:00:28. > :00:32.Hello and welcome to Film 2011. We Hello and welcome to Film 2011. We
:00:32. > :00:38.are live, and if you want to get in touch the details are on the screen
:00:38. > :00:45.now. Coming up tonight: Eddie Murphy and Ben Stiller take on
:00:45. > :00:55.the money men in Tower Heist. What you trying to steal? $20 million.
:00:55. > :00:55.
:00:55. > :01:02.Let's get something to eat. Straw Dogs gets a makeover. What happens
:01:02. > :01:07.when thy neighbour's wife covets you? And Jack Goes Boating. I
:01:07. > :01:12.imagined you. You were in a spaceship, flying through
:01:12. > :01:16.superspace. Plus Gerard Butler answers the Film 2011 questionnaire.
:01:16. > :01:23.First up, Ben Stiller and Eddie Murphy star in comedy
:01:23. > :01:28.Just an hour ago the tower's richest Just an hour ago the tower's richest
:01:28. > :01:33.resident was released under house arrest here at his penthouse
:01:33. > :01:37.apartment. He was asked to all your pensions. Now they are
:01:37. > :01:42.saying anyone who invested with him was defrauded. Did he
:01:42. > :01:48.money too? Yes, he did. He to try to steal it back from this
:01:48. > :01:52.guy and tries to enlist me and some of the other ex-employees to
:01:52. > :01:56.him bring the money back. We don't steal things. We know the
:01:56. > :02:01.deliveries, schedules and codes for every window. We have been casing
:02:01. > :02:10.the place for a decade, we didn't know it. Because we weren't
:02:10. > :02:16.I thought that you might be able to I thought that you might be able to
:02:16. > :02:20.help us. What you trying to steal? $20 million. Let's go get something
:02:20. > :02:23.to eat. That's timeless, to eat. That's timeless, workers
:02:23. > :02:28.being taken advantage of by the folk and the workers turning the
:02:29. > :02:37.tables. I will find a way to make things right. It's always fun to
:02:37. > :02:41.a villain but even more so to be who doesn't appear to be. The
:02:41. > :02:46.characters were not streety guys, it was fun to go and do something
:02:46. > :02:54.like that. I was on a job a few days ago when
:02:54. > :03:00.my homie got shot in the face. The bullet comes out the other side.
:03:00. > :03:05.Then what you going to do? I'm going to die. It's gone rogue.
:03:05. > :03:09.There was nothing for me cooler than to make a quintessential New York
:03:09. > :03:14.heist movie that was grounded in reality, that had characters, that
:03:14. > :03:18.had comedy, was fun, but had heart. This is a bad idea. I don't want you
:03:18. > :03:23.talking to me for the rest of the robbery. Danny, I love the fact
:03:23. > :03:29.that it is based in Brett Ratner's reality? Wouldn't you want to live
:03:29. > :03:34.there? I know I would. I want live with him. Let us converse with
:03:34. > :03:40.Tower Heist. It is supposed to reach new heights. I don't think that's
:03:40. > :03:45.strictly true. That's a lie. There is a line on it. Red rose. Go
:03:45. > :03:49.it, then call me. I was sitting next to you and I was almost sick I
:03:49. > :03:52.laughed so hard. I noticed. there are a couple of very, very
:03:52. > :03:58.funny moments in it, but it's not hilarious. The other thing I want to
:03:58. > :04:04.say is that it is like a 80s In the 80s I looked disgusting -
:04:04. > :04:08.even more so. Lots of bangles and I carried around millions of textbooks
:04:08. > :04:12.and when the credits came up I surprised not to have a school bag
:04:12. > :04:18.at my feet so it's nice to go back in time. The question has to be:
:04:18. > :04:22.it funny? For me at least the answer to that is a resounding, categorical
:04:22. > :04:26.100% yes, and no, because I you are right. There is an absence
:04:26. > :04:31.of belly laughs. You don't have that joke after joke structure. Being
:04:31. > :04:36.picky, the scenes with Ben Stiller and Eddie Murphy don't really work.
