The archive #1: M (1931)

Starting a semi-regular feature of short articles recommending classic films, hidden gems, or the just plain misunderstood, is M, Fritz Lang's masterful crime thriller. Whilst Metropolis may well be his most famous work, M is his masterpiece and a far more complete and engaging work. Following the hunt for a child-murderer by police, the local community and even fellow criminals, its subject matter was extremely provocative for the time; dealing with issues that are still disturbing for modern audiences. It is a film that was years ahead of its time and it remains one of the pioneers of the film-noir genre, employing a dark style and ingenious use of shadows.

What is remarkable about this film, is that 78 years later it still has the power to shock and get under your skin. This is not least because of a star-making turn from Peter Lorre as the villain, who makes one of cinema's greatest ever speeches, including the now legendary (translated) line: "Who knows what it's like to be me?" I won't give away the ending, but more than anything else the film is a remarkable study of human nature, both in the mentality of a murderer and the way a community reacts to him. In an ever paranoid and vigilant society, the content of the film is still incredibly relevant today, and the actions of the characters remain highly believable.

This is arguably the greatest film to ever come out of Germany and if you ever happen to stumble across it, watch it, and you will not be disappointed.

In case you haven't seen it elsewhere...

This has been popping up in a few places in the last week but I absolutely love it.

To celebrate its twentieth anniversary Empire has commissioned a piece of artwork that contains references to 50 hidden films and challenges you to name them all. Its very similar to something Virgin Digital did a few years back with band names, which got me completely hooked at the time and I've spent ages on Empire's version now. Anyway, I got to 42 before I went looking for answers. Close, but no cigar.

Empire's Cryptic Canvas

Can we put Jeff Goldblum back in blockbuster movies?

If someone were to ask you what you think of when asked about 90s blockbusters what would you say?

I'd have to give a number of replies to answer that, ranging from bullet time to that ginger kid with the mullet in Terminator 2 but someone who would definitely appear on the list is Jeff Goldblum. For some reason I think of him before I think of Schwarzenegger and Willis.

However, upon researching this article, it was to my great surprise that I discovered that the image I had of Jeff Goldblum cropping up in just about every big budget movie of the decade was actually a slight mental exaggeration. This was probably due to the fact that the last two 90's blockbusters I re-watched were Independence Day and Jurassic Park. But to my even greater surprise, Jeff doesn't even do very much in Jurassic Park. I admit it had been a few years since my last viewing, but I seemed to remember him doing more than sitting around injured and arguing with Richard Attenborough. It had got to the point where my brain had created its own improved version of Jurassic Park where Jeff Goldblum was knocking out velociraptors with a strong right hook and the children weren't in the film at all. In reality the guy from 3rd Rock From the Sun probably had a more important role than Jeff.

So it says a lot of Goldblum leaving his mark on the few big films he appeared in to make me think of him as synonymous with big 90's movies. Those years, however, seem long gone and Jeff has moved on to TV and theater work and the odd movie here and there, which is fine, but I don't think I've watched a film with him in since 2004's Life Aquatic With Steve Zissou. Which is too long, frankly.

It seems in the noughties blockbuster age, Jeff Goldblum's dryly delivered and stuttering brand of irony has been replaced by Shia LeBeouf's yelping and just plain annoying brand of irony. It's to be expected of course; I'm not suggesting a 56 year old Goldblum should replace LeBeouf, but there seems to be a shortage of fun actors around at the moment. I don't mean comic actors necessarily in this respect, but talented actors that can bring their own brand of personality and humour to a role; a certain uniqueness that makes them stand out from the crowd. Robert Downey Jr. is the best example of this kind of actor around at the moment and much of the success of Iron Man was down to his natural, irreverent charisma. It helped make Iron Man a movie that was focused on being fun, which in the post-Lord of the Rings age where blockbusters are falling over themselves to be "darker" than the last is actually a far rarer thing than it was in the 90's.

In his best performances, Goldblum had a very similar tone to Downey Jr; he may not be his equal but he could certainly be entertaining enough to stand out. Spielberg saw it when he gave him the lead in The Lost World; Jurassic Park was well cast, but audiences seemed to connect well with his character. It was perhaps surprising in itself that he was in such films; he never looked like an action hero, and his quirky style seems more suited to offbeat drama. As long as he's still in movies, I'd love to see him crop up in some decent films of any genre, but it would truly be great so see him once more utter the lines "must go faster" as he flees from the dinosaur/alien/giant robot/army that happens to be chasing him.

