Maxime Gaudet’s short film is a hyperlapse of comrpressed time, zooming around the City of Lights in just three minutes, not just the obvious touristy landmarks but also including a lot of other spots, from the fountains at the St Michel (I know a wonderful bookstore right across from that) to street markets (street markets are always nice, so much energy, but Parisian street markets have the singular distinction of you enjoying them then thinking “I’m in Paris…”). It’s a lovely piece of work celebrating one of the most beautiful cities on the planet. Oh how I long to go back there… Of course in the meantime I get to live in an even more beautiful city, so that’s not too shabby… (link via BoingBoing)
Back in the autumn I went to my second home, Edinburgh’s wonderful Filmhouse, to watch a remarkable documentary, Night Will Fall. Actually it’s more a documentary about a documentary – as World War Two faded into its final days in 1945 and the Allies liberated the concentration camps, camera teams were sent in to record and document the hideous atrocities, partly for evidence for the planned war crime trials, partly because even then they knew some people would say it never happened, or it had been exaggerated. The British team had film reels from British, American and Soviet teams and decided to also make a full length documentary film (appropriately, given British cinema in the 20s and 30s was the birthplace of modern documentary film). Sadly for various reasons, some political, the plug was pulled just after the war and the film, which was two thirds complete, was left in limbo, unseen, for decades, despite a script by Richard Crossman (later the famous politician and diarist) and having involvement by Alfred Hitchcock. Seven decades on and Andre Singer has made Night Will Fall, telling the story of this project.
And while I note this as one of the most impressive films I saw in 2014, I must also say it was, quite simply, the hardest film I have ever sat through. I’ve watched every kind of horror film there is over the decades, but this was true horror, the sort it is hard not to turn away from, the sort that makes you spiritually and physically ill. I have never seen an audience leave a cinema in a silence that roared so loud. Obviously given I knew this was about the Holocaust I knew to expect this going in. But you can’t really prepare yourself for it. In one scene we see captured German guards forced to clear up the piles of bodies of the murdered they hadn’t had time to bury or cremate before the Allies reached their camps (the soldiers could smell them long before they saw them, the stench of the dead and of the diseased, weakened survivors, giving lie to German civilians nearby who pretended they didn’t know what was going on). You see them picking the bodies off of piles, hoisting them over their shoulders, the arms and heads loll horribly, like a marionette with the strings cut. This was a person. This obscene thing was once someone’s dad, mum, aunt, sister, brother, son, daughter, reduced to this thing after abject, long suffering… It’s beyond vile. And those are just the remains that can be seen, not including the ones who went up the chimneys from ovens designed for human bodies…
Why the hell did I subject myself to watching something like this, you might ask? A few days before I saw this in the cinema Nigel Farage and his odious Ukip band of bigots made a deal with a far right Polish party. A party whose leader denies the Holocaust (among many other reprehensible beliefs he holds on women and other groups). This was not even for ideological reasons, Farage cosied up to this bastard and his party simply for money-grubbing reasons, to get funding for a group of like-minded parties in the European parliament. I was already considering going to see this, but that decided me – when a British politician is making deals with right wing Holocaust deniers it makes it all the more important more of us see this film, not matter how horribly hard we find it to watch what monsters in a human skin can do to others. Because we need to be reminded where their kind of bigotry leads to – first of all it is treat them different because they are ‘different’ from us, so it becomes acceptable to talk about them like that in public, in the media. Then demand legislation to legally differentiate their rights from other citizens. And then what? Smashed windows? A new crystal nacht? Then it is okay to treat them any way you want, remove them from society, put them in camps… We have been down this road. We know that small starts like that sort of xenophobic bigotry can lead to the most awful acts imaginable.
