the sumptuous score by the legendary Ennio Morricone. His score is a masterful symphony of haunting laments for loss of love, friendship, loyalty and life. Much indeed like Once Upon A Time in America (1984) itself, as a whole. In conclusion, if you haven’t seen it, I urge you to do so in the knowledge that Sergio Leone has transplanted that same brutally elegant vision of the Wild West to the American gangster genre with unforgettable emotional resonance and power.
Main Cast: Larry David, Jeff Garlin, Cheryl Hines, Susie Essman, J. B. Smoove, Ted Danson, Richard Lewis, Vince Vaughan, Kaitlin Olson etc.
Guests: Mila Kunis, Clive Owen, Laverne Cox, Chris Martin, Sean Penn, Jonah Hill, Jon Hamm, Philip Rosenthaland many more.
Distribution Platform: HBO (USA) – SKY (UK)
**CONTAINS MASSIVE SPOILERS**
“AH! INTERESTING. . . “
During a lengthy hiatus from 2011 to 2017, fans of Curb Your Enthusiasm were left bereft of their dose of Larry David’s inimitable and eccentric behaviour. The multi-millionaire writer of Seinfeld had carved out a wonderfully politically incorrect comedy series, full of misunderstanding, farce and hilariously embarrassing situations. Thankfully, he returned with season 9, and it was absolutely brilliant. Larry managed to get himself a death sentence, having written a musical called Fatwa, along with all manner of other comedic shenanigans. Season 10 has now followed and, once again, anti-heroic Larry delivers ten more fantastically offensive and funny episodes. More often than not we find his behaviour abhorrent as he goes about upsetting friends, family members, celebrities, and strangers on a daily basis. However, sometimes we are with Larry and his actions have merit and reason. Furthermore, due to the wonderful writing, improvising, cast and situations the humour is always more than pretty, pretty good!
NARRATIVE ARC (OF THE COVENANT)
Usually, Curb Your Enthusiasm episodes can stand alone due to the richness of the narrative strands Larry David and his writers create. But most seasons will have a very solid narrative arc running through it to provide looping rejoinders, a structural spine and a fitting conclusion. In season 10, there were echoes of storylines from prior seasons. Larry wanted to get back with Cheryl and they even committed divorced adultery, cuckolding Ted Danson in the process. However, the main arc revolved around the return of coffee store owner, Mocha Joe (Saverio Guerra). Larry pisses Mocha Joe off because he complains about “cold” coffee, wobbly tables and weak scones. Following Larry’s customary banishing he swears revenge on Mocha Joe. This takes the form of the wonderfully named ‘spite store’ he sets up next door. Thus, Latte Larry’s is born, and ten episodes of fast-paced, tit-for-tat, vengeful and hilarious scenes ensue.
“THE GOLDEN RULE” – STYLE AND THEMES
Curb Your Enthusiasm is not just funny because of the situations, dialogue, observations, guest stars and acting performances. It is also very sophisticated and stupid, combining a variety of comedy styles to fuel the humour. Earlier seasons could be argued to be more based in reality per se. The interactions between the characters felt more natural, in keeping with the pilot episode which was shot as a mockumentary about Larry returning to stand-up. Later seasons, especially seasons 9 and 10, upped the gag rate and one could even say felt slicker. Don’t get me wrong, the jokes have always come thick and fast in Curb Your Enthusiasm, but in the last two seasons there is not only a reliance on the usual comedy of embarrassment, observations and satire, but farce, slapstick and gross-out humour too have been added to the palette. Lastly, the show has always skated close to the edge in regard to non-PC humour and causing offence. Evidently, Larry David has now fully thrown himself over that edge and is happy to offend everyone in a two-fingered salute to so-called snowflakes or liberals out there.
In regard to thematics, Larry David clearly has his finger on the pulse relating to contemporary society, politics and human behaviour. Much of the humour and funny scenarios derive from what is acceptable behaviour and certain “rules” within everyday living. In season 10, Larry finds himself questioning, among other things: the behaviour of a pregnant woman; the merits of artificial fruit; what is and what isn’t’ sufficient praise; usage of disable parking badges; whether he should be in a restaurant’s ‘ugly section’; whether sex with Cheryl’s sister is post-relationship cheating; and the overall benefits of running a spite store. These elements, the running feuds with Ted Danson, Mocha Joe and Larry’s assistant, Alice, and themes relating to the Harvey Weinstein scandal and #MeToo movement; Larry and Leon’s continued chats about the nature of being black/white; Donald Trump’s presidency; fat shaming; suicide; Susie’s alleged plot to murder Jeff; nationalist ridicule; egotistic actor types; and transgender issues, all connectedly make this season a very rich product, full of ideas and challenging storylines.
