2021 was the year where the big screen truly came back. The cinematic experience was celebrated and relished once more with a whole flood of worlds to be immersed in. However, it’s also been a year where the more independent awards hits have had a consistent spotlight shone upon them. Now, as usual at this time of year, it’s time for you to have your say as to what you thought the best film of the year was.
All you have to do is vote via this poll by 6pm on Wednesday 5th January with what you thought was the best film released in 2021. The results will be announced just after 7pm on the radio show on this same date, with an article here on the website afterwards.
While 2021 saw the return of major blockbuster franchises such as the MCU (seeing four cinematic releases this year!) and Bond it shouldn’t be forgotten that the smaller films that made up awards season – such as Nomadland and The Father – also proved to be box office hits. Even films from streaming platforms such as Netflix and Amazon managed to still have plenty of word-of-mouth love shown towards them. From those with brief cinema releases; Tick, Tick… Boom! and The Power Of The Dog, to those which helped get us through the lockdown: The Mitchells Vs. The Machines and Promising Young Woman.
Whatever your personal favourite is it should be included in the poll. All films featured are done by UK release date. Hence why titles such as Nightmare Alley, Belfast and Licorice Pizza (all of which, at time of writing, have release dates for early next year) aren’t listed, and Another Round, Spontaneous and Sound Of Metal are.
A huge thanks to everyone who votes, shares the poll or both. It’s all very greatly appreciated. As mentioned, the results will be announced on a review of the year show on Somer Valley FM on Wednesday 5th January, starting at 6pm. With a piece being posted here on the website not long after.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After spending Christmas at home and in the workplace let’s take a further shift with this year’s calendar as we look at the spread of festive goodwill in the open streets in 1951’s The Lemon Drop Kid.
As Bob Hope and Marilyn Maxwell strolled through the busy, snow-covered New York City streets, past various false-bearded charity collectors, singing Silver Bells I found myself feeling a sense of Christmas spirit that I haven’t felt for a long, long time. The scene coincidentally occurred just as midnight of December 1st had arrived – perhaps boosting the effect of the moment. It comes in a moment of calm where everything appears to be going right for Hope’s titular Lemon Drop Kid (although ‘Kid’ might not always fit Hope’s lemon-drop-lacking Sidney Milburn, especially as he was nearing 50 towards the release of this film). In fact, the successful charity collectors are largely collecting for him. Under the guise of raising money for an old people’s home, Milburn is secretly trying to collect the thousands of dollars he owes to a local gangster (Fred Clark) who he caused to bet on the wrong horse in the build up to Christmas.
Already owing money to various other figures Milburn assembles a team to go along with his scheme so that he’ll have what he needs before his Christmas deadline. However, as more figures are brought in to the piece, mostly in aide of helping a local old woman they all appear to have a connection to (Jane Darwell). The kind-hearted spirit of seasonal helpfulness increases and runs rife throughout the film as a bigger effort is put in and the money shifts from being raised for Sidney’s scheme to actually being used for the retirement home that everyone has their hearts put into – named after their mutual connection, The Nellie Thursday Home For Old Dolls.
In general the film increases and spreads the Christmas spirit it holds as it travels along its path. Through the humour that comes from the efforts of Hope’s character, as his heart too becomes set on more charitable causes, and the work other characters are, initially with suspicion for what the Kid really wants, putting in there’s plenty to get hooked on in terms of festive cheer and warmth. It’s certainly a film to take you by surprise when going in to it, particularly if you know nothing about it. All simply adding to the overall tone, style and feeling as an unlikely group comes together to dress as Santa, ring bells, sing carols and raise money for those in need. It’s perhaps a traditional Christmas path and theme now, but it’s still effectively put together throughout The Lemon Drop Kid. Maybe it’s down to Hope’s central performance, and maybe it’s just the increase air of festivity and goodwill throughout. Either way, there’s a sense of warmth to the film that catches you up in its lack of cynicism, without feeling overly tacky or sentimental.
The Lemon Drop Kid can be found in the following places: Amazon Microsoft Store Or, you might have a physical copy of the film available to watch. To see if there are any other places to watch the film, and to see where it’s available to buy, rent or stream in your country, it’s always best to take a look at the film on JustWatch.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After yesterday’s look into an unwanted house guest in The Man Who Came To Dinner, today let’s take a glance at a different kind of Christmas guest, that of the entirely unknown one, as the Calendar presents 1950’s The Great Rupert.
