Seek Out Section: The Mosquito Coast Review

Director: Peter Weir

Writer: Paul Schrader

Starring: Harrison Ford, River Phoenix, Helen Mirren, Conrad Roberts, Andre Gregory, Martha Plimpton, Dick O’Neill

The Mosquito Coast was born out of Paul Thoreux’s novel of the same name. The main character, Allie Fox (Harrison Ford), is a forthright “genius” whose disillusionment in US ideals leads him to move his family away from the “land of the free, home of the brave”. He chooses Belize (whose national anthem is coincidentally titled “Land of the Free”) and the darkened jungles of Jeronimo as their new home. Here they build a new community using the earth and forestation around them, along with devices and materials manufactured by Allie. The drive to help him and his family feel rejuvenated from living off the land is an all too powerful incentive that alienates Allie from his sons, daughters and wife. His son, Charlie (River Phoenix), has to become the buffer between his father and the people around him, leading to a great deal of tension. Over his time in a new land, the paradise that Allie hopes to invent starts to look unattainable.

Explorations into the conditions of living are a forté of director Peter Weir. Weir’s job has, in a sense, given him a nomadic lifestyle, leaving his films with an authentic outlook on existing. The Amish community of Witness, the televised, artificial life in The Truman Show and the jungle settlement of The Mosquito Coast are examples of Weir’s most rich and absorbing environments. The latter, especially, that looks at a tribal and utopic land is worlds apart from the settings of Western cinema, but Weir captures it with an assured articulation of its atmosphere.

Working with two past collaborators, cinematographer John Seale and composer Maurice Jarre, Weir competently constructs Thoreux’s vision. The oasis of the jungle is seen as a comforting and perilous place; Thoreux’s inference and Weir’s understanding coalescing marvellously. The bright colours that flavour the first two acts are as lush as those in Jean Renoir’s The River and balanced and lit as finely as Jack Cardiff’s palette in The African Queen (all aesthetically and thematically similar in ways). The legend Maurice Jarre then scores the film with a synthetic and often serene rhythm that encapsulates the moment as much as his Lawrence of Arabia music does. The craftsmanship of the film all-round is first-rate. What’s more, it’s a quasi-adventure story completed with classic practical filmmaking. Some of the film’s beauty can be found from the obvious lack of CGI or special effects – most of what we see has been filmed in a jungle, in the baking sun and over a long stretch of time – and it’s a refreshing sight.

The change in the American Foxes to the tropical Foxes is another recognisable feat. 3 months spent filming and the cast change quite considerably. The muscular frame, mind-set and skin and hair colour of Ford alters astonishingly from the first scene to the last. River Phoenix, additionally, who was 15 at the time, noticeably matures as the narrative transpires. The changes give an idea of the film’s scope, something to be admired in the Hollywood systems of today. 

Ford and Phoenix are given prime attention and mostly steal the film away from the rest of the cast; many supporting roles (including Helen Mirren’s) are hardly allowed proper growth. Furthermore, Mirren’s Mother has a baffling response to her husband at points, especially under the circumstances, leaving her as a clichéd matron. Despite the underdeveloped characters, however, the study of man is thought-provoking. Both worrying and uplifting throughout, Allie’s passion is augmented all the way through and the effects are profound (Ford on top-form and clearly proud of his part in the film). Whether or not you side with Allie, watching his world and relatives change around him is interesting thanks to his characterisation and behavioural implications.

A worryingly forgotten film, there are only a few flaws to this film and a plentiful amount of achievements. Mosquito Coast is in dire need of a restoration/special edition, with a Blu-ray upscale to highlight the art of the film; it may not be as special as the two examples given above, but it certainly looks just as stunning. Sadly a box office flop due to critics bashing Ford’s supposed over-the-top performance, The Mosquito Coast now deserves to be revisited and re-evaluated.

****
By Piers McCarthy.

The Walking Dead Season 3 Episode 4 Review

In many cases there will be one seminal season of a television show. For all the episodes that constitute the label “best ever season”, there is usually one in amongst them all that is pivotal. It may be too early to say but The Walking Dead’s “Killer Within” may be that episode in a season that is arguably the “best ever”.

