:00:30. > :00:33.Hello, and welcome to Film 2012. We're live. If you want to get in
:00:33. > :00:40.touch, the details are on the screen now. Coming up on tonight's
:00:40. > :00:46.show: Tom Hanks and Sandra Bullock team
:00:46. > :00:51.up for the Oscar-nominated Extremely Loud and Incredibly Close.
:00:51. > :00:54.If things were easy to find... wouldn't be worth finding. Kristin
:00:54. > :00:58.Scott Thomas is the mysterious woman in The Fifth. What have you
:00:58. > :01:02.done with my daughter? And Ryan Reynolds takes on Denzel Washington
:01:02. > :01:08.in CIA thriller Safe House. You're responsible for your houseguests. I
:01:09. > :01:14.am your houseguest. First tonight, Extremely Loud and
:01:14. > :01:19.Incredibly Close, a post 9/11 drama based on the novel, starring Tom
:01:19. > :01:28.Hanks and Sandra Bullock. Hi. You have reached the Schell residence.
:01:28. > :01:33.Today is Tuesday, September 11th. My dad said the way I saw the world
:01:33. > :01:37.was a gift, that I was different than everyone else. A great game we
:01:37. > :01:41.played was reconnaissance expedition. He told me to bring
:01:41. > :01:44.back something from every decade in the 20th century. I found something
:01:44. > :01:50.from every decade. Already? LAUGHTER
:01:50. > :01:54.You rock. Listen. I am going to be home in 20
:01:55. > :02:03.minutes. No, you listen to me. I am going to be OK.
:02:03. > :02:07.They're trying to save themselves... I am on the 105th floor - TV:
:02:07. > :02:10.An American Airlines plane was hijacked. You listen to me and you
:02:10. > :02:16.come home. I am going to be fine. I'll come
:02:16. > :02:19.home in 20 minutes. Please just stay talking to me. The only anchor
:02:19. > :02:23.that this young boy had in his life was his family and most
:02:23. > :02:26.specifically his father. He finds this key that is at the mysterious
:02:26. > :02:31.bottom of a vase, and he's convinced it means something
:02:31. > :02:35.because this was the way of living his father had with him. The search
:02:35. > :02:39.for the sixth borough was the greatest expedition ever. There was
:02:39. > :02:43.always treasures to be found. There was always a trail to pursue. He
:02:43. > :02:47.just thinks this is an ongoing version of that. He must have
:02:47. > :02:50.wanted me to find something. clues. I think it's a way for the
:02:50. > :02:54.child to feel close to his father to go on this sort of huge
:02:54. > :02:59.undertaking that he does as a way of keeping him close, and in the
:02:59. > :03:06.course of keeping him close finds a way of actually living without him.
:03:06. > :03:13.He was in the building in 9/11. I'm trying to find a lock for this key
:03:13. > :03:17.that was in the envelope that once belonged to my father. I'm - I'm
:03:17. > :03:22.sorry. I don't know about the key or your father.
:03:22. > :03:25.It's never going to make sense because it doesn't! I think there
:03:25. > :03:30.is a tremendous amount of responsibility to New Yorkers to
:03:30. > :03:33.the people who lost family members and loved ones. It's a huge, huge
:03:34. > :03:37.responsibility that we needed every day to look at and pay respect to
:03:37. > :03:42.and be thoughtful enough, but not be afraid of talking about. What do
:03:42. > :03:46.you miss about him? I miss his voice telling me he loves me.
:03:46. > :03:51.told me, "I really love your mother. You're such a good girl." It is a
:03:51. > :03:54.gim about 9/11. I think that people will have to make their own choice
:03:54. > :03:59.about whether the time is right to listen to these stories for them.
