Episode 14 Film 2013

Episode 14

Film reviews. Claudia Winkleman and Danny Leigh are joined by Catherine Bray to review the second film in The Hobbit trilogy, The Hobbit: The Desolation of Smaug.

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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. Baggins is back! Martin Freeman leads the cast of The Hobbit


Part 2. Good. You will need it. Robert Redford is all at sea in All


Is Lost. SOS call, over. And love hurts in Israeli drama Fill


The Void. Plus, Sir Alan Parker talks about his classic film Angel


Heart. And we take a look at the fully restored Cinema Paradiso.


Danny is here, and we're joined by guest critic Catherine Bray. First


up is The Hobbit: The Desolation of Smaug. In the second film in Peter


Jackson's trilogy, Bilbo Baggins continues on his quest to reclaim


the Dwarf Kingdom of Erebor. Where does your journey end? You seek that


which would bestowdown the right to rule.


The quest to reclaim a home land, and slay a dragon.


The great thing with a middle movie, in a trilogy is after the first


movie, you say, OK, everybody knows everything they need to know, we


have two more, let us slam on the gas, and go for it.


When we pick it up, they are still on their way to the Lonely Mountain,


as they get fur into the journey, Bilbo's usefulness increases. You


must trust me. He saves the company more than once. What do we do now?


Hold your breath. Hold my breath? S the main characters in the stories


develop and they literally don't end up being the same people at the end


as they were at the beginning. I found something in the golden


temple. The journey is one of self revelation. What did you find? My


courage. Billow, he has developed a bit more of a backbone and he has


developed a bit more confidence, you know. You are not the same hobbit as


the one that left the shire. Playing the wide eyed thing, is great. But


not after a while, you know, you want to, express something else.


He has a bit of cockiness in his step, and tries his hand with a fire


breathing monster the size of the Empire State Building and something


of an atomic bomb. Yes. It happens. Was that an


earthquake? That my lad was a dragon.


Everything we kind of, it has been a long time devising and Benedict


walked in and he knew. It was sensational, while it is my voice


and my movement, it is such a huge leap on from that they they did


impose. I sat there marvelling at it. Come now, don't be shy. Step


into the light. It is not just about hobbits and it


is not just about elves. Don't think I won't kill you dwarf. There is


enough universal stuff in Tolkeins work, loyalty and love and bravery


and trust. It is about us, it is about now.


It is not our fight. It is our fight.


I fieg find the second and third movies to be exciting, I know the


gauntlet has been thrown down. Now we have to deliver.


Dragon fire and ruin. That is what you will bring on us. He cannot see


beyond his own desire. Danny. It has ban year since the


first hobbit. You spend six month watching that film and six months


regretting you have. This is a better hobbit. There is a lack for a


start of half hour scenes of washing up. There is the hedgehog who was a


low for me and you have an action romp. It is spectacular and I think,


at last there is a sense of energy and momentum and the story getting


somewhere. There is supposed to be a journey. Last time it felt like you


were stuck on a hard should we are in a minibus with a tribute band.


The first has its fan, you look at the second film if two way, you can


say it is better than the first hobbit or it is much less terrible.


