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Eye of the Sixties
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A man with a preternatural ability to find emerging artists, Richard Bellamy was one of the first...
The Least Likely Man: Marshall Nirenberg and the Discovery of the Genetic Code
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The genetic code is the Rosetta Stone by which we interpret the 3.3 billion letters of human DNA,...
Rock 'n' Film: Cinema's Dance with Popular Music
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Rock 'N' Film presents a cultural history of films about US and British rock music during the period...
The Booles and the Hintons: Two Dynasties That Helped Shape the Modern World
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In 1983 Gerry Kennedy set off on a tour through Russia, China, Japan and the USA to visit others...
Bob Mann (459 KP) rated The Guernsey Literary and Potato Peel Pie Society (2018) in Movies
Sep 29, 2021
“Contented with little, wishing for more”.
Here’s a curious little British film that has some merit, both as an entertainment vehicle and as a history lesson.
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Set in a split-timeline between 1941 and 1946, the film tells the story of Juliet Ashton (Lily James, “Darkest Hour“, “Baby Driver“), a young British writer who seems all at sea emotion-wise following the war. She is struggling to fit in with her high-society London life, and can’t seem to put her heart into either her publishing commitments, much to the frustration of her publisher Sidney (Matthew Goode, “The Imitation Game“, “Stoker“), or her boyfriend Mark (Glen Powell, “Hidden Figures“), the dashing and well-off American army officer.
Into this mix drops a letter out of the blue from Guernsey from a pig-farmer called Dawsey Adams (Michiel Huisman, “The Age of Adeline“, “Game of Thrones”), which leads her on a trail of discovery into the mysterious back-story of the strangely named book club. The secrets of the tightly-knit St Peter Port community, and what really happened during the Nazi occupation, come progressively to light as Juliet digs deeper.
Much as “Their Finest” shone a light on the rather invisible war efforts of the British propaganda film industry, so here we get an interesting and (I believe) relatively untapped view of the historical background of the German occupation of the Channel Islands. How many viewers I wonder, especially those outside of the UK, knew that the Nazis occupied “British” territory* during the war?
(* Well, strictly speaking, the Channel Islands are a “crown dependency” rather than being part of the UK per se).
Story-wise the screenplay splits the drama between:
the love triangle (which I almost took to be a love square at the start of the film… and to be honest I’m still not 100% sure!) between the main protagonists and;
the mystery surrounding Guernsey’s Elizabeth McKenna (Jessica Brown Findlay, “The Riot Club”, Lady Sybil from Downton Abbey).
In the first instance, you would need to be pretty dim I think, particularly if you’ve seen the trailer already, not to work out where the story is going to head! (Although, to be fair, I thought that about “Their Finest” and was woefully wrong!). I found this all rather paint-by-numbers stuff, but livened up immensely by a scene between James and Powell and a bottle of champagne which is wonderfully and refreshingly pulled off.
The second strand of the story is slightly more intriguing and provides the opportunity to see the wonderful Jessica Brown Findlay in action: it is just disappointing that she actually features so little in the film, and also disappointing that, at a crucial dramatic moment, the action moves “off-stage”. I wanted to see more of that story.
In terms of casting, Susie Figgis must have had a TERRIBLE job in casting Juliet: “Gemma Arterton not available…. hmmm… who else would fit…. think… think… think… think dammit….! Ah, yes!!” Lily James might be in danger of becoming typecast as a 40’s-style love interest. But she just fits the bill in terms of looks and mannerisms SO perfectly.
Elsewhere in the cast, Penelope Wilton (“The Second Best Exotic Marigold Hotel“, “The BFG“) is superb as the deeply damaged Amelia; Tom Courtenay is 300% better than in his last movie outing as the cranky old postmaster; and TV’s Katherine Parkinson impresses greatly as the kooky gin-swilling Isola Pribby. All in all this is a fine ensemble cast. (With James, Goode, Wilton and Brown Findlay there, it must have also felt like a “Downton Abbey” reunion party!)
I’d also like to say that the Guernsey scenery was gloriously filmed, but as this article suggests, most of it was actually filmed in glorious Devon instead! Given the Guernsey Tourist Board have been going overboard (at least in the Southampton area) on film tie-in advertising, this feels rather like false representation! But I’m sure its equally lovely!