:03:59. > :04:01.It was for me. Do you think we'll find the lock? I'm not so sure
:04:01. > :04:06.either. Dad said sometimes we have to face
:04:06. > :04:11.our fears. Danny, what did you think of the
:04:11. > :04:14.film? Well, hate is a strong word, an ugly emotion, but sometimes I
:04:14. > :04:20.think it's the only word that does the job. I will say I think there
:04:20. > :04:23.is any number of fine performances in this movie, probably the finest
:04:23. > :04:29.among them is Maximilian Von Heune. He doesn't say a word and walks
:04:29. > :04:32.away with the film. It's such a blessing in contrast to Oscar, the
:04:32. > :04:39.gratingly precocious young boy at the heart of the movie. I had a
:04:39. > :04:44.strange experience - when he comes on and he's this hyperbole bag of
:04:44. > :04:50.nerves - I think this is awful - he's a prepubescent type of me.
:04:50. > :04:58.It's awful in a way because he spends half the film not being able
:04:58. > :05:02.to speak to strangers, then the other half doing the opposite. You
:05:02. > :05:10.can't throttle him with your own hands. On the very rare occasion
:05:10. > :05:14.when he shuts up on screen, he's narrating the film on voice-over.
:05:14. > :05:19.It confirms my suspicion that Stephen Daldry wants to direct
:05:19. > :05:23.audio books. I think it has no soul, the film has no soul and I think I
:05:23. > :05:29.should stand up and boo frankly. Don't do that. Lots of critics have
:05:29. > :05:32.given this a kicking. Surprising. Even though it's nominated at the
:05:32. > :05:37.Oscars. People feel differently about it. Watching clips there, I
:05:37. > :05:41.know you're going to hate me for this - I felt totally caught up in
:05:41. > :05:45.it. I haven't read the book, and for me - and I know this sounds odd
:05:45. > :05:50.- it wasn't really a film about 9/11. It was a film about a child
:05:50. > :05:53.who loses, if you like, his favourite parent - not - favourite
:05:53. > :05:57.is the wrong word, but the parent he's closest to, and there is not a
:05:57. > :06:02.lot of Sandra Bullock, but when there is - and there is one scene -
:06:02. > :06:07.I can cry about it now - I mean, I apologise, it's incredibly moving,
:06:07. > :06:14.so I was caught up. I love Davis. I loved the way that New York is shot.
:06:14. > :06:16.I thought it was a different film from you. The way New York looks is
:06:16. > :06:20.incredibly. It looks cute and beautiful, and you know, winsome.
:06:20. > :06:25.That's all fine. I don't mind the fact it's mannically sentimental
:06:25. > :06:29.this movie. It really is, though. There are elderly dairy cows in
:06:29. > :06:32.Somerset who haven't been milked so aggressively as Stephen Baldwin. I
:06:32. > :06:37.am going to disagree with you about 9/11. Actually, I take your point,
:06:37. > :06:40.but it is a gim about 9/11 because if it wasn't, there wouldn't be
:06:40. > :06:45.constant references in the script. You wouldn't have Sandra Bullock
:06:45. > :06:50.staring out at the Twin Towers. In the midst of all of this kookry,
:06:50. > :06:53.that's raw lump, and I think if you're going to play that card, you
:06:53. > :06:56.have to have something genuine and heartfelt at the end of it. I don't
:06:56. > :07:02.think this movie does. Without that it's just buttons being pushed very
:07:02. > :07:09.cheaply. The movie Human Centipede Two was ban at the end of last year.
:07:09. > :07:12.One of the reasons for that is this director got a budge of characters
:07:12. > :07:16.together that were horrible to get a rise out of the audience. What
:07:16. > :07:21.Stephen Daldry has done is made that movie of high-end tasteful
:07:21. > :07:24.human drama. OK. What a comparison. No. I - you would not recommend it?
:07:24. > :07:28.Listen. What I would say - no, I wouldn't recommend it. I would
:07:28. > :07:32.recommend The Human Centipede Two to be honest. I think Stephen
:07:32. > :07:36.Daldry is lots of ways an incredible film-maker. He has a
:07:36. > :07:39.very good touch with actors. I just don't think what he's doing - I
:07:39. > :07:42.don't know. I think there are sometimes worse things than being
:07:42. > :07:47.badly made. I think this film is an example of one of those worse
:07:48. > :07:53.things, I am afraid to say. Good. Next... Move on. Safe House
:07:53. > :07:58.starring Denzel Washington and Ryan Reynolds.
