Episode 12 Film 2013

Episode 12

Film reviews. Claudia Winkleman and Danny Leigh review Saving Mr Banks, with Emma Thompson as Mary Poppins author PL Travers and Tom Hanks as Walt Disney, and horror remake Carrie.

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Hello and welcome to Film 2013. We're live and if you want to get in


touch, the details are on the screen now. Coming up on tonight's show:


Practically perfect in every way - Emma Thompson and Tom Hanks are


Saving Mr Banks. Mary Poppins, never ever just Mary.


There will be blood - Julianne Moore and Chloe Moretz star in the remake


of Carrie. The other kids think I'm weird. I want to be normal. If I


concentrate hard enough, I can make things move.


And the young and the beautiful - Francois Ozon brings us Jeune et


Jolie. Danny is here and we're joined by


guest critic, Peter Bradshaw. First up, Saving Mr Banks, which


tells the story of the backstage battle for creative control between


Walt Disney and Mary Poppins' author, PL Travers, during the


adaptation of her novel to the big screen. Winds in the east, mist


coming in, like something is brewing about to begin. Ladies and


gentlemen, we are beginning our descent into Los Angeles. I was


astonished to discover that the journey of Mary Poppins to the


screen had been not only so long, but so fraught. Well, you can't


imagine how excited I am to meet you. My name is Mrs Travers.


She thought he was a money-making mogul. She was! She was, in fact. 20


years ago, I made a promise that I would make your Mary Poppins fly off


the pages of your books. I promised them. I know what he is going to do


to her. She will be cavorting. You can't make the film unless you grant


him the rights. # Root beer for everyone... #


No, no, that is not a word! We made it up. Well, unmake it up.


She enjoyed the feeling of having this very powerful man at her feet


and yet she also rejected everything about him. Stop! Mary Poppins is not


for sale. I want have her turned into one of your silly cartoons. You


think Mary Poppins has come to save the children? Oh dear. It is about


the two weeks that she was in Los Angeles and it brings up memories of


her childhood in 1906 Australia. Mary Poppins and the Banks family,


they are a family to me. I play Robert Goff Travers. It was a


chapter that she closed. I think it was too painful for her. New job,


new town, new life. Come on, my little ducklings. He encourages her


skill and her talent and he is an alcoholic and she felt a form of


abandonment. That is probably in her mind before she ended up meeting


Disney. She has never really dealt with the truth and Walt Disney pulls


that out of her throughout the course of the movie. It is not the


children that she comes to save, it is their father. It is your father.


You don't know what she means to me. I won't disappoint you. Don't you


want to finish the story? I sobbed at the film. Watching that,


I could go again! Danny? This is a big, broad, family kind of movie. It


is made with this industrial ladle-full of sugar. You won't find


a scene where Uncle Walt is there. For what it is, as a family movie,


it works. Totally. You? I love Tom Hanks and Emma Thompson. I love


their huge turns that they do, the massive acting face-off. I love it.


It is like Chuck Norris and Bruce Lee! My goodness, when ever there is


a cutback to the Australian scene, I thought it dies a death. It was very


boring, that whole backstory was dull. Colin Farrell was awful in it.


His voice is awful. Is that because the '60s, I loved it when they were


in the room... Exactly. That was so good. In the lot, in the rehearsal


room, I love it. This mini Disney movie they have created, which is


suspect in all sorts of ways, it is fantastically inert and very


unrewarding. As a Disney movie about Disney movies, it is revealing. Yes.


PL Travers is a tyrant - so is Disney in this movie. He is a man


who is determined to make the world feel better, whether they want to


feel better or not. Actually, if you want the kind of dark strange


undercurrents, you look at them and they are there because the Disney


headquarters is this place where the writers exist in this weird,


infantile paradise where they are force fed with jelly beans and


trifle. I wanted to live there! Why don't we all do that? It would be


much better if they had more of Walt Disney as a genius. He invented the


theme park. He was this extraordinary man. If anything, what


was great and undemanding about Tom Hanks' performance is he looks like


Ronald Reagan with his presidential suite and it would be great to see


him and Emma play Ronald Reagan and Margaret Thatcher - that would be


fantastic. It is identifies the real drama and the real excitement


happens a year before anyone shouts, "Action!" Yes. I think I will speak


up for the script. The script, which is written by a British writer,


called Kelly Marcel, is very good. I love Gravity. Gravity is not a film


where anyone will say, "My favourite thing about Gravity is the script."


Yes. It is easy to forget what high-quality script writing can


achieve. It is very well carpented. I'm not sure how - it is not


shallow, the film, but it is undemanding in a good way. There is


a gunge tank of sentimentality... You don't get the gunge on your


head! I hate happy people. I like Saving Mr Banks. OK. Yes, highly


recommended. If you go, stay for the end of the credits. It is a joy.


Next, Julianne Moore and Chloe Grace Moretz team up to give the classic


Stephen King/Brian De Palma horror movie Carrie a modern makeover. I'll


pick you up after school. What's wrong? The other kids think I'm


weird. I want to be normal. Wipe that smile off your face. I have to


be a normal person, before it is too late.


