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thedullwoodexperiment

~ Viewing movies in a different light

thedullwoodexperiment

Tag Archives: Michael Powell

Monthly Roundup – April 2017

30 Sunday Apr 2017

Posted by dullwood68 in Movies

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A Street Cat Named Bob, Aaron Eckhart, Action, Andy Mitton, Annette O'Toole, Anybody's Nightmare, Biography, Bob the Cat, Brad Peyton, Charles Barton, Chinook, Clark Freeman, Comedy, Crime, Crime Doctor, Dakota Johnson, Delayed Action, Documentary, Drama, Edward Dryhurst, Fifty Shades Darker, Gibb McLaughlin, Horror, Incarnate, Island of Doomed Men, James Foley, James Nunn, Jamie Dornan, Jason Bateman, Jesse Holland, John Harlow, Josh Gordon, Julie Suedo, June Thorburn, Kirby Dick, Kirby Grant, Literary adaptation, Luke Treadaway, Michael Gordon, Michael Powell, Mike Mizanin, Office Christmas Party, Patricia Routledge, Peter Lorre, Possession, Reviews, Robert Ayres, Roger Spottiswoode, Silent movie, The Claydon Treasure Mystery, The Marine 5: Battleground, The Night of the Party, The Woman from China, This Film Is Not Yet Rated, Tristram Powell, True story, Warner Baxter, We Go On, Will Speck, William Beaudine, WWE Films, Yukon Vengeance

Fifty Shades Darker (2017) / D: James Foley / 118m

Cast: Dakota Johnson, Jamie Dornan, Eric Johnson, Marcia Gay Harden, Eloise Mumford, Bella Heathcote, Rita Ora, Luke Grimes, Victor Rasuk, Max Martini, Kim Basinger

Rating: 4/10 – Christian Grey (Dornan) successfully woos back Anastasia Steele (Johnson), tries to go “straight” in the bedroom, and then narrowly avoids an attempt on his life – and that’s it for Round Two; flashy and trashy at the same time, Fifty Shades Darker continues the series’ commitment to providing two hours of inane, tedium-inducing material each time, and by never going as far as it might in the sexual activity department, making this yet another slickly produced teaser for the real thing.

A Street Cat Named Bob (2016) / D: Roger Spottiswoode / 103m

Cast: Luke Treadaway, Ruta Gedmintas, Joanne Froggatt, Anthony Head, Darren Evans, Beth Goddard, Ruth Sheen, Caroline Goodall, Bob the Cat

Rating: 7/10 – a recovering drug addict and talented busker, James Bowen (Treadaway), adopts a cat he calls Bob and in doing so finds a reason to stay off drugs and rebuild his life – with unexpected results; though A Street Cat Named Bob charts a particularly diffcult period in the life of the real James Bowen, the movie avoids being too depressing by emphasising the bond between Bob and his musician “owner”, and by resolutely aiming for feelgood, something at which it succeeds with a great deal of charm, and thanks to an endearing performance from Treadaway.

The Woman from China (1930) / D: Edward Dryhurst / 82m

Cast: Julie Suedo, Gibb McLaughlin, Frances Cuyler, Tony Wylde, Kiyoshi Takase

Rating: 7/10 – a Chinese criminal, Chung-Li (McLaughlin), kidnaps the girlfriend (Cuyler) of a ship’s lieutenant (Wylde) in order to satisfy his lust for her, but doesn’t reckon on one of his accomplices (Suedo) having feelings of her own for the same ship’s lieutenant; a late in the day silent movie, The Woman from China is a British production that has a Dickensian feel to it, narrowly avoids stereotyping its villain (very narrowly), and thanks to Dryhurst’s talent as a writer as well as a director, remains a well crafted thriller that is ripe for rediscovery.

