2018 Blog Posts
|St Patrick’s Day Film Picks|
As it’s St Patrick’s Day today [Mr 17th], I thought I’d do a similar viewing list of 10 suggested films for those observing the occasion at home. Note that this is just a personal choice of titles, films about Irish society that have meant something to me. As to their storylines, as with our Scots Burns Night and Australia Day lists [see earlier posts], there’s a range of them. The only recurring storyline seems again to be the ‘country retreat challenge’, where the protagonists’ lifestyle, livelihood or life is under threat. This could apply to at least 3 of the 10 below, though I leave it up to the viewer to determine which ones.
Man Of Aran (1934) staged documentary, written by director Robert Flaherty
2. Odd Man Out (1947) scripted by R. C. Sherriff from 1945 F. L. Green novel
3. The Quiet Man (1952) scripted by Frank S. Nugent from 1933 Maurice Walsh short story
4. Young Cassidy (1965) scripted by John Whiting, from 1956 autobiography Mirror In My House by Seán O'Casey
5. Ryan's Daughter (1970) written by Robert Bolt
6. The Dead (1987) scripted by Tony Huston from c1911 James Joyce story
7. The Commitments (1991) scripted by Dick Clement, Ian La Frenais, Roddy Doyle from Doyle's 1987 novel
8. The Guard (2011) written by director John Michael McDonagh
9. Calvary (2014) written by director John Michael McDonagh
10. Brooklyn (2015) scripted by Nick Hornby, from Colm Tóibín's novel
British filmmakers also played a role, as here with Carol Reed, Jack Cardiff, Alan Parker. In recent years, finance has become more international. The most recent film illustrated here, Brooklyn (2015) [mouse over image at right] is listed as a coproduction between the UK, Canada, Ireland, Belgium and the USA.
|Australia Day Film Picks|
to the previous blog post, I've been reminded that the same weekend as Burns Suppers are held worldwide
is also Australia Day. So I thought I'd do a list of film candidates to match the Scots one. I
haven't tried to include vintage films like The Overlanders, made by Ealing Studios in
1946 before the Australian film industry emerged in its own right. (The last two titles below were
made by British or Canadian directors, but were said to have directly inspired the first films
of the 'Australian film renaissance' which began in the mid-70s.) While the Scots films on the
preceding list mainly follow the one storyline (the 'country retreat challenge'), the Aussie titles
below do not. There are a couple of 'country retreat challenge' stories, but overall the list is
more diverse, from 'war is hell' and 'war-torn romance' to 'away-break crisis', the 'monstrous
awakening' and 'modern misfit' through 'castaway', 'outpost command crisis', 'apocalypse-survival'
and 'future dystopia' storylines. But I'll let you work out which is which. Hopefully, there's
something here for everyone.
Babe (1995) written by director Chris Noonan and producer George Miller, from Dick King-Smith's 1983 novel The Sheep-Pig
Breaker Morant (1980) written by Jonathan Hardy, David Stevens and director Bruce Beresford, from the play by Kenneth G. Ross and Kit Denton's book "The Breaker"
Crocodile Dundee (1986) written by Paul Hogan, Ken Shadie and John Cornell from Paul Hogan's story
The Dish (2000) written by Santo Cilauro, Tom Gleisner, Jane Kennedy and director Rob Sitch
Mad Max series [Mad Max (1979); Mad Max 2: The Road Warrior (1981); Mad Max Beyond Thunderdome (1985); Mad Max: Fury Road (2015)] written by director George Miller at al
Picnic At Hanging Rock (1975) scripted by Cliff Green based on the novel by Joan Lindsay
They're A Weird Mob (1966) scripted by director Michael Powell and 'Richard Imrie' [=Emeric Pressburger] based on the novel by 'Nino Culotta' [=John O'Grady]
A Town Like Alice (1981) scripted by Tom Hegarty and Rosemary Anne Sisson from the novel by Nevil Shute
Wake In Fright aka Outback (1971) scripted by Evan Jones from the novel by Kenneth Cook
Walkabout (1971) scripted by Edward Bond loosely based on James Vance Marshall's children's novel
|The Burns Night Film|
January 25th, I commemorate Burns Night (the birthday of Scotland’s national poet) by having
a meal of [veggie] haggis etc and watching a suitable film set in Scotland. It’s well-known
that there are more people of Scots background living abroad than in Scotland itself, and Burns
Night is hence commemorated across the world. Often, Burns Suppers are celebrated by an expensive
haggis-and-whisky supper mounted by local Burns societies and accompanied by readings from Burns’s
verse, attended by local dignitaries. Unfortunately, women are still often excluded from joining
Burns societies, and unless you have an invite to one of these expensive, exclusive Burns Supper
evenings, the occasion must be celebrated privately. For anyone in this situation, celebrating
it at home – alone or with a companion – the supper menu is standard (haggis, neeps,
tatties, whisky), but there is no standard choice of after-dinner film. There are no films about
Robert Burns himself (a planned biopic with Gerard Butler was never made), but there are other
films which commemorate ‘Scottishness’ in different ways.