The documentary makes the point that this happened in a civilised, educated, Western society in the heart of Europe, and given the right manipulation of people’s opinions this could happen anywhere, again. And right now every country sees a rise in these right wing movements attacking immigrants, multi-culturalism, the place of women, gays, anyone who they think is ‘different’. And there is Farage, his “cheeky chappy with pint and ciggie” mask revealed for what it is, an odious little creature who happily makes deals with a party of Holocaust deniers, for which there can be no forgiveness (and why has this not been more widely debated in the media?? How can any UK politician get away with doing that in this day and age??). There is an old adage about dreadful events which we, as individuals are powerless to prevent – but if we cannot stop it (and obviously we cannot stop an even that happened decades ago) we can still bear witness. We bear witness so that it will be remembered and not allowed to happen again. And so I watched Night Will Fall, all the way through, hard as it was. On January 24th, as part of Holocaust Memorial Day, Channel 4 will be screening the film on British television. It is difficult to watch, I know, but please try. And Farage, perhaps you should watch this then explain to the entire British electorate why you are making friends with scum like your Polish Holocaust denying party chums.
It’s dreadful – kids ask and ask for them, can we get one, mum and dad, can we, can we? I’ll look after him! Then a few days later, bored, they discard the poor thing and it ends up abandoned on the cold, winter streets. A Minion is for life, people, not just for Christmas, stop the dumping of poor, unloved Minions on our streets!
It’s probably not surprising given I am a huge cinephile that I also really enjoy a lot of film soundtrack music. The other day I was listening to Gershwin when the album reach Rhapsody in Blue and right away I was mentally visualising that wonderful monochrome opening to Woody Allen’s Manhattan “he adored New York… for him it still pulsated to the great music of George Gershwin…”
And it made me think how sometimes certain pieces of music can become eternally associated with a scene from a film. I don’t just mean original soundtrack music – like John Williams’ opening for the original Star Wars, for instance, conjuring up that amazing (for the time, young me had seen nothing like these gigantic ships thundering across the screen after the opening crawl of text) opening of that saga, or Hans Zimmer’s powerful Inception soundtrack. No, I was thinking on music which had existed in its own right before being borrowed for us in a film – sometimes it can be a little known piece of music, or at least little known to the wider public, such as Barber’s Adagio in Platoon or Strauss’ waltz in the famous space docking sequence in 2001. Obviously classical music admirers knew those, but the films brought them to a wider audience and also indelibly linked those pieces forever in most people’s minds with those scenes in the movies.
Of course there is Herman Hupfeld’s “As Time Goes By” which originally dated from the early 1930s, but really became better known – any by better known I mean immortal – in the 1940s when used in Casablanca. If not for that I doubt most of us would ever have heard of the song, whereas now if we hear it we connect it to one of the best films of all time right away.
Sometimes it can be a well-known track a lot of folk had in their collection from years back, which suddenly leaps back into the pop-cultural landscape, fresh for a new audience, a nostalgic flashback for older fans. Iggy Pop’s Lust For Life suddenly gained a second lease of life when used in the pounding opening of the film version of Trainspotting:
Or Gary Jules’ cover of Tears for Fears’ “Mad World” for Donnie Darko:
And arguably these days for a lot of folk these days those songs will always be associated with the films. And then there’s the great use of Queen’s mid 1970s hit Bohemian Rhapsody for 90s cult hit Wayne’s World:
And Bob Seger’s “Old Time Rock & Roll” with a very young Tom Cruise dancing around in his socks in Risky Business:
And the Pixies’ brilliant “Where is my mind?” for the closing of Fight Club:
And a personal favourite of mine, Goth classic “Bela Lugosi’s Dead” by Bauhaus used in the opening to The Hunger – this one going so far as to actually use Pete Murphy and the boys in the film:
And there are hundreds more – think Steppenwolf’s rock classic “Born to be Wild” in Easy Rider, the Doors and even Wagner in Apocalypse Now and goodness knows how many more, classical, jazz, pop, rock that either existed before but were little known until selected for use in a film scene or else they had enjoyed their moment of success and suddenly found themselves with a second bite at the cherry (Quentin Tarantino has done both numerous times in pretty much every film soundtrack he’s ever made). I’m sure you can think of plenty of other similar examples off the top of your head.
