Handy for the Heath ?

SCENES OF A SEXUAL NATURE, 2006. How could a sunny  afternoon on Hampstead Heath (in North London) be so crushingly dull? I used to be up there during the 70s and 80s, and it seemed a lot more fun than shown here. I also had this recorded on my Sky hard drive for about a year or so, before finally deciding to view it – despite that interesting cast. We drop in and out of observing 7 couples in various stages of relationship issues. 

Old-timers Eileen Atkins and Benjanim Whitrow get talking on a park bench and discover they have an unusual connection – as they were prospective dates about 50 years ago but went off and married other people instead (sounds like the start of hit series LAST TANGO IN HALIFAX). Catherine Tate and Adrian Lester are a divorcing couple, 

Tom Hardy fools around with Sophie Okonedo and drops his trousers – that makes the audience sit up!, Mark Strong and  Polly Walker  are another couple, while Hugh Bonneville and Gina McKee have an uneasy picnic. The only gay couple we listen in on (gays are usually plentiful on the Heath) are Ewan McGregor and Douglas Hodge (who was brilliant in LE CAGE AU FOLLES a few years ago) and Andrew Lincoln (forever Egg in THIS LIFE) is caught gazing at an attractive girl’s underwear …. Ewan has an eye for passing trade but wants to have children as well, while partner Douglas is not so keen, as Ewan heads into the bushes with a new friend …. 

This though plays like a tedious collection of hit and miss sketches, directed by one Ed Blum, and one ends up fast-forwarding some of the more boring episodes. 

Moi on the Heath in the early '70s

If this was meant to be another LOVE ACTUALLY it fails miserably, but is an interesting addition to those indie gay British movies (like LAWLESS HEART or BEDROOMS AND HALLWAYS - reviewed at Gay Interest label, both infinitely more multi-layered and entertaining than this forgettable piffle. And where was Tom Hollander ? - surely they could have squeezed him in somewhere! 
This was made in 2006 - if being filmed now, a whole new raft of performers familiar to us would have to be cast: David Tennant, Olivia Colman, Nicola Walker, Elisabeth Berrington, Miranda Hart, Martin Hutson et al ... and perhaps the sculptured cheekbones of Douglas Booth and the pouting Rupert Penry-Jones (who does not like kissing blokes) as that gay couple ! 

Odds & sods

If you saw and liked IN BRUGES then THE GUARD will be for you. This laid-back laconic thriller is brought to us by John Michael McDonagh, the brother of Martin McDonagh, who was writer/director of IN BRUGES (and several other well received plays like THE BEAUTY QUEEN OF LEENANE). THE GUARD is the first major film directed by John Michael McDonagh and it does not disappoint.

Set in western Ireland, it begins with four drunk/drugged teenagers crashing their car, which is found by our Guard (policeman), Brendan Gleeson (who was Colin Farrell's chum IN BRUGES). After rummaging through the pockets of one of the corpses he finds a bag of drugs, which he keeps for himself. The rest of the movie is comprised of smartass remarks and brilliant dry humor as the Guard has to help an American CIA man Don Cheadle in tracking down some gangsters smuggling drugs into the country. Mark Strong again lays claim to being the cinema's new hardman as the head gangster.

Cheadle is fun as the straight laced, by the books, FBI agent who initally finds Gleeson hard going. Add in the 2 rather too glamorous young hookers Brendan unwinds with, his ill mother, his new assistant (who has an unfortunate meeting with the gangsters on that lonely road) who turns out to be gay but married to an attractive East European girl and the pace soon hots up, climaxing in a blazing shoot out. Does our "hero" survive that burning boat? Well we are shown he is a very good swimmer ...

BEGINNERS, released in 2010, was an interesting view too. Another of Ewan McGregor's recent films I enjoyed (THE GHOST, PHILIP MORRIS I LOVE YOU - must get around to SCENES OF A SEXUAL NATURE too) this one finds him as cartoonist Oliver, a rather withdrawn guy looking after his widowed father Christopher Plummer who comes out as gay in his 70s and after his wife dies, he is soon disco dancing and finding a much younger partner! It is quite amusing and touching in parts, though Plummer seems to be rather on autopilot, he did though win the Best Supporting Actor statuette.  Melanie Laurent, so good in Quentin's INGLORIOUS BASTERDS, is the actress Oliver slowly gets involved with, and there is a cute dog too. It meanders along with the inevitable happening - the father's illness and death. Pleasant enough then, but not something I would want to re-visit.  Directed and written by Mike Mills.

