Episode 13 Film 2011 with Claudia Winkleman


Download Subtitles

SRT

ASS


Episode 13

Claudia Winkleman and Danny Leigh review films including the long-awaited Straw Dogs remake, Phillip Seymour Hoffman's directorial debut Jack Goes Boating, The Future and Weekend.


Similar Content

Browse content similar to Episode 13. Check below for episodes and series from the same categories and more!

Transcript


LineFromTo

Hello and welcome to Film 2011. We Hello and welcome to Film 2011. We

:00:28.:00:32.

are live, and if you want to get in touch the details are on the screen

:00:32.:00:38.

now. Coming up tonight: Eddie Murphy and Ben Stiller take on

:00:38.:00:45.

the money men in Tower Heist. What you trying to steal? $20 million.

:00:45.:00:55.
:00:55.:00:55.

Let's get something to eat. Straw Dogs gets a makeover. What happens

:00:55.:01:02.

when thy neighbour's wife covets you? And Jack Goes Boating. I

:01:02.:01:07.

imagined you. You were in a spaceship, flying through

:01:07.:01:12.

superspace. Plus Gerard Butler answers the Film 2011 questionnaire.

:01:12.:01:16.

First up, Ben Stiller and Eddie Murphy star in comedy

:01:16.:01:23.

Just an hour ago the tower's richest Just an hour ago the tower's richest

:01:23.:01:28.

resident was released under house arrest here at his penthouse

:01:28.:01:33.

apartment. He was asked to all your pensions. Now they are

:01:33.:01:37.

saying anyone who invested with him was defrauded. Did he

:01:37.:01:42.

money too? Yes, he did. He to try to steal it back from this

:01:42.:01:48.

guy and tries to enlist me and some of the other ex-employees to

:01:48.:01:52.

him bring the money back. We don't steal things. We know the

:01:52.:01:56.

deliveries, schedules and codes for every window. We have been casing

:01:56.:02:01.

the place for a decade, we didn't know it. Because we weren't

:02:01.:02:10.

I thought that you might be able to I thought that you might be able to

:02:10.:02:16.

help us. What you trying to steal? $20 million. Let's go get something

:02:16.:02:20.

to eat. That's timeless, to eat. That's timeless, workers

:02:20.:02:23.

being taken advantage of by the folk and the workers turning the

:02:23.:02:28.

tables. I will find a way to make things right. It's always fun to

:02:29.:02:37.

a villain but even more so to be who doesn't appear to be. The

:02:37.:02:41.

characters were not streety guys, it was fun to go and do something

:02:41.:02:46.

like that. I was on a job a few days ago when

:02:46.:02:54.

my homie got shot in the face. The bullet comes out the other side.

:02:54.:03:00.

Then what you going to do? I'm going to die. It's gone rogue.

:03:00.:03:05.

There was nothing for me cooler than to make a quintessential New York

:03:05.:03:09.

heist movie that was grounded in reality, that had characters, that

:03:09.:03:14.

had comedy, was fun, but had heart. This is a bad idea. I don't want you

:03:14.:03:18.

talking to me for the rest of the robbery. Danny, I love the fact

:03:18.:03:23.

that it is based in Brett Ratner's reality? Wouldn't you want to live

:03:23.:03:29.

there? I know I would. I want live with him. Let us converse with

:03:29.:03:34.

Tower Heist. It is supposed to reach new heights. I don't think that's

:03:34.:03:40.

strictly true. That's a lie. There is a line on it. Red rose. Go

:03:40.:03:45.

it, then call me. I was sitting next to you and I was almost sick I

:03:45.:03:49.

laughed so hard. I noticed. there are a couple of very, very

:03:49.:03:52.

funny moments in it, but it's not hilarious. The other thing I want to

:03:52.:03:58.

say is that it is like a 80s In the 80s I looked disgusting -

:03:58.:04:04.

even more so. Lots of bangles and I carried around millions of textbooks

:04:04.:04:08.

and when the credits came up I surprised not to have a school bag

:04:08.:04:12.

at my feet so it's nice to go back in time. The question has to be:

:04:12.:04:18.

it funny? For me at least the answer to that is a resounding, categorical

:04:18.:04:22.

100% yes, and no, because I you are right. There is an absence

:04:22.:04:26.

of belly laughs. You don't have that joke after joke structure. Being

:04:26.:04:31.

picky, the scenes with Ben Stiller and Eddie Murphy don't really work.

:04:31.:04:36.

