DIR/WRI: Joseph Cedar • PRO: Miranda Bailey, Lawrence Inglee, David Mandil, Oren Moverman, Eyal Rimmon, Gideon Tadmor • DOP: Yaron Scharf • ED: Brian A. Kates • DES: Kalina Ivanov, Arad Sawat • MUS: Jun Miyake • CAST: Richard Gere, Lior Ashkenazi, Michael Sheen
The central question of the new Joseph Cedar film Norman (full title Norman:The Moderate Rise and Tragic Fall of a New York Fixer) is who is Norman Oppenheimer? The film calls Norman a fixer and he calls himself a consultant. He is a shameless individual who schmoozes business men and politicians by making promises to them that he can rarely fulfil and telling them tall tales to exaggerate his contacts in a world that relies on how good your contact list is. However, there is an innocence to him and the viewer is left wondering what his motivations are? Is his goal money or influence and does he believe what he is selling?
The film takes place in the Jewish community of New York in the cutthroat world of international finance and politics. Norman’s fate changes when he manages to befriend an up-and-coming Israeli politician called Micha Eshel (Lior Ashkenazi) by buying him a pair of shoes and therefore making a long-lasting impression. This alliance leads to a brief period of time where Norman acquires the influence and connections he desires when Eshel becomes the Israeli Prime Minister. Richard Gere is excellent as this enigmatic character who is the driving force of this film. Gere is in nearly every scene and although we don’t always empathise with Norman, we are continually fascinated by him.
Cedar has a fine cast, including Martin Sheen, Dan Stevens and Steve Buscemi, but Gere stands out with an excellent performance showing that his range continues to expand as he gets older. Cedar creates a tense atmosphere which gives us a look into this tough New York environment where a strict class system is held. The film drags a little in the middle, but comes together in the final stretch wrapping up the ending in a surprising way. We are left with the central question still in the air… who is Norman? We may never know, but Gere makes our 2 hours with him compelling viewing.
DIR: Nick Read, Mark Franchetti • PRO: Mark Franchetti • ED: David Charap, Jay Taylor • MUS: Smiths & Elms • CAST: Maria Alexandrova, Maria Allash, Sergei Filin, Anatoliy Iksanov
Winston Churchill once called Russia “A riddle wrapped in a mystery inside an enigma”. It is this mysterious place, and specifically the Bolshoi Ballet in Moscow, that this documentary is set.
Bolshoi Babylon follows a year in the life of this Russian institution in the immediate aftermath of an acid attack on its ballet director Sergei Filin, for which one of Bolshoi’s dancer’s, Pavel Dmitrichenko, was arrested for the crime.
The world of ballet is a fascinating place, the dancers need supreme discipline and their careers are short. There is fierce competition and jealously throughout. Where better to delve into this world than in one of the oldest and best established ballet theatres in the world, in the home of ballet, Russia – The Bolshoi Ballet Theatre?
The story doesn’t disappoint, co-directors Nick Reed and Mark Franchetti use the scandal of the acid attack as a window into this intense organisation. We see the dancer’s working day; how they train and perform every day. These dancers feel privileged to work at the Bolshoi as they see it as a sacred place, a shrine to ballet.
There is also the political connotation of the Bolshoi. It has always been aligned to the State where it is an item on the national budget. It was one of Russia’s best assets to show off the country during Stalin’s reign and the Cold War.
All of this contributes to the culture of the Bolshoi which the directors capture beautifully. The film focuses in part on Filin, his recovery from the attack and his return to working in the Bolshoi, but it is not simply his story – I would say it is the story of the theatre as a whole and its link to Russian society. A fascinating character in the film is Vladimir Urin, who joined the Bolshoi as the general manager; he is domineering and rules the Bolshoi with an iron fist – however, he also wants to improve the Bolshoi by being more transparent and a champion of the dancers. His chats on camera are probably the most interesting part of the film. Bolshoi Babylon is a glimpse into this passionate world and is a very accomplished documentary.
