Invictus

I wasn’t sure what to expect when I went to see Invictus. Was it a sports film or a political drama? Well it’s both and the two genre’s work surprisingly well side by side.

Actor turned director, Clint Eastwood, once again proves himself as a competent storyteller with his film about Nelson Mandela’s struggle for a united post-apartheid state having just been elected South Africa’s President.

Nelson Mandela, played by Morgan Freeman, uses the 1995 Rugby World Cup as a tool to promote racial harmony across South Africa with the aid of the national rugby team, the Springboks. A bulked up Matt Damon plays the team captain, Francois Pienaar, whose conservative outlook is cracked by Mandela’s optimism.

Mandela invites Pienaar to tea, joins the rugby team in training and famously strides on to the pitch at the South Africa v New Zealand final wearing the same Springboks shirt that a year earlier was a divisive symbol of the old nation.

He writes out a copy of ‘Invictus’ (the poem by WE Henley that helped to sustain Mandela during his 27 years in prison) to Pienaar in his bid to boost the team’s morale. Its lines declare: “I am the master of my fate. I am the captain of my soul.” Words that surely bring hope to even the most cynical and leaves Pienaar astonished at the idea that they can dare to dream about winning the World Cup.

Matt Damon employs, at least to an outsider’s ear, an impressive accent, and manages to blend in beautifully with his fellow players.

Critics have called it “naïve” in its belief that sport can unite or heal a nation, but I see it as a moving tribute to a genuinely great humanitarian. It’s not often that a film can move and inspire so much even after leaving the cinema. A must-see.

Robert Downey Jr as Sherlock Holmes

Guy Ritchie’s latest blockbuster is doing very well in the movie charts currently at number two in the UK, beaten only by James Cameron’s massive hit - Avatar. However if you are expecting to see something similar to Snatch or Lockstock, you may be disappointed.

Guy Ritchie - famous for his nonchalant approach to narrative - adopts a more conventional storytelling style in Sherlock Holmes. Only when he flashes a trademark freeze frame do u realise that this is his film.

The classic British detective, played by Robert Downey Jr, is given a new lease of life in a medium which has previously been accused of cheapening the original books. Credit is due to Ritchie for his unconventional portrayal of Holmes and his successful attempt at broadening his usual demographic - even though this may come at the expense of his gangster-loving fans.

Sherlock Holmes seems to be an attempt to branch out and attract a wider audience and it looks like it’s working, given the amount of money it has already made in ticket sales. It is probably safe to say that many of those tickets were bought by women – a new audience that Ritchie has gained thanks to his aesthetically pleasing male leads. That is not to say that Jude Law and Robert Downey Jr just provide eye candy, their performances are also worthy of a mention. Jude Law is particularly good as Dr Watson.

The film has a restless quality that keeps you on your toes and makes the 128 minutes fly by. Ritchie proves to be a competent teller of this classic tale and does well mixing danger with humour making it a film worth seeing.

Mirror, Mirror on the wall, who is the fairest of them all, - if this is what you’re thinking as you stand laboriously in front of the mirror than it seems you’re not the only one, as its been selected as one of the top 10 memorable movie misquotes of all time.

The list of misquotes was compiled by the website lovefilm.com which followed a poll of 1,500 filmgoers. Darth Vader fans will be pleased to know that the dark lords infamous quote topped the list- famously remembered as “Luke, I am your father,” the actual quote from the movie is “No, I am your father.”

Disney fans will also be surprised to discover that the evil queen from the 1937 classic Snow White and the Seven Dwarfs did not say ”Mirror, mirror on the wall”, but in fact said “Magic mirror on the wall.”

Other misquotes to make the top list include a quote from the film Dirty Harry in which Clint Eastwood dangles a threatening challenge; “Do you feel lucky, punk?” but again this is not the quote and the actual line is: “You’ve got to ask yourself on question: ‘Do I feel lucky?’ Well do ya Punk?”