PERMISSION TO KILL is an oddity from 1975, A Dirk Bogarde film I missed at the time, I don't think it hung around very long. When the exiled leader of a free party decides to return to his own country and attempt to remove the dictator currently in place there, several western governments are determined to stop him. A group is assembled, consisting of old friends, former lovers and hired assassins in order to dissuade him from returning "before his time". This group is appalled at the lengths to which western intelligence will go to stop the man from returning, and they conspire together to allow him to leave. Their plans, however, are anticipated by western intelligence which will stop at nothing to stop him, no matter who gets in the way, as the blurb puts it.

A convoluted thriller then with Bogarde headlining as the icy head of "western intelligence" manipulating everyone, good to see him and Ava Gardner re-teamed (after their 1960 failure THE ANGEL WORE RED), Ava is marvellous here, while Timothy Dalton is the very gay civil servant blackmailed into being of (temporary) use. Set in Austria and directed by Cyril Frankel, it is as cynical and manipulative as one would imagine, interesting to catch up with now though, and oh so '70s.

A FAIRLY COMPLICATED GIRL - Some films annoy one so much one wishes to yank them out of the player and toss them in the garbage bin. Such a one is this 1969 "thriller" by Damiano Damiani (who helmed an interesting little film in 1962: ARTURO'S ISLAND). The leads Jean Sorel and Catherine Spaak were ideal in a 1960 discovery of mine last year - DOLCE IGNANNI (or THE ADOLESCENTS) by Alberto Lattuda (Sorel, Italian labels) which had that nice black and white early 60s Italian look in spades and it was a poignant drama) - this though is late '60s trash with psychedelic touches as our aimless amoral couple - she is often naked, he though is just seen either taking off or putting on his trousers; then there is the sensational Florinda Bolkan in her debut in that amazing bikini, but it is a subsidiary part to our boring leads. Not one of Sorel's better efforts then, the beard suits him though.

Mr Grant and Mr Scott at home ... / Ewan & Jude lark about

We are surely all familiar with those classic photos from the mid-'30s of Cary Grant and Randolph Scott living and playing together, two classic Hollywood bachelors who shared a house in beween all their marriages [as did Erroll Flynn and David Niven]. I have now though come across another batch of these pictures, which I had not seen before. So, following on from Scotty Bowers' book which has quite a bit about them, it really begs the question: were people really that naive back then that they saw nothing odd in these photographs - if any two rich and famous actors (who could clearly afford their own establishments) did shots like these today people would automatically assume they were a couple and think nothing more of it, so were Cary and Randy just play-acting or were they, as they say, hiding in plain sight? Whatever! It certainly makes for fascinating photos though!

It seems Grant and Scott remained friends into their old age (Cary got to 82, Randolph 89) with Scott wealthy from real estate after his later screen years as that tough cowboy in those Budd Boetticher films in the 50s; while Cary (always a notorious tightwad, so perhaps he was just saving on rent money?) - after his 30s and 40s hits - perfect with Hepburn and Bergman to name just two, had that great run in the '50s, ideal for Hitchcock and those leading ladies like Grace Kelly, Deborah Kerr, Sophia Loren, Eva Marie Saint, Ingrid Bergman (again), Audrey Hepburn, Doris Day etc. and it seems he really was smitten with Sophia ...

Now for 2 more lads around town: Ewan McGregor and Jude Law have teamed up for photos lots of times - but no rumours to quash about their sexuality - though they have played gay more than a few times (like Colin Firth)... good to see the boys larking around and at those various events actors have to force themselves to attend ... at least Cary and Randy never posed in the bathroom !

Jim and Ewan or Tom ? + Brad, George, Tilda etc

I LOVE YOU PHILIP MORRIS tells us the "true story" of Steven Russell (Jim Carrey), a supposedly happy married man with a good job who in reality is a gay con man. In one of his many visits to jail, he falls in love with Phillip Morris, delightfully played by Ewan McGregor. The jokes are provocative and will offend quite a few people - such as the first in-your-face depiction of his secret life, or his faking his death from AIDS - hence, presumably, it's delay in getting a USA release. It has been and gone here in the UK without causing much of a ripple and the dvd is now out.

I don't usually see many Jim Carrey movies, but he convinces here as, after a car accident, he reassesses his life, and decides that he is truly gay, and he leaves his old life behind. He moves to Miami and finds a boyfriend, but to live the life he wants he admits that "being gay is expensive" (if you want expensive watches, matching cars, a dream home etc), and so begins a life as a conman. Steven gives up being a cop to cause his own accidents to get compensation, lying to banks and so much more besides, and the police eventually catch up to him and send him to prison - not once but several times. It is in prison that Steven sees and falls almost instantly in love with fellow prisoner Phillip Morris (Ewan McGregor), and they find themselves smitten with each other and by making deals get to share a cell.

