Todd Haynes, saw huge success with his 2015 drama, Carol, but as his first directorial foray into family film, Wonderstruck is a cinematic delight. The 1927 film, The Jazz Singer was the first feature length movie with audible dialogue and revolutionised the way many of us consume film. However, for Rose (Millicent Simmonds), the deaf protagonist of Wonderstruck, this change throws her world upside down. No longer able to engage in the media that she loves, Rose sets off on a life-changing journey in search of a silent film actress (Julianne Moore) and the escapism her films once provided.

Alongside Rose’s adventure, the movie tells the story of pragmatic 11 year-old Ben (Oakes Fegley), on a similar quest to find his enigmatic father 50 years later. He too becomes deaf in a freak accident and both children end up independently navigating New York in their respective time periods, undeterred by their lack of hearing. The tenacious characters share an awe for the bustling city and the Natural History Museum. Haynes portrays the transcendence of a child’s wonder across time through his shot for shot parallels between the two narratives.

The black and white colouring of Rose’s story firmly sets it in its earlier era and, without dialogue, reflects the silent films that she so admires. Haynes substitutes ambient sounds with close-up visuals – we see horses’ feet moving, bells ringing, shoes being shined, to allow audiences an insight into Rose’s sensory experience.

This is not to say that the film is aurally uninteresting. Ben’s viewpoint alternates between the hearing environment he so recently left behind and the relative silence he now experiences. Unlike Rose, Ben converses aloud with other characters, but in both parts of the film the soundtrack is eclectic and atmospheric. It jumps from orchestral numbers to ‘70s funk to David Bowie’s Space Oddity, as much as the style of the film changes from silent film, to more conventional framing and then animation. Haynes manages to find unity amongst this idiosyncrasy where other directors could have lost their way.

By casting Moore as both the silent film actress (in Rose’s narrative) and an older character (in Ben’s narrative), the two stories begin to mysteriously intertwine. Acting a deaf character as a hearing actor requires nuance and both Moore and Fegley execute their roles well. The real breakthrough however, comes from Simmonds, who is herself deaf. Directed by Haynes via an American Sign Language interpreter, she creates emotive interactions with characters through facial expression and movement alone.

There are a few plot flaws where minor characters are abandoned without conclusion, but this could be attributed to the single-mindedness of the children to reach their goals, the stories told from their viewpoints. Ultimately, Wonderstruck offers a refreshing perspective of the world from a minority often overlooked in film.

Eve Jones

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A film packed with incendiary ideas, Bombshell: The Hedy Lamarr Story endeavours to put Lamarr’s accomplishments back in the spotlight.

A film-star at her peak during the 1940’s, Vienna-born Hedy Lamarr came to the attention of Hollywood when she starred in controversial film, Ecstasy, in 1933. Appearing nude in several scenes, Lamarr’s notoriety catapulted her to fame. She signed a contract with MGM, and quickly became Hollywood’s latest It Girl.

Her brand of beauty, dark curls and perfectly sculpted features, was tailor made for the silver screen. Lamarr’s look read beautifully in black and white. She worked with industry greats Clark Gable and Spencer Tracy in the 1940 hit Boom Town, and became a beauty icon in her star-crowned role in Ziegfeld Girl.

But behind the scenes, Lamarr was no run-of-the-mill starlet. Interested in science from an early age, Lamarr became an inventor. Blessed with an originality that allowed her to think without constraint, Hedy’s big idea came in 1941. Working with friend George Anthiel, she created the concept of ‘frequency hopping’.

The concept is easy to understand. By changing radio frequencies at random intervals, that frequency becomes an unbreakable code, therefore unreadable by enemy personnel. The applications for military use are quite obvious. Lamarr and Anthiel took out a patent in 1941 and offered it to the US Navy.  Their invention was rejected.

Decades later, Lamarr and Anthiel’s invention came to light. The patent had expired, so the idea was free to be used without the inventors being reimbursed for their work. Lamarr’s initial idea of frequency hopping spear-headed the development of digital communications.  

