Happy Birthday to Me!...

Following catchup episodes of 'The Middle', a Movie Marathon accompanied with a small bottle of Red Wine and a box of Ferrero Rocher - in solitude. A birthday, for once, without the distraction of family and all the unnecessary nonsense that entails.

Schedule:

Once Upon A Time in the West (1968)

Superman: The Movie (1978)

The Song of Lunch (2010)

Lost in Translation (2003)

There Will be Blood (2007)

Film 2010 : Episode 2 - October 20th

Broadcast: Wednesday, 20th October 2010, BBC 1

Just noticed how the opening credits pertain to the movies they're about to discuss. There's quite a cool montage from the movie, RED (2010), accompanying the Film Programme's rather iconic theme.

Billy Taylor and Dick Dallas' 1967 rendition of 'I Wish I Knew How It Would Feel to Feel Free'

RED Retired and Extremely Dangerous (2010)

Brief 'snippet-sentence' interviews with Bruce Willis (looking quite nonchalant, almost indifferent), Morgan Freeman, and Mary Louise Parker (looking quite aged from 'recent' work on Weeds). Bruce Willis singing the praises of Director Robert Shwentke.

Winkleman described it as 'WRONG' and alluded to a word game she used to play with her family when younger, where in this instance she would be struggling to find the right letters to form a *what-the-fuck?* sound-effect.

Danny says that he's always suspicious of movies where actors look like they're having too much fun, as in Soderbergh's Oceans Eleven, for which he wasn't a fan. Said he was looking forward to seeing the cast list in action, notably Ernest Borgnine, Brian Cox, and Richard Dreyfuss. But it felt like a Pro-Celebrity Golf Tournament. 'Drab' was the closing word of the review, in it's emphatic isolation.

Top 5 John Malkovich Movies by Antonia Quirke:

1. Dangerous Liaisons (1988)
2. Shadow of the Vampire (2000) - praised for playing a German Expressionist Director
3. The Sheltering Sky (1990) - who she deems Malkovich to be at his most natural, like how she imagines him to be in real life: quirky and pretentious.
4. In the Line of Fire (1993) - for how at 40 years old, he's not ashamed to show off a gut hanging out.
5. The Killing Fields (1984) - who Quirke deemed Malkovich an instantly natural star in such an early film.

Legend of the Guardians: The Owls of Ga'Hoole

Interviews with Director Zack Snyder, and the young actor Jim Sturgess (playing a character called Soren). Snyder says that the story is very Knights of the Round Table-esque. He approached it like he would a live-action movie, and the animators met him half way: this is how I would do it, this is how they (the animators) would do it - so they had a mesh of styles.

Also an interviews with Geoffrey Rush (playing a character called Ezylryb) and Sam Neil who looked a bit crazy, like he didn't have faith in the production as was doing promotional stuff routinely: 'Don't forget your gizzard when flying. It's the most important thing' quite seriously, or words to that effect.

Danny Leigh said that the movie for him, invited a disturbing trip down memory lane for when he was younger it reminded him of Watership Down and Star Wars. A 'Saga of Owls' if you will! Claiming that would probably be his way to sell it! Claudia said that it 'looked magnificent', and Danny said that he would trump that with it 'looking sumptuous'. The flying sequences in particular were praised by both, which bodes well for Snyder's work for Superman. The CGI flying is also fantastic, and works well in 3D, following the trend (How to Train Your Dragon). This is no real kid's flick though, with some heavy Owl-on-Owl violence!

The re-release of Back to the Future - Does it qualify for 'Classic' status?...

A talking-head sequence including:

Boyd Hilton

Anna Smith

Nev Pierce

David Gritten

Huey Lewis

Xan Brooks

Phillip French

Robbie Collin

Bob Gale said that the script was rejected so many times. That Disney weren't too impressed with the idea of a teenage kid alone in a car with his Mum!... Phillip French said that it's a movie with serious issues and tragic undertones. Interesting fact: Eric Stoltz was taken off the shoot six weeks into filming (to be replaced by Michael J Fox) because it wasn't working!

