Man har en holdning til man får en ny, eller hvad man nu plejer at sige. Jeg har aldrig været den store soundtrack dyrker, men nu og da er der et soundtrack der har ramt mig på en ene eller den anden måde. Som for eksempel soundtracket til den fantastiske skotske film ‘Hallam Foe‘ fra 2007, som handler om en ung fyr af en velhavende familie, som mister sin mor under mystiske omstændigheder. Han holder sig meget for sig selv i sin træhule, hvor ingen kan forstyrre ham mens han spionerer, skriver dagbog og får en masse underlige idéer. Da søsteren rejser ud i verden og faderen sammen med stedmo(r)deren vil sende ham på kostskole stikker han af til Edinburgh, hvor han kommer på noget af et eventyr. Filmen kan på det varmeste anbefales, hvis du ikke har set den. Soundtracklisten, som bl.a. indeholder en meget atypisk Franz Ferdinand komposition lavet specielt til filmen her, ser således ud:

‘Blue Boy‘ – Orange Juice
‘Here On My Own‘ – U.N.P.O.C
‘The Someone Else‘ – King Creosote
‘Broken Bones‘ – Sons And Daughters
‘Double Shadow‘ – Junior Boys
‘If You Could Read Your Mind‘ – Clinic
‘Battle At The Gates Of Dub‘ – Future Pilot AKA
‘Lines Low To Frozen Ground‘ – Hood
‘Hallam Foe Dandelion Blow‘ – Franz Ferdinand
‘Tricycle‘ – Psapp
‘Surf Song‘ – James Yorkston And The Athletes
‘Also In White‘ – Bill Wells Trio
‘Salvese Quien Pueda‘ – Juana Molina
‘They Nicknamed Me Evil‘ – Cinema
‘I Hope That You Get What You Want‘ – Woodbine
‘Ocean Song‘ – Movietone

Et meget rart soundtrack. Dejligt britisk. Herunder kan man høre et par numre fra soundtracket, samt se lidt klip fra filmen:
‘Here On My Own‘ – U.N.P.O.C

‘Hallam Foe Dandelion Blow‘ – Franz Ferdinand

Et andet soundtrack som har taget mig med storm for nyligt, er soundtracket til Hollywood filmen ‘The Reader‘ fra sidste år, som tager udgangspunkt i efterkrigstiden i Berlin, hvor den unge Michael Berg ved et tilfælde møder den 21 år ældre Hanna Schmitz, hvilket fører til en hed sommeraffære, som ender brat da Hanna pludselig stikker af uden at fortælle hvorfor. De ser først hinanden igen 8 år senere, da Michael er jurastuderende og i forbindelse med sit studie skal overvære en retssag om nogle hændelser under 2. verdenskrig, hvor Hanna er én af de anklagede…
En rigtig god og smukt fortalt film, med fantastisk skuespil. Se den, se den! Eller retter sagt…læs også bogen som filmen er baseret på, den er skrevet af Bernhard Schlink, og i den får man alle de filosofiske tankegange med.

Soundtracket er mindst lige så fantastisk. Det er den unge amerikanske talentfulde komponist Nico Muhly som står bag.

Nico Muhly fortæller her om at lave soundtracket til ‘The Reader‘ og man får et par gode bider med:

Edit: Ved nærmere eftertanke, er det da lidt pudsigt at begge film har at gøre med kærlighedsforhold/affærer imellem den unge dreng og den ældre kvinde. Hehe. Men gode er de.

Kemarin sempat menonton dua film ini ditengah gempuran dedline sinopsis. Menonton saat tengah malam, berusaha menghalau kantuk dengan menyuguhkan sebuah tontonan untuk mata, beruntung dua film ini enak untuk dinikmati dan berhasil membuat kantuk saya tertunda.

The Cake Eaters
Kristen Stewart & Aaron Stanford

Sebuah film dengan cerita sederhana yang enak untuk diikuti. Dari segi cerita film ini memang tergolong sederhana banget -kalo gak mau dibilang biasa aja dan cenderung datar. Tapi beruntung pengemasan film ini tidak sesederhana ceritanya. Saya suka akting Kristen Stewart dan chemistrynya dengan Aaron Stanford yang terjalin manis. Sinematografi film ini ciamik, beberapa dialognya juga berhasil mencuri perhatian.

2.5/5

Hallam Foe
Jamie Bell & Sophia Myles

Saya suka film ini. Cerita sederhana tapi dituturkan dengan cara yang asik, yang membuat saya betah mengikuti jalinan ceritanya. Karakter Hallam juga seru, sebagai tokoh sentral film ini karakter Hallam boleh dibilang cukup kuat dan beruntung bisa dimainkan dengan pas oleh Jamie Bell. Satu kelebihan film ini yang sangat menonjol adalah soundtracknya yang sangat easy listening. Opening title yang dikemas dalam bentuk animasi juga menjadi sebuah hiburan tersendiri. Menarik!