Perhaps the best known movie misquotes comes from the 1942 timeless movie Casablanca. Here Ingrid Bergman coaxes pianist Dooley Wilson with, “Play it Sam. Play As Time Goes By.” This quote is a little off the mark as the closest Humphrey Bogart gets to saying these words are as follows: “You played it for her, you can play it for me. If she can stand it, I can. Play it!”

Further down the list there is Hannibal Lecter’s misquoted, “Hello, Clarice, in the 1991 thriller Silence of the Lambs- the actual spin tingling quote deliverd by Anthony Hopkins is, “Good evening Clarice” and Star Trek’s William Shatner never uttered the words “Beam me up, Scotty” but in fact said “Scotty, beam us up.”

Darren Bignell of Lovefilms.com said: “Iconic film lines are part of everyone’s vocabulary these days, but it’s interesting how years of quoting have had a Chinese whisper effect on accuracy.”

So here are the top 10 misquotes of all time:

1. “Luke, I am your father” – Star Wars V: The Empire Strikes Back (1980)

2. “Mirror, mirror on the wall, who is the fairest of them all?” – Snow White and the Seven Dwarfs (1937)

3. “Do you feel lucky, punk?” – Dirty Harry (1971)

4. “Play it again, Sam” – Casablanca (1942)

5. “Hello, Clarice” – The Silence of the Lambs (1991)

6. “Beam me up, Scotty” – Star Trek: The Motion Picture (1979)

7. “Frankly, Scarlett, I don’t give a damn” – Gone With the Wind (1939)

8. “If you build it, they will come” – Field of Dreams (1989)

9. “I don’t think we’re in Kansas anymore, Toto” – The Wizard of Oz (1939)

10. “Mrs Robinson, are you trying to seduce me?” – The Graduate (1967)

Shah Abbas

The British Museum’s latest exhibition is on Shah ‘Abbas, the 17th century ruler of Iran, or as it was then known, Persia. It is the third in a series examining empire and power in different parts of the globe and follows exhibitions on the First Emperor of China and the Roman emperor Hadrian.

Aptly named, Shah ‘Abbas, the Remaking of Iran, the exhibition demonstrates the transformation of Iran into the centre of international trade and cultural exchange, and also explores the social, religious and artistic influence of the Shah during his reign from 1587 to 1629. It focuses on four key sites which Shah ‘Abbas transformed or embellished as public statements of royal power including Isfahan which he made into his new capital and which to this day remains a cultural attraction.

The exhibition, in association with the Iran Heritage Foundation, features extraordinary loans, never before seen outside of Iran, alongside loans from Europe and the US, including luxurious gold-ground carpets, exquisite Chinese porcelains, illustrated manuscripts and watercolour paintings.

“Shah ‘Abbas was restless, decisive, ruthless and intelligent. This exhibition will provide a rare opportunity to learn about this important ruler. Shah ‘Abbas was a critical figure in the development of Iran and his legacy is still with us today.” Sheila Canby, curator of the exhibition.

The exhibition is on till the 14th June 2009 and you can book tickets online at www.britishmuseum.org

Long wait anticipated for The Dark Knight sequel.

Based on conversations coming from within industry insiders as well as the apparent schedule for Inception, Christopher Nolan’s latest film, it looks almost certain that The Dark Knight sequel will be released in summer of 2012. This is because the preproduction, shooting, and postproduction from Inception which will be released in 2010 will take a total of 18 months to two years.

Firstly, let’s take a quick look at a little Nolan history.

We know now that the script for The Dark Knight was finished before the end of 2005 about a half a year after Batman Begins was in theaters. Nolan worked on The Prestige during the latter part of 2005 on into 2006, with the film ultimately being released in October 2006. In July of 2006 while the director was still working on The Prestige, Warner Bros officially announced that Chris would helm TDK, it would be released in the summer of 2008, and that Heath Ledger had been cast as The Joker. Once The Prestige hit theatres in Fall of ’06, there was then a six month gap before filming began on TDK.