We Go On (2016) / D: Jesse Holland, Andy Mitton / 85m

Cast: Annette O’Toole, Clark Freeman, Giovanna Zacarías, Jay Dunn, Laura Heisler, John Glover

Rating: 5/10 – Miles (Freeman) is terrified of dying and wants incontrovertible proof of life after death, so he offers a reward to anyone who can provide it, but the responses he gets aren’t exactly what he was expecting; a paranoid chiller that doesn’t quite have the focus it needs to be interesting throughout, We Go On nevertheless contains some really creepy moments, and a fiercely maternal performance from O’Toole that elevates the material whenever she’s on screen, but overall it falls short in too many areas, and particularly the way in which it’s been assembled, which leaves it feeling haphazard and hastily stitched together.

Yukon Vengeance (1954) / D: William Beaudine / 68m

Cast: Kirby Grant, Chinook, Monte Hale, Mary Ellen Kay, Henry Kulky, Carol Thurston, Parke McGregor, Fred Gabourie

Rating: 4/10 – when a lumber company’s wages keep being stolen while en route to the nearest town, Canadian Mountie Rod Webb (Grant) and his faithful sidekick Chinook are sent to investigate; a remake of Wilderness Mail (1935), Yukon Vengeance is also the last in a series of ten movies Grant and Chinook made together between 1949 and 1954, and is pleasant enough if you go in not expecting too much, but it’s hampered by poor performances from Hale and Kay, uninterested direction from Beaudine (usually much more reliable), and material that offers no surprises whatsoever (though that shouldn’t be a surprise either).

This Film Is Not Yet Rated (2006) / D: Kirby Dick / 98m

With: Kirby Dick, Kimberly Peirce, Matt Stone, John Waters, Kevin Smith, Maria Bello, Wayne Kramer, David Ansen, Mary Harron, Allison Anders

Rating: 6/10 – moviemaker Kirby Dick decides to try and find out just what goes on behind the secretive doors of the Motion Picture Association of America, and hires a private investigator to do so, while also eliciting the opinions of moviemakers who have had run-ins with the MPAA; Dick adopts a partisan approach to the material, but in the end, This Film Is Not Yet Rated doesn’t discover anything that viewers couldn’t have worked out for themselves without seeing it, and wastes a lot of time with Dick’s choice of private investigator as they sit outside the MPAA offices and take down car number plates for very little return (both investigative and cinematic).

The Claydon Treasure Mystery (1938) / D: H. Manning Haynes / 64m

Cast: John Stuart, Garry Marsh, Annie Esmond, Campbell Gullan, Evelyn Ankers, Aubrey Mallalieu, Finlay Currie, Joss Ambler, Richard Parry, Vernon Harris, John Laurie

Rating: 5/10 – following a disappearance and a murder, crime writer Peter Kerrigan (Stuart) becomes involved in a centuries old mystery at a country house, while attempting to work out just who is willing to kill to benefit from said mystery; what could have been a nimble little murder mystery is let down by Haynes’ solemn direction, and too much repetition in the script, but The Claydon Treasure Mystery does feature a handful of entertaining performances and a clever solution to the mystery.

Delayed Action (1954) / D: John Harlow / 58m

Cast: Robert Ayres, June Thorburn, Alan Wheatley, Bruce Seton, Michael Balfour

Rating: 5/10 – a suicidal man (Ayres) agrees to play the part of a businessman to meet the crooked demands of another (Wheatley), and forfeit his life at the end of the agreement, but doesn’t reckon on having a reason to live – a woman (Thorburn) – when the time comes; a sprightly little crime drama, Delayed Action never really convinces the viewer that Ayres’ character would agree so readily to the offer made to him, and Ayres himself is a less than convincing actor in the role, but the short running time helps, and Wheatley’s arrogant, preening master criminal is the movie’s trump card.

