Wednesday, September 23, 2020

Il Cinema Ritrovato 2020

The world has changed in 2020, and Il Cinema Ritrovato – Bologna’s annual celebration of archive cinema – has changed too. Having been postponed in June, the 34th edition took place at the end of August, which at least meant we didn’t face last year’s obstacle of temperatures hitting 40°C. The festival was shorter, running for just under a week, and a couple of the planned strands have been held back until next year.

But Il Cinema Ritrovato has expanded in other ways, hosting regular screenings in the opulent Teatro Comunale and Manzoni auditoriums, adding extra outdoor presentations in BarcArena and Arena Puccini, and taking up one of the screens in the charming Odeon cinema, which usually hosts new releases. The muffled sound of Tenet (2020) booming away in the adjacent screen thankfully didn’t spoil the experience of watching John Ford’s The Grapes of Wrath (1940) or Fort Apache (1948) in this beautiful space.

Other changes were enforced by the questions that have become central to all our lives this year: social distancing and safety. The festival introduced a new ticketing system that cut down on queues and crowding; the capacity of each screen was reduced with alternate seats blocked out; access to the nightly outdoor screening in Piazza Maggiore was strictly controlled; and, of course, hand-washing and mask-wearing was mandatory across all venues. There was even an online version of the festival provided for anyone unable or unwilling to attend, streaming a selection of films and masterclasses for home viewing. Festival directors and cinema owners around the world who are struggling to figure out the best way to proceed in the age of COVID-19 could do a lot worse than look at this event for guidance.

Read the rest of my article at the BFI website now.

Tuesday, September 01, 2020

The Devil All the Time in Sight & Sound

As you may have gathered from how quiet things have been around here lately, I've struggled to find the motivation to write anything over the last couple of months, so I was grateful to Sight & Sound for asking me to write about The Devil All the Time. This is a fine adaptation of Donald Ray Pollock's terrific, and you can read my interview with director Antonio Campos in the October issue of Sight & Sound, which is on sale now, or you can read the article online here.

Monday, May 04, 2020

The Death and Life of John F. Donovan

Xavier Dolan’s name appears a lot in the opening credits of The Death and Life of John F. Donovan. He’s noted as one of the costume designers, a co-editor, co-writer, co-producer and – in case you didn’t get the message – the words “directed by Xavier Dolan” appear twice. I’ve long admired the way Dolan throws so much of himself into his work, but as I watched this film I wondered if he should have delegated more often to focus on the already considerable task of directing this picture, because if The Death and Life of John F. Donavan has one defining trait, it’s a chronic lack of focus.

Before those opening credits have even begun, we’ve been introduced to the three narrative threads that Dolan will spend the next two hours struggling to pull together. In New York in 2006, Donovan (the fatally uncharismatic Kit Harrington) is a young actor on the rise. The star of a hit TV show and on the verge of being cast in Disney’s new superhero movie ("These kinds of movies are popular right now, but it won't last, will it?" someone asks), he’s idolised from afar by 10 year-old Rupert (Jacob Tremblay). Living in Harrow with his mother (Natalie Portman) and the target of school bullies, Rupert takes refuge in his secret epistolary correspondence with Donovan, an unlikely friendship that began when the star unexpectedly replied to one of his fan letters and that has now been ongoing for five years.

We never learn why Donovan felt the urge to respond to this particular child, or why he felt compelled to maintain the correspondence for five years and something in the region of a hundred letters. We understand that he feels trapped and unhappy, a closeted actor forced to live a public lie in a sham heterosexual relationship, but what did he get out of sharing his thoughts and feeling with this young stranger? We don’t know, and while the essential unknowability of the celebrities we revere is partly the film’s point, the fact that we don’t hear anything from these letters or see him even acknowledge their existence in his life until the very end of the film makes it feel like a crucial element of the text – something that could have given us a sense of his perspective and inner life – is absent. Without this tangible connective tissue to link Rupert and Donovan together, Dolan relies heavily on the adult Rupert (Ben Schnetzer) to fill in the gaps. He is promoting a memoir built around their relationship and is sitting down for an interview with a hardnosed reporter (Thandie Newton) who is accustomed to covering stories with more gravity and rolls her eyes at his "mishaps from the first world." She gradually begins to soften and empathise with him over the course of his narration, but as Dolan cuts back-and-forth between this conversation, set in 2017, and the two halves of his 2006 story, he can’t settle on the right rhythm.

Dolan has always been a director who favours direct emotions and blunt melodrama, but the big moments here – like Harington’s embarrassing on-set meltdown – can feel like they’re blowing up in a vacuum rather than emerging organically from the film’s steadily rising emotional temperature. Dolan is on much firmer ground when he focuses on difficult mother-son relationships, the theme that has been the cornerstone of all his work, with Natalie Portman and Susan Sarandon offering committed performances as Rupert and Donovan’s mothers respectively, but even here his usual perception and wit has failed him. Having watched scene after scene of Rupert yelling at his mother, the revelation of his school essay hailing her as his hero – which leads to a tearful slow-motion reunion in the rain – feels mawkish, cheap and entirely false.

The Death and Life of John F. Donovan is the first time Dolan the screenwriter has really failed Dolan the director, but perhaps it’s simply the end result of a filmmaker failing to fully get to grips with his most ambitious project and struggling to make amends in the edit. The film’s choppy editing patterns, truncated arcs and abrupt emotional swings (not to mention Michael Gambon’s bewildering last-minute cameo) all suggest a torturous post-production, as does Gabriel Yared’s score, which is slathered onto the picture like superglue, holding the rickety construction together. The thing is, there are glimmers of the film it could have been; thrilling flashes of Dolan’s directorial brio, aided by André Turpin’s atmospheric 35mm cinematography, and his love of actors, giving them moments to shine that the great ones – like Kathy Bates – relish running with. Ultimately, this feels like a film that he needed to make and get past, and in fact he already has, with his subsequent picture Matthias & Maxime boasting some of his best work on both sides of the camera. Xavier Dolan’s prolific, swing-for-the-fences approach to filmmaking is always liable to produce a mixed bag of triumphs and disasters, but no matter how many times he goes on to falter in his career, The Death and Life of John F. Donovan will likely stand as his most fascinating and perplexing failure.