:07:58. > :08:06.He was one of the most brilliant CIA operatives we ever had - until
:08:06. > :08:12.he went rogue. Safe House is a classic CIA story to begin with.
:08:12. > :08:20.But further down, you slowly realise that every door you open up,
:08:20. > :08:25.there's a different outlook. heard a slot open up. One slot, 37
:08:25. > :08:27.applicants, every one with more experience than you. How am I
:08:27. > :08:32.supposed get more experience staring at four walls every day.
:08:32. > :08:35.There is a guy who starts out seeking truth in everything, and
:08:35. > :08:41.everything has its moral order. have a last-minute reservation.
:08:41. > :08:46.Denzel Washington's character is the polar opposite. He's the
:08:46. > :08:50.sociopathic ex-CIA agent that is sort after Hannibal Lechter. Oh, my
:08:50. > :08:59.God. That's Albert Frost. It's an interesting story of this more
:08:59. > :09:04.cynical man - killer - and this young, innocent, like, student.
:09:04. > :09:08.It's OK. I remember my first posting - Rio De Janeiro. I was
:09:08. > :09:14.like this - not one single visitor, but I remember rule number one -
:09:14. > :09:21.you're responsible for your houseguests. I am your houseguest.
:09:21. > :09:26.The clock is ticking. They gave you the keys. What do you do this time?
:09:26. > :09:28.Shut up. You want to be the guy that lost Tobin Frost? Three, two,
:09:28. > :09:32.one, go. SOUND OF GUNFIRE
:09:32. > :09:35.I don't like to do violence just because of violence. I want to do
:09:35. > :09:43.violence because it pushes the character in a certain direction.
:09:43. > :09:48.Action! In the trunk! I don't think we get in the card immediately -
:09:48. > :09:54."Just drive fast! This is action!" Get in the car! There isn't a lot
:09:54. > :10:00.of that pretty Hollywood fighting, He fights to be really dirty...
:10:00. > :10:03.It's kind of gross and ugly - two men trying to kill each other, and
:10:03. > :10:08.both happen to be terrified. using whatever was at hand...
:10:08. > :10:13.Biting each other, kicking each other, trying to breaknecks - you
:10:13. > :10:17.know, comedy. LAUGHTER
:10:17. > :10:22.The Safe House has been compromised. It's under protocol. Protocol?
:10:22. > :10:27.There is no protocol for this! Ryan's character understands there
:10:27. > :10:31.is nobody he can trust. Who is after us and why? You have to
:10:31. > :10:37.consider why your safe house was under attack in the first place.
:10:37. > :10:40.That was safe location. And people who we thought were completely
:10:40. > :10:45.legit might have another face. Somebody already knew. You're not
:10:45. > :10:50.going to get in my head. I already am. It's a weird thing to mention
:10:50. > :10:56.but I have to - Ryan Reynolds - I can't get those Marks & Spencers
:10:56. > :11:03.ads out of my head. Fatal. Occasionally he goes like this - I
:11:03. > :11:06.think, shirt, �22... Where's Blue Harbour. There he is wearing a nice
:11:06. > :11:09.tie - especially the end shot - just put that out there! I have a
:11:09. > :11:15.soft spot for Denzel Washington. You might remember I was the only
:11:15. > :11:19.person who loved Unstoppable. I loved him in this. I loved the
:11:19. > :11:23.character of Tobin Frost. I could watch that a lot. This film is
:11:23. > :11:28.quite weird in the fact that it's interesting to know the
:11:28. > :11:33.cinematographer is the same guy who did Bourne. It's fast and exciting
:11:33. > :11:38.but a bit Bourne-light. It has - I counted them - nine endings, so
:11:38. > :11:41.when you go on a Friday night - I fully recommend it for a Friday
:11:41. > :11:45.night thriller or an action film, you'll go and see an end and get up
:11:45. > :11:49.and go - not bad. Don't do that. Stay in your seat because that's
:11:49. > :11:54.going to happen to you eight times. What did you think? As an action
:11:54. > :11:57.film it does exactly what it set out to do. You judge it by its
:11:57. > :12:00.action sequences. They're full of energy. You're right to talk about
:12:00. > :12:05.the Bourne comparison. It's the same cinematographer that did that.
