I hope you know that you made today a very special day by just your being you. There’s no one in the whole world like you, and I like you just the way you are. 1990s New York. Lloyd Vogel (Matthew Rhys) is an investigative journalist for Esquire magazine who receives an assignment to profile beloved children’s educational TV host Fred Rogers (Tom Hanks) from Mister Rogers’ Neighborhood . He approaches the interview with typical hard-nosed scepticism, as he finds it hard to believe that anyone can have such a good nature. But Roger’s empathy, kindness and decency chips away at Vogel’s jaded outlook on life. He’s happily married to Andrea (Susan Kelechi Watson) with a young baby but the encounter with this unique celebrity forces the reporter to reconcile with his painful past, starting with his sister’s wedding which is attended by the father Jerry (Chris Cooper) he utterly loathes and they have a violent fight ... I don’t eat anything that had a mother. The general truth about Tom Hanks is, he’s a saint (even with that early, uh, brush with a cocaine habit). And Rogers’ saintliness is put to the test in this construction. The overall effect is to render Hanks’ patented sincerity inauthentic. The melding of the real with toytown is creepy as … whatever you’re having yourself. Much of this rings false and frankly sinister. The point where Lloyd is miniaturised to enter the TV world is like a bad trip and cheap psychology as if Screenwriting 101 and Self-Help got scrambled in the manipulation blender. You have to care about Lloyd’s problem to empathise with this concept. I didn’t. Adapted from Tom Junod’s article Can You Say … Hero? by Micah Fitzerman-Blue and Noah Harper. Directed by Marielle Heller. Anything mentionable is manageable
Aka Der Himmel Über Berlin / The Heaven Over Berlin / The Sky Over Berlin. Why am I me, and why not you? Why am I here, and why not there? When did time begin, and where does space end? Isn’t life under the sun just a dream? Isn’t what I see, hear, and smell just the mirage of a world before the world? Two angels, kindred spirits Damiel (Bruno Ganz) and Cassiel (Otto Sander), glide through the streets of Berlin, observing the bustling population, providing invisible rays of hope to the distressed but never interacting with them. They are only visible to children and other people who like them. When Damiel falls in love with wistful lonely trapeze artist Marion (Solveig Dommartin) whose circus has closed due to financial problems, he tires of his surveillance job and longs to experience life in the physical world. With words of wisdom from actor Peter Falk (playing himself) performing in a WW2 thriller whose cast and crew the angels are observing – he believes it might be possible for him to take human form and enter history ... We are now the times. Not only the whole town – the whole world is taking part in our decision. We two are now more than us two. We incarnate something. We’re representing the people now. And the whole place is full of those who are dreaming the same dream. We are deciding everyone’s game. I am ready. Now it’s your turn. You hold the game in your hand. This beautiful benign allegory of the divided city of Berlin is of course clear to anyone familiar with the practices of the Stasi, who deployed one half of the East German population to spy on the other half: when the Wall came down and the files were opened families and friendships were torn asunder. However a few years before that occurred, director Wim Wenders plugs into the nightmare of watching and being watched and makes it into a surreal dream in this romantic fantasy. I can’t see you but I know you’re here. It’s verging on noir with its portrait of a place riven by war and totalitarian rule, its acknowledging of the Holocaust and the overview of the Wall snaking through a post-war world. You can’t get lost. You always end up at the Wall. A poetic film that’s so much of its time yet its yearning humanity is palpable, its message one of eternal hope. Shot in stunning monochrome by Henri Alekan, brought out of retirement and for whom the circus is named. I’m taking the plunge. Written by Peter Handke, for all the fallen angels on the outside looking in. Co-written by Wenders with additions by Richard Reitinger, loosely inspired by Rainer Maria Rilke’s poems. An exquisite city symphony that insists on the disrupting of image making, bearing witness, choosing life. With Curt Bois as Homer and Crime and the City Solution and Nick Cave and the Bad Seeds perform. Must I give up now? If I do give up, then mankind will lose its storyteller. And if mankind once loses its storyteller, then it will lose its childhood
