The World Is Not Enough (1999)

There’s no point in living if you can’t feel alive. Britains’ top agent James Bond (Pierce Brosnan) is entrusted with the responsibility of protecting Elektra King (Sophie Marceau) the daughter of M’s (Judi Dench) college friend, an oil tycoon murdered while collecting money at MI6 in London. While on his mission in Kazakhstan, he learns about an even more dangerous plot involving psychotic villain Renard (Robert Carlyle) and teams up with nuclear physicist Christmas Jones (Denise Richards) while enjoying a romance with the woman he’s been sent to protect … This is a game I can’t afford to play. Brosnan is back and he’s a charmingly effective Bond in a literally explosive set of action sequences packed with non-stop quips, assaults and well-choreographed kinetic adventures commencing with a bomb in MI6 HQ. Marceau is lovely as his marvellously outfitted female foil, Carlyle is a useful if underexploited villain and Richards is perfect as the preposterously beautiful nuclear physicist whose name gives rise to some great puns in the climactic scene. The only inconsistency is M being made a dupe but you can’t fault the transition from Q to R (John Cleese as a Fawlty-ish successor) or the casting of Robbie Coltrane as a bumptious Russian casino proprietor. The screenplay is credited to Bond regulars Neal Purvis and Robert Wade from a story devised with Bruce Feirstein but weirdly somebody forgot to mention spy mastermind Ian Fleming. The title song performed by Garbage is composed by David Arnold and the legendary lyricist Don Black. The endless fun is directed by Michael Apted. You can’t kill me – I’m already dead

 

Spirits of the Dead (1968)

Aka Tre passi nel delirio/Histoires extraordinaires. Three stories of hauntings adapted from Edgar Allan Poe. Part 1:“Metzengerstein” directed by Roger Vadim. Are you sure it was a dream? Sometimes you need me to tell you what you did was real. At 22, Countess Frederique (Jane Fonda) inherits the Metzengerstein estate and lives a life of promiscuity and debauchery. While in the forest, her leg is caught in a trap and she is freed by her cousin and neighbor Baron Wilhelm (Peter Fonda), whom she has never met because of a long-standing family feud. She becomes enamored with Wilhelm, but he rejects her for her wicked ways. His rejection infuriates Frederique and she sets his stables on fire. Wilhelm is killed attempting to save his prized horses. One black horse somehow escapes and makes its way to the Metzengerstein castle. The horse is very wild and Frederique takes it upon herself to tame it. She notices at one point that a damaged tapestry depicts a horse eerily similar to the one that she has just taken in. Becoming obsessed with it, she orders its repair. During a thunderstorm Frederique is carried off by the spooked horse into a fire caused by lightning that has struck.  Written by Vadim and Pascale Cousin and shot in Roscoff. Part II:  “William Wilson” directed by Louis Malle. It is said, gentlemen, that the heart is the seat of the emotions, the passions. Indeed. But experience shows that it is the seat of our cares.  In the early 19th century when Northern Italy is under Austrian rule, an army officer named William Wilson (Alain Delon) rushes to confess to a priest (in a church of the “Città alta” of Bergamo that he has committed murder. Wilson then relates the story of his cruel ways throughout his life. After playing cards all night against the courtesan Giuseppina (Brigitte Bardot), his double, also named William Wilson, convinces people that Wilson has cheated. In a rage, the protagonist Wilson stabs the other to death with a dagger. After making his confession, Wilson commits suicide by jumping from the tower of “Palazzo della Ragione”, but when seen his corpse is transfixed by the same dagger. Written by Malle, Clement Biddle Wood and Daniel Boulanger. Part III: “Toby Dammit” directed by Federico Fellini.  This film will be in color. Harsh colors, rough costumes to reconcile the holy landscape with the prairie. Sort of Piero della Francesca and Fred Zinneman. An interesting formula. You’ll adapt to it very well. Just let your heart speak. The modern day. Former Shakespearean actor Toby Dammit (Terence Stamp) is losing his acting career to alcoholism. He agrees to work on a film, to be shot in Rome, for which he will be given a brand new Ferrari as a bonus incentive. Dammit begins to have unexpected visions of macabre girl with a white ball. While at a film award ceremony, he gets drunk and appears to be slowly losing his mind. A stunning woman (Antonia Pietrosi) comforts him, saying she will always be at his side if he chooses. Dammit is forced to make a speech, then leaves and takes delivery of his promised Ferrari. He races around the city, where he sees what appear to be fake people in the streets. Lost outside of Rome, Dammit eventually crashes into a work zone and comes to a stop before the site of a collapsed bridge. Across the ravine, he sees a vision of the little girl with a ball (whom he has earlier identified, in a TV interview, as his idea of the Devil). He gets into his car and speeds toward the void.The Ferrari disappears, and we then see a view of roadway with a thick wire across it, dripping with blood, suggesting Dammit has been decapitated. The girl from his vision picks up his severed head and the sun rises. Written by Fellini and Bernardino Zapponi and adapted from ‘Never Bet the Devil Your Head’… Who but Vadim could cast Jane Fonda’s own brother as her object of desire? And she’s terrific as the jaded sexpot. Delon is marvellous as Poe’s ego and id, haunting himself; with Bardot turning up as a peculiarly familiar iteration of what we know and love. And then there’s the wonderful Terence Stamp as Toby, the scurrilous speed freak. This portmanteau of European auteurs having a go at Poe is the dog’s. Watch it over and over again to pick up on all the connections and beauty within. Uneven, fiendishly sexy, ravishingly brutal, moralistic and really rather fabulous. Makes you wish it was fifty years ago all over again. Oh, no. I’m English, not Catholic. For me the devil is friendly and joyful. He’s a little girl.

