Posts Tagged ‘Sienna Miller’

High_Rise_2014_Film_Poster

Director: Ben Wheatley

Screenplay: Amy Jump

Country: UK

Runtime: 112 mins

Cast: Tom Hiddleston (Dr Robert Laing), Jeremy Irons (Anthony Royal), Sienna Miller (Charlotte Melville), Luke Evans (Richard Wilder), Keeley Hawes (Ann Royal), Reece Shearsmith (Nathan Steele)

A mordantly witty adaptation of J.G. Ballard’s novel about a concrete apocalypse

Watching the opening scenes of High Rise, I found myself musing how film adaptations of a book one has previously read can change forever the way you envision the book. I can’t now read J.G. Ballard’s autobiographical novel Empire of the Sun without imagining Christian Bale and John Malkovich as the main characters. I also recall one contemporary reviewer expressing disappointment that the film’s depiction of drained swimming pools – one of the central motifs in many Ballard stories – just seemed a bit underwhelming when viewed on the big screen.

It will probably now be impossible to read High Rise without imagining Tom Hiddleston as physiologist Dr Robert Laing and Jeremy Irons as architect Anthony Royal. But I am delighted to report that Ben Wheatley’s film really brings to life the imagery and spirit of Ballard’s novel. More than anything, he brings to the fore the mordant wit of the book (something I recently discovered upon re-reading but missed entirely when I read it as a younger man).

The story begins with Laing cooking a dog on the balcony of his apartment, part of a luxury tower block complex that has somehow gone to wrack and ruin. Then we flash back to the early days of the building three months before in order to learn just how the concrete apocalypse has come about. The inhabitants are all middle class professionals, but even within this privileged group social divisions arise and are exacerbated as the building itself becomes increasingly dysfunctional. People don’t care about those two or more floors above or below them and, in particular, those on higher levels have greater disdain for those further below them.

In a dreamlike fashion (reminiscent of Wheatley’s earlier A Field in England) anti-social behaviour escalates, from people blocking the rubbish chutes with used nappies, to parties that get out of hand, through to outright violence. As food stocks run out living takes on the characteristics of an urban hunter-gather existence, with the stronger men vying to monopolise the female inhabitants. Where Ballard presciently satirised the behaviour of a group of proto-Thatcherites, Wheatley is more explicit about the political nature of the material. Following an uproarious party on the middle levels, Royal’s acolytes plan a grander party to show the others how it ought to be done. As one of them explains, competition is at the heart of a modern economy. They then decide that the first step in their party planning must be to commandeer all the resources, surely as pointed a commentary on the nature of capitalism as it’s possible to make? High Rise actually closes with an excerpt of a speech by Margaret Thatcher.

Tom Hiddleston is totally convincing as the canny survivor “hiding in plain sight” who, as with so many of Ballard’s protagonists, embraces the catastrophe around him. And Jeremy Irons is an inspired piece of casting as the patrician architect of the luxury apartment complex, who watches with fascinated amusement at the creation of a new kind of society within his decaying empire. From the men’s terrible moustaches to the cars in the parking lot, Ben Wheatley does a great job of depicting the mid-seventies whilst nonetheless making it seem like the dystopian near-future that Ballard first envisioned. And if it won’t be possible to read his novel in the same way again, the same will be true of Abba’s song S.O.S. which is featured at several points in the soundtrack.

Rating: 5/5

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Foxcatcher_First_Teaser_Poster

Director: Bennett Miller

Writers: E. Max Frye & Dan Futterman

Country: USA

Runtime: 129 mins

Cast: Steve Carell (John du Pont), Channing Tatum (Mark Schultz), Mark Ruffalo (David Schultz), Sienna Miller (Nancy Schultz), Vanessa Redgrave (Jean du Pont).

Steve Carell is a revelation in this magnetic real-life tale of tragedy

Full of dark foreboding right from the start, Foxcatcher is definitely not one of this year’s feel-good movies. This is a story of loneliness and family tensions, and shows that for some people no amount of wealth can bring happiness. In the opening scene we see Mark Schultz (Channing Tatum), giving a lacklustre talk to a hall full of puzzled schoolchildren about what it took him to become the 1984 Olympic gold medallist in freestyle wrestling. Afterwards, he collects his cheque from the school administrator, who mistakes him for his brother Dave (also a gold medallist, and who had originally been booked to talk).