The Night of the Party (1935) / D: Michael Powell / 61m

aka The Murder Party

Cast: Malcolm Keen, Jane Baxter, Ian Hunter, Leslie Banks, Viola Keats, Ernest Thesiger, Jane Millican, W. Graham Brown, Muriel Aked

Rating: 5/10 – at a dinner party, hated newspaper proprietor Lord Studholme (Keen) is murdered, but which one of the many guests – all of whom had reason to kill him – actually did the deed, and why?; Powell was still finding his feet as a director when he made The Night of the Party, and though much of it looks like a filmed stage play (which it was), it’s exactly the movie’s staginess that robs it of a lot of energy, and stops it from becoming as involving and engaging as other movies of its ilk, and that’s despite some very enjoyable performances indeed.

Office Christmas Party (2016) / D: Josh Gordon, Will Speck / 105m

Cast: Jason Bateman, Olivia Munn, T.J. Miller, Jennifer Aniston, Kate McKinnon, Courtney B. Vance, Jillian Bell, Rob Corddry, Vanessa Bayer, Randall Park

Rating: 5/10 – with their office being threatened with closure, manager Clay (Miller) and several of his staff decide to throw a massive Xmas party in the hope that it will help secure a contract with businessman Walter Davis (Vance) and so save everyone’s jobs; only fitfully amusing, Office Christmas Party probably sounded great as an idea, but in practice it strays too far from the original concept, and has its cast going firmly through the motions in their efforts to raise a laugh, although McKinnon (once again) stands out as an HR manager who makes being uptight the funniest thing in the whole misguided mess of a movie.

The Marine 5: Battleground (2017) / D: James Nunn / 91m

Cast: Mike Mizanin, Anna Van Hooft, Nathan Mitchell, Bo Dallas, Curtis Axel, Heath Slater, Naomi, Sandy Robson

Rating: 4/10 – now a paramedic, Jake Carter (Mizanin) finds himself trapped in an underground car park and fending off a motorcycle gang who are trying to kill the injured man (Mitchell) who has just killed their leader; five movies in and WWE Films have used a low budget/low return formula to ensure that The Marine 5: Battleground remains a dreary, leaden-paced “action” movie that features a lot more WWE Superstars than usual, more glaring plot holes than you can shove the Big Show through, and proof if any were needed that playing hyper-realised athletes every week isn’t a good training ground for acting in the movies, no matter how hard WWE tries to make it seem otherwise.

Incarnate (2016) / D: Brad Peyton / 91m

Cast: Aaron Eckhart, Carice van Houten, Catalina Sandino Moreno, David Mazouz, Keir O’Donnell, Matt Nable, Emily Jackson, Tomas Arana

Rating: 4/10 – a scientist-cum-paranormal investigator (Eckhart) can induce himself into the minds of people possessed by demons and cast them out, but he comes up against a stronger adversary than any he’s encountered before: the demon that took the lives of his wife and son; a neat twist on a standard possession/exorcism movie, Incarnate suffers from the kind of muddled plotting, heavyhanded sermonising, and stereotypical characterisations that hamper all these variations on a horror movie theme, and in doing so, marks itself out as another nail in the coffin of Eckhart’s mainstream career, and a movie that lacks substance, style, wit, and credibility.

Crime Doctor (1943) / D: Michael Gordon / 66m

Cast: Warner Baxter, Margaret Lindsay, John Litel, Ray Collins, Harold Huber, Don Costello, Leon Ames, Dorothy Tree

Rating: 7/10 – a man (Baxter) found unconscious at the side of the road wakes with no memory of his past, but over time builds a new life for himself as a leading criminal psychologist – until his own criminal past comes calling; the first in the Crime Doctor series is a solid, suspenseful movie bolstered by strong performances, a surprisingly detailed script, and good production values, making it an above average thriller and hugely enjoyable to watch.

Island of Doomed Men (1940) / D: Charles Barton / 68m

Cast: Peter Lorre, Rochelle Hudson, Robert Wilcox, Don Beddoe, George E. Stone, Kenneth MacDonald, Charles Middleton

Rating: 6/10 – a Government agent (Wilcox) allows himself to be arrested and imprisoned in an effort to make it to an island owned by sadistic diamond mine owner Stephen Danel (Lorre), and then expose Danel’s use of ex-cons and parolees as slave labour; a seedy, florid atmosphere is encouraged and exploited by Barton as Island of Doomed Men allows Lorre to give one of his more self-contained yet intense performances, and which also shows that some Production Code-era movies could still be “exciting” for reasons that only modern day audiences would appreciate – probably.