Quite a lot of tumble weed. In fairness, there's some genuinely

:04:36.:04:40.

funny stuff which is unexpected. just because this is a Brett Ratner

:04:40.:04:44.

movie but also because jokes come from unexpected places. There's

:04:44.:04:51.

little three-away one liners and nuggets of conversation. A lot comes

:04:51.:04:56.

from Casey Affleck and also from Matthew Broderick, who can be

:04:56.:05:01.

incredibly funny. He is slightly downtrodden here and has for me

:05:01.:05:05.

best scene in the film. It's an odd comparison to make but it's like a

:05:05.:05:09.

Sunday night sitcom because it's not very funny very often but

:05:09.:05:12.

something strangely reassuring about it at the same time. I feel slightly

:05:12.:05:17.

embarrassed to admit that but it's true. Yes, it's comforting. Can I

:05:17.:05:23.

just say this, what I normally love about these heist films, even

:05:23.:05:28.

Ocean's Eleven, it always involves just men usually sitting around

:05:28.:05:35.

white board, making plans, and are going "Then we will do this and

:05:35.:05:39.

then we will do that", but they leave out a whole chunk so when the

:05:39.:05:43.

plan comes together you think: that's so clever, I didn't see it

:05:43.:05:48.

coming. That didn't happen in this film. It won't happen if you are

:05:48.:05:56.

expecting that, but Alan Alda is also in it we should say. Various

:05:56.:06:03.

things you wouldn't want to admit in public is that for most of my

:06:03.:06:07.

have been a huge Eddie Murphy fan the idea that you have him in

:06:07.:06:12.

film which kind of has a bit of a go very gentlely at the banks, veers

:06:12.:06:22.
:06:22.:06:25.

away a little bit and blames it all or Bernie Madoff, but it's almost

:06:25.:06:35.
:06:35.:06:37.

breath between this and Trading Places, and there's just enough for

:06:37.:06:44.

this to be close enough. I would give it a B. Next Straw Dogs,

:06:45.:06:53.

remake of the 1971 controversial Sam Peckinpah movie. In this version

:06:53.:06:56.

man re-elect with his wife to the deep south. What do you think?

:06:56.:07:06.
:07:06.:07:07.

beautiful. We don't even lock our doors. I'm glad we came. The pastor

:07:07.:07:11.

worked all week long writing that sermon, then he has got to watch you

:07:11.:07:20.

get up and leave? Some people call that rude. OK. Just a

:07:20.:07:27.

red neck wisdom for you. Charlie, there is something in The Bible I

:07:27.:07:34.

believe. What is that, sir? Thou shalt not covet thy neighbour's

:07:34.:07:38.

wife. I believe in that too, but what happens when thy neighbour's

:07:38.:07:46.

wife covets you? What then? You are a coward.

:07:46.:07:50.

No, I'm not. Yeah, so am I. Plain No, I'm not. Yeah, so am I. Plain

:07:50.:08:00.
:08:00.:08:00.

and simple. No, I'm not. Yeah. Yeah. If you had done something -

:08:00.:08:03.

Amy. If you had said something or done something, anything. I

:08:03.:08:09.

trying to get them to talk. Would you be quiet? Education is

:08:09.:08:19.
:08:19.:08:19.

difficult thing to control, Harry. No extra charge. KNOCKING. GUNSHOT.

:08:19.:08:26.

911. Emergency. There are five men 911. Emergency. There are five men

:08:26.:08:36.

911. Emergency. There are five men remakes I think are a very soft

:08:36.:08:37.

remakes I think are a very soft remakes I think are a very soft

:08:37.:08:38.

911. Emergency. target and we will talk about

:08:38.:08:43.

later in the series, and they have their place but Straw Dogs is not

:08:43.:08:48.

great advert for a remake. It is incredibly tied to Sam Peckinpah's

:08:48.:08:51.

original, huge chunks of script are copied over verbatim but at the same

:08:51.:08:54.

time the changes it has made are disastrous. One obvious example

:08:54.:08:59.

the casting. Straw Dogs is a story all about this nerdy, awkward

:08:59.:09:03.

intellectual who has to get in touch with his inner wild man and the

:09:03.:09:09.

original casting is perfect, Dustin Hoffman. Here they have changed him

:09:09.:09:14.

from being a mathematician to a writer and cast James Marsden, from

:09:14.:09:20.

the X Men, with his six pack and chisel jaw so not only is the film

:09:20.:09:28.

hugely unbelievable but it has to make up time apologising for itself,

:09:28.:09:35.

so he has to wear inappropriate footwear, he has to pay with

:09:35.:09:42.

credit card in the diner, and he has to have played la cross at Harvard.

:09:42.:09:48.

I think it's disastrous for the film and impossible to believe that if

:09:48.:09:52.

you were casting somebody awkward, you would cast James Marsden.

