TIME WITHOUT PITY continues my exploration of the work of Joseph Losey -- pith helmet on, machete in hand.

The plot -- Michael Redgrave is an alcoholic novelist newly emerged from a sanatorium to discover his son convicted of murder and due to be executed. Armed only with an unshakable faith in his boy's innocence, Redgrave attempts to redeem his dissolute life and failed parenthood by finding some "tangible evidence" to save the son from execution.

The script is faintly derived from Emlyn Williams' play Someone Waiting, but screenwriter Ben Barzman  (a fellow blacklistee of Losey) has completely exploded the plot and reassembled it in a radical new shape: Williams' play takes place entirely AFTER the son's execution. Despite completely remodelling the narrative trajectory, Barzman retains most of Williams' characters, and some of the clues by which the murder is cunningly solved, including a very unusual alibi.

The film boldly begins by revealing the true killer, in a starkly lit murder scene that certainly catches the attention, with Tristram Carey's clamorous score blasting at us, swaying lights and looming shadows, a sexy victim, and the bulbous form of Leo "Number Two" McKern. Nevertheless, I felt it may have been a mistake to discard any mystery at this early point. It's true that Leo McKern turning out to be the killer would be unlikely to surprise anyone, but perhaps a solution might have been to recast the part with someone softer and rewrite the character to make him less of a shouty caricature of capitalist vulgarity. Without someone as blazingly guilty as McKern, naturally shifty performers like Paul Daneman and Ann Todd would have moved into prime suspect mode. But then we wouldn't have McKern, which would be kind of a shame.

As Redgrave begins to investigate, Losey lets rips with some mirror-maze visuals and allows us to see just how pathetic a figure the hero is. This really works. Not only is the man faced with a horrific deadline (like THE BIG NIGHT, this film compresses its narrative into a tight frame), but he's hopelessly ill-equipped, both physically and psychologically, to tackle the task in hand. All he has going for him is utter desperation.

Redgrave is the perfect man for the job -- in his youth, the kind of light comedian Britain abounded in, as demonstrated in Hitchcock's THE LADY VANISHES, by middle age Redgrave was our finest neurotic, able to make weakness of any kind both sympathetic and compelling. He's perfectly fitted to this role, and makes one wish the film were about, say, 15% better to bring it up to his superb level. 

Guest stars! Peter Cushing as an expository plot function; Joan Plowright as a showgirl (!); Renee Houston as a drunken Scotswoman surrounded by clocks. Houston, a recent discovery of ours, brings a welcome touch of music hall grotesquerie to any film. Here she's in full harridan mode, with Bride of Frankenstein hair, but brings enough nuance to her role to justify the excessive symbolism of her cacophonously ticking, ringing and chiming flat. Hefting a clock, she slurs:

"One of the little pleasures in life, Mr. Gage, I can now give myself: just to hear it ring, and know you don't have to go anywhere."

Good scenes like the above, and each of Redgrave's painful visits to his son (each starting with calm and reconciliation, degenerating into despair and recrimination, driving home more fully each time what a failure our hero is), are somewhat let down by bad ones. A visit to the offices of an MP campaigning against the death penalty allows for some dramatically redundant and boring speechifying, delivering points which should be illustrated dramatically by the plot. (But is that a frivolous Dirk Bogarde cameo, or just some cut-price Dirkalike?)

Losey's artsier moments are enjoyable, but his more restrained ones are excellent too. Tracking from a wide shot into an over-the-shoulder, moving his actors out of frame to have them rediscovered by the camera seconds later, he choreographs the film with economy and elegance, with impactful cutting and subtly emphatic framing. British producers hoping for a bit of Hollywood dynamism from their blacklisted Americans got their money's worth from Losey.

Not to spoil the end, but of course Redgrave must stake his own life to save his son's -- here there's evidence of censorship and mucking about, with unlikely carelessness with guns and lip-flap from a major character, who presumably said something politically or morally questionable (the more you look at censorship practice the more it always seems to have a political point to limit thought). But the main thrust of the conclusion is excellent, even if the details are weakened -- it confirms Lars Von Trier's verdict on capital punishment: a very bad thing, but excellent for drama.

(But before you ask -- I LOATHE Von Trier's DANCER IN THE DARK.)

