The Lost City of Z (2016)

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You’re a long way from Government now. At the dawn of the 20th century, British explorer Colonel Percy Fawcett (Charlie Hunnam) is encouraged by his superiors to redeem his family name following his father’s dissolute actions, ruining the Fawcett reputation.  Although married to the supportive Nina (Sienna Miller) with a young son and one on the way, he journeys across the Atlantic to South America to carry out a survey of the Amazon in order to help adjudicate borders and to establish national territories.  On board the ship he encounters Corporal Henry Costin (Robert Pattinson)  a man who knows the rainforest. He joins the party which includes aide-de-camp Arthur Manley (Edward Ashley) and they go into the Amazon, where they experience the surreal pleasures of an opera in the middle of the jungle and discover evidence of a previously unknown, advanced civilisation that may have once inhabited the region, triggered by stories told them by their guide. Despite being ridiculed by the scientific establishment back in London when he reports his findings, which contradicts their bias against indigenous populations as savages, the determined Fawcett, supported by his devoted wife, son, Costin and Manley, returns to his beloved jungle in an attempt to prove his case. After another set of discoveries he is challenged by biologist James Murray (Angus MacFadyen) who falsely claims they left him for dead so Fawcett leaves the Royal Geographical Society. He is injured on the Somme when he fights in WW1 but in 1925 when his son Jack (Tom Holland) grows up he wants to help his father pursue his obsession and find the City of Z that Nina found out about in a conquistador text at Trinity College Dublin... To look for what is beautiful is its own reward. A man’s reach should exceed his grasp, or what’s a heaven for? It comes off a little like Fawcett of Amazonia at first but then this James Gray film establishes its own insistent rhythm with a hallucinatory bent that comes first from obsession and then with repetition. Indeed one is forced into a world recognisably that of David Lean but also Herzog’s Fitzcarraldo (quite literally, at the opera) and perhaps Conrad. However the difference is in the doggedness and the feminine element – here Nina plays a crucial part in Percy’s evolving obsession when the document she finds fuels the fire in his belly and ironically leads to increased separation. Adapted from David Grann’s 2009 non-fiction book, this has some of the usual flaws besetting Gray’s films – a kind of muted incompleteness or psychological lack and a physical darkness – but the facts of the story, the deadly nature of the pursuit and the fascinating history compensate and it has a decent pace. Hunnam grows into the role as the story progresses, caring about slavery and native peoples and expressing proper awe at the sight of sculptures and ancient artefacts; and Miller is fine as the proto-feminist who reads from the letter she wrote when she thought she wouldn’t survive childbirth:  as she tells her husband, “You haven’t even seen it for two minutes,” when he protests the jungle is no place for a woman and takes off yet again leaving her pregnant. It’s an admirable corrective to the standard male-oriented expedition narratives, with an amazing coda. In the end, this is actually spellbinding. There is great irony deployed: Fawcett meets Archduke Franz Ferdinand in Ireland and years later in South America he sees the story about his assassination and is told it will trigger a great war:  his escape across the Atlantic was precisely to avoid conflict and now he is going to be catapulted back into something quite dreadful.  He has a wonderful wife and happy domestic life yet he is truly at home in an utterly alien environment where the natives happily shoot poison arrows. He goes back, again and again, despite ridicule and disputes. He has a higher aim and it becomes something verging on mystical. The cinematography by Darius Khondji and score by Christopher Spelman are quite wondrous at times. Executive produced by Brad Pitt. There is no going back. We are already here

The Boys from Brazil (1978)

