The Girl on the Train proved to be much more interesting than the majority of reviews suggested. I was fully engaged by a film that may have flaws but also many pluses that reviewers seem to have overlooked. I arrived early for my multiplex seat, able to watch the rest of the audience file in. I was struck by the overwhelming majority of women (of all ages) over men. Since the novelist whose work has been adapted, the scriptwriter, the cinematographer and the film’s three leads are all women, my first thought was “Why is the film directed by a man?”. I also wondered if this was a modern version of the ‘woman’s picture’?
The two aspects of the film that are most commented on are the adaptation’s relocation of the narrative from the Home Counties in the UK to New York State and a direct comparison with the similarly themed and structured Gone Girl by David Fincher. These weren’t in fact the two aspects of the film that intrigued me but perhaps I need to confront them first. I haven’t read Paula Hawkins novel and I’m not interested in valuing novels over film adaptations or vice versa. I did read Gone Girl before seeing Fincher’s film adaptation and so I had a different reaction to that film and its ‘unreliable narration’. The Girl on the Train also employs some ‘unreliable narrators’ but unlike in Gone Girl, the ‘unreliability’ is not deliberate for much of the time on behalf of the lead character Rachel (Emily Blunt). If you haven’t read the novel or the many reviews of the film, Rachel is a (barely) functioning alcoholic who can’t help torturing herself by thinking about her ex-husband Tom’s new marriage and his new baby daughter Evie. Rachel is unable to have a child and each day she travels on a commuter train past her old house looking for her successor Anna and her baby. (The train conveniently stops at the same signal near her old house.) She also becomes interested in another young couple Megan and Scott living close by in a house equally observable from the train window. Rachel frequently passes out when she has drunk too much and one day she wakes to discover on the TV news that Megan has gone missing. Rachel is disturbed by a vague feeling that somehow she is connected to Megan’s disappearance. Eventually she finds herself under suspicion by Police Sergeant Riley (Allison Janney) and decides to do some investigating, especially since she thinks she saw Megan kissing another man.
I understand that in Hawkins’ novel, the commuting journey is from a fictional town in Buckinghamshire. Transferring the narrative to Metro North along the Hudson River makes sense I think. Commuting into Marylebone or Euston is rather different to the jam-packed commuter trains and stations of South and East London and is closer to the commuting experience in New York. The Metro North trains are slower, less crowded and have the big windows which link this film to classics like Strangers on a Train or North by Northwest. It also struck me that by shooting in the Autumn in Westchester County, the filmmakers also conjure up the feel of classic melodramas such as All That Heaven Allows (1955) and its re-working Far From Heaven (2002). On another level, it made me think of The Stepford Wives (1975). I realise that these are references to New England rather than upstate New York, but the central point is around the milieu of the middle-class commuter town and the aridity of a culture which develops tensions between work in the city and domesticity in the small town. Like the Sirkian melodramas, the central characters are the women, trapped in a community with little vision and subject to domestic abuse and conventional norms of child-bearing. (I remember Megan’s line about the town as a ‘baby-making’ factory.) Rachel’s response to pressure is to become an alcoholic.
The major flaw in the film seems to me to be in the narration. I understand from the novel that there are meant to be three narrators – Rachel, Anna and Megan. Rachel is often drunk. Megan does have a ‘voice’ in the narration and she discusses her life with Dr Abdic, a local psychiatrist but Anna seems much less of a ‘narrator’. The film uses titles to inform us that it is ‘Six months ago’ etc. I confess that I found these titles somewhat confusing. I still followed the story but clearly I became mixed up about the plot. I suspect that because I treated the narrative as a melodrama with Rachel as the central subject, I didn’t bother too much about the plotting of the thriller elements and I certainly didn’t worry about contrivances or ‘excessive’ emotional responses. Emily Blunt is terrific in the film and the other two women are also very good. It’s interesting that two out of the three are Brits (or Swedish Brit in the case of Rebecca Ferguson). Danish cinematographer Charlotte Bruus Christensen is particularly good at presenting Emily Blunt on screen.The best line of the film for me was when Rachel challenges the psychiatrist played by Edgar Ramírez (the Venezuelan actor who speaks several languages fluently – see Carlos (France-Germany 2010)). “You have an accent”, she says. “So do you” he responds – touché! I like Ramírez a lot. I’m not sure that it matters, but he has more charisma than the other two male leads. On the other hand Justin Theroux plays Tom Watson very well as the rather dull guy with something lurking underneath. Luke Evans (another Brit!) plays Megan’s partner Scott and his macho tendencies seem more obvious. I was intrigued to see that the scriptwriter on the film, Erin Cressida Wilson, began her career with Secretary (2002) starring Maggie Gyllenhaal, a very effective film. I’d forgotten, before I wrote this review, that I’d seen the James Brown biopic Get On Up (2014) by director Tate Taylor. When I re-read my posting on that film I noticed that one of my issues with it was the narrative structure. Taylor handles the actors and the action well. It’s mainly the narration that I have problems with in Girl on the Train.
