Capital Celluloid 2017 - Day 131: Fri May 12

Despair (Fassbinder, 1978): BFI Southbank, Studio, 8.45pm


The excellent Rainer Werner Fassbinder season continues at the BFI Southbank with this screening. Full details of the season can be found here. This film is also being screened on May 15th and 28th you can find all the details here.

Time Out review:
This indelicate, often deliciously flip 1978 psychodrama from the self-immolating genius of the New German Cinema, Rainer Werner Fassbinder, was the director’s first English-language production. With Tom Stoppard roped in for ‘dramatisation’ duties and Dirk Bogarde donning wild screen-print pyjamas as the lipsmacking lead, ‘Despair’ is like a homoerotic ‘Vertigo’ filmed through a disco ball. An intriguing Nabokov adaptation set among a small circle of eccentric petit bourgeois in Weimar-era Berlin, it’s a  work with an interest in – as Bogarde’s repressed, dissident chocolatier announces – ‘dissociation’, or split personalities. Living in kitsch finery with his dim-witted wife (Andréa Ferréol), who is having a secret affair with her swarthy red-headed boho cousin (Volker Spengler), Bogarde’s Hermann is one day convinced he’s seen his own doppelgänger and hatches an insane, murderous plan to trade one existence for another. Though ostensibly psychological in provenance, the reasons for his desire to become someone else run the gamut from festering middle class ennui to the inexorable rise of the Nazi party (he’s half Jewish). Though Stoppard’s pleasingly ripe dialogue (‘Have you no sense of indecency!’) leavens the film’s supremely serious investigation of a full-scale identity crisis, it’s still tough to take Hermann’s proto-Lynchian scheme seriously. Composer Peer Raben concocts an apt soundtrack of psychedelic Muzak, while Fassbinder’s regular DoP, Michael Ballhaus, bounces shots off mirrors or refracts them through windows, creating numerous clever visual symmetries which accentuate the central theme. It doesn’t manage to scale the sublime heights of the director’s other ‘body swap’ film of that year, ‘In a Year with 13 Moons’, but it’s still effortlessly literate, gaudily stylish and a very worthy recipient for this glowing HD restoration.
David Jenkins

Here (and above) is the trailer.

Capital Celluloid 2017 - Day 130: Thu May 11

Bolweiser (Fassbinder, 1977): BFI Southbank, NFT2, 8.40pm


The excellent Rainer Werner Fassbinder season continues at the BFI Southbank with this 35mm screening. Full details of the season can be found here. This film is also being screened on May 6th and you can find all the details here.

Time Out review:
Marvellous performance from Elisabeth Trissenaar - justifiably compared to Garbo and Dietrich - as the enigmatically errant wife of a provincial stationmaster, doting but hardly of the stallion breed. In mood, something of a cross between Fear of Fear and Chinese Roulette as Fassbinder continues his Sirkian task of exploring the cheerless grey world of petit bourgeois morality (the time is just after the First World War), highlighting a series of melodramatic sexual betrayals in order to dissect (with surprising compassion) the tissue of lies and deceptions that makes them inevitable while simultaneously keeping society going (towards the fascism that clearly lies just ahead). A feature drawn from the original two-part, 200-minute TV film.

Tony Rayns

Here (and above) is an extract.

Capital Celluloid 2017 - Day 129: Wed May 10

Chinese Roulette (Fassbinder, 1976): BFI Southbank, NFT1, 6.15pm


The excellent Rainer Werner Fassbinder season continues at the BFI Southbank with this screening. Full details of the season can be found here. This film is also being screened on May 3rd and 5th and you can find all the details here.

Time Out review:
Made after Fassbinder disbanded his 'stock company' of actors, Chinese Roulette is quite different from his earlier bourgeois satires. The script is boldly non-naturalistic: a crippled girl connives to get herself, both her parents and their respective lovers to a country house all at the same time, for a weekend of intense embarrassments. And the style, all double reflections and shifting points of view, suspends the cast like flies in an amber of deceptions, neuroses and panics. The humour fits the cruelty as a boot fits a groin.

Tony Rayns


Here (and above) is the opening scene.

