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Roald Dahl and Steven Spielberg are significant parts of many childhoods. Both artists use an exquisite method of storytelling that captures that most elusive of elements – true wonder. It is, therefore, perhaps surprising that Spielberg has not directed an adaptation of a Dahl novel until now, but it was the worth the wait as The BFG delivers exactly what could be expected of this dream combination. From the lovingly crafted streets of London to the intricate maze of the Big Friendly Giant’s (Mark Rylance) home and workshop, Spielberg and production designers Rick Carter and Robert Stromberg place the viewer in the position of the enchanting Sophie (Ruby Barnhill) as she learns about giants, Giant Country and dreams. DOP Janusz Kaminsky lenses the film in soft hues, while capturing two bravura sequences in single shots. These set pieces convey wonder and thrills both as spectacle and experience, while screenwriter Melissa Mathison imbues the Buckingham Palace sequences with Queen Elizabeth II (Penelope Wilton) with laugh out loud comedy moments. Performance capture and digital effects bring the BFG to startling life, Rylance’s performance one of charming innocence which rivals that of Sophie. This guileless innocence and childlike charm are the greatest strengths of the film, even if at times it is thematically insubstantial. Reminiscent in its finest moments of Spielberg and Mathison’s precious collaboration, E. T.: The Extra-Terrestrial, The BFG confirms Spielberg’s place as Hollywood’s enduring crafter of cinematic dreams, and the timelessness of Dahl’s beautiful storytelling.
Continuing my response to the response to Oscar nominations, it is worth noting that there are certain types of film that are consistently honoured by the Academy of Motion Picture Arts and Sciences. This type is determined more by content than anything else. I have seen the accusation that the Academy is more interested in rewarding financial than artistic success. In the case of the current crop of nominees, this is patently nonsense, as the eight films nominated for Best Picture are the lowest earning group of nominees in recent years. The combined box office gross of the eight Best Picture nominees came to $203.1 million before the announcement of the nominees, and there is little time before the ceremony for this to increase significantly (although American Sniper is doing very well). Furthermore, look at the earnings of other films, including nominees in other categories. In an act of remarkable brashness, Paramount submitted one of the year’s highest earners, Transformers: Age of Extinction, for consideration as Best Picture. Shockingly, it was not nominated in that category or indeed any other, but the five films nominated for Best Visual Effects (the category Transformers: Age of Extinction had a chance in) have a combined box office gross of $3.6 billion worldwide. So to say that AMPAS only rewards box office winners is simply untrue.
It is typical that the Academy Award for Visual Effects goes to commercially successful films, often along with other post-production categories such as Sound Editing and Sound Mixing. What irritates me about this is the perpetuation of the art/entertainment divide – movies make money and might win an award for their effects; films are “art” and win awards for being “artistic”. It is an utterly nonsensical division that I love to see occasionally challenged, such as when genre films like Avatar (2009) and Inception (2010) are nominated for Best Picture (unsurprisingly, neither won that award although both won Best Visual Effects, as well as Cinematography). There are exceptions that straddle the divide, earn vast box office receipts and pick up multiple awards as well, but these are few and far between. The best example is The Lord of the Rings: The Return of the King (2003), a fantasy blockbuster that won all eleven Oscars for which it was nominated. Although they did not win, other unusual nominees include The Lord of the Rings: The Fellowship of the Ring (2001) and The Lord of the Rings: The Two Towers (2002), as well as Jaws (1975), Star Wars (1977), E.T.: The Extra-Terrestrial (1982), the occasional animated film such as Toy Story (2010), Up (2009) and Beauty and the Beast (1991), and especially Gravity (2013).
An interesting comparison can be made between Gravity, which won seven Oscars including Best Director, and Titanic (1997), which tied the record of eleven awards set by Ben-Hur (1959) (a feat later achieved by The Return of the King). Both Gravity and Titanic were commercially successful, and both are disaster movies with very high production values. Yet Titanic was more honoured than Gravity, picking up Best Picture whereas Gravity lost out to 12 Years A Slave. The common factor between 12 Years A Slave and Titanic is the factor that the Academy consistently rewards – history.
