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Archive for the ‘Comedies’ Category

BIFF 2014 #11: Aqui estoy, aqui no (Here I Am, Here I’m Not, Chile-Argentina 2012)

Posted by Roy Stafford on 3 April 2014

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Juan Pablo Correa as Ramiro (affectionately known as ‘Fatso’) with his friend Lore (Constanza Alemparte)

Portrait Without BleedI missed the opening few minutes of this film but as it is a ‘re-imagining’ of the plot of Vertigo I can make a reasonable guess as to how it begins. The Jimmy Stewart role is played by Juan Pablo Correa who is known as ‘Fatso’ to his friends, principally Lore who might be in Hitchcock’s Barbara Bel Geddes role. The trauma suffered by Ramiro involves a car crash and the woman he is asked to investigate is a local rock star who once played with a band called ‘Kocks’ (!). Ramiro is supposedly a journalist so he is contracted to write her biography. Writer-director Elisa Eliash is quoted as saying that she wrote the script quickly as an experiment and that partly explains why the narrative leaps backwards and forwards in time (see Press quotes on the film’s website). This suggests that the film might be difficult to watch but although I certainly wasn’t always sure what was going on, I always found the film engaging. Partly this is because Ramiro is a rather loveable character, but one not without faults. It’s very difficult for the other characters (and the audience) to know when he is telling the ‘truth’ and when he is fantasising. It’s good to see such an overweight character as the lead in a film like this and his physical problems (sweating, overeating/nausea etc.) aren’t avoided so he becomes a human rather than fantasy figure.

The film is set in Providencia which Wikipedia informs me is a city just outside Santiago which is an enclave of the upper middle-class. We don’t see that aspect of the city but we do get to enjoy some of the parks and coffee shops. Even so there is an inexplicable scene in which the water cannon are out on the streets recalling scenes from No (Chile 2011) which was successful last year in the UK. The Kim Novak role goes to María José Siebald as Ana/Valentina whose ‘makeover’ is aided by a blonde wig. As with many other aspects of the film, her interest in archery is an original idea and is developed as a symbolic element of the film’s credits – Valentina attempts to teach Ramiro to fire an arrow at a target but it sails into the distance with no sense of where it might end up.

Aqui estoy, aqui no appears to have been very successful in Chile and has been shown extensively in festivals across Latin America. As far as I can see it had only previously been at Cairo’s festival before its Bradford screening so I’m intrigued as to how the BIFF programmers found it. I’m glad they did. I enjoyed what seems to me to be an original comedy with a commercial bent. I hope it gets more exposure in Europe.

Trailer:

 

Posted in Festivals and Conferences, Films by women, Latin American Cinema, Comedies | Tagged: , , | Leave a Comment »

The Stag (Ireland 2013)

Posted by Roy Stafford on 24 March 2014

The group in despair watching the carefree antics of The Machine. (From left) Andrew Scott (Davin), Michael Legge (Little Kevin), Andrew Bennett (Big Kevin), Brian Gleeson (Simon) and Hugh O'Conor (Finnan)

The group in despair watching the carefree antics of The Machine. (From left) Andrew Scott (Davin), Michael Legge (Little Kevin), Andrew Bennett (Big Kevin), Brian Gleeson (Simon) and Hugh O’Conor (Fionnan)

I’m not sure If I can make a full analysis of this film. If it had been a Hollywood film with the same outline synopsis I probably wouldn’t have gone to see it. I haven’t seen any of the Hangover films or any of the so-called ‘bromance’ comedies. What I have seen are some of the interesting spin-offs or alternatives/commentaries on the Hollywood titles such as Sarah Polley’s Take This Waltz with Seth Rogen and the distaff version of a ‘stag’ film, Bridesmaids. Does this qualify me? I’ll leave that to others to decide. What it does mean is that the tropes of a ‘male-bonding’ comedy involving a reluctant bridegroom on his stag weekend are not so familiar that I couldn’t find anything fresh in them in this film. I enjoyed the film because I found its dialogue to be witty, its characters to be relatively new to me and the occasional references to contemporary Irish society informative. It does get rather sentimental at the end, but I can forgive that in a film which made me laugh out loud several times.