Hailed as a Classic covering major themes, the Frank Capra's 'It's A Wonderful Life' for a different generation.

Danny Leigh loves Crispin Glover, and think the movie's all about him! Says he gets the best line: 'You are my Density!' Hard to disagree. Another interesting fact: apparently the studios wanted him for the sequel, but he refused to do it. So they used a likeness of him, for which he sued, against Steven Spielberg, and was successful! Though it didn't do him favours for his career.

Africa United (2010)

About African kids travelling across 8 countries to get to the World Cup in South Africa. A road movie, by a first-time director. An interview with her. Said she didn't adhere to the first rules of first time Directors: don't work with kids, don't work with animals, watch your budget! She did the complete opposite. Also an interview with the kids. They looked all over for the right cast native to the story, and one of them was found from a newspaper article a year back in the UK.

Claudia says it's sold as a kid's film about football. Danny says that although the nature of the production might have been epic, that's as far as the comparison goes to Slumdog Millionaire. That latter film was a large-scale emotional adventure, compared to this rather small-scale quest. It's an ambitious movie to try and bring serious issues (the HIV epidemic, child soldiers with access to guns) to 12-13 year old kids. Although there's a lot to like, Danny says he has his reservations.

Mary and Max (2009)

Looks fucking crazy! Claymation. Immediately reminds you of Wallace and Gromit, but it's far from it. A dark story with a certain poignancy. A very human story. Danny compares it to Harold and Maude (1971). Excellent voice-casting with Eric Bana, and Phillip Seymour Hoffman whose presence is felt (unlike Despicable Me's voice cast who you hardly notice).

Carlos

About a terrorist... Comes in two formats: 330min version, and the 165 min version. Claudia and Danny both recommend the longer format to see. Originated as a French TV Series. The Director has European arthouse sensibility, but incorporates Hollywood-esque action sequences that easily best RED for a weekend movie.

Interview with Guillermo del Toro

Guilty Pleasures?

The Car (1977) with James Brolin. Has a still of it, and is having it hand-made in steel for everyday use at home in Los Angeles.

What makes you cry?

City Lights (1931) with Charlie Chaplin, especially the ending when she finally realises who he is.

I have to admit...

Wasn't a huge fan of Todd Browning's Dracula. He loves Browning, but never loved Lugosi. He liked him in more wild parts, playing against Karloff, but not on his own.

Wish you had Directed?

Eyes without a Face

Beauty and the Beast (1946) Jean Cocteau

Touch of Evil - Orson Welles

Seven Chances (1925)

Greed (1924) Erich von Stroheim

Most influential filmmaker?

Is sadly not working enough.

Terry Gillingham.

In Brazil (1985) his aesthetic influenced european Directors.

On the night that this particular episode was airing, it was the premiere of 'The Great White Silence' - Captain Scott's tragic polar expedition, which the BFI are to release in May 2011 on DVD. Footage of this closed the episode.

Personal thoughts:

First impressions, they're reacting too heavily to Twitter users, it seems!... Antonia Quirke's Top 5 is supposed to be an antidote to last week's fun-fest by an enthusiast, which by contrast, I found to be quite dull, serious, and self-absorbed. That it's filmed live is also telling. Feels very pressurised and rushed. Would have wanted it to be more relaxed and edited more neatly. Billed as 'with Claudia Winkleman', what about Danny Leigh! Methinks he's got a 'Get out of Jail Free' clause in his contract, in case the programme and it's format go tit's up. Not as engaging as the first episode, but would definitely still continue to watch regardless.

Leonard Nimoy and Jonathan Frakes introducing 'Star Trek II: The Wrath of Khan' on Film4 Trek Weekend

Film4 hosted a Star Trek Weekend (16th-17th October) showcasing all ten feature-length movies!

Leonard Nimoy and Jonathan Frakes introduced each movie. Whilst I hoped that the 10min excerpts preceding the feature would have been the same thing (from the descriptions listed on Sky Programme Guide), they were not - much to my disappointment!