3.5/5

Young Adam | David Mackenzie, 2003

David Mackenzie is definitely one of the more exciting writer/directors Britain has to offer at present, though like many others he too has recently succumbed to the pull of Hollywood. Mackenzie’s first full-length American feature (starring Ashton Kutcher of all people) is due out sometime next year and it will be interesting to see just how well it matches up to his better British projects, including the impressive 2003 film Young Adam. Ewan McGregor leads this extremely sexual tale of love, lust and murder in the life of a Scottish river man. His character Joe is a carefree lad whose charm and general good nature are used well to mask a questionable past. He falls in with a barge-dwelling family living on the Clyde river and proceeds to strike up a forbidden relationship with a pale-skinned boat mother named Ella (Tilda Swinton). This relationship, born out of boredom, allows us a greater insight into Adam’s true nature and his shady past. All of which somehow links back to the body of a girl discovered face-down in the very same river. Mackenzie has, with two of his last three releases, focused almost lovingly upon the country of Scotland. While many directors have their female muses, it can be seen through Young Adam and his latest film Hallam Foe that Mackenzie’s obsession in fact lies with this country and its heritage. With Young Adam we see much of old Scotland and experience the traditions and values that its people held dear back then.

Much of this cultural information mentioned previously has been extracted regardfully from the work of Scottish author Alexander Trocchi upon which the film is based. Trocchi was a misunderstood writer whose novels were often exploited due to their strong levels of eroticism. Therefore many of them, including Young Adam were published cheaply with lewd covers and aimed at American servicemen or tourists. Disguising a rich standard of literature that can be seen, in some part, through this careful and somewhat modern film adaptation. Mackenzie mentions a differing use of the word “adult” as part of his inspiration for Young Adam. Stating that it is perhaps with a certain injustice that the term has come to define pornography, particularly in the West. This film, and to some extent its two successors – Asylum and Hallam Foe – deal with sexuality in its least romantic sense. The sexuality seen in Young Adam and so-described by the director himself; “comes from an inner place or a need that has to be fulfilled”. There are other themes at work here though. The film is as much an examination of ‘true’ sexuality as it is a philosophical boat-ride touching on the concepts of truth, morality and identity. Of course, the plot itself lacks a certain cohesiveness as a result of these ever-present and underlying themes. Yet thanks to the attentions of an impressive ensemble cast Young Adam is quite the rewarding experience, and one that certainly cannot be doubted for its ambition.

Our Rating:

By Oliver Farrimond

A STAR-STUDDED programme for the Edinburgh International Film Festival was officially unveiled yesterday at the Capital’s Filmhouse cinema.

Festival patrons Tilda Swinton, Seamus McGarvey and Sir Sean Connery will also return for the event, which runs from 17-28 June.

No fewer than 23 films will have their world premieres at the renowned festival, which will include a special showcase on the work of celebrated Scottish film-makers Peter MacDougall and John Mackenzie.

Scots audiences can look forward to a number of Scottish feature films being screened, including a new film from “Hallam Foe” director David Mackenzie, titled “Spread”.

Hannah McGill, artistic director for the festival, said: “I’m thrilled about this programme, and really looking forward to showing these films to our audience, as well as welcoming this wide array of exciting guests.

“We’ve been really privileged to see a tremendous range of very varied work from all over the world this year.

“The British section is especially diverse, and it’s also great that in the year of Homecoming to be celebrating Scottish talent with both our McDougall/Mackenzie focus and our new Scottish feature films.

“The programming team have done incredible work in selecting the best and most innovative films.”

The Edinburgh International Film Festival, in its 63rd year, has become an important fixture in the city’s cultural calendar after shifting dates last year to June from the Capital’s busy festival month of August.

Digital technology will be one of the key themes of this year’s event, as industry insiders explore recent advances in film-making technology and distribution.

Industry greats Sam Mendes and Darren Aronofsky will also be visiting the festival to take to the stage for in-person interviews.

Diane Henderson, deputy artistic director, said that organisers were anticipating a hugely successful run on the back of last year’s festival.

She said: “This is the second time we’ve run the festival in June, and we’re looking to improve on those numbers, which were excellent in themselves.

“Last year our box office figures were up, as well as visits from local people, and we fully expect that to happen this year while we continue to rise.”

She added: “We’ve had to keep our programme secret for long it’s nice to be able to talk about it for a change.

“I can genuinely say that we’ve got films to please everyone, so it’s a very exciting day for us.”

Der voyeuristisch veranlagte 18-jährige Hallam Foe verdächtigt seine teuflisch-verführerische Stiefmutter Verity, den Tod seiner leiblichen Mutter verschuldet zu haben. Vom Baumhaus aus beobachtet er Verity und die anderen Bewohner des Landsitzes seines Vaters in den schottischen Highlands. Doch die Schwiegermama weiß ihre Reize einzusetzen, so dass Hallam letztlich Hals über Kopf nach Edinburgh flüchtet. Ein neues Objekt der Begierde findet er in der blonden Hotel-Angestellte Kate, die ihn an seine Mutter erinnert.

Regie: David Mackenzie

Darsteller: Jamie Bell, Sophia Myles, Ciarán Hinds, Claire Forlani,…

Review:

Die mitreißende Hommage an das Abenteuer, erwachsen zu werden…

Jamie Bell (Jumper) spielt Hallam Foe. Aus der Inhaltsangabe lassen sich schonmal die ersten Eindrücke vom Film sammeln. Leider trübt das Bild des Filmes.