Aka Sparrers Can’t Sing. Don’t argue. If I hadn’t have liked you, I wouldn’t have bashed your head in, would I? Cockney merchant sailor Charlie (James Booth) comes home after two years at sea to find his house in London’s Bethnal Green razed and his wife Maggie (Barbara Windsor) missing. She’s now living with bus driver Bert (George Sewell) who has his own wife and Maggie has a new baby – but who’s the daddy?! Charlie’s friends won’t tell him where Maggie is because he’s famed for his terrible temper. But he finally finds her and, after a fierce row with Bert, they are reconciled… Hey, bus driver! I can go away for *ten* years and get my own wife back! Interesting on so many levels, this, even if its experimental styling doesn’t wear so well with elements of raucous pantomime occasionally diverting the narrative thread. Developed from Stephen (On The Buses) Lewis’s play at director Joan Littlewood’s famed Theatre Workshop at Theatre Royal Stratford East in 1960, with improvised contributions from the performers, many of whom are featured here, this has sentimental value as a vehicle for Barbara Windsor (who was discovered by Littlewood), better known from the Carry On series and TV’s Eastenders. She earns her stripes in a heartwarming even startling performance. It’s notable also as a southern variation on the British New Wave or kitchen sink realist style and for its use of language in conveying a sense of community in that part of London, with plenty of Yiddish and Cockney slang. The city gleams courtesy of Desmond Dickinson’s cinematography and the original score by Stanley Black coupled with original songs (including the title by Lionel Bart, sung by Windsor) marks it out from the pack. It also has a cracking cast of familiar faces including Roy Kinnear, Yootha Joyce, Brian Murphy, Harry H. Corbett, Murray Melvin, Victor Spinetti and Arthur Mullard to name a few. Although the Krays were rumoured to appear in it, and they seem to make a cameo appearance, allegedly they don’t, but the parties celebrating the premiere were held at two of their clubs. Adapted by Littlewood and Lewis, this was Littlewood’s only feature aside from an earlier TVM based on a play by Aristophanes so this is really the only filmed record of her groundbreaking achievements. Shot around Limehouse, Stepney, Shadwell, Millwall, the Isle of Dogs, West Ham, Greenwich, Whitechapel and Blackheath, this gives an authentic picture of the city as the slums were being cleared and its face was quite literally changing. Some interiors were shot at Merton Park Studios. It wasn’t always your fault
How many Israelis? How many hijackers? Where are they going? In July 1976 an Air France flight from Tel Aviv to Paris is hijacked by Islamic terrorists (the Popular Front for the Liberation of Palestine) including two Baader-Meinhof supporting Germans Wilfred Böse aka Boni (Daniel Brühl) and Brigitte Kuhlmann (Rosamund Pike) who find out that Ulrike Meinhof has hanged herself in prison (it is rather more likely that she was murdered) and want to take their anti-fascist beliefs out on some innocent Israelis in exchange for the release of Palestinian terrorists. They take over the plane in Athens and the Palestinians order the French pilots to land in Entebbe, Uganda, where they believe murderous maniac Idi Amin (Nonso Anozie) will influence negotiations with the Israeli government. In Israel, the tensions between Prime Minister Yitzhak Rabin (Lior Ashkenazi) and Shimon Peres (Eddie Marsan in a hilarious wig) are played out during stalled negotiations (the Israelis do not negotiate with terrorists) while a commando unit prepares for an assault on the African airport … Germans killing Jews. Have you thought how this looks? Playwright Gregory Burke’s screenplay teases out all the issues with on-the-nose dialogue in this historical reconstruction which perhaps does too many things at once – the dance motif which threads through the narrative because one of the commandos Zeev Hirsch (Ben Schnetzer) has a girlfriend preparing for a difficult performance of Echad Mi Yodea is perhaps a trope too far – and ends up straddled between one too many stools. The Germans are not