2000 - Dir.: Joel Hershman
Shown at The FeckenOdeon on 26th September, 2009
Now here’s a curious thing - a thoroughly British comedy... made by Americans! Having noticed the success of films like "The Full Monty" the MGM studio bosses grabbed a script based on a true story and hoped to make a fast buck on the back of a wave of British success. "Greenfingers" trades almost entirely on the laughable notion of hardened criminals delicately pruning their roses. But here's the rub - big muscular guys pruning roses is funny - and charming. Add a jolly performance from one of the UK’s toughest Dames, an unlikely love story and some pretty pictures of flowers and you have a recipe for commercial success... but then Americans never did understand the vagaries of the British. The film generated only a modest cashflow at the box office despite the effortlessly warm performances, especially from Clive Owen and David Kelly, two of the sweetest and unlikeliest jailbirds you could ever hope to meet doing time. This perhaps isn’t the greatest movie ever made but its American funded Britishness makes its gentle pace and whimsical humour not only cosily comfortable but positively heartwarming. Not every film has to be a blockbuster!
Monday, 31 August 2009
Red Dust
1932 - Dir.: Victor Fleming
Shown at The FeckenOdeon on 26th September, 2009
The most compelling reason for seeing this film is its cast - a set of MGM's most prized possessions: including Clark Gable, Jean Harlow, Gene Raymond and Mary Astor. In their first major onscreen pairing, Harlow and Gable prove just how much fun lust can be. This red-blooded romance brings our stars together in the remote and steamy jungles of Africa, which allows them to be as wild and wanton as they wish.
"Red Dust" is a hot-blooded example of a lot of things that would soon be banned by the censors until the 1960s. Jean Harlow is a slut, Mary Astor an adulteress, Clark Gable a two-timing cad. No one suffers for the sins of the flesh, and nothing happens that is the least bit subtle or ambiguous. You are invited to create your own carnal images with each suggestive fade-out (go on - we dare you!).
The original play, by William Collison, closed after only eight performances on Broadway, but after this film the story was reused in 1939 as "Congo Maisie", and again in 1953 when it appeared as "Mogambo". Sadly Jean Harlow wasn’t so long lived. She died in 1937 - apparently poisoned by the platinum used to dye her hair.
Saturday, 15 August 2009
Passport to Pimlico
1949 - Dir.: Henry Cornelius
Shown at The FeckenOdeon on April 30th, 2005
It's time to relax into comforting black and white for a cosy tale set in post war England.., or is it England? The idea for the plot came from a news item spotted by writer Tibby Clarke which stated that during the war, in order that a rule be observed whereby members of the Dutch royal succession must be born on Netherlands soil, a room in Ottawa, where the family was in exile from the German occupation, officially became Dutch territory. So if that could happen in Ottowa why not.. Pimlico!
The cast reads like a Who's Who of British character actors - Stanley Holloway and Dame Margaret Rutherford lead the troops but sharp eyes (and memories) will spot Sir Michael Hordern, Sidney Taffler, Charles Hawtrey, Hermoine Baddeley, Sam Kydd and Sir Winston Churchill (it's true!) amongst many others. John Slater, later to be a Z Cars stalwart and a resident of Stratford-upon-Avon, plays one of his biggest big screen roles. It's a classic Ealing Studios product with classic British humour poking gentle fun at our own Britishness. There are those who regard the film as political satire but most just sit back and enjoy a glimpse through a window on a world and way of life many of us can't even remember.
Shown at The FeckenOdeon on April 30th, 2005
It's time to relax into comforting black and white for a cosy tale set in post war England.., or is it England? The idea for the plot came from a news item spotted by writer Tibby Clarke which stated that during the war, in order that a rule be observed whereby members of the Dutch royal succession must be born on Netherlands soil, a room in Ottawa, where the family was in exile from the German occupation, officially became Dutch territory. So if that could happen in Ottowa why not.. Pimlico!
The cast reads like a Who's Who of British character actors - Stanley Holloway and Dame Margaret Rutherford lead the troops but sharp eyes (and memories) will spot Sir Michael Hordern, Sidney Taffler, Charles Hawtrey, Hermoine Baddeley, Sam Kydd and Sir Winston Churchill (it's true!) amongst many others. John Slater, later to be a Z Cars stalwart and a resident of Stratford-upon-Avon, plays one of his biggest big screen roles. It's a classic Ealing Studios product with classic British humour poking gentle fun at our own Britishness. There are those who regard the film as political satire but most just sit back and enjoy a glimpse through a window on a world and way of life many of us can't even remember.