Anybody’s Nightmare (2001) / D: Tristram Powell / 97m

Cast: Patricia Routledge, Georgina Sutcliffe, Thomas Arnold, Nicola Redmond, David Calder, Malcolm Sinclair, William Armstrong, Rashid Karapiet, Louisa Milwood-Haigh, Scott Baker

Rating: 5/10 – the true story of Sheila Bowler (Routledge) who in the early Nineties was arrested, tried and convicted of the death of her late husband’s aunt (despite a clear lack of evidence), and who spent the next four years fighting to have her conviction overturned; a miscarriage of justice story bolstered by Routledge’s dignified, sterling performance, Anybody’s Nightmare betrays its British TV movie origins too often for comfort, features some truly disastrous acting (step forward Thomas Arnold and Louisa Milwood-Haigh), but does make each twist and turn of Bowler’s legal case as shocking as possible, and in the end, proves once again that truth really is stranger than fiction.

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For One Week Only: Australian Cinema – Part III

21 Friday Aug 2015

Posted by dullwood68 in Movies

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1941-1970, Australian cinema, Australian Film Awards, Australian Film Institute, Cattle drove, Charles Chauvel, Chips Rafferty, Cinesound Productions, Daphne Campbell, Ealing, Jedda, Kokoda Front Line!, Michael Powell, Northern Territory, The Overlanders, They're a Weird Mob, True story, World War II

Australian Cinema Part III – 1941-1970

With Australia’s entry into the Second World War in 1939, movie production dwindled in support of the war effort. Movies continued to be made but they were few and far between, and were dependent on their producers’ confidence in claiming enough of the domestic and international markets to be worthwhile in making. Cinesound Productions, though they’d stopped making feature length movies, were still making newsreels, and in 1942 they won the Oscar for Best Documentary for their full-length edition of the Cinesound Review entitled Kokoda Front Line! Other, fictional, propaganda movies were made (in keeping with similar efforts made in other countries at war); these included Forty Thousand Horsemen (1940), and The Rats of Tobruk (1944). (Both movies were directed by Charles Chauvel, and ever since 1992, the Brisbane International Film Festival has awarded a Chauvel Award for distinguished contributions to Australian cinema.) But once the war was over, any expected upturn in production failed to materialise, as can be seen by the release of just one movie in 1948, Always Another Dawn.

The Forties did see the emergence of homegrown stars who would go on to have international careers, actors such as Peter Finch (actually born in England) and Chips Rafferty. Rafferty was the star of one of Australia’s finest movies of the Forties, a saga of drovers transporting a large herd of cattle across 1600 miles of inhospitable outback. Produced by Ealing, it was very, very successful at the box office, with an estimated 350,000 Australians having seen it by February 1947, six months after its release.

Overlanders, The

The Overlanders (1946) / D: Harry Watt / 91m

Cast: Chips Rafferty, John Nugent Hayward, Daphne Campbell, Jean Blue, Helen Grieve, John Fernside, Peter Pagan, Frank Ransome, Stan Tolhurst, Clyde Combo, Henry Murdoch

1942. With the threat of invasion by Japanese forces, many Australians feel it’s only a matter of time before they’re overrun. People in the north of the country begin evacuating their homes to head south and burning them in a kind of “scorched earth” policy. One such family are the Parsons: Bill (Hayward), his wife (Blue), and their two daughters, Mary (Campbell) and Helen (Grieve).