:04:36. > :04:40.Quite a lot of tumble weed. In fairness, there's some genuinely
:04:40. > :04:44.funny stuff which is unexpected. just because this is a Brett Ratner
:04:44. > :04:51.movie but also because jokes come from unexpected places. There's
:04:51. > :04:56.little three-away one liners and nuggets of conversation. A lot comes
:04:56. > :05:01.from Casey Affleck and also from Matthew Broderick, who can be
:05:01. > :05:05.incredibly funny. He is slightly downtrodden here and has for me
:05:05. > :05:09.best scene in the film. It's an odd comparison to make but it's like a
:05:09. > :05:12.Sunday night sitcom because it's not very funny very often but
:05:12. > :05:17.something strangely reassuring about it at the same time. I feel slightly
:05:17. > :05:23.embarrassed to admit that but it's true. Yes, it's comforting. Can I
:05:23. > :05:28.just say this, what I normally love about these heist films, even
:05:28. > :05:35.Ocean's Eleven, it always involves just men usually sitting around
:05:35. > :05:39.white board, making plans, and are going "Then we will do this and
:05:39. > :05:43.then we will do that", but they leave out a whole chunk so when the
:05:43. > :05:48.plan comes together you think: that's so clever, I didn't see it
:05:48. > :05:56.coming. That didn't happen in this film. It won't happen if you are
:05:56. > :06:03.expecting that, but Alan Alda is also in it we should say. Various
:06:03. > :06:07.things you wouldn't want to admit in public is that for most of my
:06:07. > :06:12.have been a huge Eddie Murphy fan the idea that you have him in
:06:12. > :06:22.film which kind of has a bit of a go very gentlely at the banks, veers
:06:22. > :06:25.
:06:25. > :06:35.away a little bit and blames it all or Bernie Madoff, but it's almost
:06:35. > :06:37.
:06:37. > :06:44.breath between this and Trading Places, and there's just enough for
:06:45. > :06:53.this to be close enough. I would give it a B. Next Straw Dogs,
:06:53. > :06:56.remake of the 1971 controversial Sam Peckinpah movie. In this version
:06:56. > :07:06.man re-elect with his wife to the deep south. What do you think?
:07:06. > :07:07.
:07:07. > :07:11.beautiful. We don't even lock our doors. I'm glad we came. The pastor
:07:11. > :07:20.worked all week long writing that sermon, then he has got to watch you
:07:20. > :07:27.get up and leave? Some people call that rude. OK. Just a
:07:27. > :07:34.red neck wisdom for you. Charlie, there is something in The Bible I
:07:34. > :07:38.believe. What is that, sir? Thou shalt not covet thy neighbour's
:07:38. > :07:46.wife. I believe in that too, but what happens when thy neighbour's
:07:46. > :07:50.wife covets you? What then? You are a coward.
:07:50. > :08:00.No, I'm not. Yeah, so am I. Plain No, I'm not. Yeah, so am I. Plain
:08:00. > :08:00.
:08:00. > :08:03.and simple. No, I'm not. Yeah. Yeah. If you had done something -
:08:03. > :08:09.Amy. If you had said something or done something, anything. I
:08:09. > :08:19.trying to get them to talk. Would you be quiet? Education is
:08:19. > :08:19.
:08:19. > :08:26.difficult thing to control, Harry. No extra charge. KNOCKING. GUNSHOT.
:08:26. > :08:36.911. Emergency. There are five men 911. Emergency. There are five men
:08:36. > :08:37.911. Emergency. There are five men remakes I think are a very soft
:08:37. > :08:38.remakes I think are a very soft remakes I think are a very soft
:08:38. > :08:43.911. Emergency. target and we will talk about
:08:43. > :08:48.later in the series, and they have their place but Straw Dogs is not
:08:48. > :08:51.great advert for a remake. It is incredibly tied to Sam Peckinpah's
:08:51. > :08:54.original, huge chunks of script are copied over verbatim but at the same
:08:54. > :08:59.time the changes it has made are disastrous. One obvious example
:08:59. > :09:03.the casting. Straw Dogs is a story all about this nerdy, awkward
:09:03. > :09:09.intellectual who has to get in touch with his inner wild man and the
:09:09. > :09:14.original casting is perfect, Dustin Hoffman. Here they have changed him
:09:14. > :09:20.from being a mathematician to a writer and cast James Marsden, from
:09:20. > :09:28.the X Men, with his six pack and chisel jaw so not only is the film
:09:28. > :09:35.hugely unbelievable but it has to make up time apologising for itself,
:09:35. > :09:42.so he has to wear inappropriate footwear, he has to pay with
:09:42. > :09:48.credit card in the diner, and he has to have played la cross at Harvard.
:09:48. > :09:52.I think it's disastrous for the film and impossible to believe that if
:09:52. > :09:57.you were casting somebody awkward, you would cast James Marsden.
