Do the Right Thing (1989)

Creatures of the Night, Saturday 18th August 18th 10:30pm

Do The Right Thing

Phew, What a Scorcher!! I’m not talking Leeds 2018. I’m talking 30 years back when blood temperatures matched air temperatures in Brooklyn.

Director Spike Lee takes us into the smells of sweat and garbage on a Sunday in Bedford-Stuyvesant. Here we find the Blacks and Italians, Hispanics and Koreans, living and working together. And the cops and firefighters too. Do the Right Thing was inspired by real incidents in the Baked Apple we also know as New York City.

Mister Senor Love Daddy (Samuel L Jackson): Whoa. Y’all take a chill. You got to cool that shit off. And that’s the double-truth, Ruth.

So get out the cold beers, the ice, the fans, and turn on the fire hydrants. We’ll find the summer heat is taking its toll on everyone. Tempers are rising too.

Boring this movie is not. Analytical it is not. Do the Right Thing is a gripping, funny and stylish drama of Love and Hate, with a wonderful cast (including Spike Lee himself, Ossie Davis, Ruby Dee, Danny Aiello, John Turturro, Richard Edson, Bill Nunn, Roger Guenveur Smith) and many locals from the area who are not famous names, The film-makers even paid Fruit of Islam to keep away local drug dealers who were worried about this interruption in their trade.

ML (Paul Benjamin): Well, gentlemen, the way I see it, if this hot weather continues, it’s going to melt the polar caps and the whole wide world. And all the parts that ain’t water already will surely be blooded.
Coconut Sid (Frankie Faison): You’re a simple motherfucker. Now where you read that shit, eh? Polar caps…
ML: Don’t worry about it. But when it happens, and I’m in my boat, and your black asses are drowning, don’t call for me to throw you no rope, no lifesaver, or no nothing.
Sweet Dick Willie (Robin Harris): You fool! You’re 30 cents away from having a quarter! Where the fuck you gon’ get a boat?

Spike Lee’s brilliant movie does raise many difficult questions and gives us no easy answers. It’s not just climate breakdown that is so up to date …  Black Lives Matter, boycotts, sexism, reparation, “decolonisation” of cultural images, and other drivers of racial tension are all boiling away in this steamy and complex stew. There’s even a mention of a potential Trump Plaza/pizza empire in Bedford-Stuyvesant! It’s us who need to come up with our own answers.

And it’s not easy when the odds are stacked against you:

Buggin’; Out (Giancarlo Esposito): You the man.
Mookie; (Spike Lee): No you the man.
Buggin’; Out: You the man.
Mookie: No you the man.
Buggin’ Out: No. I’m just a struggling Black man trying to keep my dick hard in a cruel and harsh world.

Our movie’s title comes from a Malcolm X quote, “You’ve got to do the right thing.” But what IS the right thing? Dr. Martin Luther King, Jr. argues that violence is never justified under any circumstances; Malcolm X, argues that violence is not violence, but “intelligence” when it is used in self-defence.

And Mister Senor Love Daddy says: My people, my people, what can I say; say what I can. I saw it but didn’t believe it; I didn’t believe what I saw. Are we gonna live together? Together are we gonna live?

It’s all there. Empathy and respect; miscommunication and hate. Public Enemy sings “Fight the Power”. Al Jarreau sings “Never Explain Love”.  And we’re still standing. Even Barack  and Michelle Obama who went to this movie on their first date in 1989.

Da Mayor: Doctor…
Mookie: C’mon, what. What?
Da Mayor: Always do the right thing.
Mookie: That’s it?
Da Mayor: That’s it.
Mookie: I got it, I’m gone

So, do the right thing. That’s YOU! No excuses. Get your sorry ass down to the Picture House on August 18th.


Bill Walton

Yorkshire Day, Jane Eyre (1996)

Wednesday August 1st at 8.00 p.m.

