Tuesday, 15 December 2015

"Judge Singh LLB" (Guardian 14/12/15)


Judge Singh LLB ***
Dir: Atharv Baluja. With: Ravinder Grewal, B.N. Sharma, Sardar Sohi, Anita Devgan. 137 mins. Cert: 12A

Legal minds are forever seeking precedent, yet the Punjabi indie Judge Singh LLB may stand as the first socially conscious courtroom drama to open on an image of two men noisily voiding their bowels into a ditch. It’s a leftfield set-up, to say the least: in the hunt for something with which to clean up, one of these lowly squatting souls uncovers the body of a woman apparently slain in an honour killing by her brother, the son of a prominent politician. From there, the situation develops quickly. The politico bribes police to frame the deceased’s partner; isolated defecation gives way to a broader constitutional mess. Soon enough, everyone’s got dirty hands.

Within these initial movements, there are surely the makings of a Grishamish potboiler, and – as early viewers have detected – the beginnings of a wry comment on Modi’s India. Such robes, however, cloak a Capraesque slacker comedy; some career-minded Western screenwriter might tidy it up to enable another Adam Sandler vehicle. Our hero Judge (Ravinder Grewal) – and yes, that’s his given name – is only passing as a legal eagle in order to impress the family of his bride-to-be. Naturally, he has the misfortune to initiate this pretence as the aforementioned case comes to trial; naturally, he winds up having to defend the patsy against the pitiless machinations of the state.

Of course, this is wildly implausible – so implausible, in fact, that writer-director Atharv Baluja doesn’t trouble to explain how this case gets assigned to this rookie. Corner-cutting prevails throughout the film: its handheld camerawork and occasional continuity blips suggest a production shot on the hoof during recesses in real-life chambers. Matters get especially frenetic around the intermission, as Judge’s deception is exposed, and you wonder whether Baluja can pull it back. Yet elsewhere the film proceeds with a wealth of enthusiasm and spirit: this is the kind of scrappy underdog production that wins us over early and – even through its muddle-headed stretches – keeps giving us reasons to cheer for it.

Partly, it’s the actors, who are skilfully cast and no chore whatsoever to watch. The gently nerdy Grewal builds a genuinely sweet relationship with B.N. Sharma as Judge’s father/landlord: the pride they take in one another’s achievements, even after we learn that dad has been borrowing his son’s underpants, remains touching indeed. And Sardar Sohi’s wily turn as state prosecutor T.S. Brar, whose pre-trial routine includes combing three strands of hair across an otherwise gleaming bonce in the Homer Simpson style, proves very effective in demonstrating the merciless attack dog our dreamy hero must either become, or overcome, if there is to be anything like a fair trial.

Editorially, Baluja’s film still verges on the pipsqueak, as naïve in its belief that virtue will out as any movie casting Jimmy Stewart as a plain-spoken public servant. Yet the stakes are certainly raised, not least when Brar – and this really is a precedent – urinates into our hero’s fridge. And one clever development involving mobile toilets suggests what might be achieved should the right resources be placed in conscientious hands: an end to all this public excretion, if nothing else. Time will tell whether the Judge’s rousing summation – delivered in a gleaming white turban – helps restore a measure of justice within India. As entertainment, however, Judge Singh LLB overrules most of one’s objections.

Judge Singh LLB is now playing in selected cinemas.

Friday, 11 December 2015

For what it's worth...



Top Ten Films at the UK Box Office   
for the weekend of December 4-6, 2015:
 
  
1 (1) The Hunger Games: Mockingjay - Part 2 (12A)
2 (2) The Good Dinosaur (PG)
3 (3) SPECTRE (12A) ***
4 (4) Bridge of Spies (12A) *****
5 (new) Christmas with the Coopers (12A)
6 (5) Black Mass (15) **
7 (6) The Lady in the Van (12A) ***
8 (new) Victor Frankenstein (12A) **
9 (new) Krampus (15) ***
10 (7) Carol (15) ****

(source: theguardian.com)

My top five:   
1. Audition [above]
2. Hector
3. By the Sea
4. Grandma
5. The Forbidden Room


Top Ten DVD rentals:  
   