exactly naive – their ideological struggle against their parents’ generation has itself a rather sickly unironic anti-semitic root (let’s call him Adolf Hitler or Martin Luther, whomsoever you prefer, they call it anti-fascist). However they are out of their depth with the Islamists who quickly put the Jewish hostages in one room and prepare to kill them first. French pilot Jacques Le Moine (Denis Ménochet) is the voice of reason in Boni’s ear – an engineer is worth fifty revolutionaries, he tells him. And what about dignity? Drinking water gives people dignity, he cautions as he fixes the dirty water supply at the rear end of Entebbe Airport while the regular business goes on at the public end. It is his subtle finger wagging that gets Boni to desist from a genocidal spree. There are nice supporting performances – including Peter Sullivan as Amos Eran, Rabin’s right-hand man – and a real clunker from Pike whose conversation into a dead telephone after she’s run out of uppers gives new meaning to the term phoning it in. The hostages’ terror is more or less ignored even when one French-Israeli is returned to the group by the Palestinians in a shambolic state after they have tortured him. Everything is defused by cutting back to the dancer girlfriend and her psychological issues with her job (boo bloody hoo). The one man killed in Operation Thunderbolt was Benjamin Netanyahu’s brother Yonathan (played here by Angel Bonanni) which precipitated the young man’s return from the United States and his elevation to PM for the first time in 1996, as the end credits remind us over another dance performance (why?). Rabin was eventually murdered by a Jewish extremist who didn’t want him to carry on dialogue with the Palestinians. And so it goes on. This was a fabulously daring rescue mission but you wouldn’t know it from watching this film. It’s loose enough with the truth but one story that isn’t included is a woman hostage who choked on a bone and was sent to hospital. After the raid, Amin had her murdered. Directed by José Padilha. There are three other films on this subject and I’ll bet anything they’re all better than this. Shalom.
Aka Bang! Bang! You’re Dead! I just came here to build a hotel. One of six travellers who catch the bus from Casablanca airport to Marrakesh is carrying $2 million to pay a powerful local man Mr Casimir (Herbert Lom) to fix a vote at the United Nations on behalf of an unnamed nation. But not even the powerful man knows which of them it is – and his background checks reveal that at least three of them aren’t who they claim to be. As agents from other nations may be among them, he and his henchmen have to be very careful until the courier chooses to reveal himself – or herself. One of them is Andrew Jessel (Tony Randall) who is in Morocco to finance a hotel but he seems the most likely prospect. On the bus, he encounters the lovely Kyra Stanovy (Senta Berger) who soon appears to be another dubious individual. When Jessel’s briefcase gets mixed up with Casimir’s the chase is on across rooftops and through bazaars and Jessel and Kyra are thrown together when a corpse materialises in his wardrobe – but what is she really up to aside from being a rather too lovable mod femme fatale? … The mid-Sixties spy spoof sub-genre or Eurospy movie continues apace with this picturesque travelogue, boasting some of my fave film faces including Klaus Kinski as the white-suited Jonquil, Casimir’s creepy little henchman, who gets a great entrance in the titles sequence, Grégoire Aslan as Achmed, a Moroccan trucker, Wilfred Hyde-White as Arthur Fairbrother, a likely courier for Red China and of course the indubitable Terry-Thomas as the Oxbridge educated El Caid, a very useful intermediary. There’s even John Le Mesurier as another would-be go-between for the Communists and Burt Kwouk, who has the tiny role of hotel clerk. Margaret Lee appears as the goofy lover of Casimir. Randall is an unlikely love interest and a hapless hero – don’t let the poster fool you – there’s no attempt to portray him as James Bond, he’s much more James Stewart in The Man Who Knew Too Much, but this is a lot of fun with a corpse repeatedly turning up at the most inopportune moments. Berger is adorable as the compulsive liar. There’s a colourful score by Malcolm Lockyer. From producer Harry Alan Towers, this was co-written by him with Peter (The Liquidator) Yeldham and directed by Don Sharp.