:09:57. > :10:02.available for one thing. LAUGHTER. feel bad about using the word
:10:02. > :10:05."tripe" - sometimes it's the only word that works. The problem is the
:10:05. > :10:09.original is so creepy and so it of gets under your skin and it's
:10:09. > :10:16.pretty terrifying. Dustin of course, is brilliant in it and
:10:16. > :10:20.there are proper scenes of suspense and terror. This is a nonsense, if I
:10:20. > :10:23.can use that word, and I feel but it's shot in the present day
:10:23. > :10:26.obviously. They are surrounded by technological stuff, they've got
:10:26. > :10:32.computers, and if they were threatened you just think they would
:10:32. > :10:36.have gone on Expedia and got a flight out. It's a screen writer
:10:36. > :10:40.from LA but you are supposed to believe he hasn't seen any
:10:40. > :10:43.he has no idea. It didn't ring true. Absolutely not and relocating it
:10:43. > :10:49.from Cornwall to the deep south America is another very, very bad
:10:49. > :10:55.decision actually. For a we've seen that film a million
:10:55. > :10:59.times. Deliverance was made at about the same time. It's also done fakely
:10:59. > :11:03.because James Woods is one of chief villains and he is about as
:11:03. > :11:08.southern fried as Judi Dench. worst thing about this movie,
:11:08. > :11:12.all the criticisms we are levelling at it, is that it's actually
:11:12. > :11:18.mediocre rather than terrible. you are going to do a bad remake of
:11:18. > :11:24.the Sam Peckinpah film, go the hog and have some show tunes in
:11:24. > :11:27.there. I can see his ghost whirling in his grave as we speak. Erm,
:11:27. > :11:31.good. It has been 40 years since the original release of Straw Dogs
:11:31. > :11:35.was followed shortly afterwards Clockwork Orange, at the time two
:11:35. > :11:41.the most shocking films to get a commercial release. Danny goes back
:11:41. > :11:50.in time - literally. - yes, there. And as you might expect,
:11:50. > :11:54.In 1971 movie-goers had a shocking In 1971 movie-goers had a shocking
:11:54. > :11:59.year for sex and violence but two of these films, Sam Peckinpah's Straw
:11:59. > :12:06.Dogs and Kubrick's A Clockwork Orange would become notorious for
:12:06. > :12:10.years to come, both adaptations of British models shot by American
:12:10. > :12:16.directors in England. The violence hits you like a meat cleaver between
:12:16. > :12:21.the eyes. Neither of these films will I ever forget the first time I
:12:21. > :12:26.saw them. Both films would be judged unsafe for British audiences
:12:26. > :12:33.and become impossible to see for years to come. I don't know how
:12:33. > :12:38.society can go so far. They became landmarks in the history of
:12:38. > :12:43.censorship and social taboos. First up, Straw Dogs, Sam Peckinpah's
:12:43. > :12:50.of marriage, manhood and revenge with Dustin Hoffman as a mousy
:12:50. > :12:54.American mathematician who with his wife to a local Cornish
:12:54. > :12:58.village. When the locals turn nasty she is brutally raped and he is
:12:58. > :13:01.forced to defend his home. It was an iconic film of its
:13:01. > :13:06.don't think it has ever been repeated. What's shocking
:13:06. > :13:12.Straw Dogs is not so much the violence of the film, it's the rape
:13:12. > :13:16.scene itself. Please leave me. This film showed rape as: well,
:13:16. > :13:19.sort of wanted it. That makes it one of those rare films which is
:13:19. > :13:22.actually more controversial it was then. It's about the
:13:22. > :13:26.countryside and the great and horrible truth of that. The
:13:26. > :13:35.countryside is not a sweet and nice place of harmony and gentleness, it
:13:35. > :13:37.is a place of violence, horror and confrontation. SHOUTING
:13:37. > :13:38.As a city boy there was always a As a city boy there was always a
:13:38. > :13:38.As a city boy there was always a fear I had about going out to the
:13:38. > :13:39.fear I had about going out to the fear I had about going out to the
:13:39. > :13:42.As a city boy there was country. They are all crazy out
:13:42. > :13:52.there. So there was something about seeing all the townspeople turning
:13:52. > :13:54.
:13:54. > :13:58.against the outsider which made big impression.
:13:58. > :14:04.In Kubrick's futuristic version of In Kubrick's futuristic version of
:14:04. > :14:08.Britain, A Clockwork Orange, Alex and his gang commit acts of
:14:08. > :14:12.senseless ultra violence with women frequently the victims. A Clockwork
:14:12. > :14:22.Orange is a violent film but it is in a more cerebral sense
:14:22. > :14:26.violence. The violence was so extreme, so kind
:14:27. > :14:30.of stylised and so comical, probably makes it so difficult to
:14:30. > :14:37.watch. It's laughing at you same time as trying to horrify and
:14:37. > :14:40.shock you. .
