Roy advised me that OK Kanmani was screening at Cineworld in Bradford: I assume he will post on the film. I went along last Thursday: the film was fine but the presentation left something to be desired. My last post was regarding the failings of the distribution sector, added to by Roy; but the multiplex chains have their own failings
This is the most recent film directed by Mani Ratnam; I think he is the most interesting and skilful filmmaker working in the mainstream film industries in India. OK Kanmani [Madras Talkies 2015, the title is a song at a wedding celebration late in the film] is essentially a Romcom and it is limited by many of the conventions of this genre. Adhi and Tara, Tamil-speakers working in Mumbai, meet and start a romance. He is a designer of games, hoping to hit the big time: she is an architectural student, but she comes from a wealthy family. The ups and downs of young love are embroidered by issues like dementia in a family member and attitudes to non-marital partnerships [live-in]. This adds depth and emotion to the film but there is an absence of the strong social issues that are common in Ratnam’s films.
Technically and stylistically this is a tour de force. Ratnam and his production team produce some of the most visually and aurally interesting productions in contemporary Indian cinemas. The film, in colour and 2.39:1, looks and sounds great. And both sound and vision have slightly unconventional tropes which add interest. The film makes intelligent use of current mobile and tablet technology: there are games sequences, stemming from Adhi’s work: and some beautifully composed sequences of architectural sites visited by Tara. The music is rhythmic with strong beats, but also uses unconventional sounds and instrumentations. One reservation I have is that one aspect of this was undeveloped. Tara and Adhi’s aunt are both skilled in Tamil music, but only once [for plot purposes] do we enjoy their performance.
This is not my favourite Ratnam film, but it is always interesting and a pleasure to watch. But I need to add a few warning notes on my experience. When I got to Cineworld there was no queue at their combined ticket/food counter. But in the previous week when I arrived for a Hindi film there were five people in line: the two front members literally spent at least five minutes going through the Cineworld menu before I was able to persuade a staff member to open up another till.
Thursday though I was quickly in, but I had to walk down two corridors to reach screen 14. When the trailers came on they were for Hindi films, but without subtitles. I trailed back to the ticket person at the entrance. She went off to tell the manager. By the time \I returned to the auditorium the current trailer now had subtitles in English. The opening credits for OK Kanmani came on: they looked interesting but whilst the DCP was in the 2.39:1 the screen was cropped by two curtains to 1.85:1. At this point the staff member arrived to tell me that the manager had stated that the film did not have English subtitles. Given the distributor was a USA company this seemed odd – so we watched and as Adhi shouted his first line of dialogue the subtitle appeared. So I pointed out to the staff member the problem with the curtains. She went off to tell the manager saying it might take a few minutes.
The curtains were gauze so I could see something of the image in the covered parts of the screen. After a while the first song started, during a wedding ceremony. Since nothing had happened I went out and saw another audience member. He said he was going out and would tell the staff that the curtains had not yet been adjusted. I continued watching. When we reached the third song and 35 minute into the film the curtains still shrouded parts of the image. So I again trailed round to the entrance and the same staff member. She told me that the manager had just gone up to sort out the problem. Sure enough when I returned to the auditorium the curtains were slowly moving to reveal the whole widescreen image.
Then to add insult to injury when the intermission arrived I had to listen to a medley from Chitty Chitty Bang Bang!
Paulo Cherchi Usai, along with other writers, has predicted the ’death of cinema’. If this comes to pass I would like see prosecutions of the commercial film companies for the manslaughter or even second degree murder of film.
The announcement by the Showroom Cinema in Sheffield that they have been denied ‘on date’ bookings for films distributed by Artificial Eye/Curzon Film World is an example of a trade practice known as barring. This practice and the associated practice of alignment were in operation in the UK up to the arrival of the multiplex and the demise of the ‘circuit cinema’ – the single, double or tripled traditional cinema – in the early 1990s.
Alignment refers to vertical integration in the film industry and the practice of a distributor favouring its own chain of cinemas over those of a competitor. In the 1950s and 1960s in the UK the duopoly of Rank (Odeon) and ABPC (ABC) meant that in many locations there were two circuit cinemas competing for audiences. Each of the distributors not only favoured their own films in their own cinemas but also made deals with the Hollywood studios, aligning a Hollywood studio with their chain. Thus ABC cinemas showed Warner Brothers and MGM and the other studios went with Odeon.
Barring was the practice whereby a distributor simply refused to allow one of its films to be shown in a rival’s cinema. Barring orders specified a radius of x miles around one of their cinemas inside which the film couldn’t be shown by a competitor.
