Browse content similar to 04/04/2014. Check below for episodes and series from the same categories and more!
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Aintree. All in sports day at 6. 30. Now on BBC news it is time for the | :00:00. | :00:00. | |
film review. Hello and welcome to the Film Review | :00:00. | :00:27. | |
and BBC News, what have we got? As I am sure you know, this is the week | :00:28. | :00:32. | |
that Noah opens, the great big controversial or is | :00:33. | :00:40. | |
or is it biblical epic. We have Mark Cousins' A Story Of Children And | :00:41. | :00:46. | |
Film, and The Double by Richard Ayoade. We have all been waiting for | :00:47. | :00:51. | |
Noah in different ways! You basically know the plot, the period | :00:52. | :00:56. | |
after the creation, the rains are going to come down, Noah has a | :00:57. | :01:00. | |
vision that he needs to build a massive ark, he will put all the | :01:01. | :01:05. | |
animals in it. There has been a lot of controversy over whether this | :01:06. | :01:09. | |
takes to the big book version. I love people being annoyed about a | :01:10. | :01:13. | |
film`maker taking liberties with the story of a six hole digger `` a | :01:14. | :01:21. | |
600`year`old man hearing voices in his head. But Darren Aronofsky has | :01:22. | :01:26. | |
taken inspiration from a number of sources, and the Bible is only one | :01:27. | :01:30. | |
of them. Consequently, we have a great big, romping epic, closer to | :01:31. | :01:35. | |
George Lucas than it is to Genesis, in which you have Noah as this | :01:36. | :01:39. | |
increasingly mad figure, literally driven bonkers by these demands to | :01:40. | :01:44. | |
do something, which seem really outrageous, and on the other hand | :01:45. | :01:49. | |
Ray Winstone as sort of the reason that the creator, not..., the | :01:50. | :01:53. | |
creator is sending the rain. Here is a clip. | :01:54. | :01:56. | |
When I heard talk of miracles, I dismissed them. But then I saw the | :01:57. | :02:03. | |
birds with my own eyes and I had to come. There isn't anything for you | :02:04. | :02:08. | |
here. This all belongs to me. This land, this forest. That stronghold | :02:09. | :02:15. | |
of yours. Did you really think you could protect yourself from me in | :02:16. | :02:18. | |
that? It's not protection from you. Then what is it? An ark ` to hold | :02:19. | :02:24. | |
the innocent when the creator sends his deluge to wipe out the wicked | :02:25. | :02:29. | |
from this world. Return to your cities of Cain! Know we have all | :02:30. | :02:34. | |
been judged! I have men at my back and you stand alone and defy me? I'm | :02:35. | :02:40. | |
not alone. It is not a 1950s biblical epic, is | :02:41. | :02:55. | |
it? Definitely 21st century. It is a science`fiction and fantasy movie, | :02:56. | :02:58. | |
and good for it. Many people familiar with the story from the | :02:59. | :03:01. | |
Bible will not run but that there are six gigantic rock monsters, | :03:02. | :03:12. | |
Angels, who looked like the bold of monster from Galaxy Quest, they do a | :03:13. | :03:18. | |
lot of the building of the ark. Darren Aronofsky has said, this is a | :03:19. | :03:23. | |
myth, a story that resonates through west and east, through a number of | :03:24. | :03:28. | |
religions, let's just go with it. He's great with human obsession, | :03:29. | :03:31. | |
Black Swan, how it destroys people and how their minds change, and that | :03:32. | :03:37. | |
sounds a bit like Noah here. You definitely get that with Russell | :03:38. | :03:41. | |
Crowe's Noah, who becomes an extremist eco`warrior, save the | :03:42. | :03:45. | |
animals and let everybody else try one. He becomes incredibly | :03:46. | :03:50. | |
unsympathetic, he is somebody who is borderline mad. Actually, if we get | :03:51. | :03:55. | |
into his character and believe in the character, and for a lot of it | :03:56. | :03:58. | |
we do not, it is because of Jennifer Connelly, who places long`suffering | :03:59. | :04:02. | |
wife, who enables the human contact. The film is terribly | :04:03. | :04:06. | |
flawed, utterly preposterous, occasionally exasperating, but it is | :04:07. | :04:10. | |
to be congratulated for being as out there as it is. I like the fact that | :04:11. | :04:15. | |