The decision to ignore Lamarr and Anthiel’s invention is one of those classic ‘what if’ moments, and its use now, both in military and civilian life, shows how on the money Lamarr really was.  It is no exaggeration to say that Lamarr helped to invent WiFi, GPS and Bluetooth. It is an achievement that should have ensured her place in modern science, and yet we still refer to her as Hedy Lamarr, film star. Bombshell attempts to explore what went wrong.

Telling the story through interviews with Lamarr’s family and friends, also included are interview tapes from journalist Fleming Meeks. In a 1990 interview, Meeks talked directly to Lamarr about her childhood, her glamorous life in Hollywood and most crucially, how she made her scientific breakthrough. Lamarr’s voice is rich with experience, and director Alexandra Dean wisely uses it liberally throughout the documentary.

Bombshell is, as you might expect, forensic in its analysis. Not only does it lay bare the questionable choices Lamarr made in her private life; it also highlights her troubled later years. Nearly broke, hooked on pills given to her on-set, Lamarr’s mood swings made her extremely difficult to live with. She become more and more isolated, even to the extent of ostracising herself from her family. Particularly poignant is the story from her granddaughter, who received signed glamour photos from Lamarr, but had no real connection with her.

The documentary’s narrative is threaded through with missed opportunities. Some of these are due to the era Lamarr was living in, but others, the film makes clear, are Hedy’s responsibility.  A good documentary should be impartial, and Bombshell excels on this point. You may enter the cinema with an image of a star, but you leave with a portrait of a woman. Lamarr’s achievements should be better-known, and hopefully this documentary will go some way to repaying the debt we owe her. Lamarr’s frequency hopping idea is now worth $30 billion. Lamarr never saw a penny of it, thanks to the intricacies of patent law. Her idea, if properly applied, would have made Lamarr’s name as ubiquitous in the tech industry as Gates or Jobs. It is an oversight of astonishing proportions, and the US Navy’s decision to ignore Lamarr’s invention is justly ridiculed.

“Her idea, if properly applied, would have made Lamarr’s name as ubiquitous in the tech industry as Gates or Jobs.”

We think of beauty, especially feminine beauty, as being a passport to all the desirable things in life; fame, success, adoration. But Hedy’s story directly challenges that idea. Her beauty, while giving her plenty of screen time, limited people’s perception of her. She could only be the one ideal: goddess, not inventor. A beautiful woman cannot be both. It is a flip side to beauty that most of us don’t even consider. Lamarr’s progress as a scientist would have been exponentially greater had she been born plain. It is an uncomfortable truth, but at its core is the old narrative – a woman showing promise and potential must be regarded with suspicion. Lamarr’s ideas met with opposition, not just because she was beautiful, but because she was a woman.

Education’s current level of interest in STEM subjects (Science, Technology, Engineering and Mathematics) proves that there is still a need to promote this area, study and career, to girls. I would argue that screening Bombshell in schools would be a great place to start. If they can’t get excited about a woman who was the model for Disney’s Snow White, inventing WiFi, there’s no hope.

Bombshell not only reframes Lamarr’s story, it proposes a fundamental shift in how we look at her. We are not asked to see past her beauty, but to sideline it altogether. For a culture where the worship of beauty is so embedded, this is no simple task. Bombshell asks us, like Hedy, to think radically. See the person, not the face. Lamarr had many faces, but her reality was invention, her ability to create what was not there before. A mind not only of prodigious power, but of true originality, Hedy Lamarr has transformed the way we communicate with each other. It is only now that we are beginning to hear what she had to say.

Helen Tope

@Scholar1977

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The word charming doesn’t necessarily spring to mind when watching a film starring a pack of flea-ridden, scabby, sneezing, filthy dogs living in a canine displacement camp called Trash Island, but it perfectly describes Wes Anderson’s latest offering.

The film, Isle of Dogs, is set twenty years in the future in a fictional, dystopian Japanese city called Magasaki. Various diseases, including the dreaded “snout flu”, have ravaged the canine population and, as a result, the city’s corrupt mayor has banished all dogs to a bleak, off-shore island that serves as the local rubbish tip. The dogs live and fight and survive among the rubbish on Trash Island along with the rats and the ticks and the mosquitoes.

