Archive for The Boy Who Turned Yellow

Red Eye

Posted in FILM with tags , on November 22, 2014 by dcairns

yellow

Today I will mostly be hanging around airports, flying in the sky, and tracking down my accommodation in Paris. So this is just a reminder that the Late Movies Blogathon is nearly upon us, and an open invitation to interested parties to join the fun. I know it’s nicer to be specifically invited, but I hope lots of you will accept this more general invitation.

Image from (what else?) Michael Powell’s last fiction feature, THE BOY WHO TURNED YELLOW.

Well, *we* enjoyed it.

Posted in FILM with tags , , , , , , , , , , , , , on October 24, 2012 by dcairns

I HAD intended to see Soderbergh’s HAYWIRE after enjoying the trailer, but as you can see, it took me a while.

I liked the premise of a film based around a female action star who can really do most of the stuff the script shows her doing — it seemed that HAYWIRE was the movie that would do for kicking people in the face what THE GIRLFRIEND EXPERIENCE did for soulless sexual encounters. And that, surely, can’t be bad?

Gina Carano, Soderbergh’s discovery — “a natural beauty who beats people to a pulp in a cage” — is worth it. She can act, and indeed in the conversation scenes she seems wondrously natural, her face moving about in a way that the faces of trained thespians, with their screen technique and Botox, rarely do. When you see her in interviews, she seems heftier and more voluble — Soderbergh has slimmed down her look and her mannerisms with careful filming and direction. In the more emotional scenes, he tends to use photogenics in place of histrionics, finding killer looks that express the character’s inner state.

Confirming this as an old-fashioned bit of star-grooming, Carano has very stylish costumes by Shoshana Rubin.

The rest of the cast is fine, with Michael Fassbender and Channing Tatum holding their own in the punching and smashing departments, Michael Douglas a bit miscast as a trustworthy man, and Ewan MacGregor trying hard as always. Antonio Banderas is very amusing, starting the movie with a big beard and then putting it aside for the finale, really for no discernible reason.

Lem Dobbs, who scripted KAFKA and THE LIMEY, wrote this one too. It follows the cool, Melvillean aesthetic of the latter film, with a few moments of sentiment which are more underplayed than they were in the Stamp vehicle. Soderbergh said after KAFKA that he felt he wasn’t good at cold material, which is odd to me, since his OCEAN’S films seem basically slick and heartless. But then, I only like the first one of those, and that not so much. And then again, I liked KAFKA much better than SEX LIES AND VIDEOTAPE, so maybe I’m weird.

Mexico is always a bit sepia-toned in Soderbergh films (see TRAFFIC), contrary to reality.

Dobbs (before taking his name from Bogart in SIERRA MADRE, he started his movie career as Lem Kitaj, acting for Michael Powell in THE BOY WHO TURNED YELLOW — he’s the best thing in it) provides a very simple betrayal-revenge structure which masquerades behind a cloak of sophistication, with flashbacks, lists of names, rapidly shuffled international locations and plenty of mumbled obfuscation. As with THE LIMEY, whose classic moment is a long-held exterior with sounds of mayhem raging indoors (undoubtedly influenced by the climax of THE PUBLIC ENEMY) the movie gets some of its best effects by keeping dramatic events offscreen — but nevertheless makes spectacular use of Carano’s particular talents. Nobody is likely to top the best of Jackie Chan’s fights, but HAYWIRE’s hotel havoc will live for as long as people enjoy seeing Michael Fassbender getting his neck crushed between a set of powerful thighs, and that, my friends, will be a very long time.

Now for CONTAGION and then maybe MAGIC MIKE.

The Late Show 2

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , on December 1, 2011 by dcairns

It continues — here’s where I’ll post links to blog posts in The Late Show: The Late Films Blogathon. This post will stay at the top, if I can figure out how to do that, with my own entries appearing — slowly — down beneath it.

Late Losey — M KLEIN, today.

Diarmid Mogg, author of my favourite movie speciality blog, The Unsung Joe, weighs in on one of Hollywood’s forgotten men, John Ince (brother of the more famous Thomas and Ralph), here. It’s an eye-opener!

For Shadowplay, David Melville continues his alphabetical survey of Mexican melodrama with LA GENERALA, the last film of Maria Felix.

Ben Alpers on MOONRISE, my favourite late Borzage — maybe my favourite Borzage.

Gareth comes up trumps with another Melville piece — UN FLIC stars Delon and is cool as ice.

Late Roscoe “Fatty” Arbuckle? Are you sure? Wanna make something of it?

HUGO receives tender loving care from Farran Smith Nehme, the Self-Styled Siren, who suggested the idea of this blogathon over dinner in Brooklyn. And HUGO is not only the latest film from a senior film artist, but a film about the Autumn years of a great filmmaker. Go here, at once.

At the ever-excellent Gareth’s Movie Diary, LE CERCLE ROUGE is the topic of the day — late Melville, late Bourvil, and a terrific piece.

I try to tackle one of the trickiest entries in Richard Lester’s career, his last fiction feature, whose modest virtues are forever overshadowed by an on-set tragedy — THE RETURN OF THE MUSKETEERS.

Over at the excellent Robert Donat site, Gill Fraser Lee assesses THE INN OF THE SIXTH HAPPINESS, mid-period Mark Robson, but Donat’s last film, made when he was extremely ill. This is a thoughtful and deeply moving piece and I’m proud I nudged Gill towards writing it (but also a little guilty). Boy! This kind of piece makes this whole blogathon thing worthwhile.

It suddenly occurred to me, after watching and loving HUGO, to wonder about Georges Melies last film — the story of his career’s end was well known to me, but I hadn’t looked at anything from the very end of his career. So I did.

My own first entry approaches LOVE AMONG THE RUINS, a late-ish George Cukor I really enjoyed, with fine late-ish performances by Katherine Hepburn and Laurence Olivier. Here.

Guest Shadowplayer Judy Dean looks at The Great Mastroianni’s last bow, in Manoel de Oliveira’s VOYAGE TO THE BEGINNING OF THE WORLD (below).

David Ehrenstein proves that great minds think alike with THE BOY WHO TURNED YELLOW (above and here).

The ball got rolling with two late Ken Russells from the late Ken Russell, over at Brandon’s Movie Memory here and here.