are not he has said, I am going to do a version of the Noah story, it | :04:16. | :04:20. | |
is pretty madcap already, let's just go for it. There are moments with | :04:21. | :04:23. | |
the walking rock angels, you could hear people in the screening going, | :04:24. | :04:28. | |
what?! It is a great big romping science`fiction movie that has a | :04:29. | :04:31. | |
biblical connection in the background. It is what it is. It is | :04:32. | :04:39. | |
what it is! I am a very big fan of Mark Cousins. Who isn't, frankly? He | :04:40. | :04:43. | |
has made a beautiful documentary about the portrayal of children in | :04:44. | :04:47. | |
film, and it is basically a visual essay. He starts with a film that he | :04:48. | :04:51. | |
made in a zone of his nephew and niece playing, and he starts looking | :04:52. | :04:54. | |
at it and saying that he sees in their faces all these different | :04:55. | :04:58. | |
expressions, you know, at times moody, showing off, sad. Then he | :04:59. | :05:04. | |
says, let's look at how these expressions have occurred throughout | :05:05. | :05:06. | |
the history of cinema. He takes us on a trip that goes over decades, | :05:07. | :05:12. | |
continents, formats, from old silent film to modern video, and he does so | :05:13. | :05:16. | |
in a way that only he could do. It is lyrical, poetic, you be like you | :05:17. | :05:21. | |
are learning about cinema, but most importantly you are watching the | :05:22. | :05:24. | |
creation of a work of art. He is a critic on the one hand, but he is an | :05:25. | :05:30. | |
artist, a genuine poet of the moving image. And it is the breadth of | :05:31. | :05:34. | |
knowledge, extraordinary. He writes beautifully. In terms of research, | :05:35. | :05:39. | |
there is stuff... The research is extraordinary, but it is done with | :05:40. | :05:44. | |
such a light touch, at one point he is in Van Gogh's bedroom, looking at | :05:45. | :05:48. | |
a beauty obsessed over, then the Isle of Skye, and all the way | :05:49. | :05:52. | |
through is this almost fairy tale sense that you are being led through | :05:53. | :05:57. | |
like a fable. I was enchanted by it, but also really impressed, just with | :05:58. | :06:01. | |
the scope of film knowledge. I mean, he is one of film knowledge. I mean, | :06:02. | :06:07. | |
he is one`of`a`kind about doubles, because I think it is a really | :06:08. | :06:11. | |
hacked device for saying, let's give him an evil twin, here here we go. | :06:12. | :06:18. | |
It is a Richard Ayoade film inspired by Dusty Askey, it is a future retro | :06:19. | :06:23. | |
setting, Jesse Eisenberg is an obvious Schlupp, turned upside down | :06:24. | :06:27. | |
by the arrival of a double who is everything he is not, confident, | :06:28. | :06:32. | |
forthright and somebody who gets his way in the world. Here is a clip. | :06:33. | :06:36. | |
What'll it be? What, do you want to... Sorry, I'll just have a Coke | :06:37. | :06:41. | |
and a bagel. We're out of bagels. Oh, right, then...right, then I'll | :06:42. | :06:48. | |
just... Come on. I'll just... I'll just have the Coke, then, I guess. | :06:49. | :06:55. | |
Coke, and you? A coffee and scrambled eggs. We don't serve | :06:56. | :06:59. | |
breakfast in the evening. Why not? Because it says so on the menu. | :07:00. | :07:02. | |
Well, do you still have eggs here? Yeah. And do have a frying pan? | :07:03. | :07:06. | |
Yeah. Then do me a favour and make me some scrambled eggs. Fine, | :07:07. | :07:09. | |
anything else? Bacon and toast and a beer. And a beer, anything else? No, | :07:10. | :07:15. | |
that's it. Are you sure? Just get me the damn food! | :07:16. | :07:25. | |
I am converted, Jesse Eisenberg is terrific. He is very good in that | :07:26. | :07:31. | |
dual role, they are two very distinct characters. One of the | :07:32. | :07:33. | |
things that is interesting about this, when you watch it, you see | :07:34. | :07:38. | |
some of Terry Gilliam's Brazil, such a brilliantly designed film, the | :07:39. | :07:42. | |
high watermark of that dystopian future fantasy. You can you from the | :07:43. | :07:46. | |
sound effects, it has the rumbling industrial groaning of Eraserhead. | :07:47. | :07:54. | |
He does well to dramatise this arts editor paranoia, where somebody who | :07:55. | :07:58. | |