This moment is indicative of the relationship between the two brothers. We learn that Mark was raised by his older brother after their parents separated, and that Mark relies on the tactical advice of Dave (Mark Ruffalo) in order to succeed in wresting. Whereas Dave is cheerful, gregarious, and has a wife and family, Mark lives alone, is quiet, serious, and less articulate. Mark is approached by John du Pont, heir to America’s wealthiest family, to join his Foxcatcher wrestling team. He does so, but when brother Dave is also approached he declines to answer the call because he doesn’t want to uproot his family.

Subsequently, du Pont takes on a fatherly role towards Mark, deliberately playing on his insecurity that his success is owed to Dave. But underneath all his talk of leadership, du Pont is also insecure, the product of a troubled background. He only had one friend as a child, who – it turns out – was paid to be his friend. He hates horseriding, the favoured sport of his mother Jean (Vanessa Redgrave) who still lives on the estate and manages a large stable. In turn, she regards wrestling as a ‘low’ sport and looks upon her son’s involvement with disdain. Although she only makes a couple of brief appearances in the film, it is strongly hinted that the difficult mother-son relationship underpins John’s increasingly erractic behaviour, leading ultimately to tragedy. Jean would appear to be the ‘foxcatcher’ of the title, a reference to her involvement in hunting with hounds.

After some early success, everything starts to go south for Mark. Du Pont introduces him to cocaine with predictably disastrous results and Dave is offered a sufficiently large sum of money to induce him to join the Foxcatcher team. The already unsettled team dynamics worsen further following the death of Jean.

Steve Carell, best known for his comedy roles (The 40 Year Old Virgin, The Office), is a revelation as John du Pont. From the outset he appears only partly connected to reality, with a way of speaking that is strangely distant and affectless. One of the oddest moments occurs early on, when du Pont turns up at Mark’s house late at night to talk about bird-watching, a topic on which du Pont has written books. He tells Mark: “You can learn a lot from birds. I’m an ornithologist. I’m also a patriot”. The flunkies around du Pont are mostly unfriendly and uncommunicative, presumably not wanting to openly comment on their boss’s oddness but yet happy to collect their handsome salaries. Dave rightly asks just why this wealthy man would be interested in creating a wrestling team.  The answer would appear to be that he hopes to receive the recognition from his country that has been denied him by his own mother.

Foxcatcher moves along at a fairly stately pace, building an atmosphere of strangeness and slowly revealing the complicated relationships of the key characters. For those more used to a punchier kind of pacing in films, Foxcatcher might seem a little slow, but I found it utterly magnetic albeit gloomy. As well as Carell’s outstanding performance, Channing Tatum also turns in an impressive performance as Mark Schultz.

Rating: 5/5

Kajaki: Directed by Paul Katis; Written by Tom Williams; Country – UK; Runtime – 108 mins.

Cast: Mark Stanley (‘Tug’ Hartley), Malachi Kirby (Snoop), David Elliiot (Mark Wright), Paul Luebke (Jay Davis), Ali Cook (‘Spud’ McMellon), Bryan Parry (Jonesy), Grant Kilburn (Alex Craig), Andy Gibbins (Smudge), Scott Kyle (Stu Pearson), Jon-Paul Bell (Luke Mauro), Benjamin O’Mahony (Stu Hale), Connor Mills (voice), John Doughty (Dave Prosser), Liam Ainsworth (Ken Barlow), Robert Mitchell (Faz).

American Sniper: Directed by Clint Eastwood; Screenplay by Jason Hall, from the book by Chris Kyle, Scott McEwen, and Jim DeFelice; Country – USA; Runtime – 132 mins.

Cast: Bradley Cooper (Chris Kyle), Cole Konis (young Chris Kyle), Sienna Miller (Taya Kyle), Max Charles (Colton Kyle), Luke Grimes (Marc Lee), Kyle Gallner (Goat-Winston), Sam Jaeger (Captain Martens), Jake McDorman (Biggles), Cory Hardrict (‘D’ / Dandridge).

