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Written by Matthew Toomey

Created: 28 August 2019

In a career spanning seven decades, Aretha Franklin sold more than 75 million records and won 18 Grammy Awards.  She became the first female to be inducted into the Rock and Roll Hall of Fame in 1987 and she was awarded the Presidential Medal of Freedom by George W. Bush in 2005.  The legacy left by “The Queen of Soul” will be felt for many, many years to come.

Of all her iconic albums, the one which sold the most copies was the 14-track Amazing Grace.  It was recorded in the New Temple Missionary Baptist Church in Los Angeles across two nights in January 1972 with the help of Reverend James Cleveland and his Southern California Community Choir.  It remains the highest-selling live gospel music album of all time.

No one would have known how big the album would become but remarkably, Academy Award winning director Sydney Pollack (Out of Africa) had been engaged by Warner Bros. to film Franklin’s performance and release it in cinemas at the same time as the album.  He shot roughly 20 hours of footage using 16 mm cameras.  Unfortunately, it was never released because Pollack’s inexperienced crew couldn’t sync the audio with the video.  They even hired a lip reader but he gave up after two months because it was too hard!

The reels remained in boxes for 35 years until 2007 when composer/producer Alan Elliott approached Pollack, mortgaged his Los Angeles home and purchased the footage from Warner Bros.  Elliott then worked with renowned video and audio engineer Serge Perron who, with access to new technology, was able to perform a successful sync.  Editor Jeff Buchanan (Her) wove the footage together and the film was complete in 2011.

That’s when the next hurdle arose.  Franklin, upset that she wouldn’t benefit financially from the movie, sued to prevent its public release.  Elliott believed all had been cleared by 2015 (after they’d found Franklin’s original contract from 1968) but just three hours before its sold-out, world premiere at Colorado’s Telluride Film Festival, Franklin was able to get an injunction from a federal judge to block the screening.

It’s sad to be saying this but the reason the film is now finally being seen is because of Franklin’s death in August 2018.  Elliott forged a working relationship with Franklin’s niece, Sabrina Owens, and after showing the film to her extended family, they negotiated a financial deal that would allow for its worldwide release.  Sydney Pollack died of cancer in 2008 but as he orchestrated the footage back in 1972, he is credited as the film’s official director.

There’s nothing particularly special about the way the documentary has been shot (the cinematography is all over the place) but it still holds a powerful allure given the magnitude of the moment.  We’ve seen fictional re-enactments that take us inside an artist’s creative process (most recently Rocketman and Bohemian Rhapsody) but with Amazing Grace, we’re watching the actual moment where a renowned singer creates her most famous work.  The perspiration pouring down her face highlights the intense energy being expended.

The music is stunning but so too are the reactions from those lucky enough to be in the audience.  Some are smiling and cheering and dancing.  Others are sitting back with their eyes closed and letting it all soak in.  It was clearly an emotional experience for the small group of attendees (including Mick Jagger) who were there in January 1972 and while it’s been a long wait, it’s great that it can now be shared with the world at large.

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Written by Matthew Toomey

Created: 21 August 2019

Given the seemingly endless list of topics that could appeal to a filmmaker, it’s surprising to see two Australian-made documentaries about AFL footballer Adam Goodes being released in the space of a few months.  The Final Quarter, directed by Ian Darling, was a narration-free doco that relied solely on archival footage to highlight the racism endured by Goodes during the final years of his playing career.  It premiered at the Sydney Film Festival in June and then aired on the 10 Network in July (where it was watched by roughly 589,000 viewers).

In tackling the same subject matter, Australian writer Stan Grant and British director Daniel Gordon (an Emmy nominee for a 2014 documentary about the Hillsborough disaster) have gone with a different approach.  It features a wide range of face-to-face interviews and is telling a much broader story.  To quote Grant – “It isn’t about what happened on a football field in one particular season.  It’s about the 200 years that lead to that and who we are as a nation.”

It’s an apt way of describing The Australian Dream.  There are scenes that look at Goodes’ achievements on the field and the racist taunts (particularly on social media) he was subjected to during his last year playing for the Sydney Swans in 2015.  However, to understand why Goodes felt so angry and saddened by the abuse, the film spends an equal amount of time delving into his upbringing and the broader plight of Indigenous people in this country over the past two centuries.