Look over these Best Picture winners of the last three decades:
2013 – 12 Years A Slave
2012 – Argo
2011 – The Artist
2010 – The King’s Speech
2009 – The Hurt Locker
2008 – Slumdog Millionaire
2007 – No Country for Old Men
2006 – The Departed
2005 – Crash
2004 – Million Dollar Baby
2003 – The Lord of the Rings: The Return of the King
2002 – Chicago
2001 – A Beautiful Mind
2000 – Gladiator
1999 – American Beauty
1998 – Shakespeare in Love
1997 – Titanic
1996 – The English Patient
1995 – Braveheart
1994 – Forrest Gump
1993 – Schindler’s List
1992 – Unforgiven
1991 – The Silence of the Lambs
1990 – Dances With Wolves
1989 – Driving Miss Daisy
1988 – Rain Man
1987 – The Last Emperor
1986 – Platoon
1985 – Out of Africa
1984 – Amadeus
Only eight (26.6%) of these thirty Best Picture winners have a setting contemporary to the time of their release, whereas twenty-one (70%) have a historical setting, ranging from 18th century Vienna to ancient Rome, 13th century Scotland to various points in the 20th century. Many of the films feature significant historical events, including World War II (four), Vietnam (three), the Middle East (two) and the US Civil Rights Movement (the anomaly is The Lord of the Rings: The Return of the King). Ten of these films (33.3%) are based on specific historical events or people, making them “true” stories.
The Academy consistently rewards the depiction of history, both in terms of period setting and significant events. Unsuccessful nominees have the same features – Saving Private Ryan, L. A. Confidential, Quiz Show, The Cider House Rules, Dangerous Liaisons, Mississippi Burning – demonstrating that a significant proportion of nominees depict historical subjects. One can interpret this historical dimension as adding (in the minds of some) an element of gravitas, a quality that makes the film seem “important”. If we accept that AMPAS is an institution devoted to the development, promotion and cultural significance of motion pictures, then it follows that this institution would reward films that make the effort to engage with significant socio-cultural concerns and events. “History” can be considered a short-hand for this, the Academy honouring films that depict “history” because this subject matter is worthy of reward. Equally, it is rare for a contemporary-set thriller to win Best Picture (only The Silence of the Lambs and The Departed in the last 30 years – Argo and No Country for Old Men have thriller narratives, but both are historical and the former is based on a true story) and unheard of for a science fiction film to win. Gravity came closest and I had hopes for Interstellar this year, but no such luck for Christopher Nolan’s science fiction epic. Surprise, surprise though, Interstellar is nominated for Visual Effects.
This goes back to the art/entertainment divide, a form of cultural elitism that goes far beyond the Academy Awards. The Booker Prize and the Pulitzer Prize for literature rarely (if ever) go to science fiction, fantasy or thriller novels, and there remains the nonsensical view that literature and theatre are “art” and therefore somehow superior to cinema which is “only entertainment”. Interestingly, one of this year’s nominees, Birdman, engages with this elitism through its portrayal of a former movie star struggling for credibility in the face of immense cultural prejudice, including a scene where a theatre critic lambasts the entire practice of Hollywood cinema for being too commercial and giving awards for “cartoons and pornography”. The great irony of AMPAS is that it perpetuates this bizarre double standard within its own medium, for the most part ignoring genre films and those with a contemporary or (God forbid) future setting and consistently rewarding historical dramas of “importance”.
While I am frustrated by this practice of AMPAS, it would be unfair to entirely blame AMPAS, because the cultural attitudes at work here go far beyond a single institution. But I will blame the Academy members for their general conservatism and reluctance to honour films that differ from the typical pattern. Nominees like Gravity and Avatar, and the extraordinary success of The Lord of the Rings: The Return of the King, are especially gratifying because films like these develop the cinematic medium, creating fantasy worlds and taking audiences to new and exciting places. The challenges and innovations of these films are often expensive and the only way they can pay for themselves is through commercial success, therefore by honouring such films the Academy honours and encourages the development and continuance of cinema itself. That is what I would like to see more of in the future, though I am not optimistic as year on year the Academy instead rewards subject matter rather than innovation, perpetuating an unnecessary cultural elitism.