So in summary, it’s a thoughtful period piece, with some great acting performances and well-directed by Mike Newell (still most famous for “Four Weddings and a Funeral”). I enjoyed it but I felt it moved at a GLACIAL pace, taking over two hours to unfold, and I thought a few editing nips and tucks on the long lingering looks and leisurely strolls could have given it most impetus. But to be fair, my wife and cinema buddy for this film thought it was PERFECTLY paced, giving the story the space it needed for the drama and Juliet’s state of mind to unfold. In fact she gave it “5 Mads” as her rating… top marks! For me though a very creditable…
Eye of the Sixties: Richard Bellamy and the Transformation of Modern Art
Book
In 1959, Richard Bellamy was a witty, poetry-loving beatnik on the fringe of the New York art world...
BankofMarquis (1832 KP) rated Lilies of the Field (1963) in Movies
Jan 31, 2022
Strong Performances by Poitier and Skala
The film that Sidney Poitier won his Best Actor In A Leading Role Oscar for (becoming the first Black Man to do so) is the type of film that is rarely made these days - a simple film of love, faith, friendship and inspiration.
Written by James Poe from the Novel by William E. Barrett, LILIES OF THE FIELD tells the tale of a drifter who is the answer to a Nun’s prayer. Praying to the God that she believes in, she asks for help in getting a Church built in the desert in Arizona.
Simply Directed by Ralph Nelson (fresh off his success with REQUIEM FOR A HEAVYWEIGHT), Lilies of the Field is a positive life (and faith) affirming film from start to finish that will touch your heart…and your soul.
Poitier stars as handyman Homer Smith who’s car breaks down where a group of Nuns are trying to start a parish (and get a church built). Following the machinations of Mother Maria (Lilia Skala - in an Oscar nominated turn of her own), Homer never leaves and ends up being inspired - and inspiring others - to get this church built.
But it is the journey - not the destination - of this film that matters. Homer is thwarted time and time again by Mother Maria in his attempts to leave and his protestations that this is the “final job, then I’m leaving” is met with steeled determination by Mother Maria who has an unflappable belief that Homer is the answer to her prayers.
This film hangs on the relationship between Homer and Mother Maria and these 2 fine actors deliver the goods. Poitier is a deserved winner of the Best Actor Oscar (though he would fret for years that his win was a “token” win - which it is not). His Homer Smith is charming and forceful with a “lost” look in his eyes when he first arrives in the desert. This, in turns, changes to fierce determination to get that church built.
The real hero of this film is the under-rated performance of Skala (who did a series of TV Guest star appearances in the 50’s, 60’s and 70’s but never really had a movie role - before or since - that would rival this one). It would have been tempting to make Mother Maria a one-note ice queen in her dogged determination - and belief - that Homer was sent by God, but in the hands of Skala there is a warmth in her eyes that serves as a counterbalance to her resolve.
It is the relationship of these 2 characters - and the ramifications of this relationship to the parish community - that is the soul of this film, and this soul runs deep. The relationship between Homer and Mother Maria is not, exactly, a friendship, but more of a strong work bond. 2 persons united in a common goal - for the common good.
Not the fastest moving of all films you will view, but the heart and soul that is at the center of this film - along with 2 very strong central performances - will warm your heart.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Written by James Poe from the Novel by William E. Barrett, LILIES OF THE FIELD tells the tale of a drifter who is the answer to a Nun’s prayer. Praying to the God that she believes in, she asks for help in getting a Church built in the desert in Arizona.
Simply Directed by Ralph Nelson (fresh off his success with REQUIEM FOR A HEAVYWEIGHT), Lilies of the Field is a positive life (and faith) affirming film from start to finish that will touch your heart…and your soul.
Poitier stars as handyman Homer Smith who’s car breaks down where a group of Nuns are trying to start a parish (and get a church built). Following the machinations of Mother Maria (Lilia Skala - in an Oscar nominated turn of her own), Homer never leaves and ends up being inspired - and inspiring others - to get this church built.
But it is the journey - not the destination - of this film that matters. Homer is thwarted time and time again by Mother Maria in his attempts to leave and his protestations that this is the “final job, then I’m leaving” is met with steeled determination by Mother Maria who has an unflappable belief that Homer is the answer to her prayers.
This film hangs on the relationship between Homer and Mother Maria and these 2 fine actors deliver the goods. Poitier is a deserved winner of the Best Actor Oscar (though he would fret for years that his win was a “token” win - which it is not). His Homer Smith is charming and forceful with a “lost” look in his eyes when he first arrives in the desert. This, in turns, changes to fierce determination to get that church built.
The real hero of this film is the under-rated performance of Skala (who did a series of TV Guest star appearances in the 50’s, 60’s and 70’s but never really had a movie role - before or since - that would rival this one). It would have been tempting to make Mother Maria a one-note ice queen in her dogged determination - and belief - that Homer was sent by God, but in the hands of Skala there is a warmth in her eyes that serves as a counterbalance to her resolve.
