Film has power, film can put you in the shoes of someone else and will make you see the world through their eyes. Florian Zeller’s The Father is an excellent example of this. The film centres on Anthony, played by Anthony Hopkins, who is dealing with his ever deteriorating mind and his descent into dementia. We see the strain it puts on his relationships, particularly the relationship with his daughter Anne, played by Olivia Colman.
Florian Zeller who adapted it from his own play Le Père, beautifully walks the line between both the tragedy and heartbreak that comes with dementia, and the rare comedy that also can be found in those sad situations. If you can’t laugh at yourself, who can?
The story is told almost entirely from Anthony’s perspective, meaning that the audience is confused nearly as much as him for the majority of the film. Although it is intentional and gives a glimpse into his world, at points the non-linear approach can feel overly abstract and detracts from the overall message.
The acting is superb with Anthony Hopkins deservingly walking away with the Oscar, making him the oldest winner for best leading actor. However, it is worth mentioning Olivia Colman who delivers a measured and understated performance as the loyal and grief-stricken Anne who we see trying to balance her own needs and her father’s. The supporting cast members such as Mark Gatiss, Imogen Poots and Rufus Sewell also give equally rich performances.
The artificial style does betray its conception in the theatre which sometimes makes it feel quite unapproachable, and unreal. However, it does at other points add an operatic nature and poignancy which you won’t necessarily get if it was more true to life.
Quite rarely do you see a film that deals with subject matter such as this, that takes such an experimental approach. However, what’s noteworthy is the incredible insight into what dementia patients must be going through. It is something quite unique and will make you think twice.
Bill Walton has been checking out some of the films at the Headingley Enterprise and Arts centre.
During Lockdown I’ve watched a lot of films on the small screen (though I draw the line at watching on a phone!), mostly on DVD or streamed from MUBI. But recently I’ve ventured out to events screened at the Heart centre in Headingley … a big screen, indoors, socially distanced, friendly, with flexible seating, refreshments and a friendly welcome.
First was Kurosawa’s Rashomon (1950). This was a tasty Food and Film evening. I hadn’t seen Rashomon before but it lived up to its reputation. The term “Rashomon Effect” has become a byword for situations which demonstrate relative truth and subjectivity of memory. In the film we have conflicting accounts by a woodcutter, a thief, a woman and the spirit of her husband about a violent incident in the forest. Flashbacks highlight the disagreements. What particularly surprised me was the vitality of the cast. Definitely worth more than one watch.
My second visit to Heart was to see Purple Rain (1984) which was arranged by a Prince enthusiast. The soundtrack produced 4 top 40 hits. The rock musical drama draws to some extent on Prince’s early difficult childhood and backstage life at the legendary First Avenue nightclub in Minneapolis. Certainly a charismatic performance.
I’ve already booked for the next Heart Food and Film event on June 18th: a celebration of Mexico with fabulous food and Ariel Award winning film – THE GOLDEN DREAM.
Three teenagers, Juan, Sara and Samuel from the slums of Guatemala, travelling together on freight trains and walking railroad tracks through Mexico, meet Chauk from Chiapas who doesn’t speak Spanish. Together they face a journey that will change their lives forever.
The Picture House’s own family friendly Hyde & Seek screenings will be starting again at Heart later this month. These screenings are ‘Pay What You Can’, which means you’re free to pay as much or as little as you can afford but must be booked in advanced via the Picture House website.
The first film is the Disney animated Robin Hood (1973) on Saturday 26th June at 10:30am.
You know, there’s been a heap of legends and tall tales about Robin Hood. All different too. Well, we folks of the animal kingdom have our own version. It’s the story of what really happened in Sherwood ForestAlan-A-Dale
Bring your family along on the 26th to find out for yourselves.
May 2nd was the centenary of this outstanding film-maker and a seminal figure in Indian cinema. The British Film Institute is planning a complete retrospective of his films later this year. Whilst we wait and wonder how many actual films will make it to Yorkshire Film 4 offers transfers of two of his fine titles in the coming week.
Monday / Tuesday night at 01.15 a.m. [now available on All4].
