Bea says: I wanted to see this after seeing it previewed in October, as it is set in DC where we are now living. What I didn't know was that it was a true story.
Set in 2001, during the run-up into the Iraq War, the film follows the story of Valerie Plame and her husband Joe Wilson. Valerie is a long-serving and successful CIA agent, and Joe an ex-diplomat with much experience of Africa. Despite an apparently ordinary life as the parents of twins in Georgetown, they both become involved in CIA investigations into the shipment of yellowcake uranium from Niger into Iraq, via a convulated route (the CIA asks for Joe's help due to his knowledge of Africa; Valerie is leading a number of top secret missions in Iraq to investigate the WMD situation that later received so much press around the world).
The plot is quite intricate and involved and, I think, requires some background knowledge - the Plume/Wilson story was obviously huge here and I guess most US audiences would have this awareness. My take on what happens next is that Plume was sold out by the CIA in order to bury the real news; that there were no WMDs in Iraq, as we now all know.
A press leak meant that Wilson's activity with the CIA, and his relationship to Plume and her identity were plastered all over the news media. This resulted in dismissal from the CIA as she could no longer be covert, and a lot of mud-slinging against her and Wilson.
I was most interested in the film's handling of the strain this placed on Plume's sense of self, of who she really was, and on her marriage. These aspects were well dealt with.
The film is taken from books written by both Plume and Wilson, and they were involved with the adaptation, so clearly it is their version of the story; I would certainly like to read both.
A thought-provoking thriller which also made me realised how much time has passed since 2001.
***
Cecil says: Although the CIA comes out of this film with less than flying colours, the portrayal of the internal discussions and dilemmas, not to mention disagreements among officials shows the Agency in a fairly nuanced light - quite different from the image I had of it in the UK through the 50s to the 80s from its nefarious deeds in countries like Guatemala, Chile etc.
It's also interesting to realise how we see world events through fairly parochial eyes. As Bea says, we'd never heard of this Plume character; probably because all the UK attention during and after the Iraq war was focused on Tony Blair (and to a lesser extent George Bush).
This film had a definite anti-war, critical message on the wheeler-dealing going on as war approached back in 2003. But it did so in a more muted way than someone like Ken Loach would have done; or than that recent film by Armando Ioanucci, which I really didn't like. It had genuine drama, it portrayed the characters well, and it raised lots of issues around work, ethics, family and breakdown.
I felt a certain identification with the Joe Wilson character who, in the 2nd scene of the film, cannot resist getting into an angry row with a dinner guest in the middle of a birthday party (something I confess I have done at least 3 times in the last couple of years). Sean Penn played his obstinate determination well.
I also identified with the Plame character. Thankfully I have never had the power of the White House (or Number 10) pushing against me and undermining my character, but I have experienced that moment of breaking point when the forces of politics, the media and power games somehow try to involve you in their own games. So I had vivid memories as she breaks down in front of the mirror at her parents' home.
This is good drama; psychological and political. Well worth a watch, whatever your views on Iraq.
***
Saturday, 27 November 2010
Harry Potter and the Deathly Hallows - Part One
Bea says: When friends suggested we join them to see this very popular new release, Cecil opted out immediately as he is no fan of Harry Potter. I, however, have been following the series since the publication of Harry Potter and the Philospher's Stone in the 1990s. I haven't been quite as dedicated a follower of the films, but have seen most of them in a haphazard way, when I've been able to (Sunday afternoons on TV, or on long plane journeys).
Despite my dedication to the series, I haven't yet read the Deathly Hallows, even though it has been out for some years now. I think it's because I know it's the last Potter book ever, and somehow if I read it then I know it's definately ended. If I don't, then I know the last one is always there for me - for sometime in the future when I really, really feel the need to read a comforting book. Books are, except in a few very rare cases, so much better than films that seeing a film of a book first never bothers me - if I even vaguely enjoy a film I know I will love any book its taken from.
So the three of us, sans Cecil, headed up to Georgetown on the day after Thanksgiving to see Part One of the Deathly Hallows. And comforting is probably the least appropriate word to use about this story - it was dark, dark, dark and not very comforting at all. Even the usual comic relief (various Weasleys, the Hogwarts ghosts, Hagrid) were either deadly serious or absent entirely. The film was shot almost entirely in dark interiors or the blue light of northern England in winter. There was much action as usual - as Harry, Ron and Hermione evaded, sometimes not very successfully, capture from various minions of You-Know-Who. As the magical world of wizards and witches fell to these dark forces I couldn't help thinking about our own "muggle" world and the chaos we are in right now - if only we too had some cryptic messages from Dumbledore beyond the grave about how to get out of this mess...