The Adventures of Robin Hood
1938 - Dir,: Michael Cutiz & William Keighley
Shown at The FeckenOdeon on April 30th, 2005
ONLY THE RAINBOW CAN DUPLICATE ITS BRILLIANCE!
To those who think of vintage movies in terms of flickery, scratched black and white this meticulously restored 1938 blockbuster will be a revelation. Technical standards were at an all time high and Warner Brothers' art department knew nothing of budgetary restraint - it's a riot of colour, action and spectacle. This may be a museum piece but who says you can't have fun in a museum!
In the most engaging performance of his career, Errol Flynn is jaunty, romantic, and larger than life, but also slyly funny as the Saxon knight who takes on the nasty Normans who have usurped the rule of England while King Richard has been out of town liberating the Holy Land from the "infidels." This is movie pageantry at its best, done in the grand manner of silent
spectacles, brimming over with the sort of primitive energy that drew people to the movies in the first place.
• Erich Korngold was invited by Warner Brothers to come from his native Austria to Hollywood to see the film with a view to scoring it. He initially turned down the chance as he felt that his musical style was ill-suited for adventure spectaculars. However, while in Hollywood, he learned that the Nazis were about to invade Austria and, feeling he had to secure a source of revenue in the United States. He accepted the assignment and scooped one of the film's 3 Oscars.
• 'heavily padded stunt players and actors were paid $150 per arrow for being shot by
professional archer Howard Hill, who also played the captain of the archers.
• The production used all 11 of the Technicolor cameras in existence in 1938 and they were all
returned to Technicolor at the end of each day's filming.
• Although shot on location in California, indigenous English plants were added and the grass was painted to give a greener, more English look.
Shown at The FeckenOdeon on April 30th, 2005
ONLY THE RAINBOW CAN DUPLICATE ITS BRILLIANCE!
To those who think of vintage movies in terms of flickery, scratched black and white this meticulously restored 1938 blockbuster will be a revelation. Technical standards were at an all time high and Warner Brothers' art department knew nothing of budgetary restraint - it's a riot of colour, action and spectacle. This may be a museum piece but who says you can't have fun in a museum!
In the most engaging performance of his career, Errol Flynn is jaunty, romantic, and larger than life, but also slyly funny as the Saxon knight who takes on the nasty Normans who have usurped the rule of England while King Richard has been out of town liberating the Holy Land from the "infidels." This is movie pageantry at its best, done in the grand manner of silent
spectacles, brimming over with the sort of primitive energy that drew people to the movies in the first place.
• Erich Korngold was invited by Warner Brothers to come from his native Austria to Hollywood to see the film with a view to scoring it. He initially turned down the chance as he felt that his musical style was ill-suited for adventure spectaculars. However, while in Hollywood, he learned that the Nazis were about to invade Austria and, feeling he had to secure a source of revenue in the United States. He accepted the assignment and scooped one of the film's 3 Oscars.
• 'heavily padded stunt players and actors were paid $150 per arrow for being shot by
professional archer Howard Hill, who also played the captain of the archers.
• The production used all 11 of the Technicolor cameras in existence in 1938 and they were all
returned to Technicolor at the end of each day's filming.
• Although shot on location in California, indigenous English plants were added and the grass was painted to give a greener, more English look.
Cabaret
1972 - Dir.: Bob Fosse
Shown at The FeckenOdeon on April 2nd, 2005
Much was made at the time of this film's release about the fact that it was the first musical to receive the dubious honour of an X certificate. It is perhaps predictable that the popular press should get in a lather about a few strong words and lewd(ish) moments while ignoring the real and gut wrenching feeling of outrage provoked by the vivid and stark portrayal of the rise of the greatest obscenity of the 20th Century. Those of us who saw "Cabaret" back in the free wheeling seventies were brought up sharp by the awful realisation that the rise of the Nazis was all but unstoppable and that ordinary people had no way of intervening. As our own political system lurched to the right and skinheads took to the streets, those of us with vivid imaginations drew worrying parallels.... Whatever our personal political feelings, no-one could fail to be shocked by "Cabaret" - but sex had absolutely nothing to do with it.
