Rebellious Celluloid

Under discussion:

Last Resort  (2001)

2000 (UK)
dir: Pawel Pawlikowski
Dina Korzun, Artyom Strelnikov, Paddy Considine

Last Resort tells the story of a young Russian woman who travels to an unfamiliar country to reunite with her fiance, but instead finds herself in the midst of a waking nightmare. When Tanya (Dina Korzun) lands in England along with her 10-year-old son, Artiom (Artiom Strelnikov), she is crushed to discover that her soon-to-be-husband is nowhere to be found. Confused and ignorant, she naively asks the government for asylum and becomes a refugee in a dead-end coastal resort that is full of bewildered immigrants like her. Unfortunately, by the time she realizes that she's made a mistake, bureaucratic paperwork has already ensured that she must stay locked inside the walls of the barren dumping grounds for an indefinite period. Struggling to make ends meet, Tanya befriends a charming arcade manager, Alfie (Paddy Considine), while Artiom learns the ins and outs of vandalism. When it finally becomes clear to Tanya that she is only setting herself up for another heartbreak, she is forced to make a difficult decision that will affect the lives of everyone involved.

Completely shot with hand-held cameras Last Resort has the feel of a documentary, built-up by an intricately structured script and the fabulous performances of the lead trio. The films climax is abrupt but strangely powerful in that it makes you contemplate the fate of the characters for quite a while after the end credits roll.

Paddy Considine does not have a bad performance in him. He is more subtle and understated here than Dead Man's Shoes, and Pawlikowski's 'My Summer of Love', but still shows incredible range. This director/actor duo are fast becoming personal favourites; I recommend you check them out if you haven't already.

Under discussion:

The Kid Stays in the Picture  (2002)

The Kid Stays In The Picture
2002 (USA)
dir: Nanette Burstein & Brett Morgen
Robert Evans (himself - narrator)

The Kid Stays In The Picture traces the meteoric rise, fall and rise again of legendary Hollywood producer Robert Evans. The producer of The Godfather (1972) and Chinatown (1974), Evans' career faltered in the early 80s thanks to a cocaine bust and his rumoured involvement in a murder. This documentary, adapted from his best selling autobiography, chronicles his life, his loves (with the likes of Ava Gardner, Grace Kelly, Lana Turner, Ali Macgraw, and Raquel Welch) and friendships (Warren Beatty, Jack Nicholson, Roman Polanski, Henry Kissinger and Dustin Hoffman).

It's an unusual documentary in style mainly composed of still images, with only a few interview clips thrown in for extra measure. It's hard to even class this as a moving picture, but still surprisingly effective to say the least.

Legendary Hollywood producer Robert Evans life is an interesting enough subject, and he's a fantastic storyteller, but what this film lacks the most is some commentary from the numerous stars and celebrities whom accompanied Evans on his cinematic journey. There's not a single clip here to back up his tales.

Informative, innovative but not captivating enough to warrant a re-watch.

Under discussion:

Bad Education  (2004)

Bad Education
2004 (Spain)
dir: Pedro Almodovar
Gael García Bernal, Daniel Giménez Cacho, Fele Martínez

A young man, Enrique (played by Fele Martinez) is working as a film director. He is visited by a childhood friend Ignacio Rodriguez (played by Gael Garcia Bernal), who is looking for work. Before he leaves Ignacio gives Enrique a book that he has written called 'The Visit'. The story centres around the lives of two young boys who attend a Catholic School. Enrique decides to make a film based on the book which is set to resurrect his own childhood.

The film visits three time periods. The past features the Catholic School where two young boys come of age and begin to have feelings for one another and the influence their teacher has on their lives, priest Father Manolo (played by Daniel Gimenez Cacho).

The director Pedro Almodovar provides a spellbinding insight into how reality is transformed by fantasy as he weaves his story through the 70s and 80s, and pre and post-Franco Spain. He takes a little time to find his stride, but WOW does this film hit you for six when he does.

The cinematography on show is equally breath-taking, the use of vibrant colours framed by typical film noir neutrals a now established Almodovar trait. It all provides a perfect backdrop for the talented Gael Garcia-Bernal as he impressively juggles multiple personalities. Watching Pedro and Gael at work is an education on its own. This DVD will never be far from my player.