“PRETTY GOOD. . . ” – EPISODE RATINGS
Episode 1 – Happy New Year – (8.5 out of 10)
Larry goes to war with Mocha Joe and reignites his romance with Cheryl. His relationship with his assistant also descends into accusations of sexual harassment.
Highlight: Larry wearing his Donald Trump, “Make America Great Again!”and ensuring no one wants to be seen with him.
Episode 2 – Side Sitting – (8.5 out of 10)
Larry’s relationship with his assistant, Alice, is possibly going to court unless he settles and makes amends. His attempts to get back with Cheryl are rebuked, so he dates his lawyer’s assistant.
Highlight: Larry gives Susie a portrait of herself as a birthday present. She loves it – but Jeff doesn’t.
Episode 3 – Artificial Fruit – (9 out of 10)
Larry’s donation to a charity fails to bring forward redemption when he refuses to hug Laverne Cox at an event, because she has a cold. Meanwhile, Richard and Larry argue over who is paying a lunch bill, leading to a very embarrassing escapade at a Spanish funeral.
Highlights: Larry is unsure if the Heimlich manoeuvre is appropriate when his assistant is choking. Plus, Larry’s doodle debate with Christine Lahti blows up into a serious disagreement.
Episode 4 – You’re not going to get me to say anything bad About! – (9 out of 10)
Larry, Donna (his new girlfriend), Cheryl, Jeff, Susie and Leon go to Cabo San Lucas for a friend’s wedding. Larry becomes fixated with Donna’s yo-yo dieting, but he and Leon do find some incredible coffee beans for Latte Larry’s.
Highlight: Larry’s determination to locate a toothbrush descends into a farcical conclusion. Later, at the wedding, Ted discovers Larry and Cheryl’s infidelity in a hilarious fashion.
Episode 5 – Insufficient Praise! – (9 out of 10)
Preparations for Latte Larry’s gather pace as Larry asks for a specific urinal type. Larry also gets a new housekeeper and is given a sex doll by Freddy Funkhouser. Meanwhile, Larry clashes with actor Clive Owen and Richard Lewis’ new girlfriend; a professional “crier”.
Highlights: Larry’s frantic battle with the sex doll resulting in his housekeeper and Cheryl catching him. Also, Clive Owen’s brilliantly pretentious send-up of narcissistic acting types.
Episode 6 – The Surprise Party! – (8.5 out of 10)
Larry meets a German inventor who has an anti-Semitic Alsatian called Adolf, and he gains joy from the use of a disabled parking badge. He also clashes with Susie over the surprise party she intends to throw for Jeff.
Highlight: Despite not having an appointment, Larry uses his cardiologist’s reception area to wait, because it’s a “waiting room”.
Episode 7 – The Ugly Section! – (9.5 out of 10)
Larry consistently keeps getting placed in the “ugly section” at the back of a restaurant. Simultaneously, he attempts to woo the widow of his friend who recently committed suicide.
Highlights: Larry asking Jane Krakowski’s character where she got the handles for her husband’s coffin. Later, Larry ruins a possible sexual liaison with her by arguing about the New York Jets. Lastly, Larry insults Susie as she should be in the restaurant “ugly section”.
Episode 8 – Elizabeth, Margaret and Larry! – (10 out of 10)
Actor, Jon Hamm, shadows Larry as he prepares to play a character like him in a film. Larry and Leon start a new business venture which initially proves profitable. Cheryl is angered when Larry spontaneously begins a relationship with her sister, Becky.
Highlights: Jon Hamm slowly turning into Larry throughout the episode, culminating in them both being ejected from a dinner party. Also, Kaitlin Olson returning as Becky and the surprising sex with Larry.
Episode 9 – Beep Panic! – (9 out of 10)
Larry strikes up a friendship with a waitress that dripped sweat into his soup. He also becomes obsessed with the liqorice at his car showroom. Meanwhile, Mocha Joe plots his own revenge using DVD film screeners.
Highlights: Leon and Larry succumb to the severe laxative effect of the liqorice in a silly bit of toilet humour.
