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Hello there, this is Film 2018,
and I'm Antonia Quirke. | 0:00:25 | 0:00:30 | |
We are live, so tweet us. | 0:00:30 | 0:00:36 | |
Tonight we're talking about stardom
and the golden age of Hollywood. | 0:00:36 | 0:00:38 | |
Who do you think personifies
the classic Hollywood star - Gable? | 0:00:38 | 0:00:41 | |
Bogart? Hepburn?
| 0:00:41 | 0:00:46 | |
Details on the screen, now. Coming
up tonight... Director Lynne Ramsay | 0:00:46 | 0:00:53 | |
returns with the harrowing three
like You Were Never Really Here | 0:00:53 | 0:00:56 | |
starring Joaquin Phoenix. One thing
we are never short of these days is | 0:00:56 | 0:01:03 | |
a new Nicolas Cage movie, only this
time he is more cagey than ever in | 0:01:03 | 0:01:08 | |
horror thriller Mom and Dad. And we
chat to one Hollywood legend, Susan | 0:01:08 | 0:01:14 | |
Sarandon about another the Golden
age superstar Hedy Lamarr. It isn't | 0:01:14 | 0:01:20 | |
a prerequisite in Hollywood to be
smart. Plus we take a look at | 0:01:20 | 0:01:26 | |
British wrestling comedy Walk Like a
Panther. You can't say it's not an | 0:01:26 | 0:01:30 | |
eclectic mix. | 0:01:30 | 0:01:31 | |
I'm joined by the
brilliant Ellen E Jones | 0:01:31 | 0:01:32 | |
and the ferociously well informed
Empire Magazine's top man, | 0:01:32 | 0:01:35 | |
Chris Hewitt to make sense of it
all... | 0:01:35 | 0:01:37 | |
Award season is over, hurray! Yes.
Is it over? Am I hallucinating? | 0:01:37 | 0:01:46 | |
Let's start the new film year with a
good one. | 0:01:46 | 0:01:48 | |
First up is the new film
from unclassifiable, | 0:01:48 | 0:01:50 | |
never boring British director,
Lynne Ramsay. | 0:01:50 | 0:01:52 | |
Her follow up to 2011's
We Need to Talk About Kevin | 0:01:52 | 0:01:55 | |
is You Were never Really Here -
an equally dark tale | 0:01:55 | 0:01:58 | |
starring Joaquin Phoenix. | 0:01:58 | 0:02:00 | |
He's Joe, a military veteran
teetering on the brink, | 0:02:00 | 0:02:03 | |
in a role that won him
Best Actor at Cannes. | 0:02:03 | 0:02:05 | |
Let's take a look... | 0:02:05 | 0:02:08 | |
I'm going to ask you some questions.
How many are they? One guy's at the | 0:02:11 | 0:02:17 | |
front door. Second lie on the top
floor. It's done. It's a new joke | 0:02:17 | 0:02:28 | |
story. Why am I here? Albert Votto,
his daughter has been missing the | 0:02:28 | 0:02:36 | |
weekend. He's an enforcer. They say
you are brutal. I can be. Beyond | 0:02:36 | 0:02:42 | |
that it's something much more. I
think it's about a man having a kind | 0:02:42 | 0:02:47 | |
of midlife crisis, in a way. Do you
have kids, John? No. I've heard of | 0:02:47 | 0:02:53 | |
these places. If she's there, I will
get her. It is based on a novella. I | 0:02:53 | 0:03:00 | |
loved it had those elements, moved
fast and I didn't know what to | 0:03:00 | 0:03:04 | |
expect. I said to John, I'm going to
do it in my own direction, do it my | 0:03:04 | 0:03:10 | |
way, because I've never done that
sort of collaboration. He said, I | 0:03:10 | 0:03:16 | |
just want it keeps that kind of
momentum I had. That was something I | 0:03:16 | 0:03:19 | |
wanted to do. | 0:03:19 | 0:03:22 | |
The heart of it was this really
interesting character. Joaquin came | 0:03:25 | 0:03:32 | |
late into the frame, but when he did
he was like a member of the crew. He | 0:03:32 | 0:03:37 | |
said he understood less than 50% of
what I said. There was a kind of | 0:03:37 | 0:03:43 | |
exciting energy and set because so
compelling to watch another does the | 0:03:43 | 0:03:46 | |
same thing twice that gives you so
many options in an edit create this | 0:03:46 | 0:03:50 | |
