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?...