Category Archives: World Cinema

Nitin Sawhney’s The Lodger OST

British Film, Classic Films, Music

by Victor Field

As anyone who’s seen silent movies on Sumo TV can tell you, vision without some kind of sound only works in small doses. So providing brand-new accompaniment for the newly spruced-up print of Alfred Hitchcock’s The Lodger is the perfect way to keep audience attention, and with Nitin Sawhney being a fan of Bernard Herrmann we have… history sort-of repeating itself. See, The Lodger is a film about a serial killer running amok in London, and Frenzy – also about a serial killer running amok in London – also wound up getting new music when Hitch became the only director to ever throw out a score by Henry Mancini (Ron Goodwin replaced him).

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On Crap

British Film

by Indy Datta

Crap

I’ve made my fair share of pointless New Year’s resolutions in my life, but the novels have remained unfinished, the excess pounds unshifted. This year, I set myself what I thought would be an easily attainable goal. All I had to do was stop voluntarily paying money to see films that I knew in advance were very likely to be awful. I made it about halfway through the year before I cracked, on which more later, but I knew deep down I was never going to get through the whole year. The thing is, you see, I love crap.

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London Indian Film Festival 2012

Asian Cinema, Film Festivals

Indy Datta reviews of some of the highlights of the festival’s third year

Opening Night Film – Gangs of Wasseypur Part 1 (Anurag Kashyap, 2012)

Anurg Kashyap’s That Girl in Yellow Boots was by some way the most accomplished film I saw at last year’s festival, and after Gangs of Wasseypur played in the Director’s Fortnight at Cannes earlier this year, I was hopeful that it would show up at this year’s LIFF.  Frustratingly, what we got was just the first half of the 5-hour film, and with no news as yet of British distribution, I have no idea when, if ever, I’ll see the second half. This isn’t one of those complaints about small portions of terrible food; Gangs of Wasseypur is bold and ballsy film making that delivers and delivers and delivers.

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Monoglot Movie Club: Japanese Screens

Asian Cinema, Monoglot Movie Club, , , , ,

Part of an occasional series in which Spank The Monkey travels to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them

Hello Kitty Sadako. Yes, it’s an actual thing.

I’m full of Asahi in a Tokyo restaurant, and I’m drunkenly attempting to explain the concept of Monoglot Movie Club to one of The Belated Birthday Girl’s Japanese mates. If Miki is pretending to be interested, she’s doing it incredibly well, to the extent that she asks me a question I’ve never been asked before: “If you don’t understand the language, how do you choose which films to see?”

Regular readers will know that most of the time, that isn’t a problem. In the last few countries I’ve visited, it’s actually been a struggle to find one or two local films to watch. Japan, however, is another story. Their film industry is as busy as ever, although you’ll find many people – myself included – are concerned at just how much of their production slate is taken up with remakes, adaptations and sequels. During the two weeks I spent there on holiday, there were over a dozen Japanese films in cinemas vying for a spot in this article. And really, the procedure’s the same as it would be back home: start with the trailer.

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Monoglot Movie Club: LOLs of Arabia

Asian Cinema, Monoglot Movie Club, , , ,

Part of an occasional series in which Spank The Monkey travels to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them

Some countries make this job easy. When I’m travelling, I usually have to rely on a combination of Google Movies and individual cinema websites to get a decent idea of what local films are playing. Time Out Abu Dhabi, however, does all the work for you: its film listings allow for filtering by cinema, genre and language. So all I need to do is ask the site to show me the places and times where Arabic language films are being shown, and I’m home and dry.

Unfortunately, that’s where they stop making this job easy.

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Il Boom

Classic Films, Home Video, Italian Cinema,

By Blake Backlash

There is a scene in Vittorio De Sica’s Il Boom where a number of well-to-do Italians dance to a band who are performing the tackier sort of early 60s pop song. The lyrics are sung in English. That same quality of a cheap import is imbued in the title of the film. Whereas most European countries created a label in their own language to denote their rapid, post-war economic growth (it is hard to think of a word less German than Wirtschaftswunder), the Italian media co-opted their term from English. ‘Il Boom’ has connotations of something messy and uncontrollable, while at the same time seeming voguish and silly, perhaps even meaningless. Such associations suit De Sica’s satire – which is interested in showing us the empty spaces that might be concealed by the ostentatious sixties prosperity.