:12:05. > :12:10.Everything here is kind of bleached out and ugly and grainy and has
:12:10. > :12:14.that incredible particular kind of hand held camera work you only get
:12:14. > :12:19.with incredibly experienced cameramen using very high-end
:12:19. > :12:23.cameras shaking them about, juggling and prezing the zoom
:12:23. > :12:30.button. The editing is the most insane thing I have seen in my life.
:12:30. > :12:35.You have 15 different things going on in a nanosecond so your eyes
:12:35. > :12:39.feel like they're going into a spasm. There is a man running for a
:12:39. > :12:46.bus, but for two hours. It's arduous and I would go as far as to
:12:46. > :12:51.say knackering. It's almost a new level of immersiveness in an action
:12:51. > :12:54.movie that you feel exhausted through. You feel like Denzel
:12:54. > :13:00.Washington has been stamping on your head the whole time. That's a
:13:00. > :13:06.sort of recommendation of sorts. You get a veer from - Vera
:13:06. > :13:10.Farmiga... Sam Sheppard and others drop in and out. I keep wondering
:13:10. > :13:13.what's happening to them while everything is going on - some sort
:13:13. > :13:16.of naked theatre? LAUGHTER
:13:16. > :13:19.You're right about Denzel Washington - it's hard role for him
:13:19. > :13:24.to play Tobin Frost. We have seen him play this before. It's a
:13:24. > :13:34.training type - he does it well. It's worth noting he's the producer.
:13:34. > :13:40.There is not one but two occasion in the script that there are random
:13:40. > :13:43.references to how well preserved he is, like Dorien Grey. The Ryan
:13:43. > :13:47.Reynolds part is harder to play. If you're playing a rookie, that's
:13:47. > :13:53.fine, but this character doesn't know which end of a gun to hold.
:13:53. > :13:56.Why are you in control of the safe house if you're such a scaredy cat?
:13:56. > :14:02.You see Denzel Washington going, I am going to get inside your head,
:14:02. > :14:07.and you're going, yeah, it's going to be pretty roomy! Make a weekend
:14:07. > :14:12.of it. So I would recommend it with reservation on a Friday night - in
:14:12. > :14:18.a roomy cinema. Now time for Top Five. Now it's time for Catherine
:14:18. > :14:23.Linklater's top chat-up lines. In real life everybody it has chat-
:14:23. > :14:27.up lines, but in this Top Five, they work like a charm - well,
:14:27. > :14:34.sometimes. At number five, Anchorman - for a real way with
:14:34. > :14:40.words, look no further than Steve Carel's Brick Tamland. Excuse me.
:14:40. > :14:47.Yes, what is it? I would like to extend to you an invitation to the
:14:47. > :14:52.Pants Party. Excuse me? The party - the - with the pants? The party
:14:52. > :14:56.with pants? Rick, are you saying there is a party in your pants and
:14:56. > :14:59.that I am invited? That's it. you're trying to laugh your lover
:14:59. > :15:04.into bed, you could certainly do a lot worse. OK. No, I don't want to
:15:04. > :15:08.go to a party in your pants. Very well.
:15:08. > :15:12.At number four, American Psycho - if you haven't got wit and wisdom
:15:12. > :15:19.on your side, why not dazzle your date with dialogue displaying your
:15:19. > :15:24.knowledge of fine dining, wines and culture. A truffle?
:15:24. > :15:31.I don't want you to get drunk, but that's a very fine chardonnay
:15:31. > :15:36.you're not drinking. # You know I love you but
:15:36. > :15:42.# I just no can't take this - # Do you like Phil Collins? I have
:15:42. > :15:47.been a big Genesis fan ever since the release of their 1980 album.
:15:47. > :15:54.if music be the food of love, get some Phil Collins on your stereo.
:15:54. > :15:58.At number three, American In Paris. In this golden era MGM musical,
:15:58. > :16:01.Gene Kelly delivers a killer line with slightly more literary
:16:01. > :16:04.associations as he tries to pick up the extraordinarily beautiful
:16:04. > :16:09.Leslie Carone. I don't like to talk about myself. Oh, you're going to
:16:09. > :16:13.have to get over that. Why? Well, with a body like you've got, people
:16:13. > :16:17.are going to want to know what's in the book. What does that mean?