Ailbhe O’ Reilly trades blows with Traders, which screened at this year’s Galway Film Fleadh.
Since the recession hit the world with a bang in 2008 there have been a few economic themed films – The Company Men tried the drama angle, Up in the Air tried the comedy angle and there have also been numerous documentaries.
Traders is the first Irish film I have seen that tackles the subject matter with a dark comedy edge tinged with graphic violence. Traders focuses on two very different lead characters – Vernon Styles (Game of Thrones’ John Bradley) and Harry Fox (Love/Hate’s Killian Scott), who are both left desperate after the company they work for goes under. After their boss takes his own life to escape his financial problems Vernon comes up with a very unique business idea which is the basis for the movie.
The idea is that people down on their luck arrange a secluded place to fight it out to the death with the winner walking away with the life savings of the other person. This is trading and the aim of the game is to keep arranging fights until you have enough money or die trying.
At first glance, Traders may not appeal to everyone – the violence can be quite graphic at times and the plot of ordinary people fighting like backyard brawlers in recessionary Ireland felt too far removed from reality. However, the fast moving and hilarious script keeps our interest and Killian Scott delivers as a captivating leading man. Traders really is Scott’s film, he is in nearly every scene and keeps our attention throughout. He is joined on screen by at least half the Love/Hate cast, which was distracting at times, but does display the many up-and-coming Irish actors around at the moment.
John Bradley is entertaining in his role, but doesn’t stray too far from the role many are familiar with in Game of Thrones. Overall, the directing pair of Rachel Moriarty and Peter Murphy do an excellent job with a daring and unique film that keeps the audience guessing throughout and even manages to surprise with the ending.
Traders screened on Saturday, 11th July as part of the Galway Film Fleadh (7 – 12 July 2015)
Who hasn’t run up steps without Bill Conti’s classic ode to trying hard, the Rocky Theme ‘Gonna Fly Now’, soaring through their head, or spun around at the top of a hill belting out Richard Rodgers and Oscar Hammerstein II’s soaring blue sky-classic ‘The Hills are Alive’…
Can you go for a swim in the sea without hearing ‘duh-nuh… duh-nuh… duh-nuh… duh-nuh, duh-nuh, duh-nuh, duh-nuh’ – John Williams’ creepingly stubborn build of bass notes – or take a shower unaccompanied by Bernard Herrmann’s stabbing shrieks of a slashing violin clashing against the steam.
Then welcome, welcome to the latest We Love… as, over the next few weeks, our collection of movie-loving muzos put on their tight-white trousers and flowing dresses and profess their love for music in film in:
Dazed and Confused
‘… the soundtrack is a focal point of the film and plays a central role in the story telling of the film…’
Ailbhe O’ Reilly
Dazed and Confused, the 1993 cult classic, opens with ‘Sweet Emotion‘ by Aerosmith. We are introduced to the high-school students who inhabit this film through the very 1970s sound of Aerosmith. From the beginning of Dazed and Confused the soundtrack is a focal point of the film and plays a central role in the story telling of the film.
The plot of this cult classic, if you are not familiar with it, is simple enough. It is the last day of school in a Texas high school in 1976 and the incoming seniors are preparing to haze the incoming freshman students. The film follows several groups of friends as they drive around town, drink, do drugs and listen to music culminating in a party at the moon tower. The plot is laid back and simple with no major drama or resolution. Richard Linklater felt his film was a more realistic representation of teenage life than some more melodramatic plots in teenage films. It focuses simply on teenagers trying to have fun, be cool and fit in. Dazed and Confused is fun, funny and above all cool – which is why it become a cult classic.