The reluctant bridegroom is Fionnan a rather precious young man who works as a theatre set designer. His bride to be, the rather more lively Ruth, is determined to send him off on a stag weekend. There are two odd aspects of this. The best man she has to persuade to organise the stag is her ex-boyfriend (and Fionnan’s best friend) Davin and her central condition is that her brother ‘The Machine’ must be on the stag. Davin is a university lecturer (in history?) and seemingly long-suffering. He doesn’t want The Machine along and proposes an alternative stag – a hike in the hills of County Wicklow, ‘bonding’ with nature and Fionnan’s other friends, a gay couple and a mild-mannered business type. Inevitably, The Machine turns up despite Davin’s best efforts to keep him away and the bonding with nature becomes a rather different experience. The script is by the writer-director John Butler and the best-known of the actors, Peter McDonald, who plays The Machine. It’s a script that has great potential but perhaps needed more work on its subplots. It doesn’t need to be longer but the number of sub-plots could be reduced and the remaining ones given a little more depth. Overall, however, as one Irish reviewer put it we do get to explore something about “the target of contemporary Irish masculinity – in all its post-Tiger, post-modern, metrosexual complexity”. The Machine’s seemingly loutish pranks do, of course, have a potentially positive outcome in puncturing some of the pomposity and hypocrisy which exists around the generally good-natured group. The film looks good and the scenery is lovely – the references to U2 are the only alienating factor for me.

The Irish Film Board backed the production and it is a completely ‘local’ film. UK audiences may recognise Andrew Scott (Davin) as Moriarty from the recent Sherlock TV series. Peter McDonald has been in many UK theatre and TV productions as well as several films in Ireland and the UK.

(In the US, the title of this film has been changed to ‘The Bachelor Weekend‘)

UK trailer:

Posted in Comedies, Irish Cinema | Tagged: | Leave a Comment »

¡Viva! 2014 #3: Mar del Plata (Argentina 2012)

Posted by Roy Stafford on 18 March 2014

Joaquin meets Elena on the beach. She was his girlfriend many years before.

Joaquin meets Elena on the beach. She was his girlfriend many years before.

Viva14Here’s a short (83 mins) and entertaining comedy with some intelligence. It’s written by Ionathan Klajman and directed by the writer with Sebastian Dietsch – both on their feature debuts. You do wonder if the two men have a relationship like the two characters in the film, Joaquin (Pablo G. Pérez) and David (Gabriel Zayat) – two teenagers who grow up to be thirty-somethings with marriage problems. In several ways this is rather like a New York Jewish comedy. Joaquin is revealed to be from what was once a Jewish immigrant family but I didn’t notice if we learned about David’s family. Wikipedia tells me that Argentina has the biggest Jewish population in Latin America so perhaps the possible cultural identity of the comedy isn’t so surprising.

Joaquin has been divorced by his wife after only a couple of years and his parents offer him a ‘mini-break’ won by his father in the lottery. For various reasons he ends up on holiday with David who he hasn’t seen for some time. David is still married but clearly having a difficult time. He and Joaquin bicker and get into silly schoolboy squabbles but everything changes when the pair bump into one of Joaquin’s ex-girlfriends at the beach resort of Mar del Plata. Elena is now married to a successful novelist who immediately sets off David’s critical response mechanisms. (David is presented as a ‘failed writer’ and the rather pompous Lautaro is like a red rag to a bull.) This is the twist moment in the narrative and I found the latter section of the film more amusing than the embarrassing pranks David and Joaquin played on each other earlier.

Overall this film proved to be a pleasant way to spend time and, as a ‘bromance’, generally more fun than contemporary Hollywood comedies. But I suspect that it is not ‘different’ enough to attract a UK distributor.

