Monday, 17 September 2012

The Face Of Another: "Jean-Pierre Leaud in Kaurismaki's I Hired A Contract Killer"

Jpl02

I am delighted to announce that we will be screening Aki Kaurismaki's I Hired A Contract Killer.

I don't know if you've seen I Hired A Contract Killer before, but it is a fabulous, absurd film noir, with Jean-Pierre Leaud and Margi Clarke, and there's live music by Joe Strummer. Most of it was shot in Stoke Newington but the film is hardly known at all in the UK, and although Kaurismaki got some note recently with Le Havre, I still think his work is criminally under-appreciated in this country, and I want to set that right.

The screening is free, & will be on Saturday, September 22nd, @ 5pm, at The Gallery Cafe, 21 Old Ford Road, Bethnal Green, E2 9PL


I've posted a link below for directions to the venue, plus some words about the film.

We have an open house policy, the more the merrier, so I hope to see you there!


James

http://thegallerycafe.wordpress.com/contact-us/

 

 


I Hired a Contract Killer (1990)- 79 mins (Aki Kaurismaki)
Starring; Jean-Pierre Leaud, Margi Clarke, Nicky Tesco, Serge Reggiani, Kenneth Colley, Joe Strummer.


After fifteen years’ service, Henri Boulanger is made redundant from his job. Shocked, he attempts suicide, but can’t go through with it, so he hires a contract killer in a seedy bar to murder him at some unspecified time in the future. But almost immediately he meets and falls in love with Margaret, a flower-seller, which makes Henri realise that his life has some meaning after all. But when he goes back to the bar to cancel the contract, he finds it has been demolished – and there’s no way he can get in touch with the killer…

Saturday, 15 September 2012

Peter Strickland's Giallo Recommendations

A lot of people might be tempted to seek out Giallo films after seeing yours. As an aficionado, which films would you recommend?

I would go for the classic one The Bird With The Crystal Plummage by Dario ArgentoSuspiria obviously also by him, Don’t Torture A Duckling by Lucio Fulci. There’s a very nice one called Footprints On The Moon by…I can remember the composer, but not the director (Luigi Bazzoni)…it’s got Klaus Kinski in it and Florinda Bolkan who’s in many of them. Oh my favourite one isLizard In A Woman’s Skin – Lucio Fulci again. It’s beautifully psychedelic and it’s got a brilliant Morricone soundtrack – one of his best. I like The Beyond, it’s got a great Fabio Frizzi soundtrack. It’s a little bit trashy, but that’s part of its charm. Bava – Blood And Black Lace. That was one of the first Giallo films. I think a lot of the soundtracks are fantastic. Bruno Nicolai – The Cry Of The Prostitute soundtrack is phenomenal, it’s better than Morricone, it’s so so good. Some of the Giallo films are a bit… you know… but the good ones – likeThe Bird With The Crystal Plumage look so ravishing and the soundtracks, particularly those that use the eerie wordless vocals of Edda Dell’Orso are some of the strongest things about the films

Originally published in an interview on BombTV

Friday, 14 September 2012

Drifting Clouds Cinema Blog: "Nuts4R2 on Jean Rollin's The Iron Rose"

NUTS4R2

The Iron Rose (La Rose De Fer)

Thorn Of The Dead

 The Iron Rose (La Rose De Fer)
France 1973
Directed by Jean Rollin
Redemption Region 1

Well this is going to be a pretty short review.

I’ve noted on more than one occasion my respect for the writer/director Jean Rollin, who is perhaps best remembered for the spate of surrealist French lesbian vampire movies he gave the world. A true under-appreciated poet of cinema. I recently reviewed his film The Nude Vampire here and discovered it to be another little gem. I’d never seen that or The Iron Rosebefore and I expressed how much I was looking forward to seeing it.

Well, now that I have, it has to be said that I thought it was the least interesting of the works I’ve seen by him and, frankly, I found it a hard movie to watch. Starting off with a strong scene which made me groan because, once again, it uses a quite strikingly beautiful actress, Françoise Pascal, on Rollin’s favourite beach (yeah, you know the one), and a credit sequence set to a beautiful shot of a young couple kissing on the front of a train, the film then takes us to a crowded wedding reception where a thin, young man recites poetry to catch the eye of the aforementioned, beauty.

After this, the two go on a date and it pretty much, apart from the occasional passer by (such as a clown) becomes a two hander as the protagonists go into a cemetery to eat their picnic, which mostly seems to consist of chocolate, and then descend into a tomb to make love. When they come up for air, night has fallen and it’s here that the film takes on a certain Bunuelian flavour... and when I say that I’m thinking specifically about the impossibility of trying to find a way out of an artificially induced situation like the guests not being able to leave the house in The Exterminating Angel (reviewed here). For, once our sexed up couple leave the tomb, they find it impossible to find their way back out of the cemetery. They are not just locked in, they are caught up in a recurring loop of M. C. Esher-like proportions, coming across the same terrain again and again, even when they go over the wall.

