As most cinema goes are just getting down from their Harry Potter highs, induced by the franchisees highly successful and well crafted finale Harry Potter And the Deathly Hallows Part 2(2011) [which will be discussed further in an upcoming post], I have been looking ahead to the finale of a smaller film franchise. Emerging onto our screens in 2005, Christopher Nolan exposed international cinema goers to the dark, corrupt and shockingly realistic world of Gotham City, a city run by the mob, controlled by unbureaucratic cops and oh yeah a billionaire playboy who dresses up as a Bat.
Yes, we all know the story for the highly successful Batman Begins(2005) which reinvented the Batman franchisee after an 8 year absence, following the ridiculously camp Batman & Robin(1997). By bringing a new cast, led by Oscar winners Christian Bale, Michael Caine and Morgan Freeman, Nolan exposed audiences to the deeper humanity and realism within Bob Kane’s original comic book series, creating a Gotham that could represent any major metropolis across the world. His commitment to a realistic story, layered characters and mind-blowing action saw the films’s sequel, The Dark Knight (2008), break box office records and, indirectly, bring about one of the biggest changes in the Academy Award’s history, with the Academy extending the Best Picture category from 5-10 films (and now from anywhere between 5-10 films) in order to prevent any other publicly and critically regarded films from being unjustifiably snubbed. However, the film did secure two wins out of eight nominations, including a well deserved posthumous win for Heath Ledger (The Joker). Together these two films have garnered a large international fan base, millions of dollars in box office/DVD/Blu Ray sales and created an incredible online excitement around the franchises final installment The Dark Knight Rises(2012), which is currently filming in the UK.
But as the first teaser trailer was released yesterday, via the Warner Brother’s YouTube account, I cannot help but feeling sad that this monumental franchise will come to end next July. For this series, like Harry Potter in many ways, has changed how people view going to the movies, creating a buzz and excitement that is felt across almost every person. While I too am excited for Nolan’s next offering, and I will be speculating about what the plot will entail (is Bane working for the League of Shadows? Will Selina Kylie/Catwoman be an enemy or foe? Will Marion Cotillard’s character really by Talia al ghul (the daughter of Liam Nesson’s character from Batman Begins?) I will also be sad to see another great franchise end after less than 10 years.
If you haven’ already watch the teaser, speculate yourself and feel the bipolar emotions of excitement and grief as we prepare for what will be, no doubt, 2012’s Best Film of the year!
Well the Sydney Film Festival has officially begun for 2011 and has provided a rather mixed bag of films from all around the world, some of which I have had the pleasure (and displeasure) of seeing over the past five days. However, it all started under rather cold circumstances last Wednesday night at the State Theatre, in the heart of Sydney’s CBD.
Below I have attached the YouTube video that I made for the UTS Vertigo website from footage that Carla Efstratiou (Vertigo editor) and myself filmed from the red carpet. Australia’s finest talents from both the screen and (mainly) television made there way into the State Theatre, on this exceptionally cold evening, for the Australian premiere of Joe Wright’s new film Hanna (2011), staring Eric Bane, Saoirse Ronan and Cate Blanchett. We were lucky enough to catch some of the night’s big stars including Miss Blanchett (from a great distance), Academy Award Winner Jane Campion,Sigrid Thornton and the cast of Showcase’s hit Australian miniseries Cloud Street. While the carpet was an interesting experience, we were unfortunately not able to see the film (which from early and international reviews is said to be a well construct film from a rather period-piece conservative director). However, I have made my way to a number of recent media screenings since the festivals commencement and have found myself walking away, both times, feeling very different emotions.
On Thursday (9/6/2011) I was lucky enough to be at the world premiere of the first Chinese/NSW feature film collaboration 33 Postcards (2011), starring Guy Pearce, Claudia Karvan,Lincoln Lewis and Chinese newcomer Zhu Lin. For a film I was very excited about, I walked away feeling incredibly embarrassed and angry at the type/quality of films Australia is distributing around the world. As you will read in my upcoming review, this is not a film I would recommend to anyone and I am deeply disappointed that such a creative and original premise could be so poorly handled and acted by over using cliche characters and soap opera-esque events. This was not the good start I wanted for my festival viewing season.
However, last night’s screening of Jodi Foster’s new movie The Beaver (2011), starring Mel Gibson (in a return to form performance), Jennifer Lawrence and Foster herself, has restored my faith in this year’s offerings. This was a film I loved! While not perfect it left me profoundly emotional and it was a journey that I was really glad to have taken. The cast were superb, especially Gibson who gave so much depth and credibility to a very troubled character. A top notch film and a definite must see for 2011 (Review to come as well).
