The Tin Drum (1979)

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There once was a drummer. His name was Oskar. He lost his poor mama, who had eat to much fish. There was once a credulous people… who believed in Santa Claus. But Santa Claus was really… the gas man! There was once a toy merchant. His name was Sigismund Markus… and he sold tin drums lacquered red and white. There was once a drummer. His name was Oskar. There was once a toy merchant… whose name was Markus… and he took all the toys in the world away with him. Oskar Matzerath (David Bennent) is a very unusual boy born in Danzig in 1924, after the city has been separated from Germany following WW1. Refusing to leave the womb until promised a tin drum by his mother, Agnes (Angela Winkler), Oskar is reluctant to enter a world he sees as filled with hypocrisy and injustice, and vows on his third birthday to never grow up as he watches his mother take her cousin Jan for a lover and she becomes pregnant – but by who? Miraculously Oskar gets his wish when he throws himself down a staircase.  His talent for breaking glass when he screams garners him attention. As the Nazis rise to power in Danzig, Oskar wills himself to remain a child, beating his tin drum incessantly and screaming in protest at the chaos surrounding him as his mother dies, his father takes a new wife who has a baby Oskar is convinced he has fathered and Hitler takes over while Oskar decides to join a travelling circus and entertain the Nazi troops in Paris … Günter Grass’ stunning 1959 novel was adapted by Volker Schlöndorff (and Jean-Claude Carriére and Frank Seitz Jr.) and he became the first German director to win the Palme d’Or at Cannes with this transgressive, arresting and surreal impression of Nazism and the breakup of Europe. It’s mesmerising, brilliantly conceived and performed – Bennent is one of a kind – and once seen can never be forgotten. It is the blackest of comedies about the darkness in Germany and the way in which Polish people handled the transition to Nazism. The coda in real life – that Grass was found to have been in the Waffen-SS as a teenager after a lifetime of denial –  somehow just gives this greater heft. Amazing.

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A Quiet Place (2018)

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Who are we if we can’t protect them? We have to protect them.  Over three months in 2020, most of the Earth’s human population has been wiped out by sightless creatures with hypersensitive hearing and a seemingly impenetrable armored shell that attack anything that makes noise. The Abbott family — engineer husband Lee (John Krasinski), wife Evelyn (Emily Blunt), congenitally deaf daughter Regan (Millicent Simonds), and sons Marcus (Noah Jupe) and Beau (Cade Woodward) — silently scavenge for supplies in a deserted town. Though skilled in sign language the family must nonetheless be vigilant in case they make accidental noise. Four-year-old Beau is drawn to a battery-operated space shuttle toy, but his father takes it away. Regan returns the toy to Beau, who unbeknownst to her takes the batteries their father removed. Beau activates the shuttle when the family is walking home through the woods, near a bridge. Its noise makes him an instant target for a nearby creature, and he is swiftly killed. A year later Evelyn is pregnant, Regan is plagued with guilt and convinced her father doesn’t love her (despite working on a cochlear implant for her) and he takes Marcus out on survival training just as the creatures are circling the farm and weeks before Evelyn is due to give birth … A canny blend of horror, sci fi and maternal melodrama, the fact that this has a somewhat unclear endpoint doesn’t necessarily ruin its affect. Third-time director and star John Krasinski contributed to the rewriting of the screenplay by Scott Beck and Bryan Woods (which had just one line of dialogue) and it’s a testament to the construction that the hook gets a great payoff but still sacrifices a major character. The thrills mount as the tension grinds on, the family treading barefoot everywhere as the slightest noise could bring these aliens swooping down on them.  The elements – air, water, fire – are put to deft use in this clever narrative which tests the audience and not just because a lot of the diegetic atmosphere consists of … silence.  Mercifully short (at 90 minutes) this has all the best elements of 70s horror and a cliffhanger of an ending which means you just know there will be a sequel.

