CLASSIC MOVIE SCENES #8 – DEAD MAN’S SHOES (2004) – RICHARD MEETS SONNY
Directed by: Shane Meadows
Produced by: Mark Herbert, Louise Meadows
Written by: Paddy Considine, Paul Fraser, Shane Meadows
Cast: Paddy Considine, Toby Kebbell, Gary Stretch, Stuart Wolfenden etc.
Cinematography: Danny Cohen
**MAY CONTAIN SPOILERS**
Shane Meadows’ Dead Man’s Shoes (2004) is both a revenge thriller and a metaphor for the lost youth of England. Specifically, the youth of the Midlands discarded and forgotten by society.
Paddy Considine gives an incredible performance full of intensity, guilt, pathos, pain, self-loathing and regret. He portrays, Richard, a returning soldier, out to get back at those that hurt his brother, Anthony (Toby Kebbell). The film asks: can revenge absolve guilt? Alas, there is no easy answer.
The film was shot in three weeks on a shoestring budget. Among many, many brilliant and disturbing scenes is the one where Richard initially meets main gang-leader, Sonny (Gary Stretch). It’s a short but impactful scene full of menace and suspense. Richard makes it plain he is coming for Sonny and his motley crew of low level criminals. Apparently a larger scale confrontation was scripted, but due to budget constraints this scene replaced it; proving that more often than not less is definitely more.
Screenplay: Christopher Markus and Stephen McFeely
Based on The Avengers by Stan Lee & Jack Kirby
Starring: Robert Downey Jnr, Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira, Bradley Cooper, Josh Brolin and many, many more.
Music by: Alan Silvestri
Cinematography: Trent Opaloch
Edited by: Jeffrey Ford and Matthew Schmidt
Production Company: Marvel Studios
**RELATIVELY SPOILER FREE REVIEW**
So, we are finally here; assembled and ready to experience the last battle in this particular phase of Marvel films. Twenty-two movies released over an eleven year period now culminate in the adroitly named: Avengers: Endgame. While they may have all the money in the multiverse backing their superhero endeavours, Marvel deserve much credit for releasing so many great films within the eleven year cycle. Yes, of course many have followed a tried and tested genre formula, however, their legion of production staff, producers, directors, writers and actors did whatever it took to entertain the public.
This final film was set up perfectly by what preceded. I mean, the dust had not even settled at the end of Infinity War, and I, along with many others, were agog at the crushing defeat suffered by our heroes and Earth, at the click of Thanos’ finger and thumb. Thanos had achieved the impossible and obtained the six soul stones and eradicated fifty per cent of the population. This tragic genocide included many of the Avengers we had grown to root for and Endgame begins where its predecessor finished. Here we find a depleted and dejected Avengers team on Earth and a barely surviving Tony Stark in space facing the abyss. Collectively they are hurting, grieving and feeling vengeful.
The sombre and angry tone to the opening of the film was something I was drawn to. Emotionally it made sense to, within the first hour, colour the film with a slower, mournful pace and darker mood. This is encapsulated in the character of Hawkeye, who is using his special set of skills for destructive and nihilistic purposes. Similarly, Thor is twisted into a self-pitying anti-god; and this plays out with both surprise and humour. Of course, the remaining Avengers are not going to lie down for three hours in a reflective study of sorrow. Because, they want their friends and the population of Earth back; and they will do whatever it takes to achieve this goal.
The middle part of the film is where the narrative really gathers pace. Once Stark, Bruce Banner and Scott Lang/Ant Man discover a means with which to somehow alter the tragic events, we are thrown into many imaginative and entertaining set-pieces. I was so pleased Paul Rudd was back as Ant-Man in a key role. He is such a likeable and funny actor who always brings sharp comedy timing and warmth to his roles. Further, like Lang, Karen Gillen as Nebula, while seemingly a secondary character, plays an important role in Endgame. In more ways than one Nebula becomes a vital cog in the intricate and multi-stranded plotting.
The various Avengers including the aforementioned and: Black Widow, Captain America, War Machine and Rocket etc. all splinter to different places in order to achieve their mission. Here the film really finds a perfect pace and stride, delivering a series of brilliant action scenes. Indeed, Endgame is full of brilliant cross-cutting call-backs to the previous Marvel films; presenting a multitude of ‘Easter Egg’ or inter-textual moments.
Safe to say the action unfurls rapidly but the writers also have the confidence to slow the pace and allow several key emotional moments for certain characters. But, mostly there is action and fighting and humour and just so many memorable moments of a light and dark tone. My personal favourite was during Captain America’s mission; this plot strand just sang and hit so many high notes.