This week I should be off, taking a break from work for a week to enjoy the Edinburgh International Film Festival. Sadly things have been going from tight to simply untenable on the financial front, several years of a bad situation without any relief, and among the many things I have had to give up on is my annual film fest sojourn. It’s on right now, I haven’t even looked at the programme since I know I can’t afford to go to it. Since I almost never get to go away on a proper break a week off going round the film fest is about as much holiday as I normally get, and now even that’s gone. Depressing. Along with ongoing other stresses and strains in recent years a break would be bloody nice, and I have been going to this since the 1990s, really upsetting to have to give up on it, something I look forward to all year. And after a lot of not very good stuff a nice break and enjoying myself would be rather nice, instead of which the usual break is lost and now becomes another one of those depressing things to add to the list of why life is often grinding and depressing and stressful. I don’t just mean losing that one break, I mean that it represents yet another thing I am forced to give up and cut out because of years of severe pressures; right now it has been so increasingly tight that even though with dad better I can start thinking about taking in another cat, I find I can’t afford it, which is pretty pathetic, not to mention disheartening, a year and a half after losing the last of my old furry girls. Meeting the basics is hard enough, nothing else can be added. On a short term we all get times like that, but this has been grinding on for a long time, getting slowly harder and worse. Does make you wonder why you bloody bother sometimes.
Absolutely loving this – Steven Jefferies has taken the iconic Game of Thrones animated opening sequence and reworked it with Edinburgh landmarks. Brilliant
And he did a making of for a glimpse behind the scenes:
Dir: Jim Jarmusch,
Starring: Tilda Swinton, Tom Hiddleston, Mia Wasikowska, John Hurt
Adam (Hiddlestone) and Eve are vampires, husband and wife, lovers for centuries, but sometimes spending long periods apart, she currently living in Tangiers, walking the night-time streets of North Africa and paying visits on a very old friend (John Hurt), who happens to be the playwright Marlowe. Adam, a gifted musician, has a touch of the Byronic about him, now living in a decaying mansion on a deserted street of an abandoned neighbourhood of Detroit, surrounded by his instruments and his music, but slipping into a brooding melancholia, withdrawing from the world, refusing to even release any of the new music he’s created, hiding from fans who try to seek out his hiding place. His depression at the world after centuries, of the masses of humanity (who he refers to as “the zombies”) who seem oblivious to the wonders they could create and instead seem hell-bent on poisoning both themselves and their world. His ennui has driven him to consider a possible method of suicide before Eve, sensing his depression and need crosses the world to be with him (no small thing when you can only risk travelling on planes which fly and arrive during the hours of darkness).
But this is a Jim Jarmusch film, and as such the narrative really isn’t the most important element; like the Coens movies Jarmusch creates films where a synopsis of plot (like the first paragraph here) only tell you a tiny bit about the film – as with the Coens these are films to be experienced, not just watched. There’re some beautifully crafted scenes and shots, the cinematography is, as usual for Jarmusch, beautiful, often luscious, some scenes posed almost like an old oil painting, beautifully composed, others employ unusual angles and tracking shots (such as slow, close up following the characters as they drink blood and sink backwards in pleasure, the camera moving with them), the nocturnal streets of Tangiers lit by streetlights are intoxicating, promising exotic wonder but also danger, even the abandoned streets of whole deserted neighbourhoods around Adam’s home in Detroit have a sad crumbling beauty as he drives through them in his vintage Jaguar XJS by night.
The pace is relaxed, languid even, frequently moving like a slow, hashish-inspired dream (again not unusual for Jarmusch of course). What’s the rush when you have centuries? Art and culture and the importance they play in making life (even long, immortal life) not just bearable but worthwhile play a major part – for Adam it’s his music, Marlowe, unsurprisingly writing (there’s some nice dark humour about his mutterings about Shakespeare), Eve seems to soak up everything around her in the most sensual manner, Swinton evincing almost childlike delight at all manner of things, from the howls of feral dogs in abandoned Detroit streets to Adam’s old instruments (she has an uncanny ability to date them just by their touch) or soaking in literature (a beautiful scene sees her devouring pages of books at rapid speed, hand tracing down the lines rapidly as her vampire senses take in a page in a couple of seconds, the fingers moving left to right, then on to Arabic and Chinese, reading the other way, the expression of pleasure on her face and in her eyes). Her home in Tangiers is littered with books everywhere (reminds me of my own home on that score…).