The Driver (1978)

You know I don’t like guns. The laconic and enigmatic Driver (Ryan O’Neal) excels at manoeuvering getaway vehicles through the tightest of spots following robberies, making him quite in demand in the criminal underworld. His skill and notoriety, however, infuriate the corrupt Detective (Bruce Dern), who becomes obsessed with taking the Driver down and has issues convincing his cohorts (Matt Clark and Felice Orlandi) on the best way to entrap him. He decides to use Teeth (Joseph Walsh) and his trigger-happy gang, and offers them a deal in a set up robbery. Luckily for the speed-loving anti-hero, the Player (Isabelle Adjani), a gorgeous and resourceful woman, is around to help him elude the Detective… I’ll tell you something, I’m very good at what I do. Who says American cinema doesn’t do existential? Channeling Melville (Jean-Pierre) and Camus this boils the film noir down to essentials and provides a sustained picture of Los Angeles at night often challenged, rarely equalled. From the country and western music played on his Craig electronic notebook (I want one) to his moniker of Cowboy, the western allusions play out with an unexpected shootout involving a man who doesn’t usually carry a gun. The irony of course is in the casting:  Dern once killed John Wayne on screen, so brings that genre baggage to this tapestry of tropes. Writer Walter Hill was making his sophomore directing outing following Hard Times and you can tell he watched a lot of Raoul Walsh movies.  The generic character names are proper archetypes that take flight in this most meticulously conceived actioner, the car chases reminding us of his work as AD on Bullitt (he wrote this for Steve McQueen). There’s astonishing camerawork and shot design by Philip H. Lathrop, who did Shadow of a Doubt and Saboteur with Hitchcock and the opening tracking shot on Touch of Evil, as well as doing a great job on Blake Edwards’ astonishing LA movie Experiment in Terror and The Pink Panther. There are other titles on his resumé, but those are impressive enough credentials for one DoP. The limpid lighting and great cutting make this muscular thriller a visually haunting experience. The scene when the Driver teaches Teeth and his gang how to really drive a Merc in an underground car park is stunning and you know, when you think about it, they’re just driving around a car park.  That’s all. But it’s how they do it that matters. There is a winning simplicity and modernity that bespeaks careful construction to achieve this finessed cinematic affect. And there’s the significance of the cars in the culture and what this is about symbolically, a western scenario unfolding in a lawless town where Dern fancies his chances as omnipotent sheriff irritated by his constantly questioning sidekicks. There’s the usual hilariously inexpressive performing by Adjani, a great supporting role for Ronee Blakley as the Connection and a very satisfying ending. This is why Walter Hill is one of the geniuses of cinema and why O’Neal was a major star, perfect for the era. He looks great, he says little and he does it with surgical exactitude. He and Dern have utterly asymmetrical acting styles and make remarkably memorable complementary foes. One of the great Seventies movies.  How do we know you’re that good?

