Once again, I’ve been mostly binge watching TV series the last few weeks. This time it was Wire in the Blood, a UK crime series based on characters created by Val McDermid. I read a couple of her books many years ago, and thought them quite good. I also saw her interview Sara Paretsky (a favourite author) at a Harrogate Crime Festival programme item – my mother bought tickets for myself and her as my birthday present that year. It was an excellent present. Anyway, Wire in the Blood is okay, but seriously jumps the shark in the fifth season. I also watched Murder Call, an Australian police procedural from the 1990s built around detective Tessa Vance, who solves murders by putting together all of the clues subcobscuously three-quarters of the way through each episode. It was easy viewing.
I also watched Raised by Wolves, the new high-profile science fiction TV series partly produced (and directed) by Ridley Scott, and… It looks good – but that means only that a lot of money has been thrown at it. In terms of world-building and story… Oh dear. Nasty atheists versus nice Mithracists (who bizarrely quote the Bible). Pro-religious bollocks. I shall probably writing about it in more detail in another post.
Meanwhile, some movies…
No Man’s Woman, Franklin Adreon (1955, USA). Minor US noir in which the owner of a small gallery whose profitable, if not entirely ethical (or indeed legal), business is about to end, and so sets out to destroy the lives of all those around her. So, of course, someone murders her. Everyone has a motive, and none of the alibis stand up to scrutiny. But the detective figures it out, and it’s the nasty one wot dunnit. As I said, minor US noir. Interesting that it’s a female-led film – it passes the Bechdel Test with flying colours – but the central character is a bit of a misogynistic stereotype.
Plot of Fear, Paolo Cavara (1976, Italy). One of those films that straddles the line between giallo and poliziottesco, which is why I end up lumping the two genres into one. A serial killer leaves illustrations from a kids’ book at the scenes of his crimes – which somehow justifies an erotic animated sequence mid-film. The victims are all members of a high society sex club, but the biggest mystery here is why anyone would care why such people are being murdered. Meanwhile, the detective in charge has sex a lot – with his girlfriend and with one of the witnesses – but doesn’t seem to make much headway in solving the crimes. Tom Skerrit makes a bizarre dubbed cameo as a senior police officer. I do like me some giallo, but it’s not a genre that’s known for its quality. I guess that makes it more of a guilty pleasure. Even so, there are occasions when you still feel like you’ve been had…
Island of Fire, Kevin Chu (1990, China). I watched this because it’s a Jackie Chan film, but it isn’t really. He plays a minor character. I’m not sure what the title refers to – the film is set in a prison, mostly, but the prison is not on an island. Or on fire. Anyway. There’s this sort of gang leader in the prison, played by Tony Leung Ka-fai (who had helped Chan in a dispute on another film and so Chan repaid him by appearing in this movies(, but he finds himself up against the warden, who has this neat little scheme going. The warden sentences inmates to death, but fakes their executions and employs them as assassins. Chinese prison wardens obviously have more power than Western ones. It’s the sort of premise that would make only sense in a Hong Kong movie. Sammo Hung plays an inmate who repeatedly tries to escape, and fails, often comically. There’s lots more going on, of course – corrupt cops, gangsters, gladiatorial fights inside the prison, etc. The film has its moments, but its link to Chan has been oversold.
Invasion, Fyodor Bondarchuk (2020, Russia). Although not marketed as such, the full title, Attraction 2: Invasion, makes it clears this is the sequel to Attraction, and the opening credits retell that earlier film’s story in an animated sequence… Even so, there’s a lot in Invasion that references Attraction, and I should probably have rewatched the first film before watching its sequel. Basically, in Attraction, an alien scoutship crashed in Moscow, and a young woman and its pilot fell in love (while the military was fighting off alien robots around them). The young woman – whose father was the general in charge of Russia’s defence against the aliens – apparently now has near-magical powers. The scoutship was from a much bigger spaceship, which has now been taken over by an EVEN MOAR BIGGA alien spaceship, and the Earth – well, Russia (but hey, makes a change from the US being the whole planet)- is under attack, and the young woman and the scoutship pilot have to find a way to call off the attack… Invasion looks good but is somewhat short on narrative logic. I suspect that’s mostly down to the fact it feels like an episode in a franchise that’s been thoroughly explored in other installments, which, other than the first film is, as far as I know, not the case.
The Magnificent Cuckold, Antonio Pietrangeli (1964, Italy). This is an Italian adaptation of a Belgian play, and while it seems like a good fit for Italian drama, it does play in parts like a transplanted story. Happily, it looks very chic, that sort of Sixties style that came so effortlessly to the Italians and which the Nouvelle Vague tried to hard to emulate, with mixed success. (Happily, the Nouvelle Vague directors were equally interested in US noir, and were much more successful in appropriating that.) A successful business man with a beautiful wife has a one-off fling and, as a result, begins to suspect his wife of being unfaithful. And he interprets everything she says and does in that light. She is, of course, entirely faithful. But his treatment of her results in her having an affair… This is a 1960s Italian movie, so along with the stylishness you have some pretty heavy everyday sexism, signalled pretty early in a scene in which the husband invites another man to ogle his wife’s legs. There are better films, by better directors, from Italy during the decade, and while this one looks good, it’s pretty disposable.