Don’t ever listen to me when I drink Guinness. Lisa Jorgenson’s (Reese Witherspoon) entire life has been defined by softball, but at 31, she is deemed too old to play and cut from the team. After being cast adrift, she begins a fling with Matty (Owen Wilson), a charming womanizer who plays professional baseball. About the same time, she goes on a blind date with George (Paul Rudd), a businessman on the hook for stock fraud. Caught in a romantic triangle with the two men, Lisa ponders the meaning of love as she moves in with Matty, has dinner with George and George himself is speechlessthroughout because he has learned that his father wants him to go to prison for a securities fraud that he himself has carried out. Then when Lisa realises who she’s shacked up with, she moves out – twice … There are a lot of bright moments in this relationship dramedy or romcom with a starry cast getting some fun lines but it’s really Witherspoon’s chance to shine. However auteur James L. Brooks’ storyline comes unstuck – which is a pity because even if it’s about people whose lives are variously derailed, and the most convincing scene in the whole thing is in a birthing ward where George’s secretary (Kathryn Hahn) has just had a son out of wedlock, the narrative has nowhere for any of them to go: it even concludes at a bus stop, for crying out loud! Nobody here is a completely dim bulb but they’re not gifted with the smarts required for this soft-centred delight to really take off and even the Machiavellian Nicholson’s puppet master fails at the end. Strange – but not an entirely unenjoyable meeting of talents despite Brooks not really caring enough about what makes anyone tick to pull it together. Maybe that’s what gives it the ring of truth.
Nothing makes sense and then I’m with you and everything makes sense. Flight Lieutenant David Halloran (Harrison Ford) is standing in line for a London bus during the Blitz and plays leapfrog with a nurse (Lesley-Anne Down) and their antics mean they both miss the bus but fall in love over a cup of tea and then the street is bombed by the Germans. He wants to meet her on Thursday week – he has many bombing missions in between times – and she arrives, many hours late. They travel to the country and after several sexual assignations she finally tells him her name is Margaret. His squadron has another mission to fly but he notices an engine problem at takeoff and his colleague takes off in his place and is shot down. He is wracked with guilt. Meanwhile, it transpires that Margaret is married and her husband Paul Sellinger (Christopher Plummer) is a mild-mannered teacher training officers in intelligence and two have been captured and killed within two weeks of landing in Lyons: there’s a double agent in the ranks. He volunteers to be dropped in France to photograph Nazi files to root out the culprit – and when he is allocated a pilot it’s Halloran and they’re the sole survivors of a firestorm. They have to don disguise to survive detection and find a hiding place on a farm. When Sellinger starts to describe his wife Halloran realises they’re in love with the same woman and she is giving them both reason to live … This has one of the great meet-cutes and it is overwhelming because it comes in the first ten minutes. Down and Ford are a fabulous looking pair and the (somewhat thin) story reminds you of the great WW2 romances, on which it was clearly modelled. The Sellingers’ home life is wonderfully exposed by their relationship with their young daughter Sarah played by cool girl Patsy Kensit and there’s some convincingly irritating banter between the bomb squad. We can see several Indiana Jones scenes in advance, played out here on German occupied territory albeit with a tad less humour. This doesn’t reach the heights it aims for but it’s beautifully made and the score by John Barry is simply epic. It makes you wonder why on earth the glorious Down hasn’t been cast more over the years. Sigh. There is however a rare appearance by the legendary comedian Max Wall as a locksmith. Written and directed by Peter Hyams.
Even these days it isn’t as easy to go crazy as you might think. Divorced Dr Miles Bennell (Kevin McCarthy) returns to his smalltown practice in California after being away for a couple of weeks at a medical conference. Seems like half the population has been complaining of a mysterious feeling and then not returning, claiming to be better. And the other half says family members aren’t themselves – they’re impostors, lacking nothing except emotion. When his ex Becky Driscoll (Dana Wynter) returns from England after her own failed marriage they visit mystery writer Jack Bellicec (King Donovan) and his wife Teddy (Carolyn Jones) because his double is lying on the billiards table and frankly it freaks them out. Becky’s father is a little strange too and as for the local psychiatrist…. Soon it appears the whole town is being taken over by alien seed pods now being actively cultivated to make everyone the same. Whether you take this as ‘straight’ sci fi or horror (as if that were ever a thing), a political allegory (it works for communism or fascism) or a warning about the homogeneity and groupthink of Fifties culture or even a comment on the brainwashing techniques used during the Korean War, this is brilliant cinema. From the sly innuendo of McCarthy getting back together with his ex, to the satirical thrusts at a humdrum life, this hasn’t aged a day. The scene when Teddy sees Jack’s double open his eyes while Jack is asleep is really thrilling. And as for the pods throbbing in the greenhouse! Adapted by Daniel Mainwaring from sci fi legend Jack Finney’s Colliers serial (later a novel) it was directed by Don Siegel. Whit Bisssell is the Dr in the concluding scenes and Sam Peckinpah plays Charlie the meter reader – he was director Siegel’s dialogue coach on this and four other of his Fifties films. The prologue and epilogue were added because the studio got cold feet over the pessimistic content – but you will never forget the sight of McCarthy shouting at the trucks on the highway, and this was its original ending. Nevertheless, this is extraordinary, urgent and fiercely exciting, simply one of the best films ever made.