Vimeo Trailer posted by the DoP (the film uses quite a lot of music tracks):

Posted in Argentinian Cinema, Comedies, Festivals and Conferences | Tagged: , | Leave a Comment »

Her (US 2013)

Posted by Roy Stafford on 15 February 2014

Theodore waits for his new OS to load – and become 'Samantha'.

Theodore waits for his new OS to load – and become ‘Samantha’.

A few years ago Her might have been called a ‘smart film’ – made for and appreciated by a specific niche audience (of well-educated, arthouse patrons). In 2013-4 it has taken $23 million at the box office in North America and I’ll be intrigued to see how it does in the UK. It already has an IMDB score of 8.4 and 94% on Rotten Tomatoes. I found it an ‘interesting film’, well worth seeing but not completely satisfying. It’s been described as a romcom which I don’t think is helpful. I would say that it is a hard science fiction film utilising comedy. I realise that this won’t be a common reaction, but I can argue a case.

I find it very difficult not to see most SF films coming out of the US as anything other than Dickian narratives – i.e. inspired in some way by the ideas of Phil K. Dick. Possibly I haven’t read enough or I became obsessed by Dick at a particular moment in my cultural education and I can’t throw him off. Still, I can imagine this as one of Phil’s short stories. Set in the ‘near future’, Her focuses on Theodore (itself a Dickian name, referring to ‘God’s gift’). He’s in early middle age, recently separated from his wife and working as a writer of emotionally-charged letters for customers who are themselves less than emotionally literate. His social life is as he indicates a non-choice between internet porn and videogames. One day he buys a new Operating System, ‘OS1′, for his phone/computer and promptly falls into a relationship with the artificial intelligence who voices the software and calls ‘herself’ Samantha. I don’t want to give away any more than that (though in contemporary cinema, blogs and promo material tend to tell you everything).

The film looks beautiful. It is shot in LA and Shanghai which provides cityscapes and, I suspect, the High Speed train that takes Theo on holiday. The photography is by the Hoyte van Hoytema who has worked in Sweden, UK and North America and the costume design with its distinctive (but hideous) high-waisted pants for men combine to create a world of warmed-up pastels and bland environments. The music, mostly by the Canadian band Arcade Fire, surprised me by sounding a little twee for my taste but it worked in terms of the narrative. Joaquin Phoenix as Theo and Amy Adams as his close friend give good performances and Rooney Mara copes well with the difficult role of Theo’s wife. The problem is that as a film the narrative poses problems for writer-director Spike Jonze. Many scenes consist of shots of Joaquin Phoenix talking to Samantha (voiced by Scarlett Johansson) via his smartphone’s integrated microphone. I confess that people who talk on their mobiles in public via earphone/mike combinations drive me almost to murder so I was aggravated by these long sequences. OK, perhaps that is an extreme reaction, but these sequences are not cinematic. The Amy Adams character is trying to construct a documentary film about sleeping. This – and the reactions to it from Theo and Amy’s husband – make for an interesting commentary on the overall narrative of the film.

There is a great deal of talk about relationships – and about sex. There is little sexual activity on screen though I did find one scene strangely arousing. I’m not sure that there is much ‘romance’ and for me not much emotion. More important, I think is the satire on social relations in this future world. And what a sanitised world it is – seemingly ‘cleansed’ of old people, poor people, black people, disabled people etc. I was reminded at various points of Charlie Kaufman’s script for Eternal Sunshine of the Spotless Mind. I don’t think Her is as good.

I am intrigued by the discovery that Samantha Morton is the Executive Producer on the film and that she was initially the voice of the OS. It seems that her voice was replaced for production reasons. I’m a huge Samantha Morton fan and I do wonder what her voice would have contributed. Johansson does a good job, but it would have been a different element in the mix as voiced by Morton.

Her did make me laugh at various times, not because of the romance but more because of the recognition of human frailties in the face of artificial intelligence. I think the film could lose 30 minutes and it might have benefited from more, not less, ‘plot’. I don’t regret 126 mins in the cinema and I enjoyed the overall experience, but as with American Hustle, if this is one of the Oscar choices, American cinema is in trouble. The film is in some ways ‘global’ but its sensibility seems to be the wan emotionless world of Southern California.

