The Big Picture Magazine: Issue 3 (Read in "Fullscreen")

8/14/2019 The Big Picture Magazine: Issue 3 (Read in "Fullscreen")

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july/august 2009 3

06Feature

14 / Art & FilmBeing There:Pieter Dirkx

COVER

IMAGEMETROPOLIS(KOBAL)

The Big PictureISSN 1759-0922 2009 intellect Ltd. Published by Intellect Ltd. The Mill, Parnall Road. Bristol BS16 3JG / www.intellectbooks.com

Editorial oce Tel. 0117 9589910 / E: [email protected] Publisher Masoud Yazdani Editor / Art Direction Gabriel Solomons Contributors Gail TolleNicholas Page, Scott Jordan Harris, Jez Conolly, Joanna Beard, John Berra, Tony Nourmand, Jelena Stanovnik Special thanks to Gabriel Swartland at City Screen, Zoe Naylat the Independent Cinema Oce and Caroline Haywood at The Picture Desk / [email protected] / www.thebigpicturemagazine.com

intellectbooks & journalsPublished by

LOSTANDFOUND

EXUAL POLITICSND SOCIALLIENATION:ISCOVERHE UNSEENRITISH CINEMAF JANE ARDENND JACK BOND.

screening at the BFI Southbank, 14 - 17 July and at The Cube Microplex, Bristol, 20 - 22 July

find out more visitw.bfi.org.uk/ardenbond Available at

VD & Blu-ray 13 July

WelcomeThe Big Picture is amagazine in love withthe movies. Eachissue we take you ona visual tour throughthe history of filmto reveal universalthemes, recurringideas, moments ofsignificant change andways in which filminfluences a great deaof our culture beyondthe screen. So whetheyoure a film buff orrelative big screennovice, we hope youfind something in thefollowing pages to boinspire and entertain

Gabriel Solomons

Feature

30 / 1000 WordsThe Cabinet ofDr. Cal igari

Feature

06 / SpotlightWhen TomorowComes: FutureVisions in Movies

Feature

24 / WidescreenHigher Ground

Regulars

04 / Reel WorldCelebration, Florida

18 / One SheetFritz Langs Metropoli

34 / On LocationTokyo, Japan

38 / ScreengemsThe Hoverboard

42 / Parting ShotSafety Last!

contentsIssue Three. July/August

24

BELOW OPEN ROAD ROOFTOP, MANHATTAN (PHOTO BY SARAH PALMER)


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spotlight

WhenTomorrow

ComesFuture visions in movies are almost always aproduct of their own time which have a habit ofageing disgracefully. Occasionally though they openup a window to a future that not only feels somehowrelevant but plausible too. Here we take a look atsome prime examples. Words by Gabriel Solomons

C I N E M A T I C V I S I O N S O F T H E F U T U R E

Scripted by H.G. Wells and based on his own novel,Things to Come examines the nature of progressas it spans an entire apocalyptic century and threegenerations, ending in 2036 with a rocket to themoon. In its vast scope and visualizations of a war-ravaged world saved by science and scientists, itsan epic on a Cecil B. DeMille bible movie scale. Thefilm accurately predicts television, jet planes, andevil dictators and as a visionary work that aimsto honestly tackle the devastating consequencesof international warfare is one of the few sciencefiction films thats about something.

Things To Come (1936)

Dir. William C. Menzies

1936 2036

july/august 2009 76www.thebigpicturemagazine.com


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A bleak gangster tale in whichsuave but ruthless LondonerJack Carter sets out to exactrevenge for his brothers

suspected murder. Cainessmug, impassive face remainsemotionless throughout as hepunches, shoots and screwshis way through a complextrail of lies, deceit, cover-ups and backhanders amongNewcastles underworld.A lean, efficient slice of 70scinema that set a precedentfor retribution films to come.

With films like Childrenof Men, were faced withyet more gruff cynicismas our futuristic societyfaces extinction when nochildren are born and thehuman race has lost theability to reproduce. Thereis a redemptive, hopefulend in sight (phew!), butthe themes of nationalismand xenophobia coarsingthrough the narrative act asa warning and go some wayin highlighting a few verycurrent attitudes adopted bytodays governments.

