Donkin on Cinema

Sweeney Todd: The Demon Barber of Fleet Street

2008-02-04T08:36:00.000-08:00

Sweeney Todd is the twisted musical tale of a butchering barber out for revenge against the man who coveted his wife and ruined his life. After years in exile, Benjamin Barker returns to London to find his wife dead, his daughter in the hands of an evil judge and the city governed by a corrupt seedy aristocracy. The years of pain and torment have sculpted him a new persona, Sweeney Todd. "There's a hole in the world like a great black pit, and it's filled with people who are filled with shit, and the vermin of the world inhabit it...", he sings. Enveloped by an insatiable lust for vengeance he opens a barber shop above Mrs. Lovett's pie shop, and with her help begins to exact his revenge on this sick society.

Combining the juxtaposing genres of horror and musical, to create an accessible film to fans of both mediums sounds like a daunting proposition. The musical stigma of over sentimentality does not readily associate itself with the violence of Sweeney's sordid tale. But in the capable hands of the gothic maestro, Tim Burton, we are presented with a gloriously grisly tale embedded with dark romanticism that should appeal to a braver but no doubt wider audience than would normally apply.

Burton is a true auteur of modern cinema, with a visually distinctive style that has never been more appropriate for a film. Artfully weaving Sondheim's powerfully evocative score against a stunning backdrop of dark grimy streets, bathed in shadows and cobwebs, he creates an unsettling and creepy atmosphere.

While Burton's direction is superb, it is Johnny Depp, in their 6th collaboration together, who will deservedly reap most of the praise. His vocal talent, although lacking finesse, is suitably deep and powerful, loaded with emotion. It fits perfectly with the unhinged rage of the psychologically damaged killer. Depp's brooding performance encapsulates the very essence of a man torn apart by vengeance. Every facial expression capturing the bleakness of his existence and in turn the smallest touch of empathy. After all, for all the filth and horrors existing in his world, it is Sweeney, once a righteous man, who is the darkest of them all.

There is blood, a lot of blood. Yet the blood is a crucial element of the presentation; theatrical and excessive, but choreographed as if itself were a character. On the surface, adding to the dark and vile tone, but also lending a sense of elegance to Sweeney's murderous craft. The razors themselves are an extension of Sweeney's physical appearance, more violent than Edward's scissor hands but as much a part of him. His madness and depravity are reflected in these beautifully crafted silver blades which slice his victims throats with clean precision. These subtle features resonate in harmony with the music. It is art from two of cinemas most effective craftsmen.

Heath Ledger, April 4th 1979 - January 22nd 2008

2008-01-22T16:58:00.000-08:00

As the news that Hollywood actor Heath Ledger has been found dead in a New York apartment sweeps across the film community, the exact nature of his untimely death is still not known. Early reports suggest it may have been a drug overdose. Regardless of the circumstances, Ledger's death is a tragic loss. Recently separated from girlfriend Michelle Williams, he leaves behind a two-year old daughter. The joker is dead and suddenly it's all very serious.

Ledger quickly rose to prominence after starring in '10 Things I Hate about You' and 'The Patriot' in the late 90's. His role as a rocking medieval knight in 'A Knight's Tale' established him as an affectional and talented leading man. His most notable performance to date came in Ang Lee's anguished love story 'Brokeback Mountain'. This acclaimed performance, as cowboy Ennis Del Mar who falls in love with an aspiring rodeo rider, was likened to that of a young Marlon Brando. Ledger's powerful and emotive display was both deeply meaningful and heartfelt, earning him a first oscar nomination.

There is no doubt that Ledger had a very bright career ahead of him. With that in mind we should perhaps be thankful that his best may yet be to come, even if it is posthumous. Having recently finished filming the next installment in the Batman franchise, Ledger was expected to astonish audiences as the new Joker in 'The Dark Knight' this summer. Described by Michael Caine as terrifying, Ledger's take on Batman's archenemy looks manic, depraved and twisted; the definitive villain.

The shock of these events will come to fruition when the Dark Knight is released, demonstrating the full extent of this unfortunate loss.