Grim and bonkers as it sounds, this stop motion feature recalls Anderson’s 2009 feature Fantastic Mr Fox, and is anthropomorphism in its most exhuberant form. The dogs are brought to life with wisps of fur moving in the breeze and fleas running through their coats, and when tears well up (of course dogs can’t really cry) all disbelief is suspended, even though suspension of disbelief is a prerequisite here: At the very start we are informed that, for the purposes of the film, “all barks are rendered into English”.

The plot follows Atari, the mayor’s 12 year-old ward and the search for his own canine protector, Spots, who has also been banished to the island. Crash landing his “Junior Turbo-Prop” rocket ship on Trash Island, Atari teams up with a pack of self-styled “indestructible alpha dogs”, a band of battle-scarred, sneezing misfits led by Chief (Bryan Cryanston). Their hunt for Spots takes them across the industrial wasteland of the island via a series of mechanised, eccentric and sometimes menacing modes of transport. Meanwhile, a pro-dog group led by aspiring investigative journalist and foreign exchange student Tracy (Greta Gerwig) leads a revolt against the mayor with the help of research scientist Yoko Ono (voiced by Yoko Ono). Just like Fantastic Mr Fox, the sometimes tenuous plot here revolves around a sense of kinship, meticulously-detailed capers, missions and escape plans.

The cast list alone should give you an indication of what deadpan fun and outright kooky treats you are in for. Along with Cryanston, Gerwig and Ono, Bill Murray, Tilda Swinton and Jeff Goldblum are all up for some zany fun.

But unlike Fantastic Mr Fox, which was based on a children’s book, Isle of Dogs feels more demanding in nature, more grown up. The film doesn’t shy away from adult themes and has a prominent message about oppression and discrimination and what happens when corrupt governments work to silence a population. While the use of animated dogs makes its appeal more universal there are other aspects that make it more impenetrable for children.  While the dogs “speak” English, the human characters speak in their native tongue, but there are no subtitles for the Japanese and only some of it is translated by interpreters.

Despite this and despite the group of sometimes fidgety pre-schoolers at the screening we went to, I am happy to report that we all loved it, including the ten and twelve year-olds (the story is, after all, about a 12 year-old boy’s search for his dog). Saying Isle of Dogs quickly enough turns it into “I love dogs”, and the love for four legged fleabags of all shapes and sizes on screen here is palpable –  but you don’t have to love dogs to love this film; just cinema and the power of imagination.

Monika Maurer

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Birds Eye View (BEV) launches a pilot programme designed to grow audiences for films created by women. The project seeks to empower audiences to make a positive intervention in the distribution and exhibition space. Supported by BFI Audience Fund, “Reclaim The Frame” Influencer Project (which will run from April to September 2018) will spotlight 4 films in 5 cities over 6 months. The project aims to develop a growing network of people who are dedicated to broadening the frame through which we engage with film.

The Reclaim The Frame project will:

WHY NOW?

With gender inequality in film and across wider society dominating the headlines, we are proud to a programme that makes a positive intervention in the cinema by enabling audiences to make a change to our film culture and support narratives told from the female gaze. Men account for 92% of directors and 90% of screenwriters of the Top 200 Films at the UK box office in 2016.  

We are almost always being made to watch a one-sided view of the world. It’s time to start asking: what are the stories we are missing out on? The gender imbalance throughout the film industry also helps explain why women are very often objectified, stereotyped or secondary when we see them on the screen. Film is a powerful medium but is not reflecting the world that we inhabit … and we want to change that.

ABOUT BIRDS EYE VIEW

Birds Eye View (BEV) is a year round agency that campaigns for gender equality in film celebrating its fifteenth anniversary: they spotlight, celebrate and advocate films created by women, and support women working in film. They’re not just for women, but for everyone. Director of Birds Eye View, Mia Bays said: “The up-swell of energy, anger and passion-for-change following the revelations of widespread sexual harassment and misconduct in Hollywood and beyond has strengthened our resolve to tackle gender inequality and the power imbalance in film. The time for change is now, and we see this unique programme as fitting squarely into this aspiration.” 

