New Releases: 3rd December

THE DARK KNIGHT RISES:

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BOURNE LEGACY:

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NEW YEAR’S EVE:

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LUCK SEASON ONE:

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ALSO OUT THIS WEEK:

GREY’S ANATOMY SEASON 8

NEW GIRL SEASON 1

STEP UP 4

CINEMA KOMUNISTO

FAIRYTALES: EARLY COLOUR STENCIL FILMS FROM PATHE

Spreading X-Mas Joy: VIDEO CITY GIFT VOUCHERS – available all year, but especially good now…

If you’ve got a film-lover in the family, or just know someone for whom Santa-socks just won’t do, come and grab them a Video City Gift Voucher – available in denominations of £10, £20 and £50 (for that extra-awkward film-geek).

***These vouchers are redeemable against both RENTALS AND SALES.***

Katy Perry: The Movie Part Of Me (On A Shelf Of It’s Own)

“Completely, 100%, Christian.”

Katy Perry The Movie Part of Me…? Does she mean the moving part of me? Not sure I want to know which part that is…

Anyway, there she is, on a shelf of her own, or perhaps sharing a shelf – way up high, where only the especially avid/needy can possibly climb – with Spiceworld: The Spice Girls Movie. Now we just need to get Glitter (that Mariah Carey stunner/fiasco) and our collection will be complete. Enjoy!

“Don’t Think. Feeeel.”

Bruce Lee (1940-1973)

Dear Bruce, on this, your 72nd birthday, we remember your one-inch punches, your one-finger push ups and those cheek-shaking faces you pulled after delivering a gut-destroying blow, by watching:

Enter the Dragon (1973) – the first martial arts picture made by a major studio.

Video City Staff A-Z of Film: C is For…(pt.1)

ROB SAYS:

C is for A Canterbury Tale

This is Powell & Pressburger’s modern riff on Chaucer’s medieval stories. In one brilliant cut we’re transported from a time of men in skirts on horseback to present day men in uniform driving tanks. Meanwhile women do their jobs amongst the blackouts and boredom of a country at war.

The plot is pure hokum of the Ealing variety. A man in a soldier’s uniform has been terrorising a small village by pouring glue into the hair of local young ladies. Our three leads Alison (Sheila Sim), Peter (Dennis Price), and Bob (John Sweet) set out to solve the mystery. The real story here is the deep sorrow buried within these three and the hope that their wishes may come true in a modern-day pilgrimage to Canterbury. It’s a great film about life during wartime, about the beauty of the English countryside and rural existence. Above all it shows Powell & Pressburger’s deep love for their characters. This may be a propaganda film but there is a genuine sweetness devoid of any Hollywood cheese.

You come to expect wit and invention from Powell & Pressburger but here you also get a large dollop of unusual poetic romance and a very English cheery resilience against adversity.

See also: A Matter of Life and Death, Life and Death of Colonel Blimp

ALY SAYS:

C is for Coach Carter – (2005) directed by Thomas Carter

This film is based on a story about a High School basketball coach that tries to teach his players that there is more to life then being “ghetto hoop stars”!

Despite most of the parents, other teachers and all the players thinking his methods are a bit extreme, coach Ken Carter (Samuel L. Jackson) continues to employ his teaching methods and the players soon learn that it’s the coaches way or they’re off the team!
A combination of sports, a true life story with a powerful message and a good cast, enough to make this one of my top choices!

JESSE SAYS:
C is for Come and See
Elem Klimov’s 1985 Come and See tells the story of a young mans coming of age in the midst of Nazi-occupied Belarus. From the outset, the film displaces its audience mixing almost farcical scenes of partisan recruitment officers with a scene of the protagonist, Florya and his friend (who sounds like he’s talking with the aid of an electrolarynx) sifting through a sandy beach searching for a discarded rifle.