Although 2019 is now notsuch a distant future as thatimagined 27 years ago, RidleyScotts influential sci-fi noirremains the benchmark forour most pessimistic (andplausible) vision of the future.Replicants and flying carsaside, Blade Runnerpositsa future global communitystruggling with ecological andsocial meltdown that todaydoesnt seem too far fetched.As a commentary on ourincessant appetite for geneticbetterment, movies dontcome much better than this.

july/august 2009

Blade Runnerremains thebenchmark

for our mostpessimistic (aplausible) visiof the future.

e themes ofnationalismand xenophobcoarsingthrough thenarrative

should act as warning...

LEFT THE NIGHT SKY IN BLADE RUNNER

2004 20271982 2019

Blade Runner (1982)

Dir. Ridley Scott

Children of Men (2004)

Dir. Alfonso Cuaron

LEFT CLIVE OWEN IN CHILDREN OF ME

Kobal(2)

potlightFuture

8www.thebigpicturemagazine .com


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This classic story of ambitionand betrayal has, at its core,a brilliantly understatedcentral performance by BetteDavis, who plays famous andestablished actress MargoChanning pursued by theremorsely ambitious EveHarrington (Anne Baxter).Brimming with repressedanger and jealousy, Davisrelaunched her career byshowing just what a face, andeyes in particular, can achieve.

Bette Davis asMargo Channing in

All About Eve (1950)

George Orwells source novel,published in 1949, laid themacabre groundwork for atotalitarian state future visionwith its portrayal of pervasivegovernment surveillance andcontrol. While the year 1984itself didnt pan out quite asOrwell had envisioned, theresno doubting the books andsubsequent films influenceon popular media and language(terms such as newspeak,doublethink and big brotherentering popular vernacularand even reality TV emergingas a result of Orwells 1984)

Director StevenSpielberg used input

from a three day thinktank to gather insightsfrom 23 top futurists inan attempt to visualisethe year 2056.

As well as introducing aparanormal element to futurepredictions (psychics in theemploy of the police predictmurders before they happen),Minority Report could beseen as the most accurateportrayal of things to come.Director Steven Spielbergand the films productiondesigner Alex McDowell usedinput from a three-day thinktank to gather insights from23 top futurists in an attemptto visualize the year 2056. Thepicture that emerged was acomposite that incorporatednew technologies into analready established and

recognizable system. So,cityscapes blend old and newarchitecture; people still readnewspapers on trains, butthese are constantly updatedin their hands; theres still nocure for colds but cars zoomalong electric highways.

Minority Report is also abrilliant allegory for a hi-techpolice state that uses pre-emptive reasoning to justifysome pretty Orwellian BigBrother tactics in controllingthe masses. But what makesthe film so effective is itsbelievability. Only time willtell though just how accuratethis vision is.

Minority Report (2002)

Dir. Steven Spielberg

OP FUTURISTIC WASHINGTON DC FOR MINORITY REPORT (DESIGN BY JAMES CLYNE)

1984 (1956)

Dir. Michael Anderson

2002 2056

1949 1984

Kobal(2)

potlightFuture



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The utopia shown in LogansRun brings to mind aspectsof the hedonistic practicesand philosophies of ancientRome, and echoes themesintroduced in books suchas Aldous HuxleysBraveNew World. Survivors of anuntold apocalyptic disasterare living within protectivedomes, thoroughly committedto pleasure but controlledby a central computer thatmanages overpopulation byenforcing the idea of renewaat thirty years of age. In styleand execution, Logans Runis horribly dated and far froma perfect film. But in terms ofputting forward a plausibleview of the future citizenswho trade personal freedomfor security and comfort,ruled by machines in a societyfocussed on youth the filmwas way ahead of its time.

As a parody of its time,Sleeperhas fun sendingup the seventies, with itspreoccupations of sex, foodand corrupt government.But what makes the film soenjoyable is its absurd takeon a usually dark subject:the Big Brother-controlleddystopia. Bursting at theseams with sight gags thatinclude inflatable space suits,bespectacled robots andself-pleasuring cubicles (theinfamous orgasmatron), Allenseems to understand thefutility of trying to accuratelypredict the future, choosinginstead to have a ball atsciences expense. His is thekind of future Id like to wakeup to in 200 years time.

Sleeper (1973)Dir. Woody Allen

potlightFuture

alsosee... Alphaville (1965) / 2001: A Space Odyssey (1968) / Soylent Green (1973) / Gattaca (1997) As a parody of itstime, Sleeper has

fun sending up theseventies, with its

preoccupationsof sex, food andcorrupt government.