Mahanagar (The Big City) – the film was shot in 1963 in black and white academy ratio: the language is Bengali with some English and with English sub-titles: and is set in Ray’s home city of Kolkata (Calcutta). The film follows the experiences of a family home which contains parents, two children and the grandparents on the husband’s side. The husband, Subrata Mazumdar (Anil Chatterjee), works as a senior clerk in a private bank; part of Bengali ‘bhadralok culture’ which Europeans would think of as lower middle class. The large family place a strain on his income and his wife, Arati (Madhabi Mukherjee) offers to help by taking a job. Despite the disapproval of the grandfather Arati obtains a post selling knitting machines door-to-door in middle class areas. Arati is the centre of this fascinating film; Madhabi is splendid as the young wife and the whole cast are excellent. Ray’s direction is beautifully and effectively restrained and his production team are excellent, especially the regular cinematographer Subrata Mitra.
Ray won the prestigious Silver Bear Award at the 1964 Berlin International Film Festival whilst the film won the Golden Bear.. However, the film itself failed to achieve a nomination by the Hollywood academy in the Best Foreign Language Film category; this was typical of the Academy. Mother India made a nomination in 1957; the next success was not until 1988 with Salaam Bombay. Three of Ray’s fine films failed to get nominations.
Tuesday / Wednesday night at 1255 a.m. [now available on All4].
Charulata (The Lonely Wife) – the film was shot in 1964 in black and white academy ratio: the language is Bengali with some English and with English sub-titles:it is set in Kolkata (Calcutta) in the 1880s. Thus this is a period film which is set in a Bengal and India under the rule of the Raj. This period also follows the 1857 ‘first war of independence’ [termed a mutiny by the British rulers). At one point in the film the Bengali men discuss a British general election contested by the the political parties led by Benjamin Disraeli and William Gladstone.
As the title suggests the film focuses on the young wife, Charu and her relationship with her husband and a visiting relative. Bhupati Dutta plays the husband whilst two actors from Mahanagar, Madhabi Mukherjee and Anil Chatterjee, play Charulata and Bhupati’s younger cousin Amal respectively. The cast are excellent. Ray’s direction provides a slowly paced portrait of the marriage interspersed with some fine lyrical moments. The opening and closing sequences are especially highly praised, [so stay awake].
The scenario was adapted by Ray from a story by Rabindranath Tagore, the leader of the Bengal Renaissance and an important influence of Ray himself. Ray is an auteur in the fullest sense of the term; in this film providing the scenario, costume design, direction and music. However, he relies on a really skilled production team. In particular this film contains some of the finest cinematography by Subrata Mitra.For the second year running Ray won the Silver Bear Award at the Berlinale. Whilst the film did not follow Mahanagar in winning the Golden Bear it is to my mind the finer film and one of Ray’s great achievements.
With adverts both titles will run over two hours. Especially with the Charulata there are few cinematic double hours which offer the same quality and pleasure. If you are new to Ray, or indeed if you are familiar with his films, then the Saudha International Satyajit Ray Congress [available on You Tube] offers a range of interesting comments on Ray’s art.
“Please watch our movie on the largest screen possible and one day very, very soon, take everyone you know into a theater, shoulder to shoulder in that dark space and watch every film that’s represented here tonight.Frances McDormand accepting the Best Picture Academy Award for Nomadland
With cinemas reopening the On The Road screenings are starting again with Movie Nights At City Varieties Music Hall. This week it’s Nomadland and Ammonite with Sound Of Metal, Minari and Wolfwalkers all coming up. These are all films that will really benefit from seeing (and hearing) on a big screen.
On Wednesday 19th there is also a “one night only” chance to see Pedro Almodóvar’s new 30 minute film The Human Voice starring Tilda Swinton and made last year under lockdown conditions. The screening will be followed by a recorded Q&A with Mark Kermode talking to Almodóvar and Swinton.
For ticket and safety information please see the Hyde Park Picture House website
Friday May 14th at 11.20 p.m. and then the BBC iPlayer
This 2016 release won a Best Actor Oscar for Casey Affleck in the role of Lee Chandler. The whole cast are fine and Michelle Williams has a small but well crafted sequence. The film was written and directed by Kenneth Lonergan; his earlier writing includes working on Martin Scorsese’s epic Gangs of New York. This film is set on the New Hampshire coast. It starts in Boston where Lee is a handyman with an ‘anger management’ problem. It is some way into the film and in the Manchester seaside town that we learn the back story to his situation. A family tragedy haunts Lee. It is partly a relationship with a nephew and their outings together on the sea that start a healing process.
This is a film about grief; part of a cycle of films [most of which are exceptionally fine] dealing with bereavement and grief. The film is long, 137 minutes, and slowly paced. But the production is as good as the acting; I especially like the cinematography by Jody Lee Lipes. As a bonus we get a Duke Ellington number performed twice, once by Ella Fitzgerald.