But there is still so much more to see over the next week, starting with tomorrow’s documentary screening of Project Nim (2011), from the Academy Award winning team behind Man On Wire (2008), and Terrence Mallick’s Palm d’Or winner Tree of Life (2011) on Tuesday night. So stay tuned as I bring the latest news, reviews and footage from all (that I can get) of this year’s Sydney Film Festival.
I must start by apologising for my lack of posts these past couple of weeks. To be an active blogger you need to manage your time A LOT better and, to be honest, uni has consumed me more than I would like to admit. However, I write today with exciting news about this years Sydney Film Festival, running from June 8-19.
At 3.39pm (I was really excited as you can tell) I received an email from the Lantern Group, the publicity and events company behind the SSF2011, informing me that I had been given media accreditation for this years festival! With a lot of assistance from my amazing friends at UTS’ Vertigo Magazine (who I will be covering the event for), I will be able to attend the event along with a long list of other important entertainment and film journalists. However, what Vertigo cannot publish on their website or in their sixth issue, I will publish up here on my gateway to the ever expanding internet film community. So hopefully you will get an in depth and interesting coverage of the event from a first time attendee.
Since I was sent that golden ticket of a PDF yesterday afternoon I cannot stop thinking about what I want and NEED to see. There are so many incredible films on offer all across Sydney, and I know I won’t get to view them all. But I have compiled a small(ish) list of the films that I have ear marked as essential. Check them out below.
While I am lucky enough to be going through the Vertigo magazine, I know I would have still gone regardless. So I encourage everyone to get out and enjoy, support and embrace Sydney’s tribute to some of the best international and local films for 2011. This year is not to be missed! Check out the event coverage at www.sff.org.au and start planning out your weeks now, I know I am!
This feels like a great heart-warming Australian story, a nice alternative to the gangland and serial killer films that have become synonymous with our industry. Starring Guy Pierce, Claudia Karvan and Lincoln Lewis, this film follows the story of a 16 year old Chinese orphan who on, coming to Australia, seeks out her pen pal and sponsor (Pierce) and the perfect family he has told her all about.
Also on a personal note, one of this films producers (Penny Carl-Nelson) was a family friend who I only remember from when I was 6 or 7 years old. I had no idea she was heavily involved in the industry and it will be great to see her work on display, with such a distinguished cast!
Starring Ewan McGregor, Christopher Plummer and Melaine Laurent, Beginners is a film I am excited about for a number of reasons! It will be the closing night film (so I will even have to pay and I still don’t care) and it follows the lives of a father (Plummer) and son (McGregor) as they start living their lives again after the death of their beloved mother/wife. Ever since The Last Station (2009) I have been in awe of Plummer, so seeing him billeted here is a major draw card. Also Laurent is a major up and coming French actress in the English speaking market, you may remember her from Inglorious Basterds (2009). And any story about life and its meanings etc etc I am a sucker for. I can’t wait for this one!
When I first saw the trailer for Martha Marcy May Marlene (2011), my first thoughts were of last years critically acclaimed and Academy Award nominated Winter’s Bone (2010). Both films are and look gritty, both were critically acclaimed at the Sundance film festival, both have John Hawkes and both consist of strong lead female characters. While Winter’s Bone had a relatively unknown Jennifer Lawrence, MMMM has a young actress who comes from the very famous Oslen family (Mary Kate and Ashley) but has decided to distinguish herself as a powerful (and talented) actress. Elizabeth Olsen stars as a young girl who, following her escape from a religious cult led by a charismatic leader (Hawkes), tries to reconnect with reality while learning to understand the events that brought her back to her sister and brother-in-law (Sarah Paulson and Hugh Dancy). I think this could be an Oscar contender for 2012 so I won’t be missing this one!
I don’t think much needs to be said about this film which took Terrence Mallick over 40 years to actually make. Reviews out of Cannes have been mixed but everyone has agreed this film is a masterpiece of visionary pleasures, plus Pitt is said to be sensational. I will be (fingers crossed) at the State Theatre for this one!