:14:40. > :14:45.Also very upsetting is the violence Also very upsetting is the violence
:14:45. > :14:49.committed towards the main Alex. No! Stop it, stop it, please,
:14:49. > :14:54.I beg you! It's a painful scene to watch, but it's such an amazing
:14:54. > :14:59.piece of cinema. It's really the work of a director who is at the top
:14:59. > :15:04.of his game. I've learnt my lesson, sir, I see now what I've never seen
:15:05. > :15:10.before, I am cured, praise God! Interestingly though, for all
:15:10. > :15:15.the films had in common no than 13 leading film critics had
:15:15. > :15:19.written to the Times to complain about Straw Dogs, with many of the
:15:19. > :15:28.same people acclaiming A Clockwork Orange as a work of genius. Kubrick
:15:28. > :15:35.withdrew the film over scenes of copy - over fears of copycat crimes.
:15:35. > :15:38.I don't think now and then a snippet here and there has harmed films at
:15:38. > :15:42.all. I think the two films in question, personally I
:15:42. > :15:46.wonderful films, could easily been just as good without the full
:15:46. > :15:51.content. That was A Clockwork Orange and Straw Dogs. Yes, indeed.
:15:51. > :15:55.You will judge each film on its own individual merits?
:15:55. > :16:00.will be wrong and it will be for the public to decide how often
:16:01. > :16:05.right or wrong. A Clockwork Orange came this incredible cult item,
:16:05. > :16:09.almost more like a rumour than film. For whatever reason they were
:16:09. > :16:15.both removed from public consumption and therefore the more that happens,
:16:15. > :16:20.the more people want to see them. The more you hear, the more you
:16:20. > :16:23.to see it. Born of the restless late 60s, these controversial films took
:16:23. > :16:26.nearly three decades to be re-released in Britain. Times have
:16:26. > :16:30.changed so that we don't these films with the same eyes.
:16:30. > :16:34.These films kind of speak those times, and even though they
:16:34. > :16:37.are set, one in a very rural setting and another in the future,
:16:37. > :16:42.very much about the period in they were made. There's
:16:42. > :16:45.about the 60s which turned nasty and became the 70s. American cinema of
:16:45. > :16:49.that time had something about it, it became much more brutal and much
:16:49. > :16:53.more real, and there was something about showing there was an edginess
:16:53. > :16:57.to it. The funny thing is that these weren't obscure underground B
:16:57. > :17:03.movies that were causing such commotion but films from two of the
:17:03. > :17:06.world's biggest directors. It's hard to imagine a Christopher Nolan or
:17:06. > :17:11.David Fincher touching so many raw nerves these days but then again
:17:11. > :17:21.it's also hard to think of what could possibly have the same effect
:17:21. > :17:21.
:17:21. > :17:31.here in unshockable 2011. see on Friday? I went to see the
:17:31. > :17:34.
:17:34. > :17:40.Human Centipede 2, strangely own. This is basically about an
:17:40. > :17:50.obsessed human cent paedfan who then tried to re inact it. The film was
:17:50. > :17:53.
:17:53. > :17:57.banned a few months ago on the basis that the main character abducts
:17:57. > :18:00.them, but they are trying to some personality into it. They are
:18:00. > :18:05.thinking: here I am, a struggling actor, having my moment and I
:18:05. > :18:10.make the most of it. One guy in particular, number 5 or 6, is
:18:10. > :18:17.literally almost doing jazz hands. Really quite a sight. The film is a
:18:17. > :18:23.footnote for horror aficionados if you do want a date night, tell me
:18:23. > :18:30.and I will come a babysit. Noted. Next, Jack Goes Boating, the
:18:30. > :18:36.directorial debut of Philip Seymour Hoffman. I told him I loved him, he
:18:36. > :18:41.was a great dad, and he woke of the coma. Oh God! Then he fell
:18:41. > :18:45.down, hit his head in the and then he died. Oh!
:18:45. > :18:49.I basically play a guy who has had few relationships in his life but
:18:49. > :18:54.nothing substantial. That's it. He is not stunted, not slow, not
:18:54. > :18:59.anything, he is just a guy who is the age of 45 and maybe has been
:18:59. > :19:05.laid a couple of times, top. know what I mean? Tops. I'm sorry.
:19:05. > :19:11.No. I wanted to. I even imagined it with you. It was a pitch black
:19:11. > :19:15.night, we were in a spaceship flying through space.