The film was shown at the Picture House in 2016; I saw it twice and I am looking forward to seeing it again.
All being well it shouldn’t be too long until we can start seeing films on the big screen again. The City Varieties’ Movie Nights are set to resume on the 17th and there are plans for more On The Road screenings over the summer. Until then there are still great films available to watch online. The latest addition to Leeds Film Player is Black Bear and is presented in partnership with Hyde Park Picture House.
Black Bear stars Aubrey Plaza, perhaps best known for her role in TV’s Parks and Recreation but also in great films such as An Evening with Beverly Luff Linn (2018), Ingrid Goes West (2017) and Safety Not Guaranteed (2012). This is a more dramatic role but one that still manages to be darkly funny. I knew very little about the film and that may the best way to experience it because part of what makes the film so engaging is how it unravels and it’s never clear exactly where it is going to end up.
I’ve missed seeing films in the cinema for a number of reasons. The visual delights of Wolfwalkers (2020) would have been more mesmerising on a big screen. The wonderful sound design of Sound Of Metal (2019 apparently) could be appreciated more if heard over a good sound system. David Byrne’s American Utopia (2020) would look and sound great but would also be a much better experience watching it with an appreciative audience. Watching Black Bear I found myself missing the audience for a completely different reason. It’s a film I really liked but one that I think is likely to be divisive; it’s intense, the characters are mostly unlikeable and it often ends up in awkwardly uncomfortable places. Much like in the second part of the film I wanted to know what other people would be feeling, was it okay to be enjoying this so much? Is ‘enjoying’ the right word or emotion? Would other people be laughing at the audacity of it all like I was? Hopefully, like all interesting things, there would be a mixture of reactions but I hope everybody would be able to find something to appreciate. Or maybe the lack of human interaction over the last 14 months means I’ve just forgotten how to react appropriately.
Film 4 Monday-through-Tuesday at 12.55 a.m. and now available on All 4.
Happy as Lazzaro / Lazzaro felice (Italy / France / Switzerland / Germany 2018
This film was one of the outstanding releases in 2018. I enjoyed immensely both the screening at the Leeds International Film Festival and again when it returned to the Picture House in 2019. And I look forward to seeing it again on terrestrial television. It should look reasonably good as long as Film 4 stick to the 1.66.:1 aspect ratio. It runs just over two hours and has both Italian and English dialogue with sub-titles for the former.
Directed by Alice Rohrwacher, one of her earlier films was The Wonders (2014). This film has been described as magic realist. It combines naturalistic observation with a plot that includes references to myth and folk tales, social exploitation and a touch of fantasy. Lazzaro of the title is a sweet natured and apparently simple minded peasant. He is part of a village cut off from modern Italy and involved in some form of share cropping. Later in the film a migration leads members into a lumpen-proletarian existence. The film shares tone and tropes with recent migrant films. It is fascinating and at times moving. Visually Hèléne Louvart’s cinematography is both beautiful and atmospheric and the overall production is excellent. I thought this the best film I saw at the Festival. A friend commented,
“I greatly admired The Wonders … and this was even better. This tale of a holy fool in a setting which blurs the borders between realism and the fantastic is not, perhaps, for the literal-minded but should delight most of the rest of us.”
The number of foreign language titles screened on terrestrial television has severely reduced in recent years. So a film like this is a rare pleasure. It is unconventional and the narrative tends towards the picaresque; and it is also really imaginative.
On Monday 29th March at 7pm we will be holding an open meeting online to explore and take forward ideas and proposals for developing the work of the Friends. This meeting is open to current members, past members and others in any way connected
to, or interested in, the Cinema and its contribution to community life.
There will be a brief introduction on progress so far including the main areas of work that we have identified: Social Activities, Online Activities, Outreach, Heritage and Study Groups.
There will be opportunity to discuss these areas and any other ideas that come up. We’ll also be inviting people to get more involved if they think they can help in a particular area.
Saturday March 13th on C4 at 10 p.m.
So if you missed this title on release or you want to enjoy it again this very fine film is screening tonight on C4 (and will be available on All4 ). Quite a few reviewers did not really appreciate the film on its release. British film critics, with some exceptions like Derek Malcom, do not really engage with actual and detailed politics in dramas. Even when they admire Ken Loach they tend to prefer his dramas built round personal lives rather than those constructed around political movements. This would seem to be one reason why British cinema has never quite equaled the output from the continent.