character with many dimensions. | 0:03:50 | 0:03:53 | |
He's not the knight in shining
armour, a fallible man. He's not the | 0:03:59 | 0:04:05 | |
six-pack. He's kind of going to seed
and bringing all these things in to | 0:04:05 | 0:04:13 | |
make him rich were really to me and
him. I grew up on Hitchcock. My mum | 0:04:13 | 0:04:21 | |
and my dad were film buffs. My mum
watched classic movies all the time, | 0:04:21 | 0:04:28 | |
thrillers. Yeah, who knows, I
suppose everything is a remix. | 0:04:28 | 0:04:38 | |
Three... Two... One... Close your
eyes. | 0:04:38 | 0:04:43 | |
Not an easy film. No, but a great
one. I kind of expected, because | 0:04:43 | 0:04:53 | |
it's Lynne Ramsay unconventional
form but a very conventional | 0:04:53 | 0:04:55 | |
thriller storyline in a way. I found
myself initially at least wanting a | 0:04:55 | 0:04:59 | |
bit more detail from the plot,
wanted to know more about this guy's | 0:04:59 | 0:05:03 | |
back story. It only slowly came to
me this is what Lynne Ramsay is all | 0:05:03 | 0:05:07 | |
about and the scarcity of the detail
is what makes what is there so | 0:05:07 | 0:05:11 | |
incredibly evocative. Jelly beans,
hammers, wallpaper... These are | 0:05:11 | 0:05:15 | |
random word to people that haven't
seen the film but I know you guys | 0:05:15 | 0:05:19 | |
know. What she does by depriving you
of repeated details of things that | 0:05:19 | 0:05:23 | |
make things too obvious to make sure
you are right inside this guy Joe's | 0:05:23 | 0:05:27 | |
head. You can't get up in the
quality of the event, you have to be | 0:05:27 | 0:05:33 | |
there in his psyche. Grimness and
transcendence are the keynotes? | 0:05:33 | 0:05:37 | |
Absolutely. Joe is a guy at the end
of his tether, he's looking at more | 0:05:37 | 0:05:41 | |
from life. When you meet him on his
suicidal, on the verge of ending it | 0:05:41 | 0:05:45 | |
all when he wants something more. He
want something more from the | 0:05:45 | 0:05:49 | |
grimness of darkness. Lynne Ramsay
is great at those bass notes. Action | 0:05:49 | 0:05:54 | |
sequences in another movie, this
movie is so close on the surface to | 0:05:54 | 0:05:57 | |
being taken for John Wick chapter
three, and I am for those movies, I | 0:05:57 | 0:06:04 | |
love those movies but she is not
interested in that. She's looking at | 0:06:04 | 0:06:10 | |
diving below the surface and finding
something new about this guy. Debbie | 0:06:10 | 0:06:13 | |
had a really style speech... I don't
know who you are, I don't know what | 0:06:13 | 0:06:18 | |
you want but I will find you you,
you wouldn't understand a word he | 0:06:18 | 0:06:21 | |
says. It's a very different
performance, a different kind of | 0:06:21 | 0:06:24 | |
quote unquote action hero in this.
Phoenix is 43 now and in the absence | 0:06:24 | 0:06:30 | |
of the late great Philip Seymour
Hoffman, James Gamble Feeney and | 0:06:30 | 0:06:35 | |
Daniel Day Lewis apparently now
retired, the mantle of our greatest | 0:06:35 | 0:06:38 | |
screen actor is out there to be
grabbed. It might well be Phoenix | 0:06:38 | 0:06:43 | |
and on this evidence it might be
him. Certainly with Lynne Ramsay's | 0:06:43 | 0:06:48 | |
helps. One of the things I love
about this film is how it reverses | 0:06:48 | 0:06:51 | |
that traditional direct use gender
role, the way is the other way round | 0:06:51 | 0:06:56 | |
here. He's brilliant in it. It's a
great physical performance. He has | 0:06:56 | 0:07:00 | |
this saltiness which also seems
natural and vulnerable at the same | 0:07:00 | 0:07:03 | |
time. You can see the flashes of the
little boy he once was. At the same | 0:07:03 | 0:07:08 | |
time he has this murderous rage.