Right now, Inception is in preproduction. From what I’ve heard through the grapevine (internet forums, fan sites, official statements) filming will take place from mid-2009 and finish late in the year. Nolan and co. will most likely be involved with post production for most of the first half of 2010, readying the film for its mid-July release.

It looks as if there will be no way that BATMAN 3 can go through pre, filming, and post during the second half of 2010 and the first part of 2011 and be ready for a Summer ’11 release.

Doing the math, the timeframe between The Dark Knight to Inception is nine months later than it was between Batman Begins to The Prestige so that’s nearly a year folks. Thus it appears that Batman 3 will come four years after TDK.

I know a four year gap is a bummer, but cheer up — at least we know a Nolan-directed Batman 3 is coming!

(And that’s more than we could say back in ’97 after BATMAN AND ROBIN.)

The Amazing Adventures of Dietgirl is an account of one girls battle to forever say goodbye to her Bonds Cottontails Full Briefs, size 24. At her largest, Reid weighed over 350 pounds. As her weight increased her self esteem went into steady decline. The witty and candid book is written in the form of a diary- focused around a blog Reid posted on the internet for a number of years. She recounts her unhappy childhood growing up in a dysfunctional family on a farm in New South Wales, Australia. Her mother was a Weight Watchers leader. She played a fundamental component in Shauna’s binge eating- a habit that grew in frequency and intensity. Her constant overeating led her to shame, self-loathing and episodes of severe depression.

Reid is a pretty and talented red-head; she has to struggle with combating crippling low-self esteem, as well as shedding over one hundred and seventy pounds. However she is fortunate enough to have her sister, Rhiannon, who is a source of love and support in both good times and bad. Without her sister’s constant cheerleading, it is unlikely that Shauna would have had the strength to overcome her demons.

The Amazing Adventures of Dietgirl should not be confused for a weight-loss primer encased with healthy recipes and exercise regimes. Reid does describe her eating and exercise regimes that gradually helped her shed weight gradually. Overall the book is a insightful memoir that traces her journey to emotional and financial independence. The reader shares her excitement when she finally achieves her goals; making new friends, travelling around Europe and even finding romance. We applaud her self-deprecating humour, honesty and her determination to become physically and mentally fit despite setbacks that would hold back even the most resilient person.

In the end after 333 weeks of ups and downs, Shauna is able to appreciate her appearance in the mirror and ends with this: “The True reward is finding peace and acceptance and embracing my own skin, with all its quirks and charms.”   

S of M has certainly benefitted from BBC endorsements

In 2009 the BBC will be entering its third year in providing musical theatre bursaries for performers. In doing so it’s making £150,000 available to students aged 17 and over so that they can get a leg up in an environment were competition is fierce and grants are slowly decreasing.  

In response to this many are asking: Why musicals? It was this time last year when Kevin Spacey highlighted the fact that other genres of theatre do not have the benefit of reality TV endorsements. (although the thought of a Hamlet inspired reality TV show where skulls and pistols will constantly re-occur on primetime surely is not something the BBC needs right now) But it seems that the revenue from voting on shows like I’d Do Anything has helped make this bursary possible, which means that the BBC is putting its money where the people’s Maria happens to be.

Granted it’s a straightforward play that is somewhat on the verge of extinction, (commercially anyway) it seems only highly publicised catchy musicals are bringing in huge crowds whilst critically acclaimed pieces such as the highly anticipated Polly Stenham’s Tusk Tusk is playing in a tiny auditorium to a smaller audience. So when it comes to enticing new plays in the West End, the cupboard is scarce.

But the figures don’t lie and the BBC is merely responding to the market force (which is partly of its own making). The best formula seems to be reality tv shows = huge crowds and lots of cash. This formula has been proven by the likes of The Sound of Music,  Joseph and the Amazing Technicolor Dreamcoat, and, most recently, Oliver!, and it will not be long before the BBC begins a search for a new Eponine or Cosette, so that Les Misérables can enjoy the benefits of TV endorsements.