Paul Giamatti and Amy Ryan lead this indie film, which has elements of Little Miss Sunshine (2006), Juno (2007) and Up in the Air (2009) all meshed into one. Paul Giamatti plays an attorney trying to embezzle one of his elderly clients by sending him to a nursing home. However, things become difficult when the client’s runaway grandson turns up looking for a place to stay. Ryan has been receiving rave reviews for her performance as Giamatti’s wife and motherly figure (you can see some her performance on YouTube). The trailer looks like the perfect mix of dry humour and heartfelt three dimensional characters. I’m hooked already.
Kevin Macdonald (Last King of Scotland), the Scott brothers (Ridley and Tony) and YouTube where very ambitious when embarking on this documentary project together. They encouraged people from all over the world to film their life in one day on the exact same day – the 24th June 2010. All films were upload onto YouTube and then compiled together by Macdonald. This will be interesting to see and its reception is still relatively unknown. I’m intrigued by what people could have captured and uploaded onto YouTube in just one day. This could be complete international gold!
I was 3 years old when it first happened. My parents told me it would be a fun experience, if only they had known what they were unleashing. I remember walking into a large foyer with people everywhere, shining lights, long queues, the smell of what I later learnt was popcorn, the buzz of excitement around me as a man took small pieces of paper from my parents and directed us down a dark corridor. I can still see those weird short films, all tagged with the words ‘COMING SOON’. And I definitely remember that large screen, that all encompassing screen that I swore was going to eat me alive. But I didn’t know what was happening, nor where I was. I was sitting in this large room, crammed full of other kids and their parents, wondering what was going to happen. And then I saw this:
From that moment on I have been stuck.
To say that The Lion King (1994) ignited my love of films is understatement. The Lion King (1994) not only showed me, a shy 3 year old boy, the creative power of the cinema but it exposed me to the beautiful world that is Disney animation.
I can safely say that Disney animations played a major part in defining my childhood. I would watch Aladdin (1992) on repeat until my parents could nearly act out the entire film. I fell in love with the colourful characters and gothic yet magical settings of Beauty and the Beast (1991), while joyfully singing ‘Be Our Guest’. I believed that maybe gorillas and humans could live together in harmony, after I watched Tarzan (1999). And yes, I was stupid enough to think that maybe my toys did come alive when I left the house after experiencing the wonders of the digital animation through Toy Story(1995).
Its now 17 years later and I am still obsessed with Disney animations and the way they made me feel as a child. However, these movies and memories would never have been possible if it wasn’t for the amazing legacy that Walt Disney created and inspired throughout this lifetime of work within the animation genre. But why has Disney been so successful in creating animations that engaged and connected with audiences the world over?
To understand why we need to look at the man behind the mouse ears. And to learn about Walt Disney you need to go back to where it all begun, back before animations were released every summer for mass consumption. Back before animations were really appreciated for the artworks that they are. Back to 1928
Walt Disney begun his animation career with classic short silent films, such as ‘Plane Crazy’(1928) and ‘Steamboat Willie’ (1928) which introduced the world to his delightful brainchild Mickey Mouse, a character now universally recognized and loved all over the world. These simple animations were created on a shoe-string budget and engaged audiences for a mere 5-10 minutes before the real feature begun. However, they were still able to engage and inspire audiences, through their ability to create worlds and stories that illustrated true creativity.
Even though these short films were adored by audience members, they were still only viewed as a side attraction to the main feature. It was not until Walt Disney made the ambitious move to turn the beloved Grim Brothers’ fairy-tale, ‘Snow White,’ into the world’s first feature animation that audiences and studios begun to view it as possible feature film projects.
Though the film was continually marked with problems, including a three year delay due to financial problems which almost sent Disney into bankruptcy. Studio executives begun to believe that maybe Disney’s dream of a feature length would be nothing more than a fairy-tale. However, Disney never gave up on his dream and, eventually, after much passion and determination Snow White and her seven little friends came to live at the Carthay Circle Cinema on December 21, 1937:
Snow White and the Seven Dwarfs (1937) blew audiences away, making $8 million dollars at the US box office in 1938 and becoming the most successful movie of the year. From that moment on audiences and cinema executives everywhere saw the power of animation and the was changed forever.
In Walt Disney’s own words:
“Animation offers a medium of story telling and visual entertainment which can bring pleasure and information to people of all ages everywhere in the world”
This became the mantra for Disney and his animation empire, as he developed stories and movies that is entertained and educated audiences simultaneously.
In the 30 years after Snow White, Disney worked as the creative genius behind numerous classics, including Cinderella (1950), Alice in Wonderland (1951), Lady and the Tramp (1955) and Sleeping Beauty (1959), that engaged audiences worldwide with their unique characters and symbolic interpretations of life and its various meanings. Even before his death from lung cancer in 1966, Disney continued working to create new and creative stories that would be loved by millions of people. The last film that he was involved in turned out to be timeless classic The Jungle Book(1967).