Monday, April 20, 2020

Lockdown Viewing - April 13th to 19th

Bogus (Norman Jewison, 1996)
I was excited by the concept of Gérard Depardieu appearing out of the blue to be a child’s imaginary friend. I imagined all sorts of crazy antics – the film in my mind was entitled Drop Dead Ged – but Bogus seems bafflingly unwilling to explore any of the comic potential this film throws up. Depardieu’s Bogus is brought to life in an airplane toilet by the grief-stricken Albert (Haley Joel Osment), who is on his way to live with his late mother’s foster sister, whom he had never met. Harriet is played by Whoopi Goldberg, who wrings a few laughs out of her character’s puzzlement over this weird kid and his invisible friend suddenly living in her house, but the filmmakers seem content to have Bogus standing on the sidelines whispering words of wisdom to the boy instead of doing anything interesting or fun. He keeps telling Albert to be nicer to Harriet, to be patient with her, to give her a hug, etc. and all the life just drains out of the picture. There are a few fantasy sequences, like Bogus and Albert concocting an ice cream parlour out of thin air, but the attempts at spontaneous joviality feel even more forced than the hackneyed melodrama at the film’s heart. Bogus was written by Alvin Sargent and directed by Norman Jewison, and they push it for treacly sentimentality, losing their grip on the film completely when Harriet gains the ability to see Bogus and then – for some inexplicable reason – does an Astaire and Rogers-style dance number with him. Everything about Bogus feels, well, bogus, especially the final scene, in which Depardieu turns to the camera, ensuring us that he was off to perform more magical adventures for some unhappy souls elsewhere. Frankly, the actor looks like he’d rather be anywhere else.

The Family Jewels (Jerry Lewis, 1965) 
Your reaction to The Family Jewels will depend entirely on your reaction to Jerry Lewis. If you’re even slightly resistant to his charms, The Family Jewels will probably be close to unbearable, as he appears in seven different guises as a series of increasingly eccentric characters, but I love watching Lewis and I loved this picture. Six of the seven characters are uncles to an orphaned heiress (10 year-old Donna Butterworth), and she has to choose one of them as her legal guardian. There are echoes of Lewis’s other work in some of these creations. His clumsy photographer recalls The Nutty Professor, while his clown character recycles the one he played in 3-Ring Circus, although the darkness of this character also perhaps foreshadows The Day the Clown Cried. The Family Jewels’ plot is thin and largely irrelevant (there’s never any doubt that the kid will instead choose Willard, the family chauffer, also played by Lewis) but it does allow him to string together a series of extended skits as his various bizarre uncles each bring a different kind of chaos to the picture. An aged sea captain recalls a bomb disposal that is presented as a silent bit of slapstick; a pilot somehow conspires to get left on the runway as his plane takes off; a detective on the hunt of his kidnapped niece gets distracted by a pool hall and dazzles us with the trick shots Lewis learned from Minnesota Fats. There are also cherishable visual gags dotted throughout the film, like the way a whole row of books falls from a shelf in a perfect pattern when Lewis removes just one of them, or the deep groove he wears into the ground as he anxiously paces. Lewis’s timing and craftmanship on both sides of the camera is impeccable, and The Family Jewels frequently had me cackling on my sofa.

The Outrage (Martin Ritt, 1964)
With films like The Hustler, Sweet Bird of Youth and Hud already under his belt, Paul Newman was riding high as he approached the mid-1960s and surely had his pick of projects, so what on earth prompted him to sign on for The Outrage? I guess he was tight with Martin Ritt – this was their fifth picture together in six years – but he’s all wrong for the part of a Mexican bandit, both in the way he looks and the broad way he chooses to play the role, which verges on caricature. The Outrage is a remake of Akira Kurosawa’s Rashomon, with Newman’s Carrasco on trial for the murder of a man (Laurence Harvey) and the rape of his wife (Claire Bloom). Watching Newman’s bandito face off against Bloom’s southern belle gets more tiresome with each flashback; Harvey spends most of these scenes gagged and tied to a tree, and he comes off best in comparison. I kept thinking that something about The Outrage felt strangely stiff and stagebound, and it was only afterwards that I discovered the screenplay was by Michael Kanin, who adapted Rashomon for the stage with his wife Fay in 1959. The Outrage does have its moments, but they tend to occur in the framing device rather than the flashbacks, which benefits from a terrific performance by Edward G. Robinson as a cheerfully cynical snake oil salesman who gets the film’s best lines: “Why, some of my best friends are corpses... they’re the only ones I can trust. Oh, sure, they stink a little but no more than a few alive ones that I know.” His turn is one of the film’s saving graces, with another being the vivid cinematography by the great James Wong Howe. His work is one of the few areas where Ritt’s film gives Kurosawa a run for his money.

Split Image (Ted Kotcheff, 1982)
Released within a few weeks of First Blood, the other 1982 collaboration between Brian Dennehy and Ted Kotcheff is an uneven but very compelling drama about a young man (Michael O’Keefe) who cuts ties with his family when he is drawn into a religious cult. Dennehy plays Danny’s father, a wealthy and flippant character suddenly rendered utterly powerless, and I thought we were being set up for a battle between him and cult leader Neil Kirklander (a malevolently grinning Peter Fonda) over the boy’s soul, but that’s not quite how it plays out. The wild card is Charles Pratt, an obsessive deprogrammer who hates Kirklander with a passion and has dedicated himself to bringing down his operation; I guess you could call him the film’s hero, except for the fact that he’s played by James Woods in one of the most hilariously scummy performances imaginable. “You know what I see college as? One big fuck farm” he tells a colleague as they wait for one of their targets to show, and he seems to take real glee in tormenting and the ex-cult kids as he beats Kirklander’s influence out of them. Woods invests Split Image with a prickly energy whenever he is on screen, but while this is a film with some great moments, it doesn’t quite come together into great film. O’Keefe’s journey from skeptical outsider to true believer feels a bit sketchy and underwritten, with the filmmakers relying too heavily on Fonda’s oily charisma to sell the cult rather than fleshing out its specifics. It’s perhaps easy to see why Split Image has slipped into obscurity, but there are some fine performances to discover here and the film is generally absorbing and unnerving, at least until the disappointingly pat ending.

We're No Angels (Neil Jordan, 1989)
We’re No Angels has a hell of a pedigree. David Mamet wrote the screenplay, Neil Jordan directed it, and it stars Robert De Niro and Sean Penn. Most people would walk into a movie boasting those names with high expectations, but fewer would expect to sit down and watch a wacky screwball caper. Something about We’re No Angels feels off from the start, and it never really finds its groove. The opening sequence in a grim 1930s prison is spectacularly staged, but the scale and darkness of the movie overwhelms the comedy. The idea of two cons disguising themselves as men of the cloth in order to escape the law is a comedy standard, but Mamet and Jordan seem more drawn to the tension and danger inherent in their repeatedly frustrated attempts to cross the border into Canada than they are in mining laughs. Penn and De Niro work hard to lift the movie, but only Penn occasionally succeeds, with an appealingly guileless performance that works particularly well when his character is forced to improvise a sermon on the spot, and he plays well with John C. Reilly, who has a funny recurring role as a young monk who is absolutely in awe of these visiting clerics, hanging on their every word as if God himself was speaking. De Niro, however, is a disaster. The role gives him so little to play he resorts to mugging like crazy, and there’s hardly a scene in the film that isn’t marred by him frantically pulling faces. Coming just a year after Midnight Run, it’s a painful lesson in what can happens when a serious actor actively tries to be funny instead of just playing the scene and letting the humour flow naturally.