I only managed to record, to my knowledge, one excerpt in it's entirety. I might have 'accidentally' recorded the others as an indirect consequence of recording the features, but will have to check that out when I'm more organised.

Below is a transcript of that sole interview, before the showing of Star Trek II: The Wrath of Khan.

Leonard Nimony and Jonathan Frakes on Star Trek (5 mins)

Leonard Nimoy:

"Gene Rodenberry had a great vision for Star Trek, and it was that vision that made us the best of what we were, when we were at our best. He was with us for the first two seasons and then was gone. The third season, he was off doing other work. And I think the season, the third season showed it as a result. And when it was over, I was frankly glad that it was over because we were not doing good work and rather than dry this thing further into the ground, why don't we leave it alone, and hope the best of what we did survives. And I think that did happen.

Subsequently when he was asked to make a Star Trek movie, it was right that he was called upon, to do it, but I don't think he was at his best in making decisions about that first movie. He had this sense that it should be different from the series, that it should have a grander look, that we should take advantage of the money and the special effects and so forth, that it should be more intellectual, and less adventurous, so shall we say for lack of a better word he struggled with that story, right down till the very end he was writing writing writing writing, and struggled with it, and then when it came time to make Star Trek II the studio decided it definitely wanted other people at the helm, producing and writing, and I think as a result of the experience on the filming of the First Star Trek Movie, because not only had the story and the script didn't work all that successfully it had also gotten out of hand financially, and they wanted a different kind of leadership taking charge of the film."

Jonathan Frakes:

"When I first got the audition for Star Trek, I went in to meet with the Casting Director. Ultimately I auditioned seven times over six weeks because the original, our Star Trek was made directly for syndication which meant that everyone at Paramount practically has a say in who was going to be cast in their show. It was not a network, it was not made, it was made differently, it was the first hour scripted drama made directly for syndication so a lot of people had their noses in the pot if you will. There were a lot of cooks, so there were a lot of auditions.

I of course, wore the same shirt to every audition, and by the time the seven weeks were up, the shirt walked and put itself on. The last two or three auditions which were for the heads of the studio, Gene Roddenberry would invite me to his office to prepare for the audition with the Direector Cory Allen, who directed the Pilot. And Gene was so passionate about his belief of what life should be like in the 24th Century that he shared that with me, because he wanted Riker to have that same passion, and what he said to me I'll never forget, which was "In the 24th Century, there will be no hunger, there will be no greed, and all the children will know how to read." And he'd wrap his big space-bird arm around me and say "Let's go get you this job" It still gives me [motions goosebumps]. He was awesome."

Leonard Nimoy:

"When I was making Star Trek III and IV, I went to him, I still had great respect for his ideas and his input we gave him ths script and asked him if I could have a meeting and listen to his comments and er, on Star Trek VI I remember I had a profound moment with him where he said ths script works, it makes sense, everything falls into place, it comes together, finally at the end, but he said I'm missing one thing, and I said What is that? and he said We don't know something new and really intriguing about the Klingons. What is it that has made them so angry all these years?

He was absolutely right. And I conveyed that to Nicholas Myer. We could not find a way, given where we were in the process to build on that idea. It was a wonderful idea. And that was the mind that Rodenberry worked with at its best. What has made them so angry all these years. If we could have found that out, what was it about the interior life of their culture, what had happened to them in their past? What had gone wrong in their relationships with eachother, other nations or whatever, where have they lost their way to become so paranoid? So paranoid! And, er, he was right. We didn't capture that. We did a good adventure, but we didn't capture that."

