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That is all the sport, now it is time for the film review. Hall hello | :00:00. | :00:21. | |
and welcome to the film review on BBC News. To take us through the | :00:22. | :00:27. | |
cinema releases, Mark Kermode. What we have? We have Belle, which the | :00:28. | :00:33. | |
critics have been raving about. We have Devils not, the new film from | :00:34. | :00:40. | |
Atom Egoyan, every creation of a real life crime. And we have The | :00:41. | :00:49. | |
Young and Prodigious TS Spivet, a title that does not trip off the | :00:50. | :00:54. | |
tongue, from Jean`Pierre Jeunet. Belle, the critics loved it? | :00:55. | :00:59. | |
Directed by Amma Asante, who has done a terrific job. The film is a | :01:00. | :01:05. | |
mixture of fact and fiction about a character who grew up in Kenwood | :01:06. | :01:10. | |
house. She was the daughter of a naval captain and an African woman, | :01:11. | :01:14. | |
taken under the care of her uncle, who happened to be Lord Chief | :01:15. | :01:21. | |
Justice. Lord Mansfield. She grew up in Kenwood house and that was a | :01:22. | :01:24. | |
famous painting of her and her half cousin. The painting is remarkable | :01:25. | :01:27. | |
because they appear to be on an equal social status. The writer and | :01:28. | :01:31. | |
director have looked at this painting and have delved back in | :01:32. | :01:35. | |
time and examined her life. Very little was known about her although | :01:36. | :01:38. | |
we know a lot about Lord Mansfield and what was going on at the time, | :01:39. | :01:41. | |
with the abolitionist movement was strong at the end of the slave | :01:42. | :01:45. | |
trade. And they have created a fictional story around the bare | :01:46. | :01:49. | |
bones of that. About this woman's extraordinary circumstance, | :01:50. | :01:55. | |
imagining what life must have been like, trying to find a place in a | :01:56. | :01:58. | |
society very much like a character in a Jane Austen novel but with a | :01:59. | :02:02. | |
great historical twist. Here is a clip. We are to finally come out? | :02:03. | :02:12. | |
Elizabeth is to come out. Dido is not. Why? You understand the ways of | :02:13. | :02:19. | |
the world for a female, Dido? Elizabeth has no income. You are to | :02:20. | :02:24. | |
meet as many gentlemen as possible before we make the match. When all | :02:25. | :02:28. | |
this has gone to her father, there will be nothing left for her. And | :02:29. | :02:34. | |
me? Any gentleman of good breeding would be unlikely to form a serious | :02:35. | :02:38. | |
attachment to Dido and a man without would lower her position in society. | :02:39. | :02:46. | |
But she is not merely my cousin, she is my sister. These are the keys of | :02:47. | :02:51. | |
the house. Cannot attend London without her. They have hung to your | :02:52. | :02:55. | |
aunt's waste for the last few years. I am not an unwonted made. Lady Mary | :02:56. | :03:00. | |
is too old to continue in charge of the house. You may pick up your | :03:01. | :03:04. | |
duties on your return. I will need you to keep each other out of | :03:05. | :03:09. | |
trouble. Class and race. A rising star there, | :03:10. | :03:18. | |
with a terrific performance as Dido. And Tom Wilkinson as Lord Mansfield. | :03:19. | :03:23. | |
And what it manages to do is to say OK, let's take an important story | :03:24. | :03:26. | |
about class and race and gender and let's dress it up like a costume | :03:27. | :03:34. | |
drama. Let's treat it as a Jane Austen narrative, about social | :03:35. | :03:39. | |
position and the choice of a husband, is it possible to marry | :03:40. | :03:43. | |
under these circumstances, and let's wed it together with social | :03:44. | :03:47. | |
history. And I'd think it does it marvellously. Some critics have been | :03:48. | :03:51. | |
sniffy and have said that it is a little bit saccharine. I'd disagree | :03:52. | :03:55. | |
entirely. I was swept away and a lot of the characters. I thought the | :03:56. | :03:58. | |
performances were traffic in the direction was precise. The director | :03:59. | :04:03. | |
has managed to say, I want to address the widest possible audience | :04:04. | :04:06. | |