Monday, April 13, 2020

Lockdown Viewing - April 6th to 12th

Big Trouble (John Cassavetes, 1986)
“I’m embarrassed to have my name on it, and even more embarrassed that people will think it’s my final film,” John Cassavetes said of Big Trouble, a salvage operation that he was parachuted into when writer-director Andrew Bergman left mid-production. It’s hard to know who is primarily responsible for the end result – Bergman, Cassavetes or the producers who reportedly meddled along the way – but it’s a film that doesn’t display much evident personality in its filmmaking, and has a schizophrenic quality in its storytelling. The first half is essentially a beat-by-beat parody of Double Indemnity, with Alan Arkin as the insurance man persuaded by a scheming femme fatale (Beverly D’Angelo) to get rid of her husband (Peter Falk) and split the payday. Once the deed has been done, however, the film spins off in a variety of directions, incorporating a faked death, a kidnapping, an attempted heist and an encounter with terrorists. A lot of Big Trouble doesn’t work or even make a great deal of sense, but no film starring Peter Falk and Alan Arkin is ever going to be a complete write-off, and this one is often very funny. The dynamic the two leads share is similar to the one at the heart of The In-Laws (also scripted by Bergman) and Arkin gets so much comic mileage out of simply trying to control the pitch of his voice as his anxiety overwhelms him or – in the film’s funniest moment – delivering a spit-take for the ages after tasting Falk’s sardine liqueur. Big Trouble may be regarded as an ignominious and anonymous end to a great director’s career, but if you judge it against the standards of the average Hollywood comedy rather than Cassavetes’ own work, it doesn’t look so bad. There is one interesting side note to this film’s troubled production: before shooting began Columbia Pictures had to seek permission from Universal to use the plot of Double Indemnity, and Universal agreed in exchange for the rights to a project that had been sitting on the shelf at Columbia. That film was Back to the Future, which had already become a monster hit by the time Big Trouble finally hobbled into cinemas.

The Brown Bunny (Vincent Gallo, 2003)
Given all the brouhaha that surrounded its release – the uproar at Cannes, the feud with Ebert, the fuss over a single scene – it’s strange to look at The Brown Bunny now and see how delicate, wistful and introspective it is. It's hardly a film that merited such a noisy introduction to the world. I don’t think it’s as strong a film as Gallo’s directorial debut Buffalo ’66, but I still like it a lot. The film feels of a piece with other minimalist films of that era, such as Gus Van Sant’s Gerry or Bruno Dumont’s Twentynine Palms, while also harkening back to pictures like Zabriskie Point and Two Lane Blacktop, as Gallo drives across the United States and occasionally stops to have an awkward conversation with somebody. It’s clear that he’s a lonely individual haunted by something, and in search of some kind of reconciliation with Daisy (Chloë Sevigny), a woman from his past, but the nature of their relationship isn’t clarified until the very last scene, which is the only scene in the film anyone talks about. The meeting between Gallo and Sevigny is alternately uncomfortable, tender, angry and sad, and it acts as a culmination to everything that has come before it. Gallo has a gift for finding piercing and truthful moments in a scene that appears to be meandering, and he does that a number of times throughout The Brown Bunny, most notably in a wonderfully unexpected and intimate encounter with Cheryl Tiegs. The Brown Bunny’s 16mm images are evocative and atmospheric, and the film has an entrancing rhythm. I wonder if we’ll ever get to see another film from Vincent Gallo? I wonder if he’ll ever let us see his 2010 film Promises Written in Water? I dearly hope the answer to both of those questions is yes.

The First Men in the Moon (Nathan Juran, 1964)
Five years before Neil Armstrong walked on the lunar surface, this film imagined a United Nations mission successfully landing on the moon only to find that somebody had beaten them to it. The discovery of an old Union Jack flag and a note claiming the moon for Queen Victoria leads them to the aged Arnold Bedford (Edward Judd), who recounts the journey that he took to the moon way back in 1899. The First Men in the Moon is an adaptation of an H. G. Wells novel, and it’s very distinctly a film of two halves. The first half of the picture has a manic screwball energy, being dominated by Lionel Jeffries as Cavor, the eccentric scientist whose gravity-defying substance will lift their craft into space. Jeffries charges about the place causing explosions and shouting about geese, and while some of this is funny, it’s more often just loud and frenetic. It takes a surprisingly long time for Bedford, Cavor and Bedford’s fiancé Kate (Martha Hyer) to achieve lift-off, and it’s something of a relief when they do, but that relief eventually hardens into disappointment during the underwhelming moon-set section of the film, where Nathan Juran’s direction is too sluggish and workmanlike to generate any real sense of danger or excitement. This is a very handsome film to look at, though. John Blezard’s art direction is impressive, both inside the spacecraft and within the tunnels of the moon, but the real star of the movie is undoubtedly Ray Harryhausen. He creates some giant worm-like creatures for our heroes to evade, but I was particularly fond of the aliens’ x-ray machine, that reduced the captured Martha Hyer to an angrily gesticulating skeleton.

My First Film (Zia Anger, 2019)
One of the most depressing rituals that has grown familiar over the past two months has been the deletion of various eagerly-anticipated events from my diary, as the Coronavirus pandemic forced the closure of cinemas, theatres and art galleries. An early casualty of this was Zia Anger’s live presentation of My First Film at the ICA, which I was supposed to see at the end of March, but fortunately Anger has found a way to give people an approximation of that experience. She is presenting live online shows for around 60-75 people at a time, and being part of one of those audiences was a very special experience. The first film that Anger is referring to was called Always All Ways, Anne Marie, a feature she made in 2012 with friends and relatives on a crowdfunded budget of $22,000. Once completed, the film was rejected by every festival it was submitted to and was never seen by an audience. In My First Film, Anger shares bits and pieces of that film with us, presenting it on the left hand side of her desktop while typing her thoughts in a text box on the right hand side of the screen. Anger is honest and philosophical about both the film’s failings and her own, and there is something incredibly intimate about the spontaneous manner in which My First Film plays out, watching her thoughts appear on screen as she types them out, with her often going back to correct or revise them and sometimes responding to comments made by viewers as she goes. I admired her authenticity and imagination, and by the end of the film I was very moved by a shared experience that seemed to work as a cathartic and emotional experience for Anger too. I hope she can return to London to present My First Film live one day. If she does, I’ll be there.