The soundtrack is one of the main reasons that the film comes together so well and it is used with great effect to set the tone, move the plot along and above all root the film firmly in 1976 Texas – even the title comes from a Led Zeppelin song. Along with Aerosmith, Dazed and Confused makes great use of ‘Free Ride’ by The Edgar Winter Group, ‘Summer Breeze‘ by Seals & Crofts, ‘Low Rider‘ by War and ‘Do You Feel Like We Do‘ by Peter Frampton to set this unique tone of 1976’s Texas throughout the film, so even Irish teenagers in the ’90s could relate to it. The film seems to pause at various times as there is a scene where music is playing the main role. An example of this is when Matthew McConaughey’s character (in his first role) walks through the pool hall with Bob Dylan’s ‘The Hurricane’ blasting out as he smoothly walks across the room. As the boys cruise around town mindlessly breaking trash cans, ZZ Top guides them on their way.
The film has a rake of stars in their early years such as Ben Affleck, Milla Jovovich, Adam Goldberg, Cole Hauser, Parker Posey and the aforementioned Matthew McConaughey in a stellar role as the older guy who is a bit old for a high school party. The film ends as a few of the main characters drive to get Aerosmith tickets – “top priority of the summer” as Jason London’s character puts it. We see them chilled out in the car as ‘Slow Ride‘ by Foghat plays out – a perfect ending to an appropriate and fantastic soundtrack. There is no doubt that Dazed and Confused’s soundtrack strongly contributes to Dazed and Confused’s cult classic status and will always be a favourite of mine.
DIR: Francis Lawrence • WRI: Simon Beaufoy, Michael Arndt • PRO: Nina Jacobson, Jon Kilik • DOP: Jo Willems • ED: Alan Edward Bell • DES: Philip Messina • MUS: James Newton Howard • CAST: Jennifer Lawrence, Josh Hutcherson, Elizabeth Banks, Woody Harrelson, Donald Sutherland
The first instalment of The Hunger Games was an entertaining adaptation of the first novel in the series of three. The unique concept of the novel and its futuristic setting was enough to keep the story moving. However, it was the undeniably charismatic charm of its lead Jennifer Lawrence that brought heart to the story. Lawrence (along with her Oscar) and her fellow cast mates return with Catching Fire to see if they can replicate their success, this time with director Francis Lawrence (I am Legend).
Catching Fire is actually an improvement on its predecessor, the story is darker with Katniss Everdeen (Jennifer Lawrence) beginning to look outside of her immediate situation to see the harsh reality of the people of Panem’s lives. Rebellion is on the horizon and the bleakness of their world is apparent. While the danger for Katniss and her partner Peeta Mellark (Josh Hutcherson) in the first film is confined to the arena where the Hunger Games are conducted, in Catching Fire the danger is omnipresent and cannot be escaped.
We join Katniss and Peeta when they have survived the Hunger Games of the first film and are now being paraded in front of the districts to calm the mounting disquiet of the inhabitants. The creepy President Snow (Donald Sutherland) has plans for their demise and the threat of a real war is increasing. The inevitable love triangle is not as important a storyline as in other teenage blockbusters, with it being almost an inconvenience to the strong female lead of Katniss. In a post-Twilight world it has been a delight for audiences and critics alike to have a female lead like Katniss, whose concerns stretch a lot further than which boy to pick, and she is the polar opposite to the weak Bella Swan.
The only failing with the film is its length, at nearly two and a half hours it does drag in the middle, with the period in the arena the tightest and most exciting. The time in the arena brings home the themes of dystopia and is truly scary at times with all contestants out of their depth and fighting for their lives. Catching Fire is what a blockbuster should be like, and the male heroes of Superman, Batman and countless Marvel films could learn a thing or two from the ever-natural appeal of Lawrence. I, for one, hope Lawrence can keep this success rolling into its final two films.