Monster mania hits the internet

2007-11-26T06:02:00.000-08:00

A shroud of rumour and speculation has enveloped the blogging community, yielding question after question but very little in the way of accurate information. A film project surrounded in secrecy has been teasing the world since its now infamous untitled trailer aired with advanced screenings of Transformers in the summer. For a long time we have known its release date, 1-18-08, but now it has been given a name. Cloverfield is, in short, a film about a giant monster terrorizing New York.

While inevitably invoking thoughts of Godzilla and other awful monster movies, it should be stressed that any similarities end there. In the hands of Lost creator, J.J. Abrams, Cloverfield could be the monster film everyone has been waiting for. Shot on handheld cameras from the point of view of five young friends provides a realistic documentary feel to the surreal event. However exciting the film sounds, it is the way the film has been marketed that has served to fuel this growing fever.

Fans of the popular TV series Lost, are abundantly clear of the frustrating nature of being left in the dark. But as a marketing ploy, it serves to increase audience appetites and keep them coming back for more. J.J. Abrams, is almost unparalleled in understanding how audiences work. Set up the premise, deliver a big juicy hook and keep them on the line, reeling them in with steady exchanges of information.

Applying the concept to Cloverfield, the teaser trailer was employed to catch peoples attention. Unleashing a giant monster on New York city generally manages that. Details of the monster, however have been kept a closely guarded secret; so of course everyone has their own ideas. Ranging from Godzilla, Voltron and Cthulhu to the artistic renderings of committed fans. Everyone wants to know what the Cloverfield monster is. The release of a second trailer last week in which, if you look closely and don't blink, you may catch a glimpse of the monster as it passes by a New York skyscraper, has only intensified the speculation.

The internet and blogging communities, where everyone can share their ideas to a readership much larger than previously possible, have exponentially expanded the global reach of a product, idea or message. Let other people do it for you; It's a marketing dream.

Aware that leaving the public to its own devices could leave a stagnant trail, the Cloverfield team have been tactful in releasing small nuggets of information and clues, often hidden in obscure webpages. For instance, a website for a new Japanese drink called Slusho, is reportedly a cover containing numerous clues to the film's plot. This was confirmed after a Slusho T-shirt was spotted being worn by a character in the trailer. A full list of clues and ideas has been collected here.

Through this effective viral marketing campaign, Cloverfield has already become a phenomenon. It can only be hoped that the hysteria can be maintained into the theatrical release. After all, there is no guarantee of success. Cries of Snakes on a Plane, which managed to create a high level of hype that ended up being artificial as it failed to attract large audiences, should not fall on deaf ears.

Although there is a risk in keeping details limited and the masses unaware, the rumour wheel surrounding Cloverfield and its coveted monster creation has been cranked up several gears, accelerating by word of mouth. Positive word of mouth can't be bought but remains the most valuable and important marketing phenomena. Cloverfield has certainly got people talking. Slusho anyone?

Cannes Film Festival 2007: A First Hand Experience

2007-05-29T09:03:00.000-07:00

Last week saw my first, and hopefully not last, trip to the Cannes Film Festival. Boarding an EasyJet flight in the company of a wave of industry protagonists hoping that this year will be a year when great things happen, it occurred to me that I had little right to be joining such an exclusive gathering of film professionals. I was there as part of a familiarization field trip exercise, organised and paid for as part of the Film Business course that I am currently undertaking at Cass Business School.

The Cannes film festival was founded in 1939, and in this, its 60th run, the publicity for the event reached new levels. But while the festival and the star studded red carpet grabs the media spotlight, the most important aspect of Cannes for most people there is what goes on behind the scenes. In hired hotel rooms and lobbies the Cannes film market is in full swing, with sales companies pitching their biggest acquisitions to international distributors all over the world, studios anxiously trying to squeeze every last drop of awareness from their extravagant marketing campaigns, and people like me trying to latch on to something, anything to go along for the ride.

In this respect the film industry lives and breathes for Cannes. Energy and vigour crackle in the air. Cannes, for lack of a better word, is live and everyone is looking to tap into the current. None was quite so successful as Jerry Seinfeld, who in promoting DreamWorks' new film 'Bee Movie', literally 'buzzed' into Cannes down a 200 ft zip wire from atop the Carlton hotel dressed as a bee.