The Girl on the Train is still on release and it’s worth seeing in a cinema. At the very least it has three lead roles for women, no car chases or explosions and no super-heroes. It’s a movie for grown-ups. The next day I watched Otto Preminger’s Whirlpool (1950) with Gene Tierney as a woman who falls prey to a hypnotist. I enjoyed both films.
This is one of the most powerful and popular of C19th English novels. The author, Charlotte Brontë, published two other novels but it is this work which has made her famous. I read it in my teens, twelve times as I remember. I was immediately taken with the manner in which Jane challenged authority, especially male authority. And besides this there was the potent Gothic aspect which suffused much of the novel. This is not a novel that can be transferred in all its complexity and power to the screen: but the melodramatic plot does work well on film.
This Hollywood version, directed by Robert Stevenson, was the third, though the 1910 film was only a reel in length. Kate Ellis and Ann Kaplan commented on both this film and the 1970 TV film version directed by Delbert Mann:
“[this] is a story of a woman who understands instinctively the inequities of patriarchal structures but who cannot, finally, move entirely beyond them. … Jane’s strength comes to the reader through the clear, strong voice of the first person narrative . . . Neither film version (1944, 1970) is ultimately able to retain the centrality of Jane’s point of view. (The English Novel and the Movies, 1981).
There have been more film and television versions since then. We now have had Charlotte Gainsborough working with Franco Zefferelli, Samantha Morton working with Robert Young and Mia Wasikowska with Cari Joji Fukunaga. Gainsborough and Morton make a better fist of the strong woman to my mind: whilst Fukunaga’s 2011 version gets stuck in odd variations from the plot.
One of the limitations of this 1943 version is the casting. Jane is played by Joan Fontaine, who was the wife in a film version of that lesser masterwork inspired by Jane Eyre, Daphne Du Maurier’s ‘Rebecca’ (1940). Fontaine’s performance is closer to the somewhat submissive heroine of Du Maurier than to Brontë’s Jane. This point is accentuated by the casting of Orson Welles as Rochester. Referring to the finale of the novel and film Ellis and Kaplan ask,
“(could Welles ever appear chastened?) . . . “
Moreover, when could he resist directing as well, and the film bears many of his hallmarks.
However, in the rather different presentation from the novel both stars are very good. And they are supported by some excellent actors, including Agnes Moorehead and Henry Daniel and the young Peggy Ann Garner, Elizabeth Taylor and Margaret O’Brien.
The script of the film was (surprisingly) by Aldous Huxley with contributions from the director and John Houseman. The screenplay was in part an adaptation of a broadcast version by The Mercury Theatre on the Air. The film does provide a voice-over to present Jane’s point of view, but not all key parts of the film enjoy this. Moreover, two key characters are missing from the film version, Miss Temple from the Lowood school and St. John Rivers from Jane’s odyssey away from Thornfield. Both, in different ways, are important in the characterisation of our heroine.
Stylistically the film broadly follows the conventions of Hollywood studios, thus reinforcing the position of the men in the film. However, it does capture the Gothic atmosphere, especially at Thornfield. There is some excellent use of high and low key lighting by the cinematographer George Barnes. And an equally Gothic feel is imparted by the score from Bernard Herrmann.