Where do you think this sits in | 0:07:08 | 0:07:12 | |
Lynne Ramsay's filmography? Would
say she is someone that would resist | 0:07:12 | 0:07:16 | |
the word career being applied to her
filmography. It's more a body of | 0:07:16 | 0:07:21 | |
work she is going for. It strikes me
she's the man who said I won't do | 0:07:21 | 0:07:25 | |
that all that but I will do that.
You never know what to expect but | 0:07:25 | 0:07:27 | |
there are so many -- Lynne Ramsay
characteristics. You find everything | 0:07:27 | 0:07:34 | |
you need to know about his mother in
a 42nd sequence which is absolutely | 0:07:34 | 0:07:38 | |
fantastic. We should also say Jonny
Greenwood's score is so good. So | 0:07:38 | 0:07:45 | |
good. Like the last great Radiohead
album. It is a really great school. | 0:07:45 | 0:07:50 | |
I think it is up there with the best
of Lynne Ramsay's work. Weirdly | 0:07:50 | 0:07:54 | |
commercial and non-commercial at the
same time and she's not really | 0:07:54 | 0:07:58 | |
interested in conventional action
beats. There are sequences in this | 0:07:58 | 0:08:01 | |
movie that would be unconventional,
the corridor fight in Taken four or | 0:08:01 | 0:08:09 | |
something but Joaquin Phoenix takes
apart a guy with a hammer, very | 0:08:09 | 0:08:13 | |
brutal, but shot on CCTV cameras. I
love those little notes. She does | 0:08:13 | 0:08:17 | |
want to present things to do that
you've seen before. You might think | 0:08:17 | 0:08:23 | |
you've seen before the taxi driver
element but it's bold how in | 0:08:23 | 0:08:27 | |
conversation with the taxi driver
the doing something different. To | 0:08:27 | 0:08:36 | |
take on something like taxi driver
takes balls. There is a real | 0:08:36 | 0:08:40 | |
tenderness to it, the early scenes
with his mother, without those | 0:08:40 | 0:08:43 | |
scenes it would be a very different
film. Real moments of beauty. And | 0:08:43 | 0:08:48 | |
can I say, as a person of a certain
guys, great to see Joaquin Phoenix | 0:08:48 | 0:08:53 | |
walking the dad board. Really worth
seeing. From a film that had a seven | 0:08:53 | 0:08:59 | |
minute standing ovation to Cannes to
zombies. What are they? | 0:08:59 | 0:09:06 | |
Mom & Dad - a horror comedy
starring the one and only | 0:09:06 | 0:09:09 | |
Nicolas Cage with a performance
dialled down to 11 in this tale | 0:09:09 | 0:09:12 | |
of when the sacred bond of parental
love gets frayed... | 0:09:12 | 0:09:15 | |
Can I go to a movie with O'Reilly
tonight? With Riley? Your | 0:09:18 | 0:09:23 | |
grandparents are coming to dinner
tonight, remember. Take my advice, | 0:09:23 | 0:09:27 | |
don't ever have kids! What's the
rush today? It's like... What's | 0:09:27 | 0:09:33 | |
going on? Is that McKenna's ma'am?
Multiple reports are coming in as | 0:09:33 | 0:09:44 | |
parents owe murdering their own
children. Listen to me, you have to | 0:09:44 | 0:09:49 | |
get out of the house before ma'am
and before dad get home. Believe it | 0:09:49 | 0:09:54 | |
or not, I used to be young ones as
well and not all that long ago, by | 0:09:54 | 0:09:58 | |
the way. And I think about how
things were in my day. But now, the | 0:09:58 | 0:10:04 | |
world you kids are living in, the
things you see on the Internet. | 0:10:04 | 0:10:11 | |
Things I only saw in magazines. No!
