LFF: The Sapphires Gala Report

As Chris O’Dowd and his beautiful female co-stars walked up the blue, sequined carpet at the London Film Festival, it was clear that the night ahead was to be a terrific fun. Before the film actually got screened audiences where party to a showing of young director Nick Pratt’s Summer In The City, the winning entry of Nintendo 3DS: 'A Vision In 3D'. It was a short, well crafted 3D celebration of the very British year gone by.

After the eye-popping 3D, more of what we see on the big screen was to appear right before us as the director and cast of The Sapphires made their way on stage to discuss how they got their role in the film, as well as some history of the play and inspiration behind it. O’Dowd, now used to the red carpets, junkets and premieres was casual and funny but his co-stars were brimming with excitement about the whole event. It was nice to see such passion and gratitude from the female stars, all very humble in what they said about themselves whilst vehemently stressing the fabulousness of the film.

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Once the film had finished certain members of the audiences were invited to the after party at Aqua Neuva in Oxford Circus. True to form, O’Dowd was there kindly welcoming and thanking fans as well as graciously embracing all those who wanted an autograph or photo. I spoke to him briefly and thinking he would have already answered an insane amount of questions on The Sapphires, wanted to find out about his new project, Calvary (directed by The Guard’s John Michael McDonagh). His first words on the film were “It’s very, very dark” (Calvary described by the director as a black comedy), whilst mentioning he had actually shot some of it this morning – “you must be tired” I said, “Not with this happening” replied the Gala’s main man. He couldn’t remember when Calvary started shooting, or how much was left, as his TV programme Moone Boy was shot around the same time and had confused his idea of scheduling, but he was excited about each project and how well they were coming along.

As everyone had apparently been welcomed in to the party Jessica Mauboy got on a small stage and belted out a few classic soul songs. After two solo performances she invited up the rest of the Sapphires and Mr. O’Dowd in a performance of “Can’t Help Myself”. Afterwards, the four girls finished with a recital of an aborigine song that nicely mellowed everyone out before the DJ started shuffling through some classic Motown.

As the room filled with people some moved outside onto the cool terrace. Taking in the magnificent view of the London skyline, I found myself standing next to Miranda Tapsell doing the same thing. I congratulated her on the film and the amazing performances, both with acting and singing. She was incredibly genial and spent 10 minutes chatting with me on the experience and reception of the film. “I had always wanted to be part of this project in some way after seeing the play” Tapsell stated. “I still can’t believe all this.” She was very sweet about a new-found stardom but as I asked about new parts being sent in for her she answered, “Well, the film is only a small Australian production. It’s not the same situation as with someone like Jennifer Lawrence who can be in a big Hollywood film like The Hunger Games and immediately be called up after it premieres. I have gone to a few auditions but the film honestly hasn’t had a huge impact just yet. Maybe soon though...” she modestly pondered. I expect her phone won’t stop ringing after this film’s general release.

Inside, Jessica Maulboy stood close to the stage, as if primed to get up once more to sing. Surrounding her were partiers wanting to shake her hand and praise her for part in the film. I got a few moments with her and, like with Tapsell, asked her what was next. “I’m actually working on my third studio album. I mainly work within music and try to act whenever the opportunity arises. That’s why when The Sapphires auditions came about I jumped at the chance – combining two things I love in a story so inspirational”.

Before I left I quickly shook hands with Deborah Mailman and Shari Sebbens, the former answering a quick question on the release of the soundtrack – “Sometime in November, I think. It’s very exciting; I hope it does well” Judging from a few more people asking the same question to Maulboy as I said goodbye, there’s no doubt it will be just as popular as the film.

By Piers McCarthy. Also posted on Blogomatic3000. Review for the film can be found here.

LFF: The Sapphires Review

Director: Wayne Blair

Writer: Tony Briggs, Keith Thompson

Starring: Chris O’Dowd, Deborah Mailman, Jessica Maulboy, Shari Sebbens, Miranda Tapsell, Tory Kittles

Plot: Four aborigine women with a great talent for singing struggle during the turbulent era of the late 1960s when it comes to equal rights. Their own country won’t accept them for who they are but when an Irish talent scout, Dave (O’Dowd), stumbles upon them, he brings them to Vietnam to perform for the troops (without the matter of race preventing their success).

