Kind Hearts and Coronets

 

Vintage Ealing Studio comedy released on 4K UHD from Studiocanal on 22nd April

In a series of re-releases and new prints upon the Vintage Classics label from Studiocanal, the company has taken the legendary series of post-World War 2 films from the Ealing Studios archive.

These films are long-established in the canon of British public consciousness and yet they remain vintage in every sense of the word - regal from a bygone era, original in their gestation and witty still despite the advancement of culture and society. This film appears as a satire upon the British fascination of nobility and the pursuit of social mobility.

After spending an hour and a half in the mere presence of Dennis Price's serial killing cousin, one will feel quite jolly and wish for the days when people would harken back to the days full of lavish production design and featuring the well-equipped acting of an ensemble who went from film to film delivering exquisite performances. 

While Price is the figurehead of the film and upon repeated viewings, his role is one of quiet restraint that is befitting a sociopath who is more in need of social ambition he feels is owed rather than earned. Yet this film remains most memorable as a showcase for the ever growing reputation of Alec Guinness. This is after his double bill of appearing in David Lean's Charles Dickens' adaptations most notably as Fagin in Oliver Twist. In this he portrays the D'Ascoyne family - those who Price as Louis - wants to dispose of so his lineage to the Duke of Chalfont can be obtained.

Guinness embues so much character into each of the family, it led to his scaling the heights of British film with The Lavender Hill Mob and The Ladykillers to follow before Hollywood and his Award winning role as Captain Nicholson in Lean's The Bridge over the River Kwai.

What is most striking though along with the performances is the erudite script that while based upon a novel is witty and astute in its understanding of social class, aspiration and norms in the post-war era. Credit also to Robert Hamer for marshalling proceedings with such precision and care.

If film fans have not heard nor seen this film, they should seek it out and enjoy the darkly black comedy that became familiar from the Ealing Studios, in a post-war world which should have been full of optimism, there remained those grains of doubt and pessimism that maybe good times may never return and you have to set out and make your own path in life perhaps to better yourselves.

The film is released on UHD on 22nd April, it features an introduction by fan John Landis, an audio commentary by film critic Peter Bradshaw, director Terence Davies and Matthew Guinness, an alternate US ending, gallery and trailers.

Kind Hearts and Coronets is released on UHD from 22nd April 

The Lavender Hill Mob

 

Ealing Studio classic THE LAVENDER HILL MOB

 rereleased in 4K Restoration from Studiocanal

Originally released in 1951, Ealing Studios' veteran Charles Crichton with a script by T.E.B Clarke and starred Alec Guinness, Stanley Holloway and Sid James as the most unlikeliest of gold bullion robbers.

Guinness plays Henry Holland, a faithful bank transfer agent of 20 years who has never put a foot wrong and is non-descript to his employers. He dreams of the perfect gold bullion heist, yet does not know what to do with the bullion when stolen. Holland befriends new housemate Pendlebury (Holloway) who as a smoulder, they happen upon the idea of forging the gold into miniature Eiffel tower paperweights smuggling it from England to France.

The pair hire two professional criminals Lackery (James) and Shorty (Alfie Bass) and together the foursome put the plan into place full of unexpected twists and turns.

To think this film is over seventy years old is how swift and economical the script is and it is not surprising that the film won the Oscar for Best Original Screenplay.

Yet the x factor of the film is Alec Guinness, whose chameleon like ability to become an character he inhabits is to the fore again in the role of Henry Holland. When we first encounter Holland he is in some Caribbean island flaunting his wealth and fame around the resort, flirting with a young Audrey Hepburn and giving money to the help around the hotel. He promptly tells the story to someone sitting with him and so the story is told in flashback as all good heist films tend to be. Guinness up to this point had been the supporting player in such works as Oliver Twist and Kind Hearts and Coronets, yet this was the launching pad for his leading man career garnering a Best Actor nomination from the Academy Awards.

Shot at Ealing Studios but also embracing the post-war London with real-life locations for chases near London landmarks, the film is a breath of fresh air throughout. One note of criticism would be that once the heist is completed, the hapless pair running around Paris is somewhat not wanted but that is merely a slight note to be forgotten.

The moral integrity remains by the film's end and all you can remember is that the smiles elicited by the cast are real, the story is well told and Crichton deploys an even hand across proceedings.