And the expectations that must come | 0:10:11 | 0:10:18 | |
with that. Dad? | 0:10:18 | 0:10:27 | |
Oh yeah, you put your right foot in,
you take your right foot out, you do | 0:10:35 | 0:10:40 | |
the hokey Cokie... Stop! | 0:10:40 | 0:10:44 | |
Yes, mum's here. | 0:10:53 | 0:10:55 | |
You're going to open this door! This
was a really great idea, honey. I | 0:11:05 | 0:11:13 | |
forgot, your parents. That was
tonight? | 0:11:13 | 0:11:21 | |
Nicholas, Nicholas. Chris, we like
to be clear on this programme. Is | 0:11:21 | 0:11:24 | |
this a zombie movie or what? It is
not a zombie movie. In what way is | 0:11:24 | 0:11:29 | |
it not? Zombies are creatures that
are dead and rise from the grave. | 0:11:29 | 0:11:34 | |
These guys, they are just infected,
just a little bit sick, a little | 0:11:34 | 0:11:39 | |
under the weather. Same thing as 28
days later. Sorry, that is not a | 0:11:39 | 0:11:43 | |
zombie film. You can imagine the
animated pitch for this, to fix... | 0:11:43 | 0:11:51 | |
It felt to me like a sequence, raw
action sequence after another. There | 0:11:51 | 0:11:56 | |
are absolutely moments of six fun in
this which go to the movies for. But | 0:11:56 | 0:12:02 | |
yeah, the things it does well for
me, it's not a zombie film but also | 0:12:02 | 0:12:07 | |
not quite anything else. Doesn't
seem to define the rules within the | 0:12:07 | 0:12:10 | |
film. There is an issue with static
on the telly that seems to be | 0:12:10 | 0:12:14 | |
sending the parents crazy but no one
else crazy. They're not just killing | 0:12:14 | 0:12:18 | |
therein children but they seem to
want to kill everyone. I was | 0:12:18 | 0:12:20 | |
confused. A pseudo- zombie movie?
Anything with anything like this | 0:12:20 | 0:12:26 | |
going on is satirising something.
I'm not sure what he was satirising. | 0:12:26 | 0:12:32 | |
Satirising parenthood, suburbia? Are
the young children hopeless, useless | 0:12:32 | 0:12:36 | |
consumers question at what's running
through the movie's veins? I don't | 0:12:36 | 0:12:40 | |
think much, but I enjoyed it. The
director Brian Taylor, who | 0:12:40 | 0:12:49 | |
co-directed both cranks, action
classics I would bat for all day | 0:12:49 | 0:12:54 | |
long. He also directed Nicolas Cage
in ghost Rider. I wouldn't bat for | 0:12:54 | 0:13:00 | |
that one. Frenetic action sequences,
tries to undercut it nice and then | 0:13:00 | 0:13:05 | |
-- now and then with some music. I
like the music. It's fine, it's OK, | 0:13:05 | 0:13:12 | |
but ultimately I don't think he is
saying much. A nice spread in the | 0:13:12 | 0:13:15 | |
movie when some how next page gets
infected and they begin to repair | 0:13:15 | 0:13:21 | |
the marital discord about. That's
nice. It doesn't go anywhere. The | 0:13:21 | 0:13:26 | |
director used to be a camera
operator. Quite visceral, in amongst | 0:13:26 | 0:13:30 | |
the fray and that is quite
appealing. But can we praise Nicolas | 0:13:30 | 0:13:35 | |
Cage? All day long, twice on Sunday.