The stage show of The Sapphires is lovingly referred to in many sequences of the film adaptation. Blair’s direction is very theatrical – whether it is in framing, sets, or prop and character positioning – and completely befitting of this type of film. The story based on factual events is extraordinary and at times seems hard to believe; this is where the artificial aspects of the aesthetic are incorporated appropriately. It’s a tale of magical talent and spirit – juxtaposing natural acting and a fantastically phenomenal plot.

The Sapphires in an exercise in exuberance and often it seems tough to restrain yourself from getting up in the cinema audience and applauding after song numbers. Watching the film is like being in seats of an archaic theatre, watching a story unfolds partly through set decoration but also from your imagination. As the four ladies get up to sing on stage your mind does envisage a bigger band, a larger audience, and a grander stage all around the Sapphires – as much as you may do seeing it as a play. On occasion the feigned elements bleed through and some characterisations of the Sapphire sisterhood drifts into token territory but this is even satirically noted by Dave giving each band member a title (“the lead singer”, “the pretty one”, “dance captain”).

With moments of political commentary the film is not completely light and entertaining. What makes the four singers’ story so interesting are the hardships they had to face in order to achieve something. Where the emotional punches are made (as well as some actual punches thrown in one scene) they ring strong and true. The tonality has, after years of stage tours and receptions, been tidied to both entertain and inform.

O’Dowd plays a part uncommon in his opus so far – advertising his funny bone as normal but also a terrific singing voice. The most attention-grabbing aspect is, however, the new talent in the form of the Sapphire actresses. The women all bring their own history and experience to their roles, giving the film enormous vitality and allure. Deborah Mailman (who has played the role of Gail for a number of years already) secures the drama whilst the rest of the women dance around with genuine joy. The soul that Dave strives for in the Sapphires’ performance is so evident and infectious thanks to the actresses obvious adoration of the music. Jessica Mauboy has in real life released two solo albums and her casting as the lead vocalist was very smart. Shari Sebbens and Miranda Tapsell are given less grounding within the narrative but can still outshine the other cast members if need be, as well as taking over vocals when the occasion calls for it. Tapsell, especially, has a fiery quality that immediately takes the edge off some of the more gloomy issues of discrimination that her character and supporting family face.

The Sapphires is unexpectedly superb for a film based on the monotonous under-achiever story arc. It could have become overpowered by cliché and dainty sentimentality but it remains focused in telling a dramatic story mixed with tremendous soul. The music has been chosen fantastically well and the soundtrack elevates the film to new heights (far beyond the tripe of ABBA in Mamma Mia and criminal covers in Glee). The acting and direction is great, and even with some tedious plot points its aim to delight is completely accomplished. It certainly won’t be for everyone, but for those wanting a fun trip to the cinema it will certainly pass the hours well; this film is an absolute crowd-pleaser that will have you toe-tapping and finger-clicking all the way through. 

****

By Piers McCarthy. Also posted on Blogomatic3000. The Gala report for The Sapphires can be found here

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LFF: Everybody Has A Plan Review

Director/Writer: Ana Piterbarg

Starring: Viggo Mortensen, Soledad Villamil, Daniel Fanego, Sofia Gala, Javier Godino

Plot: After being part  of the murder of a local man, a cancer-stricken Pedro (Mortensen) flees his rural home in order to find his doctor brother, Agustin (also Mortensen), and hopefully get some help. After Agustin kills his brother (somewhat out of anger and compassion to save Pedro from dying slowly and painfully from cancer) he takes his identity and goes back to Pedro’s rural shack in hope of starting a new life and writing all his brother’s wrongs.

When an actor completely subverts their star persona the result(s) can be either eye-opening or gravely disastrous. Viggo Mortensen is not regularly associated with one genre or character type though it’s still a wonder as to how he decided to adopt the Spanish language for his latest film, Everybody Has a Plan. His part in the film is (true to form) excellent however it’s enveloped in a mediocre story that is entirely forgetful.

Chances of this film succeeding without the Lord of the Rings and History of Violence star are minimal as it offers nothing beyond the odd story of an identity swap and criminal activity. The story sounds interesting enough but it’s a banal series of events that occur in the narrative, erasing all intrigue and attention.