Meanwhile, in the Kimberley District of Western Australia, a meat export centre has been directed to pack up its operation and for its men to head south. When the manager (Tolhurst) tells cattle man Dan McAlpine (Rafferty) that the cattle will need to be shot, Dan comes up with an alternative: to drive the cattle – all 958 of them – overland to Queensland, a distance of 1500 miles. He manages to enlist some of his co-workers to help him, including a sailor, Sinbad (Pagan) a couple of aborigines, Jacky (Combo) and Nipper (Murdoch), and generally work-shy Corky (Fernside). As they make plans to set out, the Parsons’ join them.

At first, the drove is slow going. A couple of months pass of fairly easy travel before they reach the North-South Road, but a week later they encounter the first obstacle to reaching the East Coast, a crocodile-infested river that they need to cross. The crossing goes well with no loss of cattle, but on the other side the drove finds its second obstacle, scrubland that gives the cattle little to feed on; this also slows them down to making only five miles a day instead of an average ten or twelve. A little while later, a tragedy leaves them short of horses, but salvation proves to be at hand (and close by) in the form of a group of brumbies (wild horses). They trap and break enough of them to allow the drove to continue on, and soon they arrive at an outpost, Anthony’s Lagoon where they get fresh supplies.

The next leg of the drove proves even harder, with no surface water or much feed for the cattle, but all goes well though tempers are frayed due to the conditions. When they reach the Queensland border they have to stop so that the cattle can be inoculated. While this is done, Corky reveals his plans following the war to set up a company for the exploitation of land and mineral rights in the Northern Territory, a plan Dan is none too happy to hear about. That same night, Sinbad and Mary reveal their feelings for each other, and the cattle are spooked, causing a stampede. In the attempt to halt them, Sinbad is badly injured; Mary tries to alert the inoculation team who are leaving on the plane that brought them there, but they take off before she can reach them.

With no other option open to them, Sinbad is put on the back of the supply wagon and Mrs Parsons and Helen leave the drove to take him to the nearest place with a wireless that can summon the flying doctor. The drove then faces another setback at the next watering hole which is dry. Needing to water the cattle in the next two days or face losing them all, Dan must take a risk in taking them over a range of rocky hills along a track more suited for goats than cattle.

Overlanders, The - scene

Though shot in black and white, The Overlanders was the first Australian movie to be filmed almost entirely outdoors. This allowed the makers to shoot some of the most rugged and breathtaking scenery in the country’s northern states, as well as providing audiences with a realistic look at a cattle drove and the problems it might face. It was based on an actual event that occurred in 1942 where 100,000 cattle were driven 2,000 miles to avoid the (expected) Japanese invasion. Although the movie had to scale back those numbers out of necessity – though 958 is quoted as the number of cattle on the drove, Ealing only used 500 – it’s still an impressive looking sight, especially when the drove is seen from a distance.

The sheer physical effort involved in bringing the movie to the screen is impressive, with the river crossing a particular highlight. The cast look the part too (though Pagan’s hairstyle marks him out as the matinee idol in the making), with Rafferty looking so at home in the saddle, and giving such a natural performance it’s no surprise that Ealing signed him to a long-term contract before the movie was even released. He’s possibly the quintessential pre-1970’s Australian actor, honest, as rugged as the country around him, and refreshingly no-nonsense in his approach to the art of acting. He’s an actor for whom a false note would be impossible, and here his condemnation of the plan to exploit the Northern Territory’s resources shows an impassioned side that is as plainly felt as it is expressed.

With the movie’s verisimilitude firmly in place and the location photography adding to the effectiveness of the overall drama, writer/director Watt’s decision to spend around eighteen months preparing the movie paid off handsomely (he even spent 1944 following the route of the original drove). His script is one of the most succinct and straightforward of the period, and is so lean it feels effortless in its construction. His original ending was more cynical than the one used but it wouldn’t have felt out of place; underneath all the belated pro-Australian war effort propaganda, there’s an undeniable sense that the country was on the cusp of some profound and far-reaching changes.