:19:15. > :19:19.I think of it as a sweet love story of two people who come together
:19:19. > :19:24.life starts for them, an awakening of sorts and the other couple that
:19:24. > :19:33.sets them up, their relationship starts to show the cracks and theirs
:19:33. > :19:35.deteriorates. Someone beautiful here. Wow, you look really good.
:19:35. > :19:36.You look for some other life or some You look for some other life or some
:19:36. > :19:36.You look for some other life or some other person. You think I'm nothing.
:19:36. > :19:39.other person. You think I'm nothing. other person. You think I'm nothing.
:19:39. > :19:46.You look for some I don't want it to ever be like
:19:46. > :19:50.that. Maybe I should go. No, you can hold me. Let's go a little
:19:50. > :19:53.deeper. Why I chose Sir Derek Jacobi to be the first film I direct
:19:53. > :19:58.is it's a small movie, basically centred on four people so there's a
:19:58. > :20:03.lot of scenes that's just you and another person. Or even two other
:20:03. > :20:08.people. So there's not a lot of room. You are half of the acting,
:20:08. > :20:13.you know, and so this - and I'm in a lot of the movie, and so that was
:20:13. > :20:19.tricky. I'm glad I played the part before in a play version, even
:20:19. > :20:23.though it was much different in the film. That helped.
:20:23. > :20:33.Maybe a little goodnight kiss. Maybe. You know, nothing
:20:33. > :20:36.
:20:36. > :20:38.overwhelming. OK. Night. Night.
:20:38. > :20:41.I've only just watched it. Watching I've only just watched it. Watching
:20:41. > :20:44.those clips makes me want to watch it again. I really loved this film.
:20:44. > :20:47.I thought it was tender and there were very beautiful moments,
:20:47. > :20:51.especially when Philip Seymour Hoffman is learning how to swim.
:20:51. > :20:54.That might sound bizarre - No, a great scene, that. It is,
:20:54. > :21:00.there are moments when it is obviously a play but you
:21:00. > :21:03.like it's a play just being filmed which sometimes I felt strangely in
:21:03. > :21:08.Doubt, which Philip Seymour was also in. I was absolutely
:21:08. > :21:11.immersed in these four and I found bits of it incredibly
:21:11. > :21:17.moving. Find me the person who doesn't love Philip Seymour Hoffman,
:21:17. > :21:25.bring him to the studio and we will publicly humiliate him. Wow. That
:21:25. > :21:30.said it would be nice if one esteemed actor didn't do a small
:21:30. > :21:34.style adaptation of a play for his directorial debut. That said,
:21:35. > :21:38.performances are great. Seymour Hoffman himself brings real
:21:38. > :21:41.nuance but across the board the performances are great.
:21:41. > :21:46.compare this to the The Ides of March, which we talked about last
:21:46. > :21:51.week, another actors' movie, again adopted from a play,
:21:51. > :21:57.Seymour Hoffman one of the characters, I actually this that
:21:57. > :22:01.much more gripping but Clooney's directing isn't as imaginative as
:22:01. > :22:06.Philip Seymour Hoffman. It is a small film but there is imagination
:22:06. > :22:10.and some real flourishes. It reminds me a lot of Mike Leigh
:22:10. > :22:14.me a lot of Mike Leigh which is strange because it's a New York
:22:14. > :22:17.movie. You could easily set this in Britain. It's not fantastic. It's
:22:17. > :22:20.pleasant, I think, rather than - I think it's better than pleasant.
:22:20. > :22:26.No, I'm going to stick with pleasant. There's a little too much
:22:26. > :22:30.pointless quirk in it for me. little too much quirk. Wow, harsh.
:22:30. > :22:35.OK, Jack Goes Boating is on limited nationwide release and you can log
:22:35. > :22:42.onto our website to find details of where it will be showing.
:22:42. > :22:45.Next Weekend, a romance which blossoms unexpectedly after a
:22:45. > :22:50.one-night stand. This is for an art project and you are going to lie
:22:50. > :22:59.there and record me speaking and people will listen to it? If you
:22:59. > :23:03.make the grade, yeah. Oh, come on. Erm , I don't know, I can hardly
:23:03. > :23:11.remember anything. Just start from the beginning when you first saw me.
:23:11. > :23:19.I don't know, I just saw you. Stop stalling, just talk. All right. OK.
:23:19. > :23:23.Erm, OK, I saw you in the club and I thought you were, I thought you were
:23:23. > :23:29.out of my league or whatever, I liked your T-shirt a lot.
:23:29. > :23:34.league are you in? I don't know. Erm, third division maybe?