Charlotte Brontës novel is one of the most compelling narrative of C19th English literature and it has enjoyed numerous adaptations. This version is a pan-European, trans-Atlantic production with the adult Jane played by Charlotte Gainsbourg [France], the young Jane by Anna Paquin [Canada], Edward Rochester by William Hurt [USA], and a German Shepherd cross as Pilot; they are supported by other European actors and a bevy of British character actors, including at least two born in Yorkshire [Edward de Souza as Richard Mason and Peter Woodthorpe as Briggs]. The production crew equally hail from a number of European countries, the production company Rochester Films worked in association with Miramax; all is presided over by the Italian director Franco Zeffirelli

The film follows the book fairly faithfully for much of its 112 minutes running time. The famous ‘red room’ sequence precedes the opening titles. Then we meet the young Jane in full rebellion against her aunt Mrs Reed (Fiona Shaw) and the sanctimonious Mr Brocklehurst (John Wood). The sequences at Lowood school capture the oppressive nature of the establishment and add some distinctive touches to the school routine and the friendship between Jane and Helen Burns (Leanne Rowe]. A fine edit takes us the Thornfield, the friendly housekeeper Mrs Fairfax (Joan Plowright), the young pupil Adele (Josephine Serre) and the master Edward Rochester.

Jane, Pilot and Rochester

Gainsbourg is excellent as the heroine; her accent is mostly good and she presents the steely nature of Jane’s character. Hurt offers a lower key Rochester than in other versions, taciturn but also repressed. Schneider’s Bertha is haunted rather than manic. Billie Whitelaw as Grace Poole cares for her. And Elle Macpherson as Blanche Ingram is all haughty beauty.

All this plotting at Lowood and Thornfield is very effective. Whilst the narrative represents that of Jane in the novel, there is only limited use of voice-over and indeed there are scenes that Jane does not see or recount. When St John Rivers (Samuel West) appears the film diverges markedly from the novel. I wondered if this was to reduce the ‘long arm of coincidence’ for which the book is noted: if so it introduces equal co-incidents of its own. It is likely that this aimed to reduce the complexity and length of the novel’s plot, but the final drama does seem a little rushed.

The film was scripted by Zeffirelli with Hugh Whitemore. Whitemore has an extensive background in screen writing including a television version of ‘Rebecca’, Daphne du Maurier’s novel infused with the spirit of ‘Jane Eyre’. The script uses much of the familiar dialogue from the book and other film versions and, apart from the changes, works well. The production design by Roger Hall has a strong sense of early Victorian style and colour. What stands out is the cinematography by David Watkins [in colour and standard widescreen], assisted by David Browne with the second unit. The interiors often use chiaroscuro and at times there is a definite Gothic feel to the image. The exteriors, shot at a Derbyshire stately home but also on a Yorkshire location, add visual pleasure to the film. The editing by Richard Marden, as noted, has some fine transitions. The music is generally restrained, only rising on the track at moments of high drama and moments of transition. It is by Alessio Vlad, Claudio Capponi and Stefano Arnaldi. This is a film that works even if you are not familiar with the original novel: there are such readers? And for those familiar with Brontës master-work there is sufficient of the novel to offer the pleasure of a revisiting. There is the added attraction of a screening of the film in its original format 35mm.

Mario, 2018

Tuesday Wonder – 24th July 6:10pm

It’s apt that Mario is screening in the ‘Tuesday Wonder’ strand at HPPH. Many would find the movie’s theme – gay footballers, and the struggles they face simply to be themselves – to be a source of some amazement, at least in Western Europe where LGBT rights are now seen to be well established. There’s barely a bat of an eyelid these days to learn someone in the public eye is gay in music, entertainment, politics… so why should sport be different? How can professional men’s football across the entire continent not have one single out gay male player?

The director and co-writer of ‘Mario’, Marcel Gisler, was similarly baffled – at first. Admittedly “not a football connoisseur”, the Swiss film-maker was interested to learn of how the competitive, often hyper-masculine environment of a pro team sport like football can be so pressured, to the extent that conformity is everything. To get ahead in a career that can be incredibly lucrative, you need to fit into the team ethic, be easier to manage than other players fighting for your position, and have a potentially tradeable market value. When it comes to personal relationships, the expectation is to have a beautiful girlfriend who in time becomes a wife, or be ‘jack the lad’ and play the field. In terms of sexuality, there’s only one team to represent.