The film is based on Christopher Isherwood's autobiographical book of anecdotes from the era, `Goodbye to Berlin'. The Sally Bowles character appeared in those stories and then appeared in the play and movie 'I Am a Camera' before returning to the stage in this musical, and then making it into the movies a second time...
That such a tale set in such a time can also give great joy is a tribute to it's Director and it's superb and spirited cast. It can be said to have been a "once in a lifetime" film for almost all the main participants. Although Bob Fosse made a couple more films (including the autobiographical "All that Jazz") and worked extensively on the Broadway stage he never again hit such a high as "Cabaret". He died before he could transfer his stage hit "Chicago" to the big screen. Lisa Minelli, who really made us believe that she was the reincarnation of her mother (Judy Garland), failed to keep up the momentum and bounced from one indifferent project to the next mediocre one. Joel Grey (Master of Ceremonies) who is perhaps the kingpin of "Cabaret" was really too good at the part - he was reckoned to be "difficult to cast" by Hollywood's money men who obviously could only see him in white face and tails (that's him in the picture). He's still working on US television. Helmutt Griem worked only in his native language after "Cabaret" (he died last year) and Marisa Berenson also stayed firmly in Europe - though she's soon to be seen in a film called "Colour me Kubrick". The exception is of course Michael York who has so far appeared in 111 feature films and is still working - "Cabaret" is his 14th movie role.
"Tomorrow Belongs to Me" was written by John Kander and Fred Ebb in the style of a traditional German song, sung by the Nazi youth in the movie, to stir tip patriotism for the "fatherland". It has often been mistaken for a genuine "Nazi anthem" and has led to the songwriters being accused of anti-Semitism. This would be most surprising, as they are, in fact, Jewish. It is also the only song sung outside of the cabaret setting to survive the transition from stage to film.
Friday, 14 August 2009
Shooting Stars
1927 - Dir.: Anthony Asquith & A.E.Bramble
Shown at The FeckenOdeon on 26th February, 2005
Live piano accompaniment by Peter Smith
Although late in the silent era (the all talking "Jazz Singer" was released in the same year), "Shooting Stars" is thought of as the movie that marked the coming of age of the British film industry. It's a fully fledged feature film with a strong story and excellent acting. It established Anthony Asquith as one of our most distinguished directors and it made the American studios realise that films could be made outside California. Despite its jolly start it's a real tearjerker - tissues available from the bar!
Brian Aherne, who plays Julian, was a local lad from Kings Norton. He survived the transition to the talkies and went to Hollywood in 1933, starred alongside such deities as Katherine Hepburn and married Joan Fontaine (briefly).
Little is known of the fate of co-star Annette Benson. She stayed in films until 1931 and, after the rather grim sounding "Deadlock" disappeared completely from the limelight.
The remarkably named Chili Bouchier (real name Dorothy Hill) worked continuously in films, on the stage and in television from 1927 until her death in 1999 at the age of 100. The name came from her theme song 'I Love My Chili Bom-Bom'. Billed as "Britain's IT Girl", she possessed a knack for self publicity and was seldom out of the public eye. In her later years she dined (and most definitely supped) out on her reputation as "The Last of The Silent Film Stars". Despite her fame (or perhaps notoriety) she died alone in her council flat off the Edgware Road
Shown at The FeckenOdeon on 26th February, 2005
Live piano accompaniment by Peter Smith
Although late in the silent era (the all talking "Jazz Singer" was released in the same year), "Shooting Stars" is thought of as the movie that marked the coming of age of the British film industry. It's a fully fledged feature film with a strong story and excellent acting. It established Anthony Asquith as one of our most distinguished directors and it made the American studios realise that films could be made outside California. Despite its jolly start it's a real tearjerker - tissues available from the bar!
Brian Aherne, who plays Julian, was a local lad from Kings Norton. He survived the transition to the talkies and went to Hollywood in 1933, starred alongside such deities as Katherine Hepburn and married Joan Fontaine (briefly).
Little is known of the fate of co-star Annette Benson. She stayed in films until 1931 and, after the rather grim sounding "Deadlock" disappeared completely from the limelight.