Kurz zusammengefasst könnte man sagen, dass Hallam durchaus einige, teils auch sonderbare, Probleme hat. Seine Mutter ist früh gestorben und er unterstellt seiner Stiefmutter, die Tat begangen zu haben. Hallam wohnt in einem Bauhaus, das sein Vater für ihn gebaut hat, sein Vater ist Architekt. Zurückgezogen im Baumhaus beobachtet er Leute aus seiner Nachbarschaft, schreibt über sie im Tagebuch und benutzt das Make-Up seiner Mutter als Kriegsbemalung. Nach einem Streit und einer “Annäherung” mit seiner Stiefmutter, beschließt Hallam, von zu Hause abzuhauen. Er fährt nach Edinburgh. Hier trifft er auf eine junge Frau, Kate, die seiner verstorbenen Mutter sehr ähnlich sieht und verfolgt sie. Sie arbeitet in einem Hotel und durch ein überzeugendes Bewerbungsgespräch erhält er eine Anstellung als Küchenhilfe. Durch fleißige Arbeit steigt Hallam in der Hierarchie zum Pagen auf und kommt Sophie näher.

Hallam Foe wirkt wie die europäische Antwort auf “Garden State”. Nur wird die Qualität und das Ziel nur in Ansätzen erreicht. Der Film schwankt zwischen Witz und Ernst, ein Auf und Ab.
Es bleibt ein Eindruck nach dem Sehen, als sei Hallam ein Stalker, Spanner und der ödipalen Phase nicht entwachsen. Der Film hat wirklich einen fantastischen Soundtrack zu bieten. Bei den restlichen Elementen, die einen Film auszeichnen, fehlt es, meiner Meinung nach, an Substanz. Gerade die psychischen Probleme und daraus ergebende Handlungsweisen von Hallam führen dazu, dass jegliche Identifikation mit der Person nicht funktionieren.
Meine Empfehlung, wenn ihr euch einen Film mit einem fantastischen Soundtrack und der euch berühren soll ansehen wollt, dann greift zu “Garden State”.

Hallam Foe erhält von mir 5 von 10 möglichen Punkten.

Trailer

Filmclip (SPOILER)

Mister Foe
★★★ / ★★★★

Right from the get-go, the film establishes that the protagonist (Jamie Bell) is a strange but very sad character because he doesn’t know how to cope with his mother’s death. He acts out by spying on people, breaking into people’s homes and going through their things, all the while jotting down what he has seen, felt, and done after such actions. He also happens to believe that his stepmother (Claire Forlani), his father’s former secretary, killed his mother. That first part of the film was compelling because Bell was able to make the audience feel for him even though the things he does are creepy and borderline criminal. I found it difficult to blame the protagonist because not only is he really young and not aware of the consequences of his actions, I could tell that he really did love his mother… or maybe he loved her too much to the point of utter dependence. Taking that important parent figure from his life at such a young age damaged him emotionally and psychologically so I found his flaws to be reasonable if not relatable. The second part of the picture when Bell moved to the city and met a look-alike of his mother (Sophia Myles) was a bit less compelling because there were so many distractions that slowed the plot down (the scenes during his job which was supposed to serve as an escape, his nightly adventures in the streets, et cetera) .The only thing about the second act that I found to work in all levels was his sexual attraction to his look-alike mother (and how he stalked her at first). It says a lot about his desperation and the lack of closure regarding his mother’s death. The last act when Bell returns home was jawdropping and heartbreaking at the same time. By the end of the film, I felt like the main character grew so much despite still being a bit flawed and fragile. The story doesn’t tie everything up regarding the characters’ lives but offers hope that there’s a light at the end of the interminable tunnel of bleakness and confusion. This film provides an interesting character study and I only recommend it to those that are interested in how a character evolves over time.

Jamie Bell might still be best remembered for his debut in the title role of Billy Elliot (now a ridiculous looking musical on Broadway).  Hard as it was for me to believe, eight years have passed since that film and Bell is now twenty-two years old.  He is a wonder playing another title role in David Mackenzie’s latest, Mister Foe (Hallam Foe in the UK).

Hallam is an awkward Scottish teen about to fall into his awkward Scottish adulthood.  His mother drowned under mysterious circumstances a few years earlier and Hallam retreated inward.  He has become extremely voyeuristic heading to higher and higher ground over the course of the film seemingly in an attempt to gain clarity.

Upon leaving his home for the city under extreme conditions, Hallam encounters a young woman to pin his hopes upon.  Sophia Myles plays Kate Breck, the young woman of interest who bears a striking resemblance to Hallam’s mother.  Myles shines as Kate, a young woman with an easy appeal, yet a deep enough character study to be simultaneously flawed and magnetic.

Jamie Bell walks a tightrope as Hallam and makes it look easy.  Reading the synopsis and I would imagine the script, Hallam sounds perverse, likely mentally ill (which he may be), and socially inept.  Bell makes believable his contrary cleverness and his unexpected ability to have a normal, even charming conversation.  His voyeurism doesn’t seem sexual in nature, rather his way to observe the human world and sometimes to get to know and care about people while avoiding a two-way vulnerability.  The film is shot from his characters’ perspective, putting Bell in every scene without ever wearing out his welcome.  If he continues to choose wisely, I expect a successful adult transition and a long career to come.