As the film progresses, this initial displacement acts to unsettle us, and as we continue, and the subject matter intensifies the difficulty we’ve had in placing the film’s genre or position only unsettles us further. Coupled with the film’s intense and intricate aural and visual design – which is constantly pulling itself apart and re-intertwining – drags the audience with Florya into the madness and disorientation that enshrouds him.

Although not a graphically violent film by todays standards (only rated 15), Come and See is certainly not for the faint-hearted (for example, there’s an extremely difficult scene, where Florya and a girl he has met wade through a swamp, whilst the soundtrack bears down on us oppressively. Seemingly pushing downwards from above). This said, I have watched the film numerous times, and maybe it’s just the masochist in me, but I’ll certainly be watching it again and sharing it with all my loved ones.

Interesting review here: http://www.slowreview.com/index.php?option=com_content&task=view&id=74&Itemid=9

The Beauty of Lo-Fi: Ben Rivers’ Two Years At Sea

Beard horizontal, an old man lies in the undergrowth still and peaceful and waiting to one day be woken from his eternal slumber.

But we are far from the world of myths and legends and this man is not Merlin but Jake, a modern outsider given a gentle grandness by this striking debut feature.

 

This scene of Jake asleep is typical of a film that strives to find resonance within the everyday. Previously a subject of his short film This Is My Land, here Ben Rivers studies Jake as he lives in isolation, a hermit detached from society. As he moves through his tumbledown house and the surrounding forest we watch intently without the distraction of a narrator or any interaction from behind the camera to soften the experience.

 

A document that is hard to place in space or time the film feels more like a discovery dug up from the rubble of a long abandoned home. The lo-fi look is vital: the hand-processed black and white 16mm film stock gives the visuals a fuzzy energy.

 

 

The sound is also stripped of artifice so we become drawn to the miniscule. We hear the weather, the birds, the creaking of the beat-up machinery Jake uses. We become immersed and suddenly understand the cat that sits mesmerised as it watches the clanking washing machine.

 

A short feature composed of long takes Two Years At Sea does occasionally push its luck with its formal restraint but ultimately succeeds in taking us out of our comfort zone and into the elemental beauty of Jake’s surroundings.

 

 

NEW RELEASES: 26th November

AMAZING SPIDER MAN:

Another Spider-man film, but this time it’s Amazing. Starring Andrew Garfield (Social Network), Emma Stone (Easy-A) and Rhys Ifans (Notting Hill). Directed by Marc Webb (500 Days of Summer). Cert. 12

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BRAVE:

Animated kids pic with the voice of Kelly Macdonald as a princess whose bravery and skill is put to the test when she must use them to undo a deadly curse… Cert PG

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TED:

From the creators of Family Guy. Mark Whalberg (Fighter) has a life-long buddy – his grouchy, talking, over-sized teddy. Sounds stupid, looks stupid, but hey, some people love stupid…. Also starring Mila Kunis (Friends with Benefits). Cert. 15

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MAGIC MIKE:

Steven Soderbergh(Sex, Lies and Videotape, Erin Brockovich etc) directs ex-stripper Channing Tatum in this comedy-drama about male strippers… Muscles and quick-release clothing galore… Co-starring Matthew McConaughey (wherever there’s a role for a shirtless man, he’s there).Cert. 15

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SOUND OF MY VOICE:

Psychological thriller, starring and written by Brit Marling (writer and star of last year’s fantastic Another Earth). A couple of filmmakers set out to expose the leader of a cult who claims to be from the future. Cert. 15

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IN YOUR HANDS:

Psychological French thriller, starring Kristin Scott Thomas. A kidnapper and his victim develop and intense erotic relationship. Cert. 15

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HIT SO HARD:

Documentary about Hole drummer, Patty Schemel and her struggle with drug addiction. Cert. E

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DIARY OF A WIMPY KID 3:

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Current Top 10 Rentals:

As usual, in no particular order, and with no guarantee of quality (they are popular, after all…):

MARGIN CALL

(Wall Street crash drama with Kevin Spacey etc)

KILLER JOE

(Psycho-killer Cop with Matthew McConaughey etc)

