There are not that many screenings of German films these days, so this title in the Leeds Young Film Festival looked promising. It amply repaid the time at the Picture House. The Festival Brochure recommends:
See this if you liked: Heathers, Girl Interrupted, Juno.
In fact the last title is nearest in tone: a fresh and engaging look at a moment (a sort of rite de passage) when a teenage girl finds herself re-examining life, family, relationships and the larger meanings. In some ways the film seems blackly comic, as one of its main themes is ‘death’. However, this is contrasted with ‘life’ and the drama is not only affirming but is more questioning than sardonic.
The protagonist is fifteen and three quarter years Charleen (Jasna Fritzi Bauer). She lives with her mother Sabine, (Heike Makatsch, her nickname from her own teens is Bini); her younger brother and internet savvy Oscar; her granny Emmi (Dorothea Walda, much sharper that she first appears; and Sabine’s boyfriend Volker (Simon Schwarz, sometimes called Holger). In the course of the film we also find out about her father (not around). We meet her school friend Isa (Amelie Plaas-Link). And several schoolboys including Linus (Sandro Lohmann). Apart from being bright at maths he appears to also be an amateur taxidermist.
The Festival Brochure reveals that:
One day she (Charleen) decides to commit suicide. Waking up in hospital after her failed attempt, both her, her family and her friends are forced to reassess their lives and relationships.
This takes up the rest of the narrative. In the course of this we meet an unconventional psychologist Dr. Frei (Nikolaus Frei). We visit a funeral parlour, Charleen’s school, and a cemetery. We also meet Dr. Frei’s talking Budgie and Linus’ pet hamster Archie. We listen in on school sex lessons and watch the dynamics of teenagers in this environment; including their tendency to cruelty.
All this is treated with a relatively light touch. The film does become more serious in the last 40 minutes or so, but even here the plot allows the odd moment of wit or whimsy. One sequence I enjoyed was a near accident as the driver took her eyes off the road: the wandering eyes of drivers always worry me in films. A subjective viewpoint is also introduced with Charleen’s momentary imaginings about friends and people she meets. Several of these have real panache.
One of the virtues of the film is the style. It is more naturalistic than realist. But the techniques used, which include a couple of overhead shots and a crane, a slight slow motion effect and a series of freeze frames, is always completely apt. I was especially pleased that the Steadicam shots did not attempt to emulate a handheld camera.
My sense of teenage years is now all down to memories: but I found the confusions and angst depicted completely convincing. The film does attempt to include possibly too many issues: we have a gay relationship. But even here it fits. The final resolution of the relationships is slightly pat, but seems to work.
It looks like the film does not have a UK distributor as it does not have a BBFC Certificate: the Brochure recommends 15. It is to be hoped that some bright company picks it up. It is a rewarding 104 minutes and with the right publicity should surely win an audience. The film is in colour, 2.39:1 and has English subtitles. Well spotted by the Festival programmers.
Director and Writers: Mark Monheim. Music by Sebastian Pille; Cinematography by Daniel Schönauer; Film Editing by Stine Sonne Munch; Casting by Stefany Pohlmann; Production Design by Cinzia Fossati, Christina Heidelmeier; Costume Design by Carola Raum. The film is in German with English subtitles: oddly, I could not find a German title for the film.
Paddington has been a huge hit and it is largely deserved. It needs to be a hit since StudioCanal are reported to have invested $50 million in its production after Warner Bros. pulled out of the project set up with their Harry Potter partner David Heyman in 2007. Heyman then teamed up with TF1 Films in France – with StudioCanal taking UK and French distribution. Harvey Weinstein has the North American rights. Heyman via Heyday Films also produced Gravity.
I’m too old and too distant from children’s literature to know anything about Paddington as a character but I can do the research and it’s clear that this film adaptation should appeal to a large international fanbase. The books by Michael Bond first appeared in 1958 and have now sold 30 million copies globally in 40 languages. The central character is an orphan bear from ‘Darkest Peru’ who travels to London where he hopes to find the home promised to his family by a British explorer/adventurer who ‘discovered’ the bears in the 1930s. This bear speaks beautiful English learned from recordings and is ‘named’ when he is found by the Brown family sitting with his suitcase on Paddington Station in London. They take him home and the adventure begins. (Bond is said to have had taken the idea for the books from the stories of evacuation of children from the UK’s major cities during the Second World War.)