This could have been a gloomy, brooding piece – something that’s perhaps been done too often in vamp fiction in recent decades, the oh so weary immortal tired of it all – but actually it’s romantic and frequently touching. Adam and Eve’s centuries-long romance is rather lovely; she senses his depression and knows she needs him, as she explores his current home she notices a very early photograph of the pair of them from the 1860s, a wedding photo – their third wedding, she comments with a smile, and the scenes of them wrapped around each other slumbering through the daylight hours is very romantic (both preternaturally slender and pale – good use of Swinton’s ethereal presence and quality). There’s also a seam of gentle, playful humour – he shows her a vintage guitar he purchased, she runs her hands lovingly, slowly, over it – a 1905 LePaul, Eve tells him. Oh, she’s an old one, Adam comments. Darling, your dressing gown is a century older… And there’s a nice scene where Eve, to cheer up Adam, freezes some Type O blood he got from the hospital on sticks to eat like ice lollies.
And for all their immortality it’s clear that really they are as vulnerable as mere mortals, rarely sinking their fangs into victims anymore, partly because unlike a few centuries ago you can’t just drain someone and throw the body away in the street or river, it will be investigated, partly because of that poisoning Adam so despises, the contamination also in the blood of many, which makes them ill. They rely on specialised medical sources who can provide pure blood for a price, anything which might reveal them to authorities or threaten their food source and turns out they’re as vulnerable as anyone else… It’s a lovely, soft, slow, languid, sensual piece – if you’re not a Jarmusch fan then it won’t convert you, but you’re missing out on a lovely film from one of our consistently interesting directors, not to mention some luscious visuals and an intriguing soundtrack that stays in your head long after the film finishes.
This short film by Rino Stefano Tagliafierro is stunning – working through centuries of art in a few moments and using some subtle animation to bring it to life it raises questions about how humans perceive beauty; as it progresses it becomes darker, even the lusciously painted nudes start to become a little disturbing as they hint at more than beauty but a darker sensuality, and as it moves into scenes not only examining external beauty but within the body it also becomes a little horrific. But it’s all fascinating…
This is simply stunning, brief though it is, a timelapse of footage shot of our world rotating below the International Space Station (ISS), all shot in beautifully crisp HD, creating some wonderfully sharp, clear images of our planet from several dozens miles above the atmosphere. Best viewing experience is to select the fullscreen option and just glory in it for a few brief moments…
Directed Alfonso Cuarón
Starring Sandra Bullock, George Clooney
I’ve been eager to see Gravity for some time – Alfonso Cuarón’s take on PD James novel The Children of Men was a remarkable and powerful movie. This, originally, was to be his ‘quick’ movie after that long slog, but ended up taking several years instead, not least because they had to invent whole new ways of shooting to create the remarkable visual effects. Creating the effect that a person or a ship is in space is not new, of course, it’s been done with varying degrees of success for decades on the big screen, from the realistic approach of 2001 to the scientifically silly but visually wonderful style of Star Wars. Gravity follows more in the realistic mode of 2001 – no deep bass rumbles of mighty ships in the void (where there isn’t any atmosphere to transmit sound) and no sudden and graceful movements of winged craft that fly like planes (even though that is not how you maneuver in space), instead the only sound is inside your helmet or radio, movement is in line with Newton’s laws and the way a body travels in a gravity free, airless environment.
What it does differently from 2001 and other films which tried to portray space exploration as it really is though, is the depiction of being in a zero-gee environment. Cuarón and his team had to really battle to come up with filming systems to allow them to make their actors look like they truly are in a gravity free environment, and ye celluloid gods but it paid off. In fact, and I say this as someone who has been fascinated by space exploration since he was a very small boy, studied it, read about, imagined it, this paid off so well that you could be forgiven for thinking it was actually shot on location in Earth orbit. Yes, it really is that realistic looking. And it is also utterly ravishing, visually, right from an opening shot of a glowing Earth below a team of astronauts from a Shuttle working on the Hubble Space Telescope. Bullock’s specialist, a scientist brought into NASA to work on this particular upgrade because of her technical skills but not really an astronaut (apart from basic training), while Clooney’s veteran astronaut on his final flight is happily trying out a new design of MMU (Maned Maneuvering Unit – a jetpack for space, effectively) and flitting around the team. The glowing Earth below them fills the cinema screen and is simply beautiful, awesome in the proper use of the word.