[Below: Stills from  I Know Where I'm Going! and  Whisky Galore!, and from  Gregory’s Girl and  Hamish Macbeth]
The Season To Be Binge Watching
-Boxset Binge 2017: 007 And The 'Secret Agent Champion' Storyline
The Xmas break has
become the time for binge watching. On-demand ‘catchup’ viewing spikes in December,
and BBCiPlayer for the first time is offering entire series of shows for this purpose. Sales
of boxsets also spike. This has had an impact on the writing and production of tv series as well
– recently Mark Lawson did a 3-part
R4 docu series on this phenomenon, and how it is altering perception of story arcs.
Left: stills from  Thunderball: the 00 agents are told about SPECTRE's nuclear blackmail plot; and  Goldfinger: the millionaire supervillain outlines his plan to raid America's bullion supply at Fort Knox.
The series' repeated story setup belongs to the older, romantic school of the ‘secret agent champion’ storyline. (There’s also a realist school, as in the works of LeCarre.) It predates Fleming, with Clubland heroes and evil-genius villains like Fu Manchu going back to pre-WWI. The Bond films are simply the most expensive instances, productions able to mount elaborate chase scenes and other action setpieces in exotic locations, with spectacular interior sets for the villain’s lair etc.
Right: From Russia With Love:  the chess tournament which sets up the idea the enemy conspiracy is planned as a series of chess gambits, and  the moment Bond has the plan revealed to him.
Since ‘Bondmania’ hit circa 1963-4, there have been many rival instances, often presented as spoofs.
|This was the case with the first non-Eon production. The 1967 Casino Royale was a zany, cheerful farce, which seemed to intercut several different films, where the Bond identity was spread across different agents as a cover name. (It's recently come to light that this idea derived from the work of veteran Hollywood scriptwriter Ben Hecht. He was originally hired to do a straight CR adaptation, but the filmmakers just stitched together ideas from his various drafts, and the whole thing was then played for laughs as another 'Sixties spy spoof'.)|
|Connery quit the role after You Only Live Twice, declining to make On Her Majesty's Secret Service. Ironically, this was a more serious film, closer to the novel, but proved another one-off in the sense the replacement actor, George Lazenby, promptly burnt out and walked away. Connery agreed to return in 1972 for another lame, jokey walk-through in Diamonds Are Forever, in exchange for a 7-figure payment to his favourite charity. The Roger Moore run starting in 1973 tried to have its cake and eat it by having Bond save the world while acting the playboy and making offhand jokes – which trivialised the threat and left the fight scenes unconvincing. (He barely gets his suit wrinkled or hair mussed, never mind a bloody nose.)|
|The films were still using the novel
titles but had different plots which emphasised chase scenes involving every type of vehicle. (Each
is written by a regular stable of writers.) After the first few Roger Moore entries, I couldn’t
face any more as they began to blur together. I jumped ahead to the 1983 Never Say Never
Again, made after Connery’s producer partner finally cleared the rights after a
lengthy lawsuit. (The novel Thunderball had been in fact a novelisation of a story created
by Fleming with 2 other uncredited writers.) Connery had played a number of ageing-but-still-game
heroes after his 007 stint, in films like The Wind And The Lion, and this was an opportunity
for a mordant, reflective re-visiting of the Bond persona in middle age. Or rather it would have
been such an opportunity if the makers hadn’t opted to go for a conventional remake, aside
from a few jokey remarks. Without any character development, it was little different in approach
from Connery’s previous return as Bond in 1972, a mix of the usual chase/action sequences
and lame jokes. (Rowan Atkinson plays Bond’s blithering-idiot local contact, Nigel Small-Fawcett.)
