My friend Antony sent me a You Tube video, where the presenter discusses how films influenced Hopper’s work, and how those paintings in turn influenced film-makers. It is only 12 minutes long, and the comparisons are fascinating, at least to me. Anyone who enjoys films, and also likes Hopper’s paintings, should enjoy this video as much as I did.
Ever since they started to make films for entertainment, trains have been a popular inclusion. Brief research has shown me that there are 100 or more films with the bulk of the action taking place on a train, and hundreds more where a train features as part of the story. Perhaps the most well-known of these are the various film adaptations of Agatha Christie’s novel, ‘Murder On The Orient Express’, so I will not be mentioning that one here.
But I will be featuring some of the others I have seen, and how having characters trapped in the relative confines of a moving train can add tension and mystery, as well as a list of suspects for anything that happens during the journey.
Not all films featuring trains are mysteries though. Some are comedies, others are set during wars, and more recent ‘train films’ have involved futuristic scenarios, and even zombie invasions.
The Lady Vanishes. (1938)
Set in the pre-war European tensions of 1938, this film was directed by Alfred Hitchcock, and stars Margaret Lockwood and Michael Redgrave, alongside May Whitty, as ‘the lady who vanishes’. Travelling through a fictional country in Europe on a train, a young woman realises that her elderly travelling companion has vanished. She enlists the help of a young musicologist to search for the old lady, and what follows is a hugely enjoyable ‘whodunnit’ with drama and comedy combined. Despite being filmed at studios in London, causing the film to feel very ‘set-bound’ at times, that in no way spoils the enjoyment of a great film that got Hitchcock noticed by Hollywood.
The Train. (1964)
This is a WW2 French Resistance thriller, concerning Nazi plans to remove precious artworks from France to Germany, set in August 1944, and based on real events. Burt Lancaster stars as railway inspector Labiche, and gives his usual square-jawed and reliable performance. Other cast members include the excellent Paul Scofield as a German Colonel, and Jeanne Moreau as a hotel owner. Determined to sabotage the train to stop the art being stolen, Labiche uses his Resistance contacts and fellow railway workers to divert the train, much to the annoyance of the Germans. When this delaying tactic is discovered, he eventually manages to derail the train, saving the art for France.
This film has authenticity, and a lot of tension throughout. A convincing cast and a real feel of the period sets it apart too.
Von Ryan’s Express. (1965)
This is a POW escape film, set during WW2. British and American prisoners of war are due to be moved from a camp in Italy, following the Italian surrender. But a plan is hatched to take over the train, and divert it to Switzerland, a neutral country. Ryan is played by Frank Sinatra, who to be honest looks more like a singer than an Air Force officer. British interests are played by Trevor Howard, and John Leyton. Managing to overpower the German guards, the POWs wear their uniforms, and as the train travels through Italy, they work out a way to get the track switched for their train. On the way to Switzerland, they realise a second train is following them, and it becomes a race against time. At the border, it is decided that some men will get off the train and attack the German SS troops about to catch them. This sacrifice ensures the remainder will escape.
Like the previous film, this also manages to keep the tension high, and the viewer is never really sure if the POWs will pull off the escape. Although many of the characters are stereotypes, they all take it seriously, and that ensures it remains exciting right until the end.
Siver Streak. (1976)
This comedy thriller was the first pairing of Gene Wilder and Richard Pryor, along with a great cast including Ned Beatty and Jill Clayburgh. The setting is the train journey from Los Angeles to Chicago on a train named The Silver Streak. This film has a lot going for it. A snappy script, mistaken identity, wrong suspects, and a great finale on board the train that has now become a runaway, with nobody driving it. To say much more would spoil the fun, but if you have never seen this often madcap comedy, you will not be disappointed.
More up to date, with a post-apocalyptic story based on a graphic novel that has an element of Steampunk added too. The only people left on Earth after a climate change catastrophe all live on a train that never stops, the Snowpiercer of the title. The train is self-powered by an ingenious device, and makes a constant loop in the wintry conditions that now dominate the planet. Societal and class structures are maintained, with working people living in poor conditions at the back, and the wealthy enjoying luxury at the front. Eventually, the low class passengers stage a revolt, working their way through the train and fighting the guards trying to stop them.
The cast list is impressive. John Hurt, Tilda Swinton, Ed Harris, and Chris Evans as the leader of the revolutionaries. With some scenes filmed in specially constructed train carriages, location filming in snowy wastes, and elements of CGI that are not really intrusive, this is a good sci-fi action-adventure that doesn’t try to leave us with too many ends untied.