The film ends at a point where it would seem that Harry, Ron and Hermione's cause is lost. We left the cinema feeling low and overwhelmed - one friend commented on how similar to the Lord of the Rings film sequence it felt, and I agree; it felt like watching The Two Towers; the dull blue darkness present throughout, the grim creatures in charge of the world and the sense that it would take some kind of miracle for hope to be restored.
I expect hope will be restored in Part Two, but there will be a long wait for it. And however it is restored, it will never be as light and carefree as The Philosopher's Stone again. That's ok - it's part of growing up, and growing older.
If you like the series, a must-see - but think twice before taking the kids.
***
Despite my dedication to the series, I haven't yet read the Deathly Hallows, even though it has been out for some years now. I think it's because I know it's the last Potter book ever, and somehow if I read it then I know it's definately ended. If I don't, then I know the last one is always there for me - for sometime in the future when I really, really feel the need to read a comforting book. Books are, except in a few very rare cases, so much better than films that seeing a film of a book first never bothers me - if I even vaguely enjoy a film I know I will love any book its taken from.
So the three of us, sans Cecil, headed up to Georgetown on the day after Thanksgiving to see Part One of the Deathly Hallows. And comforting is probably the least appropriate word to use about this story - it was dark, dark, dark and not very comforting at all. Even the usual comic relief (various Weasleys, the Hogwarts ghosts, Hagrid) were either deadly serious or absent entirely. The film was shot almost entirely in dark interiors or the blue light of northern England in winter. There was much action as usual - as Harry, Ron and Hermione evaded, sometimes not very successfully, capture from various minions of You-Know-Who. As the magical world of wizards and witches fell to these dark forces I couldn't help thinking about our own "muggle" world and the chaos we are in right now - if only we too had some cryptic messages from Dumbledore beyond the grave about how to get out of this mess...
The film ends at a point where it would seem that Harry, Ron and Hermione's cause is lost. We left the cinema feeling low and overwhelmed - one friend commented on how similar to the Lord of the Rings film sequence it felt, and I agree; it felt like watching The Two Towers; the dull blue darkness present throughout, the grim creatures in charge of the world and the sense that it would take some kind of miracle for hope to be restored.
I expect hope will be restored in Part Two, but there will be a long wait for it. And however it is restored, it will never be as light and carefree as The Philosopher's Stone again. That's ok - it's part of growing up, and growing older.
If you like the series, a must-see - but think twice before taking the kids.
***
Sunday, 21 November 2010
The Sorcerer's Apprentice
Bea says: Last night our plan was to see a film at the wonderful, restored Byrd Theatre in Richmond, Virginia and any film would have done. The Sorcerer's Apprentice wouldn't have been amongst our usual choice of films, but it did well enough, despite being a clear second to the whole experience.
Settled into our plush red seats, we gaped in wonder at the intricate decoration and enormous chandelier (which changed colour regularly - a nice touch!). The evening show got off to a great start with Bob Gulledge at the mighty Wurlitzer, rising up through the floor to play 15 minutes of nostalgic movie tunes (Somewhere Over the Rainbow etc). Patrons clapped, whistled and stamped their feet - it was a fantastic atmosphere.
The film itself was nothing out of the ordinary - a non-animated remake (although I'm not sure how true to the original - except for the famous mop scene) of the animated Sorcerer's Apprentice from many years ago, with some Arthurian legends thrown in and the general gist heavily borrowed from Harry Potter, and with much use made of computer technology.
It was entertaining enough, however, although the car chase scenes were too long for me. I like Nicholas Cage, so was happy enough to watch him play Balthazar, and in classic Disney fashion it all turned out all right in the end (world saved, and both Balthazar and the apprentice got their girl).
It was, rather like the Harry Potter sequence, perhaps a little more dark and violent than I expected and rather scary for some of the younger members of the audience!
If you find yourself in or near Richmond, Virgina, go to this theatre - especially on Saturday nights to catch Bob's playing.
Cecil says: This has got to be one of the most extraordinary cinemas in the world - http://www.byrdtheatre.com/.