Capital Celluloid 2017 - Day 128: Tue May 9

No1: Brassed Off (Herman, 1996): Royal Albert Hall, 7pm


Royal Albert Hall introduction:
British classic Brassed Off comes to the Royal Albert Hall for a special screening with live accompaniment by the brass band that inspired the story. This 1996 bittersweet comedy drama, written and directed by Mark Herman, stars Pete Postlethwaite as Danny, the devoted leader of the Grimley Colliery Band, who is determined to show the Tories ‘we are not defeated’. Ewan McGregor, Stephen Tompkinson and Tara Fitzgerald are stand-outs in an impressive ensemble cast. Relive a piece of British cinema history as the Grimethorpe Colliery Band and members of the Royal Philharmonic Concert Orchestra perform the score live at the iconic venue at the film’s heart, alongside the film on the big screen. This special screening will be preceded by an on-stage Q&A hosted by Jim Carter, with cast members including Tara Fitzgerald, Stephen Tompkinson, Philip Jackson, Mary Healey, Sue Johnston, Melanie Hill, writer/director Mark Herman and producer Steve Abbott.
Time Out review:
This is an angry, tragic film, which softens you up with a few off-the-peg stereotypes and colloquial laughs and then rams them back down your throat. Pete Postlethwaite is Danny, the devoted leader of the Grimley Colliery Band. Music is so important to him, he barely notices that the pit's on the verge of closure, and can't begin to understand why members like Andy (Ewan McGregor), Harry (Jim Carter) and even his own son, Phil (Stephen Tompkinson), are finding it hard to cough up their subs. Matters come to a head with the band competing in the national championships and the miners voting for voluntary redundancy. Writer/director Mark Herman pulls off a popular, proletarian comedy which might actually appeal to the people it's about. He uses comic shorthand - not all the relationships are as developed as they might be - but captures a credible sense of the tensions within the community at large, and the devastating impact of the pit closures. He's not shy about laying the blame, either. Tompkinson, Postlethwaite and Carter are stand-outs in an impressive ensemble cast, but for many, the brass band music will come as the real revelation.

Tom Charity
Here (and above) is the trailer.

****************

No 2 The Edge of Seventeen (Fremon Craig, 2016):
Rooftop Cinema, Bussey Building, Peckham, 8.30pm



I have been to screenings at the excellent Rooftop Film Club and was very impressed. Seating is in directors' chairs and there's lovely food and drink and blankets to keep warm in cool weather. Here is a list of their upcoming attractions.

Chicago Reader review:
A garrulous, unpopular high school student (Hailee Steinfeld) seethes when her studly brother (Blake Jenner) begins dating her only friend (Haley Lu Richardson). This is the first feature by writer-director Kelly Fremon Craig, and despite the conventional teenpic narrative, her protagonist is richly conceived: in contrast to the stereotypical four-eyed nerd, she's uncool in the way that most teenagers are, hovering awkwardly outside of social circles and storing up bitterness for every perceived slight. Steinfeld (True Grit) is well cast in the role, proving she can shine with the right material; the supporting cast includes Woody Harrelson, Kyra Sedgwick, and Hayden Szeto.

Leah Pickett

Here (and above) is the trailer. 

Capital Celluloid 2017 - Day 127: Mon May 8

Lemora: A Child's Tale of the Supernatural (Blackburn, 1975): Barbican Cinema, 8.45pm


This 16mm screening is part of the Cigarette Burns season 'Into The Woods' at the Barbican. You can find all the details of the season here.

Barbican introduction:
When angelic Lila Lee's gangster father is killed, she is lured to the town of Astaroth on the promise of their being reunited. On the way, Lila gets lost in the woods and is attacked by forest-dwelling creatures. The mysterious Lemora comes to her rescue and, taking Lila under her wing, escorts her onwards to Astaroth. Inevitably things do not go quite to plan… This obscure little independent American film, a City of the Dead inspired fairy-tale, features the singular and legendary Cheryl Rainbeaux Smith in one of her most loved roles.

Here (and above) is the trailer.

Capital Celluloid 2017 - Day 126: Sun May 7

The Killing (Kubrick, 1956): Close-Up Cinema, 8pm


This 35mm screening is part of a Stanley Kubrick season at Close-Up Cinema. You can find all the details of the season here.

Chicago Reader review:
Arguably Stanley Kubrick's most perfectly conceived and executed film, this 1956 noirish thriller utilizes an intricate overlapping time structure to depict the planning and execution of a plot to steal $2 million from a racetrack. Adapted by Kubrick from Lionel White's 
Clean Break, with an extraordinary gallery of B players: Sterling Hayden, Marie Windsor, J.C. Flippen, Elisha Cook Jr., Coleen Gray, Vince Edwards, Ted de Corsia, Joe Sawyer, and the unforgettable Timothy Carey. Orson Welles was so taken with this film that after seeing it he declared Kubrick could do no wrong; not to be missed.
Jonathan Rosenabum

Here (and above) is the trailer.

Capital Celluloid 2017 - Day 125: Sat May 6

A Canterbury Tale (Powell & Pressburger, 1943): BFI Southbank, NFT2, 3.30pm


This 35mm screening of one of the most extraordinary films ever made in Britain is part of the 'Girls Like Us' season at BFI Southbank. You can find the full details of the season here. This film is also being shown on May 13th. Details here.

Critic and novelist Xan Brooks has written a beautiful piece on Michael Powell and Emeric Pressburger's film for the Guardian which you can read here.

Chicago Reader review:
Very nearly plotless, this 1944 film by Michael Powell and Emeric Pressburger represents one of the few times the narrative cinema has approached the lyrical ideal. Crossing wartime Britain, a group of travelers—including an American GI, a young woman from London, and an English officer—linger in a small farming village, ostensibly to solve a peculiar mystery (someone is putting glue in the local girls' hair), but really because of the spell (quite literal, in P and P's mystical vision) cast upon them by the countryside. Over the hill lies Canterbury Cathedral, and as parallels begin to emerge with Chaucer's pilgrims, the characters find themselves being drawn to it, for a soft-pedaled climax that represents the fulfillment of their individual quests. Strange and wonderful.
Dave Kehr

Here (and above) ... an extract ... and all you could wish for from a film.