Our accommodation for the week was a ten-bedroom, beautifully furnished French Villa, complete with a swimming pool and games room and only a ten minute walk from the Croisette where it all happens. They say film stars live the high life. Well I could argue that film business students do so too. That evening we collected our Cannes badges from the Palais and had a brief stroll through town, passing the red carpet and down the Riviera. The bay was a mass of boats. There was money in town.

Every morning was spent reading the daily trade publications over coffee and a croissant. The daily editions of Screen International and Variety, while chock full of adverts that are more important and get more readership attention than the articles, delivered an interesting overview of the main news stories and enabled me to follow, to some extent, what was going on around me. One thing that struck me from the outset was the overwhelming volume of films in Cannes. Although there were undoubtedly some fantastic films, the thing that got my attention was the significant amount of rubbish on offer – 'Poultrygeist: Night of the Chicken Dead' – Anyone?

I also used this time to put together a plan of action, identifying what companies to talk to, what about and whether they had screenings I was interested in. As it was the first day of the festival I decided to get to grips with where everything was and how it all worked. Lined up along the sea front are lots of white tents, the base of operations for different countries' national film bodies, each flying their national flag with pride.

If the end of day one was spent in feverish excitement at the endless possibilities that may present themselves in the coming week, day two slightly undermined these aspirations.

I decided to investigate the British Pavilion and get a feel for the British presence in Cannes. Only they weren't quite prepared and when I asked for a list of all the British films showing in Cannes, a frantic five minute search revealed that they needed more copies. Next door was the American pavilion. Apart from being notably bigger it also seemed much livelier with more things going on. Sensing a valuable networking opportunity, I headed in only to be apprehended at the door. “I'm sorry sir but you must have membership to be allowed in.” To the tune of $50, I wasn't prepared to pay and tried to comfort myself with the fact that anything the Americans can do the British can do better, although I some what doubted my instincts.

Having been rejected by the Americans and messed about by the British, I tried my luck with the sales companies. All boxed in temporary offices inside the Palais, with lush fittings and furnishings, plasma screens and posters of their films, the sales companies compete directly alongside each other as they look to sell off rights to distribute their films in territories across the world. A poster caught my eye and I went to inquire about tickets to their market screening that afternoon.

I politely introduced myself to the individual on the stand and told him that I was a film business student from London here as part of the course to learn how Cannes operates. His smile turned and he made a flimsy excuse about being busy and left hurriedly, leaving me to stand awkwardly for two minutes before moving on to the next booth.

Had I done something horribly wrong or offended him in some way? Experience has led me to believe that I just wasn't worth his time. Still at the time of the screening I went along anyway, just in case. When it became apparent that the screen was half empty I was allowed in. Although the day had been what most would describe as a failure, it did nothing to undermine the group's spirit and enthusiasm to get back out and try again.

The honest approach adopted on day one had got us nowhere. Unfortunately, I can't pride myself on being great at the art of blagging, something which would really have made a difference out in Cannes. However, for the sake of the cause one had to be inventive. Dropping the name of the UKFC and Skillset, the parent sponsors of the Film Business Academy, is enough to confirm your suspicions that it really isn't what you know but more who you know and what you have to offer.

Unless you have money or are working for someone who does, then you would be lucky enough to be given the time of day by the feckless sales agents. But tell them you are at Cannes on behalf of the UKFC and they suddenly become much more inclined to have a chat. In many cases a chat is just a chat but occasionally you can wangle an invite to the odd market screening. But more often than not you get rebuffed with a shake of the head and a snide comment: “Buyers only”.

Really, the only way to get anywhere in Cannes is to have the right badge. In essence, Cannes is a hierarchy of badges and passes, all colour coded and readily identifiable by everyone you meet. Sellers only really want to interact with buyers and vice versa and a quick look at my badge rules me out as neither.

After that it boils down to the art and science of negotiation, but like the film industry as a whole, it proves very hit and miss. This melange of competing hierarchies continues through the festival. The larger, more prominent studio companies wouldn't be seen dead operating in the Palais market; instead they work out of first floor hotel rooms in the Majestic and Carlton.

The media does a fantastic job of portraying the glamour of Cannes, expressed through the excitement of the red carpet, celebrity appearances, and lavish and expensive parties. The films in competition garner a sense of achievement and fascination and it is thoroughly enjoyable getting wrapped up in vainly trying to pick the winner of the Palme D'Or. This year's festival selection has been acknowledged as one of the strongest fields in recent years.