The film gets into oedipal themes as well as veering off into distinctly Shakespearean territory without losing a basis in its modern setting.  It has more than enough emotional resonance for these themes to avail themselves to the audience on subsequent viewings.  I also want to mention how beautiful the film is, gorgeously captured in overcast muted fall tones by cinematographer Giles Nuttgens.  Director David Mackenzie successfully presents an untraditional lead character and a non-formulaic story arc without alienating the audience or feeling overlong.  He is really switching gears for his next project, an Ashton Kutcher sex comedy…  Huh?

Note: This marks the second in a series of “Movies Of The Day” that covers writer/director/actor Kevin Smith’s View Askewniverse films. For the first films review, Clerks., click here.

Set the day before Clerks., Mallrats centers on Brodie Bruce and T.S. Quint, two best friends who’ve been dumped by their respective girlfriends on the same day. At Brodie’s urging, the pair decide to go hang out at the local mall where, as luck would have their exes are spending the day too. Amidst pop-culture-related debates, sex talk, and run-ins with  dealers/mischief makers Jay and Silent Bob, Brodie and T.S. will attempt to win back their significant others.

Mallrats stars Jason Lee (Alvin And The Chipmunks), Jeremy London (7th Heaven), Shannen Doherty (The CW’s 90210), Claire Forlani (Hallam Foe/Mister Foe), Ben Affleck (Hollywoodland), Joey Lauren Adams (The Break-Up), Ethan Suplee (Mr. Woodcock) and Marvel Comics legend Stan Lee. Jason Mewes and Kevin Smith reprise their Clerks. roles, and Brian O’Halloran makes an appearance as his Clerks. character’s cousin. Most of these actors have gone on to appear in subsequent Smith films in these and/or different roles. Trailer and review after the jump.

Following Clerks.‘ mega-success, Kevin Smith was naturally approached by movie studios eager to cash in, thus Mallrats had a much bigger budget than its predecessor and it shows, sometimes a little too much. As in every Smith film, the script is filled with modern cultural references, be it to various comic books, Jaws, and of course Star Wars, but it is often underlined with unnecessary and sometimes distracting sound effects, meant to evoke said reference.

Mallrats was rather poorly received upon its release, probably due to expectation of a film more in line with Clerks. when the two films are very different. Indeed critics have labeled the film as silly and messy, but hey, that’s true and why is that such a problem? Mallrats is louder and sillier than Clerks., but it’s still incredibly well-written silly. Smith continues to prove he’s a master of dialogue and that he can write profanity with taste, a great example of that being the incredible finale for the movie. Some people seem to write profanity for the sake of profanity in unfunny comedies, while others talk of romance in films that don’t seem to have much of a soul. Smith somehow manages to do naturally blend the aspirations of both trends successfully. And that’s why he’s a great filmmaker, not just because he can reference popular movies.

Mallrats is generally regarded as one of Kevin Smith’s weakest films, but I still think there’s plenty to be found here, and enjoyed. It doesn’t have exactly the same feeling as Clerks., but why should it? It’s a film made by someone who clearly knows his stuff, with inventiveness, originality, some great dialogue, great characters and just a great feel to it overall. There’s a reason Kevin Smith is as famous as he is today, even his “lesser” films are great. Mallrats was a consequential flop, making slightly more than a third of its budget, and thus remains Smith’s only film made within the confines of a major studio.

Verdict: Laugh-out loud fun, with a heart. Mallrats currently holds a 7.1/10 on IMDB and a 50% on Rotten Tomatoes.

More “Movies Of The Day”

Perhaps “update” is an overly-strong word. How about… um… ’side-date’. As in there is not a lot of forward-moving news. TWC is not sharing their release strategy at the moment, so we are still waiting for details.

A few things to throw out there, though. A few pictures did come in from the media day at Locarno. Here they are:

Sophia Myles

Jack Huston

Dirk Blackman

Howard McCain

Also, Sophia Myles did an interview with New York Magazine (nice!) on her new movie Hallam Foe and had a few words to say about Outlander:

Q: And the last movie you did before Moonlight was Outlander, which still hasn’t come out. So…

A: What the fuck, yeah…

A woman of few, but pungent, words. (I kid, Sophia). Obviously there is more, but I thought I’d just link you there so you can see for yourself what she said about Outlander as well as Hallam Foe.

http://tinyurl.com/67bvcr

Plus, Empire’s Movie-Con now has some video up of the Q and A Jack Huston and I did in London a few weeks back. I’d've stolen a bit but I can’t figure out how. Check it out at:

http://tinyurl.com/6noe7k

Fair warning… I didn’t spare the “F-Bombs” in the interview. I guess I thought it was hip. Or I was nervous. Or nervously hip.

And finally, a Q and A with Mark O’Connell of Film-Reviews.net at:

http://tinyurl.com/64f6v

So in closing, I invite any and all of you to let TWC know that if we don’t get a glorious release for Outlander, you’re all going to give Inglorious Bastards a miss.

År: 2007
Genre: Drama
Skådisar: Jamie Bell, Sophia Myles, Ciarán Hinds

Handling: Den unge Hallam Foes färdighet att spionera på människor avslöjar hans största rädslor och hans största begär. I jakten på sanningen bakom sins mors död hamnar han istället på stadens hustak i sökandet efter kärleken.

Kommentar: Tyckte den var rätt seg men gick att kolla på.