The last episode moved away from Rick and co’s story and drew attention on Michonne and Andrea and a new community they are invited into. Episode four switches back and forth between these arcs though the expected linkage between has yet to be seen.

“Killer Within” begins with the set-up of a zombie mousetrap where, instead of cheese, a deer carcass is strung up to attract and distract two walkers whilst an unknown figure breaks through the fence of the prison. As one gate is opened, the bloody heart of the deer is placed on the ground – bait for more walkers.

The prison is now officially home for Rick and his family and friends and so a clean-up is underway. This occupies most of Glenn, Daryl, T-Dog and Carol’s time though some attention is given to the two convicts left to live in a cell full of the “ghosts” of old prison-mates. The older, Southern man begs to be let in the group whilst his younger, black companion sees no point trying to bargain with the stern lot of newcomers. T-Dog is a little more open to inviting the pair in, thinking that “those two might actually have less blood on their hands than we do”. Nevertheless, Rick’s rules stand and the convicts are locked up. You often forget that Rick was a police officer and so his perception of criminals is largely distrustful; he tells the story of an boy he once arrested who once acquitted went on to shoot more people, giving credence to his opinion of consideration before care. The Southerner keeps trying to win over Daryl but to no avail, hoping Daryl would allow him to touch up his motorbike in one instance.

Back to Woodbury and Michonne is checking out the area by herself. She still feels perturbed about being under the rule of the mysterious Governor and is analysing the trucks and Humvees supposedly salvaged from the apparent zombie attack on the group of soldiers. As she sees bullets holes embedded in the side doors the Governor appears – she takes her opportunity to question the scenario. He manipulates the moment by praising Michonne and saying how the situation may have been different with her help and knowledge. Despite his efforts Michonne still has her reservations and shrugs off his tall tales and commendations. Back in her room with Andrea she tells her friend of her plan to get to the coast, find a boat and travel to an island. Andrea likes the romantic and possibly safe notion of this plan and decides to join Michonne.

Hershel’s health, meanwhile, has strengthened and he takes to using crutches to move around. Finding his new legs is a slow process but as he walks out into the prison yard he is looked on by all the others. It is a moment of cheerfulness that feels odd and alien to the show (forgetting the camp-fire scene in “Seed”). Some may not experience this uneasiness but for those that do, the shots of smiling faces brings on an anxious sweat. The slight fear you may feel is quite legitimate as soon dozens of walkers begin to flood the prison ground. Hershel is barely back on his feet and Lori is heavily pregnant – these two issues are made worse by the fact that help from Rick, Daryl and Glenn has to wait as they are on the other side of the prison yard. They sprint to their aid but are still too far away to get there in time and Lori, Carl, Maggie, Carol and T-Dog have to take shelter inside. Tension has surmounted in a few sequences so far but this is easily the most nerve-wracking; the jeopardy that so many core characters find themselves is shocking. As if matters couldn’t get worse T-Dog is bit and the prison alarm is raised, bringing walkers in from all surrounding areas. 

Andrea says her goodbyes to Merle, though asks him whether he had ever thought about leaving. Andrea is offering to help Merle find his brother and with that and her query he starts to question his time in Woodbury. He goes to the Governor and talks about his wish to find his brother. The Governor continues to be manipulative and carefully shoots holes in Merle’s optimism, trying to advertise the settlement. Merle continues to give ideas of how he’ll find Daryl and the Governor finally states that if he gets more concrete evidence that he will go with him –hopeful that no extra information will come or that Merle changes his mind. Andrea later says her goodbyes to the Governor but decides to stick around for a day or two longer, much to Michonne’s annoyance.

Back with the main story and the alarm is sounding loudly throughout the prison. Glenn finds the lock cut with an axe and Rick and Daryl immediately think it’s the two convicts. The prisoners both vehemently deny it and the younger one offers guidance on how to shut off the alarm and where to find the generator – this earns the both of them a kind of reprieve. Inside the lower depths of the prison Lori, Carl and Maggie take sanctuary in the boiler room where Lori has gone into labour. Maggie tries to help but after finding blood during one of the pushes, realises more help is needed.