The Rainmaker (Francis Ford Coppola, 1997)
The Rainmaker hits all the standard beats of a John Grisham thriller. An idealistic young lawyer is taking on a case that’s bigger than him. He appears in over his head against the high-powered legal team he’s up against, but after some canny legal wrangling, some shouts of "Objection!" and a few last-minute revelations of evidence, he wins the case and gets the girl. These films always adhere to a sturdy and familiar template, so what matters is how classy the filmmaking is and how many great character actors you can squeeze into the picture, and these are the factors that make The Rainmaker such a pleasure. This film may be among the most modest and anonymous of Coppola’s works, but his subtly intelligent direction elevates it. The way he frames certain figures, such as Mickey Rourke’s crooked lawyer and Dean Stockwell’s feckless judge, speaks volumes about their characters and the power dynamic inherent in those scenes. Rourke and Stockwell are just two of the wonderful roster of supporting players enlisted to prop up a committed but bland Matt Damon, whose romance with Claire Danes (trapped in a helpless abused wife subplot) is by far the worst thing in the picture. Jon Voight is the slick corporate lawyer who sold his soul years ago, Roy Scheider is the insurance company’s CEO, Mary Kay Place is the mother of a son who is slowly wasting away. Best of all is Danny DeVito as Damon’s opportunistic partner; constantly hustling and looking for an angle, he brings a vital bristling energy to the picture. The Rainmaker is a thoroughly engaging mainstream entertainment, but there’s also a real power in the way Coppola presents the dying young man (Johnny Whitworth) whose illness has instigated this case. Instead of just treating him as a plot point or a cheap emotional hook, Coppola recognises the tragedy of the situation, making us face these characters and their pain just as Voight and his cronies are forced to. "This is how the uninsured die," Damon says in his (Michael Sherr-scripted) voiceover. It’s an element of the film that still resonates more than two decades on.

Monday, April 06, 2020

Lockdown Viewing - March 30th to April 5th

Anna Karenina (Joe Wright 2012)
I felt an inexplicable urge to watch Joe Wright's Anna Karenina again recently. I'm not sure what I was expecting from it, as I hadn't really cared for it in 2012 and little of Wright's subsequent work had given me cause for reevaluation. It’s an enormously frustrating picture because I can admire much of what Wright is trying to do within the framework of his theatrical conceit, and there are times when he pulls off a virtuoso camera move or a complex piece of choreography that deserve applause. Ultimately, however, that’s all Anna Karenina amounts to. It’s a series of bold maneouvres and ambitious ideas that never coheres, and for a film determined to flow from one scene to the next – with scene transitions happening on the fly – it feels so disjointed. It was always likely to be a shallow and truncated adaptation, but Wright and Tom Stoppard never seem to have a grasp on the balance or pacing of the story, and both the primary and secondary narratives end up feeling underdeveloped. One of the key problems lies in the casting. The decision to cast Aaron Taylor-Johnson as Vronsky looks even more laughable now than it did then, and although she makes a fair stab at it, I think the title role was too much for Keira Knightley. The film’s real success stories lie in the supporting roles. Jude Law is marvelous as the dignified, wounded Karenin, and Alicia Vikander grabs her opportunity to light up the film every time she appears as Kitty. A star was obviously being born. I'd like to see her Anna Karenina some day.

Getting Straight (Richard Rush, 1970)
Getting Straight is talk, talk, talk. The characters in Richard Rush’s film are constantly arguing, debating, monologuing and cracking wise. It might have all become too cacophonous to bear if it wasn’t for two key factors. First of all, the protagonist Harry Bailey – a sardonic Vietnam vet returning to college to secure his master’s degree – is played by prime-form Elliott Gould, who keeps us engaged no matter how arrogant, pompous and misogynistic his character can be. The second factor that keeps us hooked into the picture is Rush’s incredibly vibrant direction. Working with Laszlo Kovacs, he finds imaginative ways to frame every scene through his blocking, his use of architecture and, above all, through some spectacular rack focus work. Seriously, I can’t remember the last time I saw so many focus pulls in a single film; there must be a dozen in some of these shots. Emerging from the burnout, disillusionment and fog of the end of the ‘60s, Getting Straight is a fascinating time capsule. I’m not sure if it all really works, and I found a lot of it unconvincing (especially Harry’s climactic explosion over The Great Gatsby) but it’s impossible to look away from this movie, and the ending has the same potent ‘burn it all down’ quality that characterises so many films of this era. Getting Straight made over $13 million and was the 21st highest-grossing film of 1970, which is a remarkable thing to consider from today's point of view.

Man Trouble (Bob Rafelson, 1992)
Hopes must have been sky-high for a film that reunited the director, screenwriter and star of Five Easy Pieces, but there’s no getting away from the fact that Man Trouble is a confounding mess. It’s not just the fact that it’s a bad movie, but it feels like three or four bad movies are happening at once. On one level the film is an attempt at an old-fashioned screwball romance, but stodgy pace and the lack of chemistry between Jack Nicholson and Ellen Barkin kill its chances of ever getting off the ground. Barkin appears to have been directed to flip into hysterics at the slightest provocation, while Nicholson operates on autopilot. To be fair, the actors might just have been confused by the way their character dynamics seem to transform from one scene to the next, with the film adopting a different style and tone every ten minutes. I know I was confused. There’s a subplot about a serial axe murderer that doesn’t go anywhere, and an equally baffling detour in which Barkin’s sister Beverly D'Angelo is kidnapped and held in a psychiatric hospital because some powerful men want a tell-all transcript she’s writing, or something. If that wasn’t enough, there’s also a running gag about a horny dog that keeps trying to shag people. Man Trouble has a cracking cast - Harry Dean Stanton, Michael McKean, Saul Rubinek and Veronica Cartwright all make appearances – but nobody seems entirely sure what their role is supposed to be. A bewildering misfire. 

Movie Crazy (Clyde Bruckman, 1932)
This was Harold Lloyd’s first foray into talking pictures, and despite some occasional stiffness, it’s generally a very smooth transition. The film pokes fun at our bespectacled hero’s inappropriateness as a big screen leading man. He is a dreamer hoping to break into pictures, who gets his opportunity when a mix-up over his headshot leads to him being invited to the studio for a screen test. Lloyd does have some fun with sound effects – notably in the way the audio speeds up as his various screen tests are run through – but Movie Crazy succeeds primarily because its best gags are inventive visual sequences that you could easily imagine him constructing in the silent era. He creates slapstick havoc when he stumbles into a production as soon as he arrives in Hollywood, and in the film’s comic highlight he accidentally wears a magician’s jacket to a party, looking increasingly bewildered as he pulls rabbits and doves from its hidden pockets. Movie Crazy offers an amusing dual role to Constance Cummings, who toys with Harold’s emotions as both an actress and the character she’s playing in a film; Harold isn’t aware that they’re the same woman, and he fears he’s cheating on one with the other. But what really distinguishes the film is the elegant style that Lloyd and director Clyde Bruckman (a frequent collaborator with both Lloyd and Buster Keaton) bring to the film. Rather than being constrained by the newfangled recording techniques, they keep the camera mobile, incorporating a series of impressive tracking shots, notably the one that builds up to the spectacular climactic fight on the deck of a ship.