Ailbhe O’ Reilly
12A (SeeIFCOfor details)
The Hunger Games: Catching Fire is released on 22nd November 2013
DIR: Harald Zwart • WRI: Jessica Postigo • PRO: Don Carmody, Robert Kulzer • DOP: Geir Hartly Andreassen • ED: Joel Negron • DES: François Séguin • CAST: Lily Collins, Jamie Campbell Bower, Robert Sheehan, Jemima West
The Mortal Instruments: City of Bones is the latest in the seemingly unending array of young adult films adapted from successful young adult books in recent years. Ever since Harry Potter was launched onto our screens in 2001, and Warner Brothers had amazing success with the adaptation of the seven books, film producers have tried to emulate its unique success. However, that particular magic (pun intended) of the Harry Potter franchise is hard to bottle and these competing films have had varying degrees of success.
I went into The Mortal Instruments: City of Bones blind with no knowledge of the books, and at first I was a bit lost as the film jumps straight into the action and the plot moves along quite fast. However, you soon catch up and acquire enough detail of this world to understand the coming-of-age story of Clary Fray (Lily Collins). Clary is a seemingly ordinary girl living in New York whose world changes overnight when she begins to realise she isn’t as ordinary as she thought. She discovers an underworld of vampires, demons, werewolves and, the heroes of the piece, the Shadowhunters.
This type of fantasy world have been a bit overdone on TV and film in recent years and The Mortal Instruments is nothing new really. It adheres to certain stereotypes; the heroes wear copious amounts of black leather clothes (hardly the most comfortable for slaying demons), ordinary humans are seen as stupider and less brave than the Shadowhunters and the baddie (Jonathan Rhys Meyers) is comically weak.
However, the actors do their best with the weak dialogue and it is an enjoyable enough film. Robert Sheehan is admirable as Clary’s ordinary best friend and he has decent chemistry with the rest of the cast. Lily Collins holds her own as the lead, but is not a patch on Jennifer Lawrence, in the superior The Hunger Games. It doesn’t help her that the dialogue between herself and her love interest Jace (Jamie Campbell Bower) is laughably bad.
Overall, the plot moves along nicely and it is a decent length, so you can enjoy this film without much knowledge of the books. This is presumably the first instalment of this six-novel franchise so there is plenty of room for development of the characters and it merely sets them up for a longer story.
DIR: Rufus Norris• WRI: Mark O’Rowe • PRO: Tally Garner, Bill Kenwright, Dixie Linder, Nick Marston • DOP: Rob Hardy • ED: Victoria Boydell • DES: Kave Quinn• Cast: Tim Roth, Cillian Murphy, Rory Kinnear
Family drama piece Broken once again teams Irish screenwriter Mark O’ Rowe up with Cillian Murphy, who previously worked together on Intermission and Perrier’s Bounty. Although some of the humour of these past films is seen in Broken, Mark O’ Rowe’s talents as a drama screenwriter are really brought to the fore through this excellently told heart breaking story.
Broken is the story of a young girl, Skunk, who lives with her father and brother in a North London suburb. Young Skunk’s life changes after she witnesses a violent altercation in the safety of her residential street. This incident is the catalyst in the interlinking stories of three families who are dramatically affected by the repercussions of the event. We are weaved through their stories with O’ Rowe’s beautifully and wittily written script. He allows our sympathies to fall on each and every person in the film, who have all been affected by the different paths their lives have taken.
The performances of Murphy as Skunk’s teacher and her au pair’s boyfriend, Tim Roth as her father and Rory Kinnear as a volatile single father are subtle, real and sympathetic. However, it is the stand out performance of the young Skunk (Eloise Laurence) that grabs us by the heart strings and pulls us in. She gives a natural performance which we rarely see at such a young age and this holds the whole film together; which is impressive considering the other excellent performances seen from her more experienced colleagues.
Broken, which had its Irish premiere on the first night of the recent JDIFF festival, set a very high standard for the excellent run of films shown this year. Overall, the cast, including the other young actors, come together to deliver a thought-provoking and memorable film; where every person in it is in some way broken.
