Details

Written by Matthew Toomey

Created: 08 September 2020

COVID-19 has battered the broader film industry but Slim & I is a rare example of a movie that is likely to benefit from the pandemic.  With the lack of big blockbusters coming out of Hollywood, this small Australian documentary is being released in roughly 150 cinemas across the country.  That’s a staggering number for a doco and, given the doom and gloom that has enveloped 2020, it’s the perfect film to put a smile on people’s faces and remind them just how great the world can be.

Most Aussies will be familiar with music legend Slim Dusty.  He recorded over 100 albums, he won 37 Golden Guitars, and he was the inaugural inductee into the Australasian Country Music Roll of Renown.  His first big hit, “A Pub With No Beer”, became an international hit in 1958 and that made him the first Australian to receive a Gold Record.  If you needed further proof of his iconic status, Slim was selected to sing “Waltzing Matilda” in front of over 114,000 people at the Closing Ceremony of the 2000 Summer Olympic Games in Sydney.

Slim & I recognises and celebrates Slim’s achievements but, just as importantly, it shines the spotlight on his partner (both personally and professionally) of more than 50 years, Joy McKean.  I like the line used by producer Chris Brown (The Railway Man) at the film’s Queensland premiere – “she wasn’t the woman behind the man… she was the woman beside the man.”  Slim may have been the “face” of the duo but behind the scenes, it was Joy who wrote the lyrics to some of his best works.

There’s a lot of material to cover inside of two hours and credit goes to director Kriv Stenders (Red Dog) and editor Karryn De Cinque (Girl Asleep) in weaving the interviews and footage together.  With this blessing of Joy McKean and the help of her grandson filmmaker, James Arneman, Stenders had access to a wealth of archival footage that had never been seen before.  A few parts had to be re-enacted (the weaker material in the movie) but for the most part, we’re seeing the real Slim and Joy travel across the country, create great music, and interact with an assortment of people.

The current day interviews with Joy (now 90 years of age) are both heartfelt and hilarious.  She’s still as sharp as a tack and she doesn’t mince her words.  We also hear from the likes of Keith Urban, Paul Kelly, Don Walker, Kasey Chambers, Missy Higgins.  If you need proof about the power of Slim Dusty and the song writing prowess of Joy McKean, you’ll love the story told by Troy Cassar-Daley about his favourite tune – “The Biggest Disappointment.”

Culminating on an uplifting, emotional note, Slim & I is a wonderful tribute to two people who made Australia a better place. 

Details

Written by Matthew Toomey

Created: 12 August 2020

In discussing La Belle Époque, I’ve seen a few critics make the comparison with Michel Gondry’s Eternal Sunshine of the Spotless Mind (and for good reason).  The later film, my favourite of 2004, focused on a couple (Jim Carrey and Kate Winslet) who had gone through a messy break-up and then undergone a new medical procedure to wipe all memory of each other from their minds.  It was a cool concept that helped the film win an Academy Award for best original screenplay.

La Belle Époque is similarly creative.  Victor (Auteuil) and Marianne (Ardant) are a couple in their sixties who have been married for several decades.  It’s clear they’re not happy though.  Victor is depressed by how much the world has changed and how he’s seemingly been left behind.  Marianne’s been having affair and, when it all spills into the open, she kicks Victor out and settles into a new life.

There’s a new business in town where, for a substantial sum of money, a cast and crew can recreate a piece of history and you can immerse yourself in that world.  It’s like a form of time travel.  If you want to see what it felt like to be in the same room as Adolf Hitler during the middle of World War II, this company will build the set, hire actors and give you a Truman Show-type experience.  The man pulling the strings in the background is Antoine (Canet), a controlling director with a strong attention to detail.

Victor’s son (Cohen) buys his father a gift certificate and, rather than relive an iconic piece of French history, Victor chooses to go back to the day he and Marianne first met in 1974.  Based off drawings provided, Antoine skilfully recreates the La Belle Époque café in Lyon and hires a young actress (Tillier) to play Victor’s wife-to-be.  A larger cast is required including the waiters and fellow customers.