The other characters needing help are Carol and T-Dog, especially as the latter has been bit and is ready to turn. Unlike Carl, Lori and Maggie, they have been unable to find a place to hide safely. The walkers trudge through every corridor, making the labyrinth all the more deathly. T-Dog finds an exit and holds back the two walkers covering it in order for Carol to escape. Like I said in the review for episode one, there is something more repulsive about a living person getting ripped apart in the show than a walker. T-Dog’s horrible death includes his neck being bitten into – with the flesh ripped away and a gush of blood following that makes even the more desensitised viewer feel faint. His death may mean something to some fans but in general T-Dog is a weak, undeveloped character that only provides muscle and occasional opinion. The demise of T-Dog would not give the episode the full thwack of drama and so one more character must perish.

If T-Dog could die amid the scratches and snares of the zombies, so could anyone in the prison. Rick, Daryl and the black convict are equally vulnerable when routing their way to generators. As they reach the room they’re looking for the door can’t close with the walkers pounding up against it and as Rick asks for assistance on shutting the power off, only Daryl can hold the door. The walkers could break through is not the major worry though – the swing of an axe only just misses Rick and the one behind all the games is the one Rick left on the prison roofs. Realistically pissed off by the desertion he has tried to kill Rick and his group – successful in part. A close fight ends when the helpful convict shoots his past cell-mate in the head. As the gun still lies square at Rick’s head, Daryl creeps up ready to stab away. Fortunately, the black convict still wants to lend a hand and gives Rick back his gun. Maybe now he and the Southerner will be accepted.

The Caesarean that Lori thought she may need becomes a necessity. Lori is decisive that her baby is given its life whilst she loses hers. The relationship between Carl and his parents has lost most of its relevance and so Lori dying in Carl’s arms arguably doesn’t affect you as much you would have thought. As the baby is pulled out by Maggie it looks to be stillborn, adding to the tragedy that Lori died in vain. However, the baby soon lets out a cry and Maggie walks out of the boiler room with it. Carl is left to destroy his mother’s brain, lest she return as a walker. The shot that we hear as Maggie looks to go back for him is more saddening than her goodbye – it is a dilemma for Carl and a horrible choice he has to make. Before we hear the shot we see a flashback to an earlier episode where Rick tells his son how he’ll “never be ready” for the deaths and destruction the new world will bring. It reminds you more of Carl and Rick’s relationship, making the final scene heartbreaking.

As Rick, Daryl and Glenn find T-Dog’s chewed remains they see the exit that Carol escaped through (though they believe her to be dead also after finding only her head-cloth). Led back into the prison yard Rick asks for Lori, Carl and Maggie’s whereabouts. As Hershel and Beth tell them there’s no sign of them the faint cry of the baby immediately gets their attention. Maggie shakily walks out with the baby in her arms, Carl following solemnly behind. As Rick sees Maggie’s teary eyed face and finds no Lori walking behind he realises the worst has happened. This is one of the most devastating sequences in The Walking Dead and Andrew Lincoln and Lauren Cohan’s acting lifts the drama and desolation to new heights. Carl stands silently with watery eyes and Rick looks at him, bubbling “No, no no”. From the description it may not sound too upsetting but watching it does have you welling up – Rick is such a strong character so to see him broken down is harrowing.

It ends on the bleakest note in the series so far. I worry that the next few episodes will revert back to the slow, dreary pace of the second season when that dealt with death. My optimism in the third season does outweigh my pessimism but it’s too hard to tell how the season will now progress. Still, only on the fourth episode we are given a lot to deal with and hopefully the remaining episodes with dole out more interesting, entertaining and evocative material.

By Piers McCarthy. Also posted on Flickering Myth

LFF: Four Review

Director/ Writer: Joshua Sanchez

Starring: Wendell Pierce, Aja Naomi King, Emory Cohen, E.J. Bonilla, Yolonda Ross, Liam Benzvi

Synopsis: June (Cohen) wants to come out of the closet but fears for the possible aftermath. In order to test his feelings he arranges a date online with an older man called Joe (Pierce). As June and Joe spend a night together a corresponding love story is taking place between Joe’s daughter Abigayle (King) and her friend from school, Dexter (Bonilla).