DIR/WRI: Paul Andrew Williams • PRO: Philip Moross • DOP: Carlos Catalán • ED: Dan Farrell • DES: Sophie Becher • CAST: Gemma Arterton, Christopher Eccleston, Terence Stamp
The market for the ‘Grey Pound’, as the over 60s cinema goers are so delicately referred to as, has gained more attention from film marketers in recent years. With the film industry struggling to make revenues in the modern download era, any group that will attend the cinemas regularly are rapidly being catered for. This is good news for both older cinema goers who want to see issues they care about tackled on film and older actors who struggle to find meaty roles. Recent films The Best Exotic Marigold Hotel and Quartet are successful examples of this genre. Song for Marion certainly ticks all the boxes of a ‘Grey Pound’ film, with the majority of the cast in the over 60 age bracket. It tells the story of Marion (Vanessa Redgrave), an optimistic woman in the autumn of her life striving to live her last days with all the joy she can fit in.
Marion is a member of an unconventional choir who, guided by the young teacher Elizabeth (Gemma Arterton), enjoy performing alternative songs in their community hall. The more gripping story of this film is that of Marion’s husband Arthur (Terence Stamp) who is the opposite of his wife; a classic grumpy old man who belittles her choir and lively friends, while still caring for her in her illness with the sweetness of a life-long love. Arthur’s struggles are played with a deep emotional tenderness and strength by Terence Stamp, especially when we see his approach to the different relationships in his life.
Stamp and Redgrave’s acting capabilities make this film stand out and they bring a much needed touch of reality to the roles, which should attract all viewers to the film, not just the specific target market. Song for Marion is definitely on the sentimental side and wraps the ending up into a fairly neat and predictable package, but the strong acting of the leads ensures we care about these characters and their story.
Ailbhe O Reilly
PG (see IFCO website for details) 93mins Song for Marion is released on 22nd February 2013
Tree Keeper is a gripping thriller about a young man’s fight against a sinister business man to protect his inherited woodlands from being developed as a landfill site.
Ailbhe O’ Reilly caught up with Patrick O’Shea, whose film Tree Keeper is available on DVD, Blu-ray and as a HD Download from the film’s website,www.treekeepermovie.com)
How did you originally get into film?
I always loved stories when I was growing up – books, comics and of course movies. As kids my mother used to take us to the Ormond Cinema in Midleton which of course is closed now. I made my first film back in transition year in secondary school with a full size VHS camera. That was it, from then on it was my ambition to be a director. I spent 4 years in D.I.T. Aungier St. studying Film & Broadcasting and I continued to make independent short films from the time I left college back in 1999 up to making Tree Keeper, which is my debut feature.
What was the biggest challenge you faced shooting a feature?
Money – or a lack of it! Because we had very little money there was a lot of multi-tasking. This had its benefits in that we were for the most part a very small and very mobile crew and we were able to get through our set-ups reasonably quickly. But, having to take on multiple roles take its toll on your energy and your concentration. This can lead to certain aspects of the film suffering. When you’re juggling so many balls at once it is inevitable that you drop one from time to time.
And what was the biggest lesson you learned?
That a feature is a marathon not a sprint. You literally have to just keep chipping away. If you were to actually stop and think about how much work you still had ahead of you, you would lose your mind. You just have to keep your head down and concentrate on doing one scene at a time. In Sidney Lumet’s book, ‘Making Movies’, he equates it to an artist working on a mural of tiles. Each scene is a small bit of tile and you polish it as best you can in the time you have. In the end when you stick them all together hopefully you have something that is coherent and more than just the sum of its parts.
Because I was also the producer on Tree Keeper I learnt a huge lesson when it came to the distribution end of things. I knew nothing about film distribution and I jumped head-first into it by attending meetings at the Galway Film Fair in 2011. All of the distributors were looking for genre and named cast. It was a huge eye-opener and a great experience. Following the film fair at the Galway Film Fleadh I contacted distributors all over the world and I will now have a very different approach in mind when tackling my next feature with the distribution side of things in mind. Film distribution is in a transitional phase at the moment with VOD and so many people viewing films and TV shows on their laptops and even the distributors themselves are trying the figure out the best way forward.