Train To Busan. (2016)
Last but not least, for my money the best zombie-horror film made so far, and set on a train where nobody can escape the zombies! Made in South Korea, the cast list will not mean much to anyone, but this is a first-rate action-horror, with a relentless pace, incredible set-pieces, and breathtaking action from the start. The story is simple enough, concerning travellers taking a train from Seoul to Busan just as a zombie outbreak begins in the capital. One zombie manages to get on board and infect someone else, and so on. Those not affected have to fight to survive, as the train speeds through the countryside. So much better than it souunds, this film really is outstandingly good.
There you have it. Six examples of films where the train is as much the star as any of the actors. There are many more similar films to discover, but I hope you will take my recommendations and watch these when you can.
There are certain films that a serious film fan just should not admit to liking. They should revile them, pour criticism upon them, and expose their flaws and weaknesses, all the time secretly enjoying them, in private. The following films all fall into this category, for some reason or another. Trouble is, I really like them all, and I will try to explain why.
Pretty in Pink. A 1986 American romantic drama, with High School kids fretting over relationships and Prom dances. Come on, me? It should just go into the bin, surely? But no, you would miss out on some great performances, good characterisations, and some young actors really stepping up, to lift his film out of its brat-pack roots. You even get Harry Dean Stanton, as the pouting Molly Ringwald’s dad. This hackneyed tale of poor girl from the wrong side of the tracks, falling for rich boy…
In 2015, I wrote about a trip to our local cinema in Dereham. I remarked that we were the only two people in the cinema for the film. At least until it had already started, when two others came into the auditorium and sat at the back. When we bought the tickets on arrival, the lady cashier said to us, “Sit anywhere you like”. Julie took a photo of me sitting there when we were the only two people waiting for the film to start.
It has been some time since I watched a western, but this one was on TV with no advertisement breaks, and the cast list appealed to me. This is an adaptation of a novel. I haven’t read the book, so will not be commenting if it is true to the original story.
1851, and the Gold Rush is in full swing on the west coast of America. A powerful and mysterious man, known only as The Commodore, sends two hired killers on a mission to find and kill a man named Warm. They are the mis-matched brothers named Eli and Charlie Sisters.
Meanwhile, The Commodore has engaged the services of a well-spoken and efficient private detective. His name is John Morris, and he is on the trail of Warm, so he can find him and hold him captive until the brothers arrive to do the dirty work. Warm has a secret chemical formula for identifying gold under water at night. The Commodore wants Eli and Charlie to torture the chemist, write down the formula, and then kill him.
So the quest begins.
We soon discover that Charlie is a quick-tempered drunkard, who is ready to cause trouble and shoot off his gun at every opportunity. By contrast, older brother Eli is a relatively gentle person, pining for his beloved schoolteacher, who he had to leave behind in their home town. Morris finds Warm and pretends to become his friend, waiting for the opportunity to detain him pending the brothers’ arrival.
But they are delayed by all kinds of obstacles. One of their horses is attacked by a bear, and while sleeping one night, Eli is bitten by a huge spider, almost dying from the poisonous bite. When they finally arrive at the rendezvous in Jacksonville, they learn that Morris and Warm have teamed up, and fled to the gold fields. In the next town, they are betrayed by a conniving female saloon-keeper, and have to shoot their way out to freedom.
When they finally catch up with the chemist and the detctive in the California gold fields, things do not turn out as the viewer might suspect.
So, back to that casting, which made me watch the film in the first place.
John C Reilly is the older brother, Eli. Always a reliable actor, and completely convincing as the ruthless killer with a warm heart inside. His brother Charlie is played by Joaquin Phoenix. I can often take or leave that actor, and in this film I didn’t think it mattered who played the brother. Being aggressive and acting drunk has been done by many before, and some have done it better.
British actor Riz Ahmed plays the chemist, Warm. Again, he does a good enough job, but I could have thought of a dozen others who would have done it just as well. Rutger Hauer, near the end of his life, has a mere cameo role as The Commodore. His longest scene is in a coffin, so his talent was rather wasted.
It turned out to be Jake Gyllenhall who stole the film for me, a close second to John C Reilly. His erudite detective was a compelling character portrayal, and I would have liked to have seen even more of him in that film.
Full marks for historical accuracy too. From the saloon interiors, the costume department, and even the weapons used by everyone totin’ a gun.
Cinematography was first rate, as the film is undoubtedly ‘photographed’. It is a film of two halves in many ways, and the second half is far superior to the first. So, stick with it, and you will be rewarded by the latter section. By the way, the soundtrack is really good!