Betyg:

Witam czytających! Miałem zabrać się za tą notę od dłuższego czasu, ale cierpiałem na chorobę zwaną lenistwem. Pogoda była bardzo dobra, więc spożytkowałem poprzedni tydzień w inny sposób. Teraz niestety zimno o_O Ale więcej o pogodzie dowiecie się od Zubilewicza.

Pokrótce o obejrzanych filmach(w ciągu ostatniego miesiąca):

Hallam Foe – film o alienacji pewnego młodzieńca, który pod wpływem śmierci matki, którą bardzo kochał, zamyka się na świat. O wszystko posądza kochankę swojego ojca, zdolną do wszystkiego, aby tylko młody wyniósł się z domu. W końcu udaje jej się to, ale(SPOJLER) głównemu bohaterowi wychodzi to na dobre(KONIEC), ponieważ natura lubi płatać figle…

Rzeka Tajemnic – adaptacja książki Dennisa Lehane’a. Tematem przewodnim jest sytuacja, w jakiej znajdują się trzej przyjaciele z dzieciństwa. Wszystko to 25 lat później. Sean pracuje nad sprawą zabicia córki Jimmy’ego. Jednym z podejrzanych staje się natomiast Dave…

Królowe nocy – przeciętny obraz o latach 80’ w Nowym Jorku. Ukazana jest w nim walka policjantów z Rosyjskimi mafiosami. Mimo dobrej obsady film jest średni. Bardzo przewidywalny i zupełnie nie zaskakujący. Pomysł był dobry, niestety film czasem niepotrzebnie się ciągnie…

Piękny Umysł – miałem dużo szczęścia, 10 min. przed rozpoczęciem seansu w TVN dowiedziałem się, że będzie tam lecieć film, który od dawna chce obejrzeć. Głównie z tego powodu, że przeczytałem książkę i chciałem porównać Co tu dużo mówić, wiadomo iż papierowe wydanie jest lepsze, lecz nie sposób odmówić filmowi znakomitości. Sytuacje z życia Nasha były pokazane w bardzo ciekawy sposób. Gra aktorska na wysokim poziomie. Szczególnie podobała mi się(nie tylko wizualnie ) Jennifer Connelly. To trzeci film, który obejrzałem z jej udziałem. Trzeci bardzo dobry film.

Tetsuo – nigdy więcej takich filmów pokurwienie totalne. Drugiej części na pewno nie obejrzę. Kino z ciekawym przekazem, lecz kompletnym brakiem fabuły. Pełno poklatkowej animacji. Rozpierdol na ekranie. Remande miała rację – to jest prawdziwy odmóżdżacz
Scena z wiertłochujem mnie rozjebała Nie oglądajcie tego filmu

Paranoid Park – dramat produkcji Francuskiej i USA. Chłopiec imieniem Alex przeżywa typowe problemy nastolatka. Rodzice się rozwodzą, a jego dziewczyna myśli tylko o seksie. Najgorsze ma dopiero nadejść. Wszystko byłoby ok. gdyby nie przerost formy nad treścią. Mamy znakomite ujęcia kamery, masę świetnych filtrów, ale reszta jest strasznie nużąca i przewidywalna.

Zgon na pogrzebie – Angielska komedia, angielski humor. Uwielbiam to. Bardzo dobre dialogi i żarty sytuacyjnie. Takie filmy aż chce się oglądać. Akcje z Valium są świetne, dziadek wymiata, a tak zabawnego pogrzebu jeszcze nie widzieliście
„Ale tu kurwa zielono”.

Myślę, że było krótko. Muzyka w ostatnim czasie to: Kasabiany i Franz Ferdinandy, generalnie coś lekkiego. Wczoraj też polewka, w jakimś komercyjnym radiu puszczali masę piosenek The Smiths. Zapewne jakiś jubileusz miał miejsce. Koncerta Ferdynandów z Rio pobrałem i nawet daje radę. Dziś jednak na koniec będzie zupełnie coś innego.

Odkąd jego matka utonęła, Hallama Foe nie przestaje dręczyć pytanie czy sama wskoczyła do wody, czy też może ktoś jej w tym pomógł. Przekonany, że wersja z pomocą jest właściwa, Hallam ma nawet główną podejrzaną. Jest nią Verity, jego ponętna macocha. Próbując zdobyć dowody jej winy, uzbrojony w lornetkę Hallam zaczyna szpiegować ją ze swojego domku na drzewie. Im bardziej jednak przekonuje się o winie Verity, tym bardziej piękna kobieta zaczyna go pociągać. Obawiając się, że dłużej nie będzie w stanie opierać się jej urokowi decyduje się na wyjazd do Edynburga. Tutaj poznaje Kate, młodą dziewczynę, która przypomina mu jego zmarłą matkę. Zaintrygowany nia zatrudnia się w tym samym hotelu, a nocami, siedząc na dachu domu naprzeciwko, podgląda ją przez lornetkę przez okna jej mieszkania. Kiedy zauważa, że Kate ma romans z Alasdairem, menadżerem hotelu, za wszelką cenę postanawia zdobyć jej uczucia.

A simple story that has been seen a thousand times over, Hallam Foe though never feels tired because it has vigour, passion and an understanding of film as art – in turn it’s backed by performances of spite and tenderness that make the more peculiar sequences utterly absorbing, it’s one of the best films this side of December 31st 2oo7.

