Archive for Morag McKinnon

The Daily Notebook and the Annual Film Festival

Posted in FILM with tags , , , , , , , , , , on June 20, 2013 by dcairns

charleybowershead

Edinburgh International Film Festival has commenced!

But first, The Forgotten, and a silent clown / special effects genius awaits your discovery (with video) over at The Daily Notebook.

Screening today in Edinburgh, I AM BREATHING, the emotionally devastating — but ultimately life-affirming and often funny — documentary by my friends Morag McKinnon and Emma Davie (6pm, Filmhouse 1). It deals with the slow death of an exact contemporary of mine from Edinburgh College of Art, Neil Platt, who was diagnosed with motor neuron disease. He wrote an amazing blog about his approach to the end, and left this filmic record of his existence partly as a way for his infant son to eventually know him.

Also showing (8.55, Cineworld) another friend’s film, DUMMY JIM by Matt Hulse, which I haven’t yet seen but I’m sure going to. I trust the sensibility. Hope to see some of you there!

What else? Oh yes — limericks of FRANKENSTEIN MEETS THE WOLFMAN, here and (co-authored) here. Don’t forget to check out the rest of the site!

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X-Ray! X-Ray!

Posted in FILM with tags , , , , , , on November 14, 2011 by dcairns

It’s positively Boris Karloff this time!

The most pertinent possible film in light of the continuing News of the World tabloid phone-hacking shitstorm has to be FIVE STAR FINAL, which shows how the drive for circulation drives out any other human impulse and destroys any other purpose journalism might be expected to pursue. I screened it for a couple of lucky students at my workplace last week, and have now written about it for The Chiseler, here.

In other news — HUGE congratulations to my friends Colin and Morag, whose feature DONKEYS won the Big Prize at BAFTA Scotland, and to their leading man, James Cosmo, who won Best Actor.

Pets Win Prizes

Posted in FILM with tags , , , , on October 25, 2011 by dcairns

Naturally, my first posting published from Hollywood concerns… Scotland.

The BAFTA Scotland awards are doled out in November — so this is a shameless “For Your Consideration” type notice plugging my friends Morag and Colin’s DONKEYS, the best Scottish feature film I’ve seen in recent years. Of course I’m biassed, and I haven’t seen NEDS or PERFECT SENSE, so my word isn’t of much value here — I just wanted to remind anybody who has seen the films and who’s planning in voting — DONKEYS is REALLY GOOD, remember?

Remember how you laughed, were moved, laughed and were moved at the same time, resulting in a strange holographic emotion that doesn’t have a name? Remember how Morag drew sensitive, convincing and funny performances from her actors, including James Cosmo and Brian Pettifer, both of whom are BAFTA nominated? Remember how Morag’s acute eye for humorous detail made a surreal wonderland of Glasgow? She’s nominated as best director. And remember how Colin’s BAFTA-nominated script interwove tangentially related characters into a tight, compact tragi-comedy?

James Cosmo is a Scottish legend, an incredible figure for whom the word “rugged” was invented and then discarded as pitifully inadequate. His long career encompasses the cult horror DOOMWATCH, plus HIGHLANDER, BRAVEHEART and TRAINSPOTTING. In other words, he’s the man they call on when they want a Scottish film or a pseudo-Scottish film to have a bit of integrity. And in DONKEYS he gives a career-best performance of previously unseen vulnerability and comic skill.

Brian Pettifer’s been a fixture in British cinema for even longer. He’s in all three of Lindsay Anderson’s Mick Travis films, IF…, O LUCY MAN! and BRITANNIA HOSPITAL, as well as AMADEUS and THE HOUSE OF MIRTH. Often cast for his distinctive features, here he has the meaty role of a lifetime as the Laurel to Cosmo’s Hardy, one-half of a co-dependent double act of tragic no-hopers.

A conclusive set of wins for the film and filmmakers would send a nice message, I feel, about the kind of Scottish cinema we want to see.

Speaking of which, saw WE NEED TO TALK ABOUT KEVIN just before leaving, but notes on that’ll have to wait until I come back.