The new 4K restoration is being released in cinemas from 29th March (Easter weekend) and will garner a 4K UHD and Digital release from 22nd April. Kind Hearts & Coronets will be released on UHD from 22nd April also.

The release offers a treasure trove for the British film lovers. Essays and Q&A's by Benedict Morrison and Paul Merton. An introduction by Martin Scorsese, audio commentary by film historian Jeremy Arnold, stills, two posters, four pop-art artcards by Art and Hue. Pre-order here

My thanks to Studiocanal UK for the review copy

Dark Road Home - Sheila Bugler

New novel by Eastbourne based, Irish born author Bugler from Canelo Crime

As a vivacious reader of crime novels and thriller reads from the publication house, Canelo, and its sub-print Canelo Crime I have taken pleasure in reading and following the careers of Marion Todd, Rachel Lynch, MJ Lee and Bugler.

Unlike the other contemporaries, who have dealt with a series of detective fiction revolving around a central character, Bugler has dealt with different storylines and characters jumping from a different premise, location and environment from book to book. This book is her 10th release, a wonderful milestone.

In this instance, Dark Road Home, is a coming home of sorts for her. Set in the fictitious west Ireland coastal town of Dungarry; her conduit for this homecoming is Leah Ryan. She returns home after an absence of two decades to face the turmoil she left behind which led her to Australia. Upon her return though to visit her ailing, wheelchair bound mother, another tragedy hits as her first love Eamon is brutally murdered as his restaurant business.

It seems a mystery, but soon as in all small towns where everyone knows everybody's business, everything is connected and there are secrets behind every front door.

Leah starts a flirtatious relationship with a cop who is investigating and she tries to bury the hatchet with her brother, Frank, the sibling who was meant to leave in Leah's place and explore the world. Instead Frank has remained and is a shell of the man he was hoping to be, drinking too much and carrying a spare tyre.

Bugler writes about the Irish homeland - a place she would like to retire to - with such fondness and for fans of The Woman in the Wall and other Irish crime series (the returning Blue Lights) this will be a welcome addition to the canon. 

The story which has a dual narrative of now and twenty years prior which leads to Leah's departure for this reader felt like it was treading water, and yet as so often in Canelo releases the second half of the book picked up steam and went to a crescendo that is worthy of Bugler's talent. The delicate handling of Leah and Frank's relationship and the guilt Leah feels for her leaving is told effectively.

While for me not as good as Bugler's other earlier works or her last work Black Valley Farm, it nevertheless is a solid thriller and a well told standalone plot and story that was entertaining and full of twists.

Dark Road Home is out from Canelo on 18th April on all formats.

Home - Sheila Bugler

Dream Talk - Still Corners

New album Dream Talk from Still Corners out April 5th via Wrecking Light Records

The new album from duo of Tessa Murphy and Greg Hughes is an album they have been building towards as a two-piece since forming in 2009.

Dreampop would be a category you would attempt to pigeon hole Still Corners into, yet they are a band who are not restricted by such terms, they are a pop band with rock sensibilities or a rock band with electro stylings in abundance that tick so many boxes of influences.

Returning with new album material since 2021's The Last Exit which was well received, the duo return with new songs that are both ethereal and melodic. From the opener 'Today's the Day' which is sounds like a long lost cousin of Chris Isaak's 'Wicked Game' it has this earnest hook that yearns for attention. It is a great modus operandi opener for an album that does not deviate from the hypnotic course it is sailing. This idea of sailing comes full circle in a song like 'The Ship' which appears near the end of the album; a deeply affecting vocal featuring layered vocals and swooning production

Take for instance a song like 'Crystal Blue' a dreamy song that could be the access point for any such dreampop playlist yet it is Murphy's hushed delivery (reminiscent of Alice Boman) that makes it earworm worthy, the deliberate restrained nature of the production happening underneath her is mesmeric.

Fans who know their work will not be surprised by the content available, and for this listener who is familiar with the oeuvre of dream-gaze pop and such contemporaries as Mint Julep will be raptured by this album

The best moments of the album is when it lets the chains of dream-gaze fall away and veers closer to pop such as 'Lose More Slowly' or 'Faded Love' and these fleeting moments enhance an album that will be greatly appreciated on multiple listens. 

At times romantic, swooning and mysterious this is a yearning piece of stylish dream pop ripe for a wider audience and will be perfect for the summer (if it ever comes) as we sway to it as the sun goes down on a festival evening.