1973 2173 1976 2274

Logans Run (1976)Dir. Michael Anderson

Kobal (2)

12www.thebigpicturemagazine .com july/august 2009 13


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As an aspiringfilmmaker, its very

educational to see howgreat directors useda given environmentto construct the best

possible shots.

Q U E S T I O N :

On Visiting Film Locations

OPPOSITE THE ILLUSIONIST ESK KRUMLOV, CZECH REPUBLICBELOW A CLOCKWORK ORANGE WADSWORTH, LONDON

rt&filmPieter Dirkx

Why do you think visiting filmlocations has such a powerfueect on us?

It can be a very mixedexperience. Depending onhow much you love the film inquestion, it can demystify thenext viewing. Suddenly, youdont just see this illusionaryworld anymore; you see carsdriving where the camera isstanding, electric cables thathave been painted away, etc.In the case ofA ClockworkOrange, the scene under thebridge feels a lot less like adesolate spot now. At thesame time, it can be verypowerful to go to places wherone of your favourite directocreated an iconic scene. As anaspiring filmmaker, its alsovery educational to see howgreat directors used a given

environment to construct thebest possible shot.

I see by your flickr site thatyoure also a film maker andpainter. What projects are yocurrently working on?

Im finishing post-productionon my second short film TheGeometry of Beetles. Itsa story about a man whoconsiders his dead, framedinsects to be his best friends.Ive also started writing mynext short film. Its all beenpretty hectic this past year, sI havent been painting muchalthough I did draw a veryextensive storyboard! Imlooking forward to paintingagain very soon.

Finally, why does film matter

Because its the only completexperience art form for anaudience. This, combined witthe huge range of differentstories movies can tell, makeit an essential part of life.And film goes further than

educating us about politics orhistory as I believe dreams,nightmares and escapism areall equally valuable.

See more of Peter Dirkxs recreatedlocation film shots and paintings:

flickr.com/photos/pieterdirkx/

Trailer for The Geometry of Beetles:

http://tinyurl.com/m8e5bu



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With the release in 1926ofMetropolis, Fritz Langdelivered one of the first

blockbusters in the historyof cinema and in the process

would influence every dystopianfuture-noir film that would

follow. Here, Tony Nourmandfrom Londons Reel PosterGallery takes a look at this

seminal films artwork.

D E C O N S T R U C T I N G F I L M P O S T E R S

Under the WeimarRepublic,the arts, including cinema,flourished in Germany; in thedecade following the FirstWorld War, the country was thebiggest centre for commercialfilm making in the world. FritzLangs Metropolis (1926) isregarded as the first full-lengthscience-fiction film and was agargantuan venture that wasthe most expensive Germanfilm ever made to that date.Although receiving mediocrereviews on its initial release,the significance ofMetropolis isnow widely acknowledged andit is recognized as a gloriouslyseminal work. The associatedartwork from around the worldis equally magnificent. TheFrench, German and Americanposters are different in theirapproach and emphasis, yet areremarkably similar in mood,each conveying the luxuriousrichness of the modernist age.

Art deco was characterized bygeometric, streamlined formsand sleek lines, by a harmonicbalance and uniformity instructure and all of thesethemes are evident in each ofthe posters.

Of the three, the Americantakes the most traditionalapproach with its focus on thefemale lead. It is reminiscentof war propaganda postersthat frequently pictured aprominent figure lookingup at a 30 degree angle tosymbolize heroism and thedetermined pursuit of thefuture; appropriate themesfor Metropolis. As wascommon for American studios,the artist of the piece isuncredited yet it remains oneof the most striking postersfrom the period.

gofurther... www.reelposter.com [ARTIST] Heinz Schultz Neudamm [ARTIST] Boris Bilinsky

18www.thebigpicturemagazine .comMETROPOLIS(1926)ORIGINALUS

Electric

Dreams

A prominent figlooks up at an a

to symbolize herand the determi

pursuit of the futappropriate the

forMetropoli

onesheet


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METROPOLIS (1926) ORIGINAL FRENCH (ART BY BORIS BILINKSY)

Towering Achievement

Metropolis is most famous forts cityscape. The dystopia ofhe future was dominated by

monumental skyscrapers andigantic steel structures and

was allegedly based on theonstruction of Manhattanhat was taking shape inhe 1920s; a critic observedt the time that Langs film

serves the boldest dreamsf architecture. This visionf the towering metropolisf the future is mostppropriately captured in

Boris Bilinskys artwork forhe French billboard poster.t is recognized as one of theest French film posters everesigned and there is onlyne known copy in existencewhich belongs to the Film

Museum, Berlin).