Glenn Ficarra & John Requa - who gave us the enjoyable BAD SANTA, have handled this tragi-comic tale with a lot of realism as well as fantasy all wrapped up in bright colours. The main problem for me is that Stephen eventually becomes thoroughly unlikeable and blind to the fact that it is his endless lies and deceit that cause his downfall over and over again. The early scenes such as his tracking down his real mother (he was adopted) and his happy suburban life with Debbie and the kids and church are amusingly played (gays are equally satirised) as are his stunts for seeking compensation to fund his lifestyle. Once Stephen decides to be gay he becomes a super-gay moving to Miami with all the trimmings, although this lifestyle he's living is pretty expensive. It is not too long until the police catch up to him, but fate has a funny way of doing things and it is in prison where he meets his soul mate Phillip Morris (the very charming McGregor). Their romance blossoms in the prison and when they are released as well, but Steven continues to live a life of lies and sooner or later it will catch up to him again. And so it goes getting rather far-fetched with the Aids illness episodes. One has to admire the two actors for going at it full tilt. It will be interesting to see how it fares when it is finally released nationwide in the USA. It certainly flies in the face of all those small-town values - they will hate it in those Tea Bag areas! After this and Polanski's THE GHOST one certainly sees McGregor in a new light.

Now for LAWLESS HEART: also directed (and written) by two directors Tom Hunsinger and Neil Hunter: A 2001 indie film from England which is about compromise and rueful intelligence about matters of the heart rather like John Schlesinger's 1971 SUNDAY BLOODY SUNDAY, if without that film's elegance and glossy style. This is a modest production about the aftermath of a funeral in a small English seaside town. Stewart who owns a restuarant has died without making a will, leaving his lover Nick (Tom Hollander) at the mercy of Stewart's glum sister and her not very gay-friendly husband (Bill Nighy) and then drifter Douglas Henshall arrives back in town after several years. How these characters inter-relate is the tale, as we see events from their 3 different perspectives. Nighy is a marvel of believability as the older man, Dan as he is tempted to stray from his marriage; Tom Hollander is wonderfully pained and kind as the bereaved Nick putting up with everyone. Henshall as Tim becomes fascinating as we take an instant dislike to him and his leeching ways, as he starts as a very selfish character, but we slowly warm to him as the picture goes on, he too has to lose the woman he loves, and he resolves the rather nice conclusion. It It is a pleasing low budget drama that takes its time to reveal very real and complex characters and emotions – end leaves one stimulated and ultimately happy.

Nick, numb with grief, first lets Tim stay with him but soon regrets it with all those late night parties and loud music. During a wild party Tim throws, Nick meets Charlie (Sukie Smith) a lively, feckless, not-too-bright local girl who ends up drunk in his bed after a casual shag with one of the locals, and he is drawn to her energy and high spirits and they become slowly involved. Hollander as ever is a revelation here - he has been quietly brilliant for years and has played quite a few gay roles without any fuss, here he is a gay man having a straight experience! Hollander had a big hit recently with his BBC tv series REV as a priest (photo below); I saw him on stage circa 1997 as Bosie to Liam Neeson's Oscar Wilde in David Hare's play THE JUDAS KISS (photo below), which was certainly a riveting experience. [Tom stripped, Liam didn't...]

LAWLESS HEART ends nicely after the money from Stewart's estate has been happily resolved (so Nick can move back to London) with our characters all sitting around watching home movies of the late departed Stewart who finally takes centre stage. It's nicely done, and resonated a lot with me (as I had a very similar experience back in the '90s).

A third movie also with two directors is that recent Coen Bros BURN AFTER READING, their latest comedy with those regular pals George Clooney, Brad Pitt, Tilda Swinton, here joined by Frances McDormand and John Malkovich. As with all Coen brother movies, there are going to be people who love it and people who hate it. There doesn't seem to be much middle ground. I found it entertaining, dark and very funny - I just didn't like their previous NO COUNTRY FOR OLD MEN at all. BURN does ramble around pointlessly, but best part of the movie is watching this great cast perform brilliantly with the odd-ball material they are given. There is violence, bad language, and everyone is sleeping with everyone else, especially George Clooney, as the off the wall plot involves a disk of supposed CIA secrets found by two dim gym trainers; Pitt is wonderfully funny here and so is McDormand who just wants 4 cosmetic surgeries! of course Tilda essays another steely ballbreaker. The Coens continue to put out intelligent, entertaining material and assemble fascinating casts. Quite short too - clocking in at 87 minutes - so many films these days are half an hour or more too long.