1. Se pare că comisia de dişiplină din cadrul şcolii a considerat prea harcorel, gălăgios şi vulgar filmul doi_gabori_din_localitate_si_o_bagaboanta.avi, astfel încît au decis să îl claseze departe de ochii lumii şi să nu îi facă nici copie standard. E greu, a fost mereu, da’ nu ca azi. Jos cenzura etc.

2. Ce s-a mai fost vizionat:

Bring Me the Head of Alfredo Garcia - o fi Peckinpah the illest meanest gun lovin badass, cu personaje  trigger-happy şi un mesaj belicos, camuflat la oha în predici anti-violenţă ,  dar ma aflu un om al timpurilor  pe fugă  si  vreau să vad mai mult dinamism intr-o poveste cu vinatori de recompense,  gun trotting badasses, mexicani mustăcioşi şi fete neprihănite. Nu e rău deloc, dar mi se pare datat şi prea molcom for its own sake. Ca atare prefer, în continuare, Straw Dogs.

True North – He splices the ropes and he sets the sail/ While southwards he roams to the home of the whale. Niste scotieni umblau pe mare intr-o barca. O, tu, casa a pestelui, cum ii pui tu la incercari pe bravii mateloti. Apoi marinarii decid sa se incarce cu un container cu chinezi, pe care sa ii treaca fraudulos granita. Pe final,  o mare vorba spusa la necaz de Peter Mullan, in timp ce viziona un porno cu asiatice: filmele astea, in care joaca actori cu pula mare, sint filmate de unii cu pula mica, ca sa se uite la ele unii cu pula mijlocie.

His Big White Self – sint fanul lui Broomfield, inteleg ca documentaristii sint, intr-un fel, un soi de beat reporters, da-i cu acelasi subiect pina il umpli de singe, dar aici si apartheidul, si dictatorul in dizgratie Eugene Terre Blanche (ca-n El otono del patriarca, asea) si toata insistenta lui Broomfield mi s-au parut cam lipsite de miez si miza. E un sequel la The Leader, His Driver… din care, cel mai misto lucru, e doar titlul.

Myrin – Islanda, pelicula Fuji face ravagii in albastru, atmosfera aia periculoasa de tinut unde bate soarele de prea putine ori pe an, dar o poveste asa de incilcita si impiedicata, cu un surprinzator si dezamagitor touch de one-hour drama sedusa si abandonata de policier,  incit joaca la nivel de Liga I.

Te Doy Mis Ojos – daca intelegi asta, pe muzica lor poti sa-ti bati nevasta. Imedebe SRL zice ca: Male Full Frontal Nudity | Art Museum | Church | Wife Beater | Female Nudity. E suparat filmul, nu atit de suparat ca Nil By Mouth, iar violenta e mai degraba de ordin psihic decit fizic. In cea mai intensa secventa a filmului, sotia se scapa pe ea.

Hallam Foe – direct de la autorul lui Young Adam, voyeurism, sex, copii fugiti de-acasa si, perfect justificabil, un balet fotografic spectaculos cu long lenses (asta ca sa rimeze cu scoptophilia si umblatul pe acoperisuri).

Margot at the Wedding – portret de familie disfunctionala. Autor, Baumbach, care a percutat eficient cu The Squid and the Whale, se imblinzeste putin, spre nenorocul filmului. Si Nicole Kidman stie meciul, Jennifer Jason Leigh, Jack Black, etc, dar supararile si intimplarile lor sint mici in marea schema a lucrurilor, fara sa capete dimensiunile fantastice ale studiului Luptei Calamarului cu Balena…

London to Brighton – wicked!

]]> http://filmedevazut.wordpress.com/2008/05/10/hallam-foe-2007/ Sat, 10 May 2008 20:28:25 +0000 Radu D. http://filmedevazut.wordpress.com/2008/05/10/hallam-foe-2007/

Regie: David Mackenzie
Distributie: Jamie Bell, Sophia Myles, Claire Forlani

Filmul incepe cu un baiat, Hallam Foe; traieste intr-o casuta in varful unui copac din padure si spioneaza pe toata lumea cu un binoclu. Are un tata si o mama vitrega, mama lui adevarata a murit cu 2 ani in urma. Puternic marcat de sinuciderea ei, Hallam nu accepta aceasta versiune si cauta in permanenta indicii care sa dovedeasca de fapt o crima. Dupa o altercatie cu Verity (mama vitrega), cand el incearca sa o sugrume, iar ea ajunge sa faca sex cu el, Hallam decide sa plece din oraselul unde locuia. Pe drumul spre Edinburgh, el isi arunca telefonul intrerupand orice legatura cu familia. Este momentul in care Hallam isi incepe calatoria de formare.

Nota 8.5

Ajuns intr-un Edinburgh ploios si intunecos, toata existenta lui Hallam graviteaza in jurul dorintei, devenite deja obsesie, de a afla cum a murit mama lui. Viata ia o intorsatura ciudata in momentul in care zareste pe strada o femeie(Kate) ce seamana izbitor de mult cu mama lui. O urmareste si reuseste sa obtina un post de ajutor la bucatarie in hotelul unde lucreaza si Kate. Din acest moment, Hallam isi concentreaza toata atentia asupra ei, spionand-o in fiecare seara. De fapt el si-a transpus mediul de acasa (casuta din padure, spionatul) in Edinburgh (doarme in camera unui ceas de bloc, o spioneaza pe Kate). Personajul Hallam da dovada de inteligenta si prezenta de spirit in ciuda salbaticiei cu care se inconjoara.