I am striving hard to avoid spoilers here, so all I can add is that the Marvel production team deserve so much credit for bringing this multi-stranded story home in such a thrilling fashion. I just loved the direction they took it in regard to the temporal, spatial and universal narrative choices. They assembled, pushed and pulled the formula in certain ways which surprised and kept the characters vibrant and fresh. The tonal balance was positive and only ever slightly threatened to slip into parody; mostly with Chris Hemsworth’s depressed rendition of Thor. My only gripe was I felt Brie Larson’s effervescent Captain Marvel was sadly under-used.
Unsurprisingly, the final gigantic battle sequences were expected but still delivered on a massive scale. Thanos is, and was, a mighty enemy and the last war against him and his hordes were full of epic surprise, pulsating action and heartfelt emotion. Undeniably, it was a most spectacular and moving climax. Thus, overall, I am actually shocked at how much I enjoyed a bunch of superheroes made of computer pixels larking about on a big screen. Maybe, however, given the time, money and energy spent over the last eleven years by the filmmakers and audience alike, it was, like Thanos, inevitable!
SIX OF THE BEST #15 – TALES OF THE UNEXPECTED EPISODES
Created by: Roald Dahl
No. of series: 9 – No. of episodes: 112
Producer(s) Anglia Television / ITV
Original release: 24 March 1979 – 13 May 1988
**MAY CONTAIN SPOILERS**
With its eerie opening theme tune and iconic dancing silhouette title sequence, Tales of the Unexpected, holds much nostalgia for me. In fact, it was one of my favourite shows I watched as a kid. Every Sunday evening I couldn’t wait for these short, sharp and sometimes shocking tales of: murder, revenge, adultery, gambling, addiction, blackmail, liars, con-artists; and generally twisted visions of humanity. Of course, the amusing consideration remains that the twist in the tales were generally always expected, making them paradoxically, not unexpected at all. However, trying to guess the twist was also part of the fun in watching.
The series was inspired by similar anthology narrative shows such as: Hitchcock Presents, The Twilight Zone and Way Out; with initial stories adapted from the work of genius writer, Roald Dahl. The early seasons were also introduced by Dahl and while produced mainly in the UK, latter seasons had U.S. produced episodes too.
Other writers’ work would be adapted and the series became a staple haven for many famous actors too. These included: Susan George, Sian Philips, Jose Ferrer, Joseph Cotten, Peter Cushing, Janet Leigh, John Gielgud, Brian Blessed, Ian Holm, Joan Collins, Denholm Elliott, Derek Jacobi, Michael Gambon, Anna Neagle, Joan Greenwood, Harry H. Corbett, Timothy West and many more.
Over most of 2018, I re-watched pretty much every episode on SKY ARTS and so for this article I would like to choose six of my favourite ones. I’d say the latter seasons were probably not as strong as the earlier classics. Yet, I still loved most of them; even some of the more comedic and goofy ones. Finally, picking a favourite six was an impossible job, and I have limited the Dahl classics to just one. Here they are!
LAMB TO THE SLAUGHTER (1979) – SEASON 1
A murdered husband, baffled police, distraught wife and a leg of lamb are the ingredients of one of the finest short stories I have ever experienced. Originally adapted for Hitchcock Presents, Susan George is excellent as the pregnant wife cooking up a special meal and murderous alibi twist.
THE FLYPAPER (1980) – SEASON 3
I was always told as a kid don’t talk to strangers for fear of abduction or harm and this episode deals with that theme expertly. The chilling tale from the pen of Elizabeth Taylor (not that one), finds an young girl drawn into danger from a seemingly unlikely source. The slow build-up of suspense, creepy performances and frightening end make it genuinely unforgettable piece of television drama.
THE BEST OF EVERYTHING (1981) – SEASON 4
Michael Kitchen is brilliant in this sharp, twisted drama as put-upon clerk, Arthur. His lowly beta male seeks the love of the boss’ daughter but is too broke to get her attention. Enter society-playboy Charlie Prince and Arthur finds confidence from his tutelage and connections. As the plot turns one way then another morality and fate catch out Arthur’s lofty aspirations and his dreams soon turn to dust.
HIJACK (1981) – SEASON 4
This brilliant story deals with a genre staple of an airline hijack. Very economical and full of suspense, it’s mostly shot in the interior of the cockpit as Simon Cadell’s Captain and crew are subject to a fear-inducing robbery. Cleverly plotted, this one even had me fooled with an audacious twist which really flies high at the end.
WHAT HAVE YOU BEEN UP TO LATELY (1982) – SEASON 5
I loved this episode because of the performance from Benjamin Whitrow. He is a bitter, unlikable, alchol-driven, misanthropic actor who verbally abuses his wife. When he bumps into an old acting friend the two share past memories and it’s soon revealed both are unhappy with their lives. Whitrow imbues, in a short time, a life of disappointment and human weakness, and his startling comeuppance is certainly deserving by the end.