Wife (Mikio Naruse, 1953)
The stark title could stand for a number of Mikio Naruse films, but in its opening scenes, Wife gives equal weight to the inner thoughts of both partners in a failing marriage. Mihoko (Mieko Takamine) and Toichi (Ken Uehara) have been married ten years and whatever spark their relationship once had has long faded. Neither party seems able to address this directly, however, and instead they both sit in silent resentment, stewing in their private emotions. The actors find small, telling details in their interactions that accentuate their mutual dissatisfaction, and when Toichi is driven into the arms of a co-worker she is young, cultured and modern – she represents a sharp contrast with his wife. Naruse surrounds the central couple with vividly sketched and equally poignant portraits of marital discord – one woman despairs of her unemployed and often drunk husband; another is devastated by her husband’s relationship with a prostitute – and he brilliantly weaves in and out of these narratives to create a tapestry of sadness, frustration and lost hopes. Wife is structured to open and close with scenes that echo each other, emphasising the hopeless situation that these characters find themselves in. Mihoko might have won the victory over her young rival, in a beautifully acted confrontation, but she has only condemned herself to many more years in a loveless union that won’t make anybody happy.

Monday, March 30, 2020

Lockdown Viewing - March 23rd to 29th

It has been more than two weeks since I last saw a film on the big screen (The Godfather on 35mm, not a bad way to bow out), and that’s probably the longest period I’ve endured without going to the cinema since… I started going to the cinema. These are strange times and I’ve felt very depressed and destabilised over the past couple of weeks. Going to cinemas, art galleries, theatres and watching football constitutes 90% of what I do outside of work, so having all of that suddenly ripped away from me is a loss that has taken some time to digest and recover from. In theory, one could see this as a whole lot of unexpected free time to take advantage of, but in practice I’ve felt too lost and restless to properly sit down and focus on reading or writing anything. Even the simple pleasure of going to a café for a couple of hours with a book, one of my key methods of relaxation, is no longer an option.

But there’s no point wallowing in despair; after all, life isn’t going to get back to normal any time in the immediate future. I’m trying to be more disciplined and structured in how I fill my hours, to spend less time following the (never good) news and more time catching up with films that are either unseen by me or long overdue for a revisit. I thought it would help to share my brief thoughts on these films, and to maybe inspire you to seek them out for your own home viewing, so look out for an update every Monday for however long this situation will continue for.

I hope everyone reading this is keeping safe and well.

Apache Drums (Hugo Fregonese, 1951)
This low-budget western is notable for being Val Lewton's last production. It lacks any major stars and takes place in a handful of locations, but it’s a surprisingly rich and moving film about prejudice, community and sacrifice. Stephen McNally is very good as the gambler banished from a small frontier town, only to become the town's saviour when he returns to warn them about a band of marauding Apaches heading their way. David Chandler’s concise screenplay film skilfully sets up a number of tensions in the first half of the film – primarily between McNally and upright stick-in-the-mud mayor Willard Parker – and these tensions are carried into the climactic siege, which dominates the last half-hour of this 76-minute film. Director Hugo Fregonese has a strong sense of composition and he builds tension beautifully, doing some sensational work in the siege itself, with quiet moments of dread being punctuated by flurries of action, as the warpaint-clad Indians leap out of the darkness. The stark and expressive lighting adds to the sense of claustrophobia and fear. An impressive piece of work all round.

The Caine Mutiny Court-Martial (Robert Altman, 1988)
I’ve seen and enjoyed almost all of the stage adaptations that Robert Altman directed during his wilderness years of the '80s. What’s so striking about these productions is that Altman doesn’t make any real attempt to open these films beyond their obvious stage origins. Instead, he turns them into cinematic through his imaginative use of the camera and his attention to his ensemble’s performances, and both of these attributes are on display in The Caine Mutiny Court-Martial, a television film he directed in 1988. It has a terrific young cast: Jeff Daniels as the sailor accused of mutiny, Eric Bogosian as his reluctant defence counsel, Peter Gallagher as the prosecuting lawyer and Brad Davis as Queeg, the captain whose authority Daniels usurped. The play is essentially a series of long cross-examinations, but Altman never lets it settle into stasis; his camera is always prowling around the gymnasium in which this trial is taking place, looking for a fresh perspective. He sometimes slips away from the person speaking to rest on the faces of those listening, and he’ll allow background and foreground noise to intermingle, all of which pushes us to lean in and pick out key details. The actors relish the meaty monologues offered by Herman Wouk’s superb play, none more so than Brad Davis, whose crack-up in the second half is painful to watch but utterly riveting.

Deconstructing Harry (Woody Allen, 1997)
Astonishingly bitter. It feels like Woody took every criticism that had been levelled at him and piled them all into one character, a novelist who exploits his real-life relationships in his art, habitually discarding those lovers once he's through with them and has moved on to a younger model. The film is edgy and frantic, all handheld camerawork and jagged cuts, and there's something disorienting right from the start in the way the classic Woody credits are repeatedly disrupted. He lets some of his actors off the leash in a tremendously enjoyable way, notably Judy Davis as a betrayed lover and Kirstie Alley as his ex-wife (I love the scene where Alley berates him for fucking her patient, while the camera stays in her office with her latest patient nervously listening). There are also skits that feel like his short stories dropped into the middle of the main Philip Roth-like narrative, such as Tobey Maguire using a friend's apartment to hire a prostitute and then having to face Death, or Robin Williams as an actor literally going out of focus. All of this adds up to a strange, acidic brew, and I'm not sure it quite hangs together, but it's certainly one of the most fascinating entries from the post-scandal years, and it contains some very funny lines: "You have no values. With you it's all nihilism, cynicism, sarcasm, and orgasm." "In France I could run for office with that slogan and win!”

eXistenZ (David Cronenberg, 1990)
I don't think I'd seen this film until just after it first came out and I'd forgotten how much fun it is. Is it Cronenberg's funniest movie? He has so much fun with the sexual innuendo around the anus-like bio-ports, and Jude Law's panicky performance in the first half of the film is a hoot. It’s such a fleet and exciting picture too, zipping from one location to the next and blurring the real and the virtual until it’s impossible for us or the characters to tell them apart – the film’s closing line is inevitably, “Hey, tell me the truth. Are we still in the game?” The whole sequence in the Chinese restaurant in particular is brilliantly put together. I re-watched Videodrome at the tail end of last year and it really is remarkable how potent and prescient both of these movies feel, as they explore the notions of our constructed realities and how technology can warp and mediate our most personal relationships and intimate activities. Above all else, I just really responded to how fleshy and organic eXistenZ feels, with the technological devices all appearing as extensions (eXtensionZ?) of our own biology. It has been six years since both Maps to the Stars and his novel Consumed (which reminded me a little of eXistenZ) and I miss David Cronenberg very much.