and I want this to play to a mainstream audience. I want this to | :04:07. | :04:11. | |
work for the people who would enjoy Denton `` Downton Abbey. I want to | :04:12. | :04:18. | |
give them are subversive story without it appearing so. I'd think | :04:19. | :04:22. | |
it is a terrific piece. I will like the characters and it was vibrant | :04:23. | :04:26. | |
and lively. I cried on more than one occasion. I think it is one of the | :04:27. | :04:32. | |
highest purposes of cinema, to move you to tears. What was interesting | :04:33. | :04:36. | |
was like a moat of the screening and another critic said, I think I have | :04:37. | :04:40. | |
something in my eye and a third critic said, it was just like a | :04:41. | :04:44. | |
costume drama. Just a costume drama? What does that mean two it means | :04:45. | :04:50. | |
that people will like it. Not a bad idea for a director. It is an | :04:51. | :04:53. | |
enjoyable and well played movie and really intelligent. Devils not is | :04:54. | :05:00. | |
based on quite a notorious case from 20 years ago. A celebrated case | :05:01. | :05:05. | |
about which there have already been four documentaries and several | :05:06. | :05:08. | |
books. It is a terrible, terrible murder case. Three young boys were | :05:09. | :05:15. | |
murdered in 1993 and subsequently their work convictions of three | :05:16. | :05:18. | |
people caught up in what looked like a witchhunt about Satanism. This | :05:19. | :05:31. | |
film follows the aftermath of the crime, in which there is a court | :05:32. | :05:36. | |
case and it is apparent that the police's job has not been done | :05:37. | :05:39. | |
properly. Leeds have not been followed up and witnesses have not | :05:40. | :05:41. | |
been properly questioned. People have confessed and then retracted | :05:42. | :05:46. | |
confessions. The film is intelligently rectify at Omega Ryan, | :05:47. | :05:50. | |
has addressed at this difficult subject matter before. `` | :05:51. | :05:54. | |
intelligently directed by Atom Egoyan. But do not know what it | :05:55. | :05:59. | |
brings to the subject that the documentaries did not. The | :06:00. | :06:03. | |
documentary brought to our attention what an appalling case it was. I do | :06:04. | :06:07. | |
not know what the dramatisation brings to it. The case is so well | :06:08. | :06:11. | |
known and has been the subject of such public interest, and people | :06:12. | :06:18. | |
have delved into it so far. In the end, the film says we don't know | :06:19. | :06:24. | |
what happened but let's look at the aftermath. Fine, but the | :06:25. | :06:27. | |
documentaries did this better. Gugu Mbatha`Raw, the new film by | :06:28. | :06:32. | |
John PL Jenny `` ?Devil Knot, the new film by Jean`Pierre Jeunet. The | :06:33. | :06:39. | |
title character is a young boy who lives with his mother and father, a | :06:40. | :06:42. | |
cowboy. He is about to invent a perpetual motion machine and the | :06:43. | :06:47. | |
Colts to Washington. It is OK, it is a fantasy. That would be quite a big | :06:48. | :06:51. | |
deal! It is not meant to be real. Here is a clip. | :06:52. | :06:59. | |
The human had life `` is head lice beyond... When you're drunk legs, | :07:00. | :07:09. | |
make sure to observe not just how many there are but the exact | :07:10. | :07:12. | |
distance between them. The exact distance between them. Beware of | :07:13. | :07:20. | |
mediocrity, the fungus of the mind. We must constantly fight against it. | :07:21. | :07:29. | |
Dina! It got away. Here, Nicola Su to catch him. `` make a last Su. He | :07:30. | :07:41. | |
turns everything that is beyond his mental grasp into one big joke. This | :07:42. | :07:46. | |
is described as a 3D adventure. You know how I'd feel about 3D. One of | :07:47. | :07:51. | |
my few exceptions, Hugo, the Martin Scorsese film, which was about the | :07:52. | :07:55. | |
workings of clocks and automatons, this is very similar. The use the | :07:56. | :07:59. | |
same stereo prefer. As with so much of Jean`Pierre Jeunet's staff, he | :08:00. | :08:05. | |
made one of the Alien films and Amelie. It is a thumb about | :08:06. | :08:08. | |