This is a classic Hollywood adaptation of a great novel. The characters and plot are recognisable but I rather think Charlotte Bronte would have wanted quite a few rewrites if she had been involved. It does though score with the acting and the production. There are pleasures in the narration, style and performances, notably that of Welles. Happily when the Picturehouse at the National Media Museum screen the film this Saturday they will be relying on a 35mm print, which is apparently in excellent condition . This will certainly do full justice to the visual pleasures of the film.
The screening is preceded by a panel discussion chaired by Samira Ahmed. The panel plan to comment on the book, the film adaptations and the works’ popularity. It will be interesting to hear what they may say about the Brontë and the Stevenson versions. Lovers of either will also get a chance to pose questions about this.
Urban Hymn marks the theatrical return of Scottish director Michael Caton-Jones and a rare leading role for the wonderful Shirley Henderson, a leading Scots actor. It’s appropriate then that it should have its world première at the GFT as part of the festival. It also features two young actors who take on important roles and to some extent steal the film. Michael Caton-Jones made three or four of the better UK films during the early 1990s before moving to Hollywood and working with stars like Robert de Niro, a young Leonardo DiCaprio and Bruce Willis. After a few ups and downs he made the well-received Rwanda-set Shooting Dogs in 2005 but then crashed badly with Basic Instinct 2 in 2006. Apart from TV credits he’s been away for nearly a decade and returns with a film that is familiar but slightly odd at the same time. A glowing review followed the première but I’m not so sure. There are many highly enjoyable aspects in the film but also a few puzzles. The film is written by Nick Moorcroft who is perhaps best known as the writer of the recent St. Trinians comedies, but who is promoted in the film’s publicity as writing from his own ‘drug-filled youth’ experiences. Either way he doesn’t seem to have the experience to write the social realist script the film appears to be attempting to use.
The narrative opens with footage of the 2011 riots in London and, via the usual dreadful hand-wringing speech by David Cameron on the radio, then cuts to Shirley Henderson as Kate, a middle-class woman living by the Thames in South-West London who is preparing for an interview at a residential home for children in care. She gets the job despite the doubts of the team leader (played by an abrasive Ian Hart) and soon meets Jamie (Letitia Wright) and Leanne (Isabella Laughland) the inseparable bad girls who, approaching 18, are wasting their last chances to avoid a life in custody or on the streets. Leanne is impossible but Kate latches on to Jamie’s interest in Northern Soul when she hears her singing an Etta James song in her bedroom. This in turn will lead Kate to suggest that Jamie joins the community choir that meets locally. From here on, everything proceeds almost by the book. Kate believes Jamie can be ‘saved’ but Leanne can’t cope with losing her only friend and will attempt to prise her away. It’s not giving too much away to reveal that the story will manage to end both tragically and upliftingly. I found much of this affecting (since I’m in a community choir, love Northern Soul and very much like Shirley Henderson) but I can see plenty of holes.
Choirs, singing competitions and auditions have been all over UK reality TV and in several big screen ventures in recent years and mixing the aspirational tone of these experiences with the brutal world of juvenile detention (Isabella Laughland as Ray Winstone in Scum, down to the ‘batteries in the sock’ weapon) is a novel twist that doesn’t quite work. I’m not sure if the film is attempting the kind of realism that is achieved by Ken Loach and Paul Laverty – or in slightly different terms by Shane Meadows or Clio Barnard – but it doesn’t work here. Setting the story in London also conjures up the new ‘Urban’ genre of the Kidulthood series. But then, making the specific location leafy South-West London (a very long way from the riot-torn estates in Tottenham) seems very odd – not that these problems can’t/don’t exist in Isleworth, but that there seems no connection between Jamie’s world and the streets on which the action takes place. The power of a Loach film like Sweet Sixteen is that we believe that this young man actually lives here and these events could happen. Urban Hymn harks back to an older UK genre, the ‘social problem film’ in which a liberal character representing what’s best in society attempts to solve the problem of wayward youth.
