Tag Archives: The Lady Vanishes

A Week In Film #324: Down to the bone

The Rainmaker title screen
The Rainmaker
Perfectly diverting legal potboiler, Francis Ford Coppola directing from John Grisham’s book, with Matt Damon a young lawyer teaming up with boisterous paralegal Danny De Vito to… Erm… Can’t remember – it’s that sort of film. But definitely not terrible.

The Lady Vanishes title screen
The Lady Vanishes (2013)
Not the Hitch version of Ethel White’s pre-war European mystery novel The Wheel Spins, so not as much fun, but Tuppence Middleton (Cleanskin) and Tom Hughes The Game) have a fair crack at it in a BBC TVM directed by journeyman Diarmuid Lawrence.

Funeral In Berlin title screen
Funeral In Berlin
I prefer a game with a better chance of cheating.

A Most Violent Year title screenA Most Violent Year
Excellent, low key period piece from JC Chandor (Margin Call) about a struggling businessman (Oscar Isaac) and his wife (Jessica Chastain) trying to stay clean in grimy, gritty early eighties New York.

The Wolf Of Wall Street title screen
The Wolf Of Wall Street
Flashy, silly, fun (and in parts highly objectionable) based-on-a-true-story nonsense about boiler room bastards in eighties New Jersey; Scorsese pastiches himself, with Leonardo Di Caprio and Jonah Hill meeting him halfway from typical Judd Apatow territory.

A Week In Film #176: Equinox and sunshine

The Terminator
A week of classics (of sorts) kicking off with James Cameron’s future war/man vs machines/time travel auctioneer.

Still got the magic, even if some elements (the dancing at TechNoir, the wonky stop-animation into puppet transitions, the squibless shootings) stand out to our eyes today. The whole cop subplot remains a joy, and the Biehn-Hamilton chemistry really works.

Terminator 2: Judgment Day
Wasn’t really a fan of it originally, but I think it stands up better than I thought it would, the sub-Abyss CGI apart.

Great mood in some sequences (the hospital break), some typically awesome Cameron-marshalled in-camera SFX (the T-800 self-repair scene for instance), and strong in-universe plotting make for a decent popcorner. Furlong’s screech, the product placement and the kiddie-friendly Terminator all grate, though.

All The President's Men title screen
All The President’s Men
Even though it totally overages the involvement of Woodstein and the Post and Deep Throat, it’s still such a powerful film, and I love that it ends where it ends, avoiding a ‘happy’ climax. Got to love all those top flight, grizzled character actors like Warden and Balsam and Robards and Holbrook. Got to love the lensmanship of Willis. Got to love the choreography of Pakula.

Planet Of The Apes (1968)
GET YOUR STINKING PAWS OFF ME YOU DAMNED DIRTY APE! Nova. The world’s smallest city. A Shyamalan-shaming masterclass in the final reveal. One of Heston’s finest end-of-the-world performances.

The LLF picked this one out, and was pleasantly surprised. Nighttime LA, Tom Cruise as a vulpine hitman with five contracts to complete, Jamie Foxx as a cabbie caught up in the mayhem. AND THE STATH. A well-balanced little thriller from Michael Mann. Nice gunplay.

The Lady Vanishes
Hitchcock revisits the sparky spy thriller just three years after the peerless The 39 Steps, and scores himself another banger. What’s not to like? Englishmen abroad Charters & Caldicott in search of cricket news, May Whitty as the old maid who goes missing, Margaret Lockwood as spunky young Iris and Michael Redgrave as the chalky musicologist to her cheesiness…

A Week In Film #067: Warming up

Executive Action
Early (1973) JFK assassination conspiracy flick directed by David Miller from a script by Dalton Trumbo, Donald Freed and Mark Lane. Burt Lancaster is convincing as a driven spook pulling together a murderous conspiracy. Notable for its coldness, its unflashy production.

Seven Days In May
A dark, taut, scary Cold War political thriller from John Frankenheimer, about a populist hawk general (Burt Lancaster) challenging a weakened president (Fredric March) embarking on disarmament treaties with the Soviets. Kirk Douglas is the Marine colonel who sees what’s afoot and doesn’t like it.