It is a story about being an outcast and what that's like and then being


given supernatural powers. If I concentrate hard enough, I can make


things move. The role of Carrie is a very


emotional role. It is the most vulnerable I have ever been as an


actor. No, get off me!


Margaret is trying to be the best parent and she doesn't know how to


be. She is so paranoid and so terrified of what might happen to


her daughter, she wants to keep her in the house, keep her safe, keep


her a child. You pray for forgiveness. There is this


heightened reality of the mother and daughter struggle that you have as a


young adult. I wasn't sure why you might or might not remake this


movie. I got a hold of the book and read it. I was captivated. I saw


there was a chance to do it differently.


Carrie White! Favourite movie. Bloodsport! LAUGHTER If you don't


have a date already, maybe you want to go with me? Momm a, I have been


asked to prom. They are all going to laugh at you. Stop it. Her powers


come out in times of excess emotion. And you have Carrie going to the


prom and we are all watching thinking, "Don't go to the prom."


She goes against her attackers and there is a phenomenal climax to the


movie. Your King and Queen are... Carrie! Peter? Well, yes, it is like


the first film, but not as good. That is the kind of - that is the


twist they have put on it. Surprise! It's quite efficient. It is not a


disaster. It is technically interesting. My problem is that


Chloe Grace Moretz looks too tough, she looks like Miley Cyrus. She


shouldn't be playing Carrie because she doesn't look delicate enough. I


thought she was vulnerable. To mention the fact that there was the


brilliant original. I think if you are a gang of 15 or 16-year-old


girls, or boys, you would be fine with this, you won't have seen the


original? That is true. It is interesting to watch the story


again. I have always been interested in Carrie because it is unique in


that it shows a woman doing the scary stuff, which is so unusual it


almost means it doesn't qualify as a horror film at all. I know what you


mean. I just think - I wonder if 15-year-olds, if you showed them the


original, they might not have a nervous breakdown... I don't know. I


think they would be baffled and confused and think it was terribly


slow. Once you start... That is true. No, I don't think this is a


film made for people of a certain age. I think it can't help but


suffer by comparison with the original. It's not just the presence


of Chloe Grace Moretz, it is the lack of Sissy Spacek. Sissy Spacek


was Carrie. Yes. She had that other quality that meant she was an


outcast at school and she had these incredibly destructive powers. Chloe


Grace Moretz - it becomes a different film. For her to play an


outcast, you are right, she might as well be playing Gandhi. To remake


that Carrie with her is like remaking Jaws with a sea lion! It


doesn't work. That I would watch! LAUGHTER Boom! I'll give you 100


grand! It's something else, it deserves the adjectives which don't


end up on posters, which is sturdy and respectable and that's what it


is. It's a much more streamlined kind of modern teen horror movie.


That is the problem. It is ill at ease with its own modernity. What


they thought is, if we are making a modern Carrie, Carrie has to be


videoed by the bullies with their mobile phones and they have to be


uploaded to the web. Then they lose interest in that storyline entirely.


Think what's happened to this video. Has it gone viral? Is there a


Japanese Ring-style horror thing? That's it, we have now modernised


it, let's imitate the first one. There is quite a lot of which is


botched about that as well. This film was much more about a girl and


that is the impetus for the story. You have these weird moments like in


the average high school where she goes, the library is well stocked


with books and... Yes. She gets ten copies... There are these weird,


nervous moments where you can - the videoing makes perfect sense. You


are right, they lose interest. And what is interesting about the first


film is that it predicts our modern world of cyberbullying, and that is


all there in embryo form in the first movie, but for the second


movie to somehow not notice it or half notice it and lose interest in


it, is a shame. It has a funny relationship with the original. It


isn't quite so reliant on the big set pieces. There are two scenes in


particular with Carrie that we all particularly think of, and doesn't


just ate those. When you think of that scene in Carrie, it is handled


differently. There are brave decisions they have made, but I'm


not sure... It was brave to leave intact what was good about the first


film. We have to stop speaking, otherwise


I will get into trouble. Nicolas Winding Refn is one of cinema's most


unique talent. More recently, he has directed Only God Forgives, which


divided audiences this summer. Danny went to meet him.


Thank you for joining us today. When did you fall in love with film? I


think it was the other way around. I think films fell in love with me.


Only God Forgives was an insanely striking film visually. Had that


always been your plan, to make a film that jumped out of the screen?


I loved the process, the painting aspect of filming. I tried to


capture authenticity when I was younger, and I realised that you


can't. But I can make heightened reality, which is so much more fun.


And I can't paint because I'm colour blind, so I had to find another


mechanism, and the digital revolution has made that possible.


I want to talk a little bit about your first film, Pusher. What are


your memories of making it? The stories suggest that the set was a


little wild times. When you make your first movie, you


have to make it with a little bit of arrogance mixed with stupidity. I


guess I wanted to capture authenticity. All of the drugs had


to be real, and if they could shoot each other, that would also be


great. But at least they had to fight for real. All the stupidity


that you see when you are younger, you try to catch to that moment.