The NSNA title, supplanting the working title Warhead, was suggested by Connery’s wife, based on her husband’s saying ‘never again’ to Bond in the 70s, but there isn’t even the usual belted-out dynamic title song to go with it and drive the idea along, just some warbley Michel Legrand pop music. There's no prologue action scene either (it was reportedly filmed then cut, and not restored with other deleted scenes for the DVD - which suggests it was really dire). It ends with Connery winking at the camera - perhaps the whole film was meant as a joke?
|The two Timothy Daltons that followed were more serious, the first, The Living Daylights, being quite promising. But the second (the first not to use a Fleming title or story premise), produced as Licence Revoked, had its title changed when US audiences saw this as a reference to driving licenses. Licence To Kill however was exactly what Bond officially lacks in the story, and in the confusion it turns into a revenge quest as pointlessly nasty as it was unconvincing. (It coincided with a WGA strike, so the usual last-minute fixup of the rough spots - violent changes in tone - did not happen). Dalton left, and the series came to a stop for 7 years. (Licence To Kill was the worst-performing film in the entire series, eclipsing the ageing Roger Moore’s final outing, A View To A Kill.)|
The Pierce Brosnans which relaunched the series in 1995 with Goldeneye were a mixed bag. Again, the desire to play action scenes as jokey (cf John Cleese as Q) indicates an inability on the part of the writers to take their own plots seriously. The last, Die Another Day in 2002, was regarded as least credible for its invisible car – though I’d personally nominate as the nadir of credibility the computer-generated scene of Bond surfing off an icewall using a piece of fuselage.)
In From Russia With Love,
when Bond has the SPECTRE plot (to create a sex scandal for the Sunday papers) explained to him,
he comments “Must be a pretty sick collection of minds to think up a plot like that.”
It’s a line that brought down the house when I saw it at a uni film society, as it seems
to apply to the overall story rather than just SPECTRE’s conspiracy.
|After the breakout
success of The Bourne Identity, the producers had decided to reboot the franchise with
a dark psychological approach, so 007 has to battle some psychological bugbear from his past as
well as the villains. Craig is a serious actor as well as having the muscular physicality to carry
off the action side (he’s really the British Steve McQueen), and Casino Royale was
promising, suggesting a more adult, realist approach.
Unfortunately the followup was prepared during a Writers’ Guild strike and instead of Quantum Of Solace focusing on the human side of a lonely profession (the Fleming short story is a Somerset Maugham homage), the word Quantum gets turned into a secret organisation which is ‘everywhere’ but nobody official has ever heard of it. (I suppose this is because the scriptwriters just invented it to turn the title into a pun – a nonsensical one.) It’s nonstop action from the ‘cold open’ car chase (where you can’t even tell who’s chasing whom) and Bond’s human side is relegated to one token ‘solace’ scene.
Otherwise it’s a straight revenge quest, with Bond after those who led Vesper astray, and a token conspiracy-plot about the Quantum organisation out to control the world’s water. (I had my hopes up from the title that this would be a more adult approach and saw it in our local arts-centre cinema, but after 2 hrs of deafening action scenes and non-sequitur plotting, wound up referring to it as Quantum Of Bollocks.)
The 3rd instalment, Skyfall, has Bond disappear off the radar a la Bourne, officially dead. It then has a bizarre last act with a betrayed ex-agent villain infiltrating MI6 and causing mayhem, such as causing an underground train to crash through a wall to kill Bond (all modern supervillains can hack into and control even the most secure govt networks). Dressed as police, he and his men even invade a Parliamentary hearing in order to kill M as she is being told she’s obsolete while she reads a Tennyson poem to the scrutiny committee! M and Bond flee up to northern Scotland to his isolated childhood home, Skyfall, in the Aston Martin from the 1960s films, to await the villain and his private army and fight them off with just the help of his old gamekeeper, played by Albert Finney. (You’d think they could have asked the police to help as the villain would be wanted for killing a dozen policemen, if nothing else.)
|The 4th instalment,
Spectre, is nonsensical from the start: the late M leaves a posthumous video message
in Bond’s email to kill some gangster, with no explanation. Bond goes ‘rogue’
to do so, and won’t even tell his new boss, and so is grounded. We never find out what she
knew about the man’s organisation, which proves to be SPECTRE, which at that stage nobody
seems to know officially anything about.
During production, studio memos re the script’s deficiencies were leaked online, evidently by hackers working for Kim Jong-un (you couldn’t make this up). A Sony producer described the script as ‘rough, rough, rough … Bond is simply fighting henchmen in many overblown and familiar sequences – helicopter, elevator shaft, netting.’ Another studio executive wrote: ‘Also, there needs to be some kind of a twist rather than a series of watery chases with guns. This is Blofeld after all. What does he have up his sleeve?’ The email leaks drew attention to the classic problem with the studio system – filming begins before the script is ready.