5 YEAR ENGAGEMENT

(Rom-com about a very long engagement, with Emily Blunt etc)

WOMEN ON THE 6TH FLOOR

(French comedy about a bourgeois couple and their Spanish maid, with Carmen Maura etc)

SEEKING A FRIEND FOR THE END OF THE WORLD

(‘Quirky’ rom-com about the count-down to the end of days, with Steve Carrell but Keira Knightley etc)

POLISSE

(French cop-drama about a Child Protection Unit etc)

FRIENDS WITH KIDS

(30-something couple watch their friends with kids and wonder what the f***k they’re all doing, with John Hamm etc)

YOUR SISTER’S SISTER

(Down-beat romantic comedy drama about 2 best friends, a sister and an awkward one-night stand, with Emily Blunt etc)

WHERE DO WE GO NOW?

(Lebanese comedy-drama about women taking charge of a politically explosive situation in their village, with and directed by Nadine Labaki of ‘Caramel’)

MOONRISE KINGDOM

(Coming of age comedy about 2 kids on summer camp who fall in love and run off together, with Bill Murray etc)

 

Sterling Hayden: The Man Who Saw It Coming

By Rob Munday

When Hayden was first signed to Paramount they dubbed him: “The Beautiful Blond Viking God” yet to his admirers those fair locks were grey – captured on black and white film stock. This seems right for a man old before his time.
Like other Noir heroes (Robert Ryan, Humphrey Bogart, Robert Mitchum) Hayden had led a life before he broke through on the big screen. He’d sailed around the world, been a marine and then a Special Agent (using the name John Hamilton). He’d seen too much, and in his eyes you could tell.

Like Mitchum, he also had a healthy disdain for his profession, once saying,
“If I had the dough I’d buy up the negative of every film I ever made . . . and start one hell of a fire”
Did he mean it, or was he just getting the punch in first before anyone else did? One thing’s for sure, there is always the sense with Hayden that he knew he was in for it. And he was proved right in the films. When it got to the final reel there was only heartbreak in store or (if he was lucky) perhaps he’d get to watch his money blow away or get a bullet in the throat from some upstart Mafioso.

In Asphalt Jungle and The Killing he was the perfect Noir lead: tough, unknowable, quietly desperate for another life. In reality he always preferred sailing to acting, often taking roles just to buy boats or to cover the mounting costs of his divorce settlements. And these stacked up, as Hayden was married five times. The first time was to his first leading lady Madeline Carol and then he was three times married and three times divorced from Betty Ann de Noon (surely a character name from one of his Westerns).

It seems inevitable that he should team up with director Nicholas Ray, the master of doomed romance and ambition ruined by self-destruction. He played the title part for Ray in Johnny Guitar, his character in love with Joan Crawford’s domineering Vienna. Falling for Crawford is never gonna turn out well.

So here’s to Sterling Hayden, who once spoke these lines:

Johnny: How many men have you forgotten?
Vienna: As many women as you’ve remembered.
Johnny: Don’t go away.
Vienna: I haven’t moved.
Johnny: Tell me something nice.
Vienna: Sure, what do you want to hear?
Johnny: Lie to me. Tell me all these years you’ve waited. Tell me.
Vienna: [without feeling] All those years I’ve waited.
Johnny: Tell me you’d a-died if I hadn’t come back.
Vienna: [without feeling] I woulda died if you hadn’t come back.
Johnny: Tell me you still love me like I love you.
Vienna: [without feeling] I still love you like you love me.
Johnny: [bitterly] Thanks. Thanks a lot.

Dialogue from Johnny Guitar (written by Philip Yordan).

Check out the best of Hayden in: The Asphalt Jungle, The Killing, (and as supporting cast in) Johnny Guitar, Dr Strangelove, The Godfather, The Long Goodbye.

New Addition: Les bronzes (1978) + Spotlight on Patrice Leconte

Newly gracing our ever-expanding (and collapsing) shelves:

Les bronzes (1978) – Leconte’s second feature film was this highly successful comedy which centres around a group of holidaymakers in a Club Med-style resort, where sun, sea and sex (and especially sex) is the order of the day.