:09:52.:09:57.

available for one thing. LAUGHTER. feel bad about using the word

:09:57.:10:02.

"tripe" - sometimes it's the only word that works. The problem is the

:10:02.:10:05.

original is so creepy and so it of gets under your skin and it's

:10:05.:10:09.

pretty terrifying. Dustin of course, is brilliant in it and

:10:09.:10:16.

there are proper scenes of suspense and terror. This is a nonsense, if I

:10:16.:10:20.

can use that word, and I feel but it's shot in the present day

:10:20.:10:23.

obviously. They are surrounded by technological stuff, they've got

:10:23.:10:26.

computers, and if they were threatened you just think they would

:10:26.:10:32.

have gone on Expedia and got a flight out. It's a screen writer

:10:32.:10:36.

from LA but you are supposed to believe he hasn't seen any

:10:36.:10:40.

he has no idea. It didn't ring true. Absolutely not and relocating it

:10:40.:10:43.

from Cornwall to the deep south America is another very, very bad

:10:43.:10:49.

decision actually. For a we've seen that film a million

:10:49.:10:55.

times. Deliverance was made at about the same time. It's also done fakely

:10:55.:10:59.

because James Woods is one of chief villains and he is about as

:10:59.:11:03.

southern fried as Judi Dench. worst thing about this movie,

:11:03.:11:08.

all the criticisms we are levelling at it, is that it's actually

:11:08.:11:12.

mediocre rather than terrible. you are going to do a bad remake of

:11:12.:11:18.

the Sam Peckinpah film, go the hog and have some show tunes in

:11:18.:11:24.

there. I can see his ghost whirling in his grave as we speak. Erm,

:11:24.:11:27.

good. It has been 40 years since the original release of Straw Dogs

:11:27.:11:31.

was followed shortly afterwards Clockwork Orange, at the time two

:11:31.:11:35.

the most shocking films to get a commercial release. Danny goes back

:11:35.:11:41.

in time - literally. - yes, there. And as you might expect,

:11:41.:11:50.

In 1971 movie-goers had a shocking In 1971 movie-goers had a shocking

:11:50.:11:54.

year for sex and violence but two of these films, Sam Peckinpah's Straw

:11:54.:11:59.

Dogs and Kubrick's A Clockwork Orange would become notorious for

:11:59.:12:06.

years to come, both adaptations of British models shot by American

:12:06.:12:10.

directors in England. The violence hits you like a meat cleaver between

:12:10.:12:16.

the eyes. Neither of these films will I ever forget the first time I

:12:16.:12:21.

saw them. Both films would be judged unsafe for British audiences

:12:21.:12:26.

and become impossible to see for years to come. I don't know how

:12:26.:12:33.

society can go so far. They became landmarks in the history of

:12:33.:12:38.

censorship and social taboos. First up, Straw Dogs, Sam Peckinpah's

:12:38.:12:43.

of marriage, manhood and revenge with Dustin Hoffman as a mousy

:12:43.:12:50.

American mathematician who with his wife to a local Cornish

:12:50.:12:54.

village. When the locals turn nasty she is brutally raped and he is

:12:54.:12:58.

forced to defend his home. It was an iconic film of its

:12:58.:13:01.

don't think it has ever been repeated. What's shocking

:13:01.:13:06.

Straw Dogs is not so much the violence of the film, it's the rape

:13:06.:13:12.

scene itself. Please leave me. This film showed rape as: well,

:13:12.:13:16.

sort of wanted it. That makes it one of those rare films which is

:13:16.:13:19.

actually more controversial it was then. It's about the

:13:19.:13:22.

countryside and the great and horrible truth of that. The

:13:22.:13:26.

countryside is not a sweet and nice place of harmony and gentleness, it

:13:26.:13:35.

is a place of violence, horror and confrontation. SHOUTING

:13:35.:13:37.

As a city boy there was always a As a city boy there was always a

:13:37.:13:38.

As a city boy there was always a fear I had about going out to the

:13:38.:13:38.

fear I had about going out to the fear I had about going out to the

:13:38.:13:39.

As a city boy there was country. They are all crazy out

:13:39.:13:42.

there. So there was something about seeing all the townspeople turning

:13:42.:13:52.
:13:52.:13:54.

against the outsider which made big impression.

:13:54.:13:58.

In Kubrick's futuristic version of In Kubrick's futuristic version of

:13:58.:14:04.

Britain, A Clockwork Orange, Alex and his gang commit acts of

:14:04.:14:08.

senseless ultra violence with women frequently the victims. A Clockwork

:14:08.:14:12.

