Archive for Hans Zimmer

Impossible But Necessary

Posted in FILM, Science with tags , , , , , , , , on November 10, 2014 by dcairns

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“That’s impossible!” “But necessary.” — a very exciting exchange in Christopher & Jonathan Nolan’s INTERSTELLAR.

It reminded me of seeing SON OF PALEFACE as a kid — did I mention this before — a decisive moment in my young life — Bob Hope has to support a jalopy with a missing wheel, holding it up with a lasso rope round the axle WHILE STANDING IN IT as they drive through the prairie. As Roy Rogers rides off to retrieve the rogue wheel, Hope calls after him — “Hurry up, this is impossible!”

I swear, prairie-like vistas opened up for me, universes of possibility. If you can make a joke out of the impossibility of the story your telling, surely you can do anything?

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There aren’t jokes of that kind in INTERSTELLAR — in fact, one of the discredited tropes the film insists on using is a comedy relief robot who has been programmed to be funny. Comedy relief characters in general are a discredited trope since nearly everybody is funny sometimes and nobody is always funny — having a wisecracking droid is just inviting me to question why the Nolan gestalt didn’t program some humour into the human characters, even though that wouldn’t quite be fair because if you have Matthew McConaughey you’re going to get a little wit sneaking in somewhere.

So, no world-changing jokes, but plenty of impossibility, which is par for the course in this kind of thing, and there’s arguably nothing sillier than GRAVITY’s inescapable cloud of debris a planet wide, which I forgave fairly readily. This movie didn’t wow me like GRAVITY but it has lots of impressive spectacle, ideas, actors, plot twists…

The impossibility bothers me a bit — intimations of mortality — when we make films about saving the Earth, we seem compelled to make them absurdly unrealistic. I loved WALL-E, but the human race returns from space at the first appearance of a little sprout, which grows in an upturned refrigerator in defiance of all photosynthesis and sense, and somehow the arrival of thousands of fat people is supposed to make things BETTER? I guess that’s covered by a line in INTERSTELLAR about not telling little kids that the world is ending, but I would be more cheered by hopeful fables that have some element of plausibility. The Bokononist subtext of all these reassuring fantasies seems to be that we’re all fucked.

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We didn’t see INTERSTELLAR in IMAX, alas — exchanging the free tickets we got after an interrupted screening of THE BABADOOK, I got us seats near the front because close = big, but Fiona then made me move back a few rows (early screening, lots of spare seats). After DARK KNIGHT RISES I was looking forward to seeing Michael Caine blubbering on a screen the size of a football pitch — when that bottom lip starts to wobble, you really need Sensurround for the full magnitude — but we settled for booming sound — Nolan follows the Kubrick-Cuaron model, no FX in space, but Hans Zimmer booms away to fill most of the silences.It’s one of those scores where you can hear the temp track filtering through, but quite effective.

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Some have suggested that the movie shows that Nolan is not, as has been argued, a cold director — I think it shows that he still has some way to go if he wants to be either Kubrick on the one hand or Spielberg on the other. Teenager Mackenzie Foy deserves a miniature Oscar for providing the film’s emotional core, which has to be passed on, relay-fashion, to a succession of other actors as her character grows up — a trick the movie manages surprisingly well with megawatt starpower casting and flashbacks and… other sequences which prevent us from losing sight of Foy altogether. Weirdly, though, the ending, which should be gigantically moving, is fobbed off onto another character altogether, and then NOT DELIVERED. The big emotional scenes don’t happen. I think the Nolans see this as British restraint, but it feels it’s more a discomfort with demonstrations of emotion — which is odd, since we get some more blubbering from Caine. There are plenty of emotional scenes, but insufficient PAY-OFF to a fantastically powerful and protracted drama about a father separated from his children.