Wendell Pierce may be best known for his aptly named “Bunk” character in The Wire, though is by no means keen on becoming typecast. Four finds him as a family man who has arranged to meet a teenage guy intent on losing his virginity. Pierce’s performance is fantastic – not unsurprising considering his part in the phenomenal Wire series – and tailored to his appearance. A formidable presence, he embodies the “first time” fears whilst also showing a caring, embraceable side to him. Pierce is a tremendous actor and eats up his scenes – one monologue, especially, showcasing his skill – who is trying out daring material and making it provocative and dramatic.

It is not only Wendell’s film and as the title suggests, there is a focus on four characters. Wendell shares his scenes with the lesser-known Emory Cohen. Cohen ignores any imitation that may come from standing alongside the burly frame of Pierce and adeptly adds the raw emotion of angst to Pierce’s soft and wistful portrayal.

The remaining two stories are of Joe’s (Pierce) daughter and her love interest. Moments of poignancy and tender conversations come and go through this section though this arc remains largely uninteresting. There are no issues with the pair’s acting ability but any statement Four aims to make is mostly found in Pierce and Cohen’s part.

Four has elements that are thought-provoking and dramatic – another valiant step forward in the gay cinema sphere. Pierce deserves some accolades but with the mediocre nature of the film that may not come to fruition.

***

By Piers McCarthy. Also posted on LiveForFilms

LFF: What Richard Did Review

Director: Lenny Abrahamson

Writer: Malcolm Campbell

Starring: Jack Reynor, Roisin Murphy, Sam Keeley, Lars Mikkelsen, Padraic Delaney, Gavin Drea

Synopsis: Richard (Reynor) has just started dating Lara (Murphy) and their relationship is developing well. However, Lara’s ex-boyfriend stands in the way on a few occasions and on one particular night, a drunken brawl turns into a devastating tragedy.

The Irish film industry has not prospered as much it could over the last few decades (gems like Waking Ned, Hunger and The Guard being some of the exceptions) though when they produce something of good value it stands out. What Richard Did is not an exceptional film but it shows the strength of the country’s writers, actors and directors.

As the examples show, Irish film is most associated with comedies and stories of the IRA. It is a staple that often harms Ireland’s chances at becoming recognised in the field though with director Lenny Abrahamson that may change. Abrahamson’s last few films include a tragicomedy called Garage and the hard-hitting drama Adam & Paul. Soon he will make Frank, a comedy with Michael Fassbender, which will undoubtedly get him attention. As of now, What Richard Did stands to give him a credible name in the film industry as the film exudes a mature filmmaking technique.

Behind the camera may be one aspect of What Richard Did’s achievement, but its main triumph is found in the lead, Jack Reynor. Reynor takes the script, and the scenes of improvisation, with a confidence seldom found in young actors. One scene in particular where Richard contemplates what he did (without detailing in order to avoid spoilers) that quickly turns into a scene of hysteria is haunting in its brief moment. Many of Reynor’s co-stars have gone on to big projects and after this it should be the same for him. He has to carry a film dealing with issues of despair, morality and love; not an easy task but Reynor manages it with ease.

The downfall of the film is its steady pace that lulls you along its narrative. When a moment of violence or argument occurs it jolts the film out of its monotony but these are rare in the storyline, leaving the film to drag along. The running time is perhaps too long to render the minutia and the drama as effectively as the director may have hoped for. The pivotal plot point and the aftermath of it has been seen and played in many films and What Richard Did does not do that much differently with the subject matter. The relationship between Richard, his girlfriend and his parents after the incident is what compels you through this tried piece of disequilibrium.

***

By Piers McCarthy. Also posted on LiveForFilms

Seek Out Section: Blackthorn Review

Director: Mateo Gil

Writer: Miguel Barros

Starring: Sam Shepard, Eduardo Noriega, Stephen Rea, Magaly Solier, Nikolaj Coster-Waldau, Padraic Delaney, Dominique McElligott

Synopsis: After supposedly being killed in Bolivia, Butch Cassidy (Shepard) managed to create a new identity after getting away. He lived as James Blackthorne and after looking for a new adventure he became aligned with a man named Eduardo (Noriega) whose fugitive status made both men targets for lawmen and gangs.