Far from being a landmark film, but better than many I have seen in the same genre.
(The first 25 seconds of this trailer is intentionally dark)
I have just been watching a feature on the BBC News, promoting the remake of the film musical ‘West Side Story’, directed by Steven Spielberg.
Being old enough to have seen the 1961 film on release in the cinema, it remained a musical I really liked, in a genre that I don’t generally gravitate to. When I heard the film was being remade for release in 2021, I really couldn’t see the point. After all, the songs and music are the same, and the story virtually unchanged. The original film is still amazing to watch, even sixty years after it was released.
So why do it? Why not just show the original in cinemas again, for a ‘new audience’?
Watching Spielberg being interviewed this morning, I got my answer.
The original film is no longer considered to be ‘representative’. In the new age of political correctness, where history has to be reworked and authenticated to satisfy the media and some minorities, it seems that Mr Spielberg did not think there were enough ‘real Puerto Ricans’ in the original version.
Of course, Natalie Wood was the lead female character, Maria, and she was a ‘white American’ actress. Rita Moreno co-starred and she was Puerto Rican. But there were not enough minority actors in the film to satisfy Mr Spielberg, so he sought to remake it to ‘rectify that fault’.
If we follow this through, then I suspect many old musicals will have to be remade, and very soon.
‘The King and I’ starred Yul Brynner, playing the King of Thailand.
How dare they not cast a Thai actor in the role?
‘Cabaret’ stars Joel Grey as the master of ceremonies in the Kit Kat club.
Come on, we know he’s not German. Get that film remade tout suite!
‘The Sound Of Music’ tried to fool us into believing that Julie Andrews and Christopher Plummer were Austrians.
Why didn’t they use Austrian actors? I want to know!
‘Chitty Chitty Bang Bang’ starred Dick Van Dyke as an English professor.
We all know he is American, and there were plenty of suitable actors available in England. Get that remake made!
I could go on, but will spare you more of my sarcasm.
It is just complete nonsense.
No thanks, Mr Spielberg. If I want to watch West Side Story again, it will be the 1961 version for me.
This is the second film adaptation of Daphne Du Marier’s novel. The first was in 1952, starring Richard Burton and Olivia de Havilland. Unfortunately, I have never seen the 1952 version, so the modern remake is spared my usual complaint about remakes on this occasion.
It is an historical romantic drama, set in England and Italy during the early 19th century. Trying to avoid spoilers, I can only give a vague outline of the plot. A young orphan is taken in and raised by his cousin, living a comfortable life in 1830s Cornwall. Philip adores Ambrose, the older relative, who is exceptionally kind to him.
Ambrose decides to travel to Italy, to improve his health in the sunny climate. Philip is left in the care of his godfather, Mr Kendall, and his daughter Louise. She grows very close to Philip, and expects that one day they will marry. News arrives from Italy. Ambrose has fallen madly in love with a widow named Rachel, and they are married. She also happens to be a distant cousin of the family.
Very soon, letters arrive from Philip. His illness is becoming worse, and he suspects Rachel and her lawyer friend, Mr Rainaldi, of colluding to poison him. Young Philip is worried, so makes the long journey to Florence to confront Rachel. On arrival, he is devastated to discover that Ambrose is dead and buried. Rachel has left the country, and the lawyer Rainaldi tells him she has left everything to him, in accordance with Ambrose’s original will.
Not long after he returns to England, Rachel arrives at the family home in Cornwall. Philip is immediately smitten by the beauty of the older woman, and begins to lavish gifts and attention on her, much to the chagrin of Mr Kendall, and his daughter Louise. He tells Rachel he wants her to have the inheritance, as Ambrose’s widow, but she declines. Eventually, he forces it on her legally, along with the extensive collection of jewels once owned by his mother.
But he soon starts to become ill, with similar symptoms to those suffered by cousin Ambrose. Then he finds letters in a trunk of books left by Ambrose, and becomes convinced that Rachel is guilty. She stalls his concerns by becoming his lover, but the tension builds when she refuses to marry him.
That’s it for the story. I will say it has a satisfying twist that I suspected, but still enjoyed. Period detail is wonderful, and the casting feels just perfect too. Rachel Weisz as Rachel is simply lovely to look at, as well as playing her role to perfection. Sam Clafin is very convincing as the naive, love-struck young man, and the under-used Iain Glen strikes just the right note as the concerned godfather.
An exceptionally good film that I enjoyed much more than I expected to.
(For the information of UK readers, this should be available free on All4, the Channel 4 streaming service.)
