Showing posts with label True story. Show all posts
Showing posts with label True story. Show all posts

05 December 2024

AND WHEN DID YOU LAST SEE YOUR FATHER? (2007, Anand Tucker)

 * * * 

A writer reflects on growing up with his domineering, now-dying father.

Starring  
Jim Broadbent, Colin Firth, Juliet Stevenson

Written by  David Nicholls

Produced by  Elizabeth Karlsen, Stephen Woolley

Duration  92 minutes






From the dawn of artistic expression, stories have dealt with Daddy Issues. Ancient Greek tragedian Sophocles threw patricide into Oedipus Rex; Hamlet’s dad came back from the grave to kick off the whole revenge plot; Henrik Ibsen explored 'the sins of the fathers' in his play Ghosts.

And movies dealing with angst toward a male parent or authority figure are too numerous to count. Just off the top of my head: TOP GUN, THE ROYAL TENENBAUMS, THE EMPIRE STRIKES BACK, ON THE ROCKS, GUARDIANS OF THE GALAXY, BEGINNERS, THE SAVAGES, THE FATHER, BLAME IT ON RIO, THIS BOY’S LIFE, THE SHINING, AD ASTRA, INTERSTELLAR, SOMEWHERE, ABOUT A BOY, BEAUTIFUL BOY, KRAMER VS KRAMER, NEBRASKA, THERE WILL BE BLOOD… (OK, some of those weren’t off the top of my head; Google was invented for a reason, people.)

Most of the above focus on the child coming to terms with living up to the expectations/reputation of the pater familias. But here are some rarely (if ever) explored twists on the topic that I for one would like to see:

– The father struggles to emulate the child, whose success has overtaken his own.

– The child is more interested in emulating their mother, much to their father's chagrin.

– The child suffers an existential crisis when they realise that they actually have no desire to emulate their father at all.

– The child finds out that their famous father is in fact a fake, but ironically the intricacy of the deception makes the child start respecting him for the first time.

– Excessively focusing on their intergenerational strife distracts the parent and child so much that neither achieves anything in life and they both die miserable.

AND WHEN DID YOU LAST SEE YOUR FATHER?, meanwhile, goes for the old 'we've always had a complicated relationship, Dad, but because you're nearing death now we’re finally incentivised to reconcile' angle.





As the father of the title, Jim Broadbent is established in Firth's sepia-tinted childhood flashbacks as a blagger, grifting his way into a horse track's members' enclosure on a family outing. He's a self-important, pompous blowhard – not a typical role for the usually cuddly Broadbent, more reminiscent of his earlier work as cocky bent copper Roy Slater in the sitcom Only Fools and Horses. Despite the man's flaws, the juvenile Firth idolises his dad, opining in voiceover "My father was a hero ... I thought he'd live forever."

Back in the present ('London, 1989'), adult Firth is a writer, accepting a literary prize at a lavish ceremony. "Two words are all I'd like: 'well' and 'done'," he laments to his wife, while holding the award flimsily and looking forlornly across at his old man, who is going around the posh do quaffing free booze and drawing attention away from his son.

Then: the bad news that we all knew was coming. The doctor who delivers it has a bedside manner that's ham-fisted to the point of being humorous, like the scene is a relic from an earlier draft when this was a comedy. "Your father's going to die," he blurts out. "Of course, we all die sooner or later - but in his case, it's going to be sooner rather than later." It's not even as if he's a bumbling intern or anything.

From frame one, WHEN DID YOU LAST feels like it must have been based on a book ... which it was, but it's a little more complicated than that. When I saw David Nicholls’ name among the writers' credits on IMDb, I assumed that this was adapted from one of his weepy novels (like One Day or Us) – but actually he was the one doing the adapting. Turns out Firth is playing real-life poet Blake Morrison, and Nicholls fashioned a screenplay out of Morrison's memoirs. 

I'd never heard of Blake Morrison, since my knowledge of his chosen medium pretty much begins and ends with doing Carol Ann Duffy poems at school. I also remember the odd random line from other people's work, like "pick a corner in that charnel house" (turns out that was 'Vultures' by Chinua Achebe) and a dying mouse that "curls in agony big as itself" (Gillian Clarke – 'The Field Mouse'). Anyway, while I respect poetry, I've come to accept that it's one of those things I just don't get on with – like rugby, or watermelon... or musicals.






Anyway, following Dad's diagnosis, the film's structure settles into switching back and forth between yet more soft-focus flashbacks to an idyllic childhood (possibly apocryphal?), then back to Firth in the present trying to have serious chats with the ailing Broadbent, who is a reluctant communicator at the best of times. The past bits get more interesting when they move on to Morrison as a teenager, circa 1962 – as signified by the Cuban Missile Crisis being all over the radio. His memories of those times alone with his father include rain-sodden camping trips, driving lessons in a vintage Alvis convertible on a deserted beach, and Dad regularly calling him 'fat-head'. Oh, and he remembers suspecting the notorious Lothario of having an affair, or affairs plural, possibly even siring bastard offspring.

WHEN DID YOU LAST is professionally done and classily played - maybe a bit too classy, to be honest. The whole thing is all rather nice, in a Sunday-afternoon tea-time kind of way, albeit with a little bit of sex and the odd F-word thrown in.

Nonetheless, when the inevitable tear-jerking ending arrives and Morrison completes his journey to accepting his dad as a flawed but ultimately caring man, it does feel earned. I've only ever cried twice at movies (the blindly crawling around fruitlessly ending of THE KILLER [1989] and Sarah Conner finally telling John that she loves him in TERMINATOR 2), but this came close to being number three. Good show, fat-heads.