In the space of two days, I recently saw two films that could not be more different. The first was The Raid 2, Gareth Evans’ sequel to his explosive 2012 martial arts adventure. The second was A Story of Children and Film, a documentary by Mark Cousins that merges the conceits of his last previous works, The Story of Film: An Odyssey and The First Movie. The Raid 2 is a fictional drama, a martial arts/crime thriller that delivers a blistering ballet of brutality. Cousins’ documentary is lyrical, free associative and meandering. Both excel at what they do and each film offers particular delights and pleasures, and serve to highlight one of the most important tools in filmmaking – editing.
Alfred Hitchcock once said that the three most important components of any film were script, script and script. While this is a convenient soundbite for the critic who decries overreliance on special effects or glamorous actors, it is overly simplistic to describe cinema as being based primarily on the written word (and besides, Hitch could have been referring to screenplay, shooting script and another form of script). For sure, the written screenplay is important, but many a filmmaker subscribes to the belief that films are made in the editing room, in the assembly of otherwise disparate images. Small wonder that directors form lasting and productive collaborations with their editors, such as Martin Scorsese and Thelma Schoonmaker, Michael Mann and Dov Hoenig, and some, including James Cameron, Robert Rodriguez, Steven Soderbergh and Gareth Evans, edit their films themselves.
Sergei Eisenstein argued that the power of cinema lay in the juxtaposition of images rather than the sustained shot, hence his development of montage in such classics as The Battleship Potemkin (1925). Similarly, Evans uses fast cutting to express both the swift blows and dizzying impact of martial arts combat. Films like The Raid 2 are a testament to the merging of combat performance and editing, as the skills of performers like Iko Uwais and Julie Estelle are displayed to dazzling effect, while the cuts between different shots express the physical impact of the blows, leading to a visceral experience. Long takes of athletic prowess are impressive, and frequent in The Raid 2 as well, such as sustained pan shots of a prison yard during a riot as well as a warehouse towards the end of the film. Such shots, however, are generally at a distance, wide angle and encompass much of the cinematic space. Fast editing of close quarters combat helps to create a sense of being in the thick of combat, a vicarious experience for the viewer that gives us the experience of being in the ferocious fights of the film (without the inconvenience of pain).
By contrast, Mark Cousins uses editing to link together seemingly disparate scenes. Early in A Story of Children and Film, Cousins explains that he will not progress through films chronologically, but will be guided by how the behaviour of his niece and nephew reminds him of children in other films. The range of films referenced by Cousins is extraordinary, including An Angel at My Table (Jane Campion, 1990) and The White Balloon (Jafar Panahi, 1995). I consider myself reasonably familiar with cinema, but the only films referenced in Cousins’ documentary that I had seen were E. T.: The Extra-Terrestrial (Steven Spielberg, 1982) and The Night of the Hunter (Charles Laughton, 1955), making the film something of an education. I was a little disappointed at the omission of films about children and film, such as Hugo (Martin Scorsese, 2011) and Son of Rambow (Garth Jennings, 2007), but Cousins is interested in how film presents children, identifies and extrapolates their shyness, their defiance, their performativity. Editing enables Cousins to draw together his seemingly disparate examples, taking us from Japanese boys chasing dogs to an Iranian girl having a “strop” about goldfish. Cousins’ finale brings together films from various countries about kids with balloons, linking these unrelated movies in a moving and thought-provoking way.
Cousins’ cinematography favours a static camera, both of his niece and nephew in his living room as well as wide angle exterior shots of the Isle of Skye. Evans’ camera is more mobile, taking the viewer into the cinematic space of his drama and, as mentioned above, thrusting us into the thick of battle. Cousins’ camera also creates intimacy through dwelling on the events before it, both in his own footage and the scenes from other films that he refers to. The techniques of these filmmakers serve to draw the viewer in, and invite us to interpret meaning from the assembly of images, the editing both presenting meaning and allowing us to infer from the spaces between the shots.
I recently posed about Rush, which has a director I like and a genre I don’t, which was a delight, and Prisoners, which belongs to a genre I like, has a director I’d never heard of, and was disappointing. In the case of Captain Phillips, I love the genre as, like Prisoners, it is a thriller, and Paul Greengrass is one of my top ten directors. Captain Phillips exceeded my expectations and is one of my top films of 2013, as it is an incredibly gripping, highly intelligent, well balanced and merciless thriller.