I found the genre interesting for an Irish film; it must be a bit of a risk as it’s harder to shoot a thriller on a low budget. Were you inspired by Irish or foreign/mainstream films?
I tried to make a film that I would enjoy watching myself. I also realised that this could possibly be the only time in my film career where I would be free to make the film I wanted to make and not have to contend with outside influence over where the story went. I watch all kinds of films across a broad range of genres but I do tend to grab a thriller or action movie off the shelf when I sit down at night to unwind. I am inspired by mainstream films and by both Irish and foreign movies. The French film La Haine had a big impact on me when I first saw it in the Screen cinema in D’Olier St. and Tarantino and the Coen Brothers have always been a big influence. Someone commented on a particularly bloody scene in Tree Keeper recently and how it was obviously a homage to Tarantino and Reservoir Dogs whereas the scene in question was directly inspired by the scene in Marathon Man when Roy Sheider’s character stumbles into Dustin Hoffman’s apartment after being stabbed. The lead actor, James Browne and I had both just watched Marathon Man and we discussed that scene at length.
Was the film hard to get financed?
Tree Keeper was shot on a micro, micro budget in terms of standard film budgets. In all the cash budget currently stands at around €16K and close to €150K when deferrals, discounts and sponsorships are taken into account. The small production company I set up in Cork a few years back, Southernman Films, provided the actual cash budget, most of which was spent on the actual shoot. The cast and crew worked on a deferred basis. On top of that we received some very generous discounts and sponsorship deals from the likes of SLR broadcast hire in Cork who provided all of the camera, lighting and grip equipment, Secret Garden Studios in Cork where all of the post sound work was carried out and of course Windmill Lane Post Production where the grade and online edit were carried out.
Could you tell me about using Cork as a location; and also if you have any desire to work abroad?
I would love to work abroad if a script required it. If I was offered a chance to direct an interesting script in another country I’d grab the opportunity with both hands. But, I do love the Irish landscape and I grew up in Cork and after a good few years away I came back and started making films in Cork. When making films at this level it is a lot easier to have that local knowledge and local contacts. Also Cork has amazing locations which haven’t been overly exploited. I like living and working here and I will continue to strive to make films here for the foreseeable future.
What do you think think are the advantages of using the national landscape?
For such a small country Ireland has a fantastic variance in its landscape. The majority of larger towns or cites in Ireland are never more than 30 to 40 minutes away from a field, wood, mountain or beach. I grew up in the countryside in Cork but within easy access to Cork city. That country landscape influences my story-telling and the majority of the woodland locations in the Tree Keeper wrote themselves into the script. It truly was a case of write what you know. I’ve had a lot of people asking me for directions to certain locations used in Tree Keeper as they hadn’t realised that Cork has such beautiful woodlands. So the landscape inspires and promotes the film and the film sparks an interest in the viewer to go and see these places for real. I love that aspect of movies.
There is an interesting contrast in the film between Doire’s tranquil world in the woods and the cruel outside world the other characterslive in – was this the main theme of the film?
It certainly was one of the main themes in the film. Doire is at the centre of the film and as such everything else is tainted by his perspective. He is a troubled character who finds peace and calm in his isolation in the woods. He doesn’t do well around people and isn’t comfortable amidst the noise and concrete of towns and cities. It was a conscious decision to portray the urban parts of the film in a much harsher and grittier way than the woods because firstly this is the way Doire sees them and secondly it is where all of conflict in the film comes from. When Doire is in the woods, sketching, planting and clearing, his mind no longer races and he can sit still and so to him the woods are a place of tranquility and beauty and so we did our best to portray those scenes as beautifully as we could. I have to say we were helped a lot by the weather that summer, which was unusually dry and sunny.
How much was the environment and how people treat it a theme?
It was the inspiration behind the whole film. On daily walks in the forestry near where I live I would come across various piles of domestic rubbish. Everything from old electric appliances to general household rubbish with food waste and dirty nappies. People would park in the entrance to the woodlands at night time and chuck their empty chip cartons and used condoms out onto the pathway. It happens all the time. It’s disgusting behaviour. I started thinking about a character who lived in the woods and decided to scare people into not dumping their rubbish and so began the first draft of the script!