Bonjour Tristesse (1958)

It’s getting out of control. I just wish I were a lot older or a lot younger. Designer Anne (Deborah Kerr) travels to the French Riviera to visit her old lover Raymond (David Niven), the wealthy playboy husband of her recently deceased friend. His pampered seventeen-year old daughter, Cecile (Jean Seberg), afraid that the rather prim Anne’s presence may alter their hedonistic lifestyle, attempts to drive a wedge between the woman and her father, with the help of his latest French mistress Elsa (Mylène Demongeot) when Raymond proposes marriage to Anne.  Little do they know that Anne’s proper attitude hides a fragility that could lead to tragic consequences and when they set their plot in motion everything begins to come undone ... She’s prim, and prissy, and a prude. And a know it all. And I hate her! This adaptation of Françoise Sagan’s slim but shocking bestseller by Arthur Laurents has lost none of its power. The father-daughter double act beautifully played by Niven and Seberg has the sense of perversion and decadence that twists the material’s bittersweet threads into something that still raises eyebrows:  incest, perhaps? Producer/director Svengali Otto Preminger once again subjects his famous young Saint Joan protegée to a kind of trial of inquiry – this time for her libertinism – in a flavoursome morality tale that delineates corruption with admirable precision as the pieces are moved into place.  Stunningly imagined in widescreen, in both monochrome and colour, by cinematographer Georges Périnal, with a classic score by Georges Auric and that legendary title song, performed by Juliette Gréco. The poster is of course the work of Saul Bass. Beautiful, scandalous and compelling, this is where the Nouvelle Vague begins. Anne had made me look at myself for the first time in my life. And that turned me against her – dead against her

Has Anybody Seen My Gal? (1952)

This is a story about money … remember it! Ageing heir-less millionaire Samuel Fulton (Charles Coburn) wants to leave his fortune to the unsuspecting family of his first love Millicent Blaisdell but not before testing his prospective heirs by living with them under the guise of a poor boarder under the alias John Smith.  He finds history repeating itself when he leaves them an anonymous bequest and observes Millicent’s daughter Harriet (Lynn Bari) losing the run of herself keeping up with the town’s richies and urging her own daughter Millie (Piper Laurie) to wed the son (Skip Homeier) of a wealthy family instead of Dan (Rock Hudson) who works in her dad’s (Larry Gates) pharmacy while studying at night …  Five minutes with him and a girl has a past!  Set in Tarrytown, New York at the end of the Twenties, this nostalgia-fest was one of several smalltown films made by Douglas Sirk and his first in glorious Technicolor.  Not quite a musical, it takes its song and dance cues from diegetic sources so we have singalongs courtesy of the wireless and a windup travelling pianola.  This has a sharp moral lesson under the fun and it’s the kids who are smarter than the parents – little Roberta (Gigi Perreau) is the one who knows the value of friendship and paints alongside ‘John Smith’ while he starts working as a soda jerk in the store.  Twenty-one year old James Dean makes his infamous debut as the kid ordering a super-complicated malt to which Coburn makes the disarming retort, Would you like to come in Wednesday for a fitting? Handsome William Reynolds as Howard, the son who gets a gambling habit, would make another notable appearance for Sirk in All That Heaven Allows (a film which serves as a syncopated commentary on this regarding Sirk’s Fifties suburban satires) along with There’s Always Tomorrow, while Hudson and Dean would both make another film together – the legendary Giant. Hudson of course became a star under Sirk’s direction in a handful of productions for Universal. Here he’s comfortable in a funny ensemble piece that charms in a colourful sendup of flappers, speakeasies and ludicrous clothes as well as having a dig at pretentious moderne stylings.  Adapted from a story by Eleanor H. (Pollyanna) Porter by Joseph Hoffman, this is an utter delight, camouflaging its social comment with an abundance of witty lines and smart playing. What else can you expect from the nouveau riche?

