Posts Tagged ‘Tinker Tailor Soldier Spy’

In light of the British Government’s Film Industry Review and David Cameron’s comments about Britain’s need to compete with Hollywood by producing more mainstream films, it is interesting to consider the theatrical release of Steve McQueen’s Shame, the other key British filmic event of last week. Shame is not by definition a mainstream film, but it is one that has garnered significant interest from both the media and the public in the UK and the USA. The film has become something of a sensation, presumably for two reasons – firstly it’s taboo subject matter of sex addiction and secondly the quality of its execution.

Sex addiction is not a subject that springs to mind when talking about box office success, but Shame had a very successful debut weekend in the states taking $361,181 in just 10 screens. This was the third best limited debut for an NC-17 film ever (following Bad Education and Lust, Caution). This tells us that audiences (specifically American audiences) are happy to pay for British films if they offer something challenging and unique. It’s opening weekend in the UK saw it selling out screens across the capital, with numerous screens in art house cinemas and multiplexes.

Following David Cameron’s statement last Wednesday the Guardian reported how former culture secretary Lord Smith, who is head of a panel evaluating the British film industry, proposed to take a significantly more tactful approach to the industry. With the release of Shame this seems appropriate. The tactic was to market the British film as a brand of quality assurance. Veteran director Stephen Frears reacted to this notion saying: “This country has been making intelligent films, films that are different from American films, for some time… If Lord Smith is now to say we need to keep doing more of the same, rather than trying to recreate Hollywood over here, that sounds eminently sensible.”

Becoming a brand of quality assurance is something that seems natural for British film to achieve at this point in time. With recent films including Tinker Tailor Soldier Spy, Kill List, Dreams of a Life, Senna, Wuthering Heights, Jane Eyre, The King’s Speech and of course Shame Britain is all set to put a stamp of individuality on the international film scene. It is a question of successfully marketing these projects to an audience outside Britain and developing the stamp of quality for years to come. With the talent currently emerging within the British film industry this seems achievable.

It is greatly encouraging to see the British government taking a serious interest in the film industry as part of the British economy. However, the notion that the British industry should attempt to emulate Hollywood by predicting what will earn the most money seems misguided. While The King’s Speech has been regularly discussed as a shining example of British box office success, it is important to remember that this was not a result of market research, but instead it was an independent film that captured the heart and minds of critics and cinema-goers.

As Shame shows us, British film has the capacity to tackle challenging human subjects with artistic and commercial credibility. Star of the film Michael Fassbender is now a significant Hollywood player, but it is important to remember where he came from. Shame director Steve McQueen’s previous film Hunger also starred Fassbender; this film is where Fassbender really made a name for himself. Britain must continue to provide talent like Fassbender the opportunity to shine in films like Hunger and Shame, because these films can make money and be more than a product of market research at the same time.

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1) DRIVE (DIR. NICHOLAS WINDING REFN) – USA

Drive is a Hollywood film directed by a distinctly European director. Danish director Nicholas Winding Refn rethinks the Hollywood crime thriller with minimal dialogue, strong colour, offbeat casting and an idiosyncratic soundtrack. While embracing it’s influences Drive also subverts numerous cliches and Refn shows a remarkable talent for crafting scenes that are emotionally gripping and utterly tense.

2) ANIMAL KINGDOM (DIR. DAVID MICHOD) – AUSTRALIA

David Michod’s debut feature feels like the work of an accomplished Australian equivalent to Michael Mann. Animal Kingdom tells the story of a naive young man in the midst of a dangerous crime family and the havoc he causes them. With an impressive cast including Ben Mendelsohn and Jackie Weaver, Michod rarely puts a foot wrong, from the staging of each scene to his choice of music. Not only an extremely impressive debut, but a great Australian film.

3) INTO THE ABYSS (DIR. WERNER HERZOG) – GERMANY & CANADA

Werner Herzog has been working hard lately, with the release of Cave of Forgotten Dreams and Into The Abyss premiering at various festivals in 2011. Out of the two unique documentaries Into The Abyss hits the hardest, with some of the best interviews Herzog has ever conducted. Probing the subject of death row Herzog puts together a restrained, yet unmistakably Herzogian investigation, which places moral  questions centre stage.