SCRIMSHAW (1985) – SEASON 8
The U.S. produced episodes did not stand the test of the time very well, mainly due to the aged and fading 16mm film. Anyway, many of them could be classed as average but there was the odd gem. Scrimshaw was one such diamond in the rough, containing a haunting performance from Joan Hackett as an alcoholic barfly. One day she thinks her luck has changed when meeting an old wealthy artist friend, but that is far from the case.
Hackett’s performance stayed with me, especially the incredible shot at the end. When I researched Hackett’s name online wondering what she was up to now, I discovered she died in 1983 from cancer, aged only forty-nine. Released in 1985, Scrimshaw finds the audience literally watching a ghost, something I found completely unexpected.
My third directorial short film effort went into production this year and the weekend shoot took place in the last week of July 2018. Thus, a small crew and two cast members put all of our preparations and rehearsals into action, in order to produce a compelling work of fiction. I am now at the editing/score stage but in the meantime here are some cast and crew details, on-set photos and story pitch.
Sadie Cort is out for revenge. Her ex-boyfriend Stephen is coming to dinner and she has prepared a beautifully set candlelit table. The wine is uncorked and chilled before Sadie pours poison into it. As it drifts slowly to the bottom of the bottle, the doorbell chimes. Stephen is here but will he drink the wine? And why does Sadie want him dead? All will be revealed in the short horror and darkly comedic film Tolerance (2018), inspired by Roald Dahl, Inside No. 9 and Tales of the Unexpected.
CAST AND CREW
Written, produced, catered and directed by: Paul Laight
With Christopher Nolan’s Interstellar (2014) orbiting the cinemas this week I thought I’d look back at the film which he made in between breathing life into the Batman franchise. No doubt Nolan is an important genre filmmaker and as his budgets have got more grandiose then so have his ideas. I just love that he is interested in attempting to make intelligent blockbusters where ideas, character and theme lead the story rather than rely simply on action, explosions and special effects (no offence Michael Bay.)
Memento (2000) was a stunning and complex low-budget noir which dealt with obsession, murder and memory and Nolan continued these themes in superior cop thriller Insomnia (2002). Having delivered a cracking origins film in Batman Begins (2005) the director followed this up with a story about battling magicians based on Christopher Priest’s novel called The Prestige (2006). For me it confirmed him as a force-to-be-reckoned with director. Following on the themes and tropes established in his prior films, The Prestige is centred around two obsessives brilliantly portrayed by the always excellent Christian Bale as Alfred Borden and the never-been-better (until Prisoners (2013), Hugh Jackman, playing his bitter rival, Robert Angier. The story starts at the end with Borden facing the hangman for Angier’s murder. After which the narrative flashes back to a time when the pair were freshman trick-smiths learning the ropes from mentor Cutter (always solid Michael Caine). When the cockney and cocky Bordens’ actions accidentally lead to the death of Angiers’ wife (Piper Perabo) – during a particularly complex and dangerous trick – the two go their separate ways. This sets in motion a story full of bitter twists of active and reactive vengeance. Each protagonist becomes so obsessed outdoing the other – with the ultimate trick – they are prepared to sacrifice the ones they love in doing so.
The film is rich in plot, character and theme and investigates thoroughly the very human aspects of obsession and revenge. The double or doppleganger trope is also integral to the story as the writers Jonathan and Christopher Nolan literally dissect the characters’ souls. The gritty, dirty period of Victorian London is wonderfully evoked and the fascinating world of magicians and their mysterious secrets is expertly represented. At it’s heart the story begins by showing us the cons of the magicians and the lengths they will go to amaze and astound an audience. By the end though the film becomes something much different with a chilling and fantastic turn which you think you see but ultimately don’t see coming.
Brilliantly directed by Christopher Nolan The Prestige is inventive, intelligent and ingenious. His cast does not let the magical screenplay down with the gorgeous Scarlett Johannson and – albeit briefly – pretty Piper Perabo bringing some glamour to the gritty proceedings. Rebecca Hall is also on commanding form bringing a subtle pain to the role of Borden’s wife.
Overall, it’s a challenging big-budget tale in which you never quite know what is real or what is a con. It keeps you guessing to the end, leaving you with a jaw-dropping final act as the story moves from sleight-of-hand tricks to science fact and finally science fiction. Ultimately, the film successfully combines fantastical, existential, and scientific elements. The film gives us a kind of magic but asks whether it’s worth the damage it causes to lives? THAT, for me, is The Prestige’s greatest trick.