The Scout (Michael Ritchie, 1994)
A compromised and frustrating Michael Ritchie-directed baseball comedy from 1994, starring Albert Brooks as a New York Yankees scout banished to Mexico after too many of his prospects flop. In a tiny Mexican town, he discovers a young player (Brendan Fraser) who might be the greatest ever - he pitches at 100mph every time, and he clears the stadium with every swing of his bat. The early scenes of Brooks bumbling his way around Mexico and then bringing the childlike but volatile Fraser back to New York, are pretty funny, and for a while I thought this film might be better than its reputation suggested, particularly when Dianne Wiest showed up as Fraser's therapist. But it grows increasingly slack and tedious, getting bogged down in the Fraser character’s poorly defined mental issues. The laughs dry up and the (apparently studio-enforced) ending is just disastrous. It seems The Scout underwent a lot of rewrites during its two-decade development (originally Peter Falk and Jim Belushi were lined up to star in the late-70s), and each rewrite took it further away from the evocative Roger Angell New Yorker article that had originally inspired it.

A Shock to the System (Jan Egleson, 1990)
Michael Caine stars as an ageing advertising executive passed over for promotion in favour of a younger man, and feeling himself increasingly sidelined and undermined at work and at home. His response, of course, is to start murdering his way to the top! A Shock to the System reminded me of Costa-Gavras's excellent Donald Westlake adaptation The Axe, which unfortunately never got released in the UK, and Caine is on prime form here as a character letting his innate nastiness gradually emerge, particularly as he begins to get away with his increasingly elaborate crimes and starts to see himself as untouchable. The film is directed with style and wit and boast a number of fine supporting performances, including Peter Riegert as Caine’s corporate rival, Elizabeth McGovern as his love interest and Will Patton as a dogged but ineffective detective. It might end up feeling a bit slight at the end of it all, but A Shock to the System is a very entertaining and tightly constructed 90 minutes. 

Sunday, March 08, 2020

The Great Buster: A Celebration - Preview and Q&A

As some of you may already be aware, I'm rather fond of the films of Buster Keaton, so I've been looking forward to Peter Bogdanovich's new documentary The Great Buster: A Celebration for some time. I saw it recently and it's a very entertaining and touching tribute to this comic genius. The film is full of great clips - including some footage that I hadn't seen before - and it features contributions from a number of filmmakers, historians and fans. It offers some lovely nuggets of information and illuminating details for Keaton aficionados, and it is a perfect introduction for anyone coming to his work for the first time.

The Great Buster: A Celebration will be released in UK cinemas on March 20th, and it will have a preview screening at the Bertha Dochouse on March 18th. After the film, I'll be hosting a Q&A with historian David MacLeod, the co-founder of Buster Keaton appreciation society The Blinking Buzzards, and author of the book The Sound of Buster Keaton.

You can buy your tickets here and I hope you'll join us on the 18th to celebrate The Great Buster!

UPDATE: Due to the Coronavirus situation this event has now been cancelled, along with everything else. It has been an unbelievably depressing experience to receive one email after another announcing the closure of another cinema or gallery space, and I can only hope that these venues and their staff can survive the coming weeks without suffering too much hardship. The sooner we can get back to some kind of normality and get back to supporting our favourite cinemas and arts organisations, the better. Stay safe, everyone.

Thursday, February 27, 2020

End of the Century

Argentine writer-director director Lucio Castro has chosen a familiar template for his debut feature End of the Century. Two strangers meet in a foreign land. They talk, they wander around the city, they tumble into bed and they try to figure out if this is the real thing or just a brief encounter. It's a template that works but can also use some freshening up, and Castro shakes it in a few interesting ways. First of all, Ocho (Juan Barberini) and Javi (Ramón Pujol) take care of the sex before sitting down for the getting-to-know-you phase, and it's during this post-coital conversation that they gradually realise they already do know each other, having met and had sex in the same city twenty years earlier.

When this realisation kicks in it triggers a long flashback, in which we see Ocho arriving in Barcelona for the first time, but you'd be forgiven for initially thinking that we're being taken back two weeks rather than two decades. Castro doesn't make any attempt to de-age his middle-aged actors, and while this effect is disconcerting it effectively establishes End of the Century as a subjective memory piece, with Ocho placing himself inside his hazy recollection of the past. Would  it really be so hazy, though? During this trip, Ocho first gave in to the homosexual stirrings inside him, first following a man into the woods to receive a nerve-wracking blowjob, before hooking up with Javi (also nominally straight and attached at this point) a few nights later. Is it convincing that Ocho would have forgotten these significant first gay experiences? Even when he finds Javi wearing the same KISS t-shirt twenty years on? A film like End of the Century needs an audience to buy into it, but too many of its details just didn't ring true.

The t-shirt is one of the motifs that links past and present; we see Javi finding it in the street, presuming it has fallen from an overhead washing line, and proceeding to take it home and wear it. This is one of many echoes and ironies that Castro lays across the boundaries of his two timelines. In their youthful conversation, Ocho discusses his desire to have kids while Javi dismisses the idea, but it's Javi who ends up married with a child; when Ocho has his first sexual encounter with a man he immediately panics and fears that he has contracted AIDS, but twenty years on it is he who is happy to have sex without a condom. These connections are cute but they signify little, and Castro seems content to let them serve as character development instead of digging deeper. The two men have plenty of time to talk but their conversation is banal and the camera is too often static as it watches them. As I watched End of the Century I thought of films like In the City of Sylvia and Certified Copy, but those films had a sense of visual elegance – of the camera being in tune with the characters' rhythm – that's absent here. Bernat Mestres' cinematography in general feels rather listless.

Just when End of the Century starts to grow a little stagnant, Castro pulls his boldest manoeuvre, with a final third that falls somewhere between dream and reality. It feels reminiscent of the climax to The Last Temptation of Christ and it introduces a sense of the uncanny that elevates the film, but again I think it stops short of landing on something really resonant. There are some poignant reflections in End of the Century on time and memory, the choices we make and the countless paths not taken, but the whole film is so delicate and measured in its construction, and so determinedly quiet in its tonal register, it never cuts through the surface. For all of its formal audacity, Castro's film ends up feeling too neat, contained and self-satisfied. One unexpected side-effect of the film's unwaveringly understated approach is that an innocuous scene in which a character steps on a squeaky toy made the whole audience jump in unison sadly, it was the only time the film provoked a genuine emotional reaction from me.