These practices have been looked at by UK industry regulators (e.g. the Monopolies and Mergers Commission, Office of Fair Trading etc.) on several occasions in the 1960s, 1980s and 1990s. The EU is also concerned about the effects of such practices. In the main however, the advent of the multiplex from the 1990s onwards has meant that ‘alignment’ is no longer an issue and all multiplexes have the same access to the same mainstream films because barring is not possible without alignment. But the state of play in the specialised film market is rather different.
The specialised film market is difficult to describe (the definition comes from the UK Film Council and now the BFI) but lets assume it means all those films that are not likely to show across the mainstream multiplex market. They might appear on some multiplex screens but mostly will be seen in ‘independent’ cinemas. This sector is now changing and becoming dominated by three companies: Picturehouse, Curzon and Everyman. These three chains are all growing – opening/acquiring new cinemas, often ‘artplexes’ with 2, 3, 4, or more screens. Curzon is the biggest distributor of specialised films but Picturehouse also has a form of control over bookings for films by smaller cinemas. Curzon and Picturehouse effectively control the market for specialised films. If their bookers don’t like your film, you have little chance of distributing it in the UK. Neither of them seem interested in Chinese, Japanese and South Korean films for instance – or Indian art films or independents.
The victims of the potential oligopoly control of this market are the public sector cinemas – those operating as charitable trusts and dependent on public funding. These are the cinemas once known as ‘Regional Film Theatres’. Once these cinemas were abandoned by the BFI in terms of a booking service (i.e. negotiating booking s of films with distributors) they had to choose either to book films directly themselves (very difficult), use the new service set up by the Independent Cinema Office (ICO) or go to groups like City Screen (Picturehouse) who would deal with the other distributors. This made the independents more likely to follow the main distributors and to shift towards more commercial policies as the market got tougher and as other forms of public funding began to dry up. So, over the last ten to 15 years the programming policies of specialised cinemas has changed. The changes were signalled for me by the decision of Tyneside Cinema in Newcastle (booking service through City Screen) to show Sex and the City 2 in 2010, a decision which I understand divided the staff at the time. Now I am hardly surprised any more when I see a trailer for Star Wars at a Picturehouse cinema or the new Avengers movie showing at a Curzon or Everyman.
Keith in his recent posting is justified in complaining when the distributors (and their associated cinemas) get public support for these new programmes. There are three specific forms of support. The BFI puts money into the development and production of British films as part of cultural policy (as do European funds such as EU MEDIA) – with the aim that these be seen by diverse audiences. Similarly, certain foreign language films are supported in distribution to increase the diversity of the film offer. Finally, European funding goes to cinemas which show European films as part of the Europa Cinemas network (which includes the Showroom in Sheffield, Pictureville/Cubby Broccoli in Bradford – now operated by Picturehouse – and the Hyde Park in Leeds. The barring applied to the Showroom by Curzon, illustrated in Keith’s post, goes against the reasoning behind this cultural support. It restricts access to films showing in the bigger cinemas at Showroom. It also penalises a cinema which is at the centre of the BFI’s Audience Development programme as the centre of Film Hub North.
The BFI’s response to Curzon’s actions was in my opinion pretty feeble. The BFI is the nominated agency of British public policy in relation to distribution and exhibition as part of UK film culture. It should be making more robust statements or putting pressure on Curzon to desist this practice. Barring and alignment are not good for audiences, publicly-funded cinemas or UK film culture generally.
A friend has just drawn my attention to a circular from the Sheffield Showroom to its customers. It includes the following:
Force Majeure is a new and award-winning Swedish film being released in the UK this weekend (10th April). It was our intention to show this film on its release date however we have been recently informed that Curzon Film World, the film’s distributor, will not accept our booking and that from now on Curzon will not allow us to show their films on release date.
Showing the best British, independent, European and foreign language films has been our long-standing programming offer to you and we know from your feedback that you have appreciated our commitment to bring these films to you.
Whilst we recognize that Curzon, as a private company, can operate however it wishes, it receives substantial amounts of public funding to help support the release of its films and supporting public policy objectives for ensuring as many people as possible have the opportunity to see them.
The reference to public funding includes the monies from the British Film Institute to support the distribution of ‘less commercial’ films. It always struck me that the policy was misplaced – what provides variety and quality for UK film-buffs are the sadly decreasing number of independent cinemas. This includes the Showroom, our own Leeds-based Hyde Park Picture House and the new Manchester Cornerhouse cinemas: bizarrely renamed Home.