Leonard Nimoy on Star Trek II: The Wrath of Khan (5 mins)

Leonard Nimoy:

"Star Trek II The Wrath of Khan put Star Trek back on the water so to speak, and er, it recaptured the energy, it recaptured the chemistry, of the cast. Nicholad Myer who Directed it er, had kind of a jaunty point of view about the whole thing. Sort of high jinx space, er, he had a very strong sense of what might work dramatically, er Hare Benett captured a very strong idea to bring back Ricardo Montablan who had been one of our better guest stars in one of our better good episodes. And we were back on the rails now. The music had a very jaunty naval feeling about it, er the ships were something like submarines out of water but in space instead, er there was that naughtical sense about it. Hare Bennet came to my home to invite to be in the film and said 'How would you like to have a great death scene?'. And I thought if this is going to be the last of the Star Trek movies, and if the Spock character can be given a glorious end, saving his ship mates and the ship from disaster, and go out in a blaze of glory, why not do that. And that's the way I went to work on Star Trek II.

By the time it came to do the death scene, I had second thoughts because I realised by then, that we had in fact recaptured the sense of Star rek at it's best, and that now I was going to take myself out of it. And I thought, I wondered if I had made a mistake. At the same time there was a wonderful scene written for us, the ending scene between Kirk and Spock, a very moving scene had been written, and it played extremely well. When we were doing the scene, Benett came to me on the set and said 'Could you do or say anything that would give us a string to lead us to another film, another idea, or a continuation of some kind of Spock philosophy, or whatever. I said 'Yes, I think I have an idea'. Before I'd entered the chamber where Spock is about to die saving the ship, I went to the unconscious McCoy, and I put my hand on his face in a mind-meld gesture, and I simply said: 'Remember'."

A History of Horror with Mark Gatiss - Ep. 1

Episode 1: Frankenstein Goes to Hollywood

This feels like an incredibly personal series, and Gatiss has no intention of hiding this: a 'personal passion' he's 'unashamedly selective' of his favourite films and periods. Described himself as a morbid child in his youth, with an affinity and leaning towards horror and the macabre that has remained.

Cites Phantom of the Opera (1925) of the Silent Film period for when Horror started to come into it's own.

Lon Chaney - he calls the Godfather of Horror.

Spoke to Caarla Laemmle (niece of Universal Pictures founder Carl Laemmle), a sprightly centurian!

Chaney used a life mask to help with his own makeup, and aid it's conception.

Carl Laemmle wanted to do a Dracula pic, but the Great Depression hit in 1925. However, he found a more cost-effective way to film.

Dracula (1931) was the first modern horror picture with sound. Starred Bela Lugosi.

Gatiss says great as it was, it didn't have that Gothic sensibility.

Owing to 'creative differences' Lergosi departed from the production of the next movie...

The English Director James Whale was brought in for Frankenstein (1931). It was Boris Karloff's 81st movie! Gatiss makes reference to the make-up artist (Jack Pierce), but says that Karloff in the title role was so much more than 'a brilliant piece of makeup'. Physically looking different makes you different - and Karloff understood that acutely from personal experience growing up... The movie allegedly contained the first controversial scene in the killing of a child. With it's heavy content, the movie stormed to box-office success.

Another hit followed in Dr. Jekyll and Mr. Hyde (1931).

And also Mystery of the Wax Museum (1933) shot in Technicolour.

James Whale could be considered the First Horror Auteur, who pioneered 'camp'.

The Old Dark Horse (1932)

His films have aged well.

Whale invited back for a follow-up, on his terms, with the condition that he had complete creative control.

Bride of Frankenstein (1931) ensued.

Pretorius - camp.

Whale's greatest achievement, and was his last pic.

There was no censorship in the 1930s.

And cinema (horror in particular) reached more twisted and sadistic territory.

Mad Love (1935)

Island of Lost Souls (1933)

The Black Cat (1934)

And notorious to this day:

Freaks (1932)

Directed by Todd Browning, featured real people, not special effects...

Bombed at the box office...

After re-releasing Frankenstein and Dracula a Renaissance of sorts occurred.

Universal's Son of Frankenstein (1939)

Lost much of the camp.

Had a more swashbuckling approach.

The was made famous as Bambi!

One of the greatest casts ever!...