Episode 10 – The Spite Store! – (10 out of 10)
Latte Larry’s is well and truly open, and it inspires other celebrities to open similar spite stores. Larry is irked by siren abusers and gives a job to Joey Funkhouser, but his big penis causes the store no end of issues.
Highlights: Sean Penn’s opening a spite-driven pet store. All Larry’s innovations at the coffee store ultimately lead to a very explosive downfall.
“NO GOOD?” – CONCLUSION
In preparing for this review I rewatched season 9 and watched season 10 twice. So, it’s obvious to say that I love, Curb Your Enthusiasm. Overall, I found the latest season to be a wonderful mix of old-fashioned slapstick and farce, combined with Larry David’s original and skewed vision of humanity. What was also impressive was the structural coherence of juggling so many comedy plots and situations. Plus, Larry behaves appallingly, and this is very appealing in an ever-increasingly politically correct world. Many times, throughout the season Larry is shown to be a provocative arsehole, but on occasions he very much has a valid point. Larry’s issues are very much first world problems, but because of the skilled writing and consistently high joke rate I related greatly to this season. Plus, Larry doesn’t win. His spiteful plotting and perpetual disagreements with those around him mostly fail. Indeed, ultimately, the joke is always on him.
SIX OF THE BEST #24 – FILMS TO HELP YOU KEEP CALM AND FEEL BETTER!
As everyone knows we’re all being impacted by the medical pandemic and COVID-19 virus in some way. Essentially, these are troubled times for everyone and my sympathies go out to anyone who has the virus, lost someone to it or knows someone who has it. Similarly, if you are vulnerable and isolated, I wish you all the best. If we can, as a species, all keep calm, work together and NOT panic, I think we can work through this. That is my hope, anyway.
The United Kingdom is slowly moving toward, like many other European countries, some kind of lockdown scenario. Indeed, cinemas have shut down, so that means we will be watching a lot of movies indoors. Obviously, there may be a clamouring to watch apocalyptic or dystopian visions of society. However, I would advise watching some feel good or feel better films too. So, here are Six of the Best Films to Help you Keep Calm and Feel Better! Please note that some of these films have darker themes and events, but the narratives represent hope and light, finding resilient and positive characters overcoming the odds.
“This is a tale about an unprejudiced heart, and how it changed our valley forever.”
E. T. THE EXTRA TERRESTRIAL (1982)
“You could be happy here, I could take care of you. I wouldn’t let anybody hurt you. We could grow up together, E.T.”
IT’S A WONDERFUL LIFE (1946)
“What is it you want, Mary? What do you want? You want the moon? Just say the word and I’ll throw a lasso around it and pull it down. Hey. That’s a pretty good idea. I’ll give you the moon, Mary.“
“I was crippled for the rest of my life. I got better. He made me better. Hell, you made me better.”
THE SHAWSHANK REDEMPTION (1994)
“I guess it comes down to a simple choice, really. Get busy living, or get busy dying.”
“Hey, I know a joke! A squirrel walks up to a tree and says, “I forgot to store acorns for the winter and now I am dead.” Ha! It is funny because the squirrel gets dead.”
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).
Writers: Damon Lindelhof, Nick Cuse, Lila Byock, Christal Henry, Carly Wray, Cord Jefferson, Stacy Kuffour-Osei, Claire Kiechel, Jeff Jensen
Directors: Nicole Kassell, Stephen Williams, Andrij Parekh, Steph Green, David Semel, Frederick E. O. Toye
Cast: Regina King, Jeremy Irons, Don Johnson, Jean Smart, Tim Blake Nelson, Louis Gossett Jr., Yahya Abdul-Mateen II, Hong Chau, Andrew Howard, Tom Mison, Frances Fisher, Jacob Ming-Trent, Sara Vickers, Dylan Schombing, and James Wolk.
Maybe I am imagining it, but I think we are now entering a different kind of TV narrative storytelling. Perhaps it has always been there? However, I am sure I can now see through the ‘Matrix’ of the internet’s all-powerful influence. My point is that we are moving away from traditional television storytelling which is solely interested in telling an emotionally whole and linear narrative. Is television that has a predictable soul and a beginning, middle and end — in THAT order — disappearing? Or am I just choosing to ignore the saturation of standard dramas involving cops, criminals and medics to watch more complex TV stuff?