Three stars out of five.



Valid use of the word ‘last’? Yes, this last time is pretty definitive. 

What would a movie called AND WHEN DID YOU FIRST SEE YOUR FATHER? be about?  These days, usually he comes into view immediately after the doctor. In times gone by, he would have been nowhere near the maternity ward, instead camped down the pub anxiously awaiting a phone call.



Previously:  THE TOXIC AVENGER PART III: THE LAST TEMPTATION OF TOXIE

Next time: 
LAST CHRISTMAS


Check out my books:  Jonathanlastauthor.com


12 April 2023

THE LAST DUEL (2021, Ridley Scott)

 * * * 

Two knights fight to the death after the wife of one accuses the other of rape; we're shown three different perspectives of what happened.

Starring  
Matt Damon, Adam Driver, Jodie Comer, Ben Affleck 

Written by  Nicole Holofcener, Ben Affleck, Matt Damon

Produced by  Ridley Scott, Kevin J Walsh, Jennifer Fox, Nicole Holofcener, Matt Damon, Ben Affleck

Duration  152 minutes







Ridley does RASHOMON ...

Look, I’m just going to come out and say it: Ridley Scott is the most overrated director in the history of motion pictures.

So the three that everyone goes on about are:

– ALIEN: A great film, obviously, but I like it less each time someone erroneously tells me that it’s superior to ALIENS.

– 
BLADE RUNNER: But, but … it looks so nice! Oh, wow, yes it looks nice. And it has
atmosphere! Mmm, atmosphere, right. Beyond that … not much to latch onto really, especially considering the source material is one of Philip K Dick’s very best.

– 
GLADIATOR: I remember thinking that this Russell Crowe from LA CONFIDENTIAL and THE INSIDER is now a proper movie star. Never for a moment did I imagine that the film itself, a fun but insubstantial swords-and-sandals romp, would be nominated for a Best Picture Oscar, let alone win the bloody thing.

The rest of Scott's films fall into one of the following categories:

– Intriguing premises that don't turn into engaging films: ALL THE MONEY IN THE WORLD, HOUSE OF GUCCI, ROBIN HOOD.

– 
Dull and pretentious:
 HANNIBAL, THE DUELLISTS, PROMETHEUS, ALIEN: COVENANT.

– 
Fun genre exercises, minus the fun: LEGEND, BLACK RAIN, BODY OF LIES, THE COUNSELLOR.

– 
Boring ‘epics’:
 EXODUS: GODS AND KINGS, KINGDOM OF HEAVEN, 1492: CONQUEST OF PARADISE.

– 
Totally forgettable and now totally forgotten:
 WHITE SQUALL, GI JANE, A GOOD YEAR, AMERICAN GANGSTER, SOMEONE TO WATCH OVER ME.




To be fair, you can’t go wrong with THELMA & LOUISE, although that succeeds due to the strength of the screenplay and performances; ditto MATCHSTICK MEN. And even I can't deny that BLACK HAWK DOWN is a top-notch modern warfare flick. And THE MARTIAN is OK.

But overall, the scales are heavily tilted in one direction. The main problem is that Scott clearly doesn’t care much about the screenplays that land on his desk, beyond their aesthetic possibilities and figuring out how he's gonna move the people on screen from one flashy sequence to the next. It’s like he’s been given a script written in a language that he doesn’t speak and just goes through the pages shooting it anyway. Maybe it’s a former ad director thing: David Fincher has said that he’s not interested in what's being said, only the images, and that the words could be anything.

So alright then, what about THE LAST DUEL?

Well … it’s good! I mean, by Ridley’s standards anyway. I wasn’t sure about Adam Driver as an irresistible ladies’ man and Matt Damon lets his beard do most of the acting. But Ben Affleck is fun, dropping C-bombs in a crowd-pleasing performance reminiscent of his enjoyably vainglorious turn in SHAKESPEARE IN LOVE. Jodie Comer rounds out the cast with a sensitive and engrossing turn, eclipsing her bigger-name co-stars.





The GOOD WILL HUNTING buddies collaborated on the script with Nicole Holofcener, each tackling one third of its same-event-from-a-different-perspective structure. And since he makes this one of the rare occasions where he prioritises the writing, rather than lingering on big impressive sets or sword-flinging battles while forgetting about tiny elements like ‘drama’ and ‘narrative’, Ridders manages to deliver something that holds the attention for its whole two-and-a-half-hours
.

I was particularly impressed at how the movie touches upon contemporary questions about consent, gender equality and male entitlement without being anachronistic or overly political. I guess you could say that it completes Sir Ridley’s feminist trilogy, after THELMA & LOUISE and GI JANE.

Not bad for an 84-year-old codger from South Shields. Still a pity about the batting average, though. 

Three stars out of five.


Valid use of the word ‘last’?  The whole thing is based on a true story, and the duel in question was apparently the last officially recognised one in France, so good job on the old historical accuracy, everyone. Maybe more came later in other countries, but I guess there isn’t an IMDb for duels, so who knows. (Also: who cares.)

What would a movie called THE FIRST DUEL be about?
 These little tiffs tended to be over ‘matters of honour’, so it would probably just be two blokes squabbling because one copied the other’s chainmail pattern or something. Calling Sir Ridders, we need your tedious touch! 


Previously:  THE LAST AIRBENDER

Next time:
  PUSS IN BOOTS: THE LAST WISH


Check out my books:  Jonathanlastauthor.com