mechanics in which diagrams flow at the screen and you are being asked | :08:09. | :08:12. | |
to look at the workings of any particular situation. The 3D works | :08:13. | :08:15. | |
well because, as with Hugo, it does not attempt to draw you into the | :08:16. | :08:19. | |
picture so much as remind you that what you are doing is watching a | :08:20. | :08:23. | |
mechanical invention. It is like opening up a Swiss watch and looking | :08:24. | :08:27. | |
at the workings. It is not particularly profound. I love the | :08:28. | :08:32. | |
colour palette. I thought it was well cast and the young star is | :08:33. | :08:36. | |
really to refer it. But the real star of the film is Jean`Pierre | :08:37. | :08:40. | |
Jeunet's I for the study of B. What he has done, remember those few | :08:41. | :08:45. | |
masters? He had one when he was eight and he took it apart. This is | :08:46. | :08:50. | |
basically a grown man who has an 8`year`old used to take them apart, | :08:51. | :08:54. | |
doing it on a big screen with a kind of fantastical children's story | :08:55. | :08:57. | |
about a kid who invents a perpetual motion machine. I kind of liked it. | :08:58. | :09:02. | |
It is flimsy, in an entertaining way. And a great cast. Helena Bonham | :09:03. | :09:10. | |
Carter. She has not been banned in anything for a very long time. We | :09:11. | :09:14. | |
have talked about Jimmy is hole before but it is terrific. If you | :09:15. | :09:17. | |
have not seen it, Ken Loach's latest. He has had some spats with | :09:18. | :09:23. | |
critics lately where he said he thought the critics should be placed | :09:24. | :09:26. | |
by real people but you cannot argue with Jimmy Saul. It is a great film | :09:27. | :09:35. | |
about a great place in Ireland, a crew `` a free space. It has singing | :09:36. | :09:39. | |
and dancing and you like the characters. It is fun! Grief! It is | :09:40. | :09:43. | |
funny that people portray Ken Loach's movies as publicity is but | :09:44. | :09:50. | |
it is lively and vibrant. And it is good fun with a serious point. The | :09:51. | :09:53. | |
invisible woman, a lot of people might have missed it when it was in | :09:54. | :09:58. | |
the cinema. It is a film with a historical back`up, about Charles | :09:59. | :10:01. | |
Dickens. It is about his relationship with his mistress. And | :10:02. | :10:06. | |
I think what liked about it once it is very underplayed, a film of tiny | :10:07. | :10:13. | |
gestures and tiny movements. At no point does it feel the need to be | :10:14. | :10:16. | |
brash or military mattock. It sees significance in the smallest | :10:17. | :10:19. | |
gestures. Very well played and well directed. And again, an interesting | :10:20. | :10:26. | |
story about what it means to be someone's mistress, in a society in | :10:27. | :10:29. | |
which you do not have marital privileges. It does have a solid | :10:30. | :10:34. | |
underpinning but in the end, it is a human drama about people that you | :10:35. | :10:39. | |
come to care about. And also, Dickens' life story is a great | :10:40. | :10:43. | |
story. The secret mistress, there was that wonderful book on which | :10:44. | :10:48. | |
this is based. It has taken liberties with what we know but it | :10:49. | :10:53. | |
is very believable. Everyone plays a very believably. And I love the | :10:54. | :10:58. | |
direction is so restrained. It does not overstate anything. And Ray | :10:59. | :11:03. | |
finds is a fine director as well as an actor. `` Ralph Fiennes. A quick | :11:04. | :11:08. | |
reminder that you will find more film news and reviews from Mark on | :11:09. | :11:16. | |
his BBC blog. That is it from us for this week. Thank you for watching | :11:17. | :11:18. | |
and goodbye. Good evening. The weekend is almost | :11:19. | :11:33. | |
upon us. And it has been sunny and warm in the South recently. Is it | :11:34. | :11:37. | |
going to last? Do not think so. It will turn cooler but it is not a | :11:38. | :11:42. | |
write off by any means. A lot of dry weather in spite of a fair bit of | :11:43. | :11:46. | |
cloud. You can see the cloud across the North but also you can see that | :11:47. | :11:50. | |
it is making progress southwards. Turning lumpy across the | :11:51. | :11:51. |