:16:18. > :16:24.primarily it means that you're a very pretty girl. I am? Yes, you
:16:24. > :16:28.are. Kelly might not have been the handsomest star ever to grace the
:16:28. > :16:32.silver screen, but frankly, with lines like that and his legendary
:16:32. > :16:36.dancing skills, who needs handsome? At number two, American Pie.
:16:36. > :16:40.where's your date tonight? Chat-up lines in teen movies usually
:16:40. > :16:44.consist of horny boys trying to get it on with girls theirs own age
:16:44. > :16:50.with often limited success, but in this scene, the mother takes a leaf
:16:50. > :16:59.out of Mrs Robinson's book. I got some scotch. Single malt? Aged 18
:16:59. > :17:05.years, the way I like it. And at number one, The Big Sleep,
:17:05. > :17:09.in Ethan Hawke's 1946 classic in a sizzling hot conversation that sees
:17:09. > :17:14.Humphrey Bogart become perhaps the first man in history to get away
:17:14. > :17:18.with comparing no less a woman like Lauren Bacall to a horse.
:17:18. > :17:23.suggestions? I can't tell until I have seen you over a distance of
:17:23. > :17:27.ground. You've got a touch of class, but I don't know how far you can go.
:17:27. > :17:33.A lot depends on who is in the saddle. Go ahead. I like the way
:17:33. > :17:38.you work. In case you don't know it, you're doing all right. There is
:17:38. > :17:44.one thing I can't figure out... What makes me run? Uh-huh. I'll
:17:44. > :17:47.give you a hint. Sugar won't work. The lesson here is try walking up
:17:47. > :17:55.to a hotty in a bar and try to recognise them from the Grand
:17:55. > :17:58.National. Let us know how you get We have had a gazillion Tweets, my
:17:58. > :18:05.favourite, Stephen "I am your density - I mean your destiny -"
:18:05. > :18:12.Back to the Future. Of course. "You never close your eyes anymore when
:18:12. > :18:19.I kiss your lips" even though it was sung.
:18:19. > :18:25.Romantic. Next, Red Dog based on a novel, the story of one dog and the
:18:25. > :18:35.lives he touches. Why would anyone live in a town built out here?
:18:35. > :18:44.
:18:44. > :18:49.know - money. What's that? What's The film is about this dog, really,
:18:49. > :18:54.that brought together a community. He was like that - a dog - for
:18:54. > :18:57.everyone. Come here, boy. It's about the birth of a community and
:18:57. > :19:03.about belonging somewhere, belonging to someone, even if that
:19:03. > :19:12.someone happens to be a dog. Yes, for everyone, but no-one in
:19:12. > :19:16.particular. I play Nancy Grey, who is a young woman who moves there
:19:16. > :19:26.kind of as an adventure, and she falls deeply, deeply in love not
:19:26. > :19:29.
:19:29. > :19:34.just with Josh's character John, Red stock is a bit rough around the
:19:34. > :19:40.edges, he is a knotty dog, he pushes me off the seat and he barks
:19:40. > :19:50.at me, but in the story we all fall in love with him. Stop that and be
:19:50. > :20:00.
:20:00. > :20:10.The same about Red Dog is he had the ability to find the party
:20:10. > :20:16.
:20:16. > :20:24.wherever it was, whether it was 300 John is the same guy. He will go
:20:24. > :20:29.wherever things are happening and wherever things are going on.
:20:29. > :20:35.a big fan of Louis de Bernieres' work and when I heard he travelled
:20:35. > :20:41.to Australia and wrote a story based on this region, I decided
:20:42. > :20:51.they could not be a butter -- better opportunity to do a film.
:20:52. > :20:58.
