I've Just Seen: My Beautiful Laundrette (1985)

My Beautiful Laundrette (1985)



Director: Stephen Frears

To understand this film, it helps to know the political landscape it was reacting to; Thatcher's Britain. Society, she said, no longer existed, and it was about the individual. Frears' film looks at this idea as it operates in a community of British Pakistanis and some fascist youths. The corruption of capitalism and racism on family relationships is explored through our main character Omar, who wants to be successful like his uncle, who runs a slew of local businesses.

Of all the relationships in the film, the one that is the most genuine and honest is that between Omar and Johnny, his friend from school who has since become a fascist. They put aside any differences, as Omar offers Johnny a job helping him refurbish a run-down laundrette, and become lovers again. Making the interracial, homosexual relationship between these two the film's heart would have been daring for the time.

The performances in the film are all very good, with Daniel Day-Lewis as Johnny and Saeed Jaffrey as Uncle Nassar as the standouts. The cinematography, with its grainy film, adds to the bleak and stark England presented by the film. The story is a clever one, supplying no simply black-and-white characterisations, but giving each character choices to make about how they act, and these choices have ramifications on others. A very good film that explores issues and ideas through well constructed characters.

I've Just Seen: The Way We Were (1973)

The Way We Were (1973)



Director: Sydney Pollack

I like both Barbra Streisand and Robert Redford as screen presences; they are very good actors, and I have enjoyed all of the roles I have seen Streisand do. Having both Babs and Redford together seemed to guarantee enjoyment. While they are both good in this, Streisand in particular, I had some major misgivings with the film.

Reading about the history of the film's production on Wikipedia, the unfocused story of The Way We Were made more sense. I thought I was in for a culture-clash romance; I got some of that, but also dips into McCarthyism and Hollywood. The film didn't seem to know which to focus on, the result being two rather undeveloped storylines. Mixing the two could have been done in an interesting way, but those who want a romance between Redford and Streisand might not want to see a film about the House Un-American Activities Commitee (or communism), and vice versa.

The film is romantic and Streisand and Redford have good chemistry together, but apart from that there is not much else to this film. The famous theme song, with its melancholic tune, hides the fieriness of the couple's relationship, but suits the film's ending. Watch for Babs being awesome.

I've Just Seen: The Martian (2015)

The Martian (2015)



Director: Ridley Scott

I hadn't been to the cinema for a few months and was feeling the urge to see something on a big screen. The Martian had been on my radar, but I had not seriously considered it; unfortunately Ridley Scott's recent works have been disappointing. However, the positive reviews changed my mind, so rather than waiting to watch it sometime next year on my television, I went to see this in all its non-Vmax, non-3D glory.

I am glad I did. The Martian, like so many science fiction films, looks fantastic on the big screen. Mars, with its rich orange-red colour, was a great co-star with Matt Damon, whose Mark Watney was far less annoying to spend time with. The script was well paced, though I would have liked more time with the Ares crew (particularly as I am on a Chastain-a-thon at the moment). The special effects are wonderfully woven into the film; it supports the story rather than drawing attention to itself.

There is little room for existential crisis in this film; there is little doubt that NASA will not try to do as much as possible to bring Watney home, and the boppy disco soundtrack makes one too happy to think about how close one is to death. Science itself is an important part of the film, and proved less 'wha?' inducing than that featured in Interstellar.

I left the cinema feeling thoroughly entertained, which is what I expected to be. I also stayed to the end of the credits, and from them learnt that only did the film apparently create 15, 000 jobs, but a large portion of those were for Hungarian people; much of principle photography took place in Hungary as it has one of the largest sound stages in the world. Moral of the story: stay for the credits, you'll never know what you will learn. 

I've Just Seen: Camera Buff (1979)

Camera Buff (Amator) (1979)



Director: Krzysztof Kieslowski

Kieslowski's command of imagery bespeaks a deep love for the medium of film. One could imagine that this love vies with other loves in his life (as well as being a platform for him to explore them). Filip, the protagonist of Camera Buff, develops an obsession with making films. I couldn't help wonder if this was slightly auto-biographical, that Kieslowski was tapping into a part of himself that he is aware about.