4) THE SKIN I LIVE IN (DIR. PEDRO ALMODOVAR) – SPAIN

Pedro Almodovar’s The Skin I Live In is an intriguing, intelligently structured and stylish film that successfully pulls the rug from under the audience’s feet in a manner that is as entertaining as it is unsettling. Almodovar blends classic horror with the themes he is famous for and gains great performances from his cast. Antonio Banderas turns in a dark, well judged portrayl and Elena Anaya brilliantly gains the audiences empathy within an utterly bizarre scenario.

5) MIDNIGHT IN PARIS (DIR. WOODY ALLEN) – USA

Midnight In Paris sees Woody Allen at the top of his game. Owen Wilson plays a screenwriter (Gil), who aspires to become a novelist. He falls in love with Paris while on holiday with his fiancé (and her parents) and begins wandering the streets at night revelling in the city’s mythology. Upon meeting a number of unlikely personalities, including F. Scott Fitzgerald, Ernest Hemmingway and Salvador Dali among others, Gil becomes far removed from his normal life to wonderfully Allenesque effect.

6) TINKER TAILOR SOLDIER SPY (DIR. TOMAS ALFREDSON) – UK

Where Drive was an American production directed by a Dane, Tinker Tailor Soldier Spy is a British one directed by a Swede. Tomas Alfredson brings a distinctly Scandinavian approach to this classic cold war story. Like his vampire film Let The Right One In, Tinker Tailor makes use of wide open spaces juxtaposed with dingy interiors to create an appropriate paranoia. Alfredson’s remarkable ensemble cast create numerous memorable performances, particularly Gary Oldman as George Smiley.

7) HUGO (DIR. MARTIN SCORSESE) – USA

An ode to cinema by Martin Scorsese, Hugo tells the tale of French film director George Meilies through the eyes of a young boy called Hugo Cabret. Directed with a youthful flare by Scorsese, we follow Hugo’s journey to fix an automaton left behind by his late father, which leads him to a discovery of Meilies forgotten cinema career. The story of a young man discovering cinema and it’s possibilities for the first time is clearly one close to Scorsese’s heart; that’s why Hugo is such a good film.

8) DREAMS OF A LIFE (DIR. CAROL MORLEY) – UK

Dreams of a Life and it’s central character Joyce Vincent captured the hearts and minds of cinema goers this Christmas. Joyce Vincent died in 2003 in her North London bedsit and went undiscovered for three years. She had been a popular, outgoing and successful young woman who became increasingly alienated in the years preceding her death. Director Carol Morley investigates the circumstances that lead to Joyce’s death and meets with friends, boyfriends, colleagues and others to paint a portrait (using excellently performed reconstructions and talking head interviews) of a woman who no one would expect society to leave behind.

9) SNOWTOWN (DIR. JUSTIN KURZEL) – AUSTRALIA

John Bunting, Australia’s most notorious serial killer is the subject of Snowtown. Directed by Justin Kurzel, with cinematography by Animal Kingdom DOP Adam Arkapaw, this film is a gruelling telling of a series of crimes orchestrated by Bunting between 1992 and 1999. The film’s graphic style is tough going even for hardened film viewers, but Daniel Henshall’s intelligent and rounded performance as Bunting demands the audience’s attention. Along with Animal Kingdom, Snowtown shows contemporary Australian cinema in a very good light.

10) PINA (DIR. WIM WENDERS) – GERMANY

Wim Wender’s tribute to the late Pina Bausch contains perhaps the best use of 3D seen in 2011. The film, made after Pina’s death, sees Wenders stage the choreographers work in a manner that complements her work effectively. The juxtaposition of Pina’s choreography and Wender’s choice of locations, camera work and music creates a kind of posthumous collaboration, which functions as both a moving tribute to and preservation of Pina’s remarkable style of choreography.

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Honorary mention:

The Story of Film: An Odyssey (Dir. Mark Cousins) – UK

A remarkable television series for Channel 4 telling the history of film in Mark Cousins’ unique style.

http://www.channel4.com/programmes/the-story-of-film-an-odyssey

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