When he is dialled up what is he | 0:13:35 | 0:13:44 | |
saying, I'm I realising everything,
enjoying me, and you can't help but | 0:13:44 | 0:13:46 | |
do that. Yes. I love Nick Cage, con
air is my favourite movie from | 0:13:46 | 0:13:53 | |
Nicolas Cage. I kind of thing... I
know this will be unpopular, I never | 0:13:53 | 0:13:57 | |
realised it is possible for him to
be too over the top. In this film he | 0:13:57 | 0:14:00 | |
saw the start that full throttle and
accelerates from there. For the full | 0:14:00 | 0:14:04 | |
unleashed Nick Cage experience you
need him to be at least initially | 0:14:04 | 0:14:08 | |
leashed. We are always aware with
him as an actor that he has a movie | 0:14:08 | 0:14:14 | |
like the bad Lieutenant Colonel, he
can be more lyrical, he can dial it | 0:14:14 | 0:14:18 | |
down. That is within him. I think he
is like the modern-day... Amazing | 0:14:18 | 0:14:24 | |
films and then 80 forgettable ones.
He's coming up to 100 movies now. | 0:14:24 | 0:14:32 | |
This is true, most of which sadly
forgettable and most which recently | 0:14:32 | 0:14:36 | |
have gone straight to video. This is
great because if there is -- there | 0:14:36 | 0:14:43 | |
is a cinematic release for this one.
I love Nick Cage, and the wild ABCD | 0:14:43 | 0:14:53 | |
E guy. I thought for the most part
he had gone, recently he's been | 0:14:53 | 0:14:57 | |
phoning in with some performances
just moping around with his big moon | 0:14:57 | 0:15:01 | |
face. Real face? He'd be horrified
to hear that. He's engaged, engage | 0:15:01 | 0:15:07 | |
the cage. | 0:15:07 | 0:15:08 | |
In the 1940s, actress Hedy Lamarr
was marketed as the world's | 0:15:10 | 0:15:12 | |
most beautiful woman -
a title she'd come to despise. | 0:15:12 | 0:15:15 | |
Frustrated by the limits
of a Hollywood career, she did not, | 0:15:15 | 0:15:17 | |
like many other diversifying actors,
invent a line of perfumes | 0:15:17 | 0:15:20 | |
or publish a book of photographs. | 0:15:20 | 0:15:25 | |
Instead, she invented
the technology behind wifi. | 0:15:25 | 0:15:28 | |
Now another Hollywood immortal,
Susan Sarandon, has produced | 0:15:28 | 0:15:30 | |
a feature documentary
about the remarkable Lamarr's life. | 0:15:30 | 0:15:32 | |
I went to meet her... | 0:15:32 | 0:15:40 | |
Hedy Lamarr, screen goddess by day,
inventor by night. Quite a story. It | 0:15:55 | 0:16:00 | |
is one that has enthralled actress
Susan Sarandon. When did you first | 0:16:00 | 0:16:04 | |
become aware of her extraordinary
extracurricular activities? When I | 0:16:04 | 0:16:12 | |
started the documentary, we were not
sure we would be able to prove that | 0:16:12 | 0:16:14 | |
she actually had invented. Inventing
was her hobby. She not only had a | 0:16:14 | 0:16:23 | |
complete inventing table set up in
her house, but Howard Hughes gave | 0:16:23 | 0:16:27 | |
her a small version of the set of
equipment that she had in the | 0:16:27 | 0:16:32 | |
trailer where she stayed in between
takes for her motion pictures. There | 0:16:32 | 0:16:37 | |
are some people that just didn't
want to believe that someone that | 0:16:37 | 0:16:41 | |
beautiful, a woman that beautiful,
could have done that. It seems too | 0:16:41 | 0:16:44 | |
preposterous. | 0:16:44 | 0:16:45 | |
Not only was there the bias in the
scientific community, and the world | 0:16:56 | 0:17:01 | |
in general, a beautiful woman
contributing to science, but then | 0:17:01 | 0:17:03 | |
there was the problem of ageism in
Hollywood. | 0:17:03 | 0:17:15 | |
Well, Hedy Lamarr, she was at her
most famous at a time when | 0:17:23 | 0:17:26 | |
Hollywood, the machine, they were
