47 Groanin’

Traditionally on this blog film reviews go down like Nick Griffin on Robert Mugabe, i.e. very awkwardly. The comments tend to dry up rather quickly as people take the excuse “I haven’t seen that film / don’t plan to see that film so I can’t leave a comment anyway so I won’t even bother to read the blog at all. Job done”.

However, I’m bloody minded enough not to care and arrogant enough to think that the power of my writing can overcome any wilful lethargy in my readership. But to show I’m not totally uncaring to your plight I will keep this short.

47 Ronin.

I had high hopes for this. I saw it trailered at the cinema – it looked rather good – but life circumnavigated my attempts to see it on the big screen. So I bought a copy on Blu-Ray for my wife and I to enjoy at our leisure.

We watched it over the weekend.

And now I want to kill Keanu Reeves.

Because having seen his performance I have been left in the emotional state of permanent WTF?

WTF was he doing in that film? Just WTF? And I mean that conceptually, metaphorically and professionally. What. Was. He. Doing. [Big question mark.]

The original story is based on an 18th Century Japanese legend. 47 Samurai avenge their murdered Lord knowing that their own code of ethics will ultimately demand their own deaths via seppuku. There’s a poignancy and sad beauty to this along with scope for lots of action and martial arts choreography. In cinematic terms the story should be a sure-fire winner.

And the supporting cast – mostly Japanese / Asian – were excellent. No big names (by Western standards – but really, what do we know?) but still they impressed me. They gave it their all. Pathos and sensitivity at war in a culture where emotion is not meant to be overly shown. I’d argue that their performances were poised and subtle and damned impressive.

And then there was Keanu. Shoehorned into the story as a “half breed” with special magical powers.

Really?

I’m betting there’s no sign of his character at all in the original legend. He was just inserted because the producers decided they needed a big name to sell the film to the box office. So we get this bolted-on element to the story. An add-on that the plot doesn’t really require and, as a result, is totally imbalanced by. Keanu is like a bogoff deal that you want to refuse. No really. I don’t want the extra bit. I don’t want the freebie. Please, please keep it.

Now, if I was Keanu I‘d be thinking: I’m extraneous to this story; I’m superfluous to the requirements of the emotional arc, therefore, I’d better pull my finger out and act like I’ve never acted before and earn my right to be on the screen.

But I am not Keanu. Keanu is Keanu.

And that is the problem. Because Keanu is Keanu all the way through the film. Sullen. Unresponsive. Flat. Incongruous.

He talks in the same gruff monotone whether he’s been being beaten (a criminally too short scene), offering comfort to a dying comrade or exchanging romantic pleasantries with his love interest. He talks like the Hollywood voiceover man from the 60s and 70s. The one who invites you to come see the next Warner Brother’s [or whatever] spectacular in that voice that makes it sound morally imperative that you come to the cinema right now and have your life changed by the experience. You know the type of voice I mean. Now imagine that voice reciting a fragile poem by e.e.cummings and utterly ruining it, utterly disembowelling it with the barbarism of its relentlessly galloping speech rhythm. Now you have Keanu telling his lady love that he will search for her through a thousand worlds, through 10 thousand lifetimes. He spits the poetry out like a half chewed hamburger. In his mouth it becomes pure American gristle and the gentle lotus flower breeze of the Japanese love-story curls up and dies in the blast from his meaty breath.

And he has but one facial expression. The bearded grimace. That is it. All the way through the film. He grimaces. From behind his inexplicably dirty looking beard.

Death: grrr! Sadness: grrr! Fighting: grrr! Male bonding: grrr! Standing still and not talking: grrr!

And then, at the end, he becomes an honorary Samurai and gets to kill himself – along with the other Samurai – with full, painfully tragic honour.

In that single moment Bushido becomes bullshit and the entire point of the film is utterly destroyed.

Because, in my view, Keanu has no honour. Keanu is not a Samurai.

Not by a long chalk.

But he has more chance of becoming a Samurai than becoming an actor.

In fact he has more chance of becoming Japanese.

As Unbending As A Reed

I admit I have bummed out of blogging for the last 12 days. I've had the Easter break off with Karen and the boys and willingly allowed myself to drop some of the balls that I normally juggle in order to throw some others around instead.

I've done some other writing - a secret project that may or may not get published under my name - and I've done some reading. I haven't missed the blogging. That surprises me. I thought I would. At one time it was like heroin. It gave me an initial buzz and then for a long while I had to carry on doing it to feel normal.