The remarkably named Chili Bouchier (real name Dorothy Hill) worked continuously in films, on the stage and in television from 1927 until her death in 1999 at the age of 100. The name came from her theme song 'I Love My Chili Bom-Bom'. Billed as "Britain's IT Girl", she possessed a knack for self publicity and was seldom out of the public eye. In her later years she dined (and most definitely supped) out on her reputation as "The Last of The Silent Film Stars". Despite her fame (or perhaps notoriety) she died alone in her council flat off the Edgware Road
Don Giovanni
1979 - Dir.: Joseph Losey
Shown at The FeckenOdeon on January 30th, 2005
Veteran director Joseph Losey realised a lifelong ambition with this project - he'd been dissatisfied with the Hollywood projects that came his way in the 70s so the chance to direct Mozart's greatest opera was grabbed with enormous enthusiasm. Losey's film is rightly regarded to be one of the finest opera films ever made. It's rarely shown - this screening is the only one planned in the UK during 2005.
CAST in order of singing
Leporello Jose Van Dam
Donna Anna Edda Moser
Don Giovanni Ruggero Raimondi
The Comendatore John Macurdy
Don Otavio Kenneth Riegel
Donna Elvira Kiri Te Kanawa
Zerlina Teresa Berganza
Masetto Malcolm King
The Orchestra and Chorus of The Paris Opera
Conducted by Lorin Maazel
Sung in Italian with English Subtitles
Synopsis:
ACT 1: After one of Mozart's most powerful overtures, the action begins in a square outside the palace of the Commendatore, the aging local commander of forces. It is night, and Leporello is grumbling about his duties as servant to Don Giovanni, a dissolute nobleman. Soon the masked Don appears, pursued by Donna Anna, the Commendatore's daughter, whom he has tried to seduce. When the Commendatore himself answers Anna's cries, he is killed in a duel by Giovanni, who escapes. Anna now returns with her fiance, Don Ottavio. Finding her father dead, she makes Ottavio swear vengeance on the assassin.
At dawn, Giovanni unwittingly flirts with Donna Elvira, a woman he once raped. Realising his mistake he escapes while Leporello distracts Elvira by reciting his master's long catalog of conquests. Peasants arrive, celebrating the nuptials of their friends Zerlina and Masetto; when Giovanni joins in, he pursues the bride, angering the groom. Alone with Zerlina, the Don applies his charm, but Elvira interrupts and protectively whisks the girl away. Outside the palace, Zerlina begs Masetto to forgive her apparent infidelity, Masetto hides when the Don appears, emerging from the shadows as Giovanni comers Zerlina. Elvira, Anna and Ottavio arrive disguised in costume and masks and are invited to the feast by Leporello. During the festivities, Leporello entices Masetto into the dance as Giovanni draws Zerlina out of the room. When the girl's cries for help put him on the spot, Giovanni tries to blame Leporello. But no one is convinced; at the end of the Act Elvira, Anna and Ottavio unmask and confront Giovanni.
Act 2: Under Elvira's balcony, Leporello exchanges cloaks with Giovanni to woo the lady in his master's stead. Leporello leads Elvira off, leaving the Don free to serenade Elvira's maid. When Masetto passes with a band of armed peasants bent on punishing Giovanni, the disguised rake gives them false directions, then beats up Masetto. In a passageway, Elvira and Leporello are surprised by Anna, Ottavio, Zerlina and Masetto, who, mistaking s,trrvant for master, threaten Leporello. He reveals his identity and escapes. When Anna departs, Ottavio affirms his confidence in their love.
Leporello catches up with his master in a cemetery, where a voice warns Giovanni of his doom. This is the statue of the Commendatore, which the Don proposes Leporello invite to dinner. In her home, Anna, still in mourning puts off Ottavio's offer of marriage until her father is avenged. Leporello is serving Giovanni's dinner when Elvira rushes in, begging the Don, whom she still loves, to reform. But he waves her out contemptuously. At the door, her screams announce the arrival of the Gommendatore's statue. Giovanni boldly refuses warnings to repent, even in the face of death. Flames engulf his house, and the sinner is dragged to hell. The mood changes, and the survivors join in a sextet in which they plan their future and recite themoral: such is the fate of a wrongdoer.
AN APOLOGY: Mozart's genius has endured for hundreds of years. We only wish that film was as future proof! Unfortunately this, the only available print of "Don Giovanni", has not passed the test of time and has faded badly. The fires of Hell are not so much flaming red as flickering pink and everthing else is turning sepia. We do hope your enjoyment of the drama and, above all, the music is not completely spoiled by this sad deterioration.