Posted in American Independents, Comedies | Tagged: , | 7 Comments »

American Hustle (US 2013)

Posted by Roy Stafford on 7 February 2014

Amy Adams and Christian Bale. photo © Francois Duhamel/Sony Pictures

Amy Adams and Christian Bale. photo © Francois Duhamel/Sony Pictures

American Hustle is a mess of a film. It purports to tell a tale about a scam in which an FBI agent hopes to trap politicians engaged in corruption in 1978. I think the script and the mise en scène are both problematic and the shifting tone of the scenes means that it often isn’t clear what kind of film we are watching. If this is one of the American films of the year – or at least one that the Academy is considering for major honours – then the US industry is itself in a mess.

I should confess that in a sense I went to see the film more or less out of desperation. I calculate that there hasn’t been a single foreign language film on general release for the last three months around here and I wanted to go to the pictures! But I have enjoyed the David O. Russell films that I’ve watched before and I expected to enjoy this one. To pick out the good things, the music soundtrack is very enjoyable and there is a great cast – but unfortunately they are dressed like cartoon characters and required to behave similarly. I’m happy to go with obnoxious characters as required by the plot, but Bradley Cooper’s FBI agent in this film becomes so annoying that I just hoped someone would despatch him to get him off the screen. But the main problem is that the mixing of genres/approaches just isn’t thought through. (There has been some discussion about how much Russell required his actors to improvise on set.) Of course I realise that the film is essentially about a ‘scam’, or a ‘sting’ and that it is probably meant to be ‘playful’ in its tonal shifts. Perhaps the extended dialogue scenes that don’t seem to go anywhere are part of this playfulness? The film is based on a real FBI operation in 1978 and the audience is warned at the beginning by the statement “Some of this actually happened”. We don’t know which bits.

I suppose the real question here is about what the attempt to marry a comedy and a reconstruction of a controversial entrapment project means in terms of politics, aesthetics and simple entertainment. Like most audiences I enjoy a fictional heist or sting movie whether it is played straight or as a comedy but this seems the worst of all worlds – it’s not that funny, or intriguing in its plot shifts and its politics seem very confused. My main concern throughout the film was that Amy Adams was going to catch pneumonia with her chest open to the elements wherever she went. She’s far too good an actor to be treated in this way. Now I’m going to try to find Louis Malle’s Atlantic City to remind me of what New Jersey might have been like in the 1970s.

Posted in Comedies, Hollywood | 2 Comments »

Whisky Galore! (UK 1949)

Posted by Roy Stafford on 29 December 2013

George (Gordon Jackson) rescues The Biffer (Morland Graham) as the SS Cabinet Minister threatens to sink.

George (Gordon Jackson) rescues The Biffer (Morland Graham) as the SS Cabinet Minister threatens to sink.

BBC4 is such a blessing. Without it UK TV would be unbearable. This Christmas holiday the channel revived the traditional Yuletide TV schedule and gave us a run of Ealing films. The standout for me was Whisky Galore! which I hadn’t seen for many years. For anyone who doesn’t know the story, adapted from Compton Mackenzie’s novel, it is inspired by a real-life incident in which a ship went aground off the isle of Eriskay in the Outer Hebrides in 1941 – enabling islanders to ‘salvage’ much of its cargo of whisky. Mackenzie was himself the local Home Guard commander who turned a blind eye to the salvage operation. In the film, the locals of the mythical island of ‘Todday’ (a play on ‘toddy’?) are offered a similar opportunity during a period when their own supplies of whisky have run out. The only barrier to their enjoyment of the spoils is the local Home Guard commander, the English Captain Waggett played by Basil Radford, one half of the comic duo ‘Chalders and Caldicott’ with Naunton Wayne who appeared in several British films from 1938 onwards. Waggett brings in the ‘Excise men’ to hunt for the whisky hidden by the islanders. In doing so, he finds himself at odds with nearly all of the islanders.