Orange is a violent film but it is in a more cerebral sense

:14:12.:14:22.

violence. The violence was so extreme, so kind

:14:22.:14:26.

of stylised and so comical, probably makes it so difficult to

:14:27.:14:30.

watch. It's laughing at you same time as trying to horrify and

:14:30.:14:37.

shock you. .

:14:37.:14:40.

Also very upsetting is the violence Also very upsetting is the violence

:14:40.:14:45.

committed towards the main Alex. No! Stop it, stop it, please,

:14:45.:14:49.

I beg you! It's a painful scene to watch, but it's such an amazing

:14:49.:14:54.

piece of cinema. It's really the work of a director who is at the top

:14:54.:14:59.

of his game. I've learnt my lesson, sir, I see now what I've never seen

:14:59.:15:04.

before, I am cured, praise God! Interestingly though, for all

:15:05.:15:10.

the films had in common no than 13 leading film critics had

:15:10.:15:15.

written to the Times to complain about Straw Dogs, with many of the

:15:15.:15:19.

same people acclaiming A Clockwork Orange as a work of genius. Kubrick

:15:19.:15:28.

withdrew the film over scenes of copy - over fears of copycat crimes.

:15:28.:15:35.

I don't think now and then a snippet here and there has harmed films at

:15:35.:15:38.

all. I think the two films in question, personally I

:15:38.:15:42.

wonderful films, could easily been just as good without the full

:15:42.:15:46.

content. That was A Clockwork Orange and Straw Dogs. Yes, indeed.

:15:46.:15:51.

You will judge each film on its own individual merits?

:15:51.:15:55.

will be wrong and it will be for the public to decide how often

:15:55.:16:00.

right or wrong. A Clockwork Orange came this incredible cult item,

:16:01.:16:05.

almost more like a rumour than film. For whatever reason they were

:16:05.:16:09.

both removed from public consumption and therefore the more that happens,

:16:09.:16:15.

the more people want to see them. The more you hear, the more you

:16:15.:16:20.

to see it. Born of the restless late 60s, these controversial films took

:16:20.:16:23.

nearly three decades to be re-released in Britain. Times have

:16:23.:16:26.

changed so that we don't these films with the same eyes.

:16:26.:16:30.

These films kind of speak those times, and even though they

:16:30.:16:34.

are set, one in a very rural setting and another in the future,

:16:34.:16:37.

very much about the period in they were made. There's

:16:37.:16:42.

about the 60s which turned nasty and became the 70s. American cinema of

:16:42.:16:45.

that time had something about it, it became much more brutal and much

:16:45.:16:49.

more real, and there was something about showing there was an edginess

:16:49.:16:53.

to it. The funny thing is that these weren't obscure underground B

:16:53.:16:57.

movies that were causing such commotion but films from two of the

:16:57.:17:03.

world's biggest directors. It's hard to imagine a Christopher Nolan or

:17:03.:17:06.

David Fincher touching so many raw nerves these days but then again

:17:06.:17:11.

it's also hard to think of what could possibly have the same effect

:17:11.:17:21.
:17:21.:17:21.

here in unshockable 2011. see on Friday? I went to see the

:17:21.:17:31.
:17:31.:17:34.

Human Centipede 2, strangely own. This is basically about an

:17:34.:17:40.

obsessed human cent paedfan who then tried to re inact it. The film was

:17:40.:17:50.
:17:50.:17:53.

banned a few months ago on the basis that the main character abducts

:17:53.:17:57.

them, but they are trying to some personality into it. They are

:17:57.:18:00.

thinking: here I am, a struggling actor, having my moment and I

:18:00.:18:05.

make the most of it. One guy in particular, number 5 or 6, is

:18:05.:18:10.

literally almost doing jazz hands. Really quite a sight. The film is a

:18:10.:18:17.

footnote for horror aficionados if you do want a date night, tell me

:18:17.:18:23.

and I will come a babysit. Noted. Next, Jack Goes Boating, the

:18:23.:18:30.

directorial debut of Philip Seymour Hoffman. I told him I loved him, he

:18:30.:18:36.

was a great dad, and he woke of the coma. Oh God! Then he fell

:18:36.:18:41.

down, hit his head in the and then he died. Oh!

:18:41.:18:45.

I basically play a guy who has had few relationships in his life but

:18:45.:18:49.

nothing substantial. That's it. He is not stunted, not slow, not

:18:49.:18:54.

anything, he is just a guy who is the age of 45 and maybe has been

:18:54.:18:59.

laid a couple of times, top. know what I mean? Tops. I'm sorry.

:18:59.:19:05.

No. I wanted to. I even imagined it with you. It was a pitch black

:19:05.:19:11.

night, we were in a spaceship flying through space.