How much did music and simple camera tricks create the tension in the scenes?
The tension all began with the actors’ performances and then we were able to heighten that tension with a combination of music, camera angles and cutting. The more action based scenes where there was physical violence are very difficult to pull off on such a low budget. It takes a lot of rehearsal with the actors and the camera team. The tension and the believability of the violence is then taken to a new level when you add the right piece of music, sound FX and cutting.
The two leads worked well together, how did you develop that?
I did a lot of rehearsals with the two leads leading up to the shoot. We worked and re-worked the scenes and I filmed the rehearsals and we watch them back and discussed them. Quite a lot of their dialogue changed or was simply cut during this process.
Can you tell us about your relationship with the director of photography Rupert MacCarthy-Morrogh
Myself and Rupert work very closely together. We first worked together on a corporate video production and that led to us doing our first short together, ‘Tunnel’. Since then we have covered a lot of areas together from music videos to live shows. One of our most recent projects together was ‘Stout City’ a web advert for Cork’s two stouts, Murphy’s and Beamish.
We both share a passion for the technology of film-making and Rupert has a fantastic knowledge of camera and lights. We both agree that everything must serve the story and from that vantage point we work together on creating a look and design for whatever project we are working on.
From the outset on Tree Keeper we decided that all of the scenes in set in the woods would be shot on a tripod, dolly or jib and all of the scenes in the town would be hand-held. Then as the story progresses and certain aspects and characters from the town start to intrude into the serenity of the woodlands there is more and more handheld camera used in the woods. This was an easy decision to make sitting around drinking coffee and sketching out ideas but it turned into a lot of hard physical work when it came to lugging tripods, dollies, jibs, sandbags and cablecam rigs across rough terrain into the various woodland locations! But, we stuck to our guns and I think it makes a real impact in the film.
Filmed in rural Cork by Irish filmmaker Patrick O’ Shea, Tree Keeper is a bold film that attempts to stand on its own as a psychological thriller with the themes of violence, greed and environmentally conservatism. The question is can it compete with the Hollywood thrillers we encounter every week?
Tree Keeper tells the story of recluse Doire who has retreated to live in the woodlands he inherited when his father died. He is a solitary figure who is brought back into the world he despises when he discovers his estranged mother has sold off his land to a developer who wants to build a landfill. Doire is then thrown into a violent conflict in order to save his home, which has repercussions on both his life and that of his enemies.
This film makes a brave effort to match up to its foreign contenders in the genre by delivering a concise and through plot that overall holds together well. James Browne (Doire) gives a realistic performance as the disturbed and on edge protagonist. He holds the attention of the camera well and gives by far the best acting performance. The strong contrast between Doire’s quiet world of beauty in the woods and the cruel outside world is shown through the eyes of director of photography Rupert MacCarthy-Morrogh using all Cork’s rural landscape has to offer. The scenes in the woods are beautifully shot, which contrasts with the tough outside world of mistrust, cruelty and violence.
Orchestral music is used to capture the tense atmosphere for the violent scenes and to show Doire’s mental distress. Although the two leads carry the plot well; the support cast can at times looks amateur and stilted. The backstory is also hazy as Doire’s estrangement to his mother is mentioned but never explained. Other characters from the small town are also crucially missing details of their lives and place in the story.
Tree Keeper is, however, a fearless film that reaches the heights it has set itself and its star James Browne in particular should have a strong future ahead of him.