Even though his tragic death may have limited his creative potential, it was his belief in the power of animation that allowed new animators to step forward into the Disney empire, creating stories, characters and music that have defined movie goers for generations.
When looking back over my own experiences with Disney animations, I can’t help but think about the timeless lessons that I have learnt and continue to learn through the tales of romance, friendship and self belief that these films all embody.
Beauty and the Beast (1991) taught me the importance of inner beauty and the power of true love. Aladdin (1992) showed me that everyone makes their own lucky (but it helps if you have a Genie). The Little Mermaid (1989) and The Lion King (1994) conveyed the importance of believing in yourself and following your own destiny, regardless of what the world is telling you.
Even more recent Disney animations have retained Disney’s central ideology that these films must entertain and educate audiences. For example, Pixar’s Up (2009) confronted the issues of grief and loss, after its lead character, Carl, loses his wife to old age. Even this years Academy Award winning Toy Story 3 (2010) entertained audiences with classic Disney Pixar characters, while showing theemotional side of growing up and moving on.
Disney films have always had the ability to generate films with so much heart and soul that you forget what you are watching was either drawn by hand or crafted on a computer screen. For the 90 minutes for which you are in their world, they are real. And I think that is why Walt Disney and his empire has remained so international successful and engaging for adults and children. Disney films are about transporting audiences to worlds and locations beyond their wildest dreams, while confronting issues that can be related back to their own lives.
Walt Disney’s legacy has defined the childhoods of millions of people around the world, and is something that cannot and should not be forgotten. I think every person owes a great deal of gratitude to Mr. Disney, because if it was not for his unique ambition and innovation then we would never have seen the true influence and beauty of this genre.
So when the time comes for me to take my (now non existent) children to the cinema for their first movie, I can comfortably selected a Disney animation and know that my children will be given the same experience I was given back in 1994. Disney animation has evolved and developed, but the deeper messages behind these films has remained constant since ‘Steamboat Willie’ (1928). Walt Disney wanted to entertain and educate children and now, 80 years later, his empire and legacy is still doing just that.
To give you all the heads up on my next upcoming post I thought I would drop a couple of friendly hints (through the wonderful world of YouTube) as to what I may be dissecting. Take a look at these trailers and take a guess:
The Little Mermaid(1989)
Beauty and the Beast (1991)
Aladdin (1992)
Toy Story (1995)
Shrek (2001)
Happy Feet (2006)
Toy Story 3 (2010)
How to Train Your Dragon (2010)
If you didn’t pick the theme up by at least Aladdin (1993) then to keep you a breast, I’m dissecting the animation film genre. This emerging and highly advanced form of cinema has taken on a whole life of its own, telling stories either not possible or not believable in any other format. Since a little kid I have been mesmerised by the bright colours, surreal characters and unbelievable magic of this genre. And as I have aged I have watched it become so advanced that I forget that some classic films, like Beauty and the Beast (1991), and are actual in the same category as new epics, including How to Train Your Dragon (2010). In my next post I want to examine what it is that connects these films together besides the label of ‘animated’, as I examine the rapid development that has shaped an entire genre.
Has this genres evolution been for the better or worse? Do modern animations lack the heart of their predecessors? And what is it that makes these movies so enticing for, not only children but, millions of people the world over?
So while you’re pondering those questions think about your favourite animated movies of all time and let me know! I’d be interested to hear which characters, stories, adventures and musical numbers have tickled your fancy throughout animations history. Hopefully through our dissection we will be able to view animation in a whole new world.
The famous American film director Stanley Kubrick was once quoted as saying:
“A film is – or should be – more like music than like fiction. It should be a progression of moods and feelings.”
– Stanley Kubrick (1928-1999)
When I first read this quote I was blown away by how profoundly correct it was in both its depiction of incredible film-making but also the importance of musical scores in the storytelling process.
Utilised as the only tool for effective storytelling in the silent cinema era of the early 1900s, music was the single most important film technique for engaging an audience on an emotional and personal level. Charlie Chaplin (silent cinema comic icon and film industry pioneer) in his first feature-length silent film ‘The Kid’ (1921) developed a musical score inspired by Tchaikovsky’s 6th sympathy to help the audience grasp the humourous and emotional story of an orphan boy who develops a fatherly relationship with Chaplin’s iconic ‘Tramp’.