1 (1) Inside Out (U) ****
2 (2) Ant-Man (12) ***
3 (3) Joe and Caspar Hit the Road (12)
4 (4) Mad Max: Fury Road (15) ****
5 (5) Pitch Perfect 2 (12) **
6 (new) Ronaldo (PG)
7 (7) Amy (15) ****
8 (6) Nativity 3: Dude, Where's My Donkey?! (U)
9 (9) Fast & Furious 7 (12) ***
10 (8) San Andreas (12)

(source: lovefilm.com)
                                   
My top five:  

Top five films on terrestrial TV this week:   
1. Con Air (Friday, five, 9pm)
2. Toy Story 2 (Sunday, BBC1, 2.45pm)
3. Toy Story (Saturday, BBC1, 3pm) 
4. Aladdin (Sunday, C4, 5.20pm)
5. The Prestige (Saturday, BBC2, 10.45pm)

Verbal acrobatics: "Grazing the Sky"


In last week's The Show of Shows, the filmmaker Benedikt Erlingsson presented the business of the travelling sideshow as, though often marvellous and a sight to behold, essentially a thing of the past. Horacio Alcala's new documentary Grazing the Sky ponders the following: who are those people who, in the year of our father 2015, are still running away to join the circus? And are there still circuses to run away and join? If the answer to the latter question turns out, inevitably, to be yes, then it's clear that those circuses have smartened up their act(s): the wilder, more jawdropping elements that Erlingsson's compendium exhibited have been shrugged off as a new generation of limber, fresh-faced sorts, bearing performance-art degrees from their nearest circus school, show up seeking sanctuary beneath the big top. Where once the circus was considered a last resort, now it seems it's become a viable career option.

Whether Alcala's film succeeds in bottling the essence of modern circus, as appears to be its aim, is another matter. Even without more of those horrible, sullying reality TV-like interactions that have crept into the modern documentary - scenes awkwardly performed by non-actors invited to restage aspects of their lives in conversation with other non-actors - the film's tactics would verge on the questionable. When not watching interchangeable Spanish men (thick eyebrows, all-over stubble) putting themselves through one school's self-actualisation exercises ("I find in myself a real insight into the human race"), Alcala keeps inviting his subjects to talk, in the most florid terms, almost exclusively about themselves. Some of this testimony - like that of Antonio, a trapeze artist faced with a long road to recovery after an accident during rehearsals - is enlightening; most of it offers no greater insight into the human race than one would encounter while watching the contestants' VTs on The X Factor.

Everybody, naturally, proves far more eloquent and expressive when left to do their own thing. This fitful film hits something like a groove whenever Alcala carves out a few minutes here and there to showcase his subjects in the act of climbing poles, or spinning inside giant hula hoops; those Spaniards suddenly become much more interesting during their combo tumbling-trapeze act, where they escape a bloodied lip, black eye or worse by the seat of their worryingly tight pants. Grazing the Sky might have been approached as a series of turns - or twists, or spins; a tribute to bodies in perpetual motion, and their similarly morphing artform - were it not for the trying stretches of waffle, faux-poetry and dissemblance that's been inserted between them. As it is, you'd be better off with the Erlingsson spectacle, which retains a far clearer sense of what those of us in the audience might actually want from a big night out - not least a little less conversation, a little more action.

Grazing the Sky opens in selected cinemas from today, ahead of its DVD release on January 25th. 

"To Be Frank: Sinatra at 100" (Guardian 11/12/15)


To Be Frank: Sinatra at 100 **
Dir: Simon Napier-Bell. With: Alice Cooper, Tim Rice, Louis Walsh, Paul Gambaccini. 81 mins. Cert: PG

After Alex Gibney’s rigorous four-hour Sinatra study All or Nothing at All, erstwhile Wham! boss Simon Napier-Bell’s plucky Brit equivalent appears patchy indeed, cobbling together washed-out, publicly sourced archive with variable talking heads. Though erudite voices (Gambaccini, Ellen, Paphides) contextualise, breathless fanboy gabble steers us around the boozing and boorishness (“When he sang, nobody cared,” smiles Louis Walsh), and there are counterintuitive choices: even clips from the widescreen From Here to Eternity are framed in a ratio that shrinks rather than amplifies this legend. Completists may be happy enough, but it looks rushed and – such as when labelling Sinatra’s 1949 musical as Own the Town – perilously sloppy.