The cast are all adept, Mortensen especially, and attempt to flesh out their one-dimensional characters as much as they can. Mortensen can hold the film by his own but it’s nice to see others getting opportunity; sadly the only cast member allowed that within the script is Sofia Gala’s Rosa – Agustin’s love interest once he enters the marshy landscape of Tigre. The villain, Adrian (appealingly brought to life by Daniel Fanego), could lift this film out of the figurative mud but he gets very little screen time.

Perhaps with a lot more work Everybody Has a Plan could have been something great. The environment, dark, damp and dangerous is a richly textured setting that could have been explored to a degree. Odd side-plots that try and distract you from the tedious story should have been replaced with greater attention to the leading characters. The film almost becomes a warning for actors not to tread foreign waters and whilst this should not be the case it is worryingly apparent.

**

By Piers McCarthy. Also posted on LiveForFilms

LFF: Argo Review

Director: Ben Affleck

Writer: Chris Terrio, Joshuah Bearman (original article)

Starring: Ben Affleck, Bryan Cranston, Alan Arkin, John Goodman, Victor Garber, Tate Donovan, Clea DuVall, Shoot McNairy, Rory Cochrane, Kyle Chandler

Plot: After the American coup d’état of the Iranian government in 1968, Iranian civilians revolt and hold several American embassy workers hostage. 6 escape and hold up, secretly, in the Canadian embassy. As their sanctuary becomes compromised it’s up to the CIA and one agent’s hare-brained scheme to get them out.

In some circles it’s known as the “McTiernan run” – three consecutive films wildly popular, highly regarded and sudden classics. Based on John McTiernan’s trio of grade-A films – Predator in 1987, Die Hard in 1988 and The Hunt for Red October in 1990 – the film-critic category is something to be favoured for those understanding the reference. Ben Affleck has just been added to the group, scoring a hattrick with Gone Baby Gone, The Town and new-release, Argo. Affleck always suffered some criticism with parts in Pearl Harbour and Jersey Girl though his move into directing has left him invulnerable to any further attacks. The man has clearly found his better calling and whilst he still acts (and decently, for that matter), his skill in the business is quite clearly calling the shots.

Affleck didn’t exactly need to mature with new project choices as Gone Baby Gone and The Town were equally profound and tough movies to make, yet he has not backed down in spotlighting his knack for storytelling. Behind and in front of the camera, Affleck is a commanding presence though never in an egotistical manner. In fact, Argo seems him as the lead but a quiet and restrained one at that. The main pull for the film are Bryan Cranston, Alan Arkin, John Goodman, and Scoot McNairy who superbly support Affleck’s efforts as the protagonist. Most of the elements fit together wonderfully and if any criticism is to be made its the middle part of the film has less input from the characters of Cranston, Arkin and Goodman than what would be desired. As Affleck’s Dave travels off to Iran, all three are left behind in the States to manage the mission from home turf. When we see a more balanced set of storylines (cutting back and forth between Dave abroad and the CIA and Hollywood personnel) the film seems gloriously energised but the occasional departure of this formula does drain the film of some drama.

Slight flaws can be excused for the sheer satisfaction you get from watching Argo. The plot almost seems overtly ridiculous but you must remind yourself of the “based on a true story” subtitle at the very beginning. Few alterations have been made to this extraordinary story and all the way through you sit there in stupefaction at the bravado of the plan. Even as you may know how the story ends –  with it being a semi-autobiographical representation – the tension never wanes one bit.

As a film and a movie – to study and enjoy – it can please on all levels. Aesthetically, it’s gorgeous; with Affleck referencing the classic 70s political thrillers (i.e. All The President’s Men and The China Syndrome) and enhancing that idea by shooting on regular film and magnifying it widescreen in age of digital presentation. Soundtrack would be up to par with the visuals were it not for some non-diegetic tracks getting cut short (The Dire Straits’ “Sultans of Swing” being one example) and a score that has little to add to the already-fantastic sound of the snappy dialogue. More often than not, every part of Argo is polished, demonstrating Affleck’s natural gift for crafting a film.