Your career in a relatively short time has been something of a


roller-coaster. There have been astonishing up is, and lows as well.


I was very lucky to experience extreme failure early on. It failed


miserably at the box office, and I ended up owing my bank $1 million.


So I had no money, and Miss Marple called, and I said, yes, please. I


didn't even read the script. I had never seen Miss Marple, or read an


Agatha Christie book. I remember being in the studio outside of


London, really depressed, doing a lot of soul-searching. That was when


I decided I had to do something different. And I did Bronson. It was


like going into therapy for me. Tell me about working with Tom Hardy on


that. I didn't want him. My original idea was Jason states. But I do


think that he is probably the greatest actor to come out of


England since Michael O'Kane. Right, that's enough! You are very much


associated with Ryan Gosling. Was it love at first sight for you? Yes, it


was. Ryan and I met at his restaurant. I had gotten ill coming


in, and they gave me all these American flu drugs, and they made me


high as a kite. I had to ask him to take me home. He said, what? It was


like a blind date gone wrong. We just wanted to get away from each


other. So we get in the car, and we're sitting there in silence, and


he turns on the radio, just to do anything, and it is soft rock.


Because I am Sohaib I start to sing to this song, I can't fight this


feeling any more. And then I start to cry. And I turned to him for the


first time, and I looked at him, and he is a beautiful man, and he was


lit very well with the light from the freeway. And I said, I got it!


We are going to make a movie about a man who drives around in his car at


night listening to pop music. And he thought for a second, and he said, I


mean. Drive was on many levels romantic


movie, but how tricky is it to marry Romance and some really hard-core


violence? You just have to read Grimm, fairy tales. I said it had to


be like that. So the ideal fairy tale, but also the metaphor. I want


to ask you about your relationship with female characters, because you


are someone who makes films for men about men, and yet you have this


drive to make films about women. Tell me about that. I always set out


to make films about women, and I always make them about violent men,


and I have to break that chain. So what is next? That is a good


question. It is important when you create that you do the opposite of


what you did before, otherwise where is the fun?


Now, Jeune et Jolie, an intimate study of a 17-year-old girl who


becomes a prostitute. Literally the most beautiful


creature, I think, on Earth. She is like a young Joanna Lumley, and I


can't go higher than that, I think. It is impeccably made and


beautifully composed, but as a film about the realities of being a


teenage girl, I would rather go with Carrie, and as a film about having


sex with men for money, I would go with pretty much anything else. The


film doesn't have anything to say about any of those things. It is


like one giant, ravishing, listless shrug. You are waiting for the


teenager to come out and explain herself, but there is no reason.


This is just an off form 50 old director. I'm not sure he is off


form. I think this is well did well directed, but it is very ridiculous.


It is pure David Hamilton soft-core. It could have been made in 1978. It


is from that era. It sort of looks like it was made for middle-aged


male perves. I think the people playing her ma'am and her stepdad,


they are giving performances of real warmth and tenderness. I quite like


the mystery in it. I think there is something interesting in the fact


that the reasons why she becomes a prostitute left quite unexplained.


He doesn't know. Or he just wanted to shoot her in her bra. There is an


awful lot of Irving. -- perving. I watched it for the interiors, they


are amazing. That is the sort of level to watch it on! We all know


that prostitution is about vulnerable people being abused and


assaulted, not about Vogue standard 17-year-old model is having a moment


of sexual flowering in some luxury 5-star hotel room. It is ridiculous.


But as long as you understand that it is ridiculous, you can see that


it is exquisitely made, but shallow. It is an exquisitely made Hoddle,


but that doesn't mean it has no depth to it. It does. What is your


pick of the week? Unexpectedly, Saving Mr Banks. Yes, I have to go


with Disney. It is a joy. That is all from us. We are back next week


on Tuesday at 11.35, when we review Kill Your Darlings, the remake of


old boy, Nebraska and home front. Thank you very much for watching.


Good night. You have tested positive for HIV.


Have you any we estimate you have 30 days left. There isn't anything out


there can kill me in 30 days. There is stuff in Mexico that you can't


get in the United States. Importing illegal drugs for sale is a very


serious offence. They are not illegal. They are merely unapproved.


I have been looking for you. You are treating these people? They are


treating themselves. I'm not selling drugs. I'm selling membership.


Welcome to the Dallas Buyers Club. Why are we here? A nice restaurant,


a beautiful woman. It is where I feel human again. You look great.


You are nothing more than a common drug dealer. People are dying.


Claudia Winkleman and Danny Leigh take a look at the week's film releases. Emma Thompson stars as author PL Travers in Saving Mr Banks, which recounts Travers' battles with Walt Disney (Tom Hanks) over the big screen adaptation of her book Mary Poppins. Julianne Moore and Chloe Grace Moretz team up for the remake of classic horror Carrie plus François Ozon's coming of age story Jeune & Jolie, a study of a seventeen year old girl.

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