The interviewees include those who played the game such as Michael O’Loughlin, Nicky Winmar, Gilbert McAdam, Nathan Buckley and Paul Roos.  Others who share their thoughts on camera include TV/radio personality Eddie McGuire, journalist Tracey Holmes, Olympic gold medallist Nova Peris, politician Linda Burney and political commentator Andrew Bolt.  I’m sure they could all talk about this topic for hours but Gordon has included just the right amount from each to get the message across.

This is an affecting documentary.  Most of us know Adam Goodes the footballer (two Brownlow Medals, two premierships) but the film digs much deeper and helps us appreciate Adam Goodes the person.  He comes across a passionate, articulate, persuasive spokesman for Indigenous people here in Australia.  His views provide much “food for thought” on casual racism in society, teaching Indigenous history in schools, and the significance of Australia Day each year.  It left an impact on me.

It’s bizarre to see the film rated MA in Australia for its “themes of racism and strong course language”.  It’s a movie that should be seen by people of all ages and not just those over the age of 15.  Yes, profanity is used but it’s only to show the disgusting language used against Goodes by crowds at games and trolls on social media.  It raises another worthy conversation starter about the way professional athletes are sledged online and the effect it can have on their mental health.

My wish is that every Australian see this film.  Just moments after leaving the theatre, I read a report on Twitter that a football player for Manchester United, Harry Maguire, was subjected to a torrent of racial abuse on social media after missing a penalty shot.  The world still has a long way to go when it comes to stamping out racism.

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Written by Matthew Toomey

Created: 27 August 2019

From Cate Blanchett to George Miller to Catherine Martin, Australia has a great reputation for creating talented actors, writers, filmmakers and craftsmen who have made a name of themselves on the world stage.  The next name for you to remember (if you haven’t already) is Brisbane-born writer-director Jennifer Kent.  Her debut feature, The Babadook (2014), developed a cult-like following across the globe and won 3 AACTA Awards including best film.

It’s taken five years for Kent to develop her sophomore effort but the wait has been worth it.  It’s set in 1820s Tasmania and Kent worked with historians, cultural experts and Aboriginal people to depict the era as accurately as possible.  This was a period in history where British convicts and military guards claimed ownership of the island and fought heavily against the Aboriginal resistance.

The central character here is Clare (Franciosi), a 21-year-old Irish convict with a husband and a newborn child.  Clare has served the final part of her sentence at a small military base and while she is entitled to her freedom, she is continually denied by the depraved Lieutenant Hawkins (Claflin) who abuses his power in the most brutal of ways.  The scenes between these two characters are tough to watch and that’s a testament to Kent’s skilful direction (which never becomes gratuitous) and the actors’ fierce performances.

A significant event (which I won’t reveal) sets the stage for the drama which follows.  Lieutenant Hawkins pulls together a small troop of soldiers and heads on a dangerous, week-long trek to the town of Launceston in search of a promotion.  He is pursued by the now vengeful Claire who, guided by a young Aboriginal tracker named Billy (Ganambarr), seeks to kill Hawkins and in doing so, help sooth her tortured soul.

The Nightingale is both an absorbing character study and a gripping history lesson.  Irish-Italian actress Aisling Franciosi (Game of Thrones) is outstanding as the strong-willed Clare.  There are times when you’ll feel sympathetic towards the character but there are other times when you’ll be frustrated by her own lack of understanding and compassion.  The connection between Clare and Billy, which evolves with each passing day, serves as the film’s heart.

Shot largely in the Mount Field National Park north-west of Hobart, Polish-born cinematographer Radek Ladczuk makes the most of the beautiful, yet claustrophobic setting.  Kent also chose to use the narrow 1.37:1 screen ratio (seldom seen these days) to ensure the humans were “front and centre in the frame” and did not become secondary to the Tasmanian landscape.  It’s a good decision.

Filled with exceptional performances, The Nightingale is a confronting, powerful drama that is not easily forgotten.

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Written by Matthew Toomey

Created: 15 August 2019

So far in 2019, a total of 19 films have earned more than $100 million USD at the box-office in the United States.  That in itself is not surprising.  The interesting/depressing fact is that of those 19, just two are not part on an existing series and are not a sequel, reboot, remake or spin-off.  The movies in question are Jordan Peele’s Us and Quentin Tarantino’s Once Upon a Time in Hollywood.  By way of comparison, 17 of the 21 films that crossed the $100 million USD threshold in 1999 were original.

This tale of box-office takings highlights the changing nature of cinema across the globe.  Theatres are where you go to see big budget action films like Avengers: Endgame and heavily marketed family flicks like The Lion King.  If you’re looking for romance, comedy or drama and it’s outside of Oscar season, you’re more likely to find it in the comfort of your own home on a streaming service.  That could be good or bad news (depending on how you like to consume your movies) but the point to emphasise is that it’s not just a quick, passing trend.  It’s the new reality.