But while the visual aspect of Gravity is remarkable and stunning (even the 3D, something I generally dislike in live action films, is excellent and worth the usual eye strain and headache) this isn’t just an effect fest, there is a story here and it is one which is incredibly tense and indeed intense, seriously gripping the arms of your chair stuff, right the way through. When Mission Control calls a warning to the team that a satellite has been destroyed and the debris is sweeping around the orbit towards them events rapidly spiral out of control into a desperate, against the odds attempt at survival.
And survival in an environment no human – no creature on our planet at all – evolved to survive in. It’s a deadly environment that we’ve somehow pushed ourselves and our technology to allow us to live and work in over the last half decade (and it’s worth remembering that in thousands of years of human history it is only a few dozen people over the last sixty years who have gone into space). And it anything goes wrong it can be fatal so very, horribly quickly. Even tiny pieces of debris, even just a bolt, travelling at twenty thousand miles and hour will have such kinetic force it can tear through a ship or a space station like an anti-tank round. And all of a sudden an intricate ship or station, assembled from so many precise components and painstakingly engineered and constructed to be just right to support human life in this environment is turned into Swiss cheese…
I won’t ruin it for you by expanding any further on how it develops from this accident. Suffice to say it is edge of the seat stuff, beautifully depicted, while the interaction between Bullock’s damaged scientist and Clooney’s veteran of the space programme, even in desperate straits, is perfectly handled (Clooney projects that image most of us have of the calm, unflappable NASA old school astronaut who takes the most catastrophic failures in his stride). This may be vast scale, big-screen, effects-laden storytelling, but it does not neglect either story or character and I found it profoundly satisfying on the emotional level as well as the spectacle. There are some nice nods to other iconic moments from space films tucked away in among the tense moments – a scene where Bullock floats in an airlock, shimmying out of her space suit recalls Barbarella, Bullock in vest and shorts in the space station reminds me of Ripley in the shuttle at the end of Alien, Bullock again floating, exhausted, in an airlock, the sunrise from space glowing through the window port as he floats in zero gee, curling up almost foetal after surviving one part of her ordeal, the cords around her like an umbilical coil, making her seem at the same time both childlike, a newborn and at the same time recalls the ‘star child’ from 2001 and the transformational power of such experiences and travel. It’s gripping right to the very last and as I said the visuals are simply breath-taking – this is one you want to see on the big screen, not on DVD later on, watch it on a big cinema screen and let yourself be drawn into it until you feel you’re there, floating above the world. An utterly remarkable piece of film-making.
And I have to add, on a personal note, those visuals played right into my life-long fascination with space travel; that screen-filling vista of the Earth revolving made my pulse race, just as it always has since I was a kid, at the thought of going into space. I had the same feeling watching In the Shadow of the Moon a few years ago; those Saturn V rockets lit up and my pulse went with them, the same excitement and longing I’ve had since I was five years old, in my little astronaut playsuit and helmet, sitting in an empty box for a spaceship, with an imagination as big as the universe. And even after watching a film like this showing the dangers I know that if I were offered the chance I would go in a heartbeat, that it’s the trip I have always wanted to make since I was that wee boy in his astronaut suit, playing and dreaming; I’m literally a child of the space age, born at the peak of the Apollo programme, and I’m forever disappointed that I’ll almost certainly never get to experience it first hand…
Big Bad Wolves,
Directed by Aharon Keshales, Navot Papushado
Starring: Guy Adler, Lior Ashkenazi, Dvir Benedek
Here’s a rather unusual and utterly compelling film from Israel which came my way courtesy of the folks behind the UK Jewish Film Festival (, which runs from 30th October to the 17th November, Big Bad Wolves screens there on November 14th): Big Bad Wolves. Directed by Aharon Keshales and Navot Papushado it has been doing the film festival circuit, where it has been picking up some good word of mouth, not least from a certain Quentin Tarantino. Partaking of black comedy, crime and horror and with a central premise that revolves around the murder of a child I really wasn’t sure what to expect from this film at all – as it turned out I sat glued to the screen throughout.
