Tuesday 14 February 2012

An Unusual Mind

Before I say anything else, I have to make a retraction on this blog (how serious, ay?). I believe a few posts a go, when discussing David Cronenberg's films, I stated that he had made 2004's "Crash", the one about racism and a car crash, but I have since realised that his film named "Crash" was the 1996 version with James Spader and Holly Hunter about car crashes and sexuality. I do apologise.


So, I was pretty off with my predictions for the BAFTAs. Basically, all of them seem to have gone to "The Artist" (Best Film, Best Director, Best Actor,...), which I haven't seen, so my judgement was obviously not well backed. I cannot believe it won Best Original Screenplay, as was said when the award was received, you wouldn't think a silent film requires one, but logically it must do. I did predict that "The Artist" might win Best Director, but did not realise the amazing success it would be. I guessed right that Meryl would win best actress, and I'm sure she is incredibly deserving of it, from what I've see of her amazing Thatcher imitation, but I think everyone could have predicted that victory. "Shame" won nothing unfortunately, though Fassbender turned up, looking handsome as ever. The ONE candidate for the Orange Rising Star Award that I'm not really familiar with won, so obviously this was not my year for being in with the best films. I do genuinely believe that, despite having only seen "Tinker Tailor Soldier Spy" on the Best Film list, I have seen some amazing films this year, worthy of some significant recognition, such as "Shame", "Submarine", "Troll Hunter" and many more I'm sure.

I am very excited, however, to see Stephen Fry back behind the wheel, presenting the BAFTAs as he was born to do. He is the reason it surpasses all other award shows, with his wit and humour, making several hours of sitting still and watch other people win awards, a jolly good romp. He is quintessentially British and so the perfect candidate to present the biggest British film awards of the year.

I missed my weekend-ly visit to the cinema this week because of party arrangements for my flatmates birthday - it was a smashing do I can tell you. I was hoping to go and see "Chronicle" on Saturday, but there is still time and I have managed to catch up on an important one this Monday evening, that is "A Dangerous Method"...


We had a scary moment when going to see this at the Showcase, when we noticed that written outside the cinema with all the film titles was "Dangerous Minds", but NOT "A Dangerous Method". When we went inside the board said "Dangerous" and that was all. As you can guess, everyone thought I had read the title wrong on the website. But then I have never heard of "Dangerous Minds" and was hoping the cinema had got it wrong. I am still not sure if the latter is the case, but what we ended up seeing was definitely "A Dangerous Method" and we sighed with relief when this title came up at the beginning of the credits. 

This is the story of Freud (Mortensen) and Jung's (Fassbender) relationship and how it went from friendship to rivalry, and the sexual relationship between Jung and one of his patients (Knightley). I approve very much of the casting for this film. As you know I am a big Fassbender fan, but I also love Keira Knightley and, well, who doesn't love Aragorn? All three performed their parts very well. Knightley's was probably the most challenging, having to play a mentally disturbed young woman with all sorts of ticks and outbursts. Mortensen impressed me greatly, though it's harder to pin down why. His performance was very subtle, but I believe it is that he seems to have adopted a completely new person - this may largely be down to the new nose he seems to have been given for the part. The scenery is also perfectly chosen, swapping between two beautiful settings, Switzerland and Vienna. Cronenberg makes the most of the natural beauty as well as of the gorgeous architecture of early 20th century Europe.

It is very interesting subject matter and shows you into some of the most important foundations for modern psychology. Cronenberg gives us a good, detailed contrast between the theories of Freud and Jung, he does not sacrifice the science and psychology for sex, which actually is not as prominent or superfluous in the film as the hype might have you believe. Sex is merely used to show us the issues which surround Sabine's (Knightley) madness. The film, however, has to span over about 15 years I believe, so one can be transformed, just by a cut from scene to scene, several years forward, which can make the film feel a bit rushed, though at the same time, the lengthy period covered makes the film appear longer than it is. It is by no means dull, but perhaps the pacing is a bit off.

I also caught up on "Drive" this Monday afternoon, another in the category of Best Film for the BAFTAs. Again, I wasn't too anxious to see this in the cinema, but what a fantastic film, I must admit. At the end I was completely drawn in, hooked, and I don't know if it's the fantastic final scene or the music, but something clicked in me as the film reached the end.

This is the story of a professional stuntman, with a skill for driving, who earns money on the side as a get away driver and falls in love with a married mother, dragging himself into robbery, murder and mob revenge. First of all I have to rave about the music, because it was superb. It is subtle and understated, like much of the film, especially Gosling's performance, but it is powerful. Often there is just a continuous, simple beat, whose pace changes with the pace of the film. This beat caught me straight away, it is dull and thudding, intense and immediate like the film, and it seemed to me almost as if the film had a pulse. Perhaps the pulse of the Driver (Gosling).The pace of the beat sets the mood of the scene perfectly. The sound track, like much of the film, is very 80s. The pop songs used remind very much of that era, they are often quiet and beautiful, frequently juxtaposed against a heavily violent scene. This creates an eerie atmosphere and emphasises the subtlety in the Driver's actions and manner.

The lighting is also beautifully crafted. Most of the scene is set in relative darkness, often with dull, orange-y, fiery lighting, giving the impression that the sun is setting. It is very much an evening based film. The Driver's face, and those of other characters, especially Irene (Carey Mulligan), is therefore usually in relative shadow, and it casts a still feeling on the film, reflecting his still personality. It also reflects the shadows over the Driver's identity. Where did he come from? What is his name? What is he really feeling under that frequently emotionless facade? The dull lighting also allows for many moments of highlighting just the Driver's intense eyes as he speeds through the night. All of Gosling's acting is done through subtle changes in his eyes and mouth. He has beautifully expressive eyes I have noticed.

Ryan Gosling is of course one of the big names of 2011, starring in "Drive", but also "Crazy, Stupid Love" and "The Ides of March", he's one to watch it would seem. As I have said, the acting all comes from his eyes and mouth. His character is very quiet, he barely speaks unless it is absolutely necessary, preferring to use slight nods or head-shakes, barely noticeable, to respond when he can. Watching the BAFTAs, I heard Gosling describe his character as half man, half machine, and when he meets Irene, the machine half is drawn the more out of him, leading to some incredibly violent scenes in the second half. Mulligan also masters this subtlety, managing to show the great emotion and turmoil her character is going through, without making much noise.

The film is very stylised. The credits appear very 80s, like the music, in the odd, hand-written font, and the bright pink colouring, as if you're watching a Brat Pack film. Everything, the music, the settings, the lighting, to the font of the credits at the beginning and end, is chosen to exact detail.

It is an incredibly moving film, though I don't think you realise you are being moved straight away. The Driver's relationship with Irene and her son is incredibly complex. He appears to show no emotion, but is clearly very protective of the boy, he puts his life on the line to protect them, and he is incredibly loyal to his boss, Shannon, played by the wonderful and lovely Bryan Cranston, aka Hal from "Malcolm in the Middle". Despite the horrific acts of brutality which the Driver deals out, despite his apparent lack of emotion, there is something incredibly beautiful about this man. Though he barely ever gets excited or raises his voice during all of the terrifying events, when the ones he loves are hurt, he shows true anger. This film must be watched, if for no other reason than the terrifying penultimate scene on the beach at night.

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