The titular Great Rupert is a squirrel (taking both live-action and stop-motion animated form) living in the walls in-between the house of wealthy Frank Dingle (Frank Orth) and into the cramped living space of the Amendola family, who are renting, with increasing prices, from Frank. The fortunes of the Amendolas begin to turn around when the rarely-seen Rupert rains Frank’s money – hidden in the walls of his house – from the ceiling, although the family are unaware of the source of the money and the squirrel, they simply view this as an act of God; answering their Christmas prayers.
Soon the poor family, led by former circus performers Louie (Jimmy Durant) and Mrs Amendola (as Queenie Smith is simply credited as), come into increasing fortunes and begin to help out struggling businesses in the nearby town. While baffling Frank, who finds the Amendola family a disturbance to the calm routine of his life, he’s certainly happy with the money that’s coming in for him – particularly when it appears as a form of present on Christmas Day, with extra added on. Yet, cares are largely forgotten about on the big day as the two families, despite their differences, gather around he piano to sing and perform. Durant particularly puts on a vaudeville persona as the film almost becomes something of a variety show. Echoing TV of Christmases past with a more traditional feel and one act moved swiftly on into the other. Such a feeling arises a number of times throughout The Great Rupert, yet there’s a jovial feel to each one as the cast, particularly Durant in the lead, appear to relish the opportunity to perform in this way and show off their skills.
Such moments also allow for Amendola daughter Rosalinda (Terry Moore) to further spark a gradual relationship with restricted Dingle son, and aspiring composer, Pete (Tom Drake). After first meeting when the family move in, rather promptly, after an old performing friend (Jimmy Conlin) of theirs has been kicked out so close to Christmas after not being able to afford rent due to the money he’s put in to his new act (Rupert the, occasionally-kilt-donning, dancing squirrel – this being where the stop-motion comes in to play, with a look and effect which still manages to hold up over 70 years on).
Over it’s short run-time the film generally emits a feeling and tone of seasonal goodwill, particularly as the Amendola family’s situation turns around and things vastly improve for them over such a short amount of time. When the vaudeville elements are mixed in there’s a very traditional feel to the film in terms of not quite Christmas films, but generally performances and maybe TV specials, of the past. It’s a slight throwback and reminder to them, while still managing to capture a rather enjoyable tone within such sequences and moments, often thanks to Durant’s energy and style as he’s in his element behind the piano, or whenever generally performing. There’s a very traditional nature to The Great Rupert, shown in the general simplicity that it holds, and more often than not it manages to push the kind-heartedness of the good-natured central family and the festive spirit which they appear to emit and hold closely.
The Great Rupert can be watched in the following places: Amazon iTunes/ Apple TV Google Play Plex YouTube Or, you might have a physical copy of the film somewhere. To see if the film’s available in any other places, or to see where you can buy, rent or stream it in your own country, it’s best to check JustWatch.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After taking a glance at the workplace and getting ready for time off for Christmas let’s take a step in a different direction with today’s potentially forgotten classic Christmas film. Let’s prepare for the inevitable guests and family members by taking a look at 1942’s The Man Who Came To Dinner.
Sheridan Whiteside (Monty Woolley – providing gift enough with his smashing facial hair alone!) is perhaps the worst kind of guest you would want taking up the entire downstairs floor of your home, particularly if you’re then excluded from it. It’s the fate that Ernest (Grant Mitchell) and Daisy (Billie Burke) Stanley find themselves meeting when the famed New York radio personality slips on ice outside their home before a publicity meal with the pair. Threatening to sue them otherwise he commands the house with his authoritative voice as if it’s his own and transforms the festively decorated living room into his own personal office and work space; with the help of his eye-rolling, yet confined, assistant Maggie (Bette Davis).
While providing plenty of excellent, often uncaring, asides and insults – “my Great-Aunt Jennifer ate a whole box of candy every day of her life. She lived to be a hundred and two and when she had been dead three days she looked better than you do now” – it’s clear that the brilliantly performed, and now wheelchair-bound, Whiteside is far from a pleasant character. He creates a very civil kind of havoc within the Stanley’s home, creating disorder and a change to the standard dynamic that seems to have been so peaceful and orderly up until now. Particularly when it comes to the young adults who come in and out of the place, thinking about their own futures and feeling somewhat restrained by their father. The place almost begins to feel like an unrecognisable luxury zoo, and not just because of the penguins running around.