So when professional hopefuls Mario and Leon – team-mates and flatmates at Swiss club Young Boys Berne – unexpectedly fall in love with each other, they set into motion a chain of events they can never fully control – least of all the reactions of friends, family and team-mates. Gisler’s film fizzes with energy in its scenes on the pitch, builds tension and drama off it, and invites empathy towards its two leads – both free to explore their feelings in private through youthful exuberance and a sense of fun, but forbidden to be in love in public due to the traditions of their sport.

When the time comes to make decisions, Mario must choose between his dreams of success, or the prospect of happiness with Leon. It’s a wrench of a dilemma with which to grapple. Little wonder then, that in real life we rarely ever learn of matters of the heart affecting gay or bisexual footballers.

In ‘Mario’, we’re afforded what amounts to a brief glimpse into one of the beautiful game’s longest-running and saddest stories. If football’s really not your cup of tea, don’t worry – there’s more than enough off-field drama to keep you watching. Two of its stars picked up the highest acting accolades available in their native Switzerland and it’s received applause at film festivals worldwide this year. Go along, show support, give ‘Mario’ a cheer – and hope that one day soon, someone in the Premier League or the EFL might show that being gay and being good at football are by no means mutually exclusive.


Jon Holmes (@jonboy79)

Human Flow, 2017

A pay-what-you-can screening Sunday 24th June 2pm

This extraordinary and beautiful documentary is being shown as part of the Hyde Park Picture House contribution to National Refugee Week. ‘Human Flow’ is a deeply human and respectful response to the plight of 65 million people displaced worldwide: a fusion of art, cinema and politics which helps us to develop the empathy and understanding we need when looking for political solutions to the global refugee crisis.

Why is Human Flow so special?

  • Director, Ai Weiwei, himself lived in internal political exile in terrible conditions during the Chinese Cultural Revolution. He later escaped to the United States and then to Germany. Governments tend to think of migration in terms of numbers, of masses of migrants lacking in personal identity. By way of contrast, Ai focuses on intimate portraits of individuals and small groups, introducing us to people with hopes, families, friends, and pets. ‘Human Flow’ takes us into their frightening worlds of border fences and gates, disused railway stations, life jackets and survival blankets, interpreters and mobile phones.
  • We are facing a shifting world order. Displaced people flee the effects of war, poverty, hunger, racism, and climate breakdown which leave them with no hope for their future if they stay. Here are stories of people so desperate that they leave behind their language, homes, habits, friends and communities for life-risking journeys and unknown futures. Ai Weiwei uses technologies ranging from iPhones to drones to take us to 23 countries as far apart as Afghanistan, Greece, Myanmar and Kenya to hear from them directly.
  • Let’s not forget that Ai Weiwei is an artist as well as a human rights activist. His openness and empathy reminds me of performance artist Marina Abramović when she shared a period of silence with each stranger who sat in front of her in the New York Museum of Modern Art for three months (The Artist Is Present, 2010).
  • ‘Human Flow’ is ultimately an expression of solidarity. If someone is hurt, we are all being hurt. That refugee could be my mother, my son, my husband, or my neighbour. We are all citizens of the world. This harrowing global migration is a challenge to our freedom and democracy, for all of us, wherever we live.

Ai Weiwei says that, in the face of global displacement of human populations, resorting to physical borders and walls is like building a dam to stop a flood. It doesn’t solve the issue entirely and may well make matters worse. It is better to make paths which let this human flow continue with as much dignity and respect as possible (for example through implementing policies which match our obligations under international conventions relating to the status of refugees), while at the same time working to tackle the reasons for human displacement at their source.

‘Human Flow’ is screened at 2pm on Sunday June 24th. Entry is pay-as-you feel with proceeds going to support Asylum Seekers in Leeds through Leeds Refugee Forum and Leeds Asylum Seekers Support Network.


Bill Walton

This week you can see …

Tuesday only.

The Girls / Flickorna Sweden, 1968), a classic and rare film offering a variation on  the seminal story of the ‘Lysistrata’ by Aristophanes. Part of the Radical Film Network’s ‘1968’ Festival.