Whisky Galore! is now considered a ‘classic comedy’. Initially it was only a moderate hit in English cinemas, playing better in Scotland but scoring an unexpected success in the US (as Tight Little Island) and in France where the title translated as ‘Whisky a GoGo’. Its release in 1949 alongside Passport to Pimlico and Kind Hearts and Coronets, helped to establish the idea of the ‘Ealing comedy’. As Philip Kemp points out in his book on director Sandy Mackendrick, (Lethal Innocence, Methuen 1991), once a film gets the ‘classic tag’ it is often difficult to step back and view it objectively. But let’s try anyway.

The film’s production context is crucial. It was made in 1948 when the UK attempted to keep Hollywood productions at bay through import tariffs as part of the struggle to achieve a balance of payments. Hollywood responded by embargoing British cinemas and UK producers attempted to fill the gap with increased production. Alexander Mackendrick was a young filmmaker at Ealing given his first directorial task on a location shoot (with all available studio space taken). Mackendrick was American-born but part of a Scottish family and he would go on to become one of the stars of Ealing and a director and later film teacher with an international reputation. His first film, not surprisingly was a little uneven and took twice as long as the budgeted 60 days to shoot on the remote (from London) island of Barra in the Outer Hebrides.

Watching the film now I’m struck by three immediate observations. First, there is a great deal of music, both in terms of score and the diegetic music used for local celebrations. Second, the location photography and the use of local non-professionals creates a very strong sense of place. Third, the narrative is actually pretty thin with the one central conflict and a couple of romantic sub-plots involving the two daughters of the island’s central entrepreneurial figure Macroon who runs the general store. This means that one of Ealing’s bigger stars, the husky-voiced Joan Greenwood is rather under-used. In fact all three central female roles (the other daughter and Waggett’s wife) are similarly under-used apart from a few one-liners. On the other hand, the film celebrates that Ealing trait of the small community working together and the film succeeds because of the sheer vitality of the camerawork and editing supporting the performances and the direction of the central narrative.

The interest for film scholars now, I think, lies in the film’s representation of certain ideas about ‘Scottishness’ and its relationship with similar films in terms of location and thematics. This dossier of materials compiled by Paul Cronin on the website ‘The Sticking Place’ provides many interesting starting points for debates. I’d like to pick up on what is sometimes referred to as the ‘kailyard’ tradition. This term can be traced back to at least the sixteenth century and it refers to the practice in rural areas whereby worker’s cottages would have attached a small plot of land to grow cabbages or other brassicas such as kale. In the 1890s the term was used to describe a certain kind of Scottish literature perceived as sentimental and nostalgic at a time when the Central Lowlands of Scotland (Glasgow and Edinburgh) had developed into major urban centres within the British Empire. In 1982 Colin Macarthur re-ignited the debate in his book about Scottish cinema, Scotch Reels, and the kailyard and ‘tartanry’ traditions. (‘Tartanry’ refers to the whole paraphernalia of the Victorian construction of Highlands culture.) It’s not for sassenachs like me to lecture Scots on national identity but I would point out that the kailyard has its equivalent in Ireland and the parts of England that I’m familiar with – workers’ cottages with a garden for the spuds and cabbage and a pen for a pig. The kailyard itself is authentic but the problem comes when it becomes the central focus of national identity and is disproportionately represented in comparison with the industrial tenement.

Whisky Galore! with its ‘Highlands and Islands’ setting is certainly rural and culturally Gaelic, but in fact the film makes relatively little of local culture apart from the narrative necessity of a whisky-fuelled celebration for the nuptials of Macroon’s daughters. What is important is that the central narrative hinges on the response by the locals to the actions of ‘outsiders’ – Waggett and the Excise Men. This sets up a romantic, idealised local community opposed to the rational, orthodox ideas of the English ‘colonial’ administrators. This rather than the kailyard seems to be the way in to the narrative and its ideological readings. Whisky Galore! is interesting in its relationship with what went before – Robert Flaherty’s documentary Man of Aran (1934) and Michael Powell’s The Edge of the World (1937) and I Know Where I’m Going (1945) – and what came after, including The Wicker Man (1973) and Local Hero (1982). These films (and several others) all celebrate the resistance of the ‘spirit’ of the Celtic fringe in resisting the intrusion of the ‘modern’ consumerist and regulated world into the organic but fantastic community of the Irish/Scottish Highlands and Islands.