Argo is a pure triumph in every way; expertly written, directed and acted. Unexpectedly hilarious at points, making it not only intriguing and compelling, put amusing too (“It’s the best bad idea we have” is one example in a flurry of laugh-out-loud lines). All recognition must go towards Affleck who compiled a top- troupe of cast and crew without making it a display in blowing one’s own trumpet. Affleck knows what works and the finale of the film greatly advertises that notion. Cinematography and editing is tremendous throughout but by the end it’s in a whole different league – awards-worthy directorial technique. You leave Argo astonished by what you have seen and completely in awe of the cast and crew’s proficient contribution to filmmaking.

*****

By Piers McCarthy. Also posted on LiveForFilms

LFF: Accession Review

Director/Writer: Michael J. Rix

Starring: Pethro Themba Mbole, Vusumuzi Ndumo

Plot: After finding out a one-night stand has led to him contracting HIV, John (Mbole) tries everything in his power to rid himself of the virus.

During Irreversible’s shocking rape scene, many cinema-goers fainted, threw up or walked out – it was a reminder of how powerful film can be at times. Chances are Accession will garner similar reactions as it unflinchingly shows two rape scenes, both with minors (minor in the most extreme sense of the word).

Following the main character John with a hand-held camera up close leads to believe we understand the man. At points, you can often see expressions in his face that allow you some insight into his mind but otherwise, he is a mystery. What he plans to do is never expected and the two scenes that will generate great discussion and debate are horrifyingly sudden.

It is a film that runs its course very fast and with too many static shots of little to no action it’s easy to think of the film as a strung-out short. Many sequences with heavy dialogue are cut up recklessly adding no value to the film and making the pace uneven. One interesting aspect to the film is its colour that fades from bright oranges/reds of the sand to a grainy black and white as John gets more ill and more desperate. It’s a very subtle piece of aesthetic engineering that once noticed adds to the moral message reflected throughout.

Pethro Themba Mbole and Michael J. Rix are very bold and brave for making this film though it’s too rough around the edges to make it seem special. It’s certainly memorable through the pivotal scene but other than that it’s too bland.

*
By Piers McCarthy. Also posted on LiveForFilms

LFF: End Of Watch Review

Director/Writer: David Ayer

Starring: Jake Gyllenhaal, Michael Peña, Natalie Martinez, Anna Kendrick, David Harbour, Frank Grillo, America Ferrera

Plot: After suspecting one civilian of drug-running, officers Brian (Gyllenhaal) and Mike (Peña) pull over the possible criminal only to find themselves arresting a member of a dangerous drug cartel whose associates will stop at nothing to kill them.

After writing the Academy Award-winning Training Day, David Ayer seemed like a promising and powerful new voice in Hollywood. His next few films that included Harsh Times and Street Kings capitalised on his knowledge of L.A. crime and the police but both were quite dull movies. After a four-year hiatus he is back with End of Watch and once more proving his skills when it comes to examining the relationship between police partners and the dangerous work that is required of them. Ayer’s new release focuses (yet again) on a white and Hispanic police duo whose close bond and lives are forever jeopardised by the hostile environment of a crime-ridden South Central L.A.

Harsh Times’ biggest error was placing too much emphasis on the cultural clash between Christian Bale and Freddy Rodriguez as well as centering much of the film on the extremely unlikeable Bale character. End of Watch is far more removed from that agenda yet still maintains the gritty and tough aesthetic that elevates tension and drama. Jake Gyllenhaal’s Brian and Michael Peña’s Mike are habitually joking around about their altering ethnicities (without tediously pontificating on the subject) and never fall under the category of unlikeable. On the contrary, what makes End of Watch so engaging is the pair’s clear chemistry, affability and believable evolution through the film. Ayer’s script is either incredibly taut and authentic or Gyllenhaal and Peña’s improvisation is expert – in whichever case, the dialogue always seems natural. 

The level of realism is additionally brought forth with the hand-held camera work advocated perhaps superfluously. Brian is supposedly working on a project which, for exposition’s sake, means he carries a camera around with him almost constantly, along with two small ones clipped on to his and Mike’s uniforms. These particular set of viewpoints do not appear distracting to begin with and it’s only when Ayer adds a barrage of various other shot types to set up a scene that the film’s design becomes questionable. What stigmatises it completely is the rival, villainous drug cartel also recording their day-to-day lives, which includes confidential discussions of all their drive-bys and executions, along with footage of the events themselves. Ayer’s idea to see both sides from the perspective of home-video cameras is frankly messy once the criminal’s document everything and anything that could easily get them imprisoned.