It's nice to know that I can feel normal without it. Look, however, is a different matter. So does this mean I'm going to stop blogging? No. And I don't see why that should be a natural conclusion to jump to. It does mean, however, that perhaps I have a more sane approach to the whole blogging platform now. I have lowered my expectations of it enormously and the reward for this is a curious sense of freedom.

But that isn't what I want to write about today; that is just an apology for my recent absence.

*****

One of the books I read over my Easter break was "What Fresh Lunacy Is This?" - the authorized biography of Oliver Reed by Robert Sellers.

I grew up with Oliver Reed's films. It was pretty hard not to as he was a big name in the 60s and 70s. He was undeniably, unmistakably, that rarest of creatures - an actor with true presence; an actor who didn't need to speak to make his presence felt on screen. Whatever John Wayne or Lee Marvin had; Oliver had it too. In spades. Despite his acting world heritage (his grandfather was Sir Herbert Beerbohm Tree) Ollie shunned acting school and all attempts to get him to 'tread the boards'.

He disliked other actors. He disliked intellectuals and he disliked toffs - although, by all accounts, he was an exceedingly clever man and rather well brought up.

He liked pubs. He liked the ordinary man on the street. He liked larks and having fun and encouraging spontaneous 'happenings' to occur. His greatest anathema was boredom.

And his own legend.

It's hard to read an account of Ollie Reed's life without feeling your moral faculties forcibly bending towards the view that he wasted himself. That he destroyed his gifts - his looks, his voice, his potential to have become a huge megastar in Hollywood - that he wasted his entire life by giving it so willingly to the demon drink.

And yet that is to miss the point.

Ollie Reed was that rare thing. He was, despite his many inebriated chat show appearances to the contrary, totally in control of himself. He drank when he wanted to. When he was working he largely didn't. He could drop the booze with no ill effects whatsoever and remain dry for months. When he chose not to, he could drink every man under the table during the evening and then be on set the next day at 6am and will himself into complete sobriety. Every single director reports that he was always on time, always knew his and everybody else's lines, hit every mark and always put in a commanding performance.

Oliver Reed did what he wanted, when he wanted and went where he wanted with who he wanted. He couldn't be pushed or bullied. He had his own views and opinions - and although many of those fast became outdated and outmoded - he chose to stick with them. He chose to ignore the censure of the world and the press and carry on living his life exactly how he wanted to live it. Right up the end. One can't help but feel an admiration for that strength of spirit - because a strength is what it is. To have a complete conviction in oneself in the face of every naysayer on the planet and to always retain it unshaken.

And most important of all, he always knew what he was about; he knew what he was doing and what his choices would lead to. He was always open and honest and fully compos mentis about it all and never denied a damned thing. He never lied to himself. How many of us can ever say that?

Ollie didn't waste a single minute of his life; he merely did what he wished to do rather than what others would have wished him to do. The only people who wasted time were those trying to get him to change his ways.

I'm not saying that the boozing, the carousing, the falling over on TV and the abuse he meted out to some chat show hosts and guests isn't cringe worthy, embarrassing and ultimately, depressingly frustrating. It is. There is genuinely a tragedy to it.

And whether it's a conscious choice or not, whether it can be turned on and off at will, alcoholism is still alcoholism. It exhibits itself in behaviour that is always regretted the day after. It expresses itself in ill health. It is dealt with by society and the press via sanctimonious, morally superior ridicule and an incredible lack of understanding.

All to easy to dismiss the drunk. To write off the alcoholic. To forget that, actually, there is still a fully functioning, living, breathing, feeling, thinking, complete person still in there. Someone who is just as valid as a human being as you or I and still deserving of respect. The drink is not 100% of them. Not even close. The booze is, even at it's fullest manifestation, just a surface.

When Oliver Reed died he was in the process of making Gladiator and was putting in a powerhouse performance. He was largely off the booze. He had quietened down. He was on the brink of an almighty come-back. But fate, hubris, intervened. When a shipload of sailors arrived in Malta the old Ollie - the Ollie who, throughout his life, loved the armed services and loved testing his strength and stamina against them - couldn't resist. Despite having confided to close friends that he'd been experiencing chest pains for the past few weeks, he challenged all the sailors to arm wrestling matches and the booze began to flow.

I daresay he won every single match.

But when he collapsed a couple of hours later from an undoubted heart attack, we all lost.