Due to the iconic and beloved film Butch Cassidy and the Sundance Kid, many films involving the two bank robbers that followed George Roy Hill’s classic seemed unnecessary and insubstantial. It was also down to the idea that Cassidy and the Kid died at the wrong end of countless Bolivian gun barrels, leaving their story with a definite end point. Nevertheless, research into the two crooks led to the discovery of their escape. Whilst the story of their survival has little evidence, Blackthorn concocts a brilliant story of “what if?” combined with some pieces of historical evidence.

Cassidy, as audiences of the popular Paul Newman/Robert Redford film understand, was a lovable rogue whose criminal activity was out of necessity rather than malice. Sam Shepard who now takes on the role imbues a faint charm under a weathered and rugged frame. He completely embodies the outlaw, gracing the film with great acting and a wonderful spirit. Depending on how Barros wrote the older Cassidy character in the script, Shepard certainly makes it his own. It cannot escape the comparison to Paul Newman’s embodiment but rightly alters it for the aged figure he became.

The story of Butch and Sundance back in their heyday is occasionally referenced with flashbacks – superb casting of Nikolaj Coster-Waldau as the younger Cassidy (who looks startling similar to Shepard) adds to the authentic feel of the film. The structure of the film is masterfully arranged, with Gil developing an engrossing story that plays upon the legend of the pair and the unknown adventures of a lone Cassidy.

Rather unbelievably this is a first feature picture. Gil previously directed TV movies and shorts, as well as writing a few screenplays, but brings sophistication to the entirety of Blackthorn. Casting has helped the film bring the story to life (which would fall flat on moments of dull dialogue were it not for the actors) and cinematography is impeccably majestic. Juan Ruiz Anchia’s camera work rivals that of Freddie Young’s or Roger Deakins’ when it comes to awe-inspiring scenes of beauty. Westerns rule the big screen; Blackthorn’s sequences on the barren landscapes are wonderfully nostalgic with touches of modern technical skill (camera rigs and near-unnoticeable computer effects) – Anchia celebrating what makes the genre recognisable.

Westerns are a forgotten and less admired genre nowadays leaving Blackthorn to linger in cult territory. It drags in sections of the third act with Stephen Rea’s undeveloped character yet overall it’s an entertaining film that had it had been made back in the John Ford era would be viewed as a highly stylish example of the genre. If you can borrow the Blu-ray do so – the picture enhancement adds a great deal to the viewing experience.

****

By Piers McCarthy

The Walking Dead Season 3 Episode 3 Review

I finished Episode 2’s review with: “could an unexpected event take place in episode 3? I’d count on it.” Episode 3 of The Walking Dead verified my idea that more of the unexpected was it on its way. I never imagined that the show would take an entirely separate direction away from Rick and his group, though in “Walk With Me” the story is based solely on Andrea and Michonne.

The episode starts off with a few quick shots of silent landscapes, then, out of nowhere, a helicopter flies in. The disruption of what we have to come to know as the muted normality is quite striking. It is also relatively confusing and, at first, you may believe this to be a flashback scene. The helicopter struggles with turbulence and eventually plummets to the ground. We see the smoke waft up from a distance, with the camera behind Andrea and Michonne looking at it with disbelief – confirming its presence in the current story-line. They venture toward it with Andrea seemingly more enthused about the notion of survivors.

Michonne is more concerned about what the wreckage may mean and goes to inspect it. The first casualty found has been split in half by the helicopter blade. As the remaining episode will include only a few gruesome special effects, the SFX team emphasise their great work with moments like this. Michonne barely has time to look over the crash site before a few cars pull up. She dashes back to Andrea and they watch from behind the bushes as men step out of the vehicles and clear the space around them. Any zombies shuffling towards them get taken out instantly by the 5-men-strong crew.

They are an efficient bunch, but their motivations are unclear. Andrea and Michonne are even more uncertain as to what they want and how violent or helpful they may be. As the divided dead soldier turns into a zombie, the two women watch as the leader of the group plunges a knife into his/its skull. They are unaware of the virus that brings any dead person back to life and so seeing them kill what they think to be a severely injured man has them petrified.

