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The Ghost Ship
The Ghost Ship isn’t a Jacques Tourneur film but it feels like one. Perhaps that’s because Tourneur’s editor, Mark Robson, is directing. And as well as misty gothic looks and a sense of foreboding, Robson has also borrowed from Tourneur his sense of psychological overload. The Ghost Ship isn’t a horror movie, or a supernatural tale, though it looks like one and even the title nudges us that way, much like Tourneur’s Cat People did. Instead it’s the story of a bright and capable third officer on board a ship who becomes increasingly alarmed at the behaviour of his captain, Will Stone, eventually blowing the whistle after becoming convinced that the captain’s cavalier … Read more
Shell
First The Substance, now Shell – is there room for more body horror about the perils of staving off the ageing process? Shell attacks the same subject from the same angle but uses different implements. The result is less Cronenberg-inspired, as Coralie Forgeat’s The Substance was, more Paul Verhoeven, a cautionary tale with a leer and yuks. Director Max Minghella signals he has Verhoeven in mind in his very first shot – of Elizabeth Berkley in a bath trying to hack black lumps off her leg. She was the star of Verhoeven’s infamous Showgirls, a film that all but ruined her career and didn’t do anything for his – two barrels of old-fashioned, … Read more
Manthan
The title of the Indian film Manthan is often rendered in English as The Churning – not some psychological state of distress but actual physical churning. As in rich, creamy milk into butter and whey. Because this is a film about the setting up of a milk co-operative, financed by the dairy farmers it’s all about. Before you doomscrool away, it’s a fascinating film, from its unique opening title card – “500,000 Farmers of Gujarat present… Manthan” – to its triumphant conclusion. Along the way there is triumph over adversity and collective action prevailing over greedy self-interest in what’s essentially an underdog story playing out under the umbrella of benign government intervention. How far away we … Read more
All of You
Technophobe romance, kind of, All of You is a little bit Eternal Sunshine, a little bit One Day. Set in an adjacent future (the present day with a tech curlicue), it imagines a world where romance is curated by tech companies promising there is someone out there for everyone and that they are just the company to do the hooking up with Miss or Mr Right. What could possibly go wrong? Quite a lot, it turns out. Because human emotions are not lines of code. They not only don’t play to a script, they’ll go out of their way to actively undermine it. Laura and Simon are old university buddies. He’s in love … Read more
Moonlight Sonata
It’s not often that you get to see a former prime minister in an acting role. Or a great classical pianist, for that matter. In 1937’s Moonlight Sonata you get both, and in the shape of a single person – Ignacy Jan Paderewski, the Polish pianist who gave up his music career to serve his country as prime minister, then gave it up again decades later when his country repeated the call during the Second World War. There are two films awkwardly sandwiched together here, both featuring Paderewski, who’s functional in the first, ornamental in the second. The first opens with 20 minutes of straight-up footage of Paderewski playing in a concert hall. … Read more
Santosh
The odd Indian eventuality of a cop’s wife taking his job if he dies in service is the driver of Santosh, documentarian Sandhya Suri’s feature debut, a fascinating and thrilling Serpico-style story of corruption, discrimination and the outsider/insider dynamic. Suri does it largely in documentary style. After a fly-on-the-wall introduction to Santosh, a widow threatened with destitution because her dead husband’s family have no interest in supporting her, we’re into the meat of the story – Santosh discovers there is a way for her to earn a living. Under the “compassionate recruitment” scheme, she is offered a faint simulacrum of her husband’s job – “lady police work” the officer interviewing her says. Once … Read more
Manon
Manon isn’t Henri-Georges Clouzot’s best film by a long stretch but it is a great example of how good he was at what he did. A richly detailed story about an amoral woman and the man she falls for, its interesting personal angle is that Clouzot is possibly using it to examine his own behaviour during wartime. The story is an updating of Manon Lescaut, by Abbé Prévost, a story familiar to most French people, who would also be familiar with the other “Manon” – Manon des Sources (which has also been turned into a film several times). Not to be confused. Prévost’s story remains popular because there’s sex and scandal aplenty in … Read more
40 Acres
Prepping for the apocalypse seems to be mostly a white thing. 40 Acres rebalances things a touch. A paranoid survivalist drama set in a world where the “animal biosphere” has been killed off by a pandemic, and a civil war has further screwed things up, most of it plays out in a compound where a non-white family headed by Danielle Deadwyler’s Hailey and Michael Greyeyes’s Galen try to put some some semblance of life back together while fending off attacks from beyond the stockade perimeter. That “40 Acres” alerts us that something racial going on here. It’s a reference to the 40 acres and a mule promised to freed slaves during the American … Read more
Blues in the Night
A jazzy, noirish take on the “getting the band together” drama, Blues in the Night benefits from crisp images and snappy dialogue. On the downside, everyone in it is about ten years too old for their role, there is quite a lot of “hep cat daddio” slang to digest and the racial politics are a mess. But if you can take the rough with the smooth, it’s bright and well paced, with a good plot, interesting acting and even a few good tunes – look on it as a semi-musical, maybe. It’s also the film that convinced Elia Kazan to pack in acting and take up directing. He says he was convinced he … Read more
Dying
How’s this for an opening shot. An old woman in distress on the floor in her nightie, shit down one of her legs; behind her an old guy jigging dementedly, naked beneath his open blue shirt, genitals flapping in the breeze. Dying (Sterben in its original German) is billed in some quarters as a black comedy. Brown might be closer to the mark. It’s a very, very dark colour either way. Find your jollies where you can with this one. A companion piece to Michael Haneke’s Amour, maybe, it paints a bleak picture of old age, and follows the two oldsters, Lissy and Gerd – she still just about keeping up appearances, he … Read more
Stranger on the Third Floor
Peter Lorre is top-billed but he’s really just the seasoning in Stranger on the Third Floor, often described as the first film noir. Lorre owed RKO a couple of days on his contract and so got shoe-horned into Boris Ingster’s directorial debut, bumping John McGuire from poll position. The film doesn’t need Lorre to work, but he adds off-whack flavour to the portrayal of an escaped lunatic – a scant handful of scenes, not that much to get excited about. In 64 tight minutes, Ingster, cinematographer Nicholas Musuraca and writer Frank Partos do two remarkable things. First, they make a thematic break with the crime movies that came before to deliver an indictment … Read more
Wish You Were Here
So you’re Julia Stiles and you decide to have a crack at directing a feature film. Wish You Were Here is the result, and, well well, if it isn’t a mash-up of precisely the sort of films Stiles used to star in when she was starting out, rom-com, girl-next-door, travails-of-the-teen-spirit-y kind of stuff – Ten Things I Hate about You most notably. She also wrote Wish You Were Here so this choice is clearly deliberate. Possibly Stiles is laying ghosts to rest or laughing at herself, it’s hard to say. What is clear is that her film is a mess until it properly works out which of the various early-Stiles-adjacent genres it really … Read more