BEV have supported over 30 films in the last two years with promotions and events, such as Suffragette (2015), Toni Erdmann (2016) and Step (2017). They host these events with leading filmmakers, cultural influencers and social justice campaigners, such as director Gurinder Chadha OBE, publisher Sharmaine Lovegrove and acclaimed film critic Anna Smith.

PARTNERS

The Reclaim The Frame project is supported by distribution partners: Curzon Artificial Eye (and Media Europe), Altitude Entertainment and Vertigo Films. Lia Devlin, Head of Marketing, at Altitude said: “This idea has significant value to us as a distributor, enabling us to raise the profile of the films and the filmmakers, break out independent films across the UK and ultimately promote the diversity that the BFI and Birds Eye View are committed to”.

Plymouth Arts Centre launched the project, and additional venue partners are HOME in Manchester, Tyneside in Newcastle, Midlands Arts Centre & Mockingbird Cinemas in Birmingham, and Genesis and Picturehouse Central in London. 

We are also delighted to have the support of industry partners Mubi and Pulse Films.

THE FILMS

The first “Reclaim The Frame” film will be REVENGE by French first-time feature filmmaker Corelie Fargeat. This provocative, rape-revenge B-Movie sets the tone for a project that seeks to counter conceptions of ‘the female gaze’ as a one-size-fits-all description. REVENGE is genre-bending, kick-ass grindhouse movie that demonstrates women can make all kinds of movies!

Tickets to the Reclaim The Frame screening of Revenge at Plymouth Arts Centre are available to book by clicking here.

Guest speakers will frame discussions around the film by exploring the psychology of revenge, representations of rape on screen, the female gaze on screen and the B-Movie / Slasher genres.

Our second film, a British first-time feature, will screen in July 2018; the third film will preview as part of the Reclaim The Frame project in August; our final film will screen at all six partner cinemas in September 2018.

To join us in supporting women in film, sign up here – it’s free and in return you’ll receive free cinema tickets, DVDs and merch.

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So, the golden statuettes have all been handed out, the corks have all been popped and it’s the morning after the night before.  Since the venerable Academy have decided that Guillermo del Toro’s The Shape of Water is the year’s best film, are we to make the same of it?

Well, it certainly was an interesting choice. It has many of the hallmarks of a del Toro fable. It is both grounded in a real world – in this case Cold War Baltimore – and also adrift a world of fantasy. This particular one looks like it’s ripped straight from a vintage copy of the classic comic ‘Amazing Stories.’ You can even imagine a tagline like “Forbidden Love of the Sea!” set on the cover, among the other splashes of space aliens and giant bugs. (The next-door neighbour here, Giles (Richard Jenkins), who is an illustrator pimping his art, feels like a conscious nod to this idea.) And The Shape of Water really is comic book to its core – from its bold primary colours, all sea greens and raspberry reds – to its plot, which juxtaposes real monsters who feel with human monsters who don’t.

Del Toro has form with comics (sorry, graphic novels) of course – he directed the Marvel adaptation Blade II (2002) and was behind the two Hellboy films (originally Dark Horse comics) made to date. But The Shape of Water feels immediately different to these, perhaps closer to the dark imagination of his Pan’s Labyrinth (2006). Sally Hawkins plays Elisa, a mute cleaner of a government facility, where the incredible discovery of a merman is wheeled in inside a tank. Elisa’s intrigue is piqued and she sneaks in to steal glances of the mysterious fish man, then leaves out some food for him, and then … well, you don’t need me to tell you what happens next. Suffice it to say that before long the danger becomes all too real, from the military, in the form of Colonel Strickland (Michael Shannon, at his most Michael Shannon) and those they are pitted against, namely the Russians. The misfits become pawns in the game of the power hungry, including the humble scientists such as Dr Hoffstetler, played by Michael Stuhlbarg (who by law must be in every Hollywood film going right now).