The Ghost: paranoia thrillers revived

Roman Polanski's latest, THE GHOST [or THE GHOST WRITER as the American dvd is titled] splendidly revives the paranoia thriller of the '70s (like Pakula's trio KLUTE, THE PARALLAX VIEW and ALL THE PRESIDENT'S MEN) and also has that 'look': the metallic steel colours, creepy destinations and the feeling of not being able to trust anyone. Robert Harris's book was a terrific read and could hardly be more topical - a British ex-Prime Minister lying low while preparing his memoirs as moves are made to try him for war crimes regarding the war in Iraq.

The publishers have a problem as the first ghost-writer brought in to knock the dull manuscript into shape has been washed up dead off Martha's Vineyard where our PM and his entourage are holed up in the winter off-season. Hack writer Ewan McGregor (a tad too young perhaps?) is brought in and gets the gig and is soon on his way to the deserted USA East Coast. Kim Catterall is Amelia the brisk, rather under-written, aide who welcomes him to the bunker-like retreat as he settles down with the manuscript, which cannot leave the premises. The vistas of the gloomy retreat are nicely done, with the incessant rain and cold, and our hero is about the only guest at the empty Inn - apart from the odd man who asks if he knows Adam Lang (our PM in hiding - Pierce Brosnan is just right here with that mix of arrogance and bluff).

Slowly our un-named ghost begins to find out about what happened to his predecessor as his fears grow for his own safety. Where does the Prime Minister's wife Ruth fit into all this - Olivia Williams is also perfectly judged here ... showing the bitterness of the wife in exile, whose husband seems to be closer to his aide Amelia (Catterall). Out cycling in the rain the ghost comes across the old guy who insists the body could not have been washed up where it was found - this is a few minutes cameo by Eli Wallach, now in his 90s (in movies since the mid-50s, with memories of his Guido in THE MISFITS for one) its great to see him here, even if briefly. On using the car last used by his predecessor its satnav delivers him to that house deep in the woods with the unwelcoming professor Emmett (Tom Wilkinson, also splendid as ever). Minor quibbles here are surely that everything used by the previous ghost would have been removed by Lang's security, and can one really Google information about operatives of the CIA?

While Lang and his aides are away the ghost and the PM's wife tentatively get closer, but then the tension racks up with our ghost being tailed from the professor's house (just as his predecessor was) but Ewan is cleverer and manages to get off the ferry giving his followers the slip ... then Lang returns as events come to a head. Back in London the manuscript is now successfully published as Amelia invites the ghost to the opening and a chance remark of hers leads him to the secret contained in the manuscript. This is nicely handled in the book as the ghostwriter realises he must flee and go into hiding, but the ending seems rather rushed here - it seems improbable that a car would be waiting for him so quickly ... but the last image of the pages of the manuscript blowing away in the wind is perfectly apt, and its CHINATOWN all over again.

Polanski (I passed him in Sloane Square, Chelsea once back in the late '60s) now in his mid-70s is at the top of his form here, and no matter what else, he is one director actors will want to work with. [I still rewatch his delightful 1967 spoof DANCE OF THE VAMPIRES and of course REPULSION, CUL-SE-SAC and CHINATOWN are essential]. He assembles a terrific team here, it was filmed in Germany I believe fitting in nicely for the East Coast USA, but surely it looks under-populated - often there is nobody else around on those deserted roads and towns; but as a film it is leagues better than those tedious, boring, uninvolving so-called thrillers like MICHAEL CLAYTON which I had enough of after 40 minutes!

Robert Harris was one of prime minister Tony Blair's inner circle until leaving over the Iraq question, so he writes with knowledge of the workings of British politics, and its amusing to see the Langs as the Blairs. The book is a terrific read - literally unputdownable - and the film does it justice. The cast is just right, particularly Olivia Williams. Highly recommended then. Polanski was also involved in setting up a film of a previous highly readable Harris novel POMPEII, pity that did not happen...it just became a mini-series, it would have been fascinating seeing what Roman did with it. I have been keeping Harris' new highly praised novel LUSTRUM (more intrigue in Ancient Rome) as a holiday read but I don't think I can wait that long now...