The film starts with an almost idyllic scene of childhood play, a group of kids having fun together, playing hide and seek in the woods, two young girls happily running around looking for a spot to conceal themselves while their friend counts down to his search. It should be a happy scene, but despite the playful children there is a shadow looming even in these opening few minutes, from the ominous music to other signifiers – the little girl in red skipping through the woods instantly hints at not just a fairy tale edge, but the darker version of the old fairy tales, the type which were much nastier, murkier and often bloodier, before they were cleaned up to become the tales we tell children today. This dark fairy tale vibe continues when the children think they have found their young friend’s hiding place, but all they find is a single red shoe – a disturbing play on the ruby red slipper – which belonged to her; the girl in the red dress is gone…
This opening credits sequence is the trigger for the later events, with a team of Israeli detectives trailing the only suspect. There is no proof and the only circumstantial evidence is one child who thinks they saw a man matching this suspect’s description near the area. But, as some detectives do, our cops have decided already, with no evidence, that this man – a local teacher, as it turns out – is guilty, and they are going to get a confession out of him, even if they have to beat it out of him. However, they are not aware a kid has seen them dragging the teacher into an abandoned building and is covertly filming this abuse, which finds its way onto the internet in short order. The detective, Miki, who decided on this course of action is busted, not just for his abuse of power, but because their heavy-handed actions mean that the suspect – their only suspect – has to be released and left alone. Shortly after this the girl’s body is found – minus her head – and Miki is, understandably, kicked off the force.
This does not stop Miki though – he is still convinced the quiet teacher is his man. Word gets out about the suspicions – still with no proof – and he is suspended from his school work, his reputation ruined through only hearsay. Miki begins to tail him on his own time, planning to kidnap his suspect, take him to a remote location and torture the confession he desires from him. What he doesn’t realise is that at the same time Tsvika is following them both – the father of the murdered girl, with an agenda of his own, and now he has both the teacher and Miki in his sights with a cold, implacable determination to do what he thinks he has the right to do…
I’m not going to blow any of this hugely compelling and incredibly tense film for you by risking any possible spoilers. Suffice to say what follows is bloody, painful and excruciating. With no actual proof, just a child’s possible description of someone who passed by the area, actions are set in motion, judgements are made based on anger and revenge rather than rational thought, let alone due process of law. And the viewer is almost complicit in this, the film-makers cleverly playing on competing and contrasting emotions on the part of the audience. On the one hand we’re utterly horrified at the thought of using torture on someone, especially when that person may well be innocent and have no confession to make. But at the same time if this man has committed the abuse then slow murder of a child there is a part of the audience that also wants to see him suffer and pay for his crimes. And since we don’t know for a long time which side of the innocent-guilty divide our little teacher stands on this creates an excruciating emotional tension which leave you totally immersed in the story.
The film leavens these dark moments with a black sense of humour which means that despite the violence and the heavy duty emotional subject matter there are lighter moments and scenes to offer some relief. There are also, like any good fairy tale, layers of metaphor layered through the story. On the simplest level there is the obvious dichotomy between straight out vengeance and the civil rule of law which all societies have to live by or else descend into the chaos of blood-grudges and lynchings. We may want the bad guy – assuming he is the bad guy – to pay, but we know it has to be by the book, no matter how much we may want to give in to the animal urge to simply hurt back (and what if we are wrong? That’s why we need courts, evidence, trials). Behind this you could also read some of these events for a commentary on the post-9/11 world, where even supposedly civil, law-abiding democracies have secretly reverted to the vile practice of torture to extract confessions, or even on the relationship between Israelis and Arabs and how easily those in power can abuse that power over others (always in the name of the greater good, of course, they still see themselves as the ‘good guys’). This is reinforced by Tsvika relocating to a remote home in a mostly Arab area, secluded, where he can plan to carry out his ‘interrogation’ without anyone nearby hearing the screams…
It’s a hugely satisfying and gripping film, twisting the audience emotionally so they find themselves supporting both sides at differing points in the film, a real morality morass with no clear totally good or bad characters or motivations (the murdered girl’s father Tsvika acts with such quiet restraint rather than anger and shouting that he comes across as more terrifying than the supposed murderer in many scenes). The murders themselves happen off-screen, instead we get a description of them during the attempts to force a confession, and somehow this is even more horrifying, getting under the viewer’s skin more than a straight visualistion of the deaths may have done. Big Bad Wolves is stylish, satisfying, utterly compelling and it puts the audience through the emotional wringer. Seriously recommended.