Lergosi tried to be taken advantage of, but co-stars supported his and fought for him.

Boris Karloff's last stab at Frankenstein.

1940s

Sequels were a commonplace favourite.

Cat People (1942) Distributed by RKO Radio Pictures Inc.

Followed Citizen Kane flop.

Released sensationalist movies with evocative titles first, storyline second, but managed to develop a psychological sophistication in the process.

The 'Lewton Bus' (the swimming pool, and walking down a shady street!)

John Carpenter not at all impressed with Luton!

Gatiss holds polite reserve, and obviously appreciates it!

The Body Snatcher (1945)

Comparing Boris Karloff to Bela Lergosi. The former had a long and successful career. The latter not so.

Bud Abott Lou Costello Meet Frankenstein (1948)

Invited for a British tour, for a Dracula revival in regional theatres. Unsuccessful, mocked, people and audiences had become a bit more sophisticated. Lergosi saw Dracula as his Hamlet. Didn't make the comeback he wanted. He was buried in his Dracula cape when he died 5 years later.

The Atomic Age hit in the 1950s, and Horror cinema became extinct for 2 decades thereafter.

Movies were all about scientists and soldiers, over the stake.

What others thought of the episode:

http://www.newstatesman.com/television/2010/10/gatiss-horror-lewton-history

The Pillars of the Earth: Ep. 2

A shockingly visceral and grisly opening to this latest episode. Definitely set the tone for how the rest of the story might play out: the good guys don't always win.

The plight of Shirling's progeny is played out a bit more, with a pro-feminist sensibility. A 'nun-come-outlaw-witch's' prediction for the incumbent monarch plays out. (With her obligatory half-naked 'shagging-scene'). A prior continues to prove his cunning and political powers to great effect, together with the aid of some rather flamboyant (bordering obscene) CGI sequences. With the greater powers-that-be conspiring to subjugate the 'humble' Prior and his troupe, together with their plans for building an ambitious Cathedral, there is some sense of justice and heroic triumph to balance the atrocity opening the episode. We're left on some sort of cliffhanger by the end.

The limitations of realising an epic novel to the (television) screen are felt a bit more in this particular episode - I felt anyway. With the constraints of Episode production time (a maximum of 54mins), you really get the sense that there have been some rather severe efforts to condense the material into the allotted screen time. The result is something that feels forced, has an unnatural sense of pacing, and a near-ridiculous melodramatic series of events by the end of the episode: like they had to fit in as much as possible, and a Director wanted to put in as much as possible for his one and only chance at the project.

Curiously though, despite this, I'm still highly intrigued as to how the next four parts of the story are going to play out. The grand design and epic aspirations of the production still make compelling viewing, though lacking in that expert finesse, an attention to the nuances and the niceties to really make this something. At the very least, it has encouraged me to read the book! Still looking forward to the next episode!

The Pillars of the Earth: Ep. 1

Should really be called: The Politics of the Church.

Set in England around the 12th Century, this production is a rather curious mix of Braveheart, Gladiator and Mad Men! Braveheart and Gladiator for the rather enthralling battle-sequences in all their bloody glory, together with the musical stylings (reminiscent of both); and Mad Men for the style of story-telling: a myriad of inter-woven mini-stories that are all connected in some way, at the same protracted pace.

My only criticism at this point has to be the explicit characterisations: you know the creepy-looking bad guys from the offset with their long dark greasy hair (a la Alan Rickman from Harry Potter) as well as the protagonist heroes (Rufus Sewell looking quite butched up as 'Tom Builder' whose trade just happens to be a... well, Builder!). Also of note is the obvious attempt to please the unconvinced with the (unnecessarily) gratuitous sex-scenes, and other moments of sexual insinuation. Not quite as bad as The Tudors (for which I stayed with for only a handful of episodes), but a little patronising for the viewer... I'm sure the novelisation is a touch more subtle and nuanced.