I won’t speak too much more about plot details.  La Belle Époque is a delightful French comedy that has something to say about people and the way they change over time.  There are some of us who embrace change, never look back, and are always keen to find something new.  There are others who feel tied to past and lament a time that no longer exists.  Going back to a recreated era gives Victor the chance to assess both perspectives.

There’s another interesting layer to the story centred on the company itself and what goes on behind-the-scenes.  They’re creating unforgettable experiences for wealthy customers but to pull it all off, there’s a lot of work involved and an element of tension.  Writer-director Nicolas Bedos deservedly won the César Award (the French equivalent of the Oscars) for best original screenplay and he also earned a nod for best director.

If you’re looking for something funny, charming and different, put La Belle Époque on your must-see list.

Details

Written by Matthew Toomey

Created: 26 August 2020

Les Misérables arrives in Australian cinemas with big wraps.  It shared the Jury Prize (effectively third place) at the 2019 Cannes Film Festival, it won best film at the César Awards (the French Oscars), and it was nominated at the Academy Awards for best international feature (losing to the popular Parasite).

My only qualm is the title itself!  When I first heard about the film, my reaction was “do we really need another version of Victor Hugo’s Les Misérables?”  It’s a great story but having seen the live action musical, the 1998 film with Liam Neeson, and the 2012 adaptation starring Hugh Jackman, it felt like a tale that had been told enough.

The good news is that, for the most part, this has absolutely nothing to do Hugo’s famed work.  You don’t need to worry about Jean Valjean being captured or Fantine signing “I Dreamed a Dream.”  This is a very different film.  It’s a contemporary story set in 2018 that delves into current day issues including crime, corruption and multiculturalism.

42-year-old filmmaker Ladj Ly based it on his own experiences growing up in the Montfermeil, a commune to the east of central Paris with a population of roughly 30,000 people.  It’s an area that is home to many African immigrants who suffer due to high unemployment, poor housing conditions, and regular police harassment.  Ly has had a love of filmmaking since a teenager and this, his first feature film, provide him with the opportunity to show the world what his fellow Montfermeil residences endure on an ongoing basis.

There are several groupings of characters who include three police officers, a group of young kids, a performing circus, and a powerful “mayor”.  When a small lion cub is stolen from the circus, it sets in motion the events that lead to the film’s emotional climax.  Audiences will be quick to form opinions of these characters but, to the movie’s credit, those views will change throughout as we get to know them a little better.  When it comes to labelling people as good or bad, the film reminds us that there are many different perspectives from which to make an assessment.

French President Emmanuel Macron saw the film himself in late 2019 and was rocked by its power and authenticity.  He has reportedly been working with government ministers to improve the situation Montfermeil.  That endorsement says more than any review ever could.  It highlights the importance of quality cinema and how it has the ability to instigate change.  See this film.

Details

Written by Matthew Toomey

Created: 17 July 2020

The life of Babyteeth began back in 2012 when the play, written by Rita Kalnejais, was performed for five weeks at the Belvoir St Theatre in Sydney.  Oscar nominated producer Jan Chapman (The Piano) and colleague Alex White went to the opening night performance and were wowed by the material.  They snapped up the film rights soon after and asked Kalnejais to adapt her work for the big screen.

It’s best described as an unusual love story.  Milla (Scanlen) is an introverted, insecure 10^th grade student who loves the violin and lives with her two easy-going parents (Davis and Mendelsohn).  Moses (Wallace) is a 23-year-old drug addict who has been kicked out of home and has no job.  The pair meet on a train platform in unusual circumstances (Milla has a bloody nose) and after a few minutes of small talk, a connection is forged.

Adding a layer of complexity is the fact Milla has a terminal illness.  No one knows how long she has left but her parents realise it could be their daughter’s only chance of experiencing love during her lifetime.  They’re not thrilled by the choice of suitor (the mum describes her own actions as the “worst possible parenting I could ever imagine”) but they keep an open mind and, under their close supervision, let the relationship progress.