The Antipodean film buff, and blogger extraordinaire, James Curnow, recently added an interesting post on his website, at http://curnblog.com/ It was a look at twelve Australian films, and he wittily entitled it, ‘Ozpolitation: Twelve Australian Exploitation Classics.’ This was a play on the often-used term, ‘Blaxpolitation’, common in film writing to describe a genre of American films that featured predominantly black casts, small budgets, huge Afro hairstyles, and jive-talking leading men. These films were mostly made in the 1970’s, taking popular cinematic subjects of the day, and re-making them with a black cast, and lots of cultural references relevant to the largely black-populated districts of America’s cities. Well-known examples include; ‘Cleopatra Jones’, ‘Car Wash’, ‘Shaft’, and ‘Superfly’. They usually had soundtracks featuring leading black artists of the day, including such leading lights as Curtis Mayfield, and Isaac Hayes.
This gave me food for thought. British Cinema has not escaped this…
I am not a sports fan. That marks me out as weird, in England. The European football championships are on TV. Most days, they are on both sides, no matter how obscure the match, or which teams are playing. So when I settle down in the evening, I have to search the channels that do not show sport for something to watch.
That is how I found this film, which I had never heard of before, for some reason. (British readers should be able to find this for free, on ‘All-4’.)
The action begins in 1969, at a hotel that once played host to high-rollers and famous people. The El Royale straddles the border between California and Nevada, with the state line quite literally running through the centre of the building. Its glory has long-faded, and the location off the beaten track no longer attracts holiday-makers and gamblers to the area around Reno and Lake Tahoe.
Ten years earlier, something happened at the hotel. An event that will bring a small group of strangers together on a rainy night.
Scene-setting begins with the separate arrivals of a Priest, and a black woman. Inside the hotel, they find a vacuum cleaner salesman waiting in the huge lobby. He is noisy and brash, and explains to them that there is no clerk around, despite having rung the bell on the counter numerous times.
When the young clerk finally shows up, we soon discover that he is the only person working there. He also cleans the rooms, serves at the bar, and does anything else that needs doing. He actively tries to discourage them from taking rooms, but they all insist on booking in.
Then an edgy young woman shows up, also looking for a room. She is rude and aggressive, for no good reason.
Once each person receives their key, we begin to find out why they are there, and get each backstory through flashbacks. Not only does each one of them have their own secrets and demons, the hotel itself is keeping a darker secret from all of them. And not one of the characters is who they appear to be on the surface, including the clerk. The tension builds as they interact, and it becomes clear that something bad is going to happen.
And it does.
Sorry, but without spoilers that’s it. I can tell you that this is very much ‘film noir’ for the 21st century, despite the often lurid use of colour. The script is spot on, the sets of the hotel are simply amazing, and the pop-music of the era soundtrack is a complete delight. Everyone in the small cast plays their role to perfection, and even after the ‘reveal’, there are still enough surprises in store to keep your attention in quite a long film.
The flashbacks are very well done, and not remotely confusing. Period feel is completely authentic throughout, as are costume and vehicles. That cast includes Jeff Bridges as The Priest, Dakota Johnson as the edgy woman, John Hamm as the vacuum cleaner salesman, and Chris Hemsworth as a nasty man who shows up later. And it’s a great cast!
This feels like the Quentin Tarantino film that Quentin didn’t get around to making. Quirky, occasionally violent, and all to a soundtrack of appropriate music, it has his hallmarks. It’s certainly as good as most of his offerings, and better than some. On release, it flopped, and lost money on its budget. Despite critical acclaim, the public stayed away. Maybe because the director was Drew Goddard, and not Tarantino.
Me? I loved it! It looks good, and it is as good as it looks.
I recently reblogged my old 2013 post about the depiction of some famous artists in films made about their lives. Many readers suggested other films about different artists, some of which had not been released at the time, and others which I had seen but had left out of the original post. I suggested I might publish a second post later this year, but as it is a damp and dismal afternoon in Beetley, I have done it today.
I have only featured films I have actually seen. I know there are many more that I have not got around to viewing.
The Agony And The Ecstasy. (1965)
I was only 14 years old when I saw this at the cinema. It was promoted as an epic tale of the life of Michaelangelo, starring Charlton Heston as the painter and sculptor, and Rex Harrison as The Pope. The film was produced and directed by Carol Reed, one of Britain’s best. It turned out to be mainly about Michaelangelo’s struggle to paint the ceiling of the Sistine Chapel. Not wanting the job, then unhappy with the finished result.