Even now people still make a pilgrimage to his grave in Ireland and buy him a drink - the locals are amazed that the grass manages to grow on his grave. If anyone ever dropped a match I daresay the topsoil would burn for a month.

But it shows the weird dichotomy in which society as a whole holds booze.

If Ollie Reed was a victim of anything, it was that.

Nativity

I must have been in the nativity play every year that I was in infants’ school but the only single recollection I have is of being a sheep one year and having to wear a cardboard sheep mask that I’d made at school especially for the purpose. The role wasn’t demanding. I think I just had to sit at the side of the stage and not upstage the toy doll in the crib. I didn’t even get to baa. The speaking parts were always allocated elsewhere – to the more confident, gobbier kids who could project their voices loud enough to be heard at the back of the hall. Never once did the classic line, “There is no room at the Inn!” pass my boyhood lips.

And now it never shall. Unless I suddenly take up a career as a hotelier in a very small building.

There seems little chance it will happen vicariously either as in this year’s school nativity play my youngest boy pushed for and won the role of a star.

Literally a star.

As in twinkle twinkle.

And not even The Star, i.e. the main celestial protagonist in the nativity story. No, he was one of six generic stars that performed a dance routine in front of the manger about half way through this year’s school nativity production. You know, I swear to God these teachers take massive liberties with Bible interpretation these days. I’m amazed their photos are not publically burnt by American Mid-West Evangelists at gospel rallies more often… you know, the kind of thing these God botherers do to spread the ethos of loving thy neighbour and encouraging people to value religion as a unifying and harmonizing force in the world?

Anyway, he was very cute and I was impressed that he’d learnt what was quite a complicated dance routine – he plainly has a mind for choreography. He seemed chuffed to see his mum and dad in the audience and bestowed upon us a couple of waves. No more than that; he was very focused on his role and threw himself into it with all seriousness. A great acting career is bound to follow. Or at least a decent career as an extra. I look forward to seeing him in Downton Abbey next year as chief urchin.

And you’ll be glad to know that the Virgin birth went off without a hitch for another year though I couldn’t help but notice the complete dearth of sheep.

That was a huge oversight in my opinion. You can’t have a stable and shepherds without sheep. Do these teachers know nothing about the Bible?

If I’d had more notice I would have rummaged around in the loft beforehand. I’m sure I still have that mask stashed about the place in a box somewhere.

And I bet you a night’s stay in a five star hotel room it will still fit me.

The Running Ham

What is it about Hollywood and running?

Why do movie advertisers think that we will be more likely to go and see a film if the poster features a freeze framed shot of the leading actor / actress in mid sprint?

I get the theory. The promise of action and dynamism. The attraction of a lithe, well-honed human body pushed to full exertion, pitched against the elements, stripped away from all mechanic help and motorized aid to pit itself against [insert generic forces of darkness here]. See our leading lady’s muscles tauten and flex as she runs gun in hand down the blazing sidewalk. Marvel as our leading man’s 6-pack ripples impressively as he runs a 4 minute mile to hurl himself over the bonnet of his assailant’s car and artfully wound himself – just a little – above his right eye so that the blood runs down and even more delineates his finely chiselled features.

Even better if there’s wind and rain. Running through the raw elements is always a winner. Or a spray of bullets. We love it when they run through a peppershot storm of lead and come out the other side totally unscathed.

Man. Running. I’ve got to go and see a film with running in it right now!

Except, I don’t. Not really.

Because running on a movie poster always looks a little bit stupid. And a whole lot contrived.

Let’s be honest, when a human being runs they don’t, as a rule, look cool. I know anthropologists make the case that human beings are designed to run (it’s all about our buns apparently) and certain individuals like Usain Bolt certainly manage to look magnificent when they run… but, by and large, the rule for the rest of us is: when we run we look like we really don’t want to be doing it and medically we really, really shouldn’t even have attempted to do it.

And that’s when seen at actual normal running life speed.

If you take a freeze frame of the average Joe (or Joanne) taken at full pelt, well, we just look like we are in pain. Like we are a huge chain of human sausage meat linked by a bizarrely jointed chain of hernias. Like our flesh is attached to our skeletons with cheap chewing gum and one more heavy footfall is going to see the whole lot slide off our bones with a wet ripping noise and ooze off down the nearest drain.

Depending on how much excess weight you are carrying you may even find your nipples have individually swung to different sides of your body. I’m not talking left and right, here, I am talking front and back.