DIR: Icíar Bollaín • WRI: Paul Laverty • PRO: Juan Gordon • DOP: Alex Catalán • ED: Ángel Hernández Zoido • DES: Juan Pedro De Gaspar • Cast: Gael García Bernal, Luis Tosar, Karra Elejalde
Making a film about Christopher Columbus’ conquests in the New World 500 years ago is no easy feat. This is probably why the makers of this Spanish language film, set in the spring of 2000, chose to make this a film within a film. The film follows a Spanish film crew who come to Bolivia to tell the story of the brutal conquests of the early 1500s. This clever narrative device allows director Iciar Bollain and screenwriter Paul Laverty to tell not just one story of exploitation of a native people but two. Christopher Columbus’ ruthless conquest of the native people of Latin America is well known but the details still manage to shock, as we see these scenes acted out by the local Bolivians in the humid mountainous regions where, if we took away the cameras, it could easily be 1500.
The Spanish crew must look at their Spanish heritage and how their country’s imperialism has affected these people. The filmmakers: Sebastian (Gael Garcia Bernal), the idealistic director and the pragmatic producer Costa (Luis Tosar) hope that their film will tell the story of the cruelty of the Conquistadors and the courage of the few who defied them. However, while the crew are in Bolivia the local people begin to protest against plans to privatise the local water supply. Unlikely heroes emerge as lives hang in the balance.
The merging of these two historic events leads the film crew and cast to examine what is really important to them and to question the medium of filmmaking as a tool for examining history. Bolivian actor Juan Carlos Aduviri, who plays both the local activist Daniel and native Atuey in the fictional film, manages to show both stories through his eyes and becomes the heart of the film.
While the subject matter was very difficult to tackle, Bollain manages to find a creative and effective narrative device to tell these two stories and the story of the ongoing exploitation of native peoples across the world, which leads to a thought provoking and inspiring piece of filmmaking. This film both educates us on the complex problems of Latin America while effectively showing the human side of these people’s problems, surely what a good political film should do.
DIR: Scott Hicks • WRI: Will Fetters • PRO: Denise Di Novi, Kevin McCormick • DOP: Alar Kivilo • ED: Scott Gray • DES: Barbara Ling • Cast: Zac Efron, Taylor Schilling, Blythe Danner, Jay R. Ferguson
The Lucky One is the latest film adapted from a Nicholas Sparks novel. To those not familiar with his work he has previously brought us the Notebook, A Walk to Remember and The Last Song. The world of Nicholas Sparks has a warm glow to it; it has warm friendly characters, beautiful scenery and romantic storylines. It is the definition of escapist cinema.
The Lucky One begins far from this world where we meet Logan Thibault (Zac Efron), a marine serving his third tour in the Iraq war. He discovers a photo of a woman in the rubble of the battlefield which he holds on to. He believes that this photo brings him luck as he survives this terrible war when others do not. When Logan returns home he decides to try and find this woman in order to thank her for her silent protection. Walking from Colardo to North Carolina, Logan starts working in the dog training school this woman, Beth (Taylor Schilling) owns with her grandmother (Blythe Danner) and son (Riley Thomas Stewart) and finds himself immersing into their life while keeping his secret.
Zac Efron is still in the process of transistioning from a child star into a respected actor, in this film he tackles the serious issues of post-traumatic stress disorder and the effects of a modern war on the soldiers it leaves behind. Efron handles the subject matter well, we see the torture behind his eyes and his fragility with people. His story is about destiny and finding your own place in the world. The inevitable love affair between Logan and Beth bring us back to familiar Spark’s territory with the couple spending time in the breathtaking scenery of North Carolina’s countryside. They fall in love in the warmth and glow of the south with a gentle music soundtrack adding to their romance.
Praise has to be given to the director Scott Hicks, who has a background in photography, for creating this atmosphere. Taylor Schilling is adequate as Efron’s love interest, but his performance stands out from the crowd. Beth’s ex-husband (Jay R. Ferguson) creates the dramatic tension in the film with his edgy performance as the conflict to Logan and Beth’s romance. For fans of Spark’s work this is another enjoyable film to add to the collection, its leads lack the romantic chemistry of the stars of The Notebook, however Efron’s performance and a surprisingly dramatic ending make for a very enjoyable film.