described as racehorses, | 0:17:26 | 0:17:31 | |
amphetamines to get them going
during the day, sleeping pills at | 0:17:31 | 0:17:35 | |
night, 18 hour days. The good old
days! Do you recognise that image of | 0:17:35 | 0:17:38 | |
Hollywood does that sound like hell
to you? You exchange your personal | 0:17:38 | 0:17:45 | |
life for this protection of the
studio. People literally got away | 0:17:45 | 0:17:50 | |
with murder. What did they give in
exchange for that? The studio pretty | 0:17:50 | 0:17:53 | |
much controlled their life for the
duration of the contract. So much of | 0:17:53 | 0:18:01 | |
making someone into an icon has to
do with how they are packaged. They | 0:18:01 | 0:18:04 | |
had a better system of that, I
think. Thinking about Lamrr and the | 0:18:04 | 0:18:11 | |
beauty tag, and the sexy tag that
has been levelled at you, is that a | 0:18:11 | 0:18:20 | |
stultifying thing? Well, I was never
called the most beautiful woman in | 0:18:20 | 0:18:24 | |
the world, I saw myself as a
character actor. There are two kinds | 0:18:24 | 0:18:27 | |
of actor, you have people like De
Niro, Sean Penn, I think of myself | 0:18:27 | 0:18:33 | |
as that. That is probably why I have
lasted, playing character parts, and | 0:18:33 | 0:18:39 | |
they don't have identifiable, really
strong personality that is packaged | 0:18:39 | 0:18:47 | |
and sold, like George Clooney. But
people will not accept George | 0:18:47 | 0:18:51 | |
Clooney playing a bad guy, probably.
In a career spanning almost 50 | 0:18:51 | 0:18:57 | |
years, Sarandon herself has
defiantly escaped pigeonholing. | 0:18:57 | 0:19:04 | |
Roles in Thelma & Louise, The
Witches of Eastwick, Atlantic City | 0:19:04 | 0:19:07 | |
and Dead Man Walking, she has
remained very much her own person. | 0:19:07 | 0:19:10 | |
So many of the films you have been
involved in half the event films, | 0:19:10 | 0:19:16 | |
inasmuch as... It's crazy. The
conversation goes on for about a | 0:19:16 | 0:19:20 | |
year. Are you ever aware in the
moment that it is going to be that, | 0:19:20 | 0:19:24 | |
or is it always a surprise? We
didn't with Thelma & Louise. We were | 0:19:24 | 0:19:28 | |
doing a cowboy movie with women on
trucks instead of guys on horses. I | 0:19:28 | 0:19:34 | |
don't think so. | 0:19:34 | 0:19:41 | |
Ridley Scott is a genius. It became
so iconic, I think, because he put | 0:19:41 | 0:19:46 | |
us in this landscape that John Wayne
had been part of. | 0:19:46 | 0:19:54 | |
You choose things that the director
feels passionate about because that | 0:19:54 | 0:19:59 | |
is really important. Bull Durham was
like that, I love Bull Durham. In | 0:19:59 | 0:20:08 | |
another lifetime I was probably
Catherine the great Francis of | 0:20:08 | 0:20:11 | |
Assisi. What was that character
like, the baseball fan who offers | 0:20:11 | 0:20:16 | |
her body and soul to one player. How
did that character read on the page? | 0:20:16 | 0:20:21 | |
Great. That is why I jumped through
hoops to get it. Nobody in the | 0:20:21 | 0:20:26 | |
studio, they didn't want it. She was
smart and funny, she was in charge | 0:20:26 | 0:20:31 | |
and did not have to die because of
it at the end. Kevin was so hot. | 0:20:31 | 0:20:38 | |
Sarandon may have enjoyed such a
variety of roles, but as the | 0:20:38 | 0:20:43 | |
documentary reveals, back in the
40s, things were not as easy for | 0:20:43 | 0:20:46 | |
Hedy Lamarr, who eventually died
alone and a recluse. Ultimately, do | 0:20:46 | 0:20:50 | |
you see her as an inspirational
figure or is it more of a cautionary | 0:20:50 | 0:20:55 | |
tale? I think both. Mostly an