20july/august

onesheetMetropol


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A Timeless Classic

The arresting German posteror Metropolis is graphicesigner Heinz Schulz-

Neudamms most famouswork. Like many German

osters from the 1920s and930s, two versions of thisoster were printed; one

with credits at the bottom forse in German theatres andnother free of text that coulde exported around the world.

The cold image and sepiaolouring give the poster atriking starkness and, freef text, it is modernist designn its purest form. It is onef the most sought afterintage posters of all time andonsidered by many to be theoly grail of science-fictionosters. In 2005, The Reel

Poster Gallery brokered theale of a copy of this posteror a staggering $690,000 a

world record price for anyintage poster.

www.thereelpostergallery.com

Heinz SchulzNeudammsdesign is one ofthe most soughtafter vintageposters of alltime...

onesheetMetropolis



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These days Outdoor film screenings are a dimea dozen with audiences experiencing film incountless weird and wonderful locations. Butone New York organiser is raising the bar just

that one step higher. We take the stairs to findout more. Photographs by Sarah Palmer

july/august 2009 25

widescreen

T H E P L A C E S D R E A M S A R E M A D E O F

Founded in 1997 bynative New Yorkfilm maker MarkElijah Rosenberg,Rooftop Filmscame about as

ll good ideas do through aimple premise: show filmsn unique locations. Markxplains: I had always hungut on rooftops, which in

New York, are often an urbanefuge and a place to gain anique perspective on oureautiful, vertical city. Asfilmmaker, I also thoughtcould show my films, and

my friends films, and that ifou held the screening in anique location, people wouldome out to see things they

wouldnt otherwise see.

As a result, Rooftop Films

s unique among outdoorcreenings in that they showew, independent cinemaas opposed to Hollywoodlockbusters or classics)

which demands people bemore willing to take a riskn a film they have nevereard of, on a subject theyveever thought about and

without celebrities. Climbingp to Rooftop Films is andventure, and we giveudiences adventurousrogramming.

ABOVE ROOF IN THE BROOKLYN NAVY YARD

H I G H E R G R O U N D


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july/august 2009 27

widescreen

Rooftopsare often an

urban refugeand a place togain a unique

perspective on

our beautiful,vertical city.Mrak Elijah Rosenberg

Founder of Rooftop Films

Every Rooftop event aimsto creatively combine thelocation, films, live music,partnerships and the after-party to create a synergybetween all the elements ofthe event, and the location iscrucial to that. Screenings onthe roof of The Old AmericanCan Factory (Gowanus,Brooklyn) a complex ofindustrial buildings thathave been converted into

a communal artist andmanufacturing space showprogrammes of films about thechanging landscape in industryand architecture, reflectingon how these changes affectindividuals around the world.And on the roof of El Museodel Barrio (East Harlem,Manhattan) films aboutLatino people and culture arescreened to address issues ofethnic diversity.

ABOVE OPEN ROAD ROOFLOWER EAST SIDE, MANHAT

LEFT ROOF OF OLD AMERICAN CAN FACTORY

26www.thebigpicturemagazine.com


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LEFT LAKESIDE SCREENING

So do the organisers haveany favourite locations?All of our venues are uniqueand wonderful for differentreasons with differentatmospheres and aspects toall of them. Personally, I lovedoing screenings at OpenRoad Rooftop (Lower EastSide, Manhattan) on top of a

New York City public school(PREVIOUSPAGE). In additionto being our largest space(weve had up to 1,200 peoplethere watching films on threescreens!), the space has greatviews in all four directions anthe walls are covered withstudent graffiti. But werealways looking for the nextgreat roof!