Shown at The FeckenOdeon on January 30th, 2005
Veteran director Joseph Losey realised a lifelong ambition with this project - he'd been dissatisfied with the Hollywood projects that came his way in the 70s so the chance to direct Mozart's greatest opera was grabbed with enormous enthusiasm. Losey's film is rightly regarded to be one of the finest opera films ever made. It's rarely shown - this screening is the only one planned in the UK during 2005.
CAST in order of singing
Leporello Jose Van Dam
Donna Anna Edda Moser
Don Giovanni Ruggero Raimondi
The Comendatore John Macurdy
Don Otavio Kenneth Riegel
Donna Elvira Kiri Te Kanawa
Zerlina Teresa Berganza
Masetto Malcolm King
The Orchestra and Chorus of The Paris Opera
Conducted by Lorin Maazel
Sung in Italian with English Subtitles
Synopsis:
ACT 1: After one of Mozart's most powerful overtures, the action begins in a square outside the palace of the Commendatore, the aging local commander of forces. It is night, and Leporello is grumbling about his duties as servant to Don Giovanni, a dissolute nobleman. Soon the masked Don appears, pursued by Donna Anna, the Commendatore's daughter, whom he has tried to seduce. When the Commendatore himself answers Anna's cries, he is killed in a duel by Giovanni, who escapes. Anna now returns with her fiance, Don Ottavio. Finding her father dead, she makes Ottavio swear vengeance on the assassin.
At dawn, Giovanni unwittingly flirts with Donna Elvira, a woman he once raped. Realising his mistake he escapes while Leporello distracts Elvira by reciting his master's long catalog of conquests. Peasants arrive, celebrating the nuptials of their friends Zerlina and Masetto; when Giovanni joins in, he pursues the bride, angering the groom. Alone with Zerlina, the Don applies his charm, but Elvira interrupts and protectively whisks the girl away. Outside the palace, Zerlina begs Masetto to forgive her apparent infidelity, Masetto hides when the Don appears, emerging from the shadows as Giovanni comers Zerlina. Elvira, Anna and Ottavio arrive disguised in costume and masks and are invited to the feast by Leporello. During the festivities, Leporello entices Masetto into the dance as Giovanni draws Zerlina out of the room. When the girl's cries for help put him on the spot, Giovanni tries to blame Leporello. But no one is convinced; at the end of the Act Elvira, Anna and Ottavio unmask and confront Giovanni.
Act 2: Under Elvira's balcony, Leporello exchanges cloaks with Giovanni to woo the lady in his master's stead. Leporello leads Elvira off, leaving the Don free to serenade Elvira's maid. When Masetto passes with a band of armed peasants bent on punishing Giovanni, the disguised rake gives them false directions, then beats up Masetto. In a passageway, Elvira and Leporello are surprised by Anna, Ottavio, Zerlina and Masetto, who, mistaking s,trrvant for master, threaten Leporello. He reveals his identity and escapes. When Anna departs, Ottavio affirms his confidence in their love.
Leporello catches up with his master in a cemetery, where a voice warns Giovanni of his doom. This is the statue of the Commendatore, which the Don proposes Leporello invite to dinner. In her home, Anna, still in mourning puts off Ottavio's offer of marriage until her father is avenged. Leporello is serving Giovanni's dinner when Elvira rushes in, begging the Don, whom she still loves, to reform. But he waves her out contemptuously. At the door, her screams announce the arrival of the Gommendatore's statue. Giovanni boldly refuses warnings to repent, even in the face of death. Flames engulf his house, and the sinner is dragged to hell. The mood changes, and the survivors join in a sextet in which they plan their future and recite themoral: such is the fate of a wrongdoer.
AN APOLOGY: Mozart's genius has endured for hundreds of years. We only wish that film was as future proof! Unfortunately this, the only available print of "Don Giovanni", has not passed the test of time and has faded badly. The fires of Hell are not so much flaming red as flickering pink and everthing else is turning sepia. We do hope your enjoyment of the drama and, above all, the music is not completely spoiled by this sad deterioration.