From before the 1st World War when the burgeoning Hollywood film industry planted its foothold in Britain, distribution has been the problem for film-goers. They enjoy a dominant position and [predictably] box office trumps critical quality. The French have a much more enlightened policy of film culture: and in the UK other arts do a lot better.
My experience of raising issues with film institutions is bleak. We need to follow the advice that Roy penned last year – support your local independent cinemas. I sincerely hope that the Showroom rides this one out.
This Hollywood film made mainly in the UK by novice director Rupert Sanders was Kristen Stewart’s second blockbuster lead following the Twilight films (and released between Nos 4 and 5 in that franchise). Neither an outright critical or audience ‘winner’ as such, the film still made nearly $400 million worldwide and was claimed as a major box office hit by its producers and Universal. It cost an estimated $170 million – which by my rule of thumb (a film needs to recoup around three times the production budget to move towards a profit for the producers) means its success was qualified. The questions that interest me are 1) how important was the casting and performance of Kristen Stewart as a factor in audience responses and 2) what are our expectations of narratives created on this scale and with these generic references. The relevant genres here are fantasy, action, war – but surprisingly little of ‘romance’. The source is the Snow White story but here taken back to the original Brothers Grimm story rather than Disney. The worldwide box office suggests that similar stories exist/appeal in non-European cultures (the film did well in East and South East Asia).
The obvious recent franchises which the film relates to are the Lord of the Rings/Hobbit/Game of Thrones fantasy worlds. I suspect that these are more ‘coherent’ fictional worlds – but I have very little knowledge of them so I’m happy to be corrected. Snow White has a certain kind of coherence of locations since many scenes were shot in the more rugged parts of the UK. The two main fantasy locations are the ‘Dark Forest’ and the ‘Fairy Kingdom’. Where the former appears as a generic devastated world full of clever CGI trickery, the latter reminded me very strongly of Miyazaki’s Princess Mononoke with several almost identical images – most strikingly in the case of the white hart. Miyazaki himself may have borrowed ideas from Western literature but it is the mode of presentation that seems so familiar here. (Guillermo del Toro’s fairies from Pan’s Labyrinth also pop up.) The castle, the focus for the film’s finale, is built on rocks pushing into the sea and though it is a CGI creation it is reminiscent of several such castles in parts of the UK or Northern Europe. I was also reminded of the battle at the end of El Cid (1961). Inside the castle the ‘mirror on the wall’ to which the Evil Queen addresses her famous question “Who is the fairest of them all?” appears to have learned a trick or two from Terminator 2 as it morphs into a molten metal figure. The strangest image for me was that of the Chinese fishing nets in the village of women. I have no idea what this was supposed to summon up but it took me back to Kerala in South India. If none of these intertextual references resonate with audiences perhaps the film’s setting will not seem disjointed – but of course they were leapt on by critics eager to suggest the ersatz qualities of the film.
The casting of a blockbuster like this is crucially important. Budgets of this size imply either a film dominated by cutting-edge technology or an international cast with recognisable stars. The script for the latter must enable some form of consistent performance across the variegated group of actors. Snow White falls somewhere between the two big budget models. The CGI is important, but so are the cast. Since at least the 1930s these kinds of large scale action pictures with historical/fantasy settings have tended towards the casting of British theatre-trained actors or other Anglophone actors with similar training. In 1938 the Australian Errol Flynn crossed swords with the South African Basil Rathbone in The Adventures of Robin Hood (with RADA-trained Claude Rains as King John). The current crop of superhero franchises is awash with the modern equivalents of these ‘Imperial actors’ – Ian McKellen, Patrick Stewart, James McAvoy, Tom Hiddleston etc. It isn’t surprising then that Snow White features the South African Charlize Theron and current action hero Australian Chris Hemsworth in two of the three leading roles. Theron is completely at home as the Evil Queen Ravenna. Hemsworth uses an accent I wasn’t able to fathom (he comes across as Mel Gibson channelling Sean Bean) but he too knows what he is doing. How then does Kristen Stewart fit in?