This review was originally penned for the Forbidden Planet Blog
I caught The Fifth Estate film this afternoon; I had my reservations that this fictional (based on true facts, as they say) take on Assange and WikiLeaks would not match the excellent We Steal Secrets documentary I saw at the Edinburgh Film Festival earlier this year. Especially as the trailer tried to make it look like a thrilling espionage flick, although I thought wait till I see it, trailers, after all, are often misleading, edited by marketing bods, not the film-makers. Plus, y’know, this film also boasted Benedict Cumberbatch and his cheekbones. So off to the cinema I went.
Sadly I have to say despite an (as usual) excellent performance from Cumberbatch (playing Julian Assange and bringing out his mix of both prophet and svengali like user and narcissist), my fears were confirmed – this was a dreadful, utterly cliche-ridden film. Within the first half hour I was tired of it and the hackneyed, poorly thought out and executed attempts to ‘sex up the dossier’ – retrieving information, posting it online, hacking, they don’t make for very exciting visuals. And how many times since the 80s have we seen Hollywood coming up with all sorts of stupid-looking attempts to make them look fast-paced, exciting, thrilling even? From Hackers to Swordfish Hollywood has an abysmal record on how to portray this kind of work on a screen. Don’t get me wrong, I do sympathise a bit, the film-makers want to make it look a bit sexier for the viewers but if they depict it realistically it won’t look that way. This is the same reason why almost every car shot in the petrol tank or driven off the road into a crash in Hollywood movies then explodes. They don’t in real life, but boy it looks more fun on the screen. But I would submit the sort of people who are interested in the WikiLeaks story do not need it to be Hollywoodized and are capable of accepting a reasonable depiction of information gathering and dissemination, so why the urge to make it look like this? It’s not a popcorn movie, for goodness sake.
So within the first thirty minutes lots of rapid cuts back and forth to try and create tension, the old rotate around the hacker quickly as they type away, have screens that have multiple windows streaming gobbledegook that is just nonsense, the old screen reflected in the lens of someone’s glasses and more shots anyone who has seen more than a few movies will recognise. There’s very little in the editing and cinematography that is interesting or unusual here, instead it lazily lifts already stereotypical ideas of how to show IT and hacking and recycles it, albeit with many more quick cuts. Although that said, the use of a large, dark office space repeatedly to symbolise how the organisation works (or doesn’t!) was not half bad.
So that style had me wanting to walk out after half an hour, but I stuck to it to see how the narrative would go. Sadly this fared no better – again to be fair this is a complex series of events and issues over years that had to be condensed down into a couple of hours running time, no simple task. So I accept streamlining of events and characters to try and fit into a film narrative, but sadly this is just to simplified. There is some attempt to show the moral quagmire of some of the events – yay, the good guys get inside secrets from a whistleblower and put it out there for all to read! But oops, they also put out documents naming people and their personal addresses, families, numbers, information that in the wrong hands could easily lead to them being hurt or worse. But again this is handled so ineptly it is clear the makers didn’t really know quite how to handle this film and also failed to have confidence in their audience, that the sort of cinema-goers who want to see a film based on this tale would be a bit better read and informed and would not need the events glammed up to keep them excited – as I said, this is not a spy thriller, for goodness sake.
The film also skips by the entire sexual assault matter Assange still has hanging over him (it gets a brief line in post-film credits) and poor Bradley Manning’s series of leaks which gave WikiLeaks its greatest coup and brought it to true world prominence via an alliance with the Guardian, Der Spiegel and New York Times is simply a device to push plot forward here, Manning is barely mentioned, his reasons for doing what he did and the huge personal cost is also lightly skipped over, which is unforgivable, in my opinion, with many others involved in WikiLeaks similarly given short-shrift. And yes, I know, simplifying for a narrative film, but the documentary managed to cover these people and aspects of the WikiLeaks stories, so why could the screenwriters here not manage it better?
My advice – forget this misfire of a film and instead check out the excellent documentary We Steal Secrets film, which, with a fraction of the budget, conveys far more details and information on these important events in a sensible, non-glamorous, manner where the events and presentation make it engrossing and exciting, not silly cuts and cliched scenes,and we see much more of the people and what they did, why they did it and the effects those events have had on them.