When asked why he thinksfilm matters, Marks responsis a typically creative one:Is that a trick question?Film doesnt matter. Videodoesnt matter. Computeranimation doesnt matter.Motion pictures matter.Stories matter. Images thatawaken you matter. Soundsthat make you see matter.Cinema matters becauseit synthesizes and excitesall your senses cinemaoutdoors even more so. tbp

www.rooftopfilms.com

sarahpalmerphotography.co

Cinema mattersbecause it

synthesizes andexcites all yoursensescinema

outdoors evenmore so.

widescreen

UK OUTDOORSCREENINGS

Somerset HouseSummer Screen

30th July to

8th August 2009

somersethouse.org.uk

Films include: Alien, Wings

of Desire, Cool Hand Luke

and Raiders of the Lost Ark

july/august 2009 228www.thebigpicturemagazine .com


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e Cabinet ofDr. Caligari {1919}Welcome to theDark Side...Theres one silent film that stands out ashugely influential; from Hitchcock, to filmnoir to the horror movie, evidence of theinfluence ofThe Cabinet of Dr Caligariand German expressionism can be seenthroughout film history. Text by Gail Tolley

characterized by distortedlines, warped shapes andbold use of colour and theseaspects were found both inpainting and in the theatre. InDr Caligari, the painted backdrops depict twisted buildingand exaggerated shadowswhich lend the film a surreal,other-worldly atmosphere.This distortion creates anuneasiness that reflects thepsychological and emotionalturmoil of the characters. Atthe time the sets were one ofif not the most, highly prizedparts of the film and theircreators were leading artistsin the field.

Within these sets unfoldsthe story of a visiting carnivawhich features Dr Caligari anhis mysterious somnambulistCesare. Two friends, Francisand Alan, on a visit to thefairground are shocked whenthe somnambulist reveals

that Alan will not live to seethe morning. Mysteriously,the premonition comes trueand the very next day Alan isfound murdered. Believing DCaligari and his somnambulisare involved, Francis beginsto investigate further anddiscovers that Dr Caligari isnot who he seems.

The Cabinet of Dr Caligar

Few people thesedays are familiarwith the somewhatbizarre carnivalattraction that

was the somnambulist a person who existed in ahypnotic sleep-like state andwas brought out to amazedaudiences to answer thosequestions usually reservedfor the fortune teller. The fewwho have heard of this bygonefairground attraction perhapsinclude the odd film buff.The reason? One of the mostfascinating and influentialfilms within cinemas relativelyshort history centres entirelyaround such a figure. TheCabinet of Dr Caligari,directed by Robert Wiene,was made in Germany in 1920(almost ten years before thetalking picture would firstcome to cinema screens) andon its release created more

than a little stir here wassomething that hadnt beenseen on the big screen before.

The film is notable firstly forits highly stylized sets whichdrew upon the expressionistmovement that was prevalentin Germany in the earlytwentieth century reachingits height in the 1920s inBerlin. The movement was

MOMEN TS THAT CHAN GED FI LM FOREVER

alsosee... Nosferatu (1922) / The Lodger (1927) / Blackmail (1929) / The Maltese Falcon (1941)

BOVE CESARE CARRIES JANE OVER THE ROOFTOPS

Kobal1000words

You fools, thisman is plottingour doom! We

die at dawn! Heis Caligari!



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alsosee... The Third Man (1949) / Stray Dog (1949)

was one of the first filmshat would become part of a

movement in cinema knowns German expressionism.

Following World War OneGerman filmmakers struggledo fund elaborate productionsnd instead turned their focuso creating a sense of mood andtmosphere through elaborateet designs. Other films whichall into the category include

he vampire flick Nosferatu1922) and Fritz Langs

Metropolis (1926). Whilstther German expressionistlms do not have the sameeliance on painted sets as Dr.

Caligari, the inner emotionsf the characters are oftenendered through the stylef filming itself, for examplen the choice of lighting andramatic camera angles.German expressionism was

nternationally influential:Hitchcocks early British filmsre heavily indebted to the

movement. Both The Lodger1927) and Blackmail (1929)re atmospheric pieces thatncorporate, in particular, theigh black and white contrastghting used in Germanxpressionist film. Theseinematic characteristics

would re-emerge in the 1940snd 1950s in the crime filmshat would become classifieds film noir. Translatedterally as black film it was

genre filled with gangsters,rilbies, femme fatalesnd conspiracy. Observedredominantly in Hollywood

n films such as The MalteseFalcon (1941) and The BigSleep (1941), film noirs also

eveloped in other nationalinemas, for example in

Britain with The Third Man1949) and in Japan in Akira

Kurosawas Stray Dog (1949).The style of these films washeavily indebted to Germanexpressionism with their useof low angle shots and highcontrast lighting, creatingan ambience of trouble andintrigue.