To squeeze in the new past-coming-back-to-haunt-you angle, the script postulated that the organisation’s longtime head, Blofeld, was really Bond’s foster brother all along. What a coincidence! (The scriptwriters also do not explain Bond’s killing Blofeld in earlier films, never mind his not recognising Blofeld as his foster brother.) Blofeld has been seeking revenge for being displaced by this childhood ‘cuckoo in the nest', and forming SPECTRE allowed him to kill off Bond's girlfriends. He is now in league with the new combined secret services head ‘C’ who is taking over the whole intelligence apparatus.
In almost every script, Bond is either having his license revoked over some indiscreet killing, or MI6 / the 00 Section is being closed down – you know, because computers, they've made special-forces type ops and agents obsolete. (Try telling that to the Americans.)
Here, the finale features the unlikely idea that instead of just selling it off, MI6’s Thames-side HQ is set for midnight demolition. This is despite the fact it’s a prominent landmark (which is very much still there on public view despite the finale) - so that MI5/MI6 can move into a fancy glass tower opposite which has been built in almost no time as it is privately financed - by SPECTRE. Bond and the new M, the geeky new Q, and the new Moneypenny all now go ‘rogue’ as they are all being sacked. Luckily, the villainous new ‘C’ loses his balance and falls out a window. With minutes to spare before demolition, Bond saves the girl, who has been abducted by Blofeld and trussed up atop MI6 HQ, and from a speedboat pursues and with his pistol shoots down the villain’s helicopter so it crashes on Westminster Bridge. (I saw it at the cinema, but watched it again over Xmas on tv as I couldn't be sure I'd followed the story - I'm still not clear on certain points, like where 007 gets that plane in the Alps.)
At that stage, Daniel Craig publicly announced he'd rather slit his wrists than do another Bond film. “Who do you think should be the next 007 then?” a friend asked me. “Nobody,” I said, “they should just stop making them unless they can come up with a coherent script.”
Update: Since then, Craig has been persuaded to return for Bond#25. Details are unclear at this stage. The trailer on YouTube titled Risico is a fan-made fake. ('Risico' is a Fleming short story whose plot was used in the 1983 For Your Eyes Only, the least jokey of the Roger Moore entries.) Another rumoured title is Shatterhand, a Blofeld cover alias in You Only Live Twice, which fits the current run of titles beginning with S, though it’s been used elsewhere, so there may be legal problems. The leaked news item that the plot will be taken from a 2001 ‘continuation’ novel, Never Dream Of Dying by Raymond Benson, seems unlikely. The other rumoured plot is that 007 retires and gets married, but then his bride is killed by Spectre, and he goes rogue in retaliation. (Sound familiar at all?)
In conclusion, I think seeing a series in this way isn’t necessarily just a new form of addiction,
as the press characterise it. (Binge-watching /-viewing derives from binge eating or binge drinking.)
It can make you more critical – you can see more clearly the sameness of the plots and the
improbabilities when the writers desperately try to vary the formula.
It's not just the Bond series, which I used here as an example. A friend lent me a DVD set of the cult US series The Walking Dead so I could 'catch up' on it: I managed to get through several episodes before I felt my intelligence had been insulted enough, and gave up on it. Ditto with the BBC's new apocalyptic police thriller series Hard Sun which just began this week on BBC1. The entire first season of is already available on iPlayer pre-broadcast, so 'catchup' is not the right term here. I'm afraid I lost confidence in it after the first hour, and wonder if the BBC are also hedging their bets, reckoning that audiences will quickly lose interest in its baffling obscurities. It's open to run for 5 years, if enough viewers want to stick with it until world's end in some sort of unexplained solar radiation surge 5 years away. The plot mcguffin is a flash drive with a video presentation showing the doomsday facts and figures; MI5 is willing to kill police officers and kidnap their families to keep this secret; if the producers want to cut the series short, they can just have a character upload the video to YouTube and it won't be a secret anymore, hey presto.
On the other hand, binge viewing can lead to appreciation of a series that evolves intelligently. For my boxset this year, I asked Santa for the 6th and final series of the Elmore Leonard series Justified (2010-16), and having watched all 5 preceding seasons without its ever becoming predictable, am looking forward to watching all 13 hours of this during the January viewing drought.
Storylines In Review 2018