A little digging reveals that this project was initially set up immediately after the riots with Justin Kerrigan (director of Human Traffic (1999) lined up to direct and a story set in Cardiff or Bristol. I had the feeling that the film had hung around as a project. There are other oddities such as an appearance by Billy Bragg as himself (it works in the plot but feels like it belongs in another film) and the under-use of Steven Mackintosh as Kate’s husband. The production company Dashishah Global Film Productions is new and Wikipedia suggests a budget of £2 million – about double that of most UK independent films. The film has appeared at two major festivals, Toronto and Busan and is scheduled for a July 2016 release in eight territories so far, including the UK.
On the plus side, this is a drama with three female leads and if you want a feelgood narrative it will work for you – though it is not as coherent as the earlier festival film, The Violin Teacher. If, however, you want something more analytical and realist, I’d recommend Amma Asante’s A Way of Life (2004) with another Leanne and a hard-hitting story about the struggles of children in care.
This Andrzej Wajda film is an adaptation of a novel by the Nobel Prize-winning author Władysław Stanisław Reymont (1867 – 1925). The original Polish cinema release was nearly three hours long (with a four hour version for television). This was restored in Poland in 2011 and was shown at the Hyde Park Picture House in Leeds as part of the Martin Scorsese presentation of classic Polish films currently touring in the UK. I’m surprised at how few cinemas are showing these films so I’m grateful to get the chance to see some of them at the Hyde Park.
My knowledge of Polish history is not as good as it should be and I had to check out Wikipedia to learn a few important things about the subject matter of The Promised Land. I wish some of the reviewers elsewhere had done the same and then they wouldn’t have made some of the misleading statements that have possibly damaged Wajda’s reputation after his work on the film. The novel’s title refers to the city of Łódź which after 1815, when it was made part of the Russian ‘Kingdom of Poland’, developed as an industrial city and attracted immigrants from all over Europe. Łódź grew as a textile centre and in the latter half of the nineteenth century was sometimes known as the ‘Manchester of Poland’ as it was cotton mills that powered its prosperity. The enormous influx of workers for the mills created an unusual population mix in which the local Polish population was matched by large numbers of Germans, many of whom were Jewish. From these two groups came many of the mill-owners and the bankers who supported them during the rapid growth (and financial downturns) of the period.
The film’s narrative focuses on three young men. Karol is the son of an aristocratic Polish family in decline. He is employed as the Chief Engineer/factory manager of a mill owned by a despotic German. Max is German and the son of a mill owner who is still operating a handloom mill in the 1880s. He is not as ruthless as the other owners and his business is doomed because of his honourable stance. Moryc is a Jewish ‘middleman’ who operates in the futures market (cotton comes into the region via Hamburg and Trieste). Together the three “have nothing – the perfect place to start” and they set out to find money and to develop a new factory using every trick that they can think of. This includes sex, espionage and deception. Given its subject matter and literary source there is an assumption perhaps that this will be something like the literary adaptions of British or French cinema but the vitality of the film made me think more of 1970s/80s Hollywood. Michael Cimino’s Heaven’s Gate (1980) shares some of the sense of unbridled capitalist excess. Others have suggested Bertolucci’s 1900 (1976). There is a long sequence in the opera house that reminded me of Visconti’s Senso (1954). I was amazed by the sheer energy of the film and the way in which the narrative raced along.