Captain Phillips works because all its components support each other perfectly. Tom Hanks as the eponymous captain and Barkhad Abdi as his antagonist Abduwali Muse, leader of the Somali hijackers of the Maersk Alabama, deliver powerhouse performances that I hope will be remembered come awards season. Billy Ray’s script combines compelling personal drama with wider themes of globalisation and the poverty gap, while Barry Ackroyd’s cinematography is tight and intimate to the point of claustrophobia. Greengrass orchestrates these myriad elements into a visceral and enthralling experience, drawing the viewer into the action and allowing us to feel the resolve and hunger of the pirates as well as the desperate fear of the Alabama crew. My hands gripped the arms of my seats all the way through and, while I did not feel queasy, I can understand that some might as the sense of being aboard ship was palatable. One critic said that after seeing the film he wanted a stiff drink – I wanted to lie down.
Strong reactions to films are something I like very much, especially uncomfortable reactions. A major reason we go to the cinema is to have safe thrills – while the sense of danger and exhilaration can be created by the right cinematic experience, we are very seldom in actual danger (accounts of heart attacks and vomiting at The Exorcist, Jaws and Alien notwithstanding). The main reason Prisoners disappointed me was that it did not leave me devastated, while Rush was thoroughly exhilarating. Zero Dark Thirty and Gravity are two films that have left me shaken and stirred this year, and Captain Phillips did the same. But what made Captain Phillips unique, not just for this year but in my entire cinema-going experience (which is extensive), is that I cried. No film had ever before prompted me to shed tears, and this got me thinking about what gets our tear ducts working.
Lists of tear-jerkers tend to include Casablanca, E.T.: The Extra Terrestrial, Bambi, Dumbo, Old Yeller and It’s A Wonderful Life. Frank Capra’s Christmas classic did bring me very close to tears when I finally saw it (at Christmas, obviously), and there are others that cause me to well up such as The Lion King, Twelve Monkeys, The Lord of the Rings: The Return of the King, Million Dollar Baby and, despite repeat viewings, Titanic (mock me all you want, I don’t care). All of these made me well up, so I could feel the tears in my eyes, but they would not flow, would not burst out of my eyes and reduce me to a blubbering wreck. In fairness, I hardly ever cry anyway, not because I’m a super tough macho man (though I am, please don’t hurt me!), but for some unknown reason, tears very rarely flow from me. I often wish they would, but when I feel tears in my eyes, I start willing them to flow, which takes me out of the tear-inducing situation and the damn things dry up.
The way my reaction works highlights the mechanics of tear-jerking cinema. Most reactions to cinema are a result of manipulation, because that is what film does. Anyone who does not like to be manipulated should avoid film, because film manipulates all the time, sometimes in such a way as to make you cry – recently I saw tears at Saving Mr Banks. Steven Spielberg’s films are frequent tear-jerkers, including E.T., Schindler’s List and Saving Private Ryan, and Spielberg has openly admitted that his films are manipulative. Schindler’s List, War Horse and, perhaps less obviously, Munich all caused me to well up, because they poured on the agony. Watching a man break under the emotion of what he has failed to do, a horse lie down and die, or a man who has committed terrible acts listen to the innocence embodied in his baby – these are scenes that Spielberg, with help from John Williams, draws out to inflict maximum anguish on the viewer. But once I feel effect of the manipulation, I try to encourage it, which takes me out of the moment and I don’t cry.