The Shape of Water’s broadness sometimes gets the better of it. Elisa’s friend at the facility, Yolanda (Allegra Fulton) felt a little too close to type and without any shade. And one scene in particular, where Giles is made to feel most unwelcome at his favourite lunch spot, was pretty on the nose – making explicit what had been made abundantly clear elsewhere. But when it hits, it really does – right down to a musical number sprung from nowhere and right out of golden age song and dance routine. Maybe it was the perfect choice for an old Hollywood backslap after all!

Ieuan Jones

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This live recording of the play, which ran at the Young Vic in 2017, is a powerful evocation of a family tearing itself apart on the night of Big Daddy Pollitt’s 65th birthday.

The stage setting is sparse, just a rectangular bed, a shower and a dressing table. The first hour mainly features Sienna Miller playing the part of Maggie the daughter-in-law of Big Daddy, who relentlessly talks to her alcoholic husband Brick, played by Jack O’Connell. 

As Brick continually drinks his Echo Spring bourbon whisky, ‘Maggie the Cat’ as she describes herself, prances, stalks and sprawls across the stage. She tells of being irritated by his brother, Gooper’s (Brian Gleeson) ‘no-neck’ kids who run riot in Big Daddy’s plantation home in Mississippi. 

Maggie finds it even more annoying that Brick is indifferent to Gooper’s plans to take over Big Daddy’s wealthy estate, and on an intimate level, Brick’s indifference in the bedroom. Brick simply stands under the shower letting the water flow over him, much like the way he lets his wife’s rant flow over him or even the flow of his own miserable existence.

We learn that the plaster cast on Brick’s foot is due to him spraining his ankle, after trying to leap over some hurdles. This underlines the fact that he is no longer the fit football pro he used to be due to age and alcohol, and the hurdles can also be a metaphor for his inability to stride through life without misfortune. It is not so much a matter of physical fitness – he has drastically changed since the death of his old mate and football partner, Skipper. He is now mentally and (temporarily) physically crippled.

Maggie resented Skipper’s relationship with Brick. She was jealous that they went on tour together and were extremely close. Her heavy hints that they were having a homosexual relationship moved Skipper to prove Maggie wrong by bedding her. When he failed to consumate the act with her, he became distraught and disturbed about his sexuality. The trauma was so profound that Skipper committed suicide.

Maggie loudly declares her love for Brick, but wonders about his commitment to her. She wants his baby, yet there is a barrier between them.

In the second, longer part of the play, Brick is confronted by Big Daddy (Colm Meaney) who is delighted that a recent medical examination has revealed he is clear of cancer, although it did show he has a spastic colon. 

Big Daddy confronts Brick about him not making love to his wife, and wonders if he is homosexual. Brick says that his relationship with Skipper was untarnished by homosexual feelings or anything dirty or crude. He confesses that when Skipper telephoned him to express his deepest feelings, he hung-up on him. Now Brick feels so guilty about his friend’s subsequent suicide, that he has to keep drinking to the point when there is what he describes as a ‘click’ in his head.

Brick is plagued by the mendacity of the whole family. All their relationships are based on lies, dishonesty and deception. Big Daddy brags about being fit and taking control of the estate, yet Brick has to tell him he really does have terminal cancer. The original medical report was falsified to keep Big Daddy happy. This news is equally devastating for his wife Big Mama (Lisa Palfrey) who is so distraught that she smashes Big Daddy’s birthday cake into pieces. As their assumptions disintegrate, like the cake, Maggie lies about being pregnant with Brick’s baby. Gooper and his wife, Mae (Hayley Squires), know she is lying in order to ensure that Brick inherits the plantation.

The Reverend Tooker (Michael J Shannon) and Doctor Baugh (Richard Hansel) have relatively small walk-on parts, and both are found wanting in their ability to deal with the issue of imminent death. They are unable to provide any answers and simply scuttle off home. At times the noisy Gooper kids turn up to disrupt the adults, much like the celebratory birthday fireworks blasting off outside.

Director Benedict Andrews gives us a (literally at times) naked, raw and unflinching exploration of sexual repression, lust, greed and denial. Stripping the production down to the basics allows him to fully exploit the power of Tennessee Williams’ original story, and by the end the stage is strewn with the detritus (or as Big Daddy would call it ‘crap) of the messy lives of the protagonists.