All this is set around the intense world of politics and war that beset the region in the 16th century.
The result is rather stodgy, to be honest. It felt overlong at 138 minutes, and I was shuffling in my seat long before the halfway point. The worthy supporting cast members give it their best shot, sets and scenery are well-handled, (they recreated the Sistine Chapel on a film set) but Heston overplays his role, and you cannot fail to notice that.
Here’s the official trailer.
Lust For Life. (1956)
Kirk Douglas does very well as the troubled Vincent Van Gogh in this film, and we also get another artist, Paul Gaugin, played by Anthony Quinn. An indication of how good it is was a Golden Globe for Douglas as Best Actor, and an Oscar for Quinn as best supporting actor.
We get Vincent’s early life, his departure to Paris with his brother Theo, and his meeting with Gaugin. Kirk Douglas throws everything into the role, and I found him completely convincing. (Yes, the ear cutting scene is included) His descent into madness and hallucinataions is well-handled, and the recreations of the original paintings good enough to make it feel as if Kirk is painting them.
Good sets, some location filming, and nice period feel, great supporting cast, and exceptionally good use of colour make this film stand out. It is still worth seeing now, for anyone interested in the painter and his work, or to watch Kirk Douglas giving one of his best ever performances.
Here’s an old trailer.
Moulin Rouge. (1952)
Thankfully not the awful Baz Luhrmann musical from 2001, this is a biopic of the painter Henri de Toulouse-Lautrec, starring Jose Ferrer and directed by John Huston. Courtesy of a flashback, we learn that the young Henri suffered injuries in a fall as a child. This caused his legs to be stunted, giving him a lot of pain, and also making him exceptionally odd in appearance.
Unhappy, unlucky in love, and convinced that life will hold no joy for him, he loses himself in his painting, moving to Paris to begin a career. There he spends his time with dancers, entertainers, and prostitutes. He favours the nightclub ‘Moulin Rouge’, where he paints advertising posters of the stars and leading ladies, all the time drinking heavily. There he falls in love with a prostitute, Marie, but their relationship is turbulent, and she takes advantage of him.
As Henri continues to try to find love, he is slowly drinking himself to death, resulting in another accident when he falls down some stairs.
This is a remarkable film; with wonderful recreations of the Moulin Rouge, convincing characters, and a real feel of the turn of the century setting. It is also a tour de force from Ferrer, as he had to work with various props including knee pads and concealed pits to give the impression of his incredibly stunted legs. He also plays his own father, early in the film. I have seen it many times, and even now it is hard to believe it was released the same year I was born.
Here is the official trailer.
I saw this on TV a few years ago, and really liked it. English painter Dora Carrington is played by Emma Thompson, with the marvellous Jonathan Pryce as Lytton Strachey, her destructive love interest. This film has sexual themes, including homosexuality, and ‘sexual confusion’. Filmed as chapters, it covers a time period from 1915-1932. The film also features a particularly good score, with the music for the soundtrack composed by the talented Michael Nyman.
The supporting cast deserves mention, as it includes some of the best British character actors of the time. Samuel West, Penelope Wilton, Rufus Sewell, Jeremy Northam, and Janet McTeer. (As well as many more) Sets and costumes are never less than flawless, and the direction from Christopher Hampton is perfect. This is as much a film about Stracey though, and was actually adapted from a book about him, choosing to feature his unusual realtionship with Dora as its main theme.
Serving as an acting masterclass from many of the best in the business, this film rewards the serious viewer who is not deterred by some of the content and themes. Pryce and Thompson are simply outstanding.
Here’s the trailer.
British artist J.M.W.Turner is played by Timothy Spall, who won the Palme’Dor at Cannes for Best Actor in the role. He is joined by a fine supporting cast, including Lesley Manville and Marion Bailey, with direction from the wonderful Mike Leigh. The story looks at the last twenty-five years of Turner’s life, (he died in 1851) including his relationships with the women in his life, and his unusual approach to his painting.
In all honesty, it doesn’t get much better than this, especially if you are a fan of both history, and Turner’s art. Spall is amazing, completely inhabiting the role of the painter. Cinematography, sets, location filming, design, costumes, casting, nothing lets down the viewer. Direction and screenplay from Mike Leigh is as good as ever, and the whole film is a cinema experience and a feast for the eyes. Not much more to say really. Just watch it when you can.
Some reviewers called this film ‘A masterpiece’. No argument from me.
Here is the official trailer.
That’s it from me. I don’t think I have seen any other films about the lives of artists and painters. If I remember one, I will do another post. 🙂