As far as I can work out, the film’s script by Paul King and Hamish McColl draws on several published stories and will have some ‘authenticity’ for fans. King also directed the film. His background is in directing theatre, film and TV shows featuring comic talents such as Richard Ayoade and Matt Lucas (who has a cameo in Paddington). McColl has written two of Rowan Atkinson’s blockbuster comedy films. What King and McColl have come up with in Paddington is a comedy with appeal to children and adults which grapples interestingly with fantasy, parodies of well-known films and an odd but intriguing take on historical time periods. This latter is a result of the long production history of the books and the major social (and aesthetic) changes that have taken place over fifty years and more. The James Bond films face the same problem but they attempt to place Bond – a 1950s character – firmly in the contemporary world. Paddington is, for me, more interesting and more successful.
There have been TV series based on the books, two North American, one British, but all animations. Paddington is a live action feature in which the bear is created by a combination of animatronics and CGI. Framestore the UK company that helped produce Gravity had a major role in Paddington. The bear is voiced by Ben Whishaw in a very accomplished performance and everything about the presentation of Paddington works flawlessly as far as I can see.
The weakest part of the film is probably the action narrative featuring Nicole Kidman as a kind of Cruella de Vil character who is out to stuff Paddington to complete her collection of exotic animals. This involves borrowing the heist scene from Mission Impossible, a chase through the Natural History Museum and what can only be described as various fetish outfits for Ms Kidman (there is definitely a shoe fetishist involved somewhere!). The earlier comic sequences worked much better for me.
The main interest in the film outside of its obvious broad appeal is what it contributes to the current discourse about immigration. The whole narrative concerns the arrival in the UK of a migrant bear who is expecting a warm welcome but who finds that his first ‘host’, Mr Brown considers only offering him temporary asylum unless he can find a relative of the explorer who promised him a welcome – otherwise he will be packed off to an ‘institution’. This all sounds very familiar. Two other aspects of the scenario are also worth mentioning. The original ‘invitation’ to the UK dates from the period of Empire and Mr Brown’s attitude is not matched by that of his wife and children who quickly become Paddington’s supporters. Young people in the UK are generally seen as less likely to be anti-immigrant than older people.
The migration narrative is of course caught up in the conundrum about the time period setting. The most problematic representation in the film is a product of this. The Browns live in the area of Bayswater/Westbourne Grove/Notting Hill. In 1958 this was one of the London districts in which ‘West Indian’ (as they were known then) migrants first settled and Notting Hill was the site of an infamous ‘race riot’ in that year. In the present film a group of colourfully-dressed ‘calypsonians’ pop up at various points in the narrative performing songs on street corners and in alleyways. One song is a version of Lord Kitchener’s calypso ‘London is the place for me’ which he sang when the SS Empire Windrush arrived at Tilbury in 1948 with the first post-war migrant workers from the Caribbean. The story behind the soundtrack is told in this BBC Report. I enjoyed these musical performances but they do highlight the odd mixture of the modern and the historical and I do wonder if this is not an offensive representation? I don’t remember seeing many other examples in the film of London’s population diversity. London in 2014 is one of the most cosmopolitan and multiracial cities in the world but Paddington generally focuses on the middle-class white London of classic children’s books. The film is a fantasy not a social realist drama – but what do London children from Asian and African-Caribbean backgrounds in London make of it?Just a thought.
The ‘live cast’ including Sally Hawkins and Hugh Bonneville as the Brown parents embrace their roles with gusto and overall Paddington works very well. I’m sure it will do good business in the global market and I’m intrigued to see how they develop the story and the characters in the inevitable sequel. It might be worth comparing Paddington to Aardman’s animations such as Chicken Run and the Wallace and Gromit films which represent the same timeless and nostalgic view of British culture.
This is one of the classics of French cinema and one of the best films directed by René Clair. It was produced by Alexander Kamenka for Films Albatros at their Montreuil Studio. Films Albatros had started out as a film company of Russian émigrés, including the star actor Ivan Mosjoukine. However most of the émigrés had left Albatros for a new studio at Billancourt. Albatros had been in the forefront of French productions, but now it had to rebuild its success, relying on a series of comedy adaptation. The young René Clair turned in one hit, La Proie du vent (1927) and followed it up with this adaptation and updating of a famous French farce.
He was supported by an excellent cast and production team. The sets by Lazare Meerson and cinematography by Maurice Desfassiaux and Nicolas Roudakoff are all impressive. Most of the film, including many of the fine exteriors, were shot at the studio.