:20:58. > :21:05.The crew and cast is like a All the sad faces in the world will
:21:05. > :21:11.not work, so you can stop. That is the truth. A last thing you want to
:21:11. > :21:17.do doing an Australian film is to grab that cultural stereotypes. Red
:21:17. > :21:22.stop pretty much does that for you. It is set in the 70s in the outback
:21:22. > :21:26.and is entirely populated by men with moustaches who spend their
:21:26. > :21:31.time drinking beer and they follow in love with a dog and it is
:21:31. > :21:37.essentially the story. It is incredibly simple. It is sweet-
:21:37. > :21:42.natured, it is filled with nostalgia. It is someone else's
:21:42. > :21:48.nostalgia. Australia's nostalgia, so I do not know what it will mean
:21:48. > :21:54.for a British audience. In Australia it has been a vast hit.
:21:54. > :22:00.Box office records smashed, it comes recommended by the whole of
:22:00. > :22:06.Australia. Does that at any ice for you? It is not our story, so I feel
:22:06. > :22:13.like I do not own it, I am just watching it. The so many people
:22:13. > :22:18.said, wait until you see that one. I do not know what to say. It is
:22:18. > :22:23.strange in it starts with a boy driving a truck who goes into a bar
:22:23. > :22:31.and strings a beer. And somebody says let me tell you the story
:22:31. > :22:40.about a red stock. Two hours later he is going, OK. Did you ever see
:22:40. > :22:46.the smelly cat? It rings a bell. is not dissimilar. There is a lot
:22:46. > :22:52.of, red stop, he wanders off and he looks a bit lost antique touches
:22:52. > :23:00.everybody's lives. I do not know what to say. I really like the dog.
:23:00. > :23:06.It is a very unique spell in cinema history for dogged performances. I
:23:06. > :23:11.would not say he is top dog, but he is up there. He is soulful without
:23:11. > :23:15.being too hard. There is a section when the dog goes off and spend
:23:15. > :23:23.some time in the outback on his own. There is something quite pure and
:23:23. > :23:33.sweet about it. You go back to the macho but -- guys, talking about,
:23:33. > :23:34.
:23:34. > :23:39.he was looking for a jaunt. But is quite weird. Next, Cabaret, which
:23:39. > :23:49.was originally released 40 years ago. We look back at its enduring
:23:49. > :23:52.
:23:52. > :23:56.legacy. Bienvenue, welcome. Bob Fosse's Cabaret 40 years old and I
:23:56. > :24:02.think the great movie musical. It is set in a down at heel nightclub
:24:02. > :24:06.in Berlin just before the Second World War for of job pouts and
:24:06. > :24:12.transvestites with nicotine-stained teeth and they sing about Nazis and
:24:13. > :24:18.gossip about syphilis. # She was not what you would call a flashing
:24:18. > :24:22.flour, as a matter of fact she was rented by the hour...
:24:22. > :24:32.It won eight Oscars and made pots of money and people have sex ever
:24:32. > :24:37.since it was the last, great film musical. # Come to the Cabaret. #.
:24:37. > :24:42.I think he learnt a great deal by the failure of Sweet Charity. It
:24:42. > :24:52.almost bankrupted Universal Studios. Three years later he is making
:24:52. > :24:53.
:24:53. > :24:58.cabarets. He knows what does not work on screen. The last big Nazi
:24:58. > :25:03.musical was the sound of music and it felt right in the 1970s to be
:25:03. > :25:08.dealing with a musical that was tackling such big issues like
:25:08. > :25:13.bisexuality, abortion, cross- dressing. By the time Cabaret came
:25:13. > :25:23.along we were in the world of Easy Rider, grown-up cinema had finally
:25:23. > :25:24.
:25:24. > :25:29.arrived. # Money makes the world go round, the world go round... In the
:25:29. > :25:34.opening number there is the ambition and the way he restrains
:25:34. > :25:40.himself. This is one of the great choreographers of all time in this
:25:40. > :25:46.claustrophobic club. You can feel this energy bursting. Three-
:25:46. > :25:51.quarters of the way down there is a massive wide shot. The lights come
:25:51. > :26:01.up and there are high kicks. It says, I'm really know what I am
:26:01. > :26:06.
:26:06. > :26:13.doing. Then it is back to the Cabaret it turned the conventions
:26:13. > :26:19.of movie musicals inside out. There are no performers % into song on
:26:19. > :26:27.the side of a mountain or on the back of a cart. Most of the songs
:26:27. > :26:33.take place on stage in a nightclub. No pretence, no false reality.