The Hobbit: An Unexpected Journey, The Desolation of Smaug and The Battle of the Five Armies, Peter Jackson (2012 – 2014, New Zealand). The Lord of the Rings films became a sort of family ritual. Back in 2001, we wanted to go see a film as a family on Christmas Eve. The Fellowship of the Ring had just been released, with a massive marketing campaign, and while myself and my UK-resident sister had read Tolkien, neither of my parents had. But they were willing to watch the film. The next year, The Two Towers was released at Christmas. And we went to watch it in the cinema. The year after that, it was The Return of the King. And so it became a tradition to watch a tentpole Christmas release at the cinema the day before Christmas. It wasn’t always genre – it depended on what was available. We saw The Golden Compass and The Lion, the Witch and the Wardrobe, but also Avatar and Australia. Later, when we started celebrating Christmas in Denmark, we still went to the cinema – for the most recent Star Wars trilogy, the remake of The Girl with the Dragon Tattoo (which, even though I’m in danger of being deported for saying it, I still like more than the original Swedish version), and, er, Aquaman. Which is a somewhat long-winded way of saying I made no effort to watch the Hobbit films and, until all three appeared on Amazon Prime, was not especially bothered about missing them. In hindsight, I made the right call. The problem is the films expand so much on the book, they might as well be a different story. True, Tolkien spent decades working on his legendarium, and seeing more of it up there on the screen might well appeal to Tolkien fans… Middle-Earth is a major artistic achievement, but I’m not convinced it’s well-served by this film trilogy. It doesn’t help that parts of it come across more like a videogame than a film narrative, or that the physics of the final battle – which makes up around, er, three-quarters of the third film – is just wrong all the time. Gandalf is a powerful wizard, so why does he only fight usibg his staff? Zap the fuckers with a fireball, FFS. Orcs swing massive heavy weapons that seem to do little damage, but are felled by one blow from a puny human. It’s bobbins. It’s Hollywood’s sliding scale of power for dramatic effect, as seen in every superhero movie. Objects in the mirror may be nearer than they appear, as the saying has it, but that doesn’t mean they’re actually physically bigger than they appear. Except in fantasy and superhero films…
Killing Cars, Michael Verhoeven (1986, Germany). This is a serious contender for the most 1980s film ever. It opens with Jürgen Prochnow in shades and a white suit, driving a Porsche, being challenged to a street race by a blonde in a Jaguar. He wins the race, drives to a bar, enters the bar, which falls silent when he walks in, crosses to a table, sits down and… starts playing backgammon. Prochnow is the designer of the “worldcar”, an electric-powered speedster, so sort of like Tesla, but corporate shenanigans means the project is likely to be cancelled. Nextdoor to the factory, an anarchist commune has taken over an abandoned building, but the car company wants them out so it can flatten the building and expand. Verhoeven – no relation to the Dutch director – was big on social commentary, and he squeezes it into Killing Cars, for all that the movie is supposed to be a semi-sf corporate thriller. It’s mildly interesting, it’s just that it’s all so very eighties.
Heckle, Robbie Moffatt (2013, UK). A popular comedian – ie, he appeared on a few comedy shows – has pissed off his agent and found himself playing a small pub in Selby. Which is in North Yorkshire. But, weirdly, a few of the cast of this film had Lancashire accents, and one was doing a bad job of hiding a Scouse accent… Anyway, the comedian dies on stage and is heckled by a local woman, who works at a supermarket – actually a Premier Store, which I thought were mostly found at petrol stations, but this is deepest darkest Yorkshire, so who knows. So the woman gets up on stage and does an off-the-cuff routine that impresses the comedian enough he offers to help her apply for the local heat of a national stand-up comedy competition. This is a resolutely local low-budget film, with a no-name cast, and I was surprised to find myself enjoying it. The script relies a little too much on cliché, and the acting wasn’t always one hundred percent, but the characters were relatable and the story worked. I liked it. More than I’d expected to.
Dr M, Claude Chabrol (1990, Germany). I’ve never been a big fan of Chabrol’s film but I may have to rethink that. A Story of Women I rated very highly, and if his others films weren’t always especially good they were at least somewhat out of the ordinary. And out of the ordinary certainly appeals to me. Dr M is a remake of the Fritz Lang film Dr Mabuse the Gambler from 1922, but it doesn’t use its plot. It’s set in the near future – although US critics complained the Berlin Wall still exists in the film, and while the Wall did indeed fall in 1990, albeit not until after the film was made, if Americans assumed the Wall would fall in any future they could imagine that says more about their narrow-mindedness than it does German, or European, history. Imagine thinking the Berlin Wall would not exist in the future, but not predicting 9/11… Anyway, Alan Bates plays the title character, a media mogul. There have been a spate of inexplicable suicides across Berlin and the police are baffled. The detective in charge is convinced Jennifer Beals – whose face is plastered across the city as part of a campaign for a holiday resort called, a thumpingly obvious reference, Thanatos – is involved and, lo and behold, the two of them end up in a realtionship. And in Thanatos. There’s a fascinating aesthetic on display here, very much a future we used to have, and the film’s intellectual payload is a great deal heavier than is common… but the movie never quite gels, and in the latter stages starts to fall to pieces before your very eyes. A noble failure, I think, although it was apparently several years in the making.