About time...Christopher Lee Finally Gets a Knighthood

It is with great joy that I read the news that Christopher Lee is to be bestowed with a knighthood in the Queen's birthday honours list. It has been a long time coming but it is well deserved.

Lee may not be this country's most decorated actor and of his hundreds of credits more than a few should be forgotten, but nevertheless Christopher Lee is one of the most iconic of British actors. He possesses one of the most commanding screen presences of any actor; at once being able to appear authoritative and patriarchal and with his instantly recognisable voice he can quite often be plain terrifying. It is little wonder then, that he was the perfect fit for his most iconic role of Dracula in the Hammer Horror series of films.

It was after all, the performances of Lee along with Peter Cushing that really made Hammer Horror what it was. Their films may not be regarded in such high regard as, say, the Ealing comedies and there was often limited funds available but they are remembered fondly and it was arguably Lee and Cushing that provided the quality that allowed many Hammer films to rise above their often campy tone.

My personal favourite Lee performance, however, is in the Wicker Man. His natural booming voice and menacing demeanor were the perfect fit for Lord Summerisle. It is the ability to believe that Lee's character could lead a group of Pagans to perform the eventual sacrifice that makes The Wicker Man as unnerving as it is. He is utterly convincing, and despite his numerous other horror roles, this is Lee at his most terrifying and demonstrating an acting talent beyond the limitations of his Hammer Horror roles.

Lee as Lord Summerisle in The Wicker Man

I do not believe that Lee would have received the knighthood he so richly deserves if it had not been for the Indian summer that his career has been enjoying. It is remarkable that at 87 he can still make so many appearances, not least in two of the most commercially successful franchises of all time in The Lord of the Rings trilogy and Star Wars prequels. His Saruman introduced him to a whole new generation of fans and his omission from the Return of the King (and the baffling inclusion of the many epilogues) was one of Peter Jackson's few mistakes in making the trilogy.

However, the fact that he is working so regularly is testament to the respect he has gained in the industry as a truly talented actor. Tim Burton is a notable fan and has given him several small roles in his films and whilst his appearances are briefer as he gets older he can still be relied upon to provide a good performance and I hope that he continues to act for as long as he enjoys doing it.

So congratulations to Sir Christopher Lee, for a long and prolific film career well rewarded.

The Best Scenes of the Decade (So Far)

So we're halfway through 2009 and the time is very nearly upon us when we can look back at the noughties and reflect on what the decade gave us. Opinions seem divided on its overall contribution to cinema. Most people I've talked to agree that this decade hasn't produced as many classic films as the nineties but recognise that movies have come a long way in the last ten years. There have been plenty of films that will be remembered for many years to come but it has also been a decade of great moments; individual scenes or sequences that stand out in the memory even if we forget most of the rest of the film. This list of personal favourites could very well be dominated by the many visual effects sequences of technical brilliance that have occurred over the last ten years but instead is focused on innovation and excellence in areas such as acting, camera-work, direction, dialogue and most of all their emotional impact. These are the scenes that play out in your head long after you have seen them...

Oh, and there may be some minor spoilers along the way.



10. The Pale Man- Pan's Labyrinth (2006)

Why? In a film that inspired the imaginations of almost everyone who saw it, this scene highlighted the shear inventiveness of Guillermo del Toro and his design team. The Pale Man's eyeballs-in-hands are perhaps the defining image from the film and this incredibly tense and dark scene beautifully sums up this very grown-up fairytale.

9. Ritchie Tenenbaum's suicide attempt- The Royal Tenenbaums (2001)


Why? Wes Anderson has always incorporated dark themes into his offbeat world but with this scene he took things a step further. It's wonderfully edited and in Elliott Smith's 'Needle in the Hay' you have a perfect use of music in film that's difficult to beat. It packs a powerful emotional punch.

8. Winkies- Mulholland Drive (2001)


Why? It's a masterclass in tension and one of Lynch's greatest surreal moments in a career of great surreal moments. This scene has found its way on to several 'scariest moments' lists and for good reason; you know damn well that there will be something around that corner, you prepare yourself, and every time it still makes you jump.

7. "Call it"- No Country for Old Men (2007)


Why? Anton Chigurh is one of the best villains to emerge this decade and this scene demonstrates Bardem's superbly menacing performance. The Coens lift Cormac McCarthy's brilliant dialogue and showcase it with a directing flair that made them well worthy of their Oscar.