One of the France’s most well-respected and versatile directors, Patrice Leconte, turned 65 last week. He is one of the elite few to have a Video City shelf dedicated to him – come and make use of this genius system of ours, and have a rifle through some of his other films:

Monsieur Hire (1989) – nominated for the Palme d’Or at Cannes – Based on the book by Belgian author, Georges Simenon, Monsieur Hire is a psychological drama of sexual obsession, guilt and deceit shot with supreme beauty and elegance. Starring Michel Blanc (Girl on the Train) and Sandrine Bonaire (Jeanne la Pucelle).

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The Hairdresser’s Husband (1990) – nominated for 7 Cesar awards. Roger Ebert said of this film that it was sexier than a dozen Basic Instincts (which, given that the Basic Instinct franchise was already unwatchable at number 2, perhaps isn’t such a huge compliment). A story of strange attractions in which history repeats itself. As a young boy Antoine falls for his suicidal hairdresser and becomes obsessed with having her cut his hair. As a grown man he meets Mathilde who is also a beautiful hairdresser and the two form an intimate – and erotic – bond which ends in tragedy… Starring Jean Rochefort (Tell No-one).

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Ridicule (1996)  – nominated for an Oscar for Best Foreign Language Film and also for a Palme d’Or. Ridicule is a costume comedy-drama set at the court of Versailles where all must play at games of wit in order to gain the favour of the aristocracy. A fantastic critique of the pomp and callous corruption of the landed gentry to whose amusement all had to pander in order that more pressing concerns be met. Starring Fanny Ardant (Finally, Sunday!) and Jean Rochefort (Man on the Train).

Girl on the Bridge (1999) – romantic drama about two strangers who meet on a bridge when both are at the end of their proverbial rope. Daniel Auteuil (Every French Film You’ve Ever Seen) plays a a down and out knifethrower who sees in Vanessa Paradis (Heartbreaker) the possibility of a new professional partnership which will get him out of a financial fix. Naturally, the professional nature of their relationship bends as an attraction between them develops into a love that neither are prepared for.

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The Widow of Saint-Pierre (2000) – Serbian director, Emir Kusturica (Black Cat White Cat, Underground etc), plays a man imprisoned on the island of Saint-Pierre, awaiting execution for murder. Whilst the guillotine is being shipped over, the wife (played by Juliette Binoche)  of the Captain in command (played by Daniel Auteuil) takes an interest in the man and tries to redeem him.

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Man on the Train (2002) – Jean Rochefort and Johnny Hallyday star as two strangers who meet on a train – one is a criminal, the other a teacher. The pair form an unlikely bond, each growing to envy aspects of the others’ life, until eventually they decide to trade places.

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My Best Friend (2006) – hugely successful comedy starring Daniel Auteuil and Dany Boon. A successful business man is challenged one evening to produce his ‘best friend’, as all who know him can see he has no true friends at all. In a desperate bid to track down past acquaintances, old school mates etc, he unwittingly befriends the unassuming taxi driver who has so tirelessly been ferrying him around.

“Irresistably winning” is an apt description, if by ‘winning’ you mean trite and irritating. But nevermind. Immensely successful; hugely popular.

VHS Classics: ‘Beauty And The Bust’ – On A Shelf Of It’s Own…

Just when you thought it safe to finally ditch that old VHS player, what do you find in the Video City Vaults? This gem, that’s what. Covered in about 15 years of dust is this, the ‘Ultimate Low-Impact Upper-Body Workout’, presented by former Page Three girl, Kathy Lloyd. Thankfully, you still have that day-glo pink spandex outfit, without which you clearly may never live to be the woman you could be…

We at Video City have found this will-boosting reminder, located on the back of the box, especially up-lifting:

Now you too can have your bust measure up to your personality, with ‘Beauty and the Bust’ – this month’s VHS Classic. Ask in store for details.