In some respects there’s a slight vein of good within Whiteside and his actions and the effects that they have, although in most cases only initially. Yet, his mind is firmly set on his own status, reputation and gain, particularly in the build-up to his annual Christmas message broadcast. A heightened affair which he clearly relishes for the attention which it gains him, boosting his reputation at this most charitable time of year. His ‘public’ persona throughout the film is very much one of faux seasonal goodwill.
Throw into the mix Maggie’s growing relationship with newspaper owner Bert (Richard Travis) one or two other blossoming festive romances there’s plenty of standard Christmas conventions on display when it comes to such relationships. It contrasts with Whitehead’s views and attitudes where he seems intent on keeping Maggie working for him as long as possible, doing what he can to stop her from quitting, simply because of how much work she actually does for him. There’s a clear divide amongst a number of the characters, and clearly one that goes beyond just the Christmas season. Conflictions are obvious and it certainly creates cold tensions between various figures to match the weather outside the house, which caused Sheridan’s injury in the first place. It may reflect out worst-case scenario feelings and ideas about friends, family and general guests over the Christmas period, or it may make us very thankful that we simply don’t have to put up with anyone quite like the inflated celebrity personality of Sheridan Whiteside.
The Man Who Came To Dinner can be watched in the following places: If you don’t have a physical copy of the film available/ anywhere then it’s always well worth checking JustWatch to see where the film might be available to buy, rent or stream in your country.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
Just before we enter the week of Christmas let’s continue yesterday’s theme of workplace festivities by selecting a slightly different job-focused Christmas film in the form of 1955’s We’re No Angels.
While the title is perhaps more often linked to the 1989 Robert De Niro, Sean Penn starrer – a very loose remake of this particular film – the 1955 We’re No Angels features the faces of Humphrey Bogart, Peter Ustinov and Aldo Ray as Joseph, Jules and Albert respectively, a trio of escaped prisoners hiding in a small town, hoping to avoid the eye of searching officers after their recapture. However, instead of going back to lives of crime the two murderers and thief find themselves coming under the approaching spirit of Christmas by enacting upon various acts of goodwill. Particularly towards shop owner Felix (Leo G. Carroll), who finds himself delving deeper into financial struggle, heightened by the worry of the return of the shop’s owner (Basil Rathbone).
Initially fixing a hole in the roof of the shop the central three figures, gradually kitting themselves out with clothing slightly more fashionable than dirty prison garments, eventually find themselves helping to decorate the house on Christmas Eve, and indeed prepare (even if slightly stolen) dinner for the family who is putting them up. There’s a good and kindness seen in them as conversation and connections grow, especially when it comes to Felix’s daughter Isabelle (Gloria Talbott). Decorations may take a little bit of time to be put up, although certainly changing the look and warmth of the shop and home when they finally are on display, but once they are the spirit of Christmas is certainly present amongst the characters as they all appear to celebrate properly for the first time in a number of years. Forgetting their troubles and worries, until the eventual arrival of Rathbone’s Andre.
He’s a figure much like any Christmas-film antagonist. The complete opposite of the spirit of the season, and intensely focused on work and money. However, there’s an increasing sense of unity amongst those working in the shop – including the three fugitives – as they attempt to tackle the situation, each after having shown various kindnesses to the others from slightly different walks of life. What’s on display is not so much a redemption story, but simply one of seasonal goodwill; with the feeling that it may last beyond just Christmas. The film certainly carries its fair share of traditional Christmas feature elements and it’s easy to get caught up within them as the characters set out on their various acts of kindness, realising what they’re, almost naturally, doing more and more as the film goes on.
We’re No Angels can be watched in the following places: Amazon iTunes/ Apple TV Google Play Microsoft Store YouTube Or, you may have a physical copy available. To find out any other places the film is available, or where you might be able to buy, rent or stream it in your country it’s always well worth checking JustWatch.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
To ease into this year’s calendar, and prepare for the nearing time off work, why not start the week building up to Christmas with the most recent of the forgotten classics? Going back to 1957 with Spencer Tracy, Katharine Hepburn led rom-com Desk Set.