Quartet (1948)

An anthology film adapted from stories by W. Somerset Maugham, with four episodes: The Facts of Life.  Mr. and Mrs. Garnet (Basil Radford and Angela Baddeley) allow their promising tennis player son, nineteen-year-old Nicky (Jack Watling) to travel by himself to Monte Carlo to compete in a tournament. Mr. Garnet gives him some advice: never gamble, never lend money, and don’t have anything to do with women. Naturally, Nicky ignores it all … Directed by Ralph Smart. The Alien Corn. On George Bland’s (Dirk Bogarde) twenty-first birthday, his aristocratic father (Raymond Lovell) asks him what he intends to do with his life. George’s answer is incomprehensible to his entire family: he wants to become a concert pianist and he goes to Paris to train for two years … Directed by Harold French. The Kite. Herbert Sunbury (George Cole) marries Betty (Susan Shaw), despite his overly involved mother’s (Hermione Baddeley) dislike for the woman. The newlyweds are happy, except for Herbert’s lifelong enthusiasm for flying kites … Directed by Arthur Crabtree. The Colonel’s Lady. A colonel’s (Cecil Parker) mousy wife (Nora Swinburne) writes a book of poetry under a pseudonym, but is unmasked by the papers and his mistress tells him that the saucy work must have been inspired by his wife’s real-life affair … Directed by Ken Annakin… The strength of this compendium of post-war stories lies in Maugham’s usual powers – themes of morality and irony unravelled in tales of poor parenting and lack of communication within marriage. There are some amusing and tragic incidents performed by a terrific cast of great British names with Maugham himself introducing each segment. Adapted by R.C. Sheriff. A classic of its kind.

Nobody Runs Forever (1968)

Aka The High Commissioner. He’s got to back to Australia and straighten a few things out. Australian outback police detective Scobie Malone (Rod Taylor) arrives in London to arrest the Australian High Commissioner Sir James Quentin (Christopher Plummer) for the murder of his first wife and return him to Sydney, but his task does not go as planned. The lawman finds himself acting as a bodyguard when assassins start to appear with alarming regularity in this world of international men of mystery.  Quentin’s foreign-born wife Sheila (Lili Palmer) is curious about why Malone is there, while Dutch secretary Lisa Pretorius (Camilla Sparv) is protective of the man she respects above all but it’s beautiful Madame Cholon (Daliah Lavi) who entices him into her bed … Use your own passport and get out. I don’t know you. Taylor produced and did some writing on this adaptation of Jon Cleary’s novel The High Commissioner which is attributed to Wilfred Greatorex. Presumably it’s an attempt to get in on the Bond craze and the settings in London are splendid – all that neon and nightlife and a shootout at Wimbledon and we don’t mean tennis (rather, we do), albeit director Ralph Thomas hardly brings Hitchcockian technique to a scenario reminiscent of The Man Who Knew Too Much. The fish out of water situation is nicely set up – we meet Scobie in the midst of a sheep farm only for him to be swiftly deposited in London to do the political will of the Prime Minister of New South Wales, Flannery (an uncredited Leo McKern) widely believed to be based on real-life politico Sir Robert Askin.  He soon figures this is a setup of sorts and develops a quick empathy with Quentin – triggered by an assassination attempt as soon as they set foot outside the embassy’s front door. His character occupies a position oddly close to a spoof, emphasising his difference from anyone in the diplomatic scene, from his Aussie deadpanning to the beatings he takes and the jibes at London bobbies; while the number of beautiful European ladies points us in their direction even if we don’t know precisely what anyone is spying about or why anyone would try to kill Quentin, who seems to be brokering discussions at a peace conference. Quite why the final scene is left for Quentin to get there first is anyone’s guess. It’s good to see Burt Kwouk in a supporting role and it all makes for some pretty pictures and there’s a good score by Georges Delerue. Produced by Betty Box.

Miss Congeniality 2: Armed & Fabulous (2005)