To Be Frank: Sinatra at 100 opens in selected cinemas from today. 

Saturday, 5 December 2015

For what it's worth...


Top Ten Films at the UK Box Office   
for the weekend of November 27-29, 2015:
 
  
1 (1) The Hunger Games: Mockingjay - Part 2 (12A)
2 (new) The Good Dinosaur (PG)
3 (2) SPECTRE (12A) ***
4 (new) Bridge of Spies (12A) *****
5 (new) Black Mass (15) **
6 (3) The Lady in the Van (12A) ***
7 (new) Carol (15) ****
8 (new) Tamasha (PG) **
9 (5) Brooklyn (12A) ****
10 (4) Hotel Transylvania 2 (U)

(source: theguardian.com)

My top five:   
1. Bridge of Spies
2. True Romance
3. The Show of Shows [above]
4. Carol
5. The Lesson


Top Ten DVD rentals:  
   
1 (1) Inside Out (U) ****
2 (new) Ant-Man (12) ***
3 (2) Joe and Caspar Hit the Road (12)
4 (5) Mad Max: Fury Road (15) ****
5 (4) Pitch Perfect 2 (12) **
6 (7) Nativity 3: Dude, Where's My Donkey?! (U)
7 (3) Amy (15) ****
8 (6) San Andreas (12)
9 (8) Fast & Furious 7 (12) ***
10 (new) Being A.P. (12) ****

(source: lovefilm.com)
                                   
My top five:  

Top five films on terrestrial TV this week:   
1. E.T.: The Extra Terrestrial (Saturday, ITV1, 3.20pm)
2. The Jungle Book (Sunday, C4, 5.25pm)
3. Reservoir Dogs (Saturday, five, 12midnight)
4. Glory (Saturday, BBC2, 10.45pm)
5. Journey to the Center of the Earth (Sunday, C4, 3.35pm)

Friday, 4 December 2015

Parallel parking: "The Lady in the Van"


The Lady in the Van constitutes a very comfy, thoroughly British siege movie. You will perhaps already be aware of the set-up of Alan Bennett's original play, which has done the repertory rounds, at some point with Maggie Smith in the title role: this is what's billed as the "mostly true" story of how a homeless woman, one Mary Shepherd, installed herself and her vehicle in Bennett's Camden Town driveway in the mid-1970s, and stayed there - much like her host, a relic utterly resistant to all attempts at gentrification - over the next decade and a half, as another comparably wilful and fearsome lady installed herself just down the road at No. 10 Downing Street, and property prices shot through the roof.

The new film version - directed by blue-chip dottiness specialist Nicholas Hytner (The Madness of King George) and adapted for the screen by Bennett himself - embraces everything that might be considered parochial about this tale. In the roles of Bennett's neighbours - whose responses to the old bird range from passive-aggressive acceptance to total NIMBYism - we get familiar TV sitcom faces; pretty much every last one of Bennett's History Boys shows up for a cameo; there are jokes about Broadstairs and Battenberg cake. Rather than going against the material's grain, Hytner makes a cosy proposition more so yet: the film starts out exactly as you'd expect - a mite Maggie, a bit of Bennett - and then gets Maggier and more Bennetty with every scene.

That's not necessarily a criticism; in fact, it's one of Lady's hidden strengths that the leads burrow under these characters' skins in the manner they do. (Lest that sound too visceral a metaphor: it's more that the actors break in these parts like a new pair of slippers.) Hytner is the first director in some time to arrange all Smith's crotchety huffs and puffs into something resembling a performance: she repays him - and us - by making this Mary visibly vulnerable, and more sincerely touching than anything Smith was allowed to attempt in those shoddily constructed Marigold Hotel films. Against her, Jennings gives a small masterclass in wry constipation: his Bennett is just too gentle to put his foot down in the way he really wants - and given Mary's tendency to leave her turds lying round his yard like crazy paving, perhaps that's for the best.

Somewhere down in the mix, as there has been throughout Bennett's best work, is a more autumnal portrait yet of the loneliness particular to a certain kind of English eccentric: Mary's total self-sufficiency - her singular personality, her blind indifference to how she looks or smells - inevitably brings her into conflict with the hypersensitive writer, arguing with another version of himself in a house that really does appear big enough for two. Below the feelgood toplayer - painted in broadly the same custard-yellow shade as Mary is seen "disguising" her means of shelter, right through to its perilously kitschy coda - you catch certain issues being allowed to slink away underaddressed, as they often do in English homes and gardens. (Last week's Radiator, with which Lady would make an adventurous double-bill, offers some redress.) 