Late September: review and interview with director Jon Sanders

By Rob Munday

Late September DVD Review:

The last few years have been an exciting time for British no-budget films. Amongst others Down Terrace, Skeletons, Treacle Jr and Black Pond have showcased directors creating work on their own terms and gaining distribution beyond the festival circuit.

Late September is the 2nd no-budget feature from Jon Sanders (director and co-writer) and Anna Mottram (co-writer and actress) and can stand beside this group as defiantly personal and original cinema.

This is a drama about relationships, how we control them and how they control us. It centres on the marriage of Ken (Richard Vanstone) and Gillian (Anna Mottram) as the cracks start to show.
The film takes place over 24 hours during the celebrations and aftermath of Ken’s 65th birthday. Ken and Gillian’s relationship is clearly strained; they appear as separate entities in their rambling house and garden, unable to sustain any harmony together. There is always the sense of emotions bubbling beneath the surface and the tension is sustained with long takes and strong acting throughout.

During one scene we are taken away from the intensity of the situation to watch a puppet show. As we focus in on this articulated wooden mannequin we slip out of reality, away from this small world, and into a dream that beautifully illustrates the fear of a life without love.
Accompanying this show is music played live by house guest Donald (the film’s composer Douglas Finch). His presence brings music into the narrative so whether it is the sound of the piano from another room, or from inside the house while we are outside, it holds an elusive power that resonates through the film.

This is a no-budget production but the limitations are used to enhance the drama. The film is made up of a series of long master shots, each scene captured in just one take. This may have saved time and money but it also emphasizes a sense of place and a deeper feeling for character. There is a harshness in the video image that can be alienating but as day turns to night the imagery becomes more subtle and illusive.

Late September could have been awful. With no budget there is nowhere to hide but the film succeeds because of its essential truth. With all dialogue improvised there was the possibility of actorly indulgence but there is subtlety in these exchanges and the performance of Bob Goody as Jim is particularly heart-rending. Late September is a refreshing blast of no-frills cinema whose focussed and deeply felt emotions will linger long after the credits roll.

This DVD includes ‘Actor in Search of a Character’ featuring Bob Goody reciting his own poem. With a welcome dose of wit and insight Goody gives us a glimpse into the filmmaking process behind Late September. There is also a booklet containing a director’s statement, stills, and an abridged version of the interview with Jon Sanders first featured on Front Row Reviews.

Interview with Jon Sanders:

Jon Sanders is a former editor and sound recordist who as director and co-writer (with Anna Mottram) has carved out a unique niche in British cinema. In his Belgrade Manifesto he talked about making films ‘Without Permission’, with his latest feature Late September now available on DVD Video City’s Rob Munday went and had a chat.

SPOILER ALERT – the following discussion reveals major plot details of Late September.

Rob Munday: The death of Jim (Bob Goody) in the film was a big surprise.
Did the concept for Late September come from this or the relationship of Ken and Gillian?

Jon Sanders: My first idea was Bob has got to commit suicide [laughs] – that was the first idea. Then the rest of it came, so that absolutely was central.

RM: Because all the scenes are improvised how do you go about putting together the script?

JS: For about two or three years I write notes in notebooks and I date them very precisely. I probably write the same old shit time and time again but you’re doing it from different angles every time, you see a film, you read a book, you have a conversation, and you slowly get together some form of idea. Then what I do is I go through those notebooks and put it all on little cards, [each card has] the ideas for scenes and the conceptual ideas and then I show Anna and she pulls it all together in quite a massive way.

RM: How have you found the contrast between working with a budget and on a no-budget shoot like this?

JS: The thing is that you hugely organise what you want to what you can have, in a way that you don’t on a feature film. On a feature if you want a house there you build a house there, if you want five horses you simply pay for them to turn up. But we can’t do any of that stuff, so we have to organise our film to what we have. So for instance I have a cousin with a boat, and I knew that from the word go, so essentially you think ‘Ok, how does that work?’ well I know exactly how that works, Bob dies on the goddamned boat [laughs]. Not only that, you have an actor who’s daughter is a fabulous puppeteer.