Dread or await it in many places the eventual office Christmas party is inevitable. In Desk Set it comes alive as the otherwise divided up branches in the tower block offices of television network FDN (Federal Broadcasting Network) merge into one space to drink, sing and generally celebrate. It’s the festive core of the film which has been building up to that point – decorations gradually spreading across the research department, led by Katherine Hepburn’s Bunny. Throughout the rest of the year the phones ring almost non-stop with questions for the team of four women (including Joan Blondell, Dina Merrill and Sue Randall), who overflow with instant memorised knowledge from their expansive reference library.
However, there’s a coldness to the season as Spencer Tracy’s Richard Sumner unexpectedly turns up one day to transform the research department into one giant computer, leading to money saved for the network and job losses for the employees. Yet, despite the initial fear of a pink layoff slip instead of a gift, goodwill begins to spread; particularly as Bunny and Richard become better acquainted with the spirit of Christmas growing as the day draws nearer. It’s as the season becomes more present in the second half of the film, and key involvement of a present leads to the formation of one or two developments in the third act, that Christmas truly becomes more a part of the piece overall, it acts as the turning point for both better and worse when it comes to the fates of those in the research department.
Particularly for Bunny as she grows closer to Sumner, despite her years-long relationship with network executive Mike Cutler – although every time she’s been expecting a proposal she’s been knocked back more and more. It’s a common theme or plotline to be found in Christmas films and it’s certainly present within Desk Set, particularly as it nears the week of Christmas where, as mentioned, many of the pivotal moments of goodwill, and indeed knockback, take place; largely within the confines of the warmly-lit and highly festive research department, contrasting with the highly metallic nature of Sumner’s computer.
As characters gradually warm to each other and put a stop to the workplace cold shoulders there’s an echo of plenty of other seasonal character shifts, relationships and changes for the better. It’s certainly in place here and makes for a traditional feel within Desk Set which captures the festive spirit; alongside the more joyful, communal elements of the key nearly-time-off office Christmas party.
Desk Set can be watched in the following places: Amazon iTunes/ Apple TV Google Play Sky Store YouTube Or you might have a physical copy of it available somewhere. To see other places where you can rent or stream the film, particularly in your country, it’s always worth checking JustWatch.
Release Date – 17th December 2021, Cert – 15, Run-time – 2 hours 2 minutes, Director – Maggie Gyllenhaal
When another woman’s (Dakota Johnson) child goes missing, while on holiday in Greece, Leda (Olivia Colman) begins to be taken back to her early and troubled years of motherhood.
The Lost Daughter gradually opens its doors in a way that a perfect television series would run. With Olivia Colman on holiday. Quietly lying on the beach, bathing in the Greek sun while enjoying the occasional ice cream. One of the biggest delights that the film presents is her carefree, in-the-moment belting out of Livin’ On A Prayer. However, as feature debut writer-director Maggie Gyllenhaal further pushes the door open a past of emotional pain slowly creeps up on Colman’s Leda as she almost re-experiences what she views as her bordering-on-tragic early years of motherhood.
It all stems from the missing child of Dakota Johnson’s young mother, Nina. It appears that there’s something about this event which reveals a much more worried, troubled and at times oddly behaving side to Leda. We see her mind flashback to her life with two young daughters of her own (her younger self played by Jessie Buckley). And in fact without these flashbacks Colman’s performance and character as a whole may seem somewhat off balance and out of place, however with the jumps back to Buckley – while occasionally feeling like we’re seeing too much too early on – it feels more grounded and, obviously, contextualised. There’s a further air of drama to her character and when mixed with her excellent performance makes the film overall more compelling as it acts as a simplistic, yet effective character study.
While most elements feel stripped down and looking at the general basics it simply allows for character, particularly Leda and her behaviours and interactions as her potential failings as a mother come under increasing light, to take centre stage. Behaviour and responses move the drama along and hold a grip on you that only tightens as things progress. You don’t truly realise how caught up in the piece you are until your emotional responses, questionings and even shock create equal interaction with the film as Leda acts out. Going from something oddly compelling to a film of true dramatic weight, thanks to its simplicity and the central performances that bring everything to life.
There’s tension in the friendliest scenes. As Leda and Nina get to know each other, despite an initial heated interaction on the beach with the latter’s family, we almost worry that some of Leda’s actions, such as taking the doll of Nina’s child, will be found out; more for the dramatic stakes rather than the character herself. All while managing to avoid a general dislike for the central figure. Even scenes where Leda is hiding an affair which she discovers Nina is having, further echoing her life, the stakes feel high for herself. She’s almost put her life on pause by retreating, still to work, to a Greek island, yet it’s where her past truly catches up with her and is almost put on replay from a dual first and third person perspective.