inspiration. I think it is | 0:20:55 | 0:21:00 | |
inspirational for young women to
understand that they don't have to | 0:21:00 | 0:21:02 | |
choose between being beautiful, sexy
and smart. Was it a cautionary tale? | 0:21:02 | 0:21:10 | |
Yeah, because ultimately I don't
think she had a very gentle last | 0:21:10 | 0:21:20 | |
act. There is a transition that
happens for everyone, if you are | 0:21:20 | 0:21:23 | |
lucky enough to live past 50, 60,
70. I'm going to be 72. It can be a | 0:21:23 | 0:21:31 | |
really interesting time. But for
Hedy it was the end of everything. | 0:21:31 | 0:21:36 | |
Yeah, I guess it is a cautionary
tale, although we are not against | 0:21:36 | 0:21:41 | |
what the most beautiful woman in the
world was up against. Susan | 0:21:41 | 0:21:44 | |
Sarandon, thank you very much. | 0:21:44 | 0:21:49 | |
72? Impossible to believe! We asked
you on Twitter for your top star of | 0:21:49 | 0:21:55 | |
Hollywood's golden age. Thomas says
Mary Pickford, one of the most | 0:21:55 | 0:22:02 | |
powerful women in Hollywood scene to
this day and a trained trailblazing | 0:22:02 | 0:22:06 | |
producer. Another, John Wayne for
action, Laurel and Hardy for comedy. | 0:22:06 | 0:22:10 | |
There is a great story, John Wayne
was discovered carrying an armchair | 0:22:10 | 0:22:14 | |
over his head on the set of a movie,
the director said, part that man on | 0:22:14 | 0:22:18 | |
film! -- put that man. | 0:22:18 | 0:22:25 | |
Our last film is Walk Like
a Panther, a British comedy set | 0:22:25 | 0:22:28 | |
in the world of wrestling,
grunting, grit and lycra... | 0:22:28 | 0:22:31 | |
Nothing meant more than being in the
ring with the Panthers. My wrestling | 0:22:34 | 0:22:39 | |
family. The 1980s, an audience of
millions. | 0:22:39 | 0:22:43 | |
Now we are pulling pints, and I
wouldn't change a thing. Shame, | 0:22:46 | 0:22:54 | |
really, that this is to be my final
pint in here. What is he talking | 0:22:54 | 0:22:58 | |
about? They are going to close. They
can't be serious? If that pub | 0:22:58 | 0:23:08 | |
closes, we are left with nothing, so
we have to do the greatest show of | 0:23:08 | 0:23:11 | |
our lives. It's not going to be
easy, we have to turn the clock back | 0:23:11 | 0:23:15 | |
30 years. You look ridiculous!
Ziggy. What is that shortfall? What | 0:23:15 | 0:23:28 | |
are you short for!? It's going to go
viral. Not me, I am clean as a | 0:23:28 | 0:23:36 | |
whistle! Now we've got the chance to
make this a fight that will never be | 0:23:36 | 0:23:42 | |
forgotten. This is our moment. Watch
and learn! Are they swollen? I don't | 0:23:42 | 0:23:55 | |
think they are swollen, they are
still very little. Keep wafting. | 0:23:55 | 0:24:02 | |
I've got my site back, that is a
bonus. Time to walk like the | 0:24:02 | 0:24:08 | |
Panthers that you are! I bloody love
wrestling! I love you, son. | 0:24:08 | 0:24:20 | |
wrestling! I love you, son. Eh? We
have come a long way from Local | 0:24:20 | 0:24:22 | |
Hero. Full Monty, with wrestling?
When you set yourself that low a bar | 0:24:22 | 0:24:32 | |
and still don't reach it, David Webb
problem. Thing I find impressive is | 0:24:32 | 0:24:35 | |
how many aspects of it terrible. The
costumes are terrible and | 0:24:35 | 0:24:40 | |
distracting, the soundtrack is a
horrible litany of large rock that | 0:24:40 | 0:24:44 | |
nobody should have to listen to, and
yet we do. The editing is | 0:24:44 | 0:24:55 | |
yet we do. The editing is sub Lock
Stock, freeze frame. Don't get me | 0:24:55 | 0:24:58 | |
started on the script. 60 speaking
parts, 200 extras, that must be | 0:24:58 | 0:25:04 | |
applauded? Yes, more than Avengers.