“- Is there a love in your life?
- She’s dead. You wanna meet her?”

Fara sa vreau sa povestesc filmul, Hallam traieste o idila cu frumoasa Kate. Simbolurile fiind presarate peste tot, Kate apare ca salvatoarea lui Hallam, desi este prezentata ca un om normal, cu vicii, slabiciuni, bucurii si indecizii. Totul se schimba, scenele devine mult mai luminioase si deschise, Hallam este aparent fericit. Intr-un final Hallam se intoarce acasa hotarat sa … nici el nu stie de ce.. sa afle ce s-a intamplat cu mama sa, sa o razbune sau doar sa urle de durere. Ajuns acasa, incearca sa o omoare pe Verity in acelasi mod in care a murit si mama lui, inecata. Dupa ii leaga mainile si o arunca in lac, urmeaza momentul hotarator pentru toata viata sa. In momentul in care Hallam ia decizia sa nu o lase sa se inece, transformarea este completa; Hallam devine barbat si are puterea sa accepte trecutul.

Filmul este presarat cu momente de comedie sincera, deloc fortata si astfel publicul reuseste sa guste din tumultul tineretii lui Hallam, nu numai din tragedia acestuia.

Tragand linie, salvarea vine de la o persoana care nu este nici inger si nici super erou, vine de la o persoana din viata de zi cu zi pe langa care treci probabil dimineata grabit la metrou. Hallam a reusit sa accepte trecutul si de aceea consider finalul unul fericit.

Un film care iti va atrage atentia prin personaje, trairile lor, intamplari, nu prin masini luxoase, efecte speciale, imagini fabuloase, super-eroi. Poate super-eroul este Hallam, iar imaginea fabuloasa este cea a vietii.

Radu D.

Music: I’ve had a slowish week music-wise due to catching up on film podcasts to prepare me for the switch in focus for the site. The only things I’ve been enjoying musically this week are the eighties synth-symphonies of Neon Neon (a collaboration between the Super Furry’s Gruff Rhys and Boom Bip) whose album Stainless Style is really excellent. I also love the new Young Knives album and the EP from Fleet Foxes. Another mention goes to Earth, Dylan Carlson’s doom-metal act whose new album, The Bees Made Honey in the Lion’s Skull, incorporates some serious groove to the din.

Film/TV: Busy week here as you might expect. Reviews of all three of the films I saw this week will go up very soon but just to preview, I watched Charlie Wilson’s War, Lars and the Real Girl and The Orphanage. The coming week will see me take in a number of others including Days of Heaven, The 400 Blows, Bande A Part, Enchanted, Once (rewatch), Hallam Foe, Killer of Sheep and 4 Months, 3 Weeks and 2 Days. On the TV side, I’m well into the third season of Battlestar now and it is still a pretty excellent show. I’ve also finally got hold of The Wire’s precursor show, The Corner, a detailed investigation of those in and around Baltimore’s drug trade.

Books/Magazines: I finished Imperial Life in the Emerald City this week and am now really looking forward to the Paul Greengrass movie. Cutting investigative reporting at its finest with a dark line of heartsick comedy running through it. I also finished Northline, the new book from Richmond Fontaine singer and primary songwriter Willy Vlautin. I loved it, far more accomplished than his first work, This Motel Life, and filled with lovely, realist observations of life. I did my clippings this week so my magazines’ best articles are all in three folders now. This week’s best include an interview with Gore Vidal by Rachel Cooke in the new UK Esquire, an examination of the relationship of Godard and Truffaut in the New Yorker and The Atlantic’s Britney edition has an investigation of Hollywood’s move back to the spirit of the 1970s.

Other: Oh, the soup. I’m addicted to Waitrose soups! The best of the lot is a crab and asparagus which has hints of black pepper to give the aftertaste a little interest. I’m also still addicted to podcasts but mostly to the one from Filmspotting. I will tell you now that the likelihood for the future of this site will be to emulate the work of those guys. Outside that one, I also love the Truthdig podcast from political journalism doyen Robert Scheer and Slate’s Political Gabfest.

I just got back a couple of hours ago and, now I’m contently eating a cinnamon bun. All is well in the house and I’m doing the usual Friday night ritual of gluing my face to the computer screen. So noting new there.

I think I’ll end up getting severe hearing problems when I’m older from listening to music WAY too loud but that’s something I’ll think about later. I could get one of those hearing trumpets! Ya feelin’ it?? I’d be the only 22 year old with one of those. So four years of ruining my hearing yet to come. Thank god for the wonders of surround sound and extra bass/treble boosters.