You watch in interest and intrigue at how the course will develop, with a slight air of finely balanced tension and emotion during such moments and interactions. It’s emotion which lies in the background of plenty of scenes as you can see Colman reflecting on her life, the two grown daughters she doesn’t appear to have any contact with now. Information is fed to you piece by piece through performances, through small details in the dialogue and the atmosphere of each scene.
Yet, by the end, you can’t properly explain what about The Lost Daughter makes it so good. There’s just something about the general tone and atmosphere that quietly brings you in to explore the past of the troubled figure at the centre of the piece. One who clearly doesn’t always think about what she’s doing in the moment as she worries about her regrets of the past. Much of it comes down to a fantastic central performance from Colman, and a great supporting cast – particularly Johnson and Buckley – all of whom manage to lift the gradually growing emotional pan, tragedy, regret, tension and more; all of which becomes increasingly powerful as the actions, thoughts and feelings of the characters allow the narrative to progress. It’s a fine piece of work, perhaps one of the best of the year, that almost comes from nowhere, particularly if you go in knowing as little as possible about it, and it’s all the more impactful for it.
While holding a selection of great performances, especially a weighty turn from Olivia Colman, The Lost Daughter succeeds most in its subtlety and gradual building of points and information. Offering an emotionally intriguing delve into the past and present thoughts and actions of the increasingly mysterious central character.
Cert – 12, Run-time – 2 hours 28 minutes, Director – Jon Watts
When his true identity is revealed Peter Parker (Tom Holland) turns to Doctor Strange (Benedict Cumberbatch) to cast a spell that will make everyone forget that he is Spider-Man. However, when the spell goes wrong it brings villains from other universes on the hunt for Peter.
Perhaps the elements that have stood out most from the Marvel Cinematic Universe’s past 26 outings are the action scenes. The cheer-inducing moments when some of our favourite heroes finally deliver the fan service we’ve all been waiting for, even if we didn’t know it. However, amongst all the action, what stands out most from Spider-Man: No Way Home is the fluidity of its narrative. In what could be a very busy film things feel well-contained to bring about a consistent sense of flow that keeps you in place throughout. Creating an almost unpredictable feel to the course of what is perhaps the best structured film to grace the MCU so far.
In previous, non-Marvel Studios, Spider-Man films when multiple villain narratives have been attempted they’ve felt busy and unsatisfying. However, where No Way Home succeeds is by having all it’s villains largely in one place at each time. Meaning that the film doesn’t jump back and forth between multiple characters and arcs that you have to keep track of. Everything is in plain sight and it encapsulates part of the thrill of watching the piece. As the likes of Alfred Molina’s Doc Ock, Willem Dafoe’s Green Goblin and Jamie Foxx’s Electro (who gets a form of redemption in this film after some mishandlings in 2014’s The Amazing Spider-Man 2) return to hunt down Peter Parker. However, Tom Holland’s not their Spider-Man, but he is the reason for them arriving in his universe. After causing Doctor Strange (Benedict Cumberbatch) to botch a spell designed to make everyone forget that Parker is Spider-Man – after his identity was revealed and falsely shamed at the end of Far From Home – villains from other universes are unleashed, all looking for their own destructive justice.
In some cases it feels like the villains get more to do here than in their previous appearances – Molina particularly feels more present than his brief patches of screen-time in 2004’s Spider-Man 2. It allows for the characters to feel somewhat more fleshed out, especially as they, if briefly, come to terms with not being in their own universes. When combined as a seemingly undefeatable force there’s a true sense of grand-scale threat. Allowing for plenty of thrills and spectacle to spill from the screen with often truly stunning visual effects that bring to life the chaos that ensues over the fast two and a half hour run-time.
Unlike previous MCU entry Eternals there’s barely any repetition within this time and things move on from one scene to the other with ease. As we see Holland’s Parker, and Spider-Man, grow and develop more than perhaps in any other film. Helped by the fact that this feels like much more of a personal journey for him, with Strange thankfully not taking a Tony Stark-like father figure role as some may have feared. Despite the villains that are in place this is solely Peter’s story and rarely do they break into it – although almost each figure manages to have their moment. In terms of humour, action and fan service. While the previous Sony Spider-Man franchises aren’t essential viewing (most other MCU entries, however, likely are) it certainly might help to heighten certain levels of impact within a number of sequences. Particularly a number of Sam Raimi-esque tints to the look and feel of some Green Goblin moments.