This was not the case with Captain Phillips, crucially because the tears I shed were not solely out of anguish, as most weepy scenes are, but also sheer exhaustion. From the point where the hijackers take over the Alabama, there is no let up as they scour the ship, the crew fight back, Phillips is taken hostage, the US navy enters negotiations and eventually stages a rescue. Prior to the rescue, Phillips is brought to the limits of human endurance as the hijackers tie him up and blindfold him, all the while yelling at him and each other. The cacophony, the intensity and the empathy I felt for Phillips were what caused the tears to flow, and they continued in the aftermath when Phillips was brought aboard the USS Bainbridge and treated for shock – I cried out of relief and exhaustion as much as anything else. I have often considered Tom Hanks a rather bland actor, but no longer, as the anguish, rage, frustration, fear and desperation that he displayed in the film’s final act took me into Phillips’ dire position. When he was being treated for shock after being rescued, repeatedly thanking the naval officers, the sense of relief was palatable and deeply moving. I’m not always one to engage with characters, but on this occasion I felt very engaged indeed, possibly needed treatment for shock myself. Like Zero Dark Thirty and Gravity, Captain Phillips left me shaken and stirred, and also moved. I would not have expected a Paul Greengrass film to make me cry, so it was a very rewarding cinema experience. I tend to credit directors for making a film work, and Greengrass is great for delivering visceral, intense work, but hats off to all involved, especially Hanks for performing the most heartbreaking anguish I have seen in a long time.
If you’ve been reading my blog regularly (ha ha), you may have noticed a pattern emerging: I am an auteurist. I believe in the theory that you can interpret films, and credit their strengths and weaknesses, to the individual(s) credited as ‘director’. It is a highly problematic critical approach, as it sidelines other creative personal such as producers, writers, actors, editors, cinematographers, set designers, and the army of personnel responsible for putting a film together. Industrially, it doesn’t really work. Critically, it provides a useful reading strategy for linking different films together, and even a cursory examination of the films directed by [insert name here] are likely to reveal similarities.
To this end, I’ll be writing a series of posts that discuss my ten favourite directors, and particular films of theirs. I won’t necessarily describe their ‘best’ films, because neither I, nor anyone, is qualified to say what is or is not better than others (although that doesn’t tend to stop people). I will describe my personal favourites of their oeuvre, and also what I think are the best introductions to their work. By introduction, I mean that if you wanted to show someone, perhaps with very limited exposure to cinema, a film that best expressed the work of this particular filmmaker, what would it be?
As a starter, I discuss possibly the most accomplished filmmaker there has ever been – Steven Spielberg. I know, I know, the epitome of mainstream Hollywood, very middle-of-the-road, safe, conservative, blockbuster, lowest-common denominator, etc., etc. I disagree, to an extent. Spielberg has demonstrated an extraordinary ability to deliver emotionally and intellectually engaging cinema across a range of genres, working with different writers and actors, always delivering distinctive films within the parameters of commercial Hollywood production. Spielberg is a master manipulator, which is a loaded and problematic term, but need not be seen as negative. Cinema is intrinsically manipulative, and the most effective filmmakers are those who are most skilled at manipulating their viewers. Spielberg is not only a master at this, but open and unashamed about it. If you don’t want to be manipulated, don’t go to the cinema.
Examples of Spielberg’s powers of manipulation pepper his films. The concealment of the shark in Jaws, represented by underwater POV shots, the scream of victims and the eternally ominous score, create a sense of malevolence. The approach of the dinosaurs in Jurassic Park, such as the concentric ripples in cups of water and the steady stalking of the velociraptors, create nerve-shredding suspense. The precise balance over how much to show in Schindler’s List, some scenes capturing the sheer brutality of the Nazis with unflinching starkness, while others cut away but leave the viewer in no doubt about what took place. The steady passage through the eponymous Terminal, as our protagonist learns of the political shifts in his country on various TVs, literally chasing the changing channels for more information, draws the viewer into his anguish. And, of course, the carefully developed relationship between a little boy and a walking turd from outer space, which has been drawing tears out of viewers for thirty years and is likely to continue. While young Henry Thomas can certainly claim some credit, Spielberg’s careful timing and focus on the details of this relationship give E.T.: The Extra Terrestrial its glowing heart. The film charms and moves in equal measure, such as when Eliot is taken away from the dying E.T. who reaches out and calls to him with heart-wrenching anguish.
E.T. is the best introduction to Spielberg’s oeuvre. It captures the sentiment and emotion, the pain and heartbreak, the humour and humanity of his cinema. It demonstrates Spielberg’s unparalleled ability to capture exquisite moments on camera and assemble them into compelling and dramatic wholes. But I’m a more bloodthirsty individual so it isn’t my favourite. No, I’m not referring to the bloody hell of warfare in Saving Private Ryan or the incredible cruelty of Schindler’s List, nor even the body-chomping of Jaws or the human puree of War of the Worlds. My favourite Spielberg film is Munich.