Speaking of explaining things — the movie has a really intriguing start, foregrounding the best actors (though it’s nice when Hathaway and then Damon turn up later — Nolan may have actually noticed that AH was the best thing in his third BATMAN — a breath of lightness amid th suffocating clouds of noxious testosterone and doominess), but once we get to space stuff, the authors have apparently given up on any desire to have exposition emerge dramatically and plausibly. There isn’t too much “as you know” dialogue where one character patiently outlines information already familiar to the other, who inexplicably doesn’t say SHUT UP YOU BORING FOOL — but there is a hell of a lot of “As you should know” dialogue, with astronaut McConaughey, for instance, inquiring what will happen if an airlock malfunctions — I think that would have been covered in basic training. Justifiably reticent to infodump the science around a boardroom table, the writers parcel it out in digestible bundles in order to let you grasp vital facts just as they become relevant to the unfolding events, but it’s hard not to notice that our hero must be a remarkably incurious man to have traveled in space for two years to reach a wormhole without knowing what a wormhole is, and that’s only one of the least egregious examples.

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But I wouldn’t want to put you off seeing it — it has a giant talking Kit-Kat biscuit, some lovely space visuals and sound, and a bit where MM reaches out to push a button, and we see, reflected in his space helmet visor, his gloved hand apparently reach forth and touch his nose. It’s a lovely, silly moment that seems to happen by accident — Nolan in no way intended this to be funny — a glimpse of goofy natural chaos in an otherwise predetermined game.

 

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Posted in FILM with tags , , , , on April 2, 2014 by dcairns

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Try our new range of chimpanjammies.

After advertising the books of Mr Robinson and Mr Clipson, I thought it was time to let you know about some fabulous Shadowplay products you can buy!

SHADOWPLAY RECORDS PRESENTS

Hans Zimmer Stabs Irving Berlin. World-renowned composer Hans Zimmer is renowned the world over all over the world for his great accomplishment in transforming the symphony orchestra into a percussion instrument. No longer need different instruments play different notes, as thanks to innovative orchestration techniques, Zimmer can play a 100-piece orchestra exactly as if it were a synthesizer keyboard in the hands of an angry man with fat, stumpy fingers. Now Zimmer gives the world (where he is renowned) his own beautiful interpretations of the hits of Irving Berlin. You haven’t lived until you’ve heard White Christmas in dramatic stab form, and once you have heard it, it will be too late to start.

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SHADOWPLAY PUBLISHING PRESENTS

Lev Kuleshov’s Great Mysteries of the World — Solved! employs Russian montage to explain some of mankind’s most enduring enigmas.  In one fell swoop, Comrade Kuleshov solves the Kennedy assassination and the mystery of bigfoot by editing together the Patterson Footage and the Zapruder Film. The instant after the fatal shot slays John Fitzgerald Kennedy, we cut to a shadowy, shaggy figure striding away into the nearby woods, past a grassy knoll, with obviously feigned insouciance. The implication is inescapable: JFK was assassinated by a Sasquatch (possibly in the pay of Cubans), who has been hiding ever since, like those Japanese soldiers who didn’t know the war was over, waiting for a subpoena from Jim Garrison.

Elsewhere, Kuleshov will explain the explosion of the Hindenburg with the winning goal of the 1966 World Cup.

mathieu-amalric

SHADOWPLAY TOYS PRESENTS

The Mathieu Amalric Action Figure. This innovative, non-posable doll features Amalric in his celebrated role as Vogue editor Jean-Do in THE DIVING BELL AND THE BUTTERFLY. The character is completely immobile except for one eyelid, which will blink when you tilt him. For the first time, a toy is manufactured which works without any exertion from the child’s imagination. The doll behaves exactly the same when it’s not being played with as when it is: it does nothing.

Coming soon: our WEEKEND AT BERNIE’S inaction figure. Doesn’t even blink!

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SHADOWPLAY BROADCASTING PRESENTS

It’s The Adolph Menjou Show! Starring an animated version of this frightening photograph of the infant Adolph Menjou. Topical comedy and relaxed chat with photographs of other deceased guests when they were children. All with that patented mini-Menjou charm and suavity!

SHADOWPLAY CLOTHING PRESENTS

A brilliant line of sexy cinematic outfits. And unisex! Our erotic experts have selected the most powerfully sexual garments from screen history, combining them in irresistible ensembles. Imagine Michael Douglas’s casual knitwear from BASIC INSTINCT, with Ursula Andress’s yellow bikini bottoms and matching belt with dagger from DR NO, Jane Fonda’s torn tights from BARBARELLA, and Sean Connery’s thigh boots and bandoliers from ZARDOZ. All topped off with Charlotte Rampling’s Nazi hat from THE NIGHT PORTER. A devastating look for a man or a lady.