If the BBC really wanted to help the world of theatre than surely is should be funding and promoting new musicals that than coexist with the nations old favourites? In the current climate the chances of any new composer of lyricist to make a break are most unlikely (unless you have good sources). Unfortunately it seems that Britain has always preferred to re-ignite the same classics again and again, instead of pushing the boundaries and trying something new. It would be fantastic to see a competition devised to shine a spotlight on up-and-coming composers and lyricists, so that we get a chance to see material which is as fresh as the talent singing it.

Ripley in Next to Normal, which has debuted to raving revues

Perhaps the West End could follow in the footsteps of New York’s Broadway; a new musical was recently opened to Broadway called Next To Normal- and it received raving reviews. The story focuses around a bipolar mother named Alice Ripley. She spends much of her life awash in a world of electroshock therapy, hypnosis and pills. It was a commercial risk that one can imagine the West End would think twice about before taking.

So all in all, if the BBC wants to help the next generation of musical stars, it should give them something new to sing about.

Its believed that The Winter’s Tale was one of the last things Shakespeare wrote before leaving London to return to his native Stratford. It has been defined by many as ‘logically mistaken’ and ‘perposterous’ from critics dating back from the 17^th Century. This is no surprise considering the plot delves in and out of numerous genres from comedy to tragedy through bizarre and incredible events.

The tale follows the irrationally jealous Leontes, who not only tries to poison his best friend, cast aside his faithful wife he also rejects his infant daughter and causes the death of his young son. A ship is sunk, a courtier eaten by a bear and Time makes a personal appearance to skip the action 16 years along. Now, the abandoned princess, raised among shepherds, is wooed at a sheep-shearing party by a prince in disguise who, snooped upon by his father, is forced to flee with his would-be bride to the court of Leontes – where everything works out for the best, including, in a suspension-of-disbelief-defying scene, the return to life of the spurned wife who has been impersonating a statue of herself.

David Farr’s magical production proves those critics wrong and managed to bring the play back to its former glory – through intelligent staging and lighting; atmospheric live music and magnificent acting from the cast – this tragi-comi-romance is possibly one of Shakespeare’s most emotionally complex and breathtakingly theatrical plays, even if you don’t believe a woman can believably impersonate a statue for years on end.

Definitely one to watch.

Directed by Steve McQueen, an English born artist better known for winning the Turner Prize in 1999, Hunger is a debut that has already won two awards one of which was at the Cannes Film Festival in 2008.

The film is set in Maze prison, Northern Ireland just outside of Belfast in 1981 under Margaret Thatcher’s conservative rule.  It follows the life of Bobby Sands, a member of the Provisional Irish Republican Army (IRA), played by Michael Fassbender, and his fellow in-mates as they protest to win political status.

The first scene introduces prison guard Raymond Lohan, played by Stuart Graham, as he prepares to go to work. We see him get dressed and eat breakfast watching slowly as breadcrumbs cascade onto his lap, it is these camera angles that give away McQueen’s artistic history. Later a wide long shot shows Graham’s character smoking a cigarette, the harsh stone wall he is leaning on contrasting the pure white snow that falls around him. It showcases McQueen’s meticulous attention to detail and his flair of combining art with film.

As the focus shifts to the prisoners we see the harsh treatment and living conditions they endure and we witness their resistance to the prison regime as ‘non-conforming’ prisoners. At this point I would like to point out it is not advisable to take in any snacks as walls smeared with feces and crawling with maggots is surely enough to put anyone off their toffee popcorn.

It is definitely a thought provoking film and has a way of dragging out the pain you see on screen with few cuts and minimal dialogue. However this can be tiedious at times with one scene in particular lasting over twenty minutes with the camera in the same position for the duration. Other than that it is a visually impressive film that will stay with you for long after you’ve left the cinema.