I just don’t want to become FBI Barbie again. Gracie Hart (Sandra Bullock) is Amiable Agent according to the newspapers following her success at the Miss United States pageant but it fouls up her success in the middle of a bank heist. When her romance with a fellow agent ends she spends ten months being made over as the face of the FBI enduring book signings and teamed with bodyguard Sam Fuller (Regina King) who is far from impressed with her celebrity. The pair has to put aside their differences when one of Gracie’s former beauty queen pals, Cheryl Frasier (Heather Burns) is kidnapped with pageant MC Stan Fields (William Shatner) and the FBI is put on the case but Gracie decides this is one for her on her own.  Fuller has other ideas … The face of the FBI uses her words or her fists. Not a chair. And no snorting. Bullock returns a few weeks after becoming runner-up to Miss United States and she’s her old self, just dying to hit somebody except her fame is foiling her effectiveness on the job. Beauty queen rivalry is replaced with her violent new colleague Fuller, which sucks up the energy she used on her departed boyfriend now stationed in Miami. There are fun moments and a nice chase with a supposed Dolly Parton impersonator (with a nice cameo by you know who). Not as charming as its predecessor with more PC marks hit (gay, black, drag, kid, etc) but mildly entertaining. Bullock’s charm carries most of it and there are some good exchanges when she uses pageant clichés in highly inappropriate scenarios. King is good as the tough lady who beats up on anyone – even Regis Philbin and old people looking for Gracie’s autograph –  and it’s nice to see Treat Williams as the Vegas bureau chief and Eileen Brennan as Shatner’s mom but even in a comedy Enrique Marciano’s dimwit agent beggars belief. Great advertising for Vegas though! Written and produced by Marc Lawrence (based on characters by him, Caryn Lucas and Katie Ford) and directed by John Pasquin.  It’s been months since I had a good debriefing although I’m really more of a boxers man

 

 

Pitch Perfect 3 (2017)

One of the hottest groups on the planet – they are Ever Moist! After the highs of winning the world championships, a capella group the Bellas find themselves split apart and discovering there aren’t job prospects for making music with your mouth. Beca (Anna Kendrick) will not play second fiddle to a dreadful rapper and gives up her producing job.  Inadvertently reunited by Emily (Hailee Steinfeld) who mistakenly believes everyone is happy in their jobs, they jump at a chance to go on an overseas USO tour courtesy of Aubrey’s (Anna Camp) neglectful naval commander father. When they arrive at their departure point they find out from John (John Michael Higgins) and Gail (Elizabeth Banks) who are filming them for a documentary that they are now in a competition once again. They have come together to make some music in some glamorous locations but find themselves up against a group that play instruments as well as sing. Beca still wants to DJ and sees an opportunity when DJ Khaled materialises with his entourage but when Fat Amy’s errant criminal dad Fergus (John Lithgow) surfaces the entire group are put in danger because he wants to access an account she didn’t even know she had … I’ve been a very naughty girl Turnip Top! The relationship between cosy crim and Fat Amy, his every arrival signalled by her pink bunny rabbit, is at the heart of the ‘plot,’ which is otherwise paper-thin if fun. The last in a franchise, this peters out but with some witty moments, usually connected with Wilson and her deadly put-downs. The concluding action sequence is a blast. Naturally the finale is a performance. Despite the wonderful locations, the cinematography feels cheap and doesn’t take total advantage of the visual possibilities, more like a home movie tape of highlights which echoes the rudimentary storytelling, held together by some fun performances. All that’s left is to weigh up how much smaller Kendrick can get, and how much bigger Wilson can become… Written by Kay Cannon and Mike White and directed by Trish Sie.

A Hard Day’s Night (1964)

Get me a bottle of milk and some tranquilisers. Screenwriter Alun Owen and director Richard Lester’s semi-documentary, wholly New Wave account of a day in the life of the world’s biggest band works wonderfully.  Shot in glistening monochrome by the inventive Gilbert Taylor the Beatles are on a train with Paul’s bolshie Irish grandfather (Wilfrid Brambell) who is ‘very clean,’ as everyone keeps remarking. Hounded by their fans, they are performing on a TV show directed by Victor Spinetti while their put-upon manager Norm (Norman Rossington) and road manager Shake (John Junkin) try to corral this travelling circus as Grandpa keeps going missing, showing up variously in a casino and a police station. Taylor and the five camera operators run around with Arriflexes capturing the minutiae of the band’s characters who are defined in smart exchanges and incidents, with wonderfully droll moments of mockery, self- and otherwise.  The resulting freedom accorded Lennon, McCartney, Harrison and Starr adds to the sense of  naturalism and reality. The visual wit is complemented by the auditory, with overdubbing and non-synchronous sound combining to create an overwhelming atmosphere of effervescent fun and immediacy:  these guys are young and pulpy and enjoying their first brush with fame and their caustic, cheeky chappie Scouse personalities come across extraordinarily. That enjoyment wouldn’t last (see Ron Howard’s Eight Days a Week) but these indelible images contributed to their myth. You probably know the songs … Edited by John Jympson.