60 speaking parts, just two jokes, | 0:25:04 | 0:25:11 | |
by my reckoning. A strange film. I
don't think it is so terrible as | 0:25:11 | 0:25:17 | |
some of the really low points of
British comedy, the likes of The Six | 0:25:17 | 0:25:21 | |
Lives Of The Potato Men, Mrs Brown's
Boys The Movie. It is not a bad | 0:25:21 | 0:25:31 | |
film. It desperately wants to be
likeable but it can't make up its | 0:25:31 | 0:25:35 | |
mind what it wants to be. Is it a
movie that is morning a lost Britain | 0:25:35 | 0:25:41 | |
that never existed, does it have a
social conscience, a father-son | 0:25:41 | 0:25:47 | |
story, or a comedy about wrestlers
that over the hill? It doesn't | 0:25:47 | 0:25:50 | |
really decide. Movies like this push
the pantomime tone to such a pitch, | 0:25:50 | 0:25:55 | |
even a lovely actor like Stephen
Graham, even an actor like that, | 0:25:55 | 0:26:03 | |
begins to not be able to pick up a
pint and drink it in a way that | 0:26:03 | 0:26:06 | |
seems human and normal. It almost
begins to feel like Kabuki. That is | 0:26:06 | 0:26:12 | |
what I find most unforgivable, it
makes good actors look really bad. | 0:26:12 | 0:26:17 | |
Stephen Tompkinson, who I usually
like is terrible, everybody is | 0:26:17 | 0:26:23 | |
terrible in it. It reflects badly on
their past careers. I am watching | 0:26:23 | 0:26:27 | |
Dave Johns and thinking, was Daniel
Blake as good as I remember it, | 0:26:27 | 0:26:34 | |
because he is terrible in this. Just
his second film, working with a very | 0:26:34 | 0:26:40 | |
improvisational technique, with a
script, he does have a very naive | 0:26:40 | 0:26:43 | |
quality. I'm not sure that works?
No, he seems to be in a slightly | 0:26:43 | 0:26:49 | |
different movie to everybody else.
Stephen Graham seems to be a | 0:26:49 | 0:26:51 | |
different movie to everybody else.
Different parts of Great Britain, | 0:26:51 | 0:26:55 | |
never mind movies! The accidents,
some Geordie, some Scouse, | 0:26:55 | 0:27:03 | |
Mancunian? Doesn't come together.
The Full Monty was not my favourite | 0:27:03 | 0:27:11 | |
movie, but it had a beating heart,
it was sincere. The director of this | 0:27:11 | 0:27:15 | |
went to see Big Daddy wrestling when
he was 12 and it went in deep when | 0:27:15 | 0:27:21 | |
he read interviews. I'm not sure...
Film of the week? We are out of | 0:27:21 | 0:27:24 | |
time! | 0:27:24 | 0:27:26 | |
The wonderful Clive Anderson
is here next week, but we'll leave | 0:27:27 | 0:27:30 | |
you with the Chilean winner
of Best Foreign Film | 0:27:30 | 0:27:32 | |
at this year's Oscars,
A Fantastic Woman. | 0:27:32 | 0:27:34 | |
Starring rising 28-year-old
trans actor Daniela Vega, | 0:27:34 | 0:27:35 | |
the film is the story of a singer,
Marina. | 0:27:35 | 0:27:38 | |
Following her boyfriend's death,
she is forced to confront the family | 0:27:38 | 0:27:42 | |
that won't accept her
for what she is, which is - | 0:27:42 | 0:27:45 | |
like Hedy Lemarr,
Susan Sarandon and ... | 0:27:45 | 0:27:47 | |
Ellen E Jones - sorry Chris! | 0:27:47 | 0:27:48 | |
A fantastic woman. | 0:27:48 | 0:27:50 | |
Good night! | 0:27:50 | 0:27:53 | |
DISTANT DANCE MUSIC | 0:28:10 | 0:28:16 |