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says that records mean nothing for is as they look the equal the most | :00:00. | :00:00. | |
consecutive number of wins. But now BBC News it is time for the film | :00:00. | :00:00. | |
review. Hello and welcome to the film review | :00:00. | :00:26. | |
on BBC News, to take us through this week cinema releases is Mark | :00:27. | :00:32. | |
Kermode. What do we have? United Kingdom, it safer we have talked | :00:33. | :00:37. | |
before at the London film Festival. And Allied, a wartime drama with RAD | :00:38. | :00:46. | |
Pitt and Marion Cotta yard. And Patterson, about a poet called | :00:47. | :00:55. | |
Paterson Paterson. United Kingdom which has had brilliant advert. | :00:56. | :01:06. | |
Based on a true story, Rosamond Park, is working in London in 1947, | :01:07. | :01:13. | |
she meets and falls in love. Initially unbeknownst to her, he is | :01:14. | :01:17. | |
the heir to the throne in Botswana. He proposes and she accepts, to | :01:18. | :01:23. | |
start a new life with him. This immediately infuriates the British | :01:24. | :01:28. | |
authorities who are worried about alienating South Africa. Meanwhile, | :01:29. | :01:31. | |
when they get to the land, they don't get any more of a welcome from | :01:32. | :01:39. | |
the uncle. Here is a clip. Your first duty is to your people, your | :01:40. | :01:49. | |
nation. You are a son to me. Please. Be my son. I will entertain you in | :01:50. | :01:59. | |
my home if that is my husband 's wish, but don't insult us. It is | :02:00. | :02:06. | |
audacious of you to come here and present your self married as if it | :02:07. | :02:12. | |
were your right to be our Queen. Who do you think will accept you? The | :02:13. | :02:21. | |
men? Us? The women. To have a white woman who we must love and trust and | :02:22. | :02:31. | |
respect as our sovereign. LAUGHTER You belong to the white but they | :02:32. | :02:37. | |
won't want to either. STUDIO: It doesn't pull its punches? It | :02:38. | :02:43. | |
doesn't. And they are worrying about alienating South Africa and | :02:44. | :02:45. | |
undermining the marriage. The thing I relight about it, is that, the | :02:46. | :02:53. | |
director has a trivial wealth making a personal political and the | :02:54. | :03:01. | |
political personal. This is a story of political change, told through | :03:02. | :03:07. | |
romance and relationship, the film has an epic sweep. On the one hand | :03:08. | :03:12. | |
it has fantastic landscape scenery but it also dramatises its central | :03:13. | :03:15. | |
conflict in the interplay between on the one hand, proper outdoor scenery | :03:16. | :03:22. | |
and fusty interiors. Some kind of battle between the past and the | :03:23. | :03:25. | |
present, the establishment and change. The director started out as | :03:26. | :03:31. | |
an actor, she was in Grange Hill. That has put in very good stead. | :03:32. | :03:40. | |
Fantastic work from the producer. Bosman Pike breathing life into the | :03:41. | :03:45. | |
central character. And what you get, is the story, it is stranger than | :03:46. | :03:53. | |
fiction, it is really important and global invitations. But it is being | :03:54. | :03:58. | |
told on the level of the personal. I think this is her real talent, she | :03:59. | :04:05. | |
understands, that you take, and keep it in the detail, Rosamond Pike | :04:06. | :04:12. | |
smiles and looks anxious. The day that somebody else stands, and also | :04:13. | :04:20. | |
it is a very, it is a crowd pleasing film. I saw it in a packed cinema, | :04:21. | :04:26. | |
they were laughing at the jokes, and swooning in the romance. Everybody | :04:27. | :04:32. | |
loves a very difficult romance? Yes but you have to do it well to avoid | :04:33. | :04:37. | |
it falling into cliche and I think she absolutely does that, it is a | :04:38. | :04:43. | |
really good solid film. Now allied, I have read a lot about this in the | :04:44. | :04:50. | |
newspapers. Go ahead. So Brad Pitt and Marion Cotillard, any film, that | :04:51. | :04:56. | |
require somebody to say with a straight face, I have loved you | :04:57. | :04:59. | |
since Casablanca. The meeting Casablanca and they fall in love in | :05:00. | :05:05. | |
the middle of a plot to kill top Nazis. Suspicion falls on their | :05:06. | :05:11. | |
relationship. The whole thing nods towards Casablanca. I was thinking | :05:12. | :05:14. | |
of that film Havana, which was trying to be Casablanca and this is | :05:15. | :05:19. | |
almost like a second-generation down the line. One of the weird things | :05:20. | :05:23. | |
about it, a lot of stuff in the press about it. Yes and Casablanca | :05:24. | :05:27. | |
is one of the most sizzling movies you will ever see. In this | :05:28. | :05:33. | |
particular case they literally look like they don't know each other. | :05:34. | :05:37. | |
There is so little sizzle between them that at one point they have to | :05:38. | :05:42. | |
construct, this sequence, this passionate sequence by swirling the | :05:43. | :05:47. | |
camera around and around in a car inside a sandstorm to carnage as | :05:48. | :05:50. | |
