Archive for Martin McDonagh

Hollywoodland

Posted in FILM with tags , , , , , , , , , , , , on August 26, 2013 by dcairns

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Off to LA on top secret business. Will try to keep you posted.

Watched SEVEN PSYCHOPATHS not knowing much except a few of the names of the excellent cast and that it’s the guy who made IN BRUGES, which we mainly enjoyed. So it turned out to be set in Hollywood — opening shot is the famous Shadowplay Hollywood sign — and it has an ADAPTATION kind of self-reflective side, being the story of a drunken Irish screenwriter trying to write a screenplay entitled Seven Psychopaths, but he keeps encountering the characters he writes about. SEVEN PSYCHOPATHS IN SEARCH OF AN AUTHOR?

This is kind of like a Bertrand Blier romp, jumbling an outrageous comic plot with self-referential deconstruction, except without much apparent serious side. The weird coincidences whereby characters invented by Colin Farrell’s character turn out to be real are never explained. The auto-critique of violent movies is just a joke, and having Christopher Walken tell Farrell that he writes dreadful female characters does not necessarily excuse wasting the talents of Abbie Cornish in a role with zero development and a combined wet T-shirt/death scene.

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BUT — it must be said that Martin McDonagh’s gift for outrageous dialogue outstrips Tarantino’s, and he has fantastic performers on the top of their game: Farrell is really good at this kind of thing, and he has a character that makes more sense than in IN BRUGES; Christopher Walken is on top form AND is cast against type, kind of; Sam Rockwell and Woody Harrelson are very funny too. And Harry Dean Stanton turns up, all too briefly as seems to be the way with him these days. Must see HARRY DEAN STANTON: PARTLY FICTION, the acclaimed documentary, so I can get a decent dose of Harry Dean.

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Plus Tom Waits and a rabbit.

It’s all pretty rambling and meaningless, and though Walken and Linda Bright Clay are employed to give it some heart, it’s the fact that, after Gabourey Sidibe is terrorized by gunmen (to show how bad the bad guys are), she’s allowed to live, that suggests McDonagh might actually have some feeling for his marionettes. Helpless characters in action cinema generally exist only to be snuffed as demonstrations of villainy and to motivate the hero towards more violence: we all know Robert Rodriguez or John Woo would have wasted her in a heartbeat.

In Bruges*

Posted in FILM with tags , , , , , , , , , , , , , , , on April 20, 2008 by dcairns

*It’s in Belgium.

And it’s a pretty good film! I hate how my expectations are  lowered whenever I approach a British film, but I suppose it does allow a modest film like this to shine out. It’s a Film4 Production, therefore British, starring Brendan Gleason and Colin Farrell, therefore Irish, but set almost entirely in Bruges (whose tourist industry it should greatly benefit), therefore European. And released through Universal.

Eigil Bryld’s photography shows the city off to great effect, but Martin McDonagh’s intelligent direction keeps the scenic values working to the benefit of the film as a whole. His only error as director is to presage a long take with a glimpse of TOUCH OF EVIL on TV. Referencing that famous crane shot is rather studenty — Altman got away with it in THE PLAYER by doing it so blatantly it became a postmodern gag. James Toback did it in EXPOSED and it struck me as juvenile. It doesn’t help when the takes involved lack the complexity and bravura of Welles’ ground-breaker.

The filming is elegant and unhurried, attentive to performance, and it’s here the film scores. As two criminals laying low, Gleason and Farrell are funny and engaging, even when misbehaving atrociously. McDonagh’s script serves up skull-fulls of political incorrectness, with Farrell in particular using most of the forbidden derogatory terms, and karate-chopping a dwarf for good measure. In fairness, the little guy, Jordan Prentice, had just been promoting race war. The fact that he’s American, short, and apt to spout racist nonsense under the influence of cocaine suggests some kind of Mel Gibson spoof, but it isn’t belaboured.

Farrell redeems himself from his ALEXANDER embarrassment with an assured comic performance. The central joke of his character — an entirely unmotivated hatred for the inoffensive Bruges — never wears out, and he’s allowed some genuine pathos as well. Gleason is a marvel to behold. His great decomposing pudding of a face fully justifies the presence of 31 visual effects artists in the credits — it couldn’t have been easy to create. He earns our respect by demonstrating an unnatural ability to animate and transmogrify every fold and flap of facial flesh, but mostly CHOOSING NOT TO. In his last moments, he does things with one eye that simply defy both belief and comprehension, retracting it inwards, before extending it like a thumb, apparently looking at himself, winching it back into its pillows of skin, then somehow turning it off, apparently forever.

Clémence Poésy, Farrell’s romantic interest, is charming, distinctive looking, and hypnotically watchable — she may be the HARRY POTTER kid who has the strongest chance of adult stardom. Jordan Prentice manages to make the “racist dwarf” character sympathetic as well as surly, and transcends his role’s starting point as a swipe from LIVING IN OBLIVION.

And then there’s Ralph Fiennes. Looking more and more like Leonard Rossiter, and playing a role that could easily have been a pale imitation of Ben Kingsley’s terrifying turn in SEXY BEAST. Fiennes plays the part as if that worry hadn’t occurred to him. Although his cockney accent always has an artificial quality (some real ones DO) he’s effective, menacing, and very funny, something I hadn’t known he COULD be. Although a friend who worked with him has called him “the most boring man alive”, he’s certainly compelling on the screen.

Peter Serafinowicz as Ralph Fiennes / Leonard Rossiter.

His appearance does pose problems, however. The amusing script spends its first half replaying Pinter’s The Dumb Waiter. When Fiennes shows up, it slowly becomes an action thriller. And the action doesn’t build, sustain, dazzle with spectacle or obey the rules of logic. Having dismissed the idea of shooting Gleason in public, Fiennes pulls a gun and starts blasting at Farrell in full view of swarms of tourists.

But the flaws aren’t enough to wreck it altogether — the film is still witty and gracefully made even when it’s a bit off-track. And it’s a first feature. So there’s hope.

“Lots of midgets have offed themselves. I hope yours doesn’t, otherwise your film’ll be fucked.”

My Mum’s capsule review ~ “Sweary but good.”

And yes, the MPAA confirms the second part: “pervasive language”.

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