*** SPOILER ALERT: Each film reviewed here is based on real events, and these are described in my review. ***

War – what is it good for?

British armed forces have been engaged in continuous conflict somewhere on the planet for the past hundred years, and for several decades after World War Two war movies were a regular part of the film industry’s output. Even in the late seventies and early eighties good business was being done by films like The Eagle Has Landed, The Wild Geese, and The Dogs of War. However, ever since the televised images from the Falklands War brought the shocking reality of conflict to a new generation it seems as though British film-makers have lost their enthusiasm for war films. There are of course some exceptions, such as Regeneration (1997) and Enigma (2001), the former set in Word War One and the latter concerned with a mystery among Bletchley Park’s codebreakers in WW2. However, it is hard to think of any British movies that deal with our more recent conflicts. Perhaps film-makers have been cowed by the intense controversy that surrounded the TV Falklands drama Tumbledown (1988). Even representations of earlier conflicts can arouse establishment ire if they are felt to question the authorised version of history, as with The Monocled Mutineer (1986).

By contrast, Hollywood has produced several films that are based upon recent conflicts. The best-known of these are Three Kings (1999), Black Hawk Down (2001), The Hurt Locker (2008), The Men Who Stare at Goats (2009) – based on the book by British writer-journalist Jon Ronson, Jarhead (2005), and Zero Dark Thirty (2012). However, it may be that 2014 represents a turning point in the decline of the British war film. We have had another Bletchley Park drama, The Imitation Game, the thrilling adventure film ’71 set in “the troubles” of Northern Ireland, and – most significantly – Kajaki, a true story concerning the 3rd Battalion, Parachute Regiment (“3 Para”), during their 2006 deployment in Afghanistan’s Helmand Province.

The film itself is an exercise in realism, focusing on three themes: the bravery of the men in extreme circumstances, their earthy humour (Kajaki is frequently very funny) and the terrible injuries – shown in graphic detail – caused by landmines. The opening scenes are largely concerned with boredom. 3 Para have the task of guarding the Kajaki dam, and do this from their position on top of a nearby hill. In the heat of the Afghan sun all they do is watch. And watch. And when not assigned to the task of watching they read messages from home, talk, joke, drink tea, and exercise.

But these are one of the army’s elite units and the men long to fight. When a small group of Taliban (referred to throughout as “Terry”) are spotted setting up an illegal roadblock down below, a small group is assembled to go and tackle them. However, this is an unauthorised mission: the men are told they need to obtain permission from a senior officer, but never do. Presumably they regard a tiny group of Taliban as no match for their elite skills. But as they reach the bottom of a hillside path disaster strikes. One of the group steps on a mine and is severely injured. From hereon in things go from bad to worse. The men are trapped in a Soviet-era minefield that was not marked on their map. In the attempts to rescue the injured and escape, yet more soldiers are hurt. Communications equipment does not work properly and it is only when a couple of Americans arrive that there is reliable radio. When the RAF are contacted they don’t send a helicopter with a winch, as requested, but instead send a Chinook that tries to land and whose downdraft is so strong that it explodes another mine.

But remarkably, as the situation deteriorates the men continue to joke, even those who are hurt. By contrast, the quips of the fictional James Bond seem quite restrained. At one point, ‘Tug’ Hartley tries to work his way through the minefield towards an injured comrade by tossing his backpack ahead of him and then leaping on top of it. As he does this one of the lads calls from the sidelines “That’s how he mounts his missus!”

The film is a fine tribute to the bravery of these men of 3 Para, and brilliantly conveys the tight-knit bond that spurred them on through this most terrible of situations. Kajaki does not make any overt political statements about the Afghan conflict, but the fact that it was a Soviet minefield that did for 3 Para can’t help but serve as a reminder that Afghanistan has long been known as “the graveyard of empires”.

It should be said that Kajaki will be particularly tough viewing for the squeamish, and the special effects and makeup teams are surely deserving of an award for the realistic depiction of physical wounds.  In this viewer’s opinion, Kajaki stands among the best British war films to have been made, which is all the more extraordinary when you realise that it was put together through crowdfunding. The Ministry of Defence, however, withdrew their support for Kajaki during filming, perhaps because of some of the rather unflattering depictions of British military operations.