The Dish
2000 - Dir.: Rob Sitch
Shown at The FeckenOdeon on 29th January, 2005
Just, for a moment, imagine that the powers that be had planted a great big satellite tracking dish on the outskirts of Feckenham - in the middle of the cricket field for instance. No, forget about the planning row - it's there. It's a fact - And it's about to be the single most important cog in the machine that's about to bring pictures to the world of the most spectacular event in the history of mankind... The Parish Council is swelling with civic pride, the pubs have ordered extra beer and everything is set and then one of Feckenham's legendary power cuts strikes. Transpose this scenario to the little town of Parkes in Australia and you have the story of "The Dish". In 1969 Parkes tracking station was the only one in the southern hemisphere capable of picking up the feeble signals from the Lunar Module at the time man first set foot on the Moon. Like many of the modern films we've shown at The FeckenOdeon "The Dish" looks at a big event through the eyes of ordinary people. The crew at Parkes made it possible for Neil Armstrong's "one small step for man" to be seen by six hundred million people, or one fifth of the world's population at the time. While "The Dish" may not be a "giant leap for mankind", it's a quietly moving film that delights in small things.
The film is set in the town of Parkes, in New South Wales, Australia, but was actually filmed in Forbes, which is a neighbouring town a few miles down the road. Parkes has changed over the last 30 years, but Forbes hasn't changed as much - Forbes still looked like a 1960s town, like Parkes did 30 years before.
Shown at The FeckenOdeon on 29th January, 2005
Just, for a moment, imagine that the powers that be had planted a great big satellite tracking dish on the outskirts of Feckenham - in the middle of the cricket field for instance. No, forget about the planning row - it's there. It's a fact - And it's about to be the single most important cog in the machine that's about to bring pictures to the world of the most spectacular event in the history of mankind... The Parish Council is swelling with civic pride, the pubs have ordered extra beer and everything is set and then one of Feckenham's legendary power cuts strikes. Transpose this scenario to the little town of Parkes in Australia and you have the story of "The Dish". In 1969 Parkes tracking station was the only one in the southern hemisphere capable of picking up the feeble signals from the Lunar Module at the time man first set foot on the Moon. Like many of the modern films we've shown at The FeckenOdeon "The Dish" looks at a big event through the eyes of ordinary people. The crew at Parkes made it possible for Neil Armstrong's "one small step for man" to be seen by six hundred million people, or one fifth of the world's population at the time. While "The Dish" may not be a "giant leap for mankind", it's a quietly moving film that delights in small things.
The film is set in the town of Parkes, in New South Wales, Australia, but was actually filmed in Forbes, which is a neighbouring town a few miles down the road. Parkes has changed over the last 30 years, but Forbes hasn't changed as much - Forbes still looked like a 1960s town, like Parkes did 30 years before.
Genevieve
1953 - Dir.: Henry Cornelius
Shown at The FeckenOdeon on 29th January, 2005
Many remember "Genevieve" as the best Ealing comedy that never was. Given its storyline and pedigree it is very easy to understand why. Its director Henry Cornelius had in fact joined the studio in 1944 as a producer and in 1949 directed their classic comedy "Passport to Pimlico" before leaving to become an independent. In addition the screenplay is by William Rose, who would later pen such classic Ealing comedies as "The Ladykillers". Cornelius even offered the project to Ealing Studios, but Michael Balcon turned it down. The film was eventually produced by Rank, but with a budget so meagre that most of the shooting was accomplished in and around their Pinewood studios in Buckinghamshire, with just a few days of location filming.
Larry Adler's score for harmonica and small orchestra also contributed to the film's distinctive quality, although his name was removed from American prints of the film as at that time he was a victim of the McCarthy blacklist; the credit went instead to Muir Mathieson.
• Genevieve is a twin-cylinder 10/12 hp Darracq built in Paris in 1904. After the film she was sold and shipped to New Zealand and later to Australia. In 1993 she was acquired by the Louwman National Motor Museum at Ramsdonkyveer, Holland - where she still resides.
• Alexander Darracq was a man who didn't like driving cars or being driven in them. Darracq preferred making bicycles. But in 1896, he felt compelled to develop an electric car, which he later dismissed as being "worthless." After running into financial problems, his company was reformed with British capital, ultimately merging with Talbot and then Sunbeam before expiring in 1939.
Shown at The FeckenOdeon on 29th January, 2005
Many remember "Genevieve" as the best Ealing comedy that never was. Given its storyline and pedigree it is very easy to understand why. Its director Henry Cornelius had in fact joined the studio in 1944 as a producer and in 1949 directed their classic comedy "Passport to Pimlico" before leaving to become an independent. In addition the screenplay is by William Rose, who would later pen such classic Ealing comedies as "The Ladykillers". Cornelius even offered the project to Ealing Studios, but Michael Balcon turned it down. The film was eventually produced by Rank, but with a budget so meagre that most of the shooting was accomplished in and around their Pinewood studios in Buckinghamshire, with just a few days of location filming.