looks exactly like you is in the world and nobody else notices. | :07:59. | :08:05. | |
Occasionally, its point of reference are too obvious. As soon as you | :08:06. | :08:09. | |
start evoking Brazil and Eraserhead, those are hard films to live up to, | :08:10. | :08:16. | |
but it does a pretty good job of it. It has that grey`green `brown sense | :08:17. | :08:21. | |
of industrial conformity, and there is, as I said, this great sense of | :08:22. | :08:26. | |
absurdist paranoia. You are in a world that makes no sense, but it | :08:27. | :08:29. | |
appears to make sense to everyone other than you. So you enter into it | :08:30. | :08:36. | |
completely. Presumably Jesse Eisenberg's performances, two | :08:37. | :08:38. | |
different characters are the key. If that doesn't work, the movie | :08:39. | :08:44. | |
doesn't. Everything we saw about them, their stands, their manner, | :08:45. | :08:48. | |
and we saw in the clip, what makes it worse is that there is this other | :08:49. | :08:52. | |
version of himself doing well, and he starts being edged out of his own | :08:53. | :08:56. | |
life, which is a very Woody Allen idea, but it works well. Your best | :08:57. | :09:02. | |
of the week is the French film The Past. I love this, Asghar Farhadi | :09:03. | :09:08. | |
making a film in France, a wonderful performance by Berenice Bejo, who we | :09:09. | :09:12. | |
saw in the Artist, a wonderful physical performer. It is a really | :09:13. | :09:16. | |
intelligent and insightful look at the changing nature of relationships | :09:17. | :09:19. | |
and about people's inability to escape the past. And I think it is | :09:20. | :09:23. | |
wonderful, you should definitely see it, I know you liked the Separation. | :09:24. | :09:30. | |
Very much, but how far is this the clash of civilisations idea as well? | :09:31. | :09:36. | |
An Iranian film`maker, Berenice Bejo, who is not. Working in a | :09:37. | :09:41. | |
language which is not his own. One of the terrific things is that he | :09:42. | :09:45. | |
has an eye for culture, Separation is about a couple and the culture | :09:46. | :09:49. | |
they are in. This is, similarly, about marriages and divorces, but it | :09:50. | :09:54. | |
is about the French setting, and I think he is about the French | :09:55. | :09:56. | |
setting, and I think he's a genuinely international film`maker. | :09:57. | :09:58. | |
I think you could put him anywhere in the world and he would understand | :09:59. | :10:01. | |
what was specific about that culture, but also what was | :10:02. | :10:08. | |
universal. You picked Frozen, I have not opened it yet! White?! I thought | :10:09. | :10:12. | |
it would be a bit schmaltzy and I have not had time. This is | :10:13. | :10:18. | |
terrific, it is basically them doing what they do best, it is a fairy | :10:19. | :10:22. | |
tale which you sort of know, but it has been revised to have a young, | :10:23. | :10:26. | |
modern message. The ending of it breaks a number of boundaries, which | :10:27. | :10:31. | |
I thought was handled well. The songs are fabulous, the animation is | :10:32. | :10:38. | |
really lovely to look at, a kind of land of ice, I saw it in the cinema | :10:39. | :10:42. | |
and on DVD, and for home viewing it worked every bit as well. I think it | :10:43. | :10:47. | |
is a modern classic, and I think they have done really well. Who is | :10:48. | :10:53. | |
it for? Disney say everybody. The great joys of the classic Disneys is | :10:54. | :10:57. | |
that they are kind for everybody, if you go back and look at the classic | :10:58. | :11:02. | |
animations, they work the ages. You could take a child to see this, and | :11:03. | :11:06. | |
you would be laughing as much as they would, but I am saying you very | :11:07. | :11:10. | |
specifically ` you would be enchanted by it! Give it a go, it is | :11:11. | :11:16. | |
a really, really charming film. You have sold to me. Thank you very | :11:17. | :11:19. | |
much, you will find more film news and reviews from Mark on his blog. | :11:20. | :11:26. | |
That is it for this week, thank you for watching and goodbye. | :11:27. | :11:41. | |
Good evening! I do not think the weather is exactly going to be as | :11:42. | :11:47. | |
spectacular this weekend, most places will get wet at some point, | :11:48. | :11:50. | |
there will be some | :11:51. | :11:51. |