:19:11.:19:15.

I think of it as a sweet love story of two people who come together

:19:15.:19:19.

life starts for them, an awakening of sorts and the other couple that

:19:19.:19:24.

sets them up, their relationship starts to show the cracks and theirs

:19:24.:19:33.

deteriorates. Someone beautiful here. Wow, you look really good.

:19:33.:19:35.

You look for some other life or some You look for some other life or some

:19:35.:19:36.

You look for some other life or some other person. You think I'm nothing.

:19:36.:19:36.

other person. You think I'm nothing. other person. You think I'm nothing.

:19:36.:19:39.

You look for some I don't want it to ever be like

:19:39.:19:46.

that. Maybe I should go. No, you can hold me. Let's go a little

:19:46.:19:50.

deeper. Why I chose Sir Derek Jacobi to be the first film I direct

:19:50.:19:53.

is it's a small movie, basically centred on four people so there's a

:19:53.:19:58.

lot of scenes that's just you and another person. Or even two other

:19:58.:20:03.

people. So there's not a lot of room. You are half of the acting,

:20:03.:20:08.

you know, and so this - and I'm in a lot of the movie, and so that was

:20:08.:20:13.

tricky. I'm glad I played the part before in a play version, even

:20:13.:20:19.

though it was much different in the film. That helped.

:20:19.:20:23.

Maybe a little goodnight kiss. Maybe. You know, nothing

:20:23.:20:33.
:20:33.:20:36.

overwhelming. OK. Night. Night.

:20:36.:20:38.

I've only just watched it. Watching I've only just watched it. Watching

:20:38.:20:41.

those clips makes me want to watch it again. I really loved this film.

:20:41.:20:44.

I thought it was tender and there were very beautiful moments,

:20:44.:20:47.

especially when Philip Seymour Hoffman is learning how to swim.

:20:47.:20:51.

That might sound bizarre - No, a great scene, that. It is,

:20:51.:20:54.

there are moments when it is obviously a play but you

:20:54.:21:00.

like it's a play just being filmed which sometimes I felt strangely in

:21:00.:21:03.

Doubt, which Philip Seymour was also in. I was absolutely

:21:03.:21:08.

immersed in these four and I found bits of it incredibly

:21:08.:21:11.

moving. Find me the person who doesn't love Philip Seymour Hoffman,

:21:11.:21:17.

bring him to the studio and we will publicly humiliate him. Wow. That

:21:17.:21:25.

said it would be nice if one esteemed actor didn't do a small

:21:25.:21:30.

style adaptation of a play for his directorial debut. That said,

:21:30.:21:34.

performances are great. Seymour Hoffman himself brings real

:21:35.:21:38.

nuance but across the board the performances are great.

:21:38.:21:41.

compare this to the The Ides of March, which we talked about last

:21:41.:21:46.

week, another actors' movie, again adopted from a play,

:21:46.:21:51.

Seymour Hoffman one of the characters, I actually this that

:21:51.:21:57.

much more gripping but Clooney's directing isn't as imaginative as

:21:57.:22:01.

Philip Seymour Hoffman. It is a small film but there is imagination

:22:01.:22:06.

and some real flourishes. It reminds me a lot of Mike Leigh

:22:06.:22:10.

me a lot of Mike Leigh which is strange because it's a New York

:22:10.:22:14.

movie. You could easily set this in Britain. It's not fantastic. It's

:22:14.:22:17.

pleasant, I think, rather than - I think it's better than pleasant.

:22:17.:22:20.

No, I'm going to stick with pleasant. There's a little too much

:22:20.:22:26.

pointless quirk in it for me. little too much quirk. Wow, harsh.

:22:26.:22:30.

OK, Jack Goes Boating is on limited nationwide release and you can log

:22:30.:22:35.

onto our website to find details of where it will be showing.

:22:35.:22:42.

Next Weekend, a romance which blossoms unexpectedly after a

:22:42.:22:45.

one-night stand. This is for an art project and you are going to lie

:22:45.:22:50.

there and record me speaking and people will listen to it? If you

:22:50.:22:59.

make the grade, yeah. Oh, come on. Erm , I don't know, I can hardly

:22:59.:23:03.

remember anything. Just start from the beginning when you first saw me.

:23:03.:23:11.

I don't know, I just saw you. Stop stalling, just talk. All right. OK.

:23:11.:23:19.

Erm, OK, I saw you in the club and I thought you were, I thought you were

:23:19.:23:23.

out of my league or whatever, I liked your T-shirt a lot.

:23:23.:23:29.

league are you in? I don't know. Erm, third division maybe?