The two chained up zombies of Michonne’s cause too much noise and she is forced to cut off their heads. The men look into the bushes to look for where the noise may have come from before deciding to “roll out.” Just as Andrea and Michonne think they’re safe a familiar voice emerges from the trees behind them. Andrea knows the voice and anxiously turns around. She comes face to face with Merle Dixon, Daryl’s brother, last seen on the rooftop of an Atlanta building sawing his hand off. As a zombie comes from his behind he thrusts his knife (attached to his metallic stub on his handless right arm) under its mouth and into its brain. He stands before them asking Andrea for a hug, smiling satanically with his gun and bloodied bayonet.

Andrea and Michonne are taken back to hold-up where a nurse is on hand to help with any sickness. Andrea has little energy left and thankfully accepts the aid. Merle comes in and explains what happens to him and asks about his brother. Andrea only tells him so much – she is still clearly worried about him. Michonne says nothing throughout this interaction. The mystery of Michonne is highlighted throughout this episode, along with many of the new characters – incentives and agendas are foggy. The man who was calling the shots at the helicopter wreckage comes in to tell them how things are run. Both women are put off by the exaggerated authority but are told they are free to leave if they choose. Curiosity gets the better of Andrea and it’s mostly her decision to find out more that keeps them in the new sanctuary.

The leader of the scout group is known as the Governor. He is the head of the Woodbury household – a community gated off from walkers. He has built up a fortress where scores of people stay and survive. The first introduction to the area is in the dead of night and so you aren’t able to get a good idea of the place. What is clear, however, is the community is under a secure hold and rules and sanctions show Woodbury as a safe haven.

The next morning we see a bustling town deemed as a “working process” though it certainly seems perfect. At times it all appears too perfect, like a Truman Show or Pleasantville pastiche – and as those films showed, a perfect community has some skeletons in the closet. Michonne is the most sceptical, consistently frowning at every sight.

The pilot of the helicopter lies in one room with the nurse and the Governor watching over him. He tells the Governor the story of his society’s outbreak and mentions the few soldiers remaining close by. The Governor reassures the wounded man that he will find them and bring them to safety. The shot of this scene is mostly a low-angle take that makes the Governor seem foreboding. The other is a high-angle shot that has the pilot looking weak and vulnerable. In each case, the camera is telling us more about the Governor character and how he has power and control – perhaps a dangerous amount.

Before the Governor seeks out the pilot’s colleagues, he joins his friend Milton in examining Michonne’s zombie pets. The inspection of the zombies proves insightful – not only for the Governor but also the audience – mentioning how they lack of jaw leaves them with little motivation to feed, and “docile”. They also act as “repellent” and camouflage for Michonne – something we may have guessed but now give extra credence to her ingenuity, finally verified by other characters. As Milton and the Governor “impose logic on the chaos”, the world of the The Walking Dead begins to make more sense.

Andrea and Michonne have breakfast with the Governor and Milton, the latter two obviously wanting to learn more about their history and their experience in the outside world. Milton tries to ask Michonne about her two walkers but is given a silent stare as a retort. She understands that something is wrong about the entire situation and the constant questioning is worrying. Breakfast finishes and Andrea and Michonne discuss Woodbury and its controlling inhabitants – the latter is still distrustful whilst Andrea can’t understand why.

The Governor heads off to find the military left behind by the chopper. He pulls up to their guard-point and explains to one man how they have found the surviving pilot. As the troops get excited by the retrieval of their companion the Governor fires a bullet into one of their hearts. As the Governor is on his own we wonder, if only for a second, how he will escape unharmed. However, the bullet he fires is quickly followed by back-up’s coming from the surrounding grassland. Here is where our slight doubt of the Governor’s amicability is given standing. He is a callous and unflinching murderer who wants to rule the land now that the opportunity to revise it is there. The music that plays quietly under the dialogue is ominous; an extra feature that signals the Governor’s malice. 