Larry Adler's score for harmonica and small orchestra also contributed to the film's distinctive quality, although his name was removed from American prints of the film as at that time he was a victim of the McCarthy blacklist; the credit went instead to Muir Mathieson.
• Genevieve is a twin-cylinder 10/12 hp Darracq built in Paris in 1904. After the film she was sold and shipped to New Zealand and later to Australia. In 1993 she was acquired by the Louwman National Motor Museum at Ramsdonkyveer, Holland - where she still resides.
• Alexander Darracq was a man who didn't like driving cars or being driven in them. Darracq preferred making bicycles. But in 1896, he felt compelled to develop an electric car, which he later dismissed as being "worthless." After running into financial problems, his company was reformed with British capital, ultimately merging with Talbot and then Sunbeam before expiring in 1939.
Top Hat
1935 - Dir.: Mark Sandrich
Shown at The FeckenOdeon on December 27th, 2004
The story, as you'll discover, is incidental to the music and dance - not many films could survive on such a minuscule plot, but somehow "Top Hat" is one that excels because of it. No one really cares how and why Fred and Ginger get together, just that they do.
Practically the entire cast of the 1934 hit "The Gay Divorcee" reunites for this frothy confection, along with director Mark Sandrich, designer Van Nest Polglase, and choreographer Hermes Pan. Irving Berlin provides a tuneful score, including "Cheek to Cheek," which provides a classic duet for Astaire and Rogers, and "Top Hat, White Tie and Tails," which remains one of Astaire's finest solo numbers. Polglase outdoes himself with sets both elegant and outrageous and Hermes Pan's choreography is as smooth as ever, but ultimately it's the grace and chemistry of the leads that makes "Top Hat" top entertainment.
It's worth remembering that the world was still in the grip of the Great Depression in 1935 - this kind of film was popular with the poorest audiences and allowed a temporary escape into into a world of luxury and excess. There's hardly a second of realism allowed to intrude - even the waters of the (studio) Venetian lagoon were dyed black to provide a greater contrast with the shimmering white buildings.... and swimming in the canals? Even today that'd be taking a risk!
Incidentally Eric Rhodes, who plays Bedinni and who specialised in funny Italians ("For zee woman, zee kiss; for zee man, zee sword!") was a native of Oklahoma - not many people know that.
Shown at The FeckenOdeon on December 27th, 2004
The story, as you'll discover, is incidental to the music and dance - not many films could survive on such a minuscule plot, but somehow "Top Hat" is one that excels because of it. No one really cares how and why Fred and Ginger get together, just that they do.
Practically the entire cast of the 1934 hit "The Gay Divorcee" reunites for this frothy confection, along with director Mark Sandrich, designer Van Nest Polglase, and choreographer Hermes Pan. Irving Berlin provides a tuneful score, including "Cheek to Cheek," which provides a classic duet for Astaire and Rogers, and "Top Hat, White Tie and Tails," which remains one of Astaire's finest solo numbers. Polglase outdoes himself with sets both elegant and outrageous and Hermes Pan's choreography is as smooth as ever, but ultimately it's the grace and chemistry of the leads that makes "Top Hat" top entertainment.
It's worth remembering that the world was still in the grip of the Great Depression in 1935 - this kind of film was popular with the poorest audiences and allowed a temporary escape into into a world of luxury and excess. There's hardly a second of realism allowed to intrude - even the waters of the (studio) Venetian lagoon were dyed black to provide a greater contrast with the shimmering white buildings.... and swimming in the canals? Even today that'd be taking a risk!
Incidentally Eric Rhodes, who plays Bedinni and who specialised in funny Italians ("For zee woman, zee kiss; for zee man, zee sword!") was a native of Oklahoma - not many people know that.
Calendar Girls
2003 - Dir.: Nigel Cole
Shown at The FeckenOdeon on November 27th, 2004
It's perhaps inevitable that the FeckenOdeon found it hard to resist showing this film in the Hall that has hosted literally thousands of Women's institute meetings - and continues to do so on the second Thursday of every month..... Feckenham WI have so far declined to give a practical demonstration - though members of the real life Calendar Girls from Highgyll W.I. make cameo appearances in the film.