It's not just the films in contention for the main prize that create ripples in Cannes. This year Michael Moore delivered “an affecting and entertaining dissection of the American health care industry”, with his latest documentary 'Sicko'. The ultra cool and uber smooth stars of 'Oceans Thirteen' lit up the red carpet for the film's world premiere. Angelina Jolie made an impact with her convincing and moving portrayal of the wife of Daniel Pearl in the sad saga of the slain Wall Street Journal reporter, 'A Mighty Heart'. But they were all but outdone by the boys from U2 who, in a festival first, played an unscheduled concert on the red carpet steps, much to the enthusiasm of filmgoers and fans alike.

These are the stories that hit the papers, which everyone knows about; it's what goes on behind the scenes that is ultimately why Cannes is so important. For the studios, Cannes is just another stop on the marketing bandwagon; with access to unrivaled publicity before a film's worldwide release. For the majority of independent films in the market, the only audience outside of Cannes is on DVD. This leaves around sixty to one hundred classy independent films for which Cannes is the ultimate showcase and the ticket to worldwide theatrical release. It is these films that drive the market. Without them Cannes would become just another accolade to add to the film poster.

300

2007-03-28T18:42:00.000-07:00

Last Thursday I managed to secure a seat in the country's largest cinema screen, the London IMAX, to enjoy the much hyped 300. To be perfectly honest I had been anticipating this cinematic event for nearly 3 months; ever since I caught a glimpse of its revolutionary style in the trailer. The buzz had been ringing over 300 for weeks. It smashed records for a March opening in the states and critics' wimpers of too much violence, all style and no substance had absolutely no dampening effect on my enthusiasm. In fact, not since the Matrix had I felt the overwhelming necessity to see it before everyone else. I was expecting my socks to be knocked off.

So to the IMAX. Everything about the Imax speaks volumes. It is on a scale that dwarfs all other forms of exhibition. As one enters the theatre, the screen unfolds in front of you. Its omnipresence is overwhelming. I couldn't contain my excitement. Each screening is preceded by an introduction into the sound and visual capabilities of what the IMAX experience is all about. A light shines behind the screen revealing a wall of speakers. At first you think it is a neat little trick; a projected image so life like. But it's real.

The screen has millions of tiny holes in it to allow the huge wall of sound to travel through shaking your molecular structure so you feel every audible element. One speaker begins playing a soft drum beat before being joined by another. Before long speakers in every corner are playing layered tones and beats immersing you in a euphony of surround sound bliss.

They say that modern home entertainment systems rival most cinemas, but not the IMAX. It is in its own league. A screen ten times the size of a normal cinema screen completely dominates your peripheral vision. No matter where you look, it is impossible to avoid. This was heaven, and the film hadn't technically started.

So to 300. Epic. Stylish. Beautiful. The grandeur of 300 was firmly established that night and I will remember it as one of the finest cinematic experiences of my life. The battle scenes are most impressive, using a technique of combining slow motion with sped up moments in between.

In slow motion a Spartan warrior thrusts his shield into an enemy sending him sprawling to the floor, then in fast motion we see the Spartan spin around carried by his momentum before the action is again slowed down for the final thrust of his spear into the fallen man's chest. This action is then repeated as the spartans clear their way through the enemy ranks. I never thought battle scenes could be made so majestic and balletic, although still incredibly brutal.

Critics have been bemoaning an apparent lack of story. They seem to have misunderstood that 300 is foremost a comic book adaption. In this manner the script, the gross misconceptions of reality, cheesy dialogue, strange weird disfigured creations of a highly imaginative mind, are wholly befitting and serve the purpose of the film perfectly. Zack Snyder used Frank Miller's orginal novel as a storyboard guide to much of the films stylish look. It doesn't disappoint.

Admittedly, being a 22 year old male student and perfect cannon fodder for such testosterone fuelled violence, it would have been difficult for me to have left feeling dissappointed and underwhelmed. However, I have been known to set my expectations very high only to see them dashed. I was therefore thrilled to finish 300 in awe and in need of a second viewing. My only problem is that now anything short of IMAX quality is distinctly lacking. The bar has been set.