Sunday, February 23, 2020

Cinema Round-Up - Midnight Family / The Public / Like a Boss

A new entry in the Fast and Furious series will be crashing noisily into cinemas this summer, but will it offer anything to match the high-speed races between ambulances that Luke Lorentzen captured in Midnight Family? The ambulances aren't racing towards the scene of an accident so they can assist each other; they're each trying to get there first, knowing that this is the only way they are going to get paid. Midnight Family opens with a startling statistic, informing us that in Mexico City – population nine million – the state runs less than 45 ambulances. This has led to an industry of independent private ambulances springing up to fill the gaps, and one of these is run by the Ochoa family, with whom Lorentzen embedded himself for three years, hunched down in the back of their ambulance and capturing the dramatic events with his phone.

This phone was often attached to the ambulance's hood, watching the faces of Juan Ochoa and his teenage son Fer as they negotiate the city's traffic, with Juan shouting through the loudspeaker to try and clear people who have taken no notice of the siren. Late in the film, this vantage point presents us with a distraught mother as she rides up front while her young daughter receives treatment in the back. It's the film's most unbearably gripping sequence, but Lorentzen has a keen sense of what to show us and what to look away from. He generally views patients from behind or lets us glimpse them in the edges of the frame while focusing on the Ochoas. As one patient lies on a gurney while waiting to be transported into the hospital, her two arms briefly extend into the shot from beneath the frame, as she examines her bloodstained hands. Perhaps she's trying to come to terms with what has happened to her. Maybe she's wondering how much this is going to end up costing.

Despite the amount of time he spent filming, Lorentzen has been judicious with his footage. Midnight Family runs for a shade over 80 minutes and Lorentzen, who edited the film himself, gives it a narrative shape through an escalating series of crises that the Ochoa family has to negotiate. They live from incident to incident with no idea how much they are going to make in a single night, and on many occasions they barely recoup enough to pay for their nightly meal. Given their perilous situation, they inevitably begin encouraging patients to opt for a private hospital, where they will have a better chance of getting paid, even if the state facility is closer. As they pick up more critically ill patients, this question takes on life-and-death ramifications; their own desperation is pushing them to exploit people in a desperate situation, and while he shoots with empathy, Lorentzen also gives us plenty of room to ponder the ethics of the family's tactics.

Midnight Family is both tight and loose. Lorentzen knows when to ramp up the tension but he also gives us a sense of the long hours spent waiting for a call, and he's fortunate that the family he has chosen to follow are so engaging. In particular, teenager Juan provides an entertaining running gag as he breathlessly narrates the evening's action in regular phone calls to his unseen girlfriend, while his younger brother Josué prefers riding in the ambulance and helping out with the family business to doing his homework or even going to school. Josué's desire to be at the heart of this drama is perfectly understandable, but we are left wondering what the future holds for him, his family and this city. The current situation, caused by institutional failure and driven by desperation, doesn't appear to be serving anyone, least of all those most in need.
Institutional failure lies at the heart of The Public too, but this sedate drama is unlikely to get any viewers' pulses racing, or to leave any ambiguities for audiences to ponder as the credits roll. Emilio Estevez wrote and directed the film, as well as starring in the lead role, and he makes his points emphatically and repeatedly: homelessness is bad, libraries are good. The Public is about a group of homeless people, who habitually use the Cincinatti Public Library as a de facto shelter during the day and one day refuse to leave when the library closes. They instead decide to occupy the space, staging a peaceful protest against the city's lack of sufficient shelters, which has led to a number of deaths during a recent cold snap; but despite the massed ranks of police and media outside, and dark mutterings of how these situations “never end well,” the film never develops any tension. Estevez's writing is too blunt and simplistic, and his direction lacks urgency. He builds a number of subplots into the narrative, like Alec Balwin's search for his missing son (you'll never guess where he shows up!) or Estevez's own unlikely romance with Taylor Schilling, but these threads only serve to pad out the running time rather than illuminating our understanding of the characters, who remain resolutely one-dimensional throughout. Estevez gives us clear heroes and villains here, with the most notable villains being a perma-sneering Christian Slater as a slick mayoral candidate and Gabrielle Union's fame-hungry TV reporter. When Estevez quotes a chunk of The Grapes of Wrath during a news broadcast, the good guys – like his assistant (Jena Malone) – get it, while Slater and Union just give us a “What the hell was that?!” reaction.

All of this may serve to suggest that The Public is a bad movie  and, well, yeah it kind of is  but as it unfolded I found myself warming to it more than I expected to. There's something endearing about its unabashed sincerity and while it's never really exciting or moving, it's no hardship to spend time in the company of actors like Baldwin, Slater or Jeffrey Wright, many of whom do decent work despite the insufficient writing. Best of all is Michael K. Williams as the homeless rebels' ringleader. So often better than the material he's given, Williams is the kind of actor who is capable of single-handedly altering the energy of a scene, and boy do a number of scenes in The Public need the kind of charge he can deliver. I don't think Emilio Estevez is a good enough filmmaker to give a social issues movie like this the gravitas and edge it needs to fire up an audience, but he is a good enough filmmaker to make the kind of gentle, pandering movie that exerts a moderate hold on our attention for two hours before quickly dissipating from memory, and that's the level The Public works on. I have to give him credit for one unexpected move, though. In a film that offers very few surprises, I did not anticipate Estevez's own bare buttocks being so central to the (quite silly) climax. Just when I think he's playing everything too safe, the man literally puts his ass on the line.
I watched Like a Boss for one thing and one thing only: Rose Byrne. You owe me one, Rose. Her innate sense of timing sparks a couple of amusing moments in this shambolic affair, and she develops a lively dynamic with Tiffany Haddish that may be worth revisiting in a better film, but no comic talents could save a project so misbegotten. Like a Boss exhibits all of the dismal traits that are familiar from too many modern studio comedies: slapdash plotting, boilerplate framing and editing, incoherent characterisation, ugly lighting, wall-to-wall muzak, a trite empowerment/friendship message, and so many dead spots. I'd love to know what script encouraged this many talented performers to sign on, because there is little evidence of it in these 83 choppy minutes. Byrne and Haddish play lifelong friends who run a struggling independent makeup business together, but their personalities and levels of intelligence seem to fluctuate from scene-to-scene, and the plot conceived by cosmetics queen Claire Luna (Salma Hayek as a Jessica Rabbit/Miranda Priestly hybrid, but not as much fun as that sounds) to steal their best product is similarly incomprehensible. This cast is too talented to not raise a few chuckles – and Billy Porter gets the film's one standout comic bit – but the actors mostly appear stranded, shouting their lines into a void and desperately trying to improv some life into half-baked material. The film's ending is an embarrassment for every single person involved, including Lisa Kudrow, who turns up for a baffling one-minute cameo. As the credits began I looked out for the name of the director – just to check the film had one – and I was dispirited to see Miguel Arteta credited. He's a filmmaker who has done sharp, perceptive work in the past, including another recent collaboration with Salma Hayek, the sly and thorny Beatriz at Dinner. I'd advise anyone reading this to skip the fiasco currently polluting cinemas and seek out that earlier film instead.