The actors certainly wring out every ounce of pain and frustration that tortures this family, which is haunted by the painfulness of existence, the briefness of our mortality and the jeering face of death.

The live recording of the play, using close-ups, camera movement and editing takes us deeper into the emotional turmoil of the family, far more than by simply sitting in the stalls at the real Young Vic. It’s an exquisite blend of cinema and theatre that is engaging and exhausting for the viewer, although this is nothing compared to what the principal actors must have gone through to perform this emotionally draining three hour epic. Now we all know what it is like to be a cat on a hot tin roof…

Nigel Watson

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Mildred Hayes knows the power of the billboard.

Perhaps her decision to buy up the titular hoardings is a nod to her character’s awareness of the work of Guerilla Girls or Jenny Holzer when, after months of indifference from the police team investigating her daughter’s murder, she sees a public shaming of their ineptitude in stark letters as her only option.

The rest of the film flows from the consequences – some intended, some not – of her bold decision and gives Frances McDormand, who plays Mildred, a chance to turn in a stupendous performance switching from boiler-suited bravado to crumpled vulnerability in the blink of an eye.

She is unwavering in her quest to have her daughter’s terrible demise properly investigated and it soon becomes clear she will stop at nothing to achieve her aim. But nothing in this film is set in stone, one scene in particular between Mildred and Woody Harrelson’s ailing Sheriff Willoughby – whose incompetence she is setting out to highlight – is a touching reminder that Ebbing is the kind of small town where everyone knows everyone and no one is entirely anyone’s enemy.

Bolstered by other excellent performances including from Sam Rockwell, Peter Dinklage and Sandy Martin the film starts in high gear and barely lifts its foot from the pedal. Infused with a Wild Western sensibility it also offers many belly laughs and – as he did with In Bruges – Martin McDonagh effortlessly imbues even the least likeable character with a helping of  humanity.

Jemima Laing

The post Film Review: Three Billboards Outside Ebbing, Missouri “from boiler-suited bravado to crumpled vulnerability in the blink of an eye” appeared first on Plymouth Arts Cinema | Independent Cinema for Everyone | located at Arts University Plymouth..

How many films of the last two decades can be said to survive the onslaught of time? How many so celebrated are so easily forgotten? It is easy to hail a work as a masterpiece, to laud its triumphs and its dazzling successes; but what of the failures, the catastrophes, the absolute disasters? From the tower of Babel to the sinking of the Titanic, it is no coincidence that we remember the great acts of human folly equally, if not more so, than the great successes. Disaster is surely the most spectacular art.

The Room is a film that quite outlived its origins as a fantastic and extraordinarily expensive endeavour in hubris. From Tommy Wiseau (the director, star, producer, executive producer and so on…) came his dream of the all-American hero, betrayed by his wife-to-be and his friends. Surely a tale as old as tales have been told and strengthened by the centuries. And yet, with a handful of meaninglessly confusing sub-plots, obtuse scenes and drastically off-tempo emotional reactions, this age old story of the hero betrayed becomes a tale of intractable, adorable, repugnant hilarity, that leaves much more to be revealed of the struggle of the passionately contrived than of the all-American hero, who is also a vampire (maybe?).

So to come to the matter of the truth: who is Tommy Wiseau? Where was he born? From where did he get his near-bottomless funds? Yet these are not the matters with which James Franco’s The Disaster Artist concerns itself most, for they have no conceivable answers; none that the fan of the cult sensation would want to know without ruining the baffling wonder of the film’s auteur.

The Disaster Artist succeeds most in singing the song of Wiseau’s life, which is more farce than ballad, and in its moments of awkward hilarity, uncanny in their similarity to the original work, there is a glimmer of sincerity captured from The Room that shines through bright and weird.. The Disaster Artist succeeds here in revealing this, in the moments of total insanity through which the actors of The Room persevere.

Don’t expect any answers, who would need them. The Disaster Artist is a film about a failure that outlived success, and essential to any fan of the bizarre testament to human hubris that is The Room.

J. Jones

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