:23:29.:23:34.

think you believe that for a moment. Then you followed me into the

:23:34.:23:40.

toilets and tried to wind me the urinal. Hot. Well, you left.

:23:41.:23:44.

And then I left. Yes. Why? There was someone else I

:23:44.:23:48.

was someone else I wanted but by the time I found him he was with

:23:48.:23:53.

else, so - So I was your second choice. I

:23:53.:23:56.

I think when you think about the I think when you think about the

:23:56.:24:03.

number of love stories made the genuine ones have to be cherished. I

:24:03.:24:11.

think this is genuinely brilliant, it shows a relationship forming over

:24:11.:24:18.

48 hours and something happens between them. Over the same number

:24:18.:24:23.

of minutes you become incredibly wrapped up and invested in it and by

:24:23.:24:26.

the end you are with them every of the way. That's actually what a

:24:26.:24:30.

truly great romance does. It will have comparisons to things like

:24:30.:24:34.

Before Sunrise, Lost in Translation. It will deserve those

:24:34.:24:38.

It will deserve those. What is so nice as well, this doesn't shy away

:24:38.:24:43.

from the fact it is a gay love story but for audiences, for gay, straight

:24:43.:24:48.

people, any combination thereof, this is such a fantastic film and I

:24:48.:24:51.

think people will form a with this movie. I totally agree. I

:24:51.:24:57.

loved it. I was sobbing at the end. The way the director, the

:24:57.:25:00.

cameraman's in - at the beginning there's a scene

:25:00.:25:06.

having a curry and you can see people thinking you should bring two

:25:06.:25:10.

plates, and then you see people in the background, you are absolutely

:25:10.:25:17.

immersed. I read somewhere someone that said films we connect with is

:25:17.:25:21.

where you see somebody change the inside out. That is right.

:25:21.:25:24.

Chris who plays Glen absolutely changes from the inside out. I

:25:24.:25:28.

it so moving, I want to see it again. It is your film of the week,

:25:28.:25:32.

it is definitely mine. It would be my film of most weeks. The

:25:32.:25:37.

performances are very eye-catching and the actors will get a lot of

:25:37.:25:42.

praise. The director shouldn't get forgotten about. The way he lights

:25:42.:25:46.

things, the rhythm he gets with the film, it's a brilliant piece of film

:25:46.:25:49.

making. I want to emphasise, if both our film of the week, that's

:25:49.:25:54.

not because it's a low budget British film and is plucky and -

:25:54.:25:59.

no, it is brilliant. It is the best film making by a distance this week.

:25:59.:26:03.

I would urge people to go and see it this weekend. It's a firework of a

:26:03.:26:08.

movie. Yes, it's so romantic. This week, the BFI begins a MGM Musical

:26:08.:26:11.

retrospective which will run November and December. Here

:26:11.:26:15.

look at some of the films that will be on offer.

:26:15.:26:20.

# Somewhere over the rainbow # Somewhere over the rainbow

:26:20.:26:28.

# Way up high # There's a land that I heard of

:26:28.:26:38.
:26:38.:26:40.

# Once in a lullaby # # There's no

:26:40.:26:42.

# There's no business like showbiz # There's no business like showbiz

:26:42.:26:45.

# If you tell me it's so #

:26:45.:26:55.
:26:55.:27:00.

# Meet Me In St Louis # Meet Me In St Louis

:27:00.:27:06.

# Meet me at the fair # Don't tell me the lights are

:27:06.:27:13.

shining # Any place but there #

:27:13.:27:15.

# Bless your beautiful hide # Bless your beautiful hide

:27:15.:27:19.

# Wherever you may be # we ain't met yet but I'm willing

:27:19.:27:29.
:27:29.:27:38.

to bet # You are the gal for me #

:27:38.:27:41.

And joining us is musicals fan And joining us is musicals fan

:27:41.:27:46.

Antonia Quirke and curator of this BFI season David Benedict. Thank you

:27:46.:27:50.

both so much for coming in. Pleasure. Danny and I at this

:27:50.:27:55.

juncture, I think it's only fair, wouldn't you - Take the floor.

:27:55.:28:01.

Would say out loud that not in a bad way musicals aren't possibly our

:28:01.:28:06.

favourite genre. I want to be convinced, but do you find that

:28:06.:28:11.

lot, that people are often down on Mughals? I have to say in the last

:28:11.:28:20.

half an hour Danny has said jazz hands and show tunes as the last

:28:20.:28:26.

word in naffness. That's the problem, musicals as seen as

:28:26.:28:29.

unrealistic and there for the simple-minded and some of them are,

:28:29.:28:33.

but so are some horror and action movies. There are very, very good

:28:34.:28:37.

musicals and the good ones make you realise just how joyous the form can

:28:37.:28:42.

be. What makes a great musical? Is it the stars, is it the whole -

:28:42.:28:52.
:28:52.:28:52.

well, they are the ultimate showcase for our most beloved stars. You see

:28:52.:28:55.

the satire, the colour, the gloss, and just how barmy they are.