Rated: PG
Theatrical Release: Feb 14, 2008 Wide
Box Office: $69,872,230

Synopsis:

Genre: Science-Fiction/Fantasy

Starring: Freddie Highmore, Mary-Louise Parker, Nick Nolte, Joan Plowright, David Strathairn
Director: Mark Waters
Screenwriter: Karey Kirkpatrick, David Berenbaum, John Sayles
Producer: Mark Canton, Larry Franco, Ellen Goldsmith-Vein, Karey Kirkpatrick
Composer: James Horner

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...but, there have always been films that are good enough to manage without and appeal to all ages without resorting to sly winks and say-no-more humour. Films such as The Princess Bride, The Goonies, Jumanji, Zathura, Bridge to Terabithia etc, work well because of strong characters and interesting ideas. The Spiderwick Chronicles is the latest edition to that list.

Based on the popular series of books, the film tells the story of a family who move to a new life in a rural house only to find that the world in which we live is shared with all manner of magical creatures. This all sounds like pretty standard stuff but where the film differentiates itself is in a willingness to be dark and dangerous; Mark Kermode's description of this as a 'horror film for children' is spot on. When children are attacked by goblins you see flesh being torn, when they fight back you see these creatures slashed and burned. This is a strong PG that will scare younger children.

In addition to the danger, there are also surprisingly mature notions regarding family break-up and isolation
which are brilliantly acted by a cast that includes Nick Nolte, David Strathairn (probably tempted by John Sayles' presence on the writing team), Joan Plowright, Seth Rogen and Martin Short. Despite that impressive roster the star of the piece is definitely Freddie Highmore who plays identical twins Jared and Simon Grace (although the character of Simon seems to exist purely as a plot point).

I really enjoyed this film. It is thrilling, original, funny and has plenty of depth - a real treat. This view was also wholeheartedly endorsed by my eleven-year old nephew who laughed and gasped, looked away at times and absolutely enjoyed himself.

8/10

cast & crew info

trailer

(tratto da Nuovo Oggi di mercoledì 26 marzo 2008) - Il punto di partenza sono i romanzi di Tony Di Terlizzi e Holly Black, il punto d'approdo è il film diretto da Mark Waters, regista che fino ad ora si era specializzato nel raccontare i giovani ed i loro problemi esistenziali (Mean girls; Quel pazzo venerdì).
La storia comincia quando i gemelli Jared e Simon con la sorella maggiore Mallory seguono la loro mamma in una nuova casa fuori città. La partenza è dovuta alla separazione dei genitori e i ragazzi sono molto scossi da tutto quello che sta accadendo, a cominciare dal padre lontano, non solo fisicamente ma a quanto sembra anche con il cuore. Jared dei tre è quello più ferito dalla situazione e proprio lui sarà il primo a scoprire che c'è un mondo fantastico parallelo al nostro. Sarà infatti lui a trovare il libro magico del prozio Spiderwick. Una vera e propria enciclopedia sul mondo fatato che ci circonda. Sarà sempre lui a fare conoscenza con folletti ed hobgoblin. Infine sarà lui a scoprire che in questa dimensione ci sono anche degli esseri malvagi il cui capo è l'orco Mulgarath, che vuole entrare in possesso del libro per diventare invincibile e distruggere ogni cosa.
'Spiderwick - le cronache' possiede tutti gli elementi tipici del cinema fantasy: dal libro magico, che immediatamente ci ricorda 'La storia infinita', ai bambini che scoprono come la fantasia possa divenire realtà, agli adulti incapaci di vedere a causa della loro pochezza di spirito, agli esseri tipici delle pellicole di genere come goblin e grifoni, al cattivo per antonomasia il cui unico scopo è la distruzione totale.
Gli effetti speciali sono ben costruiti ed anche la trama cerca di evadere dal solito mondo in cui si viene catapultati attraverso qualche 'armadio' o incantesimo. Infatti in questo caso il regno fatato vive insieme a quello di tutti i giorni. Sono le persone a non riuscire a vederlo e sono gli esseri magici che vogliono rendersi invisibili all'uomo.
Non è il solito film fantasy tutto principi e principesse con i soliti toni dolci e colorati. Potremmo tranquillamente definirla una fiaba gotica. I cattivi sono cattivissimi e parlano chiaramente di 'uccidere' i loro nemici. Lo stesso succo di pomodoro, che diventa arma micidiale se utilizzato contro i malvagi goblin, altro non è che un modo di spargere liquido rosso ovunque. Non ci vuole molto a vederlo come sangue. Specie nel finale che se visto in prospettiva 'adulta' è una vera e propria orgia splatter. Se cogliamo tutti i particolari non mancano neppure elementi tipici dell'esoterismo.
Questo non vuol dire che la pellicola non sia adatta ai più piccoli. Tutt'altro. Gli argomenti trattati sono i classici che amano gli adulti ma che si insegnano fin dall'età più giovane: l'amore per la famiglia, la sincerità, l'amicizia, l'affetto, la bontà d'animo. L'orco Mulgarath altro non è che la rappresentazione vivente del dolore che crea nei ragazzi la divisione dei propri genitori. Un male crescente, sempre più forte e subdolo perchè capace di prendere le sembianze delle persone più care.
A proposito di orco non possiamo non sottolineare la partecipazione di Nick Nolte nei panni di una delle trasformazioni di Mulgarath. Un piccola perla che accresce il valore di un film per nulla da sottovalutare.
Dopo 'La storia infinita' e 'La storia fantastica' il genere fantasy era stato per molto tempo tracurato mentre negli ultimi cinque o sei anni siamo stati letteralemente sommersi di queste avventure.
Troppa carne al fuoco, che salvo rare eccezioni ci ha consegnato prodotti scadenti o incompleti. Escludendo la trilogia de 'Il Signore degli anelli' e 'Le Cronache di Narnia' abbiamo visto solo minestre riscaldate. 'Spiderwick' ci regala qualcosa di nuovo e soprattutto un prodotto che non si può definire banale o noioso. Sarà anche merito del ritmo avventuroso ed incalzante che cattura lo spettatore dopo pochi minuti per lasciarlo solo ai titoli di coda.