With everything going on in No Way Home it’s undeniably the biggest, boldest and most ambitious Spider-Man film yet. And thanks to its clear sense of direction, balance and excellent structuring a fluid narrative is laid out for the viewer to be caught up in. One which most of the time manages to effectively pull its various points and elements off, only occasionally leading to cause for slight worry. It keeps track of its characters as well as Parker does, and creates stability amongst the chaos and carnage of the various powers and evils on display. Most of which manage to avoid feeling flashy or especially there for the sake of pleasing fans. All helping to push the story along and develop the points and world that are being created and expanded. Everything contributing to the character development of Peter Parker who further steps into his own within the Marvel Cinematic Universe.
Amongst the spectacle of the stunning action and visual effects the biggest draw into the world(s) of Spider-Man: No Way Home is the structuring of the narrative, so well pieced together and avoiding busyness with overload of separate characters that it creates a sense of unpredictability which further hooks your attention in the development, and in some cases redemption, of the characters; none more so than Peter Parker.
Cert – 12, Run-time – 2 hours 36 minutes, Director – Steven Spielberg
In the build-up to an arranged fight between rival gangs the Sharks and the Jets tensions rise when former Jets member Tony (Ansel Elgort) falls in love with María (Rachel Zegler), the younger sister of Sharks leader Bernardo (David Alvarez).
“Tonight, tonight, the world is wild and bright. Going mad, shooting sparks into space” the words certainly ring true surrounded by the mysticism of the balcony scene in Steven Spileberg’s take on West Side Story. While the camera makes it seem as if the only important elements in the scene are Tony (Ansel Elgort) and María (Rachel Zegler) there’s so much more silently going on in the initially quiet number that it all adds to the powerful impact of the piece. It’s the true spark that the film needs to truly get things going. Solidly proving their sentiments of “the world is only you and me” to be true.
After an atmospheric and visually brilliant opening 25-30 minutes exploring the feud between rival gangs the Sharks and the Jets it’s shown that the film’s heart lies with the central couple, helped by the fact that they can both clearly belt out a ballad/ tune. Known to be inspired by Romeo and Juliet the tragedy lies in the background of many of their interactions and conversations – burdened by their relationships to either gang, Tony being a former Jets member and María being the younger sister of fiery Sharks leader Bernardo (David Alvarez). Yet, the love that the two have from each other is felt and thanks to early numbers in their relationship such as María and Tonight doesn’t feel rushed in to as many takes on the star-crossed lovers sometimes can feel.
Alongside the basics of the traditional story there’s a traditional look and feel to the piece overall. Large scale musical numbers are choreographed in a style similar to classic Hollywood productions, of course, most notably the 1961 adaptation of this very musical. It adds to the overall feel of the film and the impact of early dance battles, making the eventual fight arranged between the two gangs seem even more messy, all caught with the modern sensibility of Spielberg’s gliding and effortlessly sweeping camera. You’re brought into the world and scenario of each song with ease with many feeling like pure celebrations. Numbers such as Gee, Officer Krupke and America (led by an excellent Ariana DeBose having an infectiously great time as Bernardo’s partner, and María’s friend, Anita) are emphasised by their ensemble nature; with each cast member helping to make each song work with the film and yet feel like its own individual piece. Something different from the last song in style and layout, yet still equally enjoyable.
It all lies in the build-up to the eventual fight. Even after loud ensemble numbers demonstrating the threat posed to everyone there’s a real sense of tension and suspense in the darker, quieter moments right before the face-off. We know it’s going to happen, the film has made sure of this, yet we feel as if it could go any way. Both in terms of who will come out of it and just what will happen to the pair of lovers that do indeed create the beating heart of the film in terms of their relationship. Their scenes together, or even simply thinking about each other in something like I Feel Pretty, strike a lighter more heartening tone than the much more dramatic, yet still stylised, interactions of people feuding for a place to call home. Feeling threatened by each other on what they see as their own personal terrain they feel threatened by and unaccepting towards those different to them. It all mixes together to capture the true sense of worry that everyone feels on the long and eventual night.