A lighter touch is applied to the opening two acts.  Essie Davis (The Babadook) and Ben Mendelsohn (Animal Kingdom) earn laughs as they grapple with their daughters’ romantic awakening.  Eliza Scanlen (Little Women) and Toby Wallace (Boys in the Trees) endear themselves to audiences with their silly conversations and general naivety.  First-time feature filmmaker Shannon Murphy sets a brisk pace with unexpected cuts to scenes and to Amanda Brown’s music score.

As expected, the tone shifts to something more dramatic in the closing act and, thanks to the strong performances from all four leading actors, the emotions really hit home.  You get a clear sense of the lessons learned and the suffering felt by each character.  The use of facial close-ups adds to the film’s impact.

The movies selected as part of the official competition for the 2019 Venice Film Festival included new works from Pablo Larraín, Noah Baumbach, Haifaa al-Mansour, Hirokazu Kore-eda and Olivier Assayas.  To see a first-time Australian director make the shortlist and compete against such big names says volumes about Babyteeth and its allure.

Details

Written by Matthew Toomey

Created: 26 August 2020

It took several viewings but I ultimately came to the conclusion that Christopher Nolan’s 2014 sci-fi epic, Interstellar, was a flawed masterpiece.  It’s got a quality cast, moves at an energetic pace, and features a career-best film score from composer Hans Zimmer.  Despite all of that, Nolan tried to squash 20 hours’ worth of ideas into 2 and the end result feels rushed, fragmented and, at times, incoherent.  The emotional family stuff didn’t resonate either.

I refer to Interstellar because, on leaving the theatre after a first look at Tenet, the same thoughts were rummaging through my mind.  This is another grand project with big, intriguing concepts but when you bring it together, it just doesn’t flow.  You’ve got characters hastily explaining time-twisting technologies intertwined with elaborate, heavily-edited action pieces.  Having just finished Dark, the excellent 26-episode German time travel series on Netflix, it made me wonder if Nolan’s material was better suited to the longer TV form.

Time travel movies are nothing new but Nolan adds a different spin here by exploring the concept of “inversion”.  Instead of jumping into a time machine and transporting yourself to a particular point in history, inversion allows you to push the rewind button and move backwards through time.  The problem is that it’s hard to do this discreetly.  It’s going to look rather obvious to normal, forward-moving folk when they see a car reversing back at them at 100 km/hr on a freeway.

I think there are a few holes/conveniences with the broader idea (a scientist covers that by saying “don’t try to understand it”) but the crux of the story is centred on a man appropriately named The Protagonist (Washington) who is tasked with “preventing World War III”.  A wealthy Russian crime lord (Branagh) has access to inversion technology and, as you can imagine, it’s incredibly dangerous in the wrong hands.  Who needs nuclear bombs to destroy the world when you can just change time instead?

Nolan has assembled another terrific cast.  John David Washington (BlacKkKlansman) is excellent in the lead and I love the professional chemistry between he and his offsider, played by Robert Pattison (Twilight).  Australian Elizabeth Debicki (The Great Gatsby) is also very good as the villain’s estranged wife.  I wasn’t as convinced by Kenneth Branagh (Hamlet) as the bad guy.  An important ingredient of any top-notch action film is a great villain but the more this film progressed, the more I realised Branagh’s character lacked logic and nuance.

The set action pieces are chaotic but also fun.  You might be scratching your head as you watch two people fight – one moving forward through time and one moving backward through time.  It’s not something I can recall seeing on screen before.  The film score from Oscar winning composer Ludwig Göransson (Black Panther) also deserves a mention for the additional energy in brings to the overall production.

While Tenet earns points for being creative, it can’t avoid succumbing to traditional action clichés.  As an example, there are lengthy, heartfelt conversations between two people while the world implodes around them.  It was also hard to rationalise the strong bond forged between The Protagonist and the Russian’s wife and child given what’s at stake.

It’s bitten off more than it can chew but with the positives balancing out the negatives, Tenet deserves a look.  In this COVID-19 world, it’s nice just to see a blockbuster on the big screen again.