I had a pretty nonchalant day really, I wish I could say something more exciting than just the normal “blah blah blah..blah yeah it was grimy weather and I drank too much coffee blah blah” but you know it is my blog so HA! I did see a movie today, but I don’t think that’s really something very interesting because I do that quite often anyway , and I generally go on my own.Well the movie itself was worth the 6.50 it cost +  the yogurt covered strawberries I took with me (Goddam those things are tasty!) Seriously I’d live of those things if I could. Anyway Hallam Foe was a movie I’ve wanted to see ever since I heard that Jamie Bell was playing the lead. I mean it’s quite strange seeing Jamie Bell who will forever remain in my eyes as Billy Elliot to have become this umm…Man I suppose. I don’t want to say too much so as not to spoil it, but he sure could act the part of the creepy obsessed over his mother type of dude. I mean I know the hole psychology about men wanting to find qualities of their mother in their partner but that movies was kind of twisted in that sense.

If it’s the same logic with women choosing their partner I’m doomed to spend my life with someone like my father *cold shiver* Not a good prospect.

Oh I made a new list today on the buss (if you don’t know me I’ll be short:I make all sorts of lists..it puts things into order) It’s not completely ready yet so I won’t post it but the title is: things I’d do if I only had a week to live.It was fun to make really because a week is such a short time to decide on what to do with yourself near the end. It was very long, and realistically I don’t think I’d be able to do even half of the things on it in a week.

I’m supposed to do a poem analysis this weekend and hand it in on Monday, so it’s mostly all work no play this weekend.  I think if I set myself to do it with a good attitude and who knows, I might even enjoy myself. I chose a poem by Pablo Neruda who in my opinion is one of the best poets there ever was. I’ll put a few verses of the Neruda’s poem of which I took the title from.

The memory of you emerges from the night around me.
The river mingles its stubborn lament with the sea.Deserted like the dwarves at dawn.
It is the hour of departure, oh deserted one!

You should read the hole thing..its so beautiful. Something in poetry just makes me feel so free.

I can’t remember where I got this from, but I like the feel to it.

A pretty action-packed day by any standards. Just on my way home from the British Animation Awards at the National Film Theatre where we launched Channel 4’s new broadband animation channel – 4mations – in collaboration with Aardman and Lupus Films. What I liked most about the awards was that each award was a unique framed image made by an animation professional (including David Shrigley [Blur - Good Song, Hallam Foe titles], Darren Walsh [Angry Kid, Beck - Four Steps, Sony Bravia Play-Doh/rabbits] and Andy Martin [E4 Music, Kerrang! TV IDs] – you can see them all on the 2008 Prizes link on www.britishanimationawards.com) – unique images on the subject of sheep – BAA, baa, sheep, geddit? The whole thing was a celebration of the incredible talent across the UK in this tight-knit, ultimately for-love-not-money industry (not that it doesn’t make money but that’s not what drives its creatives). Happily, Shaun the Sheep picked up a couple of …sheep.

The wolves in sheeps clothing on this particular evening included Richard Morrison for the Sweeney Todd movie titles (produced by that blast from my past, Dominic Buttimore of Th1ng, convener of the annual Elvis birthday tribute at which an 8mm version of Blue Hawaii gets its yearly airing); Osbert Parker for Yours Truly, a thrillingly inventive film noirish animation made under the Animate scheme funded by Channel 4 and the Arts Council), one of three Channel 4 successes on the night; and Simon Tofield for the hilariously well observed feline dynamics captured in Cat Man Do – my favourite of the night.

Behind me in the queue going in was the venerable John Coates, creator of The Snowman and producer of The Beatles’ Yellow Submarine film. One of the nominees was an IrnBru ad parodying The Snowman [Phenomenal Xmas by Robin Shaw/Sherbet], in which the high-pitched kid gets dropped out of the sky by the soaring snowman who nicks his tin. Rightly enough, John was flattered by the homage. The author of the source book, Raymond Briggs, was altogether less sanguine last autumn about this derivative. The Snowman was one of the very first commissions by Channel 4, a quarter of a century ago, which leads us neatly into the other action of the day…

The other end of the day saw the launch of Next on 4 – the blueprint for the next phase of Channel 4 as it moves into its second quarter century. There were a couple of moments of magic that lifted the whole event from a corporate function to an inspiring vision for public service broadcasting.

The first was a video clip. Times are tough. Competition is fierce. The media industries are up in the air. The public service broadcasting model is falling behind the times. The regulator’s breathing down your neck. You’ve been known to upset the powers that be. The advertising revenue is disappearing into the maw of US corporates. The halcyon days of Charlotte Street, The Comic Strip and Max Headroom are a dim&distant memory. The enemy’s at the gate. The wolves are at the door. What do you do? Get Nick Broomfield to make a spoof documentary about the purposes of Channel 4 culminating in a slurred elucidation by none other than Frank Gallagher, just in the Nick of time before the Grolsched-out mainstay of Shameless passes out. “The point of Channel 4, Nicholush, is to maintain the salience of its remit in the new digital age.” Are you people taking this seriously? We are – because only Channel 4 would turn it to comedy (with substance). The medium is very much the message.

The second was a Churchillian moment from the Chairman, Luke Johnson. After struggling a bit during the opening address with the awkwardness that is those autocue systems with the smoked grey glass plates on bendy stalks , to round off the Q&A (hosted in the style we love him for by Jon Snow) Luke responded to the final question by reminding us all that Next on 4, this event, the debate around Channel 4 as Ofcom reviews our public service broadcasting, is all about the value of Channel 4 to UK society and the values and public purposes which drive it. Think Henry V. Think an authentic moment when the passion for an idea breaks through a breach in corporate decorum. Think raw not baa.