The depiction of the villains is not as enthralling as Ayer may have hoped (though the two main criminals are incredibly repulsive and malignant to an effective degree) though it sets up an array of nail-biting scenes. The notion that danger lurks around every corner is exemplified throughout the scenes on the streets as Brian and Mike get themselves into horribly perilous situations, all pinned with the thought that the cartel are waiting all around. These sequences are where the buttoned cameras are acceptable – worryingly close to the action and bringing tremendous atmosphere to the scene in which they're used. 

As a film it boasts some fantastic performances, an impressive script and striking visuals. It never fails to entertain and, if anything, it runs too short. The arresting (no pun intended) portrayal of Brian and Mike from Gyllenhaal and Peña that drives End of Watch is a refreshing and captivating spin on the “buddy cop” relationship; one would hope the two act together again in the future as you honestly can’t get enough of their charisma. All in all, one of the best cop dramas/thrillers to come out in recent years and one that deserves a huge audience.

****

By Piers McCarthy. Also posted on LiveForFilms

LFF: After Lucia Review

Director: Michel Franco

Starring: Tessa la Gonzalez Norvind, Hernan Mendoza, Gonzola Vega Sisto, Tamara Yazbek Bernal, Paloma Cervantes, Juan Carlos Barranco

Plot: Trying for a new life after the death of Roberto’s (Mendoza) wife/Alejandra’s (Norvind) mother, Lucia, father and daughter move to a new city and try and ease into a new job and school, respectively. Alejandra is welcomed to her new school to begin with but after a one night stand with a boy in her class she becomes the victim or malicious bullying. Without telling any of the teachers or her father, Alejandra suffers silently.

A tale of bullying could be exploitative if the writer(s)/director(s) felt like compiling a list of disturbing scenarios to add drama to their film. After Lucia could almost be seen as a melodramatic representation of bullies at their worst but it never feels manipulative, and what is shown is believable...horribly so. Tension amounts from the very first scene up until the end with long, static shots that build up a sense of “Where is this going? What may happen in the next second or two?” It is an unflinching depiction of torment, secrecy and bravery that will stay with you for hours, days, and weeks after.

Michel Franco’s first feature-length film (Daniel & Ana) similarly dealt with issues of confrontation and extreme disruptions of happy living. He is quite masterful at crafting uncomfortable atmospheres where the frame is regularly filled with frantic action. The notion that something horrendous may occur is then contrasted with moments of solemnity where you start to question any degree of comfort. After Lucia painstakingly ticks through moments of tension and toils that are outstandingly dramatic.

Chaos could easily ensue with a story like this and with all that Alejandro goes through many may think, “She’s bound to commit suicide” or “She will eventually lash out”. Nevertheless, what becomes more troubling is how the character bottles up all her emotion and never once cries. It is a testament to Tessa la Gonzalez Norvind who is simply stunning in this film. What she has to go through – physically and emotionally – to portray Alejandra requires a lot of skill and she is remarkable. What we can only assume is going through her mind as she is assaulted, insulted and even raped (or so we believe) is frightfully disturbing. Franco does not explore the psychology and instead leaves it, craftily, for the audience to experience the pain themselves in some ways. As Alejandra silently takes all of the bullies’ taunts and slaps, it is mostly up to the audience to channel the despair.

It is, at points, a dangerously affecting film that boils your blood. The bullies become increasingly evil with each new ordeal they put Alejandra through, to a point where you want karma to strike them down as unmercifully as possible. One bully is reprimanded with fatalistic results and never seems morally questionable but, in fact, justified for the little bastard. Not all elements of the story are fittingly resolved yet it has no effect on the merit of the film, it just makes you yearn for an additional 30 minutes in the run-time. The story is as open-ended as it serves to highlight the everyday nature of this behaviour; bullies usually never get as disciplined as they should, possibly because the victim is as a quiet as someone like Alejandra.

A compelling and powerful film that stresses the disgusting aspects of human nature as well the troubling issue of stoic victims who are too forgiving/apathetic to do anything about their plight. As instructive as it is engaging – leaving you with various things to think about and a burning desire to help stop anything like After Lucia’s events from happening.

*****

By Piers McCarthy. Also posted on LiveForFilms