RATING: 5/5

Clint Eastwood’s American Sniper is a different kettle of fish altogether. It tells the story of Navy SEAL (Sea, Air and Land), Chris Kyle, based upon his own memoir. Kyle served as a sniper during several deployments in the post 9/11 invasion of Iraq and claims to have been the most lethal sniper in US Navy history. With an excellent performance from Bradley Cooper as Kyle, Eastwood depicts this big patriotic Texan as a man driven to save good people from evil. As a child he is told by his father that there are three types of people: sheep, sheepdogs, and wolves. The wolves want to devour the sheep, who are too weak to fight back. Sheepdogs fight to protect the sheep. Kyle senior tells his boy that he expects him to be a sheepdog.

However, at age 30 Chris Kyle appears to be pissing his life away as a womanizing wannabe cowboy. When a girlfriend dumps him with a few harsh truths in the process, he starts to reevaluate his life. Following the 1993 attack on the World Trade Center Kyle sees the opportunity to become the kind of man his father wanted him to be. He joins the Navy and becomes a sniper with the SEALS. When America leads the invasion of Iraq after 9/11, Kyle is sent to Fallujah. Working as a rooftop sniper, he is utterly driven. His kill rate is so high that he becomes known as “the legend”, although he finds the label hard to live with. Whilst home on leave, he takes his new wife, Taya, for a checkup at the hospital. The nurse there quickly spots that this is a man who is bottling emotions up inside. She takes a blood pressure reading from Chris, which turns out to be abnormally high. On each home visit Taya struggles to communicate with Chris, who seems to be lost inside his own thoughts and becomes twitchy around ordinary everyday events. When he eventually quits the service he ends up seeing a psychiatrist at the Veterans Hospital, and with his assistance (although the details are skated over) manages to re-establish his relationship with Taya.

It is possible that hawkish Americans will view American Sniper as a patriotic tale of a soldier who did a great job, at personal cost, in a just war. However, I don’t think that is the real story we are being presented with. This is not the Clint Eastwood of the Dirty Harry movies, but the more considered and questioning Eastwood of Unforgiven. Chris Kyle is essentially presented to us as a metaphor for America itself. In his attempt to be the saviour of good people, Kyle represents the America that sees itself as the world’s policeman. But whilst serving in Iraq Kyle makes promises to local people that he is unable to keep, again like America towards Iraq in general. He tells a frightened Iraqi that he will be able to protect him and his family if he provides important information. Subsequently, the man’s son is tortured in front of him and then the man himself is shot. Those responsible announce to the neighbourhood that this is what happens to people who talk to the Americans.

When one of Kyle’s close comrades is killed by an Iraqi sniper he becomes driven by revenge. During a mission he disobeys an order to “stand down” and kills the sniper from a distance of over a mile. However, in doing so he gives their own position away and his unit find themselves embroiled in a firefight with overwhelming enemy numbers. As the SEALs eventually manage to escape they are literally enveloped in a “desert storm” (the name given to the first invasion of Iraq in January 1991), symbolically representing their inability to impose order on the country. It is after this event, in which Kyle is injured, that he decides to leave the service.

Kyle devotes himself to helping other veterans, whether they are physically disabled or suffering from Post-Traumatic Stress Syndrome (PTSD). It is in his attempt to assist a soldier with PTSD that the final – metaphorical – irony lies. Whilst on deployment Kyle had stated that one of the reasons for fighting was to prevent terrorism back home. Yet Chris Kyle is shot dead, not by a terrorist, but by a disturbed veteran that he is trying to assist. The message seems to be that America, in trying to police the world, not only deviates from the path of justice to one of revenge, but also ends up damaging herself in the process.

RATING: 4/5

CORRECTIONS: My original review accidentally referred to Clint Eastwood’s earlier film as ‘Forgiven’, when it should of course be ‘Unforgiven’. Also, Chris Kyle joined the Navy after seeing the 1993  bombing of the World Trade Center on television, not the 9/11 attacks (though those are shown too, after which Kyle is sent to Iraq with the SEALs).