OK. There is that. Catherine? I mean I am totally with Danny on the whole


Christmas fun spectacular take the kids, there is brilliant scenes with


giant spiders and barrels and all this stuff going on. I am a big


Tolkein nerd and I I think there will be a lot of people with me


thinking this is Peter Jackson's film not Tolkein's whereas the Lord


of the ring, which I love. I went to see the first one eight times and I


wish I could say the same of this. It doesn't compare, I mean those


films were epic and brilliant. This is just a kind of fun trip out for


the kids. Can I tell you what I thought it


was, and I never use this word. Tremendous. I do. It pop into my


head. I am happy for you, I want to dry I didn't have that. I watched


the first one and I had to go twice. The first time I had two naps. When


I woke up from the second they were still washing up and they had broken


into song. They were never leaving the shire. In this one they go down


barrels. It like the love story, I mean... You like the love story. Did


you not? It is terrible. Peter Jackson is best when he is


tasteless, when he allows himself on this tasteless. There is some bad


taste where you have arrows going through orbings heads, but I am with


Catherine in terms of the romance, maybe a bit of sex, because it feels


very adolescent. It feels like they are going to nip off to the park and


give each other love bites. That is why I loved it. There is a bit of a


double entendre, about what a dwarf has down his trousers, I don't think


many of us read The Hobbit and thought it needs more knob gags. It


is not Tolkein. I don't know it nearly as well as I do. I look at


this as $200 million fan fiction. If you o are going to make something


Tolkein would love, I am not sure you would make a movie with 50,000


people slaving away. My understanding is it was about, you


know, pining for pre-Industrial Revolution England. So what you


would do for a proper adaptation is take 17 blokes out in the same


minibus, take them to Stroud and stage something in a field. I am not


against fan fiction. You loved the Lord of the Rings films. If you were


going to write alert to Mr Jackson with here are my issues. Number one,


what would the problem be? Was it the love story? Number one maybe the


knob gag and the love triangle lean Legolas and an elf lady you have


made up and one of the dwarves. OK, so we have this dragon who is one of


the greatest villains in children's literature, he is supposed to be


smart and in this he is kind of like one of nose bond villains who sits


round making chatty threats and never killing anybody. Anot


criticising Benedict couple batch. But he doesn't seem to be able to


detect 13 dwarves clattering about where they shouldn't be. They are


only little That is my problem. The orcs are inept and can't kill the


dwarf who has the ginger beard, the dwarves are greedy, I would eat the


gaver, the elves are kind of, I don't know, the awful Ocado delivery


kind of people. But I am going to put my hand in the air for the set


pieces. It is about the set piece, it is like raiders of the lost lath


ark. That is what he is aiming for I think. You are supposed to come out


and say I love the built when, you may love the bit where Gandalf meets


the necromancer. I love Martin Freeman as well. He is gorgeous in


this. I want more of him on his own, doing Bilbo stuff. It is called The


Hobbit. Less titting about in the wood with random elves and more of


Martin Freeman. But more titting about with the giant spider, they


present a convincing case why every movie should have giant spiders in.


I am accept my converted. They are as good as anything in the Lord of


the Rings. We have to move on otherwise I will get fired.


Next, Director JC Chandor follows up Margin Call with All Is Lost. Robert


Redford stars as a man stranded alone in the Indian Ocean, after his


boat collides with a shipping container.


All is lost is a film where you join the main character what we in script


writing called the initiating incident. That normally happens


quarter of the way through the film, but here it just begins with this


accident. The next hour-and-a-half you are


watching this guy deal with this series of events and hoping he can


make it through. I like the challenge it gave me as


an actor, to occupy a character alone, with just his own thinking


and behaviour was all you could be with.


. Like the fact there was no dialogue. Those are all reasons why


it was exciting for me, because that doesn't exist much, there is not


much opportunity like this in a film. Where it is such a pure


cinematic Mr Eed for is a pretty -- Redford is


a non-verbal storyteller, he is able to do complex emotional transition


fear to performances veer rans or happiness to tragedy.


The film feels exciting and is a thriller, kind of almost a horror


movie in a way, as it is happens and feels tense and exciting. SOS call.


Over. This is Virginia Gene. This is an


SOS call. When you are shooting in water like that everything takes


longer than it should. Since I did my own fiscal stuff, I think it


speaks for itself. It was very challenging.


And action. The fact you knew you were going to be wet for 12 hours,


sort of every day for two-and-a-half months while it was kind of slowly


happening, with a 75, 76-year-old man, doing it, it was a terrible


concern, you know, I am glad we made it through.


He could quit but he doesn't, he keeps moving, that because that the


only thing he has left to do, is to keep moving.


Help! Help! Catherine? I love this film. And I wasn't necessarily


expecting to, you hear, OK, it is a film with no dialogue and it is


going to be very sort of compelling and you think OK, is that is a bit


of beard stroking way of saying I am board, but it is well made. It is


properly edge of your seat stuff, is he going to survive. It is an


incredible performance from Robert Redford, I was expecting also he


might be a big show off performance but it is so subtle, you can see the


cogs turning the whole time, you can see what he is thinking and what he


is going to try and try to get out of yet. I'm not often left


speechless but I was by this film. The comparison I would reach for.


Gravity. It is an old-fashioned story. All is lost has got the


oldest trick in the movies, less is more. It is all about showing and


not telling. Because you just have Robert Redford you think it is like


a party piece. After a couple of minutes you forget that aspect of


the movie even exists. You're just absorbed. And the last few minutes,


it is one of the most indelible things I have ever seen. That is


high praise. We should talk about the direct. -- director. It is tense


to watch it. It is not stressful perhaps but it is tense. It is like


watching gravity. I cannot wait to see what he does next. We have


already had the out of space epic. It is just talking. We have two talk


about Robert Redford. It is such a stunning performance. He has to


carry every second of the movie. In a way it is almost a risk casting


him. He has been so underplayed throughout his whole career. Ryan


Gosling, younger viewers would think he invented staring into space. But


this is genuinely a career defining performance. You could not imagine


any other actor doing this. It is his movie. If he does not get


nominated for an Oscar that would be criminal. A lovely role for an older


actor as well. You would not often get the lead. It is a good season


for it with Nebraska as well. Older guys exploring their mortality. He


is a man of 77. There is a kind of gravity and wait that comes with


that. You would not have that with someone younger. Gravity I think


needed Sandra Bullock and George Clooney, for their familiarity which


makes the movie stronger. And we have that history with Robert


Redford, perfect casting. Please go and see it. All is Lost will be in


cinemas on Boxing Day. Now Alan Parker relives the making of what


remains a 1980s classic - his dark movie Angel Heart. The film caused a


stir with the American censors before its release, due to an


extended, graphic, blood-drenched sex scene which had to be cut in


order to secure an R rating. I remember the dust cover, falling


Angel was the title. And at the back it had raiment chanter meets the


excesses. I thought, it sounds right up my street. To make it accurate


for 1955 we repainted almost 50 different buildings along the


street. People go and say it does not look like it does in the film.