Monday and Thursday.

The Breadwinner (Eire, Canada, Luxembourg 2017), a fine animation set in Afghan under the Taliban regime. The story is conventional, and reminded me of Osama (2003), The animation, which has two styles, one for the film’s present, one for the story told by the heroine, is beautiful to watch.

Monday to Thursday

Chesil Beach (British, 2017) is adapted from a novella b y Ian McEwan. A newly married couple spend an evening in a Dorset Hotel and on the nearby beach. Flashbacks fill in the back-story of their romance. With many aspects well done but I thought it did not quite cohere.

Wednesday only

Redoubtable / Le Redoutable (France, Myanmar, Italy 2017). Some reports found it funny but fans of Jean-Luc are likely to react with dismay. With English sub-titles for the French and Italian dialogue.

Thursday only

Filmworker (USA 2017) is likely to please the fans of Stanley Kubrick who, unlike Godard, has a good June: 2001 later this month.

Opening Friday

Jeunne femme (France 2017) by a new director portraying Paris and a footloose young woman . Comic and dramatic. Sub-titled in English.

The Wound / Inxeba, South Africa, Germany, Netherlands, France , 2017

Tuesday 29th May 6.30 p.m.

This screening offers a rare opportunity to see a film made in Africa. Supported by European funding the film was shot in the mountains of the Eastern Cape in South Africa. The plot concerns a secret initiation ritual, Ulwaluko, among the Xhosa people. [There is information regarding this in the online Press Notes]. The subject of the film, and the inclusion of a gay theme in the film, has made it controversial in its home country. It has been reclassified as 18 there.

Abroad the film has been well received. It made the short list for the Academy Award category of ‘Best Foreign Language Film’ and was voted ‘Best First Feature’ at the London Film Festival. These two awards presumably explain its availability in Britain.

The director, John Trengove, researched the film among men who had experienced and/or were involved in the rituals. He notes that there seemed,

‘something profound about a ritual that shows a young boy his place in the world of men.”

This is an adult them and the film has a 15 certificate, [“strong sex, language, drug misuse”, BBFC]. Reviews suggest that is is well filmed and set in a majestic landscape. And the cast are credited with convincing portrayals. The film was shot digitally in colour and a ratio of 2.35:1: it uses Xhosa/Afrikaans/English with English sub-titles.

The last African film that I saw, Félicité (from the Democratic Republic of the Congo, 2017) was the best new title that I viewed at the Leeds International Film Festival. In the 1980s African films were relatively frequent screenings and offered a world of quality and distinctive cinema. Now they are few and far between and deserve a serious effort to see them.

They Live, also I’m out of bubblegum

Showing Saturday 26th May 10:30pm

Image result for they live!

They Live, Released in 1988 and directed by John Carpenter, is a cult classic for many reasons, not including the fact that it was directed by John Carpenter (Ghosts of Mars).

We follow the story of ‘unnamed drifter’, or in the credits, ‘John Nada’, who comes to town, who discovers some sinister goings on, and is forced to dish out some justice ( see A Fistful of Dollars to continue your unnamed hero cinema binge).

Inspired by the short story ‘Eight O’Clock in the Morning’ by Ray Nelson, John Carpenter wanted this film to be protest at the state of the United States. Specifically the values of Ronald Reagan’s conservative revolution. Carpenter wanted to “scream out in the middle of the night” , about rampant consumerism and government control overtaking the values he was brought up with. They Live! is the 80’s left wing action film we needed.

It’s awesome.

The audience can see John Nada (played by the great Roddy Piper, RIP), goes on this, Platonic journey (see Allegory of the Cave for details), as he puts on some suspicious sunglasses, he see’s the world for what it truly is. No longer does John Nada have the luxury of mistaking appearance for reality, and he is forced to act as an agent of change (via ass-kicking).

The supporting cast is equally awesome, with Keith David returning to the Carpenter fold (Carpenter liked what he saw of him in The Thing!). K.David, supporting but never in the background, is a great choice of casting, and I encourage readers to see him in other things (Pitch Black, Platoon etc). Most recently he lent his voice to the President of the United States in Rick & Morty.