Dream Talk is out now via Wrecking Light records

The Assassin - Tom Fletcher

 

Sequel to The Ambassador by Tom Fletcher, out March 28th from Canelo

Tom Fletcher had a great success with his debut novel The Ambassador which told the tale of Ed Barnes, ambassador in Paris, France who survives an assassination attempt at his diplomatic household. The sequel shows Ed taking up a new position in Nairobi, Kenya.

The book starts breakneck and deals with two duelling narratives that eventually co-exist. Barnes must deal with a hostage situation at a major shopping mall in the city centre, where a Somali terrorist group take over and unfortunately his daughter, Stephanie, is amongst the captive group.

Having foiled those terrorists, Barnes returns to London to talk with the female Prime Minister Hermoine, who will attend a climate conference all amidst the wave of political assassinations taking place around the globe by the pseudonymous assassin who may or may not know Barnes.

The kills of the assassin are perhaps the best parts of the book - a real joy for the writer to throw caution to the wind eliciting different deaths for not very nice people in grand surroundings. 

It is the general narrative with the balance of family dynamics and climate change political wrangling that forces the book to sometimes slow down when the pace of terrorist attacks and surprise kills is where the excitement is.

Typical of books this reader has read lately, where the foundation and building blocks of the book in the first half are critical to the cut and thrust of the second half when tension is ramped up and pays off.

Credit to Fletcher who as a former foreign policy advisor has the legitimacy of knowledge to convey and commit to the story and in Barnes he has a genuine hero who wants to do the right thing despite the political climate around him.

The Assassin is out on 28th March from Canelo 

My thanks to them for the review copy via NetGalley.

The Coffin in the Wall

 

New novel by MJ Lee set in Cheshire

MJ Lee is a prestigious and prolific writer of crime thrillers. For the last five years he has written eight books featuring the everyman coroner officier DI Ridpath which saw him overcoming crimes in the Greater Manchester district as he navigated cancer diagnoses, loss and a growing teenage daughter.

In an interesting switch, Lee has started a new narrative series, this time set in and around the small city of Chester and following the tales of DI Emma Christie who must investigate a gruesome crime amidst the picturesque surrounding of the Roman city. 

This is a great move by Lee, I always admire those writers who are so married to their characters - a la Lee Child or Patricia Cornwell - yet they are never able to show other strings to their bow. Here, he is writing about a new city, a new lead character and of the opposite sex which comes with its own potential hiccups. 

However, the character of Christie is quite reminiscent of Ridpath - an everywoman quality resonates from her, she is determined to succeed despite the problems of caring for her ailing father/former cop who is beset with dementia. Those scenes featuring his dwindling memory are particularly heart-breaking. 

The case itself did remind me of Ridpath cases yet that is not a criticism, that familiarity was welcoming as the book is so well researched in terms of police procedure, Lee has done the legwork and it pays off convincingly as the narrative moves at such a clip it is richly rewarding.

The scenes within the force where they discuss the case is ripe for duelling dialogues as this hotchpotch of different ages, cultures and backgrounds come to the fore along with the class and hierarchy of the police force. With Christie you have a woman who has to overcome her gender and accusations of nepotism to reach her position on merit.

For fans of Mark Billingham along with those who like something new as well as the continued Marion Todd series set in St. Andrews, this is a crime read ripe for digesting and will garner wide attention when the word of mouth begins.

The Coffin in the Wall is self-published and available on Amazon and other platforms

The Red Hollow - Natalie Marlow

Second novel of Birmingham Noir by Natalie Marlow 

out 28th March from Baskerville

Natalie Marlow's highly anticipated sophomore novel set in the fracitious 1930s Birmingham backstreets made more relevant to people by the astronomical success of Peaky Blinders, Marlow has crafted a fascinating protagonist in William Garrett, a private detective who resides out of Needless Alley (title of the first book). Garrett has daily dalliances with the ne'er-do-well's of Birmingham's backstreets and he must maintain his head above the parapet as he always deals with problems.

While the first book became a gripping whodunnit, in this second novel Garrett and his now wife become entangled in what can be described as a what-dunnit. They are called to the titular stately manor on the outskirts of Warwickshire countryside to oversee a mysterious sequence of deaths in this house that now operates as a male-only sanatorium, overseen by Dr. Moon whose patients are leaving premises.