 

Girl Flu (2017)

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I’m never going to have kids. I already have my mom. Robin aka (Baby) Bird (Jade Pettyjohn) moves from the San Fernando Valley burbs to the hipster Echo Park neighbourhood to housesit her grandmother’s home with her selfish stoner waitress mom Jenny (Katee Sackhoff). She has to become a woman whether she wants to or not when she gets her first period in the middle of a sixth grade picnic and the meanest of the mean girls Rachel (Isabella Acres) bullies her. She finds herself abandoned in ignorance and finds out how to deal with the blood letting from Mom’s friend Lili (Heather Matarazzo).  Mom’s boyfriend Arlo (Jeremy Sisto) tries to help the flaky Jenny to grow up:  it’s not happening to you!  he tells her as she wallows in self-indulgence, fatally unsuited to being a mother.  Bird finds out that she’ll never be able to return to the Valley but she has new friends here, against the odds even as she goes through the worst week in living memory … Sharp and funny on a gross-out topic, the writing and directing debut of actress and story consultant Dorie Barton is a refreshing and very impressive blast boasting seriously charming performances in a new twist on mother-daughter dramedy. While Grandma is blithely Skyping from an ashram in India (ensuring we know why her daughter is useless at being a mother) Jenny leaves Arlo to pick up the family’s pieces and even pretend to be Bird’s boyfriend when the bullies threaten. My mother is a narcissist and my father is a workaholic, he tells Lilli. That figures, she retorts. Smart, well written and a really authentic comedy of embarrassment and growing up the hard way. I want a real mom.

The Boss Baby (2017)

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He carries a briefcase! Does no one else think that’s, oh, I don’t know, a little freaky? A new baby’s arrival impacts a family, told from the point of view of a delightfully unreliable narrator the wildly imaginative 7-year-old Tim Templeton (Miles Bakshi). The unusually verbal Boss Baby (Alec Baldwin) arrives at Tim’s home in a taxi, wearing a suit and carrying a briefcase. The instant sibling rivalry must soon be put aside when Tim discovers that Boss Baby is actually a spy on a secret mission, and only he can help thwart a dastardly plot that involves an epic battle between puppies and babies… This is simultaneously inventive, overdone, funny and draining,with a serious dip in energy round about the hour mark but it picks up by the end. Is anyone else as tired of endlessly gee-whizz-flash computer-generated animation as I am? At least there’s a nice use of The Beatles’  Blackbird in the story. Adapted from Marla Frazee’s 2010 picture book by Michael McCullers and directed by Tom McGrath. And yes, Bakshi is the grandson of the incredible Ralph. Sigh.

The Sixth Sense (1999)

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I see dead people. How extraordinary is this film? A truly scary ghost story – even all these years later when you know the amazing twist at its centre. Malcolm Crowe (Bruce Willis) is the child psychologist treating troubled Cole Sear (Haley Joel Osment). The son of a single mother (Toni Collette), he’s a kid whose weirdness marks him out amongst his schoolfriends leading to bullying and strange injuries. Halfway through the story he tells the extremely sympathetic Malcolm his dark secret – and he knows that Malcolm just doesn’t get it. A stunning exposition of death, bereavement, grief, sorrow, the problem with acceptance and some punishing home truths, this is augmented by totally believable, realistic performances. A really audacious and cunning piece of work by writer/director M. Night Shyamalan.

The Birthday Present (1957)

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Ah, the 1950s. When smuggling in Europe was yet to become eased through Duty Free shops, now known as Airport Shopping.  Tony Britton is the star toy salesman who buys his wife a lovely watch in Germany and is nabbed by Customs (think of what they miss nowadays …). His solicitor messes up the defence, he doesn’t have the money for an appeal plus the various fines, so he winds up doing three months in the clink. And word begins to leak out … Very proper low-budgeter with the gorgeous Sylvia Syms as his beautiful, loyal wife, a photographic model.  There are a lot of familiar faces playing the roles of Ex-RAF officers now on company boards hiding their own drink drive convictions and nobody really wants to do right by him when he finally re-enters society. Geoffrey Keen is Colonel Wilson, the boss who tries to defy his board of directors and re-hire him. Not bad but hardly thrilling drama, directed by the venerable Pat Jackson. Written and produced by Jack Whittingham.