6. Anton Ego's flashback- Ratatouille (2007)

Why? I had to include something from Pixar in this, and choosing which scene was extremely difficult. They may have taken animation to the next level but it's in their storytelling that Pixar really showcase their genius. In this scene, scornful food critic Anton Ego is taken back to his childhood by a simple dish served up by aspiring chef Remy the rat. Its the sort of emotive and truly touching moment that Disney was so good at in their glory days. Never dismiss it as 'just animation;' this is one of the most moving scenes of the last ten years in any film.


5. "I drink your milkshake!"- There Will Be Blood (2007)


Why? People got so caught up in the meme surrounding this that many of them forgot how good a scene it was actually from. In it we feel the full force of Daniel Day-Lewis's performance; the best of the 21st century so far and a strong contender for one of the greatest ever. Don't forget Paul Dano's performance in this either. All in all a demonstration of great acting and dialogue.

4. Battle tracking shot- Children of Men (2006)

Why? The tracking shot in the car earlier in the film could quite easily have made this list too but this scene takes a truly thrilling approach to the absolute mayhem occurring on screen. We follow Theo as he races to rescue Kee in the middle of an intense battle. It's not actually a continuous shot but it is testament to the editing and CGI trickery employed that it appears to be completely seamless. A thoroughly different approach to an action scene.


3. Guiding the blind man- Amélie (2001)


Why? It can make you smile every time. It's such a simple thing, but it takes a lot of skill to create such a feel good moment. Take Amélie, one of the most lovable characters in film history, performing one of her kindest acts and combine it with the unique cinematography, the colourful market scene and the look of joy on the blind man's face and it all adds up to a big, satisfied grin on even the stoniest of faces.

2. Hallway fight- Oldboy (2003)


Why? The best fight scene of the decade. The progress is slow and the fighting may not be pretty but it is filmed with such innovation that you feel yourself becoming physically exhausted with Dae-su Oh. It may seem more brutal than skillful but the sheer amount of fight choreography that must have gone into such a long take would be immense. On top of everything else the hint of black comedy that counteracts the violence really makes this scene.

1. The 17 minute single shot- Hunger (2008)



Why? Simply stunning. This may seem like an odd choice; the film was well received but is probably the least well-known on the list but there is no scene as integral to plot and in possession of such brilliant acting and dialogue as this one. In it, hunger striker Bobby Sands discusses his past and morality with his discouraging priest and for nearly seventeen minutes we see the two, sat at a table and having a conversation in a single shot. Actors Michael Fassbender and Liam Cunningham briefly moved in with each other and practiced the exchange continuously for days on end to get it right, stretching their acting skills to the limit, but it truly pays off. Oh, and if you're wondering if two blokes having a conversation about morality can really be that absorbing don't worry. The dialogue is compelling and incredibly fluid and provides an insight into Sands' mentality and determination that is absolutely crucial considering the harrowing scenes that follow this conversation. In a film that is brutal and often difficult to watch, this scene is utterly compelling.

An Inventor Biopic for our Age (that isn't The Social Network)

The still very much in-development Facebook movie was inevitable from the point the website took off. Three Harvard students work on limited resources to develop a modern cultural phenomenon, gaining fame and success in the process. There's certainly a film that can be made out of that story and the subject matter alone is likely to attract the coveted 18-30 market. It could well be the sort of feel good story so important to the industry in times of economic hardship; the 'average' guys who hit on a good idea and are successful against the odds. Its the sort of thing we can all dream of.

Except that's where the problem lies. Much like Tom from Myspace, Mark Zuckerberg and co. are too often portrayed as the 'average blokes who just got lucky' but try as I might I just cannot see them that way. As remarkable as Zuckerberg's achievements are, he is far from average. Much is made of the gamble he took in dropping out of university to pursue his dream but it was Harvard he dropped out of and he had already been courted by Microsoft and AOL. He may have stumbled on a very simple and brilliant idea but it was an idea born out of an incredible computing brain which knew exactly how to advance and spread the business. Don't get me wrong, this is still an underdog story, but not the sort the average cinema goer can dream of emulating.

So where am I going with this? Well I was recently struck by the remarkable success story of a company that was not just surviving in the recession era, it was thriving. It's a company that's main idea is remarkably simple but remains timeless. Born out of the most humble of beginnings its as universally recognised as it is iconic. It's Lego.

Yes Lego.

Its a story that deserves to be told and the type that a modern audience can really identify with and be inspired by.