Once Upon a Time in Hollywood will succeed because of the man behind the camera, Quentin Tarantino.  He’s one of the most well-known directors in the industry and this marks his 9^th feature film (provided we count the two-part Kill Bill as a single creation).  Social media has recently been awash with critics and cinephiles weighing in on Tarantino’s work and ranking his movies in order of preference.  Few directors command such a presence and for the record, my favourite is 1998’s Jackie Brown (with Pulp Fiction a close second).

Set in Los Angeles 1969, Once Upon a Time in Hollywood boasts a very large ensemble (keep your eyes peeled for cameos) but largely revolves around three characters.  Rick Dalton (DiCaprio) is a successful actor who fears he’s become a “has been”.  Having built a reputation playing bad guys in movies and television shows, he worries that he’s been typecast and that it’s too late to shift gears.

When it comes to Rick’s career, no one has more at stake than his best friend, Cliff Booth (Pitt).  Cliff was originally employed as Rick’s stunt double but as the roles have dried up, Cliff has become more of a chaperone, house-sitter and personal assistant.  His stress-free, chilled nature also makes him the perfect source of emotional support when required.

While those two characters are fictional, the third depicts a real-life person.  Sharon Tate (Robbie) is a 26-year-old actress starting to make a name for herself within in industry.  She recently married filmmaker Roman Polanski and her connection to Rick and Cliff is that she’s their next-door neighbour in a luxury home bordering Beverly Hills.

There’s likely to be varying opinions about Once Upon a Time in Hollywood but in my eyes, it’s tiring and it lacks a compelling narrative.  Quentin Tarantino has spared no expense in recreating the splendour of 1960s Los Angeles but there are lengthy sequences where the film is more interested in the setting than the characters.  I grew tired of the film references, the radio advertisements and the TV show extracts. 

The balance between the respective storylines also feels askew.  We spend an inordinate amount of time delving into Rick’s self-doubting nature and search for affirmation (whether he be talking to Cliff, a producer, or a young girl).  On the flip side, we hardly get to know Sharon Tate except for the fact she likes to slip into a public movie theatre and see herself on screen.

There are both positives and negatives in terms of the finale (without giving anything away) and while I can respect Tarantino’s efforts to create something different and thought-provoking, Once Upon a Time in Hollywood is an unexpected disappointment.

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Written by Matthew Toomey

Created: 22 August 2019

In Olympus Has Fallen (2013), a North Korean terrorist organisation infiltrated the White House and kidnapped the President.  Mike Banning (Butler), a former U.S. Secret Service agent, killed the bad guys and saved the day.  In London Has Fallen (2016), a dodgy Pakistani arms dealer killed several world leaders in London and had sights on the President.  Once again, Mike Banning killed the bad guys and saved the day.

The fact these two films have been made makes the premise for Angel Has Fallen impossible to believe.  President Allan Trumbull (Freeman) is attacked by a series of fast-moving, exploding drones while out fishing on a secluded lake.  All the Secret Service Agents in attendance are killed, the President winds up in a coma in hospital, and the only person to escape relatively unscathed is Mike Banning.

As bizarre as it sounds, Banning has been identified by the FBI as the lead suspect in the attack.  We, as the audience, know that some mysterious group of guys has framed Banning.  This is where logic is thrown out the window.  Why would a man who has risked his life twice to save the President suddenly have an urge to kill him?  The film tries to put forward some silly financial incentive but when you break it down, it doesn’t make sense.  The fact that no one within the FBI can see this is a set-up is alarming.

Anyway, the remainder of the film is spent watching Banning traverse across the countryside, evading capture, and trying to clear his name.  It’s your stereotypical “one guy versus the world” kind of storyline.  The only highlight is a cameo from Nick Nolte (Warrior) who slips into the narrative as Banning’s estranged father.  There’s a humorous sequence where father and son (well, mainly the father) use explosives on a bunch of moronic henchmen.

The true masterminds behind the mayhem are ultimately revealed.  You won’t be surprised by their identity but you may be surprised by the stupidity of their motivations.  Without giving too much away, there were simpler ways to achieve the same outcome without having to come up with an expensive, complex plan to assassinate the President.  You could watch an episode of Scooby Doo and find more interesting villains with better crafted plans.

Angel Has Fallen is a forgettable action piece.