Who would have thought a story about the building of a Cathedral in the context of British Politics could be made to seem so entertaining and engaging! A Cain and Abel storyline, doomed love, forced love, the nature of family (the harmonious and the dysfunctional), and the seemingly overwhelming power of church and monarchy vs the simple morality (apparently) of the decent under-class...

Not a masterpiece, but engaging enough. I look forward to the next episode!

Film 2010 : Episode 1 - October 13th

With guest Danny Leigh - seems like a proper move buff!...

The Social Network

Both lavished praise on 'The Social Network' with West Wing writer Aaron Sorkin, and Director David Fincher. Unusual for how, according to Leigh, 'cinema is a lumbering beast with keeping up with events' - this movie does. Oscar nods abound, with interviews from the writer and the key members of the cast.

The London Film Festival

Debating what to call the troupe of other experts/enthusiasts:

• Chris Hewitt (him off Empire) with Darth Vader shoes, was at The London Film Festival. Anticipating '127 hrs' and 'Submarine'.
• Someone called Quirke (a more elitist film viewer) anticipating 'Bridge on the River Kwai', a newly restored print, and 'Howl'.
• A proper young dude (a blogger) anticipating 'Black Swan'.

Hewitt at the premiere of 'Never Let me Go', and speaking to the trio of protagonists Carey Mulligan, Kiera Knightly, and some other dude. It felt like he was interrupting a private social gathering, as they were all giggling uncontrollably, in mock jest at eachother. Felt sorry for Chris Hewitt who was trying to be serious, and was obviously not allowed into that inner circle of the joke being shared...

Leigh's most looking forward to 'Neds' - Anton Corben, and is his recommendation for the Festival.

Despicable Me

Leigh says he's smitten with the film, and was generally opposed to the comparisons with Pixar. Claudia found it a touch predictable but said she loved it. Were in mutual agreement about the film's finite nature, closing down the possibility of another franchise a la Shrek and Toy Story. People under 3.5ft will love it - according to the duo.

Charlie's Top 5 scenes to do with the Moon:

(The young blogger dude from before)

1. An American Werewolf in London
2. Enter the Dragon (Bruce Lee's apparently naff metaphor for the moon) - resonated with me and raised a chuckle!
3. AI: Artificial Intelligence (with the big fake moon chasing Law and Haley Joel)
4. The Truman Show (with Ed Harris being wistful in his sky-moon office)
5. Moulin Rouge (where the moon joins in singing with Kidman and McGreggor). Never noticed that before! Quite amusing!

Berated by Danny Leigh that the choices are made by an 8-year-old/12-year-old! Swiftly defended by Claudia professing her love for him.

Vampires Suck

Rolling Stone apparently gave it a four-word review "This film sucks more". Unfunny and offensive. There are more interesting things to do to pass time.

Over Your Cities, Grass will Grow

Claudia not really feeling it. Lacking dialogue and commentary. Leigh anticipated fisticuffs between the two, as he liked the film for it's engaging and immersive imagery.

A brief interview with Simon Pegg:

(with a massive Burke and Hare poster in the background)

Dream role?

Nic Cage's character in Raising Arizona

Guilty pleasure?

Rom-coms! A League of their Own in particular, viewed on a plane with Nick Frost. The moment when Hanks reveals death of a husband, said he found touching.

Fav films?

Dawn of the Dead (the Romero one)

Taxi Driver - a fantastic character study

Raising Arizona

Though the obvious one would be Star Wars!...

I have to admit:

Struggles with Gone with the Wind. The wife loves it, has got it on DVD. Sweeping, epic. Yeah, so what?... Ha ha!

The programme ended with a (supposedly exclusive) trailer for the upcoming Narnia movie. Looked horrible. A grotesque infatuation with CGI, a cartoon-like mash-up of Harry Potter and Lord of the Rings. Perhaps it's a bit premature to say, but it's definitely one I'm NOT going to see...