:26:33. > :26:39.big trick is in fact the movie is not a musical, in fact the songs
:26:39. > :26:46.are done because she is a sinner in a club. They burst into song for a
:26:46. > :26:53.reason. When is a musical not a musical? When it is Cabaret.
:26:53. > :26:58.some time afterwards Cabaret made musicals for spectacle. --
:26:59. > :27:04.respectable. What is different about it as is the songs are about
:27:04. > :27:14.sex, not about love. That is what movies used to trade in all the
:27:14. > :27:16.
:27:16. > :27:22.time. I think this really is the last great hurry of the musical.
:27:22. > :27:28.Nothing much happens for almost 30 years. You get Greece, a big box-
:27:28. > :27:33.office success, and it is not until Chicago wins best picture in 2002
:27:34. > :27:37.that anyone thinks about musicals. It opened the floodgates for
:27:37. > :27:47.forcing movie-makers to think about the many ways music could be
:27:47. > :27:48.
:27:48. > :27:55.brought into films. Looking at as low a man as Milan Rouge, it is
:27:55. > :28:05.obvious there is a man who loves Cabaret. I wish they had taken the
:28:05. > :28:12.lessons about how to structure for an adult audience and a new world.
:28:12. > :28:17.If you do not learn a few lessons from Cabaret, you would be insane.
:28:17. > :28:24.Your movie would be doomed to disaster. In some ways, the songs
:28:24. > :28:28.are the most traditional songs in the world. There is Liza Minnelli
:28:28. > :28:33.dreaming of large, well everybody from Jeanette MacDonald through to
:28:34. > :28:40.Judy Garland has been doing that. If you watch a star is born and you
:28:40. > :28:50.see her singing of the man has got away, it is absolutely part of a
:28:50. > :28:51.
:28:51. > :28:59.genre. It is a complete staple. # But fools will be fulls, and where
:28:59. > :29:05.has he gone to? What those songs enable performers and directors to
:29:05. > :29:10.do is to reach deep into the soul of that character. So the camera
:29:10. > :29:16.just sits on their face and allows you to experience everything they
:29:16. > :29:21.are expressing. It is cinema at its most direct. But the thing I love
:29:21. > :29:25.the most, Liza Minnelli as Sally Bowles in a cheap buyers hoping
:29:26. > :29:35.this time she will be lucky when deep inside she knows she is a
:29:36. > :29:39.
:29:39. > :29:49.loser, singing to a room at full of smoke and a drunk guy in a dress. #
:29:49. > :29:49.
:29:49. > :29:54.Maybe this time I will win... #. Next, as a Woman In The Fifth, a
:29:54. > :29:59.psychological thriller directed by Pawel Pawlikowski. Its stars Ethan
:29:59. > :30:03.Hawke and Kristin Scott Thomas. am half Romanian and half-French,
:30:03. > :30:10.but I have lived everywhere. I was sent to a boarding school in
:30:10. > :30:20.England and a Murray -- I married an Englishman. I am a confused
:30:20. > :30:22.
:30:22. > :30:32.mongrel. How many languages do you speak? Six or seven. I pick them up
:30:32. > :30:33.
:30:33. > :30:42.along the way. Have you been to Minnesota? No. I have not been
:30:42. > :30:46.anywhere for ages. Why is that? Because I like to travel in style
:30:46. > :30:56.and the trouble with being a translator is I cannot afford it.
:30:56. > :31:08.
:31:08. > :31:18.Is your husband here? No. He is not It is terribly atmospheric. When we
:31:18. > :31:21.were watching that we were like.... The director made summer of love. I
:31:21. > :31:27.always love Kristin Scott Thomas, without doubt, especially when she
:31:27. > :31:33.is quite haughty and bilingual. Ethan Hawke's was good as well. I
:31:33. > :31:39.found it interesting, but a little too slight for me. I wanted a bit
:31:39. > :31:45.more. There are many different path to go down, but I do not want to be
:31:45. > :31:50.against it. I am going to echo welcome back for Pawel Pawlikowski.
