Archive for Tommy Gormley

Star Trek: Into Zero Dark Thirty

Posted in FILM, Politics, Science, Television with tags , , , , , , , , , , , , on May 17, 2013 by dcairns

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The new STAR TREK film met with our approval — it’s very silly, on the one hand, and on the other, very neatly worked out. So unlike PROMETHEUS, which is ponderous and nonsensical, and which also flowed in part from the pen of Damon Lindelof. TREK seems aware of its own daftness — the suggestion that a “cold fusion device” is what you use when you want to make things really cold may well have been thrown in just to annoy the kind of people who get annoying by things like that.

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It’s also unexpectedly moving in places, mainly because it concentrates on Spock, and he’s such an intriguing concept for a character. The movie sort of treats him as an Aspergers person. Zachary Quinto is excellent in the role, but Chris Pine’s Kirk delivers a lot of the key scene too. And, in my gruff, manly way, I just love Karl Urban as McCoy.

In this movie Kirk battles Sherlock Holmes and Robocop, which I didn’t know going in.

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I felt Simon Pegg’s Scottish accent had deteriorated a bit since the last film, where he was actually convincing. It’s weird, as I think he has a Scottish wife, and the film’s first assistant director is Tommy Gormley, who has the broadest Glaswegian accent I’ve ever encountered on a living human being. Pegg does throw in some nice bits of observational Scottishness, and I get a warm glow around the cockles, as if they were being beamed up, when I hear somebody use the phrase “hud oan” (translation: “Hold on”) in a Major Motion Picture, but the fact remains he is now a less convincing Scotsman than James Doohan. Which is a bit like being a less convincing echidna than Wallace Beery.

No explanation is given why Peter Weller talks like a cowboy while his daughter, Alice Eve, has a cut-glass English accent. Probably something to do with cold fusion. The show’s other new cast member, Benedict Cumberbatch, is pretty good value, striking dynamic poses and being cold-blooded in a way that’s distinct enough from the Vulcans to register.

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Director JJ Abrams layers on the lens flare as usual, but manages to simulate the confusion of combat without his action sequences degenerating into actual incoherence, which I appreciate. He also does a few of the nice tie-in shots which made MISSION IMPOSSIBLE III quite pleasing in its set-pieces — a crashing craft pulls the camera down to a foreground character, who leads the camera onwards in a kind of relay. In an age when many directors seem unable to conceive of a shot which has more than one thing happening in it, this is refreshing.

On the whole, this is a kind of pumped-up remake of THE WRATH OF KHAN, but some aspects of it actually improve on that movie, so I’ll give it a pass.

It’s always been interesting, the way Star Trek reflects America’s view of itself and the world. In the original series, the Federation represented both a united mankind, and the USA, with the Klingons obviously standing in for the USSR. In this movie, with the Enterprise dispatched to retrieve a terrorist from the Klingon homeworld, they seem to be the Middle East in general and Pakistan in particular. And thus the movie seems to point with hope towards eventual peaceful coexistence with alien empires, while (perhaps, mildly) criticising Obama’s death squad incursion and drones policy.

Oh, there’s also a great segue involving a swearword and a sliding door — the sound effects gag of the season.

It’s a Long Shot but it Just Might Work

Posted in FILM with tags , , , , , , , , , , , , , , , , , on June 23, 2010 by dcairns

Neville Smith, Anne Zelda and Charles Gormley.

Very interesting seeing LONG SHOT, an obscure — indeed, near-vanished — semi-improvized drama-doc in which a producer (real-life prod Charlie Gormley) and a writer (real-life writer Neville Smith) try to find Sam Fuller at the 1977 Edinburgh Film Festival (Fuller was meant to turn up with Wim Wenders and THE AMERICAN FRIEND) in order to enlist his services. Fuller doesn’t show.

Director Maurice Hatton was a self-educated and slightly mysterious figure who had apparently acquired £19,000 and some soon-to-expire East German film stock, and so made the film on the hoof to get something on celluloid before his stock became unusable. The film actually got a TV airing in the early days of Channel 4, before dropping off the cinematic map altogether. I remember watching a bit of it before the static, long take, long-shot style bored me. I was only a kid.

Seeing it as an old, old man, I was depressed by the fact that nothing in Scotland seems to have changed, except that the Film Festival has a wider range of venues to draw upon (the marquee of the ABC Cinema — now the Odeon — can be seen in the film, with Wenders’ film on in Screen 2 but the movie version of ARE YOU BEING SERVED in Screen 1…). But it was nice to see then-festival-director Lynda Myles (co-author of The Movie Brats) in her Maria Schneider perm, and future festival director Jim Hickey, and Gormley’s little son Tommy, who is now one of Britain’s top assistant directors. Other cameos are contributed by Wenders, Stephen Frears (playing a man in the biscuit trade), Alan Bennett (in a totally different, non-naturalistic register from everybody else), John Boorman (“This is a script that’s desperate. Desperate to be a film.”) Susannah York, agent Dennis Selinger, likably satanic exec Sandy Lieberson, and Suzanne (CARRY ON EMMANNUELLE) Danielle.

Hatton’s grainy, static look is reminiscent of early Jarmusch, and his use of intertitles to set up each scene in a quirky way reinforces the resemblance. I also suspect Wenders is more of an inspiration than the movie admits. Somehow the sight of the nervous  Gormley and the defensive Smith struggling to get anything off the ground seemed like the last word in film biz floundering, illustrating the sisyphean, kafkaesque and quietly soul-destroying nature of hustling for movies, even though the film before our eyes was proof that miracles do sometimes happen. It’s a minor work, but the very fact that it exists is should give me hope.

Gormley and Smith’s movie, about the Scottish oil boom, never happened. Gormley, who was a pretty good actor, appeared in another film for Georges Sluizer, and worked with Bill Forsyth. Then he convinced himself he was a director and made a few films that way. I met him in the 90s and he was very nice, but I wasn’t convinced he’d chosen the right job. He probably thought the same about me, mind you. Neville Smith wrote another film playing in the fest this year, 1971’s GUMSHOE, which is a SUPERB script — funny and cunning and rhythmic, and all about our love affair with Hollywood movies. Almost uniquely for a British film, it leapfrogs off that love and manages to land on interesting territory of its own. Despite doing a lot of TV work, Smith hasn’t had another film made.

Frears turned up and introduced LONG SHOT, before bolting off to catch a plane so he wouldn’t have to look at it. At a panel session to discuss these vanished films, he expressed polite horror at the idea of UK 70s movies being rediscovered, and seemed content to rest on his better-known achievements from the Thatcher era. For me, the non-canonical work being celebrated in this season is a lot more interesting and enjoyable. Ken Russell’s SAVAGE MESSIAH next!

My copy of the 1978 Film Festival programme — proof that LONG SHOT does exist!