Dr. Caligari has also beenregarded by many as thefirst genuine horror film.The artificial setting, uneasyatmosphere and references

to insanity are seen by manyas setting the way for thehorror genre. The hypnoticstate of Cesare also evokesthe terrifying figure of thezombie which has long beenfertile ground for filmmakers.Importantly the film was alsoone of the first to use flashbackas a means of telling thecentral part of the story.

Without revealing the filmstrump card, it is enough to saythat there is a twist waitingfor viewers which has provedinspirational to many a filmplot, from The Sixth Sense(1999) to The Others (2001).And whilst today The Cabinetof Dr. Caligari is unlikely tocreate the same impact withaudiences as it did back in1920, this is probably due tothe fact that so many aspects

of the film have been absorbedand recreated in modernmovies. Many contemporaryfilms exhibit a cinematicheritage that can arguably betraced back to this influentialfilm. Much of David Lynchswork shows evidence of thesurreal and dark aspectsof Wienes film, whilst TimBurtons fantasy settings, such

Dr Caligari has been regarded bymany as the first genuine horrorfilm. e artificial setting, uneasyatmosphere and references toinsanity all seen as paving the wayfor the future of the horror genre.

ABOVE NICOLE KIDMAN GETS SPOOKED IN THE OTHERS (2001)

1000words

filmint***

DIALOGUEAROUND

THE MOVINGIMAGE

***

ISSUE AVAILABLE.8WWW.FILMINT.N

as in Edward Scissorhands(1990) allude to the stylizedsets found in many examplesof German Expressionism.Other futuristic workssuch as Blade Runner(1982) and Brazil (1985)have been inspired bythe futuristic city of FritzLangs Metropolis (1926).Even recent animated filmssuch as Sin City (2005) withits references to film noir

are unlikely to have existedhad it not been for themovement.

The influences of Germanexpressionism are numerousand whilst the somnambulistmay have been resigned tohistory The Cabinet of Dr.Caligari most definitely

hasnt. [tbp][email protected]

nextissue... Rise of the Blogger as Critic



18/25

onlocatio

In Sofia Coppolas hugelypopular film we followtwo characters, Charlotte(Scarlett Johansson) and

Bob (Bill Murray), who meetwithin the walls of theirsoulless hotel in Tokyo. Nighof shared insomnia lead toan unlikely friendship. Lostin Translation conveys anatmosphere of existentialmelancholy against a backdroof cultural alienation. Fromthe quiet stillness of the hoteto the busy, neon-filled streetoutside, we experience Tokythrough the eyes of twooutsiders who are at a turninpoint in both their lives.

Dir. Sofia Coppola

USA, 102 minutes

Starring Scarlett Johansson,Bill Murray, Giovanni Ribisi

Lost inTranslation(2003)

onlocation

A P T U R I N G T H E C I T Y O N S C R E E N

With its neon lights and teeming mass ofcolourful characters, Tokyo, the worldslargest metropolis may be a blur, but itsa very genteel one. Gail Tolley selects somedefining films that capture this vibrant cityin all its quirky charm.

Kobal(1)

Tokyo



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Often considered to beJapanese auteur Ozusmasterpiece, Tokyo Story isa pensive exploration of therelationship between parentsand their grown-up children.The film is filled with thequiet disappointment anddisillusionment that existsbetween generations. Setmostly in domestic locations, itnevertheless plays out againstthe backdrop of the Japanesecapital. The title alludes to auniversal story, not just acrossTokyo itself but across manycultures and countries.

Dir. Yasujiro Ozu

Japan, 136 minutes

Starring Chishu Ryu, ChiekoHigashiyama, Kyoko Kagawa,So Yamamura, Setsuko Hara

Tokyo Story(1953)

onlocationTokyo

Tokyo Storyisfilled with the quiet

disappointmentand disillusionmentthat exists between

generations. Michel Gondry, Leos Caraxand Joon-ho Bong each bringa different side of Tokyo tothe silver screen with theirshort films set around the cityGondrys segment follows ayoung couple who move to thcity with high hopes for theirfuture only for disappointmento set in, with surprisingconsequences. Caraxs uniquestyle is ever-present in hispiece that follows a creaturethat emerges from the Tokyosewers to terrorize the citysinhabitants. And the last filmis an elegant and idiosyncratitale of an obsessive compulsivwho is drawn out of his lifeof routine when he falls fora pizza delivery girl. Threedifferent stories and threedifferent viewpoints showcontemporary Tokyo at its

cinematic best.