The movie does start out a little slowly, but sets out its stall with a minimum of fuss, and while the first hour sees everything go well, the inevitable setbacks and life-threatening situations make the movie more gripping, although in a matter-of-fact way that, weirdly, is entirely apposite. It speaks to the Aussie mentality of “let’s just get it done”, and shows the characters almost welcoming the adversity as a way of proving either their manhood (if male) or their unspoken capability (if female). Mary is congratulated on heading off the stampede, but she shrugs it off as no more appropriate than if she’d made dinner for everyone, so confident is she in her own abilities. It’s a small, neat touch that says everything you need to know about the characters’ inner strengths, and not just Mary’s, as they’re all so attuned to what they’re doing (and even if Corky is looking much further ahead than the others).

There’s a rousing score by English composer John Ireland that manages to be evocative at the same time, and the photography, so ravishing to look at, comes courtesy of Osmond Borradaile, a Canadian whose experience in shooting location footage more than justified Watt’s decision to hire him. And though Watt was unhappy with the way Inman Hunter edited the movie and brought in Leslie Norman to take over, whatever the final percentage of each man’s work, the movie is seamless and the decision doesn’t show in the finished product. And you have to admire a movie that includes the line, “bullocks are more important than bullets”.

Rating: 9/10 – an engrossing, simply told tale that highlights the strengths of the Australian movie industry at the time, The Overlanders is a tribute to both the men and women who lived through the threat of Japanese occupation and did their best to live outside the shadow of that dreadful possibility; with the Australian outback looking both daunting and alluring, it’s a movie that celebrates the country and its people’s apparently unflagging fortitude, and does so in such a skilful way that it stays in the memory long after it’s seen.

Overlanders, The - scene 2

In the Fifties, Australia became the place to make movies if you were a foreign production company (such as Ealing). But there was a degree of irony attached to this development, as movie makers from around the world came to Australia to make movies that depicted Australian life and culture, or were adaptations of Australian stories or literature. Chief amongst these were the likes of A Town Like Alice (1956) and The Shiralee (1957), but while they were made in Australia, they weren’t Australian movies; they were made by British or American companies and so were British or American movies. One movie made in the Fifties that was wholeheartedly Australian, funding and all, was Jedda (1955), notable for being the first Australian movie shot in colour, and for its casting of two Aboriginal actors – Ngarla Kunoth and Robert Tudawali – in the lead roles (it was also the last movie to be directed by Charles Chauvel).

Elsewhere though, indigenous movie making was struggling to make any kind of an impact. Robbery Under Arms (1957) was an exception, but otherwise there were few production companies that were willing or able to make movies that would have bolstered the industry’s standing, or made any headway at the box office. In 1958, the Australian Film Institute was founded, its mission to promote the industry both at home and abroad. The Institute also set up the annual AFI Awards which were designed in part to “improve the impoverished state of Australian cinema”. That first year there were seven categories: Documentary, Educational, Advertising, Experimental Film, Public Relations, and an Open category for any movie that didn’t fit any of the other criteria. Such was the parlous state of the industry at the time – and on into the Sixties – that it wasn’t until 1969 and Jack and Jill: A Postscript that a feature movie was given an award.

The Sixties began with a rare fillip for the industry in the form of Fred Zinnemann’s The Sundowners (1960), but it was a US/UK/Australian production, and without Zinnemann’s passion for the project, unlikely to have been made under other circumstances. The situation worsened as the decade continued. Clay (1965) was entered for the Palm Award at the Cannes Film Festival, but again this was a rare event that provided a momentary boost for an otherwise moribund industry. Even They’re a Weird Mob (1966), directed by Michael Powell, and featuring familiar faces such as Chips Rafferty, Ed Devereaux, John Meillon and Clare Dunne, couldn’t do much to stem the tide of inertia (though some say it was an inspiration to the generation of movie makers who would follow in the Seventies). (Look closely and you can see Jeanie Drynan and Jacki Weaver in early roles.)

Powell would return to Australia to make Age of Consent (1969) but as the decade drew to an end there was no sign that the movie industry was going anywhere but as steadily downhill as it had been since the late Forties.

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