One of the important decisions about the film’s script was to jettison the local religious conflict between two different island communities. In the novel, the wreck presents a salvage opportunity for both the Protestant (Calvinist) community of a ‘Northern Isle’ and the Catholic community of a Southern isle – the ship grounding on the dividing line in the Outer Hebrides. Ealing was terrified of the religious question and Mackendrick himself , although not a practising churchgoer, was a Protestant who said he did not understand the local Catholic community who seemed more Irish than Scottish. The result is that the film fails to convince when the Todday men, confirmed whisky drinkers, are unable to go to the wreck for 24 hours because they respect the Sabbath day (surely more of a Calvinist concept).

I enjoyed watching the film again. I was thrilled by the overall presentation and, like several other commentators, I was intrigued by the use of conventions relevant to 1948 – the noirish lighting of the salvage scenes and the war film references in which the excise men seem like the Gestapo searching houses for contraband whisky. But I would have liked more Joan Greenwood and more of the romance on those wonderful beaches – one day I’ll spend some June nights in the Hebrides!

Whisky Galore! is available on DVD and Blu-ray.

Posted in British Cinema, Comedies | Tagged: , , | 1 Comment »

All in the Family Week 3

Posted by Roy Stafford on 23 October 2013

In the third week of this course we discussed Cherchez Hortense and then traced links through to other French comedies. We made various links, the most important of which was via the star of Cherchez Hortense, Jean-Pierre Bacri.

We looked in some detail at Jean-Pierre Bacri’s work with his wife Agnès Jaoui via an extract from Comme une image (Look At Me 2004). The extract featured a succession of shortish scenes, at the centre of which was a family lunch at the country house of the publisher played by Bacri. This character is very different from the Bacri character in Cherchez Hortense. He’s waspish and cruel, always putting people down. But he is also generous in providing contacts and support, even if he doesn’t know how to help in a gracious way (and he is himself vulnerable). In fact most of the characters in the film are ‘flawed’ with various weaknesses and each is capable of forms of betrayal, hypocrisy etc. Yet Bacri and Jaoui manage to construct their narrative so that it performs a coherent social satire on families and relationships that is both socially accurate and very entertaining. There are few laugh out loud moments but this is a true comedy in the sense that there is a resolution which is happy for at least one couple.

We then traced Bacri’s career back to the 1990s noting how prolific he has been. We looked at two trailers. The first was for the film adaptation, by Cédric Klapisch, of the successful stage comedy that Bacri and Jaoui wrote in the early 1990s. The film of Un air de famille from 1996 provides another example of a ‘family dinner’ that goes wrong. This is more clearly a comedy, though still with a dark satirical edge. We noted the similarity to certain British theatrical comedies (and the play has recently been performed in London). Bacri and Jaoui have also worked with the director Alain Resnais on a musical comedy tribute to Denis Potter, Same Old Song (On connaît la chanson, 1997) – Resnais has also adapted Alan Ayckbourn (as Smoking/No Smoking in 1993). Finally on Bacri we looked at a trailer for Didier (1997), a very broad comedy including slapstick that demonstrates the range of Bacri’s roles.

In the latter part of the session we looked at the recent work of François Ozon on Potiche (2010), also an adaptation, this time from a ‘boulevard comedy’. ‘Potiche’ in its slang usage means a ‘trophy wife’ – in the unlikely shape of Catherine Deneuve, wife of a factory owner who takes over its operation when her husband is ill. ‘Excessive’ in its use of colour and design (the story is set in the 1970s) the film draws on elements of farce as well as serious social issues about gender equality. We just had time to squeeze in the trailer for the more recent Ozon comedy Dans la maison (2012) – a much darker (but also very witty) comedy starring Fabrice Luchini from Potiche and Kristin Scott Thomas.