It is the relationship of these 2 characters - and the ramifications of this relationship to the parish community - that is the soul of this film, and this soul runs deep. The relationship between Homer and Mother Maria is not, exactly, a friendship, but more of a strong work bond. 2 persons united in a common goal - for the common good.
Not the fastest moving of all films you will view, but the heart and soul that is at the center of this film - along with 2 very strong central performances - will warm your heart.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Bob Mann (459 KP) rated Spielberg (2017) in Movies
Sep 29, 2021
On making Drew Barrymore cry.
“Spielberg” is an HBO-produced documentary by documentarian Susan Lacy. You’ll never guess who the subject is?!
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.
Steven Spielberg is a product of one of the most surprising revolutions in Hollywood in the late 70’s: one of a set of wunderkind directors alongside such luminaries as George Lucas, Francis Ford Coppola, John Milius, Brian De Palma and Martin Scorcese. These men (only men, it should be noted!) were ready to cock a snook at Hollywood’s traditional studio system to break rules (case in point, Star Wars’ lack of opening credits) and move cinema into the format that would last to this day.
As this excellent documentary makes clear, Spielberg was one of the least rebellious of the movie-brats. Even though (astoundingly) he blagged himself a production office at Universal (after hiding during the Tram Tour toilet stop!), his path to the top was through hard graft on multiple Universal TV shows, after recognition of his talents by Universal exec Sidney Sheinberg who speaks in the film.
Before we get to that stage of his life, we cover his childhood back-story as a reluctant Jew living in a non-Jewish neighbourhood, driven to fill his time with tormenting his sisters and movie-making with a Super 8 camera. Scenes of home videos, photos and his early attempts at special effects are all fascinating. The impact of his Bohemian mother Leah and workaholic father Arnold, and particularly the very surprising relationship breakdown that happened between them, go a long way to explain the constant return to ‘father issues’ in many of his films such as “E.T.”, “Close Encounters of the Third Kind”, “Hook” and “Indiana Jones and the Last Crusade”.
The majority of the film though settles down into a roughly chronological review of the highlights of his movie career, with particular emphasis justly being placed on some of the key watershed moments in that career. Most of his films get at least a mention, but “Jaws”, “E.T.”, “Schindler’s List”, “The Color Purple”, “Jurassic Park”, “Munich” and “Empire of the Sun” get more focus. It is such a wonderful trip down my cinematic memory lane. I also forget just what cinematic majesty and craftsmanship is present in these films: I just hope that at some point this will get a Blu-Ray or DVD release so it can be properly appreciated (rather than viewing it on a tiny airplane screen which is how I watched this): the combination of film clips in here is breathtaking.
As might be expected for a documentary about the great director, there is plenty of ‘behind the camera’ footage on show, some of which is fascinating. Spielberg could always get the very best performances out of the youngsters on set, from Cary Guffey (“Toys!!”) in “Close Encounters” to a heartbreaking scene where he reduces the young Drew Barrymore to howls of emotion in “E.T.”. A master at work.
All of the movie scenes are accompanied by new interview footage from Spielberg himself, as well as warm platitudes from many of the luminaries he has worked with in the past. Directors involved include many of the the directors referenced above, as well as those modern directors influenced by him such as J.J. Abrams; his go-to cinematographers Vilmos Zsigmond and Janusz Kaminski; his ‘go-to’ composer John Williams; and stars including his go-to ‘everyman’ Richard Dreyfuss, Tom Cruise, Harrison Ford, Bob Balaban, Tom Hanks, Opray Winfrey, Leonardo DiCaprio, Christian Bale, Dustin Hoffman and James Brolin. Some of these comments are useful and insightful; some are just fairly meaningless sound bites that add nothing to the film. What all the comments are though is almost all uniformly positive.
And that’s my only criticism of the film. Like me, Susan Lacy is clearly a big fan. It is probably quite hard to find anyone who isn’t…. but perhaps Ms Lacy should have tried a bit harder! There is only limited focus on his big comedy flop of 1979, “1941”, and no mention at all of his lowest WW grossing film “Always”. And there are only a few contributors – notably film critic Janet Maslin – who are willing to stick their head above the parapet and prod into Spielberg’s weaknesses; ostensibly his tendency to veer to the sentimental and away from harder issues: the omitted “Color Purple” ‘mirror scene’ being a case in point.
This is a recommended watch for Spielberg fans. On the eve of the launch of his latest – “Ready Player One”, a film that I am personally dubious about from the trailer – it’s a great insight into the life and works of the great man. It could though have cut a slightly harder and more critical edge.