:23:34. > :23:40.think you believe that for a moment. Then you followed me into the
:23:41. > :23:44.toilets and tried to wind me the urinal. Hot. Well, you left.
:23:44. > :23:48.And then I left. Yes. Why? There was someone else I
:23:48. > :23:53.was someone else I wanted but by the time I found him he was with
:23:53. > :23:56.else, so - So I was your second choice. I
:23:56. > :24:03.I think when you think about the I think when you think about the
:24:03. > :24:11.number of love stories made the genuine ones have to be cherished. I
:24:11. > :24:18.think this is genuinely brilliant, it shows a relationship forming over
:24:18. > :24:23.48 hours and something happens between them. Over the same number
:24:23. > :24:26.of minutes you become incredibly wrapped up and invested in it and by
:24:26. > :24:30.the end you are with them every of the way. That's actually what a
:24:30. > :24:34.truly great romance does. It will have comparisons to things like
:24:34. > :24:38.Before Sunrise, Lost in Translation. It will deserve those
:24:38. > :24:43.It will deserve those. What is so nice as well, this doesn't shy away
:24:43. > :24:48.from the fact it is a gay love story but for audiences, for gay, straight
:24:48. > :24:51.people, any combination thereof, this is such a fantastic film and I
:24:51. > :24:57.think people will form a with this movie. I totally agree. I
:24:57. > :25:00.loved it. I was sobbing at the end. The way the director, the
:25:00. > :25:06.cameraman's in - at the beginning there's a scene
:25:06. > :25:10.having a curry and you can see people thinking you should bring two
:25:10. > :25:17.plates, and then you see people in the background, you are absolutely
:25:17. > :25:21.immersed. I read somewhere someone that said films we connect with is
:25:21. > :25:24.where you see somebody change the inside out. That is right.
:25:24. > :25:28.Chris who plays Glen absolutely changes from the inside out. I
:25:28. > :25:32.it so moving, I want to see it again. It is your film of the week,
:25:32. > :25:37.it is definitely mine. It would be my film of most weeks. The
:25:37. > :25:42.performances are very eye-catching and the actors will get a lot of
:25:42. > :25:46.praise. The director shouldn't get forgotten about. The way he lights
:25:46. > :25:49.things, the rhythm he gets with the film, it's a brilliant piece of film
:25:49. > :25:54.making. I want to emphasise, if both our film of the week, that's
:25:54. > :25:59.not because it's a low budget British film and is plucky and -
:25:59. > :26:03.no, it is brilliant. It is the best film making by a distance this week.
:26:03. > :26:08.I would urge people to go and see it this weekend. It's a firework of a
:26:08. > :26:11.movie. Yes, it's so romantic. This week, the BFI begins a MGM Musical
:26:11. > :26:15.retrospective which will run November and December. Here
:26:15. > :26:20.look at some of the films that will be on offer.
:26:20. > :26:28.# Somewhere over the rainbow # Somewhere over the rainbow
:26:28. > :26:38.# Way up high # There's a land that I heard of
:26:38. > :26:40.
:26:40. > :26:42.# Once in a lullaby # # There's no
:26:42. > :26:45.# There's no business like showbiz # There's no business like showbiz
:26:45. > :26:55.# If you tell me it's so #
:26:55. > :27:00.
:27:00. > :27:06.# Meet Me In St Louis # Meet Me In St Louis
:27:06. > :27:13.# Meet me at the fair # Don't tell me the lights are
:27:13. > :27:15.shining # Any place but there #
:27:15. > :27:19.# Bless your beautiful hide # Bless your beautiful hide
:27:19. > :27:29.# Wherever you may be # we ain't met yet but I'm willing
:27:29. > :27:38.
:27:38. > :27:41.to bet # You are the gal for me #
:27:41. > :27:46.And joining us is musicals fan And joining us is musicals fan
:27:46. > :27:50.Antonia Quirke and curator of this BFI season David Benedict. Thank you
:27:50. > :27:55.both so much for coming in. Pleasure. Danny and I at this
:27:55. > :28:01.juncture, I think it's only fair, wouldn't you - Take the floor.
:28:01. > :28:06.Would say out loud that not in a bad way musicals aren't possibly our
:28:06. > :28:11.favourite genre. I want to be convinced, but do you find that
:28:11. > :28:20.lot, that people are often down on Mughals? I have to say in the last
:28:20. > :28:26.half an hour Danny has said jazz hands and show tunes as the last
:28:26. > :28:29.word in naffness. That's the problem, musicals as seen as
:28:29. > :28:33.unrealistic and there for the simple-minded and some of them are,
:28:34. > :28:37.but so are some horror and action movies. There are very, very good
:28:37. > :28:42.musicals and the good ones make you realise just how joyous the form can
:28:42. > :28:52.be. What makes a great musical? Is it the stars, is it the whole -
:28:52. > :28:52.