Monday, February 10, 2020

Ace in the Hole

To mark the passing of Kirk Douglas last week at the age of 103, here's something I wrote on what I consider to be his greatest role, as the ruthless journalist Chuck Tatum in Billy Wilder's ultra-cynical masterpiece Ace in the Hole. This article was originally published on Mostly Film in 2014.
On April 18th 1948, The New York Times published an article entitled “The Happy Union of Brackett and Wilder.” The piece was timed to mark the imminent release of two films on which Charles Brackett and Billy Wilder had collaborated – The Emperor Waltz and A Foreign Affair – and to celebrate their enormously successful decade of working together. They had established a degree of freedom and control over their pictures that was exceptional for filmmakers in the studio era, and Wilder told the paper that they were “The happiest couple in Hollywood.” On the evidence of that article, most people would have surely assumed that the Brackett and Wilder team was set to run and run, but it wasn’t to be.

Within two years of the article’s publication, the Brackett-Wilder union was surprisingly dissolved following the release of Sunset Boulevard, which was a critical, commercial and Oscar-winning triumph. “The success of Sunset may have been part of our problem. Where do you go from there?” Wilder asked, and perhaps they did feel that their work together had reached a natural end, but there had also been a degree of tension behind that apparently happy façade. Clashes of taste were common between the earthy and cynical ex-newspaper man Wilder and his more refined partner, and they had temporarily split once before, when Brackett decided that the subject matter and the characters of Double Indemnity were simply too sordid for him to be involved in. One can’t help wondering what he would have made of the first film Wilder directed after their relationship had come to an end.

Ace in the Hole feels like the most concentrated dose of Billy Wilder’s worldview. He presents us with a situation that can only be resolved by people working together towards a common goal, and he fills it with characters defined by their avarice, selfishness and shortsightedness. At a time when a hero is required, Wilder gives us Chuck Tatum (Kirk Douglas), who swaggers into the offices of the Albuquerque Sun-Bulletin determined to secure a position. “I can handle big news and little news” he tells his prospective employer, “And if there’s no news, I’ll go out and bite a dog.” He talks almost boastfully of having been fired from papers in three cities for various infractions, but there’s something undeniably seductive about his wisecracking arrogance, and it initially seems as if Wilder is setting him up as a roguish, maverick anti-hero. However, we soon find out how truly dangerous a man like Chuck Tatum can be.

After a miserable year spent ankle-deep in ‘little news’, Tatum finally stumbles across the big one when he happens to be the first man on the scene of an accident that has left Leo Minosa (Richard Benedict) trapped in a mountain cave. Tatum quickly makes a show of organising the rescue effort, but his thoughts are only on one thing – spinning this story into something sensational. He figures out the human interest angle, forms an unsteady alliance with Leo’s wife Lorraine (Jan Sterling) – even though this canny and callous blonde is hardly the type to play the tearful spouse that he requires – and, crucially, he forces the contractor coordinating the dig to opt for the riskier method of extraction, because that will take longer. “Floyd Collins lasted 18 days” Chuck says wistfully, “if I had just one week of this…”

Floyd Collins was a cave explorer who became trapped in a narrow passage in Sand Cave, Kentucky in 1925. Despite the best efforts of rescuers above the surface, Collins died of thirst and exposure before he could be reached, but in the period between his accident and death he had become a media sensation. William Burke Miller was a reporter at the Louisville Courier-Journal who was sent to cover the incident and began filing regular reports from the scene, even managing to crawl into the cave to speak with Collins, pray with him and bring him food. He was rewarded with the Pulitzer Prize, which Tatum is quick to mention to his photographer as a Machiavellian plan takes shape in his mind.

Billy Wilder had enjoyed success in previous years by casting actors like Fred MacMurray and Ray Milland against type, but here takes a he different approach and maximises his star’s singular assets. Douglas’s shark-like grin has rarely seemed as devilish as it does here, with Tatum’s eyes shining brightly in the dark cave as opportunity knocks, and the star dives into his unscrupulous character with evident relish, making him simultaneously an attractive and repellent figure. What’s remarkable about Ace in the Hole, though, is that Chuck Tatum is far from the only abhorrent character on show.

It would have been easy for Wilder to set Ace in the Hole up as an attack on the press, but that’s not what the film is about. Everywhere you look in this picture there are people who take one glance at Leo Minosa’s predicament and start thinking about what they can get out of it. Lorraine sees money pouring in from tourists and begins imagining a new life in New York away from her husband; the local sheriff thinks about how he can use this to aid his re-election; even a visiting family is keen to taste the spotlight by telling reporters that they were first on the scene. The area around the cave becomes not just a media circus but a literal circus, with a big wheel going up on site, vendors selling their wares, and families gathering for this festival of rubbernecking. With Ace in the Hole, Wilder is sticking the knife into all of us. And it still stings.

Ace in the Hole is a film about a media fuelled by sensation and a public scrambling desperately to claim a piece of the pie. When it was released in 1951 it had its roots in recent events (as well as the Floyd Collins story, Wilder was inspired by Kathy Fiscus and the Lindbergh baby), but while it is a film of its time, Ace in the Hole succeeds as a film for our times too. Chuck is prone to tossing out aphorisms like “It’s a good story today. Tomorrow they’ll wrap a fish in it” and “Bad news sells best. Good news is no news” – lines that sound entirely applicable to an age of 24-hour coverage, impulsive tweet reactions, and the insatiable need to be first, loudest and exclusive rather than right.

Over 60 years after its release, Ace in the Hole remains a potent brew, and it proved unpalatable for critics and audiences in 1951. Paramount didn’t know what the hell to do with the film, and they tried changing the title to The Big Parade before admitting defeat and leaving Wilder to contemplate the first flop of his career. “I think my mistake was in offering the American public a shot of vinegar when they thought they were going to get a nice cocktail” the director surmised, but perhaps his real mistake was that he simply held up a mirror and allowed the public to see a part of themselves that they recognised but didn’t want to see writ large. It was a lesson he took to heart, and while he went on to make a series of acclaimed and hugely successful films (his next feature Stalag 17 made enough to cover this film’s losses), he never again burrowed so deep into the true darkness at the heart of human nature. “If you’re going to tell people the truth, be funny” he later advised, “or they’ll kill you.”