Munich contains a great deal and suggests so much more. As a thriller, it is incredibly gripping and psychologically disturbing, partly because Spielberg can deliver suspenseful sequences as good as anyone, and also because it shows the banality and horror of intimate murder. The Israeli athletes are attacked with discordant, bloody clumsiness. An unarmed, naked woman is shot in cold blood and dies slowly and painfully. An attack on a Palestinian safe house by Mossad forces veers between vaguely comical identification and merciless execution. It is an unflinching look at death and killing that pulls no punches, making it more compelling and shocking, in my view, than Schindler’s List and Saving Private Ryan.
Politically, Munich has been described as Zionist and as an overly sympathetic view of Palestinian terrorism, but neither of these accusations are fair. Munich presents an extremely balanced view of the conflict, for some viewers, so balanced that the drama is undermined. Perhaps taking a more definite stance might have delivered something more forceful. But I think the balance is key to the drama, because seeing the perspective of the Mossad agents and, in one bravura exchange between Avner (Eric Bana) and Ali (Omar Metwally), that of Palestinians, adds to the film’s impact. We see how the perspectives affect the people on the frontlines of this never-ending escalation of violence, a point underlined in the film’s final, chilling image of the World Trade Center, emphasising the escalation and wide-ranging impact of this conflict.
The film also works as an investigation into the philosophy of revenge. Is revenge justifiable, in any sense? How far do notions of humanity extend when they conflict with political expediency? The Israeli Prime Minister, Golda Meir (Lynn Cohen), expresses an extremely problematic position when she says ‘Every civilisation finds it necessary to negotiate compromises with its own values’. These ‘compromises’ also operate on an individual basis, as the Mossad agents question the validity of what they do and the impact of their mission takes its toll. It takes a toll on the viewer as well, as the film’s unflinching focus on the ugliness of the mission, combined with a sense of hopelessness and a lack of triumph (for all the protestations of ‘celebrating’ from Steve [Daniel Craig]), can leave one drained and exhausted by the time the credits roll.
I would describe my experience of seeing Munich for the first time as traumatising, and on repeat viewings, it remains a very powerful and unsettling watch. One of Spielberg’s least appreciated films, but my favourite and one of his best.
A late release of 2012, which I expect to be one of my films of the year, arrived with high expectations as to its quality. Rian Johnson’s Looper is, unusually, not a sequel, nor a prequel, nor a franchise instalment, a reboot, a remake or even an adaptation, but that rarest of films, an original mainstream movie. I found Looper an excellent sci-fi thriller, which used its time-travel conceit to effectively fuel its gangster setting and explore themes of freedom, destiny and responsibility. As Old and Young Joe, respectively, Bruce Willis and Joseph Gordon-Levitt convey excellent contrast between naïve nihilism and desperate hope, while Emily Blunt, Paul Dano, Noah Segan and Jeff Daniels provide sterling support, and Pierce Gagnon is thoroughly creepy.
Johnson’s style is unusual for an action film, favouring longer takes and a more measured pace than might be expected. The style is, however, effective, as rather than being caught up in frenetic action sequences, the film lingers on the consequences, both physical and mental, of violent action. We are used to seeing Bruce Willis wipe out a room’s worth of armed thugs, but at several crucial moments, Looper pauses to allow contemplation of what is about to come, and at one point denies showing us the kill. Instead, Joe’s face(s) shows the impact of what he has done, experience steadily etched into both, one youthful, the other aged, but both deeply pained.
Consequence is crucial, as the time travel conceit of Looper is deeply concerned with the impact of one’s actions, responsibility for those actions, and consideration of what impact actions have upon the future. Looper can become confusing if you think about its temporal mechanics too much, as Abe (Jeff Daniels) mentions. But it also uses these mechanics to motivate the overall plot and individual scenes, including a thoroughly nasty yet remarkably bloodless torture scene, and an emotionally powerful conclusion that emphasises personal responsibility. Whether the laws of causality would allow such attempts to change the future by altering the past is debatable, but that’s why we call it science fiction. However, the resonances with other science fiction films is quite striking, as it is easy to relate the film to others that are similar and yet different.