RM: At what point did the puppet scene come into the film?

JS: Quite early on. Early on I thought we’re gonna have a puppet scene. Interestingly enough my teacher was Thorold Dickinson who made The Queen Of Spades and Gaslight and in all those films he had theatre within the film. I had forgotten that, I went to see Gaslight after doing Painted Angels (which also had theatre in it) and I wanted to say ‘Thank You Thorold’. So I’m just copying him, I’m just copying my teacher.

RM: I remember thinking with your last film Low Tide there was a Bergman influence, what were your influences on Late September?

JS: On Low Tide, I realised I was remaking Cries and Whispers. On this film it was a strange mixture of Journey to Italy (the story of a marriage falling apart) and La Règle De Jeu, the ultimate country house film where everybody comes together, also I like the idea that there are other dramas going on. Everybody’s got a drama.

[Kenji] Mizoguchi is my god really, I think that Mizoguchi has been the one that has really got to me all these years, as a director of women and I’m in my way also a director of women. Mizoguchi developed a technique which was one scene one shot and he did two or three films [like this], I’ve seen The Story of the Last Chrysanthemums and it is just fucking staggering.

RM: Where do you want to go next, will you carry on with no-budget or would you like to return to the period drama of Painted Angels?

JS: I would very much like at some stage to do films that cost money, but what I would really like to do is to take everything that we’ve learnt as a group from these now three no-budget films in terms of organisation, camera moves, lighting or non-lighting etc and utilise that into costume drama (which I’d like to do again), but to do it much more cheaply because I’m now much better at storytelling. For instance, in Painted Angels we made a film that was two and half hours long and had to throw away an hour but now, on Late September, we shot every scene and we used every scene in the order we said we would.

RM: And would you still use improvisation?

JS: I don’t think we would, because if you’re doing historic films you’re using another language and I don’t think people could improvise in another language, it would just be insane.

But I don’t mind this whole business [no-budget filmmaking].
What really hit me very hard is that I wanted to start to make films where reverie and dream are involved. I realised I didn’t know how to do it because I was self-censoring myself because I thought actually there is no way they would ever give you the money to make a weird film like that with non-linear time. So I’ve actually self-censored myself, but the next one does have dreams in it and I thought – that’s what’s going on in my head.

If we want to make a film, as long as we can afford to do it we can fucking do it whatever – without permission, we can do whatever we want, nobody can say yes or no.

http://lateseptemberfilm.com/

NEW RELEASES: 19th November

Not a gigantic week in rentals, sadly. But loads out over the past couple of weeks to get your eyeballs into.

REVENGE – SEASON 1:

Immensely popular US TV show about a young woman who moves into a community for the sole purpose of exacting revenge on those who destroyed her family. Starring Madeline Stowe (Last of the Mohicans).

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THE LORAX:

The latest Dr. Seuss kids flick, featuring the voices of Zac Efron (17 Again) and Danny DeVito (Batman Returns).

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ARTHUR CHRISTMAS:

 

Not too sure who Arthur is, but apparently he has lots of presents to deliver….

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A SIMPLE LIFE:

Nominated for a Golden Lion at the 2011 Venice Film Festival, A Simple Life is a drama centering around the post-stroke experiences of a house maid who decided to quit her job and move into an old person’s home.

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Famous Scenes: The ‘Roll Dance’ From Chaplin’s Gold Rush (1925)

When Chaplin released The Gold Rush in 1925, he announced that it was the film for which he wanted to be remembered – a statement he was to repeat often throughout his life. It was warmly received by critics and so well received by its audience that it became – and remained – the highest grossing silent comedy of all time.