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Will I be plagued till my dying day by that infernal Jew? Keen young Nazi hunter Barry Kohler (Steve Guttenberg) contacts the renowned Ezra Lieberman (Laurence Olivier) from South America with the startling news that Nazi war criminals are gathering in Paraguay under the aegis of Dr Josef Mengele (Gregory Peck). As he phones him a recording of a meeting detailing a strange plan he is killed and Mengele realises someone knows something they shouldn’t…. In Vienna, Lieberman opens a packet of photos Barry sent him and tries to make sense of what he’s heard – why must 94 sixty-five year old male civil servants in several different countries be killed by a certain date? After speaking to Nazi guard Frieda Maloney (Uta Hagen) in prison he finds out that several male babies were adopted in the Sixties by women who were 23 years younger than their husbands. After speaking with biologist Professor Bruckner (Bruno Ganz) he discovers that cloning is indeed possible and not necessarily from living donors:  Mengele has bred mini-Hitlers and is having them raised in conditions akin to those in which his glorious leader lived (his father was a civil servant who died before the boy was 15). Lieberman must stop the plot to rekindle the Fourth Reich. Ira Levin’s speculative fiction is probably closer to happening now than it was in the Seventies – since which time IVF, cloning and three-parent babies are a mere thought away from what Mengele was doing in his horrifying twins experiments in Auschwitz. So this is a lot less like science fiction than it is science fact. It plugs into the real-life work of Simon Wiesenthal (with Olivier perhaps atoning for his sins in Marathon Man!) when real-life Nazis were still relatively young and of course a huge number of high profile SS men were known to be living freely in sympathetic countries like Brazil and Argentina (never mind running Austria and Germany). It also uses the Lebensborn project as a basis for what is now entirely feasible – apparently. James Mason plays Eduard Seibert, the man who comes to rain on Mengele’s crazy rainforest parade but not before Mengele makes his way to Lancaster Pennsylvania to murder Wheelock (John Dehner) the father of the fourth cloned Hitler (Jeremy Black) a child who is as obnoxious and snotty as his copies in London and elsewhere but has a crucially murderous nature which Lieberman discovers after the boy sets the family’s Dobermans on Mengele. There is a fight to the death – but whose?  This is literally sensational and for connoisseurs of Nazi villains (in cinema) it’s bizarre to see the great liberal actor Peck have a go at Walter Gotell whom he thinks is betraying his plan for world domination. Didn’t they meet in The Guns of Navarone?! Bizarre also to see Bruno Ganz pontificating about clones when his own resemblance to Hitler meant he would play him years later in Downfall. Most bizarre is the fact that Mengele was still alive (for at least another year, possibly longer) when this was released. And for all we know all those Germans in South America (and Europe) have already got their fortysomething men waiting in the wings. Adapted by Heywood Gould and directed by Franklin Schaffner, this had 25 minutes cut for theatrical release in Germany. Poor things! When will everybody stop talking about the Third Reich already?! In the words of the great Dr Henry Jones Jr., Nazis, I hate these guys.

The Naked Jungle (1954)

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I’ll go a long way to see an ant movie but this is only worth it if you’re feeling in the mood for a masochistic melodrama with a two-mile-wide by twenty-mile-long column of bugs at the tail end. Eleanor Parker is the proxy mail order bride who fetches up on Charlton Heston’s South American cocoa plantation at the turn of the century but he doesn’t much like her and takes agin her when he realises she’s a widow. He hasn’t really been there or done that way out in the Amazon jungle so she has him at something of a disadvantage. Some torrid and rather suggestive arguments lead him to send her back to N’Oleans but their gallop upriver is halted by the insects, he greases up to burn them out and she sleeps through the worst of it. Golly, they sure don’t make them like this any more! Based on a story by Carl Stephenson this was adapted by Ranald MacDougall and blacklistees Ben Maddow and Philip Yordan, directed by Byron Haskin and produced by George Pal. This was released March 3rd 1954 so it’s practically an anniversary screening. Personally I prefer Them! and Phase IV. Oh my heaving bosom!

Creature from the Black Lagoon (1954)

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The original Fifties monster movie! This is the story of a team of fossil hunters and anthropologists on an expedition down the Amazon who discover something quite fascinating. They encounter a gill man who has evolved underwater and now has a thing for Julie Adams whom he’s observed swimming. The team get picked off, one by one, as he escapes from their boat and takes her to his cave …. Originally shot for 3D with great sequences by William E. Snyder, the creature is played by Ricou Browning in water, Ben Chapman on land. The non-amphibians are played by Whit Bisssell, Richard Denning and Antonio Moreno.  Star Richard Carlson is reunited with director Jack Arnold from the previous year’s It Came From Outer Space and plays a Californian icthyologist based in Brazil who is called in to analyse a skeletal webbed hand. Both he and Adams look very nice in their swimming togs when they take a break from romancing on the tramp steamer.  Producer William Alland based the film on a tale he was told during production on Citizen Kane, when Mexican cinematographer Gabriel Figueroa regaled him with a myth of half-human half-fish creatures in the Amazon. His notes, with some aspects of Beauty and the Beast, were expanded into a story treatment by Maurice Zimm and then the screenplay was written by Harry Essex and Arthur A. Ross.  Arnold handles this material with appropriate seriousness, getting decent performances in a story that could have descended to the ridiculous. This archetypal Universal production boasts some very influential marine photography particularly the POV shots of Julie Adams which would later resurface in Jaws.  A classic, it spawned two sequels.