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Terracottadammerung 2012

Asian Cinema, Film Festivals

by Spank The Monkey

Mostly Film’s coverage of the 2011 Terracotta Far East Film Festival contained more than its fair share of drama. Aside from the concentrated dose of Asian cinema that Joey Leung and his programming team reliably deliver, there was also the element of jeopardy which came out of my watching 11 movies in 50 hours, immediately after a transatlantic long haul flight. Still, I stayed awake. Unless I didn’t and dreamed all those films I wrote about, of course.

No such issues for the 2012 festival: I’ve rearranged my work schedule so that I’m not going to miss any of the films this year. However, there’s a downside to that: I’m not going to miss any of the films this year. Between Thursday night and Sunday night, I’m now committed to sixteen movies, several masterclasses and a party. What the hell was I thinking? I’ll barely have time to finish this introduction before I

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The Gospel According to Pasolini

Classic Films, Cult Movies, Directors, History, Italian Cinema, , , , ,

by Viv Wilby

It’s not hard to see Pier Paolo Pasolini’s 1964 film, Il Vangelo Secondo Matteo (The Gospel According to St. Matthew), as a deliberate shift away from, perhaps even rebuke to, the style of religious filmmaking that had poured out of Hollywood in the 1950s and early 1960s. These were gaudy, technicolor affairs, stuffed with earnest matinee idols, hammy character actors and hundreds of extras. Starlets draped in wisps of chiffon would flash kohl-rimmed eyes at pained looking holy men. And just in case we were in danger of forgetting, a stentorian voiceover would remind us that This Is The Word Of The Lord.

In contrast, Pasolini’s film is simple and spare. Shot in stark black and white with a cast of non-professionals, it follows the linear narrative of Matthew’s gospel. We move through the familiar beats of Christ’s life: the visit of the three wise men and flight into Egypt; the baptism in the river Jordan and temptation in the wilderness; the calling of the apostles; the preaching and miracles; culminating in Christ’s arrival in Jerusalem, his betrayal by Judas Iscariot, arrest, trial, crucifixion and resurrection. Continue reading The Gospel According to Pasolini →

MONOGLOT MOVIE CLUB: CITY OF DRIZZLE

Brazilian Cinema, Cult Movies, Monoglot Movie Club

Part of an occasional series in which SPANK THE MONKEY goes to foreign countries, watches films in unfamiliar languages, and then complains about not understanding them

Cidade de Garoa: that’s the affectionate name Brazilians have for São Paulo. “City of Drizzle.” Fernando Meirelles would have had a much less violent film on his hands if he’d set City Of God here, mainly because most of it would have involved scenes of people sitting indoors waiting for it to stop pissing down.

On a business visit to São Paulo for a week, one of my non-work priorities – as ever – was to catch a couple of Brazilian films in situ, to get a feel for the side of their cinema that doesn’t normally make it out of the country. And it only seemed right and fitting that when I finally found a local movie at the very end of the week, in order to get there I had to walk for five minutes through one of the worst rainstorms I’ve seen in my life. But that was the least of my problems.

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The Front Line

Asian Cinema, History, New Releases

by Caulorlime

The Korean War is an historical obscenity so absurd that it feels like it was created for propaganda purposes. We are, in the west, well used to the hideous idea of people dying in the First World War right up to 11 o-clock on the eleventh of November, and the utter pointlessness of those deaths. In the Korean war (or as the Koreans call it, the war)* the same thing occurred, only the truce talks went on for two years after the fundamental desire for ceasefire was agreed, with the added piquancy that the fighting that occurred in the last few months and weeks was actually the most vicious, the most deadly of the entire conflict. Areas devoid of mineral richness or any natural strategic importance, hills too steep for farming and too bleak for settlement, became the focus of horrific and sustained fighting. Some small and pointless territories changed hands over 30 times in 18 months at the cost of countless Korean lives, as well as a significant number of Chinese, American and other troops. The perceived importance of these areas was due to their proximity to the 38th parallel, an entirely arbitrary line drawn at the end of WWII partitioning the country into North and South Korea, and sparking the inevitable war. In 1953, as the interminable armistice talks dragged on, these hills became a flash point merely because the owners of a hill could move the arbitrary border to the other side, gaining about three kilometers of extra territory. Thousands of people were killed and maimed fighting over them. The damn things are in the demilitarised zone now, and no one owns them.

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