Okay, I admit the movie sounds really interesting, but for some reason this one just didn’t appeal to me. Perhaps it’s because, unlike most of Rollin’s films, it has a storyline (no matter how simple and one note) that you can follow... whereas I’m more used to seeing a Jean Rollin that is mostly impenetrable and which has great and beautiful surrealistic shots which you will remember forever. Here though, I think the shots are merely both really colourful and competent... but with very few standout sequences, apart from the girl naked on a “beach representation” of the cemetery near the end. That’s quite striking but a minor oasis in a desert of dullness as far as I’m concerned... and I really don’t like to say this about Rollin’s work.

There’s an interesting vocal, experimental piece on the soundtrack reminiscent of something György Ligeti or Edgard Varese might have done at some stage in their careers but this really doesn’t give the visuals the lift they need and, in the end, I have to admit I was just waiting for it to finish (I may have started to nod off at some point).

At the end of the day, it’s a well shot but not great Jean Rollin movie. If you’re a fan of this director’s work, and I really am, then you’re going to want to watch this one anyway. This is the first time I had a truly, less than stunned reaction to his work, althoughTwo Orphan Vampires came close. I’m not going to let this put me off tracking down some of the movies I still haven’t seen by him though... but I would warn you to not expect too much from this one and approach cautiously. It’s been called, by one reviewer I respect a lot, Rollin’s first true masterpiece. I disagree with that one, I’m afraid, but that doesn’t mean that you would. Rollin is always worth a look even when he’s churning out stuff like this, is my view. But if you’ve never seen any of his movies before... I really wouldn’t start off with this one.

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The Face Of Another: "Laughton"

Laughton01

Wednesday, 12 September 2012

The Face Of Another: "Ambition - Rainer Werner Fassbinder"

Fassbinder
"I'd like to be for cinema what Shakespeare was for theatre, Marx for politics and Freud for psychology: someone after whom nothing is as it used to be." 

The Great Acting Blog: "The Actor's Life Should Be A Challenge"

Larryhamlet

A challenge is a thing which is difficult but doable, it must be within your control to do it – ie; if you knuckle down and apply your skills and apply the tools at your disposal, then, mixed with a bit of hard graft, you may accomplish the thing. The thing should be tough enough so that at the point of commitment, one thinks twice and would rather do anything other than the thing being committed to. Similarly, the task should be tough enough so that at intermittent times, it invites you to quit - “hard luck kid, you gave it your best shot”, and the kid goes back to wherever he came from. So a challenge is a test of nerve, a test of will, how you respond when the going gets tough. A true challenge invites us to improve ourselves and is rewarding when we knuckle down and dig a little deeper within ourselves, and even when we finally do accomplish the thing, even though we may be exhausted, it makes us stronger, and we feel that sense of accomplishment. Why? Because we applied ourselves to the task, falling short sometimes but coming back at it nonetheless, and, piece-by-piece, we got the thing done.

We love a fluke because it means somebody up there loves us, but nobody would want to live their life by them. Would they? In gambling you can study the form but it doesn't mean your numbers will come up, because ultimately we have no control over that. If the result is out of our control then, why do we feel anguish? Because we failed to get that momentary feeling of ecstasy, and we have lost what we have gambled, ie; money, time, self-respect.

Something which is impossible is not a challenge, it is merely impossible. What is not a challenge is trying to implement preposterous acting notes: relive that moment your puppy died, project your energy from your knee-caps, become Hamlet. Try and try and try as we might, we may never accomplish any of these things, or perhaps, like the lucky citizen who wins a tenner on the lottery after years of playing, we manage to delude ourselves, if only for a fleeting moment, that we did actually become Hamlet, that we forgot who we really were, and this moment generates an excitement all out of proportion with the actual accomplishment (if it can be called an accomplishment), as does the £10 lottery win. However, when the dust settles, and we are due to go on stage the following night, we may find, just before we are about to make our first entrance, that we cannot become Hamlet – but what happened to last night's magic, that glorious moment when we literally transmorphed into somebody else (if only for a fleeting moment)? Of course we never did transmorph into Hamlet, it's impossible, and when that dawns on us, we feel as empty and as worthless as the gambler who placed his chips on red, only for it to come up black. We invested ourselves in the gods, and they failed to deliver on our behalf. Was that moment of ecstasy worth it? No because it was hollow and superficial, whereas the deliberate, hard-fought victory is rewarding.

Transmorphing into Hamlet is no more a challenge than winning the Lottery is a challenge, but at least with the Lottery you've got a 12 million to one shot, although nobody ever lived their lives by those odds. Who knows what the odds on the survival of each individual actor are. Why not eradicate the odds and the gods altogether, and give yourself over to those things which are challenging but doable. It's nice to have a bit of luck sometimes, when something out of our control goes our way, but we cannot wait around hoping that will happen. The thing to do, is to knuckle down, decide what is within our to accomplish, and set about our task.