Recent television shows such as Legion (2017), Westworld (2016), Dark (2017) and now Watchmen (2019) take stylish, cinematic and transgressive structural and thematic approaches to narrative. One could accuse them of being postmodern fakery or postmodern genius; or both. There does appear to be a movement toward over-complicated-clickbait-viral-trailer-led-ADHD-TV which fragments and shatters its’ story lines. The creators want us to experience their productions not in the traditional beginning, middle and end standard, but rather through shifting timelines, unreliable narrators and a blurred sense of what is right and wrong.
Damon Lindelhof, who is a brilliant writer and very experienced TV creative, does tend toward the pretentious and over-complex in his work. Having said that his recent production The Leftovers (2014 – 2017) contained some absolutely sensational thematic explorations of the apocalypse, damaged humanity and religious fervour. For his latest project HBO has given him a truckload of money to emulate and remix Alan Moore and Dave Gibbon’s seminal 1980’s comic book Watchmen. The original itself was a subversive tome of genius which subverted the mythology of comic book and superhero storytelling.
The main action is set in 2019 Tulsa, but also spans decades of alternative U.S. history and locations on Earth and not on Earth. If you don’t know the original source material or have not seen Zach Snyder’s valiant adaptation Watchmen (2009), you will be very confused initially and throughout. Because Lindelhof’s approach to this alt-world version of masked cops, criminals and vigilantes is via a chopping meta-storytelling structure. The various plots events and character histories are delivered via flashbacks, flash-forwards, narcotic visions, hallucinogenic dreams, splintered timelines and even a TV show within this television show. It’s a very stylish smorgasbord, splashed with crazy characters, witty hard-boiled dialogue, wild science fiction twists, lashings of violence, pockets of substance, cinematic visuals, high class production values and a cast to die for.
Yes, but Paul, what’s it actually about? How about love, hate, racism, superheroes, corruption, giant squids, cloning, rogue scientists, good versus evil, vigilantism, revenge, megalomania, transcendent beings, war, violence, rogue politicians, superheroes, masked identities, nuclear threat; and that the United States continues to be sown with the seeds of intolerance, blood and death. Watch the Watchmen (2019), take your time and piece the crazy jigsaw together for yourself. If not, and you prefer to play it safe, there’s always Law and Order for those who want something less mind-blowing.
Release Date: September 25th 2019 – December 11th 2019
UK Release: Comedy Central
Another year passes and another year of South Park! It has now incredibly reached its twenty-third season and the energy, humour, satire and desire to surprise and shock is still very much there in the latest ten episodes. However, I think that in Trey Parker’s desire to reinvent and reinvigorate the format, he seems to have taken a few missteps along the way. Because, while containing some sublime moments of comedy and wonderfully grotesque episodes, the latest season does not consistently reach the heights of previous ones. One could argue this is the weakest season in a long time.
Don’t get me wrong, I am just a humble worker drone and totally respect Trey Parker’s satirical genius. Yet, having worked on South Park for over thirty years Parker has arguably moved the furniture around too much in Season 23. I can understand why he has re-jigged the format, but for me, concentrating mostly on Randy Marsh’s Tegridy Farm enterprise in the first six episodes, many characters we love like Butters, Kyle, Kenny, Mr Garrison, Wendy, and even Cartman are sidelined to mere supporting roles. Of course, they do feature, but not as much as I would have preferred. I guess Parker just wanted a change and in recent seasons this has garnered many fantastic episodes. In Season 23 though, the over reliance and prolonged attempts at stoner and weed humour just did not make me laugh. Plus, Towelie as a comedy character has never worked and I wish he had over-dosed permanently, never to return.
There are some fine comedic moments throughout, and the themes are as strong as ever. Parker takes many satirical swipes at all manner of sociological, political, gender, health, economical and media targets. Through some excellent writing he successfully lampoons: media censorship, China, the anti-vaccine movement, plant-based food, transgenderism in sport, the PC or ‘woke/snowflake’ generation, drug abuse, streaming services, Christmas greed, addiction, drunk drivers, immigration detention centres, and, very briefly, the Trump administration. Ultimately, the season features several very good episodes, but arguably only Band in China and Turd Burglars hit the heights of classic South Park episodes of past seasons. Nonetheless, Trey Parker on autopilot is still one of the greatest writers and comedic voices around. If only he had a little less ‘Tegridy’, this season could have been another classic.