Here is a pithy, but intelligent survey of how swearing can be, and is, used in various classic and contemporary cinema brought to us from Youtube channel, Now You See It. Whether it is Rhett Butler not giving a damn at the end of Gone With The Wind, or just about every character in Fargo dropping F-Bombs on that most dangerous of fools, Jerry Lundegaard, or Jules Winnfield’s reaction to the idea of giving a guy a foot massage in Pulp Fiction, I think this essay elucidates a lot of intrinsic notions of how to swear on screen.
After a few weeks of hiatus where one of us organized a festival and attended another while the other one went back to school, Sarah (@iBrockely) and I (@themarina) finally managed to carve out a bit of time this week to record another episode of the podcast.
With so many great movies playing at the moment, we skipped over much of our usual trailer talk to dig into a couple of recent movies while still finding time to fangirl just a little about the new Beauty and the Beast trailer!
One simply cannot argue with the simplicity of the teaser poster for the latest (8th?) entry in the Alien franchise.
Lots of negative space, the Alien hiding so close in the dark, this could be an image taken directly from the first, and still classic, film. When Ridley Scott went the prequel route with Prometheus, the marketing was very coy about whether or not the film was connected to the franchise, and in this prequel-sequel (second prequel?) they are being as clear as possible. The Xenomorph outside of perhaps Frankenstein, Dracula, and Godzilla, is the one of the most iconic creatures in popular culture, and it certainly makes a lot of sense to maximize its use at this point.
Also, most succinct tagline ever: “Run.”
Director: Abel Gance
Screenplay: Abel Gance
Starring: Albert Dieudonné, Vladimir Roudenko, Edmond Van Daël
Running Time: 332 min
BBFC Certificate: PG
Abel Gance’s Napoleon is a late silent feature that is famed for being a masterpiece of cinematic invention, but it has endured a troubled history. You should look it up to get the full story (or watch the well stocked set of features included with the Blu-Ray/DVD), but basically, although Gance had high hopes for his epic film (9 and a half hours long in its fullest form), planning on it being the first part of a 6 film series, it performed poorly on its initial release and pretty much disappeared for many years. In the 50’s and 60’s some reels were found and released, but it wasn’t until the late 70’s, when film historian Kevin Brownlow presented a restored version, that interest was reignited. He’d bought a couple of reels of Napoleon as a boy and had been obsessed with it ever since. His work didn’t stop in 1979 either, he’s continued to work to reconstruct the film as fully as possible and now we are finally presented with (probably) the most complete version of the film we’re ever likely to see. The BFI have screened this at festivals and special screenings over the last few years and now it is finally being made available on Blu-Ray and DVD in the UK.
As you might imagine, the film is a biopic of the French military and political leader Napoleon Bonaparte. Being originally intended as part of a six part series though, the film focuses solely on his early years, beginning with Napoleon as a boy, leading a large scale snowball fight and being bullied for his stony countenance. It follows his movement up the ranks in the military and politics during the birth of the French Revolution, up until he is put in charge of the French army of Italy and advances towards taking the country for the French.
I mentioned Napoleon’s reputation as a cinematic masterpiece and this is largely down to the extraordinary volume of groundbreaking techniques Gance throws into the mix. Multiple exposures are used for various effects, including creating a split screen kaleidoscopic look a few times. There’s some wildly kinetic camera movement aided by a substantial number of handheld shots, which were little used at the time. There’s some stunning editing on display too, from rapid cutting techniques, thrillingly fast paced action scenes & some striking use of intercutting. The best example of the latter sees political upheaval cutting with Napoleon on a small boat in a mighty storm (which utilises a French flag as a sail).
For this Thanksgiving, we are thankful that Martin Scorsese can still make these kind of pictures. The director has been working at getting Shūsaku Endō’s novel, Silence turned into a film for decades, and now it is here. Set in the seventeenth century, the story involves two young Portuguese Jesuit priests who face violence and persecution when they travel to Japan to locate their mentor and spread Christianity. Things do not go well, as Japan was in an era of deep isolation, and Christianity was illegal to practice in this time period. The Japanese had however been working on ‘Water Crucifixion’ (Mizuharitsuke) for a while, and certainly strung up a few worshipers – images that appearance in this trailer.
Adam Driver, Andrew Garfield, Liam Neeson, Tadanobu Asano, Shinya Tsuakmoto(!), and Ciarán Hinds star in the film which is getting released on December 23, 2016.
Get your turkeys and boomsticks ready this fine Thanksgiving Day because we’ve got a great and divisive episode coming at you! We’re talking WARCRAFT, the Duncan Jones film based on the long-running franchise. Journey with us as we simply “don’t get it,” and miss almost everything directed to the fans. CHEERS!
Get Your Cast To Mars was originally a three part (+ bonus episode) micro-podcast focusing on the planet Mars in the movies. Matthew Brown and Kurt Halfyard considered the red planet as an image, an idea, and a somewhat rare place visited in the cinema of the past 100 years.