A Hard Day’s Night (Criterion Collection) [Blu-ray]

Perception

Posted in FILM with tags , , , , , , , , , , , , , on July 19, 2010 by dcairns

If there’s a problem with Christopher Nolan — and I submit, ladies and gentlemen, that there IS a problem with Christopher Nolan — it’s perhaps that, with all his impressive gifts for visualisation, he doesn’t always make the best choices in what to visualise and how to visualise it. My Nolan Problem dates back to his over-cutty, bowdlerized remake of INSOMNIA, and came back to bite me with the incoherent set-piece fights in BATMAN BEGINS (which I mulled over here). I liked THE PRESTIGE a good deal, but had a nagging feeling that the last shot could have crystallized the story a whole lot better if we’d seen clearly the contents of lots and lots of big jars. Instead of a great “Ah-hah!” we get a big “Ah-hah… I think.” But maybe he likes that — the end of the new one could be described as aiming for just that feeling.

Anyhow, I liked THE DARK KNIGHT fine, for what it was — “Big movies have got to get better,” said Soderbergh, before making OCEAN’S 11 thru 13, increasingly proving his own point without solving the problem — and Nolan is closer to attaining this improvement than most of his contemporaries. The problems with TDK are perhaps inherent to the comic book action thriller, which is to say they’re not problems at all for the audience that digs those movies… I like my action sequences to advance the plot, personally…

My INCEPTION Problem has a little to do with clarity — I see no reason why the set-up of the equipment used for dream invasions couldn’t make it pictorially quite clear just WHO is invading and just WHO is being invaded, which would help in the early setting up of the rules. But then I did quite like having to struggle occasionally to follow the story, which is an unfamiliar sensation in modern cinema.

I find the title slightly comical, but here I have to digress and explain why. A few friends were talking movies, and they came up with what seemed at the time like a pretty good thriller idea, set on an oil tanker in the North Sea. One of them suddeny became very excited: “Oh, oh! I know what it should be called! The perfect title!” Drum roll. His friends lean forward in suspense. “CONTAINMENT,” he says.

To me, INCEPTION is like CONTAINMENT — it comes on quite strong as a word sound, but it doesn’t follow through on the level of meaning. It’s not an exciting word.

But my REAL Problem With Inception — which essentially I enjoyed, I have to say — is that the rules set up in the training sequence seem to allow for some fantastic visuals that you couldn’t get in another movie: folding Paris, for instance. And the scary, paranoid threat of all the extras turning hostile when you do things like that. And that isn’t followed through in the action climax, or not to a satisfactory level. The Escher staircase and its variants are very nice, but shouldn’t there be something even bigger than the Paris roll-up? And the way everything explodes when a dream collapses — shouldn’t that have been repeated? Instead we get some well-staged action sequences with guns and explosives. The problem here is that those kind of sequences could occur in any movie — Nolan could have saved the snow attack for a BATMAN movie and we’d be none the wiser.

(My dinner companion of Wednesday night shrewdly points out that this big shoot-em-up seems inspired by Anthony Mann’s THE HEROES OF TELEMARK, but there’s nothing to compare to the wordless, music-less, hushed advance through the snow in that movie, which is sheer poetry.)

So while I enjoyed Joseph Gordon Levitt fighting on the ceiling like a two-fisted Fred Astaire, I wanted more of that kind of thing. A really interesting story world is summoned up here, but the pay-off is overly intercut action sequences (shades of Lucas) which don’t sufficiently exploit the unique qualities of that vision.

Still — the pluses are a really strong supporting cast for Leonardo DiCaprio (who’s not having much luck with the ladies lately) — the very lovely Ellen Page gives it warmth, Tom Hardy and Dileep Rao (most compulsively, amusingly watchable Hollywood new discovery of this century?) give it humour, Watanable and Postlethwaite and Caine and Berenger give it class, and Joseph Gordon-Levitt gives it that indefinable Joseph Gordon-Levitt Feeling — some fantastic environments, including of course the crumbling city (give me a crumbling city and I’m a happy fellow) and the full-blooded, if derivative, bombast of Hans Zimmer’s score.

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