:28:55.:29:02.

American In Paris is a very eccentric film. The final ballet

:29:02.:29:10.

sequence is a very, very strange and eccentric moment. Let me ask you,

:29:10.:29:14.

why were MGM so great at them? They just got to be really, really good

:29:14.:29:18.

at them because there were a whole bunch of people there in a special

:29:18.:29:22.

unit run by Arthur Freed and they made the most expensive, glamorous,

:29:22.:29:28.

richly textured movies. It's about skill base. Lots and lots of studios

:29:28.:29:32.

have become good at different genres. MGM had really, really

:29:32.:29:36.

classy staff and built musicals around the talents of the people

:29:36.:29:38.

there. They weren't just star vehicles, they were really, really

:29:38.:29:43.

strong films. Danny, why is it that somebody like - sometimes it can

:29:43.:29:47.

make me nervous when there's no warning before they break into song.

:29:47.:29:53.

Literally they are just standing there, tidying or something and then

:29:53.:29:59.

- away. And you are thinking for goodness sake just wash up.

:29:59.:30:05.

not hold up a sign? I have a personal grudge, a problem - because

:30:05.:30:11.

as a kid I was a huge Marks brothers film and I was always resentful that

:30:11.:30:18.

they had these terrible musical numbers and I felt chewed up by

:30:18.:30:24.

that. My grandmother was fixated with Howard Keel which was another

:30:25.:30:32.

problem. But when musicals are bad it's in numbers like that one in the

:30:32.:30:37.

Marx brothers film. Great musicals are properly constructed and you

:30:37.:30:42.

understand why they are bursting into song. You don't watch

:30:42.:30:47.

Bond movie and go: he couldn't jump from that building to the next,

:30:47.:30:52.

course he couldn't. Don't tell that. You mentioned An American In

:30:52.:30:56.

Paris. Yes. I know you love it. Let's remind ourselves. Here

:30:56.:31:06.
:31:06.:31:08.

clip. .

:31:08.:31:18.
:31:18.:31:18.

Apology for the loss of subtitles for 40 seconds

:31:18.:31:58.

MUSIC. Look, no, I know. MUSIC. Look, no, I know.

:31:58.:32:02.

Perfection. Perfection! Me you watching that, you - just

:32:02.:32:07.

perfection. Why? Look at Leslie there, she was 15 years old

:32:07.:32:10.

Gene Kelly first spotted her in a ballet and then remembered her two

:32:10.:32:15.

years later in this. The tortured innocence of her face and what's so

:32:15.:32:18.

spectacular about Gene Kelly, particularly in this film, is the

:32:18.:32:21.

way he can hold a smile and the same time better than even Louis

:32:21.:32:25.

Armstrong and yet there's something slightly malevolent, difficult about

:32:25.:32:29.

him and you can see written all over his face he is an incredibly

:32:29.:32:36.

complicated man, a hard worker. When you see someone like Fred Astaire,

:32:36.:32:40.

such a natural sweetheart, and then you see somebody like Kelly, he is

:32:40.:32:44.

thinking the whole time, choreographed the whole thing and he

:32:44.:32:49.

is just perfect. You agree? Absolutely. Great performances

:32:49.:32:53.

do something. Of course I would say this because I am talking about a

:32:53.:32:57.

cinema season at the cinema, but you have to see them on the big screen.

:32:57.:33:01.

I think that makes a massive difference. There's something about

:33:01.:33:05.

the scale. I know you don't like people bursting into song but when

:33:05.:33:10.

they do it on a huge screen on that scale it makes a weird sense in a

:33:10.:33:18.

way that on your TV at home it can be ridiculous. I saw this movie for

:33:18.:33:23.

the first time on the big screen the other day and noticed things that I

:33:23.:33:27.

haven't seen before. The extras, old ladies with their bunions dancing

:33:27.:33:31.

up in the cafes in Paris. The variety of children matt

:33:31.:33:34.

particularly gorgeous. I thought knew this movie incredibly well but

:33:34.:33:40.

I noticed these things. I do hear you but when you mention Gene Kelly

:33:40.:33:44.

and that hardness, that's what I've always found uncomfortable. I

:33:44.:33:48.

appreciate technically these are brilliant but his hardness puts me

:33:48.:33:58.
:33:58.:33:58.

off in the same way that Judy Garland's glazedness puts me off.