I’ve checked out all Ms Stewart’s roles since 2007 (i.e. her ‘adult’ roles) and she seems to have been cast solely in contemporary or ‘near contemporary’ roles (On the Road is set in the late 1940s). Besides the Twilight series there is only a minor role in Doug Liman’s Jumper which relates to fantasy and the main characters in Twilight relate, I think, to contemporary American teens. Snow White marks a break into a different kind of fantasy, dominated as I’ve suggested by a different acting style. Overall, I think Stewart makes the leap effectively but I do think her vocal delivery is a problem. It isn’t the accent as such, which I didn’t really notice, but the diction and projection. I realised that I had watched several of the other films with subtitles in order to catch her dialogue. On this occasion too there were moments when I couldn’t follow her dialogue. She tends to shorten sentences, to ‘swallow’ the ends of words etc. It’s a naturalistic mode and fits the portrayal of young people in contemporary America but in this kind of film, alongside not just the leads but also the band of renowned British/Irish character actors playing the (eight!) dwarves, it creates a disjuncture. My memory suggests that in Clouds of Sils Maria, Kristen Stewart begins to change her approach – but I must watch that film again. Partly I think it’s just a case of of playing a wider variety of roles. It is interesting though just how many young actors come out of Australia capable of appearing in American and British films with no problems and performing alongside both theatre-trained Brits and Americans. Kristen Stewart has an Australian mother – perhaps she can tap into home advice?
If there is a weakness in the film’s casting it isn’t Kristen Stewart but perhaps it is the lack of star-power in the supporting roles, specifically Ravenna’s brother Finn and ‘Prince William’, Snow White’s childhood playmate and the exiled Duke’s son. Neither actor plays their role badly but they don’t have the presence that a more distinctive figure might bring (although Sam Claflin as William is one of the lead performers in the Hunger Games franchise). On the other hand, truly distinctive performers such as Ray Winstone and Ian McShane are included in the controversial decision to use CGI techniques to present character actors as dwarves. McShane could have played Ravenna’s brother and Winstone could have played William’s father.
I think a great deal of the criticism of Kristen Stewart’s performance as Snow White is prompted by her success in Twilight and critics’ (and non-fan audiences’) antipathy to that franchise. It’s worth noting the other aspects of her performance that do contribute to the film. She moves athletically and convincingly enough in the action scenes, but also looks quite regal with her exposed neck and shoulders. Best of all is her portrayal of a Snow White with grimy fingernails and a wild look after a night in the Dark Forest. (The prominent front teeth in the image above contrast with theusual bland white choppers of Hollywood leads.)
IMDb lists Stewart’s salary for the film as $9.5 million. Presumably what the film’s producers are buying is Stewart’s Twilight audience. This prompts consideration of Tom Austin’s 2002 paper, ‘Gone With the Wind Plus Fangs‘: Genre, Taste and Distinction in the Assembly, Marketing and Reception of Bram Stoker’s Dracula (included in Genre and Contemporary Hollywood, ed. Steve Neale, London: bfi). Austin refers to Hollywood’s ‘commercial aesthetic of aggregation’ that produces a ‘dispersible text’. He identifies Coppola’s Dracula as the first in a cycle of blockbuster classic horror tales and suggests that it is constructed so that it can be marketed in different ways – as an auteur production by Coppola, a star vehicle for any of its four stars, a reworking of a popular myth, a literary adaptation, a horror film etc. Each of these options might appeal to a different audience.
Snow White and the Huntsman feels like a slightly different kind of ‘dispersible text’. It is also part of a looser contemporary cycle, this time of reworkings of fairy tales. If Stewart brings the Twilight audience of younger women, Hemsworth also has an audience – crucially more likely to include young males. Charlize Theron may not have a specific following as such, but as Ravenna she offers another interesting role for ‘older’ women (cf with Angelina Jolie in Maleficent or Meryl Streep in Into the Woods). Just as important perhaps is the array of CGI effects. Director Sanders comes out of TV advertising and he has certainly been able to create striking visual sequences working with Australian cinematographer Greig Fraser and designer Dominic Watkins. The cycle itself might also attract audiences. The real question is how well this aggregation works. I’ve already hinted that the visual style does seem to be too obviously ‘grabbing’ ideas from earlier films – and perhaps not integrating them fully. The low critics/users ratings on IMDb and Rotten Tomatoes suggest that the sequel may have difficulty reaching the same size of audience again. Many of the pro and anti comments refer to Kristen Stewart’s performance. The prequel that has now been announced for 2016 replaces Stewart with Jessica Chastain and Emily Blunt (Theron and Hemsworth remain) and changes director to Cedric Nicolas Troyan, another novice director who was visual effects director on Snow White. This looks like a gamble to me. Losing Stewart and her fan audience means a big box office hole to fill.
The box office of the prequel will give some indication of how much Kristen Stewart was a ‘star attraction’ in Snow White and the Huntsman and it will be helpful in thinking about the development of Stewart’s star image in 2012.