Still, those same issues are there in some form, and that the film at least nods to their existence - as you might to a neighbour whose name you can't recall on your way in from work - elevates Hytner's film over the typical cottage industry product. At one point, Bennett accuses himself of being overly timid, only to immediately rationalise: "Yes, though this being England, timid is good, too." The Lady in the Van gets a little wedged behind the cushions in its second half, venturing a tenuous parallel between Bennett-Shepherd and any other parent-child, patient-carer relationship, yet such observations ensure it's forever aware of - and articulate in its phrasing of - its own limitations. Nothing more groundbreaking than another "well-made British film", then - but while it was parked in front of me, I was happy enough it was there.

The Lady in the Van is now playing in cinemas nationwide.

Wednesday, 2 December 2015

"Tamasha" (Guardian 30/11/15)


Tamasha **
Dir: Imtiaz Ali. With: Deepika Padukone, Ranbir Kapoor, Javed Sheikh. 139 mins. Cert: PG

The nights draw in, and the stars come out. Before Christmas, we’ll see Priyanka Chopra waging war in historical epic Bajirao Mastani and the Shah Rukh-Kajol dream team reunited for Dilwale, yet it may turn out that this week’s Tamasha needs its stars Deepika Padukone and Ranbir Kapoor most – as points of recognition. With its self-reflexive title (“Spectacle”) and avant-garde theatrical wraparound, Imtiaz Ali’s film is about as tricksy – and tricky – as Bollywood gets, its debt to modernism flaunted right from an opening splurge of stories within stories within stories. Only when our leads show up do we know whose tale this really is. Or do we?

Even after Padukone and Kapoor appear, as backpackers falling in love against a fairytale Corsican backdrop, something about Ali’s arch dialogue – all quotes from and references to previous love stories – strongly hints these are archetypes, all too aware their fate is to be separated, then reunited in time for the credits. The resistance to conventional characterisation is such that there’s a (not unenjoyable) suggestion the performers are playing themselves: hot-to-trot actors messing around on location. When Kapoor introduces Padukone to the patrons of one bar as a major Indian movie star, we’re not so far from Julia Roberts impersonating herself in Ocean’s Twelve.

Tamasha keeps shapeshifting, in ways both intriguing and self-defeating. When our lovers next meet, two years later in Delhi, they could be completely different people: a newly ponytailed Padukone sober and serious, Kapoor a corporate drone missing all traces of his prior spark. Ali’s exploring that much-unpicked idea that we play different roles at different times; it’s why he returns to the stage as a metaphor for life. Yet it’s a liability when a movie turns its leading man into a colossal bore at a penstroke, when its characters too closely resemble marionettes at the mercy of an off-screen puppetmaster. Prem Ratan Dhan Payo’s playacting was simpler, but far more emotionally rewarding.

To his credit, Ali keeps us semi-interested. He rightly senses he can set Padukone, still the most adorable creature in all movies, to doing nothing more than quietly reading Catch-22, and three-quarters of his audience will be happy enough. Different styles are found for the different stories: loose and dreamy for the Corsica scenes, something more clipped and naturalistic for Delhi, emphasising the Kapoor character’s deadening pre-work routine while effectively embargoing any merriment. Here, the one number in A.R. Rahman’s typically lush if naggingly unmemorable score gets put over by a lowly covers band, and taken up by a street beggar. In the absence of a hero, the songs drift elsewhere.

Even as this bold experiment fizzled out – and it really does in the second half, as Kapoor pursues a cure for his dullness, sidelining Padukone – I retained some admiration for its ambition. The urge to deconstruct still feels unusual in this context; it’s not every week a Hindi film reminds you of early Resnais. The stars commit to the conceit, playing off one another better than they did in 2013’s birdbrained Yeh Jawaani Hai Deewani. Yet all Tamasha’s cool cleverness finally achieves is to get in the way of rapture. When a film is so insistent on telling us that what we’re watching is all Story, and just a story, what chance have we of surrendering to it?

Tamasha is now playing in cinemas nationwide.