This is the kind of good-humoured comedy that used to feature Margaret Rutherford, although Helen Mirren and Julie Waiters, its daring stars, would have curled Dame Margaret's eyebrows! Tim Firth and Juliette Towhidi infuse the script with a gentle, warm sense of humour. The British talent for self mockery saves us (and the ladies) from any embarrassment and we laugh along with the "Girls" rather than at them. The participant's sheer spirit makes them seem much younger than they appear, and their sheer fun is infectious. Modesty is mostly preserved - thank God for the flower arrangements! Like last season's "Waking Ned" this is a little celebration of maturity... and of a second childhood that is often much more fun than the first! It also proves that, given the chance, we can still make very fine films this side of the Atlantic.
• Contrary to the film's storyline, the head office of the Women's Institute supported and encouraged the publication of the calendar.
• The real women of Rylstone and District Women's Institute (all names and places have been changed in the film) raised over £600,000 for medical research.
Shown at The FeckenOdeon on November 27th, 2004
It's perhaps inevitable that the FeckenOdeon found it hard to resist showing this film in the Hall that has hosted literally thousands of Women's institute meetings - and continues to do so on the second Thursday of every month..... Feckenham WI have so far declined to give a practical demonstration - though members of the real life Calendar Girls from Highgyll W.I. make cameo appearances in the film.
This is the kind of good-humoured comedy that used to feature Margaret Rutherford, although Helen Mirren and Julie Waiters, its daring stars, would have curled Dame Margaret's eyebrows! Tim Firth and Juliette Towhidi infuse the script with a gentle, warm sense of humour. The British talent for self mockery saves us (and the ladies) from any embarrassment and we laugh along with the "Girls" rather than at them. The participant's sheer spirit makes them seem much younger than they appear, and their sheer fun is infectious. Modesty is mostly preserved - thank God for the flower arrangements! Like last season's "Waking Ned" this is a little celebration of maturity... and of a second childhood that is often much more fun than the first! It also proves that, given the chance, we can still make very fine films this side of the Atlantic.
• Contrary to the film's storyline, the head office of the Women's Institute supported and encouraged the publication of the calendar.
• The real women of Rylstone and District Women's Institute (all names and places have been changed in the film) raised over £600,000 for medical research.
Belleville Rendez-vous
2003 - Dir.: Sylvain Chomet
Shown at The FeckenOdeon on November 27th, 2004
Every so often the far fringes of animation cough up something so amazing that it's almost beyond criticism. It is safe to say you have never seen an animated film remotely like "Belleville Rendez-vous". With traditional pen-and-ink cartoons increasingly giving way to the popularity of computer animation, you may never have a chance to see another one quite like it again.
With contributions from teams of animators based in France, Belgium and Latvia, "Belleville Rendez-vous" (known to the rest of the world as "Les Triplettes de Belleville") is clearly the product of a single controlling imagination, that of the French comic-strip artist and filmmaker Sylvain Chomet, whose first feature this is. It's funny, bizarre and ultimately quite moving. With a bit of Tintin and Tati, Charlie Chaplin and Wallace and Gromit echoing in the pacing and comic sensibility, "Belleville Rendez-vous" conjures up a world that's totally surprising and sublime. Chomet and his animation crew have come up with a gem. It really is a dream come true.... though if you're having dreams like this perhaps you should seek help!
Shown at The FeckenOdeon on November 27th, 2004
Every so often the far fringes of animation cough up something so amazing that it's almost beyond criticism. It is safe to say you have never seen an animated film remotely like "Belleville Rendez-vous". With traditional pen-and-ink cartoons increasingly giving way to the popularity of computer animation, you may never have a chance to see another one quite like it again.
With contributions from teams of animators based in France, Belgium and Latvia, "Belleville Rendez-vous" (known to the rest of the world as "Les Triplettes de Belleville") is clearly the product of a single controlling imagination, that of the French comic-strip artist and filmmaker Sylvain Chomet, whose first feature this is. It's funny, bizarre and ultimately quite moving. With a bit of Tintin and Tati, Charlie Chaplin and Wallace and Gromit echoing in the pacing and comic sensibility, "Belleville Rendez-vous" conjures up a world that's totally surprising and sublime. Chomet and his animation crew have come up with a gem. It really is a dream come true.... though if you're having dreams like this perhaps you should seek help!
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