:28:52. > :28:55.well, they are the ultimate showcase for our most beloved stars. You see
:28:55. > :29:02.the satire, the colour, the gloss, and just how barmy they are.
:29:02. > :29:10.American In Paris is a very eccentric film. The final ballet
:29:10. > :29:14.sequence is a very, very strange and eccentric moment. Let me ask you,
:29:14. > :29:18.why were MGM so great at them? They just got to be really, really good
:29:18. > :29:22.at them because there were a whole bunch of people there in a special
:29:22. > :29:28.unit run by Arthur Freed and they made the most expensive, glamorous,
:29:28. > :29:32.richly textured movies. It's about skill base. Lots and lots of studios
:29:32. > :29:36.have become good at different genres. MGM had really, really
:29:36. > :29:38.classy staff and built musicals around the talents of the people
:29:38. > :29:43.there. They weren't just star vehicles, they were really, really
:29:43. > :29:47.strong films. Danny, why is it that somebody like - sometimes it can
:29:47. > :29:53.make me nervous when there's no warning before they break into song.
:29:53. > :29:59.Literally they are just standing there, tidying or something and then
:29:59. > :30:05.- away. And you are thinking for goodness sake just wash up.
:30:05. > :30:11.not hold up a sign? I have a personal grudge, a problem - because
:30:11. > :30:18.as a kid I was a huge Marks brothers film and I was always resentful that
:30:18. > :30:24.they had these terrible musical numbers and I felt chewed up by
:30:25. > :30:32.that. My grandmother was fixated with Howard Keel which was another
:30:32. > :30:37.problem. But when musicals are bad it's in numbers like that one in the
:30:37. > :30:42.Marx brothers film. Great musicals are properly constructed and you
:30:42. > :30:47.understand why they are bursting into song. You don't watch
:30:47. > :30:52.Bond movie and go: he couldn't jump from that building to the next,
:30:52. > :30:56.course he couldn't. Don't tell that. You mentioned An American In
:30:56. > :31:06.Paris. Yes. I know you love it. Let's remind ourselves. Here
:31:06. > :31:08.
:31:08. > :31:18.clip. .
:31:18. > :31:18.
:31:18. > :31:58.Apology for the loss of subtitles for 40 seconds
:31:58. > :32:02.MUSIC. Look, no, I know. MUSIC. Look, no, I know.
:32:02. > :32:07.Perfection. Perfection! Me you watching that, you - just
:32:07. > :32:10.perfection. Why? Look at Leslie there, she was 15 years old
:32:10. > :32:15.Gene Kelly first spotted her in a ballet and then remembered her two
:32:15. > :32:18.years later in this. The tortured innocence of her face and what's so
:32:18. > :32:21.spectacular about Gene Kelly, particularly in this film, is the
:32:21. > :32:25.way he can hold a smile and the same time better than even Louis
:32:25. > :32:29.Armstrong and yet there's something slightly malevolent, difficult about
:32:29. > :32:36.him and you can see written all over his face he is an incredibly
:32:36. > :32:40.complicated man, a hard worker. When you see someone like Fred Astaire,
:32:40. > :32:44.such a natural sweetheart, and then you see somebody like Kelly, he is
:32:44. > :32:49.thinking the whole time, choreographed the whole thing and he
:32:49. > :32:53.is just perfect. You agree? Absolutely. Great performances
:32:53. > :32:57.do something. Of course I would say this because I am talking about a
:32:57. > :33:01.cinema season at the cinema, but you have to see them on the big screen.
:33:01. > :33:05.I think that makes a massive difference. There's something about
:33:05. > :33:10.the scale. I know you don't like people bursting into song but when
:33:10. > :33:18.they do it on a huge screen on that scale it makes a weird sense in a
:33:18. > :33:23.way that on your TV at home it can be ridiculous. I saw this movie for
:33:23. > :33:27.the first time on the big screen the other day and noticed things that I
:33:27. > :33:31.haven't seen before. The extras, old ladies with their bunions dancing
:33:31. > :33:34.up in the cafes in Paris. The variety of children matt
:33:34. > :33:40.particularly gorgeous. I thought knew this movie incredibly well but
:33:40. > :33:44.I noticed these things. I do hear you but when you mention Gene Kelly
:33:44. > :33:48.and that hardness, that's what I've always found uncomfortable. I
:33:48. > :33:58.appreciate technically these are brilliant but his hardness puts me
:33:58. > :33:58.