On the wettest day of the year, local flooding makes it hard for Garrett and Queenie to arrive at the site, and the tale of the mysterious mermaid who may or may not be responsible for the murder that has occurred. Disturbances that appeared to be pranks are now being claimed upon the ghost of the Red Hollow, a girl who seeks revenge upon the men who killed her. 

The placing of the narrative in a bottle format or self-contained environment is a clever tweak and acts as a homage to the works of Agatha Christie especially The Mousetrap. This is in stark contrast to the debut novel where Garrett was discovering different landscapes, traversing those places that do not exist anymore with Marlow/Garrett acting as our guide. 

In this novel, the limitations of the narrative by restricting it in one setting does a disservice to Garrett's potential as a character, one who needs to discover due to his job title and by restricting him to one location is a shame.

This reader hopes that Marlow returns Garrett to the cobble streets of the second city - the different districts encourage different cultures and language. In this setting, you have Garrett always being the smartest person in the room where you always felt he would overcome the problem he faces eventually in this instance. 

That is only a small note of criticism, credit where it is due, the professional relationship Garrett has with Phyll Hall, a fresh detective, is a winning one. They are a platonic pair who finish each other's sentences and the pain he feels when trouble arrives at Phyll's feet is clearly felt and well handled along with the precarious nature of the situation Garrett/Phyll have gotten themselves into.

Marlow also cleverly melds the influences of Gothic influences of British literature with the back and forth dialogue that effortlessly flies off the page, a book of atmospheric pressure that resonates creating a taut and scary tale. Marlow a self-confessed film fan brings those influences of the Haunting and The Innocents to her advantage in creating the eerie environment.

William Garrett is back and he will return. This is a character you cannot wait to see more of the future.

The Red Hollow is out on 28th March from Baskerville/John Murray Press

Wilfred Buck - WORLD PREMIERE review

 

World Premiere scheduled for 18th March at the CPH:DOX Copenhagen International Documentary

Written and directed by Lisa Jackson, known for her ground-breaking cross-genre work, Wilfred Buck is a hybrid feature documentary that follows the extraordinary life story of the eponymous charismatic and irreverent Cree Elder, who overcame a harrowing history of displacement, racism and addiction by reclaiming ancestral star knowledge and ceremony.

The film serves as a rich mix of nostalgia and heritage as we navigate the indigenous communities across the American north. Cree is seen as a respected gentleman, who espouses a wealth of his knowledge upon those who wish to learn with a smile on his face and his effusive spirit radiating to all who encounter him.

Adapted from his freewheeling memoir I Have Lived Four Lives, a beat poet’s insider view of colonization that took Buck from the land to the streets to the stars, the film blends verité, archive and stylized re-enactments to reveal what it means to heal and reconnect with Indigenous knowledge that is as relevant today as ever.

The technique utilised is a mixture of documentary footage but also the knitting of library footage from the archives of Native Americans through televisual history to tell the stories Cree spoke of in his memoir. He speaks how a large group of people so built upon a foundation of community are now dispersed across the states with sun dances and rituals taking place all over the country.

Cree travels the country and we follow him as he drives the highways, he is an expressive talker but not a loud one. He talks with authority and assuredness combined with a passion and a somewhat yearning for what life could have been; yet this seeing new generations of people growing up gives him a push to improve their lives and learn from his mistakes.

You always find with documentaries or ask yourself a question as to why is this being produced, what lesson can be learnt from this viewing experience. The notion or hypothesis should be that the layman or blank canvas of a viewer can witness a story being told and you come out with a greater understanding of the subject at hand with a balanced argument. Wilfred Buck has had to overcome struggles and obstacles from societal circumstances which affected his own mind and being; yet those circumstances are not the reason he finds himself in despair, he recognises his own failings and being complicit in hitting rock bottom.

Beautiful camerawork around meteorites and rock formation along with space constellations that firmly the establishment and belief that we are all stars and in one with the universe. This melts into the work Buck does giving planetary lectures and inspiration through a greater understanding of our place in the universe.

Wilfred Buck premieres at the CPH:DOX festival on Monday 18th March. 

My thanks to AR Publicity for the review opportunity.

On the Run - Max Luther

 

Second book of Alex Drayce released 14th March by Canelo

Set in Las Vegas, Alex Drayce is a private bodyguard looking after wealthy businessmen under threat of assassination.