The film’s continued status is confirmed by it being included in Ian Christie’s The Peak of Silent Cinema:
René Clair may have become the forgotten man of classic French cinema, despite a prolific career that stretched from the dada short Entr’acte (1924) through the first French musicals of the early 30s, and up to the mid-1960s Yet his command of sophisticated comedy, both silent and sound, was second to none; and in this inventive adaptation of a vintage farce he offered a spirited alternative to the dominance of Hollywood comedy, at a time when both the French avant-garde and mainstream cinema had reached an impasse. Clair’s solution, in agreeing to film Eugene Labiche’s vintage stage play, was to update it to the belle epoque of 1895 and to shoot it with the utmost simplicity, in the style of early film. Labiche’s play was always a satire on petit bourgeois pretension, with the nurseryman as keen that his daughter should marry a ‘gentleman of leisure’ as Ferdinand is to secure his future. Everything that gets in the way of the wedding represents a threat to the social order that is being confirmed; and in this case most of the obstacles are objects, signs of property and status, which constantly threaten to get out of hand.
And Clair is equally alert to the satirical undercurrent, without ever losing sight of what Henri Bergson termed the “snowball effect… as an object rolls through the play collecting incidents as it goes”. The surrealists, who hated avant-garde pretension, saw that this was no mere
literary adaptation. With its puppet-like characters trapped in their roles, and decor that threatens to engulf them, it achieves the dream-like quality that surrealism prized while also remaining a thoroughly civilised, scathing and completely French comedy.
Sight & Sound November 2013
You can catch the film at the National Media Museum on Sunday May 18th with a live piano accompaniment by Darius Battiwalla.
This charming tale of a 12-13 year-old boy tripped up by the conflicted emotions of early adolescence was my final screening at BIFF 2014. In the end it didn’t win the European Features prize but it has won other international prizes and it seemed to me a genuinely commercial film – although at 82 minutes it is a little short. I’m not best qualified to select films for children but I would want to show it to secondary school children (11+) and possibly younger. (I’m happy to be corrected if I’ve got this wrong.)
The central character is Raimonds (Kristofers Konovalovs) who is small for his age and is at that awkward stage when some of the girls in his class are tall and willowy, towering over him. He attends a specialist ‘orchestra school’ and his instrument is a saxophone. One day he plays a joke on one of the girls that misfires and he is required to take home a behavioural report to be signed by his mother. Mother (Vita Varpina, one of the professional actors) is a hardworking single parent (a doctor/midwife?). Raimonds thinks that she will react badly to his misbehaviour and he removes the page from his report book and prevents her receiving a message from the school. Of course, one lie leads to another and he finds himself in an escalating crisis which his friendship with Peteris, the drummer in the orchestra, unintentionally makes worse. Raimonds’ relationship with his mother will deteriorate further before it gets better but the film ends on an upbeat note.
The film is the second feature by Jānis Nords who trained formally after working in film and television and directing his first film in 2008. Mother, I Love You was shot on location in Riga in just 20 days with most of the cast being non-professionals. It looks and sounds very good and is directed with vitality. It can’t be easy creating a CinemaScope feature on the streets with a non-professional cast but he succeeds and I found it very enjoyable. I’ve seen several mentions of François Truffaut’s work in critical responses to the film and especially to Les quatre cents coups. There are certainly similarities but the tone of this film is quite different. Raimonds is not the ‘wild child’ presented by Jean-Pierre Léaud as Antoine Doinel and there is not that sense of romantic despair. Raimonds’ mother is not an uncaring parent – this trope has been passed onto Peteris who suffers beatings from his mother.
I’m not sure I’ve seen a Latvian feature before but the Press Pack for the film suggests that Raimonds “has to venture into Riga’s thrilling night-life”. This is a little hyperbolic. Raimonds visits a skate park (the actor is, the Press Pack tells us, a very good ‘extreme cyclist’) and he follows a young woman through the dark streets (she has something he needs). That’s as thrilling as it gets. Nords does not make the mistake of shifting the tone of the film. He neatly sums up his approach:
A seemingly minor misdeed can seem like grand offence bound to bring harsh consequences. Though Raimonds is faced with a moral dilemma – to act dishonestly and escape punishment or tell the truth and face backlash – I tried to avoid teaching my protagonist a moral lesson. Instead, I was looking to portray a child, who thrown into the wildest of circumstances and confronted with tough choices, manages to maintain humanity and gain conscience. In other words, a child who “grows up”.
I hope the film has more festival showings in the UK. It should be on general release but I fear it won’t get picked up. If it does get a screening near you, please go.