It is almost like a film set. I wrote most of it sitting in a corner


cafes and bars. Then you go to look at locations and I would adapt the


script almost to what I found. That whole descent into hell, it took on


graphic imagery. I went to see Jack Nicholson first. He was interested


but not interested enough! And at the same time I met with Robert De


Niro. He was the hottest actor at that moment in time. He surprised us


all by saying he did not want to play that role, he would like to


play the part of the devil. Allow me to introduce my client, Louis


Cyphre. The physicality is hugely important. He has long hair in the


film. He wanted to have false nails. And they grow a millimetre


every time you see him. That was his idea. And in the film they do


imperceptibly get longer. But it was so important to him. The opposite to


Mickey who did not really care too much! Between the two of them there


is a wonderful electricity that you can see on screen. They wanted to


score points of one another. Mickey was so determined to do better than


the master. Robert De Niro at the end is almost cracking every bone in


Mickey's body. Almost reminding him the actor that he is compared to the


actor that Mickey might think he might be. No thank you. I have got a


thing about chickens. I think Mickey loved being naughty. In one scene it


is a horse race and he is watching these horses come towards him. He


had written all these lines originally. He was looking at the


polls because he had written them down there. Then we moved him so his


lines were about two feet away and he could not even see them! When


you're writing a scene, normally it is to people talking. But I try to


give it layers, other things that the curve. I tend to put in animals.


In one scene he is running through a stable with horses. The first time


it was incredibly impressive. When you have done it 20 times, the


stuntman is then wafer thin! And you wonder why you ever wrote that. No


animal was ever harmed in the making of the film! Only people! The scene


that I love is the lovemaking scene when it is raining. It is hard to do


any kind of sex scene. The bearer -- I remember saying, I am there to


help you. But it turned out that Isabel Bonnie was much more


confident. There is a piece of music that goes with the scene which is a


beautiful soul number. I played that very loud which I found to be


helpful. It is one of the most powerful scenes I have ever filmed


and I am proud of that. I think you can look back on your work and of


course you improve on everything that you have done. But looking at


Angel heart, it has affected a lot of people. Depending on which


country I go to, it is the one film which people particularly in Europe


have liked. And I am still proud of it.


Thank you so much for chatting to us. Next up, Fill The Void - a film


from Israel which is set amongst its ultra-orthodox Jewish community.


When her sister dies, an 18-year-old girl is strongly encouraged to marry


her widowed brother-in-law. You expect Fill The Void to be a


slightly different movie. You have this 18-year-old girl in this movie.


In coming-of-age movies that character would rebel and run away.


But the director is from the Hasidic Jewish community herself. So making


a film about her religion. It is not propaganda, not an Expose but


something in between. It is one that I would recommend to Mel Gibson!


Technically it is a very accomplished film. She has coaxed


incredible performances from her actors. I would like to see her next


thing being something not necessarily about Orthodox Judaism.


I think she is so within that world it would be nice to see her talent


brought to bear on something outside of that. It was incredibly


claustrophobic to watch. You felt, just run. It was that horrible sense


of being in this character's very enclosed worlds. It is like a Jane


Austen character. Living in this rigid society. Not as funny as Jane


Austen! It is all about tradition. This ancient tradition yet at the


same time shot in this European contemporary setting. The


director's background is fascinating. In the Hasidic


community you cannot have men and women in the same frame together. So


that is interesting. Jane Austen is a decent comparison. Birth,


weddings, death. So a romantic comedy is the next thing that she


should do! Your favourite? All Is Lost by a long margin. It is a


future classic. I wish it was the Hobbit but it is always lost. I


would say All Is Lost. But for the barrel ride, the Hobbit. That's all


from us. We'll be back next week on Tuesday at 11:15pm when we review


Anchorman two and Ben Stiller in The Secret Life of Walter Mitty. To


celebrate its 25th anniversary, Cinema Paradiso has been beautifully


restored and is back in cinemas this weekend. Thank you very much for


watching. Here's a glimpse. Good night.


Film 2013 hosts Claudia Winkleman and Danny Leigh are joined by guest critic Catherine Bray to review the much anticipated second film in The Hobbit trilogy, The Hobbit: The Desolation of Smaug, with Martin Freeman recreating his role as Bilbo Baggins.

Also under consideration is Fill The Void, a film from Israel about a devout Hasidic Jewish 18-year-old girl who is pressured into a marriage with the husband of her late sister.

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