some kind of sense that something is actually happening. It is really | :05:51. | :05:58. | |
bizarre because you keep thinking, it is a good-looking throwback film | :05:59. | :06:03. | |
but not old-fashioned, like fusty, and it doesn't really work. There | :06:04. | :06:09. | |
are lines of dialogue and you just think, you know the bravest thing on | :06:10. | :06:13. | |
display in this film is that you just said that out loud. It is not | :06:14. | :06:16. | |
terrible but it is really not very good. Anything that is compared to | :06:17. | :06:26. | |
Casablanca is going to start badly. Don't mention Havana. Now, Paterson, | :06:27. | :06:31. | |
I have not seen the film, I have heard many reviews and I don't have | :06:32. | :06:35. | |
the faintest idea what this is about. I have seen the film and I | :06:36. | :06:39. | |
might be in the same position as you, it is the latest from Jim Josh. | :06:40. | :06:46. | |
It is the week in the life of a bus driver called Paterson from Paterson | :06:47. | :06:49. | |
and he drives his bus around Paterson New Jersey, and at night he | :06:50. | :06:54. | |
walks his dog to the local bar where he has interactions with people. But | :06:55. | :06:59. | |
most of the time he is living at home, with his love, who is ready | :07:00. | :07:05. | |
wonderful and they have a very good relationships together. And then he | :07:06. | :07:09. | |
write poems about the relationship which remain unpublished because he | :07:10. | :07:15. | |
keep them in a book which he doesn't show to anybody except himself. How | :07:16. | :07:26. | |
was your day? The usual. Getting your writing done? I did a little, | :07:27. | :07:40. | |
yes. Working on a poem for you. A love poem? Yes I guess is for you it | :07:41. | :07:46. | |
is a love poem, it is inspired by Ohio. Really? Does it mention the | :07:47. | :07:51. | |
little megaphone shape that the letters make? It does. How | :07:52. | :08:02. | |
beautiful, I can't wait to read it. That is pretty much the tone of the | :08:03. | :08:07. | |
film and it is gentle and sweet and observant and unexpected encounters | :08:08. | :08:11. | |
with people that never turn out the way they are supposed to which is | :08:12. | :08:18. | |
beautifully shot. It captures the strange beauty of a suburban street | :08:19. | :08:22. | |
and in court intimacy of a small but happy home. It is difficult to show | :08:23. | :08:27. | |
the creative process, as he writes you can see the handwriting that he | :08:28. | :08:31. | |
was writing them in, and the handwriting is soft and gentle like | :08:32. | :08:36. | |
his delivery. And the whole film becomes like a tiny poem. I have to | :08:37. | :08:42. | |
say I was utterly and shunted. The only thing I know about Paterson, | :08:43. | :08:47. | |
New Jersey is that Ruben hurricane Carter was fitted up by the police | :08:48. | :08:52. | |
and Bob Dylan wrote a great song about it called hurricane. There is | :08:53. | :09:00. | |
a long bit about whether it was, how much of the poems inspired Paterson. | :09:01. | :09:06. | |
Our central character. It is one of those things that demonstrate that | :09:07. | :09:10. | |
you cannot sum up a film with a plot summary. He goes to work for a week | :09:11. | :09:14. | |
and he writes some poems. I love it. Really lovely. So this is great, | :09:15. | :09:29. | |
this is this animate, it opened yesterday,, it is a really to | :09:30. | :09:34. | |
restrict body swap story, a boy living in Tokyo and a girl in a | :09:35. | :09:38. | |
mountaintop town and their spirit swap but they don't meet and so the | :09:39. | :09:41. | |
living each other's knives, but they don't meet and crucially they can't | :09:42. | :09:47. | |
render each other's names. It is beautiful it has got fantastic | :09:48. | :09:52. | |
soundtracks, it has got fancy and romance and mythology and you can | :09:53. | :09:56. | |
see it as a really good adventure, or something much deeper and I | :09:57. | :09:59. | |
thought it was terrific. And your DVD Ron Howard's the Beatles, eight | :10:00. | :10:07. | |
days a week. But yes really like this, I know that a lot of people | :10:08. | :10:12. | |
will know it. It captures them on tour to demonstrate that they are a | :10:13. | :10:16. | |
really exciting live band and to show you some stuff that you have | :10:17. | :10:19. | |
seen before but perhaps angles you have not seen before and to | :10:20. | :10:22. | |
concentrate on the fact that they were playing live rather than just | :10:23. | :10:26. | |
retreating into the studio and recording Sergeant Pepper. The songs | :10:27. | :10:30. | |
are timeless, but you will never have seen or heard them in this kind | :10:31. | :10:35. | |
of quality before. I dearly in the cinema. Big recommendation, that is | :10:36. | :10:45. | |
the DVD. You will find the news and reviews, on the website, thus you | :10:46. | :10:50. | |
can catch up on all of the programmes on the BBC type player. | :10:51. | :10:53. | |
That is it for this week, thanks for watching, enjoy the movies. Goodbye. | :10:54. | :11:05. | |
High a quiet sort of weekend and coming up, no great dramas like | :11:06. | :11:09. | |
further | :11:10. | :11:10. |