I am not alone in this response, as without pre-existing material to base expectations upon, the buzz surrounding Johnson’s third film seemed desperate to relate the film to other films, particularly in the science fiction genre. It makes sense to form associations through the time travel trope: Looper explores time travel in a similar way to The Terminator and Terminator 2: Judgment Day, Donnie Darko and Twelve Monkeys. All involve a traveller from the future who attempts to change the future by altering events in the past. Stylistically, Looper is very much its own entity, not as smooth as Cameron’s cyborg opus nor as trippy as Kelly’s debut or as skewed as Gilliam. A hard edge runs throughout Looper, perhaps echoing Johnson’s debut, high school noir Brick that also starred Joseph Gordon-Levitt. The measured pace restricts the visceral thrill of Looper’s action sequences, and the brutality of the film’s gangster setting is maintained, creating a grim and oppressive atmosphere. This brooding, malevolent oppression is in constant tension with the conceit of being able to change your destiny, through time travel or any other means. Looper’s grimness distinguishes it from Back to the Future, which is far more light-hearted and, furthermore, that film’s time travel and temporal causality is accidental rather than intentional. A more recent comparison is Source Code. Like Looper, Source Code involves an individual trying to change the past within a context that works against him and places him in terrible danger. Unlike Looper, Source Code is more concerned with alternate time lines than actual time travel, but both play to the conceit that one man can make a difference, face the past and fight the future (hang on, isn’t that Looper’s tagline?).
Other films that have been related to Looper include The Matrix, Children of the Corn, The Adjustment Bureau and Blade Runner, and these seem less obvious. A dystopian future need not always echo Blade Runner, and Looper’s largely rural setting is very different from Ridley Scott’s noir cityscapes. Only the final act bears resemblance to Children of the Corn, as Looper brings horror into its already potent genre mix of gangster, chase thriller and sci-fi. It is testament to Johnson’s skills as a writer-director that these elements integrate rather than clash – much like Argo, Looper performs an impressive balance between potentially disparate elements.
To compare The Matrix with Looper is strange, as the film’s subject matter as well as Johnson’s style is very different to the Wachowskis. While there is an element of mind-over-matter in Looper through the telekinesis of various characters, in The Matrix that element is part of the artificial reality, which is not a feature of Looper at all. Looper and The Matrix both involve men with a lot of guns, but that is hardly a distinctive feature. Similarly, as Looper is an intelligent sci-fi film with some complex ideas, an obvious reference point is Inception. Indeed, a moment in the trailer in which objects levitate reminded me of the famous upward tilt of a street in Inception, but when I saw Looper itself there was very little that reminded me of Christopher Nolan’s dream heist film.
Why is it so hard to take a film on its own without reference to other films, and why is it so easy to make these inter-textual connections? Saturation may be partly responsible, especially in an era of cross-media platforms where films, TV series, video games, music videos, webisodes, trailers, advertisements and YouTube videos assail us from every screen. But such inter-textual references are hardly new, as studies have demonstrated how major texts from Gothic literature such as Frankenstein fed into the work of later writers like Jules Verne and H. G. Wells. Subsequently, this literature fed into science fiction films from A Trip to the Moon and Metropolis, to The Blob and The Day the Earth Stood Still, to Forbidden Planet and 2001: A Space Odyssey, Star Wars and Blade Runner, The Matrix, Inception and Looper. Science fiction is inherently inter-textual, as any science fiction film seems influenced by others and may well have been, consciously or unconsciously on the part of the filmmaker. As sci-fi consumers, we link one text to another as part of our textual understanding. As another example, when I recently saw the remake of The Day the Earth Stood Still (which was not as bad as I feared it would be), while being very different from the original film, it also looked to have been influenced by Independence Day, Close Encounters of the Third Kind as well as E.T: The Extra-Terrestrial. Similarly, Looper is perceived and understood as a science fiction film in relation to other science fiction films, so critics and audiences alike forge these links as part of our understanding of the science fiction mega-text. This works in several ways, as audiences are savvy enough both to see the commonalities between films like Source Code and Looper, and to create their own links between Looper and The Matrix or Inception.