And a great policy of charging just $1.99 per seat meant whole families turned up for the show we watched. About 300 in the audience for an early evening showing. If that was repeated for all 5 Saturday showings, it makes a pretty penny for the cinema and something other pricier and modern cinemas might want to think about.
As Bea says, the wurlitzer was fantastic; worth $1.99 just hear and see that; and the audience lapped it up. Cries of 'We love you, Bob', as he disappeared below stage, followed by the spotlight down to the last visible hair on his head. A fantastic spectacle.
We also learnt that Ralph Dolby, son of THE Dolby sound system family, had Dolby sound set up in the Byrd at way below cost, such was his love of the cinema. And the sound is good. A bit too good for my older ears in such a fantasy film with loads of special effects (I'm never quite sure why film makers think that audiences want to be assaulted by crash, bang wallop every 20 seconds; and the computer-generated special effects just seem to accentuate this).
I actually enjoyed Alfred Molina playing the evil sorcerer more than Nicholas Cage. He's one of those actors you see around in films but you can never remember which was his top role; actually he has done so many films over the years, and he has more to come in 2011 already if Wikipedia is to be believed.
As Bea said, it didn't matter to us what film showed - it was the cinema we went to see, so for star rating, I can only give ** to the film but ***** to the cinema. Another example of the community saving a local icon - bravo Richmond, Virginia.
Settled into our plush red seats, we gaped in wonder at the intricate decoration and enormous chandelier (which changed colour regularly - a nice touch!). The evening show got off to a great start with Bob Gulledge at the mighty Wurlitzer, rising up through the floor to play 15 minutes of nostalgic movie tunes (Somewhere Over the Rainbow etc). Patrons clapped, whistled and stamped their feet - it was a fantastic atmosphere.
The film itself was nothing out of the ordinary - a non-animated remake (although I'm not sure how true to the original - except for the famous mop scene) of the animated Sorcerer's Apprentice from many years ago, with some Arthurian legends thrown in and the general gist heavily borrowed from Harry Potter, and with much use made of computer technology.
It was entertaining enough, however, although the car chase scenes were too long for me. I like Nicholas Cage, so was happy enough to watch him play Balthazar, and in classic Disney fashion it all turned out all right in the end (world saved, and both Balthazar and the apprentice got their girl).
It was, rather like the Harry Potter sequence, perhaps a little more dark and violent than I expected and rather scary for some of the younger members of the audience!
If you find yourself in or near Richmond, Virgina, go to this theatre - especially on Saturday nights to catch Bob's playing.
Cecil says: This has got to be one of the most extraordinary cinemas in the world - http://www.byrdtheatre.com/.
And a great policy of charging just $1.99 per seat meant whole families turned up for the show we watched. About 300 in the audience for an early evening showing. If that was repeated for all 5 Saturday showings, it makes a pretty penny for the cinema and something other pricier and modern cinemas might want to think about.
As Bea says, the wurlitzer was fantastic; worth $1.99 just hear and see that; and the audience lapped it up. Cries of 'We love you, Bob', as he disappeared below stage, followed by the spotlight down to the last visible hair on his head. A fantastic spectacle.
We also learnt that Ralph Dolby, son of THE Dolby sound system family, had Dolby sound set up in the Byrd at way below cost, such was his love of the cinema. And the sound is good. A bit too good for my older ears in such a fantasy film with loads of special effects (I'm never quite sure why film makers think that audiences want to be assaulted by crash, bang wallop every 20 seconds; and the computer-generated special effects just seem to accentuate this).
I actually enjoyed Alfred Molina playing the evil sorcerer more than Nicholas Cage. He's one of those actors you see around in films but you can never remember which was his top role; actually he has done so many films over the years, and he has more to come in 2011 already if Wikipedia is to be believed.
As Bea said, it didn't matter to us what film showed - it was the cinema we went to see, so for star rating, I can only give ** to the film but ***** to the cinema. Another example of the community saving a local icon - bravo Richmond, Virginia.
Sunday, 7 November 2010
Get Low
Cecil says: This has got to be the film of the year, and surely an Oscar for Robert Duvall.
But before I go further into the film itself, let me tell you about the place we saw it: the Capitol Cinema in York, Pennsylvania. One of those old 1920s movie theaters that made it into the modern era with hardly a change in its decor or its fittings. Fantastic venue and a credit to the local community in York who apparently campaigned from 1980 onwards to keep the place open. And they managed to keep it as a single-screen, 500 seater sitting alongside the 1,000 seater Strand next door, which is used mainly for stage plays but does also show the occasional film. Hats off to them and may many other towns around the world follow suit. The audience of 100 on a Saturday night paid credit to their efforts for community cinema.