Image result for they live keith david

Keith David being Keith David.

This is one of my favourite John Carpenter films (although I can’t think of one I dislike, even Ghosts of Mars).

Carpenter takes the time to explore the nature of consumerism, that everything around us, is designed to make us buy something. This important topic is pushed through the kaleidoscope of John Carpenters brain, into a wacky, over the top masterpiece.

Peeling back this thin veil (via trendy shades), we get to see this world through the eyes of working stiff Mr.Nada.

Image result for they live!

Trendy shades

This film has everything.

Conspiracy. A WWF wrestler. Paranoia. Reality shattering sunglasses. Keith David.

They live. We sleep.

If you like They Live, you should also check out;

  • Invasion of Body Snatchers (1956 and 1978).
  • Pitch Black (for Keith David).
  • Big Trouble in Little China (1986).

The film will be shown on Saturday night followed by a discussion of its themes and their relationship to situationism and other currents active in 1968. The discussion will be led by Simon Hewitt, who teaches philosophy at the University of Leeds.

Screening as part of Radical Film Network’s 1968 Festival, a programme of screenings and discussions in collaboration with Film Fringe, which celebrate and reflect on the radical uprisings and revolutionary fervour of the events of 1968.

#RFN68


Henry Stocks-Fryer

Barbarella: 60’s Space Romp

Creatures of the Night: Saturday 5th May 10:30pm

Barbarella (1968), based on the French comic series of the same name (by Jean-Claude Forest), is a cult classic for a reason. Several reasons really.

We (the audience) follow the beautiful space adventurer Barbarella (Jane Fonda) on her mission to retrieve the scientist Dr. Durand Durand, to stop his super weapon, the positronic ray, falling into the wrong hands.

The opening scene, iconic and eternal,  Barbarella, floating around her ship, undressing. It just gets better and better. The Sci-Fi adventure is a product of its time, Jean-Claude wanted Barbarella to be representative of a free and liberated woman. This was the 60’s, and it was all about free love. Barbarella faces numerous perils in her journey to find Durand Durand, discovering sex and pleasure along the way. One early sequence, Barbarella is taught what “actual” sex is, as opposed to what has developed on earth in the future (taking pills and touching hands), far from the natural way of doing things. You can really see the films influence on future sci-fi film’s tackling of sex ( see Demolition Man).

From start to finish, the film is steeped in eroticism, fashion and far out ideas. To compare it to another cult classic, 2001:A Space Odyssey which came out the same year, a cold realistic view of space and humanities future. Barbarella came out of the psychedelia of  the 1960s, one of the most striking aspects of the film is the bizarre scenery that the titular character crashes into from scene to scene. It’s far out maaaaan.

Dealing with a chaotic, bizarre and weird worlds, we follow Barbarella on her weird journey of her mission to save the universe, and her own personal sexual exploration. Barbarella’s use of sex is inherent to film and its plot.

The film doesn’t feel hemmed in by tropes or rules, and because of this, we get an enjoyable, if not a little chaotic film. Some aspects of it may seem dated, but that comes with any piece of cinema.

If you are in the mood for a weird sci-fi space adventure with erotic overtones, Barbarella is the film for you.

You may also like these non-erotic recommendations;

  • Logan’s Run
  • Demolition Man
  • Flash Gordon

Henry Stocks-Fryer

The Third Murder / Sandome no satsujin, Japan 2017

Screening Sunday April 29th at 12 noon and Thursday May 3rd at 3.10 p.m.

Happily we have two screenings of the new Koreeda Hirokazu film. His earlier titles include the beautifully low-key Our Little Sister (Umimachi Diary, 2015) and the more dramatic but equally complex After the Storm (Umi yori mo mada fukaku, 2016). Koreeda is both a seriously fine film-maker and adept at working across genres. Apart from these two titles his output includes the children’s adventure I Wish (Kiseki, 2011); the Samurai film Hana (Hana yori mo naho, 2006); After Life (Wandafuru raifu, 1998) set in an equivalent of the Christian purgatory.