Trailer Ufficiale del film

Mrs. Palfrey (Joan Plowright) moves to London to begin a new life. She takes up residence at the Claremont, a hotel that has seen better days. She attempts repeatedly to make contact with her grandson, Desmond, with no success. One day, as she makes her way back to the hotel from the post office, she stumbles and falls. A chivalrous, young man (Rupert Friend-pictured. Can you say hottie?!) with exceedingly good looks rescues her. This chance encounter is the beginning of one of film's most tender relationships. Ludovic Meyer (Rupert) becomes Mrs. Palfrey's adopted grandson, and she becomes the grandmother he never had.

I'm sure you're not as sentimental as me; I cried through 85% of the movie. I didn't cry because the film was terribly sad; I cried because it was very moving. Mrs. Palfrey at the Claremont is a profound love story. It illustrates that family is often not blood, but those of kindred spirit.

Please add this film to your "must watch" list. I don't think you'll be disappointed.

* * * * *

Many books have made the transition to film, but not always is the transition well done. 84, Charing Cross Road is one of the exceptions. Take a moment to read the film review.

The world of Curious George comes to the big screen in this warm, colorful version of the beloved children's book character. Curious George is a bright, light film that covers a very basic and simple storyline involving everyone's favorite little monkey and the Man in the Yellow Hat. With hilarious set-ups and cute moments throughout, Curious George is the ultimate in Saturday matinée goodness for kids of all ages.

The Man in the Yellow Hat is voiced by Will Ferrell. Ferrell is often hilarious here, using his talents to bring some real character to the Man in the Yellow Hat without abandoning any of the tradition set up by the books. Ferrell's Man in the Yellow Hat is funny, klutzy and amusing. He is the perfect friend to George, the curious little monkey, and their introduction in the jungle is adorable and heartwarming.

The film itself is quite whimsical and amusing, colored with lots of bright moments and enjoyable set-ups. The voice talents guide the film gently and give the animated flavor some real substance. David Cross, Drew Barrymore, the delightful Dick Van Dyke, Eugene Levy and Joan Plowright all contribute to the wonderful story.

Curious George is simply gentle entertainment, offering a warming diversion to children's fare that is often too showy, too loud or too chaotic. Relying on generous heaps of colored 2D animation instead of the standard CGI animation, George is a film that feels like a throwback to some of the better children's films of years past. The animation style fits the content of the Reys' classics, too, making a simple and gentle impression in film form.

The character of George himself is possibly one of the most adorable animated characters I've seen in recent memory and, guided by Jack Johnson's beautiful soundtrack, made for a relaxing and soft time watching the film.

7/10