He is given the opportunity for quick cash aiding Carlos Garcia with finding his daughter. Yet what is meant to be a simple task spirals out of control.

Soon Alex is on the run with a bloodthirsty gang and the Las Vegas police force after him.

A rip-roaring thriller that does not ease up on pace and narrative. Graphic in detail and with a lot of language but necessary to the plot, not entirely to my liking personally speaking.

Read in a few sittings and easy to delve back into now and then.

Canelo granted me access to this book on NetGalley for my review.

Bridges to Burn - Marion Todd

 

Brand new thriller in continuing series by Scottish author Marion Todd

Todd has crafted a thrilling series of novels based around her hometown residency of St. Andrews, based around the central character of DI Clare Mackay, who with her trusted team of police officers solve the crimes that fall on their tranquil doorsteps month-to-month.

Embracing the ethos of write what you know by placing the action in her hometown, Todd mixes a wealth of local knowledge with meticulous police research and a smidgen of admiration for Midsomer Murders. After eight books surely people should stay away from this town yet we as a reader keep returning for more and more of the same.

This book revolves around quite sensitive content as it starts with the suicide of a young female teenager and then the murder of a former local councilman who may or may not have taken bribes when in the position of local authority to get planning permission approved. 

As always two inextricably linked cases are somehow entwinned and Mackay must navigate the two cases along with a DCI who she does not get along with and a very green Family Liaison Officer who she rubs up the wrong way.

This reader has been with Todd every step of the way and has thoroughly enjoyed the growth of not only Mackay as a character but Todd as an assured plotter of narrative. Her strength is remaining in control of the multiple plates she has spinning, at the start of the book the sensitive nature of the teenage suicide is linked to porn websites which is a bit unsettling but then the councilman's murder helps crank up the tension and narrative thrust. 

Any worries that was being endured where thrust asunder with the breakneck pace of the final quarter of the book being both rip-roaring and thoroughly enjoyable. 

Another pleasing aspect of this book was the matriarchal role Mackay has slowly grown into since her debut in See Them Run in 2019. In five years a lot can happen yet the responsibility you have to those you work with remains and the relationship Mackay has with Chris on the eve of his wedding is such a well-handled notion of friendship and respect.

She also has the confidence to bring up old cases and returning periphery characters such as the journalist from In Plain Sight  (2020) which feels neither nostalgic or ill-judged; this is a writer at the top of her powers.

For fans old and new, this is a book I shall be recommending to crime readers. As I have previously stated Ms. Todd deserves a wider audience for her books. 

BRIDGES TO BURN is out on 7th March from Canelo Crime, whom I thank for the approval on NetGalley for.

Footballhead - Overthinking Everything

New album from Chicago five piece via Tiny Engines

Hailing from Chicago and helmed by singer/songwriter Ryan Nolen, they are a band that sound like the child of those emo renowned bands Blink 182 and Jimmy Eat World. Those bands while loud and brash, as they grew into maturity became accomplished composers of songs that spoke to the masses as well as the marginalised from which their popularity flourished.

Overthinking Everything is that same sort of beginnings of something, a band with a strong unified sound that would not be out of place on the MTV cycle in the late 1990s before the Y2K scare crippled us. 

Short bursts of adrenaline and energy abound from opener 'Rug' and follow up 'Snowball'. The message is clear these are guys who dream of days by the beach but driving along them rather than sunbathing they may well be cruising. 

As with all young male adults these are people searching for meaning, but most importantly using the conduit of guitar rock music to be heard. Nolen grew up in Western Chicago suburbs before relocating to Palm Springs, California in his teen years. He is assisted by Adam Siska, Liam Burns, snow ellet and Robbie Kuntz to make the sound bigger.

The thing to remember about Blink's music is that they were a pop band with earworm hooks and riffs coupled with an unquenchable desire to succeed, Nolen shares some of that freedom and enthusiasm on this short running half hour album that contains a lucky thirteen nuggets.

Full of bombast and ambition, small tales of struggles and hopes, this feels like the start of the journey and a band to watch out for on the festival circuit this summer where the word of mouth will follow.

Overthinking Everything is out from Tiny Engines on Friday 1st March

Memory - Film Review

Directed by Michel Franco, Memory is a searing film giving insight into two souls who have had a huge array of trauma amongst their lives and are dealing day-to-day with the ramifications of the actions by others.