I’m usually adept at reading subtitles but for the first half hour I felt I was running to catch up. Wajda used three cinematographers and certainly gave them plenty to do. The camera moves swiftly, often from a low angle and using wide angle lenses so that the characters appear to be crowding around the camera and the audience is immersed in the hustle and bustle. There is also a busy orchestral score and sumptuous production design – I’m assuming that the mills we see are those still standing in Łódź (although the textile business has now largely disappeared). I’m not sure how to describe the film. It is certainly a melodrama but it is also a satire. In a strange way it echoes some of the scenes in Thackeray’s Vanity Fair, although the scenes in the pleasure gardens are rather more explicit than 19th century British literature was able to suggest. Much of the time the satire is buried in the detailed plotting but Wajda exaggerates some scenes to make them grotesque, including two explicit scenes of accidents in the mills. At the end of the film when the ‘education’ of the three principals in the ways of industrial capitalism is complete, Wajda ‘flash’ cuts scenes of worker’s resistance with the celebrations of the mill-owners and the critique of capitalist exploitation is explicit. The Promised Land is a major global film but it was criticised, especially in the US for being anti-capitalist – as if Wajda was somehow ‘toadying’ to the Russians. Others have pointed out that the film appeared as Polish worker’s resistance was building towards the birth of Solidarity. The film was also criticised for being anti-semitic. I don’t think this charge stands as the narrative critiques the behaviour of the young men and the mill owners whether they are Polish, Protestant German or German Jews. There is a Region 2 DVD of The Promised Land from Second Run and a Polish Blu-ray with EST. In the YouTube clip below is a scene (virtually without dialogue) in which we see Karol’s aged father and his fiancée arriving in the city to live close to the new factory being built by the central trio. The music here seems to be influenced by the kind of score used by Ennio Morricone in Once Upon a Time in the West.
This Palme d’or winner from 2013 is certainly an extraordinary movie primarily because of the performances of its leads Léa Seydoux and Adèle Exarchopoulos. They received the award alongside director Abdellatif Kechiche, an acknowledgement of their importance to the film. I’m not talking about their performance in the ‘notorious’ sex scenes although they are remarkable for their length and explicitness for a non-pornographic film. I’ll return to these later.
The story is of Adèle’s (Exarchopoulos) ‘coming of age’ as she experiments with her sexuality before committing to Seydoux’s Emma. It covers approximately six years of her life, from 17, and focuses on her relationships. Exarchopoulos’s performance is particularly brilliant and I’d place it amongst the best I’ve even seen in film; alongside, for example, Daniel Day Lewis in The Gangs of New York (US-Italy, 2002). Her ability to portray fleeting thoughts through facial expression is riveting, particularly the conflict she is feeling between her desires and her, initial, inhibition. Although Kechiche’s direction is competent, and I thought his Couscous was great, without Exarchopoulos, supported by Seydoux, the film would be an overlong (it’s three hours), voyeuristic curiosity.
Which returns us to the sex scenes. They are explicit but integral to the narrative as they convey the women’s passion for each another. However: Kechiche is obviously aware of how montage can be used to convey, with brevity, a great deal of activity that occurs over a long time, as he does use montage in the sex scenes. However, why does the first scene run for over five minutes? I’m not saying it makes particularly uncomfortable viewing but its excessiveness does draw attention to the viewer’s voyeurism. This wouldn’t be a bad thing if I felt that was Kechiche’s purpose which I’m sure it isn’t. I couldn’t see the dramatic purpose of such length and, apparently, both Exarchopoulos or Seydoux have said they won’t work with the director again suggesting they were feeling exploited. There’s also an explicit shot up Adèle’s naked body as she posed for the artist Emma which was gratuitous in its detail.
Queer feminists seem fairly united in their dislike of the film – see here for example. I’m sure Fox is right when she says the sex scenes were straight male fantasy (probably why I enjoyed them mostly) but I disagree with her statement that Emma is represented as predatory. I felt the relationship between the characters was one that many lovers, regardless of their sexuality, experience.
A great film that raises the bar for acting but hopefully not for what is expected of female actors in sex scenes.
Unlike Keith I didn’t find style triumphed over content in this film – see here. Like the Before Sunrise-Midnight films, Abbas Kiarostami relies heavily on long takes, long conversations and entirely convincing performances. Of course Juliette Binoche can be expected to be absolutely wonderful but William Shimell . . . ? Kiarostami had directed him in a performance of a Mozart opera so knew he’d be up to the task; it’s inspired casting. Shimell has since appeared in Amour (2012).
Befitting of Kiarostami’s art house status, Certified Copy is more obviously intellectual than Richard Linklater’s films; which is not to say it’s better or worse. I wasn’t particularly interested in the philosophy of authenticity in art, or in relationships, but was riveted by the conversations, and the Tuscan landscape, that ran throughout the film. There’s a brilliant twist, about half way through so stop reading now if you plan to see the film.