The story follows the Tramp as he goes off to seek his fortune in the Alaskan gold fields, along with prospectors both good and greedy with whom he falls in and falls out. Naturally, he meets a girl who is ‘looking for an honest man’ with whom he falls in love, but she only toys with him and, having agreed she would meet him for New Year’s Eve dinner, she stands him up. Whilst waiting for his guest, the Tramp falls asleep and dreams of how he will win her:

This scene has been repeated and alluded to in various films ever since it’s release – in Godard’s Bande a part (1964), Anna Karina references it  just before the friends embark on a famous dance of their own. Also, Johnny Depp recreated it in Benny and Joon:

And, more recently, Amy Adams references it in the ‘Me Party’ scene in The Muppets (“what happens at a me party, stays at a me party” – got to love that).

Chaplin went to great lengths to get the look and the feel of the film right, initially filming several scenes on location but eventually abandoning this and creating fantastic sets in his studio instead. The cinematography is at times breathtaking and the special effects are pretty astonishing given the time (see the scene where the mountain gives way – it actually looks pretty decent even by today’s standards). The mise-en-scene and characterizations of the supporting cast are delivered with an incredible eye for detail, which, given that it is Chaplin after all, isn’t surprising and yet, this still stands out from the rest of his films.

The rugged beauty of the landscape, the authenticity of the gnarly-looking hang-abouts in the saloon – adventurers and opportunists, dirty and desperate – and the violence and murder are all pretty sobering stuff, and more what you’d expect from a drama or a western of its time. But of course, as I’m sure Chaplin believed, there’s no reason why comedy can’t also be high art – and The Gold Rush is a good example of this.

A word of warning, the film was re-issued by Chaplin in 1942, partially re-edited and a new (Oscar-winning) score was added. All well. However, Chaplin also added descriptive dialogue which he delivered himself which at times feels cumbersome and unnecessary, detracting at times from the sublime visual comedy. The film is only available in this format and it’s not so annoying once you get used to it, so don’t be put off.

Anyway, here is a shot from the final scene which didn’t make the re-edit (Chaplin removed it as, at the time of making the film he and his co-star, Georgina Hale, were having an affair – perhaps the older Chaplin cringed at the memory of this indiscretion, but if he did, one imagines he only cringed in public):

X

posted by Dixie Turner

NEW RELEASES: 12TH NOVEMBER

MARGIN CALL:

The most asked-after film of the last 12 months. Margin Call is the all-star, mega-money drama based on the events that led up to the financial crisis. Dodgy dealings galore: if you can’t do anything else, then point your fingers at the screen, load, aim and fire. Starring half of Hollywood (always so virtuous with its money…). Kevin Spacey (Casino Jack), Jeremy Irons (The Borgias), Demi Moore (Ghost), Stanley Tucci (Big Night), Paul Bettany (Beautiful Mind) and Zachary Quinto (Heroes). Cert. 15

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WOMEN ON THE 6TH FLOOR:

Another much-awaited film, this time a French comedy set in the ’60s. A couple’s bourgeois life is turned upside down when they hire a Spanish maid who lives on the sixth floor with a group of other maids, all of whom are refugees from the Franco regime. French with English subs. Cert. 12

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FRIENDS WITH KIDS:

American comedy about a group of thirty-somethings and the effect that having children has on their lives and relationships. Starring John Hamm (Mad Men) and  Kristen Wiig (Bridesmaids). Directorial debut of Jennifer Westfeldt (Kissing Jessica Stein), who also stars. Cert. 15

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ONCE UPON A TIME SEASON 1:

New American TV series revolving around a group of characters from classic fairy tales whose stories intersect with a modern-day woman living in a small town in Maine.

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UNDEFEATED:

Oscar-winning documentary about a down-and-out American football team who turned their fortunes around with a new coach. Cert. E

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CITY STATE:

Icelandic thriller revolving around revenge and corruption. A man vows revenge on the crime syndicate responsible for killing his unborn child. Icelandic with English subs. Cert. 15

ALSO OUT THIS WEEK:

EXCISION:

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HATFIELDS & MCCOYS:

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WINNING SEASON:

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SNOWMEN:

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