Such themes make for a current and relevant feel to this almost 65 year old musical, helped by a handful of other changes such as character Anybodys (Iris Menas) being openly trans instead of simply being viewed as a tomboy in most other versions of the musical, alongside being given a slight bit more screen time. It adds to a feeling of modernity caught within the narrative elements of the film which, once the seed is properly planted, flows with ease and keeps you in place almost until the very end. Thing stake a slight turn in the final few minutes but perhaps this is an effect of the time spent in the gradual build-up exploring the world of the film in the early stages of the first act. Regardless this is still a thoroughly engaging piece of swirling emotions which Spielberg plays with, often without you realising, in ways in which only he can. Toying, alongside Janusz Kamiński, with the cinematography for extra effect when it comes to the visual power of the musical and dance numbers – some pushing you back in your seat in both satisfaction and impression.
Through joy, celebration, threat, worry and the all-important central heartfelt bond there’s a true mixture of emotion’s within Steven Spielberg’s take on West Side Story. It’s handled well thanks to the performances and the pocket worlds that the musical numbers create within the larger world of the overall piece. Expanding the detail and simply bringing you further in to the detailed and quick flow of the film there’s a lot to like and get caught up in. All while you’re still being quietly, unconsciously, reminded of the tragedy that might lie ahead for multiple characters, not just Tony and María. It’s a traditional story, a film that looks back to more traditional Hollywood studio musicals, both within a work of modern leaning, attitudes, relevance and ideas. Captured within Spielberg’s gliding camerawork that moves as elegantly as a handful of the dances and the celebratory, proclamatory musical numbers that sometimes you can’t help but smile at.
After building up the eventually tense rivalry between the Sharks and Jets the main seed is planted to allow the Tony and María of Spielberg’s visually brilliant West Side Story to flourish, capturing the heart in their romance and bringing you in to the celebratory and joyful world, boosted with each musical number.
Release Date – 10th December 2021, Cert – 15, Run-time – 1 hour 34 minutes, Director – Mark Cousins
Director Mark Cousins looks back on the career and impact of producer Jeremy Thomas as the two take a road trip to the Cannes Film Festival.
Through something as simple as a road trip director Mark Cousins manages to make plenty of links with ease to the life and career of Oscar winning producer Jeremy Thomas. The two are taking a lengthy trip down to the Cannes Film Festival which sees Cousins dive through the filmography of the man he is accompanying with his own spin and interpretations on the various subjects that are covered, understandably starting early on with cars. It’s a celebration of Thomas’ work in film and his creative drive that appears to make the projects that he’s worked on so appealing and fascinating, particularly to Cousins himself; whose passion for the films at the centre of this piece, and indeed film in general, is on full display throughout – in his typical analytical style.
This is less about Jeremy Thomas himself and more about his films. Those which attempt to express his idea that “the further you get away from the centre the more creative you can be”. Clips and archive footage are used to push Cousins’ thoughts and interpretations on the work as they often come more to the fore – after all they appear to have been present for many years, as he expresses early on. It’s certainly not anything to alienate the viewer, however it does sometimes feel like a much stronger presence than the main figure of the piece and his own personal relationships to film and those which he has been a part of making – particularly in the build up to the Cannes screening of Takashi Miike’s First Love, which Thomas co-produced.
He’s a determined and interesting figure when exploring the idea of creativity and just what cinema can do. “My nature would be to go further – to see how far we can go” he claims, echoing earlier thoughts and praise for the man and his drive by an interviewed Tilda Swinton. It’s such ideas and elements that make him an engaging figure – particularly when it comes to his initially simplistic but gradually detailed and sprawling conversations with Cousins in the confines of the car. It’s much like his creative process and the films that have made up his career, expanding and exploring to show further expression.
Expressions which then form the basis of Cousins’ own personal dives and explorations as he almost works through Thomas’ career film by film – yet still in a concise 94 minute run-time. Not reaching into dissection to remove more casual viewers from the piece. It’s his passion that stops the film from dropping or feeling that it’s two separate pieces cut together. It shows in the way that the camera follows Thomas and his actions within the festival and when interacting with other people; even when demonstrating the conversations the core pairing have on their journey. It’s a, as with many of his works, personal piece for Cousins; in both his relationship with film and Thomas. It shows and makes for something interesting, although perhaps flowing best when focusing more on the central producer and his creative drive and decade-spanning impact within the film industry, even now.
While working best when focusing on Thomas himself, there’s still interest in the passionate interpretations and dives of director Mark Cousins which help to highlight a shared creativity and passion for the pair on their conversation-led journey.
Just A Little Bit Random 