At the start of the film, we first encounter Sylvia (Jessica Chastain) at an AA meeting. She is a recovering alcoholic of 13 years and she has brought her daughter to the meeting for the first time, at the meeting Sylvia is being served platitudes from other people recovering from crippling addiction.

Shortly after, she attends a high school reunion with her sister, Olivia (Merritt Weaver). Feeling uncomfortable and wanting to go home, she heads for the elevated train where she is followed by Saul (Peter Sarsgaard) who then spends the night outside her home. The next morning Sylvia phones her support sponsor to pick him up.

A few days later they make contact and Saul does not remember following Sylvia home due to his short term memory problems relating to addiction. Saul requires day to day care while his brother and family work, Sylvia is a nurse at an adult day care facility and is asked by Saul's family to look after him.

From there, a kinship between the two and the comfort they feel in each other's company blossoms into an intimate relationship as time passes. Sylvia has long felt unsafe around men, this is due to being abused by her father from a young age, she resents her mother for supporting the father's behaviour and this led to Sylvia's alcoholic dependency.

Therein, lies part of the problem with the film, while it has two stellar lead performances from an outstanding Sarsgaard and always excellent Chastain who elicits the right level of vulnerability; the film does not hold your attention in terms of its low-key production design and overall bleak cinematography. 

Case in point the big scene where Sylvia’s mum - the frightening Jessica Harper - and family confront her in Olivia’s home, the scene is blocked quite awkwardly with Mum’s back to the camera, like a confrontation in a theatre production it feels like the scene was shot hastily and without much care or perhaps the fractured haphazard approach is reflective of the breaking of memory amongst the lead characters.

The milieu and mise-en-scene displayed is very middle of the road and grey from the costumes of the characters, to the non-descript homes they live in, this is a New York set film but apart from key points like the elevated train this could be set in any American city which is part of the film's intention.

There are big points being raised in the film, ideas about addiction and how it grips the person and their families, the way the people who experience sexual assault and/or abuse are victimised further by people not believing their story to the warm solace hurt people find in each other. 

The film has a slow cinema feel where an explosion of action or sound - in this case a hum of Procol Harem's 'A Whiter Shade of Pale' for the second or third time - jolts the viewer back to regain their attention. This is partly down to the performances of the other actors who are merely peripherals on the edges of the main leads, and the slow build of deep underlying emotion that never comes to the surface. Instead, our leads part and then are brought back together by the film's conclusion for an embrace that ends with that song again.

All in all, this is a film that has big intentions but is subdued in the execution and overall conclusion leaves the viewer wanting more than what was given despite the brilliant dual lead performances.

Peeping Tom

Released by StudioCanal Michael Powell's derided upon release but now lauded 1960 masterpiece is issued with a new 4K restoration release.

Starring Bohm and a plethora of British acting talent from the late 1950s, this is a rich and lush film ripe for the technical upgrades a restoration will provide.

His tale of voyeurism and a sympathetic serial killer, the film was released the same year as Powell's countryman Alfred Hitchcock's Psycho, a film that shares similar DNA and has had a shared revisionism to them both.

Carl Boehm elicits such a depth of vulnerability to the killer Mark, his aloofness and foreign-ness playing into the hands of the viewer. A criticism that would be aimed at Anthony Perkins' performance, the appeal of finding something within somebody evil made it seem unseemly for filmgoers, but the 1960s was a dawn of a new era of film-making with colour everywhere and new horizons abounding.

Having watched the film years ago, one forgot that the mother of Helen (Anna Massey), the girl downstairs who Mark takes a shine to, is in fact blind therefore she cannot be a victim of Mark. It is such a clever narrative idea in terms of character growth, development and a layer of intrigue for all.

As ever with Powell, there is a richness in the cinematography and the detail of production polish is paramount to the film being so well admired by all comers especially Martin Scorsese.

Powell does wonderful tricks with editing, sound design and a use of location - he borrows from Hitchcock in terms of building up tension such as with Moira Shearer's death where he constant moving puts us on edge as Mark hovers around her creating a murder scene without her knowing.

Peeping Tom is out on Blu-Ray/DVD from StudiocanalUK. Special features include an essay by Sir Christopher Frayling, a featurette Restoring Peeping Tom, intro by Scorsese, interview with Thelma Schoonmaker (2007), Powell's wife and an audio commentary by Ian Christie.