Who Dares Wins
Silly, posturing, politically facile, thoroughly reactionary yet strangely watchable action film acting as a recruiting sergeant for the SAS, and an election advert for Thatcherism. Real-life reservist Lewis Collins is the soldier sent undercover amongst the pacifists (who, naturally, are secretly terrorists intent on murder and mayhem – as well as bad theatre); Roy Budd provides stirring score. Directed by TV man Ian Sharp, who later shot second unit action sequences for the likes of Goldeneye.

Fairly absorbing dramatisation of the talks between the ANC and Afrikaaner intermediaries of the Nationalist Party held in Britain which helped lead to the dismantling of Apartheid. Directed by Pete Travis, who returns to the drama-doc style of his Omagh following the Hollywood bombast of his previous feature, Vantage Point. Chiwetel Ejiofor as Thabo Mbeki, William Hurt as Will Esterhuyse, John Kani as Oliver Tambo, Timothy West as PW Botha; but best of all are Mark Strong as a security policeman, and Jonny Lee Miller as Michael Young, the gold mining company man who set it all up.

Dead Bolt Dead
I heard about this after trawling IMDb for interesting-sounding films, and then discovered it lurking on LoveFilm’s inventory; the planets were in alignment, so clearly I had to give it a spin. Sadly, it’s a piece of crap. Under-written, juvenile stuff about gangsters and hitmen with rubbish ‘Tarantinoesque’ (ie scripted by someone who thinks of themselves as ‘influenced by Tarantino’, only without anything of note to say themself) speeches.

Featuring Neil Stuke (the Ben Chaplin replacement from Game On, James Laurenson (the government Energy Minister from State Of Play) and some people I didn’t recognise, directed by James Rogan, written by Paul de Villiers. Some of the camerawork is impressive, though, and there’s some low-tech ‘bullet time’ type business; this came out in 1999, so it may well predate The Matrix; in which case, kudos for the creativity.

Vantage Point
What starts off as a quite interesting experiment by Brit TV director Pete Travis in his first feature sadly descends into straight-faced farce in the final reel. Plotwise it’s about an attempt on the life of the US President during a trip to Spain, but with the focus (initially) on a previously wounded Secret Service agent (Dennis Quaid) returning to duty.

To keep things interesting, the audience is treated to multiple versions of the assassination attempt from the perspective of different people in different places with different priorities, starting off with a TV crew led by Sigourney Weaver. It’s not as playful as, say, Brian De Palma’s Snake Eyes, which was worked around the same premise of multiple vantage points over the same event, but by the end it is as fanciful as it, which doesn’t bode well for someone lacking De Palma’s wit.

A shame that it doesn’t work better, because there is clearly talent at work here – but there are (at least) two films bolted together

The Lady Vanishes (1938)
Hitchcock directs this taut Sidney Gilliat/Frank Launder production about the disappearance of an elderly Englishwoman on a train travelling through Central Europe in the immediate pre-war period. Lots of Hitch’s things are already in place – quick banter, interesting women characters, the cinematic exploration of ever-so-stagey locations – and it’s a lot of fun. May Whitty is the missing spinster, Margaret Lockwood the young woman determined to find her.

Green For Danger
Alastair Sim is great as the British Columbo-style detective investigating deaths at a wartime hospital in the Home Counties in this adaptation of Christianna Brand’s novel. Another wonderfulfilm from the Sidney Gilliat/Frank Launder team.

Death Proof
Tarantino’s half of the Grindhouse double-bill, a pleasantly unpleasant tale-in-two-parts of feisty young women who come into the sights of psychopathic misogynist Stuntman Mike (Kurt Russell). First time around, it’s goodnight Vienna for the gals; but in the return match, Mike finds his match in a group of off-duty film crew, including Xena/Hercules stuntwoman Zoë Bell, playing herself. A Lot more enjoyable – and witty – than I suspected it might be.

Extraordinary Renditon
A more provocative and thoughtful look at America’s TWAT era policy of illegal abductions and outsourced torture. This time it’s a British lecturer (Omar Berdouni) who is swept up off the street in London by unknown thugs, before a spell in a shipping container, then a midnight flight to an unnamed Arab or North African country, where he is interrogated by a secret policeman (Andy Serkis) about never-specified thought-crimes. Ania Sowinski is the girlfriend trying (and failing) to help him come to terms with it all after he returns, battered, bloody, angry, confused. Jim Threapleton’s directorial debut, and very promising it is.