He and his team return to Woodbury to inform the community of the ill-fated troop that were killed by zombies. His ability to lie openly to 73 people is innate – he tells them a tall tale to keep them willing to stay within the Woodbury walls. The townspeople have no idea of what type of man he is other than his helpful guise. Andrea is also enamoured by his apparent hospitable nature and some flirting takes place, making the audience wonder if she will stay in Woodbury. The final scene shows the Governor walking around his apartment after sleeping with some random female civilian. He takes a short glance at a photo of him and what we imagine to be his wife and daughter – he shows little emotion upon looking at it, further adding to his mystery. That is before he steps into a dark room that he lights up with aquarium tanks full of severed heads. The top one is belonged to the pilot whilst two others were Michonne’s chained-up walkers. Why he has them is not explained but one can read into it as his trophies. He sits in front of them captivated by their ghostly eyes.

The Walking Dead’s third season is getting off to a tremendous start. Episodes like this where an alternate plot-point can be explored is a staple of great TV, especially when it entertains you as much as the regular narrative crux. The Governor looks to be a great villain and the point where hopefully Rick and him meet will make for some excitement.

By Piers McCarthy. Also posted on Flickering Myth

LFF: For No Good Reason Review

Director: Charlie Paul

Starring: Ralph Steadman, Johnny Depp, Richard E. Grant, Terry Gilliam, Hunter S. Thompson, Jann Wenner

Synopsis: A documentary about Ralph Steadman, the artist behind many Hunter S. Thompson illustrations, along with decades of unique and revolutionary artwork.

The Gonzo visionaries were famous mainly for all the wrong reasons; they defied convention, acted out unmorally and set daring new trends. Ralph Steadman was one such visionary whose work has, up until this day, provoked millions of people. In Charlie Paul’s documentary, the genius and novelty of Steadman’s work is sought to be explored.

Paul brings along Johnny Depp (a close friend of Steadman and his notorious partner, Hunter S. Thompson) as interviewer/narrator, making this film seem like a project among friends (also giving it a commercial boost). In this regard the niceties of close companionship fog the more introspective aspects of documentary filmmaking. Fortunately, with Steadman feeling comfortable with Paul and Depp, he does delve into some more personal recollections, though maybe not as often as one would hope. It succeeds in foregrounding a figure many may not know of – a name that only appears at the bottom of his art, without any indication of his personality – as well as detailing the style of his strange yet beautiful art.

Steadman rose to fame when he was employed to work alongside Hunter S. Thompson to illustrate Hunter’s articles and book. This relationship is, as one expect from knowing about the infamous Gonzo journalist, was chaotic. It had its ups and downs throughout the adventures the pair had together – something Paul focuses on heavily. With Hunter being such a larger-than-life figure, the documentary does become fixed on him in parts. It’s something that is perhaps unavoidable but does make you pine for more material and anecdotes about Hunter, fatefully putting Steadman in the corner.

Thanks to Steadman’s time in Hunter’s company he has developed a sharp and wicked wit that, for when he gets his limelight, elevates his profile. He isn’t just some pale and crotchety artist who lingers by the side; he has an intense voice and morale that justifies a film about him. Moving past Hunter, we hear and see Steadman in the company of Richard E. Grant, Terry Gilliam and William Burroughs. He has lived a fascinating life in the company of great artists (much like himself), educated through each experience and meeting.

Steadman’s interests lie not only in art but political activism. The two endeavours are collected in a great montage that flicks through dozens of drawings – some animated at points – giving another life to the works of a smart and creative set of art. It’s a moment that sets you in great awe of the man – there are literally hundreds of drawings, all with a unique flavour.

Not only exposing the agenda and history of Steadman, the film must magnify that distinctive flair; it does in sections of the film, and they are among some of the most seminal sequences of the documentary. Watching Steadman work is a thrill. Many documentaries about artists flash through their life and merely present to you the final piece, in For No Good Reason the process is explored. The smears and harsh splatters of Steadman’s brush reflect a realm of emotions and messages. As Steadman paints a few new pieces he runs his own commentary over what a certain flick of the brush, or what a change in colour, may mean. What’s more, he reveals the technique of his design that for artists is exceptionally enchanting.

All great documentaries implore you to seek out the work of the person in focus and this film achieves that. You leave the cinema determined to read the stories Steadman illustrated, find the collections and even try your hand at some of the art. There is only a niche demographic for For No Good Reason which, whilst distressing, is perfectly understandable for a film about the wacky Gonzo personalities.

***

By Piers McCarthy. Also posted on LiveForFilms