Natatorium

 

This new Icelandic thriller from debut feature director Helena Stefansdottir is one of the tensest films viewed in the last few years - blending influences from a range of sub-genres (haunted house; familial drama; psychological thriller) with directorial flourishes from Bergman, and Lars Von Trier. Family dynamism creates a hotpot of emotion that lends itself to film treatments.

The story revolves around a young girl who visits her grandparents in a town whilst she auditions for a drama group nearby. From the outset, her arrival prompts a family reunion of sorts as her parents attend to see her and old wounds and secrets are revealed amidst this troubled situation.

Similar to the Pinter play The Homecoming the insertion of innocence or returning figure disrupts the status quo. Another film this viewer was reminded of was Thomas Vinterberg’s classic Festen (1995) which was part of the Dogme movement with compatriot Trier. That film similarly revolved around a family gathering where a dark secret is slowly revealed prompting paranoia and scrutiny resulting in an explosion of feelings that have been long hidden within people.

The strengths of Natatorium stem from the production design and the claustrophobic environment of the mise-en-scene with little details expressing larger notions exponentially; this along with the single location that entraps the characters cut off from the world - a key trope and strength of 21st century genre pictures Ex-Machina (2014) and The Menu (2022)- with the protagonists all trapped seemingly (one character, Kalli, the uncle is very much bedridden) in one place and strive to move and yet are anchored by this position due to the pull of family.

As well as the dysfuntional family element, there is the use of an indoor pool with water that serves as the device for rebirth and baptism, therefore, the connotations of religion and mystery are apparent adding to the enigmatic quality of the film in general. There is a repeating trend in the film for people seeking to purify themselves by holding their breathe under the water as a rite of passage as well as a physical endeavour of strength and control. 

The film does have that thread running through also with Elin Petersdottir’s matriarch Arora, attempting to illicit some sort of strangehold of control over her family no matter the cost; this has resulted in the children having addiction issues of their own which is laid out within the narrative.

Dark and brooding in equal measure but filmed with a quiet panache that is not overbearing, this is a film about the troubles of being a woman and the juxtapositions of beauty and ugliness and light with dark, and how darkness evades upon innocence.

Featuring a strong lead performance by youngster Ilmur Maria Arnarsdottir as Lilja and veteran Petersdottir as Arora, the matriarch of the family who cannot let go of her grip upon those she has born.

Technically astute due to cinematography and editing all firing on high cylinders of performance, Natatorium is a chilling tale that will garner attention due to the nature with which it presents its delicate subject matter.

Natatorium premieres at the Rotterdam Film Festival in the festival's Bright Future Category from 28th January.

Italian Doc Season - Pure Unknown

 

Screening as part of the Second Italian Doc House season at Bertha Doc House

A collaboration between contemporaries, screenwriter Valentina Cicogna and director Mattia Colombo; this true crime documentary stars protagonist and forensic pathologist Cristina Cattaneo; who is portrayed as a fiercely passionate activist for the dead.

Working in Milan and administering autopsies to those who have passed on; Cattaneo is a unique person with a singluar voice. As she works, many bodies arrive with no identification or name - from the homeless, to the young and old, to migrants who seek a better life and die tragically in the sea.

Cattaneo and her team are stringent in the belief that all people deserve the right to a burial no matter who that person may be and what life they may have led. The lack of dignity to some dead is startling as the people who may have known these unknown people adds to the grief, even more startling is the faith that the grieving put in a television show over the police in the search for answers.

Much like Colombo's last film A Steady Job (screened at first Italian Doc House), this is a document to a time that is changing amidst a global pandemic. Cattaneo wears a mask in her work but due to the crisis, she and everyone she encounters is wearing a mask all except those she treats in death.

The engaging character of Cattaneo is one that keeps you involved with the film that is as concise and precise as the doctor. Shot with clarity and accomplishment, this film serves as a reminder that life is too short and no matter how it ends, respectfully the life should be cherished in its conclusion. There is a care and attentiveness required for the dead that we have lost in the land of the living - Cattaneo strains to make that point clear to her peers and students.

Special mention to the music by Zeno Gabaglio which offers a touching sombre piece to this sensitive topic which handles its subject matter with such dignity.

Pure Unknown screens at BerthaDocHouse on Saturday 27th January 3pm with a filmmaker Q&A afterwards.

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My thanks to Stuart Haggas for the review opporunity.