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news that Ugo Ehiogu died after a cardiac arrest. That's coming up on | :00:00. | :00:00. | |
Sportsday at half past six but now it is time for The Film Review. | :00:00. | :00:20. | |
Hello, and welcome to The Film Review on BBC News, to take us | :00:21. | :00:26. | |
through the cinema releases this week is Jason Solomons. What do we | :00:27. | :00:31. | |
have this week? The glamour of old school Hollywood comedy backdrop for | :00:32. | :00:34. | |
a love story between a starlet and her chauffeur under the watchful eye | :00:35. | :00:38. | |
of reclusive billionaire Howard Hughes in Warren Beatty use Rules | :00:39. | :00:47. | |
Don't Apply. We have the sands of Time, which reveal voices from a | :00:48. | :00:49. | |
hidden mirror in the form of Gertrude Bell's, letters from | :00:50. | :00:54. | |
Baghdad as read out by Tilda Swinton in the doctorate -- in the letters | :00:55. | :01:00. | |
from Baghdad. And wartime London's rubble provides the setting for | :01:01. | :01:04. | |
Gemma Arterton and Bill Nighy a in Their Finest, as they struggle to | :01:05. | :01:10. | |
produce wartime propaganda and -- wartime propaganda movies. We begin | :01:11. | :01:17. | |
with Rules Don't Apply. Warren Beatty, he hasn't had the best of | :01:18. | :01:24. | |
years! With that Oscars fiasco. It has been his 16 years since he wrote | :01:25. | :01:29. | |
and directed... This was meant to be his big return. As he gets older is | :01:30. | :01:36. | |
he getting better? This is a vanity project that he wrote, directed, | :01:37. | :01:41. | |
starred in... It's interesting, he began the end of old Hollywood with | :01:42. | :01:47. | |
his film Bonnie and Clyde. It brought indie cinema into the fore, | :01:48. | :01:52. | |
destroying the old studios, a success in 1967. This is old | :01:53. | :01:56. | |
Hollywood where he started out in as an actor. | :01:57. | :01:59. | |
You can imagine him coming into town like the star Lily Collins does | :02:00. | :02:04. | |
here. It's good on the details of how a boss like Howard Hughes ran | :02:05. | :02:10. | |
the studios will stop everybody is waiting on him. Starlets, showbiz | :02:11. | :02:14. | |
and businessmen. Even presidents wait on the wealth of Howard Hughes | :02:15. | :02:18. | |
for their green light. It shows how he used to keep Starlets in various | :02:19. | :02:25. | |
places, the big mansions he kept them in, they were secretive, they | :02:26. | :02:29. | |
had rules that apply to them. But not too Warren Beatty's Howard | :02:30. | :02:36. | |
Hughes... Lowe I decided when I won a talent contest that maybe I would | :02:37. | :02:39. | |
give it a go in Hollywood. I am Frank. Two weeks in Los Angeles, you | :02:40. | :02:45. | |
are working for Howard Hughes? I'm having high hopes. $400 a week on | :02:46. | :02:51. | |
top of this? I hope Howard Hughes doesn't expect to meet you in a | :02:52. | :02:55. | |
hotel room... I would like to thank you for my acting classes, ballet | :02:56. | :02:58. | |
classes and the chance to become a star. What the hell is she doing | :02:59. | :03:06. | |
here? You said you wanted that girl? Yes, Marilyn Monroe! She is a | :03:07. | :03:13. | |
Baptist none... Sex is bad because it could lead to dancing. I am a | :03:14. | :03:21. | |
square. Movie actresses are supposed to be sexy, and they the rules in | :03:22. | :03:26. | |
this town? Without Carly Simon here, some people suggest that Warren | :03:27. | :03:29. | |
Beatty could be talking about himself and some of this? You think | :03:30. | :03:35. | |
this film is about you... He has been a figure in Hollywood, and him | :03:36. | :03:40. | |
playing Howard Hughes recently, played by Leonardo DiCaprio in | :03:41. | :03:45. | |
Martin Scorsese's The Aviator, he is a strange and shadowy figure that | :03:46. | :03:49. | |
Warren Beatty plays himself. Like Indiana Jones, with a pilot jacket. | :03:50. | :03:53. | |
I think Warren Beatty becomes obsessed with the mania that Howard | :03:54. | :03:58. | |
Hughes himself was overtaken by and the film becomes oppressive and | :03:59. | :04:01. | |
oppressive, you think it will be light and fluffy and full of 50s | :04:02. | :04:05. | |