These inter-textual references, not to mention marketing and commentary, created expectations for Looper. Not being a franchise instalment, marketing was more moderate and I only noticed the trailer and posters. But reviews had an influence: Total Film, which I tend to agree with, gave Looper a five star review and described it as the best sci-fi film since Moon, while Empire also gave it five stars and compared it favourably to Repo Men, Surrogates and In Time. The BBC’s Mark Kermode was positive but more reserved. Overall, critical reaction was very positive, so one could go into Looper expecting something good.
Precisely because of its non-franchise status, I was not sure what to expect of Looper except that it be very good, based on the reviews that I encountered. Most years deliver a major film which is not based on pre-existing material. Looper was the original oddity of 2012, much like Super 8 in 2011, Inception in 2010 and Avatar in 2009 (Avatar can be accused of being unoriginal, but it is not an adaptation of any previously published property). Super 8, Inception and Avatar were all among my favourite films of their respective years, and they are also all sci-fi. The link I made for Looper therefore was with earlier favourites of mine, and I expected the film to blow me away as those had. It is perhaps unsurprising that it did not, as Looper is not an emulation of those films and, overall, I do not think it is as accomplished. Super 8 created a convincing, believable community that was afflicted with something very strange; Inception used its high concept to explore issues of grief and memory while also being meta-cinematic; Avatar re-invigorated cinema and performed a spiritual call to arms. Looper merges genres in an intriguing and cohesive melange, but I did not feel it offered me the combined emotional and intellectual satisfaction of those previous films. Looper has much to admire and to enjoy, regardless of what it is like and unlike, but once again, expectations were too high and had a negative effect upon my appreciation of the film. That said, I imagine it will be rewarding on repeat viewings, and like Prometheus, should be an interesting film for philosophical discussion.
I avoided seeing this for the longest time, not out of fear, but because of the damaging representation of sharks. Then I remembered that Jaws is a film, I know it is a fiction and I will not be turned against sharks by it. Furthermore, me not seeing it makes no difference to anyone else’s opinion, so I did. It was a very specific occasion – 30th December 2000, alone in my university room. I ordered pizza, drank Smirnoff Ice (I think) and enjoyed Spielberg’s mastery of suspense and the cinematic medium.
Spielberg is, for my money, the most accomplished director working in Hollywood, if not the world, today. Several of his films are regarded as masterpieces, such as Close Encounters of the Third Kind, E.T.: The Extra Terrestrial, Raiders of the Lost Ark, Schindler’s List and, of course, Jaws. Specifically, Jaws is a masterpiece of suspense (also used to great effect in Jurassic Park and War of the Worlds), and despite having watched it multiple times, I always find my pulse quickening practically at the same tempo as John Williams’ score. Certain scenes are especially tense: the two fishermen who get yanked into the sea and are “chased” by a large piece of driftwood; the opening attack on the swimming girl; the attack on a small boy. Best of all is the night dive, when Hooper inspects a ruined boat underwater and finds a large tooth. As he inspects the tooth, the music playing, the viewer expects the shark to attack, but instead a decapitated head appears out of the hole in the boat. I screamed the first time I saw that, and I still scream (perhaps deliberately) in subsequent viewings, even though I know it’s coming.
The fact that my pulse accelerates and I jump and scream, even when I know what is coming, is testament to Jaws’ power. Once again, the threatening environment is as important in generating fear as the threatening presence. But whereas in Paranormal Activity the environment is mundane, in Jaws it is an alien and menacing world that can easily kill us. Most will agree that the shark itself look pretty fake and hardly menacing, but it pales in comparison to the vast, hungry, uncaring sea. Martin Brody’s (Roy Scheider) fear of drowning makes him our substitute, and the knowledge that, regardless of anything else, it is never completely safe to go into the water. The film epitomises an intractable adversary through the figure of the shark, presented not so much as an animal as a manifestation of the engulfing sea. This is a common use of animals as enemies in films – from the lions in The Ghost and the Darkness to the wolves in The Grey, animals do not express their real-world counterparts, but our fear of the wild, the unknown world beyond our own. The sea is perhaps the best example of this great unknown – an indifferent and all-consuming expanse. Jaws expresses this fear through its use of suspense and by playing upon our expectations, making it a consistently and repeatedly nerve-wracking experience.