Now to the film: what a classic. Great opening scene: a house on fire, but fixed camera for about 20 seconds just watching the flames, until suddenly you see a body running away from the house towards the camera. But it's not until well into the story that you begin to realise what the house fire was all about...
Get Low is all about story-telling. Old man Felix is feared by the local community; rumours abound of what he has done and what he is capable of, and slowly, as the film develops, we learn more and more about the man himself; he wants his own story to come out, but he feels almost incapable of telling it himself. So he comes up with a great wheeze for how to get everyone together to hear him tell his tale...
It's wonderful stuff. Set in Georgia (USA, not eastern Europe), its tone and atmosphere reminds me of Coen Brothers films. Bill Murray is fantastic. And if they did an Oscar for animal parts, I'd nominate Gracie the donkey for her lips and her smile.
Only one slight jarring, right at the end: what was the point of the final scene, with young Dad holding little baby in his arms, AND little baby smiling like that? Was it some bow to the needs of Hollywood or did it to have some subtle significance like the rest of the film?
Final tip: unless you come from down Georgia way, make time to see the film twice. The story is worth it, and you might need at least two viewings before you catch all the dialogue in that southern twang...
****.5
Bea says:
Cecil and I are agreed on this one - this is easily the best film I've seen this year, and is probably one of the best films I've ever seen, certainly one of the best American films. Duvall is riveting as Felix, Sissy Spacek (so good to see her on screen again) excellent as his old flame, of sorts, and the rather underrated Bill Murray brilliantly cast as the funeral director. Look out for the band playing at the funeral party - is that Alison Krauss? It certainly is her singing as the credits roll. I don't want to say too much and spoil the experience - go and see this film. Suffice to say that I loved the way the story(ies) played out, and the fine balance between tragedy and comedy.
*****
But before I go further into the film itself, let me tell you about the place we saw it: the Capitol Cinema in York, Pennsylvania. One of those old 1920s movie theaters that made it into the modern era with hardly a change in its decor or its fittings. Fantastic venue and a credit to the local community in York who apparently campaigned from 1980 onwards to keep the place open. And they managed to keep it as a single-screen, 500 seater sitting alongside the 1,000 seater Strand next door, which is used mainly for stage plays but does also show the occasional film. Hats off to them and may many other towns around the world follow suit. The audience of 100 on a Saturday night paid credit to their efforts for community cinema.
Now to the film: what a classic. Great opening scene: a house on fire, but fixed camera for about 20 seconds just watching the flames, until suddenly you see a body running away from the house towards the camera. But it's not until well into the story that you begin to realise what the house fire was all about...
Get Low is all about story-telling. Old man Felix is feared by the local community; rumours abound of what he has done and what he is capable of, and slowly, as the film develops, we learn more and more about the man himself; he wants his own story to come out, but he feels almost incapable of telling it himself. So he comes up with a great wheeze for how to get everyone together to hear him tell his tale...
It's wonderful stuff. Set in Georgia (USA, not eastern Europe), its tone and atmosphere reminds me of Coen Brothers films. Bill Murray is fantastic. And if they did an Oscar for animal parts, I'd nominate Gracie the donkey for her lips and her smile.
Only one slight jarring, right at the end: what was the point of the final scene, with young Dad holding little baby in his arms, AND little baby smiling like that? Was it some bow to the needs of Hollywood or did it to have some subtle significance like the rest of the film?
Final tip: unless you come from down Georgia way, make time to see the film twice. The story is worth it, and you might need at least two viewings before you catch all the dialogue in that southern twang...
****.5
Bea says:
Cecil and I are agreed on this one - this is easily the best film I've seen this year, and is probably one of the best films I've ever seen, certainly one of the best American films. Duvall is riveting as Felix, Sissy Spacek (so good to see her on screen again) excellent as his old flame, of sorts, and the rather underrated Bill Murray brilliantly cast as the funeral director. Look out for the band playing at the funeral party - is that Alison Krauss? It certainly is her singing as the credits roll. I don't want to say too much and spoil the experience - go and see this film. Suffice to say that I loved the way the story(ies) played out, and the fine balance between tragedy and comedy.
*****
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