jazz numbers, but it isn't. The romance between Lily Collins and | :04:06. | :04:14. | |
Alden Ehrenreich, it is overshadowed by his ego in his own film, a Howard | :04:15. | :04:20. | |
Hughes thing to do. I see where he was going but it is like Oscars | :04:21. | :04:24. | |
night, chaos awaits those fingertips! He will never live it | :04:25. | :04:27. | |
down! Letters from Baghdad. We've all | :04:28. | :04:31. | |
heard about Lawrence of Arabia but not many people have heard of | :04:32. | :04:34. | |
Gertrude Bell, the Queen of the Desert? Yes, maybe we have heard of | :04:35. | :04:41. | |
Lawrence of Arabia because of that epic tribute, Gertrude Bell never | :04:42. | :04:45. | |
really had hers, this documentary is as epic as it gets. There is another | :04:46. | :04:51. | |
film with Nicole Kidman in where she stars, this is a more fitting | :04:52. | :04:55. | |
tribute through this letters that she left through her correspondence | :04:56. | :04:59. | |
in the desert. She was the most powerful women in the British | :05:00. | :05:02. | |
Empire, the end of World War I the borders of Arabia were being drawn. | :05:03. | :05:08. | |
She was very much involved in that with Winston Churchill, riding into | :05:09. | :05:15. | |
the desert, a redoubtable British colonial figure, intrepid explorer, | :05:16. | :05:19. | |
part spy, part stateswoman, part and quit Aryan. | :05:20. | :05:25. | |
In the Arab world, she learned Farsi, she understood everything. | :05:26. | :05:34. | |
Magnus Atlevi played -- magnificently played by Tilda | :05:35. | :05:37. | |
Swinton, who you would expect. What is well done in the documentary | :05:38. | :05:43. | |
directed by two women, they resurrected these letters, finding | :05:44. | :05:46. | |
brilliant archive footage from Baghdad and Damascus, all of that | :05:47. | :05:50. | |
stuff we see we see on the screen now. The Sphinx is an apt figure as | :05:51. | :05:57. | |
Gertrude Bell stares out. There's footage now from the region which is | :05:58. | :06:01. | |
war-torn and ravaged, war was always something in that sand, but there is | :06:02. | :06:06. | |
an elegance to it, a kind of colonial innocence in that footage | :06:07. | :06:09. | |
which is beautiful. It really summons up a lost time, Gertrude | :06:10. | :06:16. | |
Bell's voice rings out as a lost voice of the British Empire. Let's | :06:17. | :06:21. | |
move onto Their Finest. British film crew attempting to | :06:22. | :06:23. | |
morale during the Second World War. What's not to like? In this film, | :06:24. | :06:29. | |
they have Bill Nighy and Gemma Arterton. They wanted to make | :06:30. | :06:35. | |
authenticity and optimism shine out to boost morale through the war. | :06:36. | :06:40. | |
Happy news wasn't enough. Stiff upper lip, chocs away for Their | :06:41. | :06:45. | |
Finest, directed by Denmark's Lone Scherfig. This goes back to the | :06:46. | :06:53. | |
1940s, Gemma Arterton making her way as a script girl, directing slop | :06:54. | :06:57. | |
dialogue. A romantic dialogue in movies. Here she is, elbowing her | :06:58. | :07:01. | |
way and find her voice on the set. Even taking | :07:02. | :07:06. | |
Bill Nighy who plays a washed-up actor, Ambrose Hillyard. An example, | :07:07. | :07:13. | |
a mention of the clever code, I may say that would be the first clever | :07:14. | :07:16. | |
thing that she's done in her life! LAUGHTER | :07:17. | :07:23. | |
Just a dash of humour and further along... Excuse me... Certainly. No, | :07:24. | :07:33. | |
no... It's the caption at the end is going to be "He's not listening but | :07:34. | :07:38. | |
the enemy might be". Is a joke for women who never think that their | :07:39. | :07:42. | |
husbands pay attention. If you start answering, the caption would make | :07:43. | :07:50. | |
sense. I wrote it. The scenario? I will be in my dressing room, if | :07:51. | :07:56. | |
anyone needs me... Gemma Arterton revealed on the one show recently | :07:57. | :08:00. | |
that she used Alex Jones's accent as a model for that? There is a | :08:01. | :08:05. | |
presenting gig for her if the Oscars are not forthcoming! I did not know | :08:06. | :08:09. | |