This is one of the finest films to be made in Britain in this new century and it is certainly one of the most interesting. It is flawed in some ways. This seems to have been due to the project being rushed in its final stages. Originally planned for the Centenary of the Peterloo Massacre in 2019 it came out a year early. This seems to have affected in particular the final sequences of the title which seem less developed, especially after the lengthy treatment of the causes and actual violence of this historic protest in Manchester.
It has been very well filmed by a talented craft team with excellent cinematography by Dick Pope and sharp editing by Dick Gregory. It has a very intelligent script from Mike Leigh. Care has been taken to render accurate local dialects and the setting shave been well reconstructed . But what stands out is that the politics of the emerging working class are given full expression here; something not often seen and heard in British films though it is also found in the other fine study of C19th working class radicalism Comrades (Bill Douglas, 1986). The cast of proletarian characters and their middle class allies are generally very fine. And the opposing local functionaries and the rising bourgeoisie are convincing.
The major weakness is in the representation of the aristocracy and the dominant political figures. Other Mike Leigh films have presented upper and middle class characters close to caricature and the royal and authority figures here are not convincing. Nevertheless their preening narcissism and their ruthless and violent defence of undeserved and unearned privileges is accurate. .
This is a film that combines documentary style recreation, powerful and emotional sequences with a compelling political representation. It is amazing that it has taken over a hundred years of British cinema till we have a film of such a major historic event. It should be noted that Peterloo is a motif in the earlier Fame is the Spur (the Boulting brothers 1945 adaptation of Howard Spring’s novel) which is also well worth viewing. I cannot think of much else this coming Sunday evening to match this presentation. And Jacqueline Riding’s ‘ Peterloo: The Story of the Manchester Massacre’ (2018) is worth reading as well.
Dr Andy Moore (@andymoore_), long-term Friend of the Picture House and Lecturer in Film, Exhibition and Curation at the University of Edinburgh, has just got back from a digital visit to Sundance Film Festival. Always one to champion the treasures which can be found when you have the opportunity to explore the festival circuit, Andy has been kind enough to write up a blog post for us on some of the films at this years’ festival which he’s most excited about.
One of the most exciting things about the film festival experience is the joy of the new discovery – that rush when you catch something really distinctive and original that feels fresh and new. For the Sundance Film Festival (which took place almost entirely online this year) this emphasis on discovery – and on distinctive, original voices – is baked into the very DNA of the festival itself.
Sundance, and its associated programs of filmmaking and talent development labs, has helped launch the careers of some of the most exciting and influential independent filmmakers of the past 30 years – from the Coen Brothers to Paul Thomas Anderson. And in championing fresh new voices, the festival has played host to the extraordinary debut features of filmmakers as varied as Marielle Heller, Kelly Reichardt, Ryan Coogler and Boots Riley (all unique voices whose work has graced the programme of the Hyde Park Picture House over the years).
Although audiences participating in this year’s fest swapped the freezing streets of Park City, Utah (and their snow boots and parkas) for slippers, dressing gowns and the comfort of their own living rooms, 2021’s virtual edition was no different on the new voices front: 39 out of the 73 features screening at this year’s festival were directorial debuts, providing plenty of opportunities to experience the joyful rush of discovery.
For me the first film to provide that dopamine hit was Summer of Soul (…Or When the Revolution Could Not Be Televised). The directorial debut from musician Ahmir “Questlove” Thompson is a pure unadulterated joy, and a discovery in more ways than one. The film, which picked up both the Grand Jury Prize and the Audience Award for U.S. Documentary, unearths astonishing footage (untouched and unseen for 50 years) of a series of summer concerts that took place in Harlem in 1969. Known as the Harlem Cultural Festival, the concerts featured an array of incredible performances from legendary black musicians including Stevie Wonder, Sly Stone, Mahalia Jackson and Mavis Staples. Thompson’s film skilfully weaves this extraordinary concert footage together with contemporary interviews to tell a vital, generation re-defining and life-affirming story about African American history, music, culture and fashion.
Another film that shines a light on history in a way that forces you to look at the present with fresh eyes is Shaka King’s electrifying sophomore feature, Judas and the Black Messiah. Starring Daniel Kaluuya and LaKeith Stanfield in two of the best performances of the festival, the film tells the story of Black Panther Party chairman and revolutionary activist Fred Hampton (Kaluuya), and the FBI informant (Stanfield) who infiltrated the party and ultimately provided the information that led to Hampton’s assassination at the hands of the Chicago police.Continue reading