You see, Lego arose from the ashes of the Great Depression. Its creator, Ole Kirk Christiansen was just a humble carpenter who in 1924 had seen his workshop burn down and had very nearly gone bankrupt as the world struggled in the early 1930's. He started making toys to get by and hit on a very simple, but very brilliant, idea in interconnecting building blocks. Its the sort of thing people look at and just think: "I should have thought of that."

The company's growth from such humble beginnings to what it is today is just as inspiring. With the help of his son, Godtfred, Christiansen set about building an empire, seeing the potential of the product and risking their livelihood on its success. There were setbacks along the way but Lego began attracting the attention, and the profits, to expand around the world.

Its hard to imagine a product that is so universally popular and so fondly remembered as Lego. Facebook may be phenomenally successful, but it's not universally loved. Does Lego create debates about a surveillance society? No. Is it criticised for its cynical policies on advertising? No. Is it accused of being hopelessly addictive and time consuming? Well yes. But the point remains its a company that everyone can get behind and a story that deserves to be on the big screen.

This is perhaps unlikely to happen. Details of the personal aspects of Christiansen are hazy, and of course personalisation is crucial in biopics. And then there is the fact that this is not an American success story, its a Danish one, and perhaps that is the only country where we will see such a biopic emerge from. I'd still watch it though because there are very few success stories that can beat the timelessness and true underdog quality of Christiansen's. Its a feel good, hopeful film we could all do with.

Underrated: 5 reasons why The Fall deserves your respect

Never before has a trailer for a film caught me so off guard as for The Fall. When I first saw it I had heard no buzz about the film at all but the trailer left me fascinated; why was such a sprawling, visually stunning movie creeping in under the radar? True, it had a no-name cast, a director who had only made one previous film, and a budget far smaller then its grand scope let on but this only peaked my interest and I made it my mission to see this film. This proved to be a more difficult task than I imagined, with the film being released in the U.K. almost 2 years after it had originally premiered at Toronto. The film has begun to get some love, with Roger Ebert in particular giving it an enthusiastic review, but it still remains sorely underrated, not least for the following reasons...

The Locations

Real, non-CGI, stunning locations from around the world. CGI may allow you to create any landscape you choose, but this was not an option for director Tarsem. He financed much of the film and over a period of four years took his actors around the world shooting scenes as they went. Its the kind of attitude a studio producer would balk at but The Fall is a labour of love. Tarsem's method may not have been the most time or cost effective but by shooting in the beautiful, hidden locations that the world has available, the film appears far more expensive then it actually is. Its all the more impressive that the film feels so surreal and stylised, much like 300, but without a green screen in sight.

Catinca Untaru

I'm really not a fan of child actors. They're either played up to be too cute or are molded by the industry to become far too self aware. Dakota Fanning is a good example. Catinca Untaru's was one child performance I did like. To date, The Fall, is her only screen acting performance and I would not be surprised if it was her last. She is not a product of Hollywood, she's a slightly chubby Romanian who can't really boast the child 'acting' ability of Dakota and co. But what is so good about her performance is that you never really think of her as acting at all. Every emotion she expresses seems genuine and heartfelt and rumour has it that she genuinely believed actor Lee Pace was a paraplegic rather than just his character. I can believe that; Untaru doesn't seem to be a character, she just seems to be acting herself, and is all the more believable because of it.

The blurring of reality

The fairytale-mirroring-real-life concept is far from new, and many narrative-within-narrative stories tend to over do it to the point that it becomes gimmicky but in The Fall its done with subtlety; reminding us that the epic story of revenge is the product of 2 people's imagination yet not requiring us to analyse the tiny details until we lose sight of the story. The characters cross over and the villain is inevitable but I love the little details. Watch out for the similarity between the henchmen's armour and the X-ray suits and the appearances of each of the revenge seeking heroes in very small, blink-and-you-miss-them roles in and around the hospital. Its not essential to the storyline, but its well thought out and demonstrates this film has far too much depth to be dismissed as a piece of eye-candy.

The Dark Themes


Every fantasy film that comes out these days seems to assume that darker is better but The Fall managed to trump them without even really trying. The film may be a story of a man telling a fairytale to a child but it is one of anger, revenge and death. The story reflects the ever changing mentality of its storyteller, suicidal and heartbroken, as he becomes increasingly desperate, so does the story. It doesn't take long to realise that he is not entertaining and gaining the trust of the child for her benefit and sets Untaru's Alexandria up as a symbol for hope and redemption. This is a grown-up and knowingly cynical tale that evolves with the characters to set up brilliantly intense climax.

And Finally, this guy...

'nuff said.