that was Alex Jones, very good! She is very good in it, Gemma Arterton, | :08:10. | :08:13. | |
the rosy cheeked script girl who becomes the force of the movie. It | :08:14. | :08:18. | |
is about female voices coming in while the war was on. And gaining | :08:19. | :08:24. | |
some power. People saying that when the war was finished that the women | :08:25. | :08:26. | |
would not go back into their little boxes after this taste of freedom. | :08:27. | :08:32. | |
It is about that, but the film is good at wartime tailoring and | :08:33. | :08:35. | |
capturing that rubble of London. It is funny, witty and elegant, as you | :08:36. | :08:39. | |
would expect from people like Bill Nighy, but the spectre of death is | :08:40. | :08:43. | |
never far away. A bomb drop away. The rubble of London. There is a mix | :08:44. | :08:48. | |
of romance and the making of a movie, like Rules Don't Apply | :08:49. | :08:53. | |
earlier, there is that madness of making movies which hangs this | :08:54. | :08:57. | |
together. It's interesting, movies provide shape and structure, and an | :08:58. | :09:01. | |
ending where life at that time was full of mess and never did. That is | :09:02. | :09:05. | |
why people loved movies back then. 30 million people per week went to | :09:06. | :09:10. | |
the movies. It was the revival for the British people, after a demise | :09:11. | :09:14. | |
beforehand? It would be great if this can get an audience of 30 | :09:15. | :09:18. | |
million in the opening weekend, I don't think it will but this film is | :09:19. | :09:21. | |
bree witty, charming and elegantly done. A very good performance from | :09:22. | :09:26. | |
Gemma Arterton and neatly tied up by the director, Lone Scherfig, with a | :09:27. | :09:31. | |
good amount of skill. People would think it is a women's picture but it | :09:32. | :09:37. | |
has depth and elegance, and I love the wartime tailoring in the | :09:38. | :09:40. | |
costumes from Charlotte water. I may get one, a decent coat! The best out | :09:41. | :09:51. | |
is Get Out. It is a horror film? Yes, it is out at most on Mars, it | :09:52. | :09:57. | |
isn't a horror film in a scary way, race and is very edgy -- at most | :09:58. | :10:06. | |
cinemas. There is this depth going on, like the Stepford wives, a black | :10:07. | :10:09. | |
guy goes to a white bread neighbourhood to meet the parents, | :10:10. | :10:14. | |
the parents of his girlfriend... They do not know that her daughter's | :10:15. | :10:18. | |
boyfriend is black? And then they find out, then we realise that maybe | :10:19. | :10:23. | |
they do? It isn't a scary horror film with scary bits going on, it | :10:24. | :10:28. | |
could be a great date movie, it is a really edgy bit of US comedy, it | :10:29. | :10:33. | |
made me laugh a lot, Get Out. There is the British actor there who is | :10:34. | :10:38. | |
brilliant in it and Alison Williams, who was in Girls, that just finished | :10:39. | :10:41. | |
on television this week. If you are missing it, there is one of them in | :10:42. | :10:48. | |
Get Out. And the best DVD, the Lady from Shanghai. Orson Welles... And | :10:49. | :10:55. | |
Rita Heyworth, his wife at the time. She was a famous redhead. In this | :10:56. | :11:00. | |
famous nor are film, he cut her hair, and turned her blonde! The | :11:01. | :11:05. | |
studio were up in arms. They want her as a redhead. It's a bit of a | :11:06. | :11:12. | |
mess this movie, and the final sequence is a Hall of mirrors, you | :11:13. | :11:19. | |
don't know who is shooting at who, there's this scene which was later | :11:20. | :11:23. | |
spoofed. I love this film, it is a puzzle but has all of the classic | :11:24. | :11:27. | |
things you need from this kind of film. Orson Welles does one of the | :11:28. | :11:32. | |
worst Irish accents, he plays Michael O'Hara. Nevertheless, it has | :11:33. | :11:36. | |
a great atmosphere and shows that Orson Welles was a fantastic | :11:37. | :11:40. | |
film-maker but ultimately flawed. That is what you want from your | :11:41. | :11:43. | |
Orson Welles films. And that is what you want from Jason Solomons. | :11:44. | :11:48. | |
That's all for this week. Thank you for watching, goodbye. | :11:49. | :11:51. |