Without the musical accompaniment this film, and many others during this era, would have been completely unmarketable to the mass public. In the years before dialogue, music was the only voice a film had. And then in 1927 that all changed, when Warner Bros released its first talking motion picture ‘Jazz Singer’ (1927), where Al Jolson said the first lines in cinematic history:
“Wait a minute, wait a minute, you ain’t heard nothin’ yet”
Al Jolson, The Jazz Singer (1927)
And he was right, we hadn’t. But that wasn’t just from a dialogue perspective. Some of the greatest musical scores ever written have come from films outside of the silent cinema era, where composers were faced with the challenge of writing music that effectively complement the complex levels that films could now cover through the use of sound and dialogue. Gone with the Wind (1939), for example, challenged its musical composer Max Steiner to find creative ways to convey the epic nature of the American civil war while continually emphasising the personal pleasures and pains that the film’s lead heroine, Scarlett O’Hara (Vivien Leigh), was experiencing throughout the course of her life.
As our films have become more multilayered, through realistic visual effects, three-dimensional characters and breathtaking cinematography, film composers have been forced to develop musical scores that can carry the complexity of the story in an immersive and emotional way.
When I think about my own movie experiences, some of my fondest memories are of musical scores that have catapulted me into the emotional centre of the story from the very first note, even before a single word has been spoken. Musical scores such as Out of Africa (1985), Titanic (1997), The Lord of the Rings Trilogy (2001-3), Babel (2006), The Dark Knight (2008) and most recently Inception (2010) have all illustrated the sheer brilliance of music/film collaborations within our modern era. Each composer has devised a score that conveys the truth and purpose of the story while also characterising the unique settings and personal influences that encompasses the films overarching plot.
It is musical moments like these that can take your breath-away and stay with you long after the movie has concluded. Such film scores can even evoke emotions and stories of their own, acting as reminders of a time in your life when you saw or experienced their beauty for the first time. Whenever you hear that soothing piano or heavy metal drum sound playing through your headphones, you can find yourself being transported back to a cinematic world that you only thought existed “Once in a lullaby.”
So after this first dissection, it is clear that music was once and still is an important part the film-making process and it is important to remember that when we watch and enjoy films. It is an aspect that can regularly go unrecognised outside of the awards season, but is an element so important that no successful film can survive without it. And it was only from Mr. Kubrick’s quote that I realised how important music is in conveying the story of a film while also creating their own.
“Richard Brown: I wanted to be a writer, that’s all. I wanted to write about it all. Everything that happens in a moment. The way the flowers looked when you carried them in your arms. This towel, how it smells, how it feels, this thread. All our feelings, yours and mine. The history of it, who we once were. Everything in the world. Everything all mixed up, like it’s all mixed up now.”
When re-watching the Academy Awarding drama TheHours (2002) recently I could not think of a more eloquent way to describe why I wanted to start this blog than these beautiful lines crafted by screenwriter David Hare. Like Richard I too want to write about everything. And for me EVERYTHING is film!
Since I was a little boy, watching gothic Tim Burton movies and classic Disney animations, I have always known that there is something about the special about the film industry that just captivated my imagination for hours on end. As I grew up and my film preferences matured (however, never truly forgetting the magic of Disney or Burton for that matter), I was perplexed to find that the childhood feelings that I once thought would pass with time were still strong and only getting stronger the more I opened myself to the magic of motion pictures.
Whether watching a truth based drama (in the vain of Out of Africa, Titanic or The Social Network), an indie comedy/dramedy (including the recent examples of Little Miss Sunshine, Up in the Airor The Kids Are All Right) or a cinematic classic (Gone With the Wind, Casablanca and The Apartment springing to mind), I have always been lift in awe of the incredible creativity and love that each director, actor and screenwriter brings to their story. Their craftsmanship has always fascinated me and is something that I have always publicly wanted to appreciate and discuss (even with complete strangers).
So working on Richard’s mantra I want to write about it all. I want to write about everything films. Their stories, characters, music, settings, contexts, directors and their deeper lessons about life and what it means to be human. Alongside reviews, top 10 lists and an extensive awards season coverage, I hope to utilise this blog to dissect films from all eras in cinematic history in order to gain a truer appreciate about the film industry and why since the age of four I have never been able break its captivating spell.
On Thursday (9/6/2011) I was lucky enough to be at the world premiere of the first Chinese/NSW feature film collaboration 
The Film Dissection 