:33:59.:34:05.

When you see her singing in In St Louis, she sings to a weeping

:34:05.:34:10.

child and her voice has a tremor in it and the look of care

:34:10.:34:13.

and attention on her face, and you know what she was going

:34:13.:34:19.

the time, as you say it's - perhaps I'm getting too

:34:19.:34:23.

emotional. The other thing, you always like one musical but never

:34:23.:34:28.

think it's a musical. Earlier, I was like: I love Oliver, but they

:34:28.:34:34.

sing. That's true. I love West Side Story but never think of it as a

:34:34.:34:44.
:34:44.:34:47.

musical. There are a small number that transcend it, and Singing in

:34:47.:34:53.

the Rain Transcends Them All. You Can Find All the Details by Logging

:34:53.:34:57.

Onto BFI.Org.Uk. Now It's Time for the Questionnaire, This

:34:57.:35:05.

I'm not good at watching films more I'm not good at watching films more

:35:05.:35:08.

than once but there are a couple. Probably the one that I can easily

:35:08.:35:16.

Something so captivating about that Something so captivating about that

:35:16.:35:20.

movie, just visually, my initial connections with it.

:35:20.:35:24.

There is no other film like it. There is no other film like it.

:35:24.:35:33.

love the smell of napalm in the morning. When they final meet, that

:35:33.:35:37.

build-up. I've never seen such a build-up, such a mysterious

:35:37.:35:41.

character, somebody mirroring his actions, climbing motor his mind

:35:41.:35:45.

when they make that journey, so when they finally meet, it's

:35:45.:35:54.

powerful stuff. Are you an assassin?

:35:54.:36:04.
:36:04.:36:08.

Anything with Paul Newman or Steve Anything with Paul Newman or Steve

:36:08.:36:12.

I'm a soldier. You McQueen, I just love. The Great

:36:12.:36:19.

Escape with Steve McQueen, I could go on, there's butch Cassidy,

:36:19.:36:26.

are just movies that for me, a guy's guy, you know, but pall Newman and

:36:26.:36:34.

McQueen were the dudes. Pap ilon, Steve McQueen, when you have a guy -

:36:34.:36:38.

these are the characters that I love to take on as well. Exceptionally

:36:38.:36:43.

quiet and yet very, very wilful and stubborn and so much going on in

:36:43.:36:50.

their minds but you just - it's sucking you in, you know? Then you

:36:50.:36:55.

never know - unpredictable and this strength and this endurance.

:36:56.:36:59.

Guy that is just by existing are Guy that is just by existing are

:36:59.:37:04.

fascinating. I'm gonna be fine. I'm gonna be fine.

:37:04.:37:09.

So I married an axe murderer. Mike So I married an axe murderer. Mike

:37:10.:37:15.

Myers. I put that on and I'm like, you know what: get out of the way of

:37:15.:37:19.

that television! There are Scottish characters in there and

:37:19.:37:25.

they just do the stupidest stuff. # If you think I'm sexy and you want

:37:25.:37:29.

my body # All you've got to do is come

:37:29.:37:33.

# # it's so irreverent and silly,

:37:33.:37:39.

Mike Myers was a genius, it was he was at his best and you just get

:37:39.:37:45.

so wrapped up in it. Yes, I love you so much. Oh God. Charlie. I'm

:37:45.:37:51.

naked, aren't I? Yes, yes, you are naked. Yeah.

:37:51.:37:53.

Thank you so much for coming in. We Thank you so much for coming in. We

:37:53.:37:58.

are all convinced, we are all going, BFI musical season. I'm about to

:37:58.:38:01.

launch into song. That's all for tonight. In next week's show we will

:38:02.:38:03.

be reviewing Wuthering Heights and The Rum

:38:03.:38:07.

Diaries. Playing us out is Shame, the new film from director Steve

:38:07.:38:11.

McQueen, in cinemas in January 2012. Thank you very much for

:38:11.:38:16.

How did it go last night? Good How did it go last night? Good

:38:16.:38:21.

night. Let's do it again tonight. My sister is downtown somewhere.

:38:21.:38:27.

Can I stay for a few days? Your hard drive is dirty. I mean it is

:38:27.:38:30.

filthy. Slowly. I'm trying to help you. How are you helping me, huh?

:38:31.:38:34.

You come in here and you are weight on me. You are a burden. You

:38:34.:38:38.

In this episode, Claudia and Danny review the long-awaited remake of Straw Dogs, Phillip Seymour Hoffman's directorial debut Jack Goes Boating, The Future and Weekend.