It has appeared so far that Binoche’s Elle (a ‘universal’ ‘she’?) has been flirting with the intellectual James (Shimell) but, when they are mistaken as a married couple, she plays along with the error and then he too plays along . . . But are they or are they not actually married? It is a brilliant sleight of narrative that raises issues of longevity in relationships, memory, as well as gender roles. Unsurprisingly Kiarostami doesn’t bother to tell us the ‘truth’ of the situation, leaving us to ponder if we wish. I’m sure we’ll ponder the actors’ brilliance and, maybe, Kiarostami’s too. I’m not suggesting that his film is derivative in any way, he often uses long takes in his films and may have patented the car dashboard camera.
One clue to the film’s playfulness is surely the casting of Jean-Claude Carrière in a minor role. Carrière scripted a number of Luis Bunuel’s late films and surrealism is expertly interlaced with the ostensible realism of this film’s visual style and the performances.
This fascinating youth pic, from the Czech New Wave, both ‘universalises’ the teenage (or early-20s) experience and sets in squarely in its time. The time was just before the ‘Prague Spring’, but clearly government influence was already loosening, particularly with the relatively graphic nudity and the scene where the youth union meeting is satirised. Being a teenager yearning for a (sexual) relationship is the predominant narrative of youth pics and Czechoslovakia in the ’60s was no different. In fact, it was accentuated by the 16:1 ratio of women to men in the blonde’s (Andula) town, Zruc. To counteract the problem the local factory’s ‘social director’ persuades the army to move a garrison of men to the vicinity. However, they turn out to be middle aged reservists of little interest to Andula and her friends.
The troops’ arrival is one of many comic set pieces in the film. The girls, and the town, are full of hope until the balding men arrive who promptly march to their barracks singing a ridiculous song of blood and glory. Similarly in a dance hall three men bicker amongst themselves on how try of pick up the girls. They send a waiter with a bottle but it’s delivered to the wrong table. Writer-director Milos Forman’s observes all this affectionately, he is not mocking the small town travails of his characters.
As was much European cinema in the ’60s, the Czech New Wave was a ripple of the French nouvelle vague and the long conversations between characters reminded me of early Godard and there is a wonderful moment of Czech surrealism where a necktie is found around a tree when Andula walks through the wood for an assignation that never happens. The dancehall scene reminded me of the one in Billy Liar, shot three years earlier, emphasising how, in the sixties, youth culture was becoming internationalised.
Forman cast locals, mostly non actors, giving the film a realist edge that adds to the charm; it’s not surprising that Ken Loach often cites it as a favourite film. Its political edge is seen when the youth union meeting, of women, is asked to vote to be chaste. Only Andula, hiding at the back, doesn’t put up her hand in favour emphasising the conformism expected by the Establishment at the time. However, while she is something of a rebel, Andula is also a victim; she is betrayed by the smooth talking pianist. Their ‘love’ scene, with the recalcitrant blind, is funny. Overall the film is suffused with a melancholy tone; it entertains but doesn’t forget the pathos of young lust.
Roman (Thomas Schubert) is allowed out of a juvenile institution on ‘day release’; his job is at a morgue. So far so melodrama, especially as Roman is almost as emotionless as a corpse. We follow his faltering steps into the ‘real world’ as he tries to find a compass in a society that treats him with contempt; we don’t learn of his crime until well into the film.
The narrative progresses slowly, routinely; typically arthouse as it demands our patience as we wonder whether it’s better to actually live a life rather than watch someone else live theirs. However, it repays patience with intense drama, when Roman is sent to pick up a corpse in the street whilst a distraught wife is still clinging onto hope that her husband’s still alive, an an emotional payoff at the end when… well, I shan’t spoil it.
Death remains a taboo in western society; consumerism is driven in part by a desire to deny it: cosmetics for everyone. Breathing confronts death, particularly in the scene where the morgue attendants have to prepare a corpse of an old woman who has died at home. We get to see what we don’t wish to see as the deceased body is carefully attended to by men who, hitherto, have been generally unlikeable. It’s a particularly powerful scene.
It’s written and directed by Karl Markovics, who played the lead in the terrific The Counterfeiters (Aus-Ger, 2007) and I’m looking forward to his next film.