:31:50. > :31:57.The films he made earlier in his career were fantastic. It is a
:31:57. > :32:00.proper, old school, art movie. It is understated and ambiguous. I can
:32:00. > :32:05.hear some people at home for picking their ears up and other
:32:05. > :32:11.people breaking out in a rash. You have this washed-up writer who
:32:11. > :32:16.wants to get back together with his estranged family. He ends up in a
:32:16. > :32:21.seedy boarding-house. There is a menacing neighbour next door. He
:32:21. > :32:26.has got a strange job as a nightwatchman. It should be a
:32:26. > :32:31.thriller, but it does not do what you expect it to do. Some people
:32:31. > :32:38.will find it frustrating. It is all about how much you enjoy the ride
:32:38. > :32:43.of mystery and suspense. I found it fun. Paris does not look like Paris.
:32:43. > :32:46.It is like the evil twin of Midnight in Paris. An American
:32:46. > :32:53.writer trying to produce a masterpiece just like his, but
:32:53. > :33:00.things take a much more sinister turn. If you think about last
:33:00. > :33:06.resort, it was Pawel Pawlikowski's last film. He makes the centre of
:33:06. > :33:14.Paris look like an out-of-season market. It is quite a feat. More or
:33:14. > :33:23.less recommended. What is your film of the week? Woman In The Fifth.
:33:23. > :33:27.What Hebert you? Can I pick The Big Sleep? The Woman In The Fifth is on
:33:28. > :33:36.nationwide release on Friday the 17th. The question of the week
:33:36. > :33:46.comes from but after red carpet. There is flash photography. -- that
:33:46. > :33:49.
:33:49. > :33:58.after a red carpet. On any given day I'd changed. It goes that right
:33:58. > :34:05.now somebody told me about a silent movie called City, A girl. It is a
:34:05. > :34:15.beautiful story. It is a love story. It is it done in the simplest way
:34:15. > :34:21.
:34:21. > :34:31.Everybody knows Sunrise and it is supposed to be his masterpiece, but
:34:31. > :34:36.
:34:36. > :34:41.City Girl is better. Raging Bull is the one for me. Every part of that
:34:41. > :34:47.film, every element, the cinematographer, the sound, the
:34:47. > :34:53.performances, the script, is at top level. It is not an easy film to
:34:53. > :35:02.watch, but for me it is one of the best ones ever made. A you never
:35:02. > :35:08.got me down. Network is my favourite film of all time.
:35:08. > :35:16.God's name, you people are the real thing, we are the illusion. Turn
:35:16. > :35:26.off your television sets. Turn them off right now and leave them off.
:35:26. > :35:36.
:35:36. > :35:44.Everything he wrote about came true, which I love. It was in 1976, taxi
:35:44. > :35:51.driver, all the President's men, that was a good year. The last one
:35:51. > :35:57.in a theatre? The last one I tried was a film with's people who are
:35:57. > :36:02.here tonight. The end of that film when he starts reciting the perm
:36:03. > :36:11.kills me. We ended You Last See Your Father? Was it when they
:36:11. > :36:19.opened the coffin? Put the lid on it? When he had his last breath?
:36:19. > :36:28.When he sat up and said something? When he last recognised you? When
:36:28. > :36:38.he last smiled? What about you? Warhorse. I cried at warhorse. I
:36:38. > :36:47.
:36:47. > :36:53.cry at a lot of movies. I am Amy That is my favourite. It is silly
:36:53. > :37:00.enough that it makes me laugh, but there is enough weird grounding in
:37:00. > :37:06.the characters. Sir Lancelot, Sir Galahad, and Sir Robin, the not
:37:06. > :37:13.quite so brave as Sir Lancelot. He nearly stood up to the British
:37:13. > :37:23.chicken of Bristol. Romantic comedies. A lot of Woody Allen
:37:23. > :37:29.
:37:29. > :37:37.movies. Everyone says I Love You. Musicals, Gene Kelly. # A Broadway
:37:37. > :37:41.Melody. #. I am going on a bit. That is all for tonight. Next week
:37:41. > :37:46.we will be reviewing Black Gold, The Best Exotic Marigold Hotel and