Set in during Poland's Communist era, there are also ideas of censorship and self-expression in this film; about what one should and should not show, particularly making documentaries. Politics plays a huge part in the story, particularly its effect on personal relationships and personal integrity. Filip finds his attempts at telling the truth with his film curtailed, and the personal use - recording his newborn daughter - disregarded.

The cinematography paints 70s Poland as a drab place to live, with washed out colours and flat lighting. This is striking when one considers the significance of colour in Kieslowski's later films.  The performances are all good, Jerzy Stuhr particularly so as Filip. If you enjoy stories about filmmaking and the challenges faced in maintaining control over your vision, you will find Camera Buff a clever exploration of these ideas. It also offer an opportunity to see where the director of such beautiful films like The Double Life of Veronique and the Trois Coleurs trilogy started.

I've Just Seen: Zero Dark Thirty (2012)

Zero Dark Thirty (2012)



Director: Kathryn Bigelow

I have found myself on a bit of a Jessica Chastain marathon of late; entirely unintentional but it is proving to be a treat. I've watched her in Take Shelter, this film, The Martian, Interstellar and Crimson Peak. Of them all, Zero Dark Thirty provides her with the most screen time, as it follows her character Maya's pursuit of Osama Bin Laden (or UBL as he is referred to in the film).

Chastain's performance is central to the film, and she is phenomenal. Her character has no other purpose in life than eliminating UBL; the few people she shares any moments of friendship with end up leaving or dead. The supporting cast are very good, particularly Jennifer Ehle as Maya's friend Jessica, and Jason Clarke.

The interplay of fact and fiction is woven together to create a story that places you in the emotions of those working to find UBL. I am less concerned with historical fact than if the story works, and its does here. I believed in the intensity of Maya's focus, and the pain and setbacks she experiences. Bigelow's direction is suited to the material; she has stepped back slightly to allow us to observe these people work. We a left to wonder about the choices they make; the infamous torture scenes a presented with little comment, and we are left to judge what they did.

A very solid film that takes us into the world of intelligence gathering, and presents us with the drive required in order to be successful, as well as the personal and emotional cost of such a journey. 

I've Just Seen: Center Stage (2000)

Center Stage (2000)



Director: Nicholas Hynter

I had not meant to watch Center Stage; it just happened to be on TV, and before I knew it I had watched half of it. I love dancing: practicing, performing and watching it. I have a soft spot for dance films, which means that if the dancing sequences are good (and lengthy) I will overlook a movie's shallow acting and weak plot. Center Stage has both of the latter, but also has a lot of dance sequences that are great.

There is not much else to say about the film. If you like dancing in general, you will find something to enjoy. If not, there are other dance films that are more engaging; The Red Shoes, which is referenced in this film, is probably the best, followed by those of Bob Fosse, particularly All That Jazz. 

I've Just Seen: The Big Lebowski (1998)

The Big Lebowski (1998)



Director: Joel Coen

I wouldn't say that I am a dyed-in-the-wool Coen Brothers fan, but I have enjoyed many of their films. They clearly love cinema, a circumstance that enhances their films for people who have a similar love. The Big Lebowski, both in its title and convoluted plot, references the film noirs of the 40s, though aesthetically couldn't be much further from them.

The Coens are strong on character; 'The Dude' is a great creation, smarter than he looks (and much smarter than his friends), caring for his friends, but mostly looking out for himself. John Goodman's Walter Sobchak almost stole the film for me, with his hilarious tirades about his war experiences and his Jewishness.

As I said, the plot is deliberately incomprehensible, in a similar fashion to Hawks' The Big Sleep. Much like 'The Dude' we don't know why things happen, or who is responsible; we just roll with it. The script is very clever, with so many quotable lines (my favourite was "It really tied the room together." Like 'The Dude,' I love a good rug).

While I am not have loved this as many do, it is very funny and clever; I can imagine it being even funnier on repeat viewing as more of the speeches sink into my brain.