________________________________

Impressions of the new format:

You can tell that the programme's not secure or self-assured enough to have Winkleman completely on her own: she has to have a seemingly wide-spectrum of 'qualified' people to act as a supporting cast. Predictably, proper film buffs deride the format with some saying it's all over the place, and others, such as myself, am indifferent but rather welcome the change.

I really liked the show with Jonathan Ross, but did feel it was just what he thought, his opinion, an enthusiast, not an expert. Here, it's a messy blend of everything, and you can pick and choose what you like - or not. Overall, it's neither garishly offensive, or light-weight in content - and was happy enough to see something different. I also quite liked the banter between the snobby elitist movie people against the triers and the unsung workers (notably Chris Hewitt and that blogger dude). I look forward to the next episode!

This is England '86

There's no denying the stylistic quality and consistency of this four-parter, as a continuation of Shane Meadow's fine movie: This is England.

I found it thoroughly engaging and compelling. I loved the contextualisation of the drama for the more memorable events of the 80's (the Falklands War, the 1986 World Cup and Diego Maradonna's Hand of god goal), and the distinctively vibrant soundtrack that characterized the original movie. But there was something about it that just didn't sit right for me.

It wasn't the raw and visceral scenes of sexual abuse, or of the rather comical entrapment of one of the side characters by an older woman (a la The Graduate)... It was more of the contrivance of the story, like an episode of Friends (and I do like Friends, by the way!).

I'm not sure whether it's because I'm of the 'glass-half-empty' disposition, but I did find it a touch unbelievable that the rather amiable and care-free troupe central to the movie storyline were still together 3 years later... That they happened to come across Sean, via his one-time girlfriend (Smell), in the first episode was also an extended suspension of reality... And everything else just seemed to fit neatly in... It didn't feel natural, or organic to the narrative, which is perhaps what I found most disconcerting. I feel the need to reiterate that I did enjoy the series, it's just a minor niggle that I had.

The supposed 'villain' also literally crashes back into the picture at the end of the third act, whose redemption for past sins also feels forced, contrived, as well as fleeting to the point of indifference...

10 Recommended War Movies from Empire

From Empire's Flash feature on 'Becoming a War-Movie Expert in 10 films'!

Das Boot (1981)
When Eagles Dare (1968)
Waterloo (1970)
La Grande Illusion (1937)
Paths of Glory (1957)*
Platoon (1986)*
Army of Shadows (1969)
A Bridge too Far (1977)
Come and See (1985)
Saving Private Ryan (1998)*



*the only ones I've seen!...

World Cinema Awards 2010

Hosted by Jonathan Ross (sporting a goatee beard, looking a touch dishevelled) at the BFI Southbank - on BBC4.

Can't believe there were only two awards being presented! Felt quite over-elaborate, ostentatious, unwelcoming. The 'filler' sequences felt similarly so, but was intrigued nonetheless for the movies that were to be discussed.

Peter Bradshaw (I think it was, did a summary of the year's best).

Dogtooth
Draquila - Italy Trembles
Women without Men
Soi Cowboy
Katalin varga
The Illusionist
Metropolis (1927)
A Prophet
The White Ribbon
Let the Right One In
I am Love
Waltz with Bashir

The Jury:
Aamir Khan
Christopher Hampton
Sophie Fiennes
Bidisha


Didn't really like how they gave nearly the whole plot away for all the movies! 'Twas like an extension of Film 2010 with Jonathan Ross... The nominated movies were given this treatment before and after the 'World Cinema Achievement Award 2010'.

- A Prophet
- I am Love
- Let the Right one In

Then the presentation for the Achievement Award to Bernardo Bertolucci.
The Conformist
Last Tango in Paris
1900
The Last Emperor
The Sheltering Sky
The Dreamers

The remaining nominees:
- The White Ribbon
- Waltz with Bashir

Winner: The White Ribbon, by Michael Haneke.

Allegedly couldn't be there in person owing to 'Casting calls organised long before', so got one of his actresses to accept the award. Seems like a cool guy! Loved The Piano Teacher. Definitely have to check out more of his stuff!

screenrush.co.uk - something to check out?...