:33:59. > :34:05.off in the same way that Judy Garland's glazedness puts me off.
:34:05. > :34:10.When you see her singing in In St Louis, she sings to a weeping
:34:10. > :34:13.child and her voice has a tremor in it and the look of care
:34:13. > :34:19.and attention on her face, and you know what she was going
:34:19. > :34:23.the time, as you say it's - perhaps I'm getting too
:34:23. > :34:28.emotional. The other thing, you always like one musical but never
:34:28. > :34:34.think it's a musical. Earlier, I was like: I love Oliver, but they
:34:34. > :34:44.sing. That's true. I love West Side Story but never think of it as a
:34:44. > :34:47.
:34:47. > :34:53.musical. There are a small number that transcend it, and Singing in
:34:53. > :34:57.the Rain Transcends Them All. You Can Find All the Details by Logging
:34:57. > :35:05.Onto BFI.Org.Uk. Now It's Time for the Questionnaire, This
:35:05. > :35:08.I'm not good at watching films more I'm not good at watching films more
:35:08. > :35:16.than once but there are a couple. Probably the one that I can easily
:35:16. > :35:20.Something so captivating about that Something so captivating about that
:35:20. > :35:24.movie, just visually, my initial connections with it.
:35:24. > :35:33.There is no other film like it. There is no other film like it.
:35:33. > :35:37.love the smell of napalm in the morning. When they final meet, that
:35:37. > :35:41.build-up. I've never seen such a build-up, such a mysterious
:35:41. > :35:45.character, somebody mirroring his actions, climbing motor his mind
:35:45. > :35:54.when they make that journey, so when they finally meet, it's
:35:54. > :36:04.powerful stuff. Are you an assassin?
:36:04. > :36:08.
:36:08. > :36:12.Anything with Paul Newman or Steve Anything with Paul Newman or Steve
:36:12. > :36:19.I'm a soldier. You McQueen, I just love. The Great
:36:19. > :36:26.Escape with Steve McQueen, I could go on, there's butch Cassidy,
:36:26. > :36:34.are just movies that for me, a guy's guy, you know, but pall Newman and
:36:34. > :36:38.McQueen were the dudes. Pap ilon, Steve McQueen, when you have a guy -
:36:38. > :36:43.these are the characters that I love to take on as well. Exceptionally
:36:43. > :36:50.quiet and yet very, very wilful and stubborn and so much going on in
:36:50. > :36:55.their minds but you just - it's sucking you in, you know? Then you
:36:56. > :36:59.never know - unpredictable and this strength and this endurance.
:36:59. > :37:04.Guy that is just by existing are Guy that is just by existing are
:37:04. > :37:09.fascinating. I'm gonna be fine. I'm gonna be fine.
:37:10. > :37:15.So I married an axe murderer. Mike So I married an axe murderer. Mike
:37:15. > :37:19.Myers. I put that on and I'm like, you know what: get out of the way of
:37:19. > :37:25.that television! There are Scottish characters in there and
:37:25. > :37:29.they just do the stupidest stuff. # If you think I'm sexy and you want
:37:29. > :37:33.my body # All you've got to do is come
:37:33. > :37:39.# # it's so irreverent and silly,
:37:39. > :37:45.Mike Myers was a genius, it was he was at his best and you just get
:37:45. > :37:51.so wrapped up in it. Yes, I love you so much. Oh God. Charlie. I'm
:37:51. > :37:53.naked, aren't I? Yes, yes, you are naked. Yeah.
:37:53. > :37:58.Thank you so much for coming in. We Thank you so much for coming in. We
:37:58. > :38:01.are all convinced, we are all going, BFI musical season. I'm about to
:38:02. > :38:03.launch into song. That's all for tonight. In next week's show we will
:38:03. > :38:07.be reviewing Wuthering Heights and The Rum
:38:07. > :38:11.Diaries. Playing us out is Shame, the new film from director Steve
:38:11. > :38:16.McQueen, in cinemas in January 2012. Thank you very much for
:38:16. > :38:21.How did it go last night? Good How did it go last night? Good
:38:21. > :38:27.night. Let's do it again tonight. My sister is downtown somewhere.
:38:27. > :38:30.Can I stay for a few days? Your hard drive is dirty. I mean it is
:38:31. > :38:34.filthy. Slowly. I'm trying to help you. How are you helping me, huh?
:38:34. > :38:38.You come in here and you are weight on me. You are a burden. You