Dir. Michel Gondry,

Leos Carax, Joon-ho Bong

Japan, 112 minutesStarring Ayako Fujitani, RyoKase, Denis Lavant

Tokyo!(2008)

FURTHER VIEWING Godzilla (1954) The quintessential monster movi

has spawned over two dozen sequels. The original Godzilla was a prehistori

creature brought to life after the atomic bombings of WWII; now hes a hero

Akira (1988) Touchstone film of anime (Japanese animation), directed b

Katsuhiro Otomo and based on his manga (comics). Grim stor y of biker gang

and overlords in a post-apocalyptic Tokyo.Shall We Dance? (1996) Directo

Masayuki Suos lyrical story of a salaryman (oce worker) who rediscover

life, love and lilt through the simple joys of ballroom dancing.



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Repo Man (1984)Alex Cox

This takes the cake. The copssnared himself a perp whosjust sweaty enough to arousesuspicionbut the guy hasntpulled a gun, isnt scarfingdown weed, and doesnt lookat all kissable. Everythingsgravy, right? Then he makesthe fateful decision to checkthe trunk. The only things leftare a pair of boots and moreash than Amy Winehousesleft lung.

partingshot

july/august 2009 43

The thrill sequence to end themall may have been copied, butits never been beaten.

Harold Clayton Lloyd was theundisputed master of the so calledthrill sequence. Performing most ofthe necessary stuntwork himself and on occasion injuring himself in theprocess (he would lose a thumb andindex finger while filming HauntedSpooks in 1919) Lloyd earned hisplace alongside Charlie Chaplin andBuster Keaton as one of the mostinfluential comedians of the silent era.While far more prolific in his outputthan Chaplin, Lloyd will probably bebest remembered for the standoutsequence in Safety Last! which seeshis character clambering up the faceof a skyscraper as a publicity stunt,encountering new and ever morethrilling difficulties along the way,climaxing in the famous clock scene one of the most enduring (and oftimitated) images in all of cinema.

e iconic clockhanging sceneis, even today,as thrill packedas they come.TOP BACK TO THE FUTURE (1986)MIDDLE SHANGHAI NIGHTS (2003)

BOTTOM LOOK WHOS TALKING (1989)

TimeBandits

W O R D S B Y Alistair Somerfield

AROLD LLOYD TAKES FIVE SAFETY LAST! (1923)

SAMEAGAINx



23/25

Go Furtherwww.thebigpicturemagazine.com

Getting involved with...

thebigpicturewould you like to

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Picture magazine?

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for enthusiastic film-lovers

with a passion and flair for

the written word. So, if this

sounds like you, then

simply send us a few

examples of your writing

along with a short personal

bio to Gabriel Solomons:

[email protected]

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The future is full of datardlyrobots looking to rid the worldof us pesky humans. Some mayseem cute and cuddly but beware,for the tin toys of today are thechrome rulers of tomorrow!Simply name the films thatfeature the robots (or replicants!)below and send us your answersfor a chance to win an intellectfilm book of your choice.E: [email protected]


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Film Index

OUTDOOR SCREENINGSN JULY & AUGUST

ilm4 Summer Screenings

dmond J Safra Fountain Courtt Somerset House London

ROGRAMME JULY

0 / Broken Embraces1 / Alien & Poltergeist (DB)

ROGRAMME AUGUST

/ West Side Story/ Slumdog Millionaire/ The Shawshank Redemption

/ Wings of Desire/ Dont Look Now/ Strangers on a Train/ Cool Hand Luke & Road House/ Raiders of the Lost Ark

www.somersethouse.org.uk

inema under the starsyon Park, Brentford,

Middlesex

ROGRAMME JULY

2 / Grease3 / Funny Face4 / Mamma Mia5 / Slumdog Millionaire6 / 007: Goldfinger

www.syonpark.co.uk/news.asp

he Scoop at More London

More London, Queens Walkondon Bridge

ROGRAMME SEPTEMBER

6 / Slumdog Millionaire7 / For a Few Dollars More8 / Mamma Mia3 / The Wizard of Oz

4 / Local Hero5 / The Usual Suspects0 / Strictly Ballroom

ROGRAMME OCTOBER/ La Vie en Rose/ Oh Brother Where Art Thou?