This adaptation of Stephen McCauley’s novel (by playwright Wendy Wasserstein) has impeccable theatrical credentials, as it is directed by Nicholas Hytner, but also has crossover appeal because of the crucial casting of TV star Jennifer Aniston and visiting Friends regular Paul Rudd. This romcom with a difference – because the titular object is a gay man – touches so many contemporary hot button topics: alternative families, LGBTQ lifestyles, single motherhood, class, social status – and does so with a light-ish style, in quite a long comic/dramatic narrative that allows for decent character exposition and actual conversations. Aniston is the social worker stepsister of Allison Janney, who’s married to a hot literary agent, Alan Alda. Their daughter attends a private school where the terrific young first grade teacher Paul Rudd runs a great musical production every year. He winds up at one of their dinner parties where fellow invitee Aniston unwittingly reveals to him that his gay lover Tim Daly wants him out of their apartment. So she rents him a room at her place … and falls for him while she’s pregnant with her laywer boyfriend’s baby. She thinks she and Rudd can raise her baby together. Trouble is, his ex wants him back, then he falls for a gay mentor’s own roommate, and the baby is on the way, while the lawyer (John Pankow) himself finds love elsewhere after being shut out for so long. A lot like life, with a good feeling for how people really are and the playing is superb with Nigel Hawthorne a particular joy as a wise old queen who gently asks Aniston at Thanksgiving Dinner what will happen when all her male homosexual friends disappear. For fag hags everywhere!
British cinema has thrown up some worthy B-movies and this is one of them, from the venerable Pat Jackson, who made his name in the documentary movement and whose first feature, Western Approaches, about the Battle of the Atlantic, remains his finest work. Gwen Cherrell’s screenplay tells the story of a flighty teenage girl Jean (Christina Gregg) who picks up the ringing telephone in a call box whilst waiting for the bus to her part-time job at the local pub run by her dad’s friend Ron (Conrad Phillips). She strikes up a friendship with the man on the line, adopts the moniker Samantha for their daily calls and convinced that this is Love, agrees to meet him. There’s been a spate of killings in the area and she pays no heed until Dad grounds her and her sensible younger sister Ann (Janina Faye) but they plan an outing to the cinema so that Jean can meet this unseen beau. Bus conductress Molly (the fabulous Dandy Nichols) warns her not to go through with her airhead schemes but she pays no heed. Until she finds herself waiting for the real-life meeting and gets cold feet. But her little sister feels the fear and goes to her rescue … This is a surprisingly taut suspense thriller, much of it taking place in a telephone kiosk (remember them?!) and assisted immeasurably by good family dynamics (real-life spouses Cyril Raymond and Gillian Lind are the put-upon parents), bolshy Ann writing letters to politicians about bloodsports, the lowkey Home Counties setting (even the opening discovery of a young woman’s body in a barn), the rhythm established by the regular phonecalls, the bus journeys, the conversations, and a winning performance by Gregg, a model and actress better known for roles in TV’s Danger Man and The Saint. What’s interesting is of course how people do the utterly unexpected and act the opposite way that you’d expect – as in life, so in movies, and that’s what turns this into something unbearably tense. There are tropes here that would become a staple of slasher films in the Seventies. Faye has had a much longer career than her co-star and is probably better known for her big screen work in Dracula and The Day of the Triffids and has often appeared at Hammer conventions. She has also directed a short film called Green Fingers starring Ingrid Pitt. She previously appeared in the rather similarly-themed Never Take Sweets from a Stranger. Actress and screenwriter Cherrell would go on to write The Walking Stick (1970), Brief Encounter (1974) – the Burton/Loren version, and TV sitcom Leave it to Charlie (1978). Made at Marylebone Studios and on location in Bucks., and distributed by Bryanston.