Week 3′s notes to download: FamilyWeek3

Posted in Comedies, French Cinema | Tagged: | Leave a Comment »

Filth (UK/Sweden/Germany/Belgium/US 2013)

Posted by Roy Stafford on 14 October 2013

Bladesy (Eddie Marsan) and Bruce (James McAvoy) on the Reeperbahn in Hamburg.

Bladesy (Eddie Marsan) and Bruce (James McAvoy) on the Reeperbahn in Hamburg.

This is a thoroughly entertaining film. It’s scabrous, perverse, surreal and offensive but nonetheless engaging. You need to know that is an adaptation of an Irvine Welsh novel and that therefore there will be sex, drugs, violence and various obscenities. Nothing is to be taken seriously. In strict Aristotelean terms this is possibly a tragedy rather than a comedy – but even then the ending is ambiguous.

I haven’t read the Welsh novel, but a glance at Wikipedia’s page suggests that the adaptation has changed several aspects of the narrative and this may be a problem for Welsh fans. Non-Brits should be aware that ‘Filth’ is a slang term for both the police (‘Polis’ in Scotland) and for pornography as well as more properly for ‘dirt’. The anti-hero of Filth is a Detective Sergeant in the Edinburgh CID, Bruce Robertson, played by James McAvoy. Robertson is put in charge of a murder case which he must solve in order to gain promotion – and win back his wife and child who have left him. But this is a policeman who has a serious mental health problem and who is declining rapidly under a regime of cocaine, alcohol and obsessive sex. He is haunted by a childhood memory that begins to haunt him after he becomes involved in a street incident. Ironically this incident offers Robertson a possibility of some form of redemption but he is already set on a path of destruction which will damage all his colleagues.

Director John S. Baird is not an innovator matching the Danny Boyle of Trainspotting and there is nothing too surprising in the aesthetics of the film, but those of Welsh’s ideas that have made it into the film adaptation added to the array of fine performances by a truly stellar cast carry the film through: Baird keeps the pace going at a fair lick. It’s perhaps invidious to pick out only one or two actors and many of Scotland’s finest are here including Gary Lewis, Kate Dickie, Shirley Henderson, Martin Compston and John Sessions. You can’t really go wrong with talent like that, especially when you throw in the English stars like Eddie Marsan, Jamie Bell, Jim Broadbent and Imogen Poots. But above all there is James McAvoy. I’ve previously questioned his casting in action roles but here he is unassailable, generating viciousness, self-loathing and gleeful pleasure in tricking his colleagues.

This production is a good case study for an investigation of ‘British independent’ production in 2013. Despite the the Irvine Welsh connection (or perhaps because of it – two other adaptations after Trainspotting failed) and the excellent cast, money was hard to come by and the producers appear to have been in that classic position of paying the actors out of their own pockets at one point. Once again Europe comes to the rescue with public funding from Film i väst in Sweden and various funds in Germany and Belgium. This explains the insertion of a trip to Hamburg in the narrative. It looks like an injection of cash from Trudie Styler’s company topped off a £3 million budget. That’s about twice the size of a ‘domestic’ UK movie budget these days but it does appear that the money has been well spent on cast and effects plus music. Clint Mansell is in charge of music and though I have no real knowledge of the tracks used in the film, I think that they work pretty well. I’m sure that eventually there will be a fan community analysis of the music.

After three weekends on release (the first only in Scotland) Lionsgate are probably fairly pleased with the box office returns, especially given the ’18′ certificate in the UK and distribution to certain overseas territories has been finalised. Censorship will keep it out of India and North America might be a problem but in Northern Europe I think it will play well. So far the UK total is just over $4 million with only a 25% drop in Week 3.

It’s been a good couple of weeks for Scottish films with Sunshine on Leith and the specialised offering For Those in Peril. Here’s the shortest of many official trailers for Filth:

Posted in British Cinema, Comedies | Tagged: , , , , , | 1 Comment »

 
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