www.morelondon.co.uk/scoop.html

National Theatre:Watch This SpaceNational Theatre London

ROGRAMME JULY

1 / Flyboy

ROGRAMME AUGUST

, 14 & 21 / Flyboywww.nationaltheatre.org.uk/wts

Dulwich Picture Gallery

Barbican, London31 August / Mamma Mia!www.dulwichpicturegallery.org.uk

Spinning WheelsManchester(Screenfields is Manchesters firstopen air cinema)

PROGRAMME JULY

9 / The Science of Sleep16 / Eagle vs Shark23 / The Graduate

30 / Quantum of Solace

PROGRAMME AUGUST

6 / Grease

8 / The Incredibles13 / Boy in the Striped Pyjamas16 / ET20 / Monty Python & the Holy Grail27 / Wizard of Oz

PROGRAMME SEPTEMBER

3 / Rocky Horror Picture Show

10 / The Readerwww.spinningfieldsonline.net

2008 Big Screen in the Park

Showroom Cinema, Sheeld

PROGRAMME AUGUST

12 / Waveriders13 / Wall-E14 / Star Trek

15 / Mamma Miawww.exeter.gov.uk

Britflicks at the Britannia

The Britannia pub, London

PROGRAMME JULY16 / Primitive London

PROGRAMME AUGUST13 / All the Right Noiseswww.thebritanniapub.co.uk

While we do our best to provide

you with a comprehensive

list of recommended outdoor

screenings, we inevitably miss

some cracking events, so to

notify us of any upcoming film

screenings you think we (and

our readers) should know about

please simply contact us by

email with your [email protected]

Backpages

Things to Come (1936)

Dir. Michael CurtizLondon Film Productions

gsee page 6/7

Blade Runner (1982)Dir. Ridley ScottThe Ladd Company

gsee page 8/9

Children of Men (2004)

Dir. Alfonso CuaronUniversal Pictures

gsee page 8/9

Minority Report (2002)

Dir. Steven SpielbergTwentieth Century-Fox

gsee page 10

1984 (1956)

Dir. Michael AndersonHoliday Film Productions Ltd.

gsee page 11

Sleeper (1973)

Dir. Woody AllenRollins-Joe Productions

gsee page 12/13

Logans Run (1976)

Dir. Joseph L. MankiewiczMetro-Goldwyn-Mayer

gsee page 13

Metroplis (1927)

Dir. Fritz LangUniversum Film (UFA)

gsee page 18

The Cabinet of Dr. Caligari (1919)

Dir. Robert WieneUniversum Film (UFA)

gsee page 30

The Others (2001)

Dir. Alejandro AmenbarCruise/Wagner Productions

gsee page 32

Lost in Translation (2003)Dir. Sofia CoppolaFocus Features

gsee page 34

Tokyo Story (1953)

Dir. Yasujiro OzuShochiku Kinema Kenky-jo

gsee page 36

Tokyo! (2008)

Dirs. Joon-ho Bong, Leos Carax

and Michel GondryComme des Cinmas

gsee page 37

Back to the Future II (1989)

Dir. Robert ZemeckisUniversal Pictures

gsee page 38/39

Safety Last! (1923)

Dirs. Fred C. Newmeyerand Sam TaylorHal Roach Studios

gsee page 42

Back to the Future (1985)Dir. Robert Zemeckis

Universal Pictures

gsee page 43

Shanghai Knights (2003)

Dir. David DobkinTouchstone Pictures

gsee page 43

Look Whos Talking (1989)Amy HeckerlingTriStar Pictures

gsee page 43

So youve read about the films, now go watch em!

Upcoming


thebigpictureThe views and opinions of all texts,

including editorials and regular

columns, are those of the authors and

do not necessarily represent or reflect

those of the editors or publishers.

Our recommended list of outdoor screenings this summer

BY MARK BROWNING

STEPHENKING

ON THEBIG SCREEN

This is the first book written

by a film specialist to consider

every Stephen King adaptation

given a global cinematicrelease. Browning takes an

original genre-based approach

in considering work by directors

such as Kubrick, Romero and

Cronenberg. He discusses

neglected films like Creepshow, 1408 and

Sleepwalkersalongside fresh approaches to more

popular work such as The Shining and Carrie.

To order this book visit www.intellectbooks.comintellect The Mill, Parnall Road, Fishponds, Bristol, BS16 3JGwww.intellectbooks.com E-mail: [email protected]: +44(0)117 9589910 | Fax: +44(0)117 9589911


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Documents

The Big Picture Magazine: Issue 3 (Read in "Fullscreen")