We do not look pretty when we run.

Which is why movie posters have to lie about it.

But there is an art to this lying. If it is done badly, for all our leading man and leading lady may still look buff and muscle perfect, they will inevitably look ridiculous.

Take the movie image for Breaking Dawn Part 2. It’s all over the place at the moment. It features Kristen Stewart, Robert Pattinson and Taylor Lautner running heroically towards the camera.

At least, that was the brief.

They look like they are jogging desultorily. That kind of half-assed shambolic, scurry-run that people do when they half-heartedly run for a bus which is already pulling away and they know won’t stop. The run that is the start of a run but kind of runs out of momentum after the first stride. I’m going to run, I’m going to run, I’m going to… oh I can’t be bothered. They look like they were told to literally run exactly one step toward the photographer and then stop. Don’t move a muscle. Hold it right there. Make-up touch them up and sort out their hair. Hold it. Hold it. Pressing the shutter release button now. Click. And relax. Thanks guys that’s really nailed it. So much better than speedwalking.

Take a look at this image when you get the chance. They have created something quite unique. A “vacuous run”. A “non-committal sprint”. The kind of run you’d undertake when the person you hate most in the world is lying before you, being kicked by everyone they’ve ever hurt and betrayed and they’re calling you for help. Yeah. I’m coming. I’m getting there. I’m just going to take a very long time doing it.

This image doesn’t say dynamism. It doesn’t say action.

It says I refuse to look as sloppy and out of shape as every other human being on this planet does when they run anywhere very fast.

It says I can’t even act convincingly like I’m running despite moving my limbs like I am actually running and being paid a massive fortune to do it.

This, Hollywood movie poster makers, does not sell the movie to me. Not at all.

But it does make me want to run.

Just not to the cinema or the DVD vendor…

Before the starting pistol is even fired, somebody just lost the race.

BAFTA

The wife and I made the mistake of watching the BAFTAs last night.

I say mistake because the BAFTAs are a viewing pleasure that is by turns guilt inducing and frustrating.

Guilt inducing because you know this is a horribly cliquey, elitist, uber-lovey event that you really ought to sneer at and boycott. And frustrating because the winners inevitably do not match up to your own personal BAFTA winner’s list that you’ve drawn up completely ad hoc as the names of the shortlisted nominees were being read out.

In my BAFTA award ceremony Miranda Hart, Benedict Cumberbatch, Fresh Meat and Misfits were all winners. But plainly I am out of touch with the official BAFTA judges because they all came away with absolutely nothing. Not a sausage. And I very much would have liked to have given Miranda Hart a sausage.

Best part of the night was Rolf Harris getting some kind of fellowship award. Fellowship of the ring, perhaps? He’d certainly terrify the Orcs of Mordor with his impressive didgeridoo blowing. Worst part of the night was some actor twat (whose name I have intentionally chosen not to remember)  deliberately not reading out the names of the Best International Drama winners because they were Danish and he couldn’t be bothered to learn how to pronounce them. Of course, he didn’t actually say that. He just joked, “ho ho... I’m not even going to attempt to read out these names... ho ho... aren’t I cool?” Actually he didn’t really say that either but something very close to it. How rude. Learn the names of the winners next time, matey. Show some respect. The best part of it was one of the names was “Adam Price”. How difficult is that to pronounce? Obviously Mr Actor had lost considerable dexterity in his tongue after years of bum licking his way up the greasy poles of RADA .

So why do I watch the BAFTAs then, when all I do is sneer and sigh and stamp my feet?

Because I have a dream that one day I will be there, that’s why. One day it will be me getting the top writer’s award like Steven Moffat did last night (well deserved). It’ll be me expressing genuine surprise when I am called up to the stage by Miranda Hart to accept a prestigious BAFTA award because I really, genuinely was not expecting it, so much so that I haven’t even prepared a proper speech or anything but I would like to thank my wife and kids and [reels off a long list of showbiz celeb pals]. And best of all it’ll be me kicking twatty Actor chappie in the pants and telling him next time to get an effing language coach (no pun intended)!

Until then all I can do is sit and watch and sigh and gnash my teeth at all those who are lucky enough to be there right now but squander the opportunity with poorly prepared presentation speeches and crap jokes and smug looks to the camera because they are out on an industry jolly.

Grr.

One day these people will all be my friends and colleagues and I will have to play the game.

But until then I can say what I damn well like about them.

And surely that is as good as any kind of BAFTA award?