In this new film Koreeda again rings the changes in what appears on the surface to be a ‘legal thriller’. Misumi (Yakusho Kôji) is under arrest and charged with murder. A previous conviction for a double murder explains the title. Shigemori Tomoaki (Fukuyama Masaharu) is recruited to his defence team. He finds that Misumi’s account of events changes nearly every time he is questioned. He also finds that the family of the murdered victim, the wife Yamanaka Mitsue (Saito Yuki) and daughter Yamanaka Sakie (Hirose Suzu), also offer suspect testimony. The legal plot is not about innocence or guilt but the severity of the charge which may or may not lead to execution.

But if Koreeda works across genres, as an auteur, he is still identifiable by the themes which dominate his films. In this drama three of the main characters are fathers who have failed their families, in particular a daughter. Here the film crosses over with many of the director’s earlier works. Along with those mentioned these include Still Walking (Aruitemo aruitemo, 2008) and Like Father, Like Son (Soshite chichi ni naru, 2013).

There are parallels in the settings as well. The main places are towns close to the Tama River, south of Tokyo; but we also visit the region of Hokkaido in the north, noted for its cold climate.

The style is somewhat faster in rhythm than Koreeda’s other recent films. Here the team are working for the first time in an anamorphic ratio. Cinematographer Takimoto Mikiya makes excellent use of the wide frame. There are some evocative night-time sequences and a stunning use of superimposition late in the film. Koreeda who scripted, also edited this production. And there is an evocative music score by Einaudi Ludovico.

I thought, along with Sweet Country (Australia, 2017), that this is the most impressive new release so far in 2018. The film was shot in a digital format and has transferred very well to DCP. The quality of the visual and aural presentation means that much of the pleasure from the film will be missing on video or download. So this is a title to be seen at the cinema.

Isle of Dogs USA Germany 2018

Screening every day Saturday through till Thursday April 12th

Judging by the sell-out for the preview screening this title is the most eagerly awaited new release this year. Cult director Wes Anderson has produced a digital animation in colour and widescreen. The film is produced by his own Indian Paintbrush but also involving Studio Babelsberg, a partner in the earlier The Grand Budapest Hotel (2014). Babelsberg was once the site where Weimar cinema produced trailblazing special effects in the 1920s. Set in Japan, though with predominantly English dialogue, the film offers a pack of leading canine players voiced by well-known stars. Owners with cinephilic pets can enjoy a special dog-friendly screening on Saturday April 7th: repeated on April 14th. Later on the 7th a rather different canine representation can be seen in Samuel Fuller’s White Dog (1982).

Wes Anderson has experience of both animation and star voicing in Fantastic Mr. Fox (2009). He also used the techniques in the underwater sequences in The Life Aquatic with Steve Zissou (2004). The plot revolves around a boy’s search for a lost dog. Youthful protagonists, along with dogs, have been seen in several Anderson titles, notably in my personal favourite Moonrise Kingdom (2012). This film also had one finest uses of an established composer [Benjamin Britten] so it will be interesting to see how Anderson and his team handle musical accompaniment.

The film also seems likely to stray close to the style and themes of Japanese anime. Anderson is, like a number of contemporary film-makers, also a film buff. His American Express: My Life. My Card was a brilliant homage to François Truffaut’s own celebratory Day for Night (La nuit américaine 1973). And I think Anderson must have had some involvement in the ‘Isle of Dogs mobile phone warning trailer’ screening at Picturehouse venues. Let us hope audiences have seen the latter.

What seems likely to be new thematically is an apocalyptic narrative. There is though the school drama in Rushmore (1998) which tends a little in that direction. What should be certain, noting Anderson’s existing output and the reviews of his new film, is that it will offer a very entertaining 100 minutes.

PS The film  is brilliantly done with excellent stop motion animation and CGI. The visual and aural quality on the DCP is fine. The canine characters speak English whilst the human characters speak Japanese with aural translation or sub-titles into English.  The soundtrack includes music by ALexandre Desplat, Hayasaka Fumio and  Sergei Prokofiev. The references and homages come thick and fast and it probably takes two viewings to catch them all. However, there are a number for Kurosawa Akira.