We are back for a second season focusing on Mars on Television – specifically, the Ron Howard/Brian Grazer produced six part mini-series that began airing on National Geographic and FX in November 2016. We are sticking with the three part format again for the purposes of this podcast, looking at the series in pairs. Here we look at the unusual nature of the show (hybrid doc/fiction) and its hyper-aspirational tone.
As always, please join in the conversation by leaving your own thoughts in the comment section and again, thanks for listening!
The Complete First Season of Matt and Kurt getting their Cast To Mars:
Episode 2 – The NASA Years
Episode 3 – Mars Before NASA
Bonus Episode – Ridley Scott’s The Martian & Prometheus
So it appears I have some catching up to do this year. In the past, I’d seen about everything by the time the nominations rolled out. I’m certainly not complaining however; quite the opposite in fact. I’m really looking forward to seeing all of this stuff that either hasn’t been released or my schedule didn’t allowed for it.
The Film Independent Spirit Awards stand for something much deeper: championing creative independence in visual storytelling and supporting a community of artists who embody diversity, innovation and uniqueness of vision—a mission that is more relevant now than ever before.
So today we’re honored to announce the nominees for the 2017 Film Independent Spirit Awards, revealed at a press conference this morning at the W Hotel in Hollywood by presenters Edgar Ramirez (Zero Dark Thirty, Joy, Carlos) and Jenny Slate (Obvious Child, The Secret Life of Pets). This year’s Spirit Award nominees are yet another esteemed group of diverse, outspoken and boundary-pushing performers and filmmakers, representing the very best and most vital independent movies of the past 12 months. So without further adieu, let’s get to the nominees!
Sizing up the nominations:
American Honey = 6
Moonlight = 6
Manchester By the Sea = 5
Jackie = 4BEST PICTURE
Manchester by the Sea
Andrea Arnold, American Honey
Barry Jenkins, Moonlight
Pablo Larraín, Jackie
Jeff Nichols, Loving
Kelly Reichardt, Certain Women
Casey Affleck, Manchester by the Sea
David Harewood, Free In Deed
Viggo Mortensen, Captain Fantastic
Jesse Plemons, Other People
Tim Roth, Chronic
Annette Bening, 20th Century Women
Isabelle Huppert, Elle
Sasha Lane, American Honey
Ruth Negga, Loving
Natalie Portman, Jackie
BEST SUPPORTING ACTOR
Ralph Fiennes, A Bigger Splash
Ben Foster, Hell or High Water
Lucas Hedges, Manchester by the Sea
Shia LaBeouf, American Honey
Craig Robinson, Morris from America
BEST SUPPORTING ACTRESS
Edwina Findley, Free In Deed
Paulina Garcia, Little Men
Lily Gladstone, Certain Women
Riley Keough, American Honey
Molly Shannon, Other People
Would you like to know more…?
Director: Peter Fonda
Screenplay: Alan Sharp
Starring: Peter Fonda, Warren Oates, Verna Bloom
Running Time: 90 min
BBFC Certificate: 15
Any regular readers will know I’m a big western fan and may or may not know I’ve got a soft spot for 70’s American cinema too. So when I was asked if I’d like to review Peter Fonda’s 1971 western The Hired Hand I didn’t have to think twice, even though I’d never heard of the film before being handed the press release.
In the film, Harry (Fonda himself), his friend Arch (Warren Oates) and a young man are cowboys roaming from town to town. Upon reaching a dead end town, his associates decide to move on to the California coast, but Harry, fed up of the nomad life, decides to head back home to his estranged wife and child. Arch, who’s been travelling with Harry for several years, at first decides to let his friend go alone, but when their young companion is ‘accidentally’ killed by a man named McVey (Severn Darden), he decides to go with him. Once there, Harry’s wife Hannah (Verna Bloom) isn’t too happy to see him though. It’s been many years and she’d assumed he was dead and told their daughter as much. Harry talks her into letting him stay as a hired hand on the farm though, with a hope of reconciliation over time. When he finds out Hannah has been sleeping with the hired help whilst he’s been away though, the relationship becomes even more strained. This and the spectre of the cowboy life hanging over Harry, not helped by Arch’s presence, cause a slow and uncertain path to rebuilding his family.
As this brief synopsis shows, The Hired Hand isn’t your typical western. It’s one of the revisionist or anti-westerns that began to emerge in the 60’s. They sought to steer away from the stereotypes of the classic westerns and deconstruct the myths of the wild west. The Hired Hand shows the cowboy lifestyle to be an unglamorously dangerous, lonely and miserable existence; with poor food, little comfort at night and far too much time spent unwelcome in tiny, middle of nowhere towns. Harry’s young companion for instance, who is full of enthusiasm for his travels to the coast, comes to a grisly, unromantic end for little to no reason (though we never quite find out the truth behind it).