Culture Vulture 8th to 14th of June 2024

June 8, 2024 at 7:47 am · Filed under Culture Vulture, Film & DVD Reviews ·Tagged Drama, film, movie-review, movies, review, TV

6,638 words, 35 minutes read time.

Welcome to Culture Vulture your guide to the week’s entertainment from an alternative standpoint. Selections and writing are by Pat Harrington and music is from Tim Bragg. Highlights this week include “Shiva Baby” which stands out as a brilliantly executed comedy that deftly balances humour and heart. It’s a remarkable debut from Emma Seligman, showcasing her talent for capturing the intricacies of human relationships and the absurdity of societal expectations. Special mention also of “Kes”, a masterful exploration of the intersection of youth and social class, offering a raw and honest look at the challenges faced by the marginalized. It is a testament to the power of cinema to illuminate the human condition and inspire empathy and understanding. There’s also a retrospective on Dennis Potter’s Karaoke followed by a showing. Karaoke combines Potter’s signature wit and depth, making it a memorable and thought-provoking watch.

Saturday 8th of June 2024

An Ideal Husband (1999) 2pm BBC2

“An Ideal Husband,” directed by Oliver Parker, is a film adaptation of Oscar Wilde’s play of the same name. Set in the opulent world of late 19th-century London, this charming and witty period piece explores themes of morality, love, and the duplicity of public and private lives. With a stellar cast and exquisite production design, the film captures Wilde’s sharp wit and social satire while delivering a visually sumptuous experience.

The story revolves around Sir Robert Chiltern (Jeremy Northam), a successful politician with a seemingly impeccable reputation. His idyllic life is threatened when the cunning Mrs. Cheveley (Julianne Moore) arrives in London with a scandalous secret from his past. As she attempts to blackmail him, Sir Robert turns to his best friend, the dashing and debonair Lord Arthur Goring (Rupert Everett), for help. Meanwhile, Goring must navigate his own romantic entanglements with Sir Robert’s sister, Mabel (Minnie Driver), and his former flame, Lady Chiltern (Cate Blanchett).

The film boasts a remarkable ensemble cast that brings Wilde’s characters to life with verve and nuance. Jeremy Northam delivers a compelling performance as the morally conflicted Sir Robert, capturing both his integrity and vulnerability. Rupert Everett is a standout as the charming and witty Lord Goring, effortlessly embodying Wilde’s quintessential dandy. Cate Blanchett brings grace and strength to Lady Chiltern, while Julianne Moore excels as the scheming and seductive Mrs. Cheveley. Minnie Driver provides a delightful contrast as the vivacious and free-spirited Mabel.

Oliver Parker’s direction skillfully balances the film’s comedic and dramatic elements, maintaining a brisk pace that keeps the audience engaged. The cinematography by David Johnson is lush and elegant, beautifully capturing the grandeur of the period settings. The film’s lavish costumes and meticulous set design further enhance its visual appeal, immersing viewers in the opulence of Victorian high society.

The screenplay, adapted by Parker himself, stays true to Wilde’s original dialogue and wit, ensuring that the playwright’s incisive social commentary remains intact. The film successfully translates the play’s theatrical qualities to the screen, making use of dynamic camera work and editing to keep the story vibrant and engaging.

“An Ideal Husband” delves into themes of honor, forgiveness, and the complexity of human relationships. It critiques the moral hypocrisy of society and the pressures placed on individuals to maintain an unblemished public image. Through its characters, the film explores the idea that true nobility lies in acknowledging one’s flaws and striving to do better.

“An Ideal Husband” is a delightful and thought-provoking adaptation of Oscar Wilde’s play, brought to life by a talented cast and sumptuous production values. It offers a captivating blend of humor, romance, and social critique, making it a thoroughly enjoyable cinematic experience. Whether you’re a fan of Wilde’s work or simply appreciate well-crafted period dramas, this film is sure to entertain and resonate.

Doctor Who: Rogue (six of eight) 6.4pm BBC1

The Doctor and Ruby find themselves in 1813. They arrive at a duchess’s party where guests are being murdered. The intriguing twist? A mysterious bounty hunter named Rogue is about to change the Doctor’s life forever.

Sunday 9th of June 2024

Renny Rye Remmembers Karaoke 10pm BBC4

Director Renny Rye looks back on the 1996 drama written by Dennis Potter. This unique collaboration between the BBC and Channel 4 produced Karaoke, which was part of Potter’s final works. Renny Rye discusses how Karaoke fits alongside Potter’s other celebrated screenplays, reflects on the pressures he faced in bringing Potter’s vision to life, and shares experiences working with an extraordinary cast.

Karaoke 10.15pm to 1.50am

Karaoke is a 1996 British television drama written by Dennis Potter. The series was created with the knowledge that Potter was dying from cancer of the pancreas. It forms the first half of a pair with the serial Cold Lazarus. Both plays were filmed as a single production by the same team and directed by Renny Rye. Here are the key details:

The principal character, Daniel Feeld (played by Albert Finney), is an English playwright in late middle-age. He’s working on the television production of his latest play, also titled Karaoke. The play revolves around the relationship between a young woman named Sandra Sollars, her boyfriend Peter Beasley, and Arthur ‘Pig’ Mailion, the owner of the sleazy karaoke/hostess bar where Sandra works. Feeld becomes convinced that a real-life couple resembles the characters from his play, leading to a mysterious and intriguing storyline.

Alongside Albert Finney, the series features Richard E. Grant, Hywel Bennett, Roy Hudd, Julie Christie, and early screen appearances by Saffron Burrows and Keeley Hawes.

Dead Calm (1989) 11.15pm 5Star

“Dead Calm,” directed by Phillip Noyce, is a taut psychological thriller that showcases the dangers lurking beneath the serene surface of the open sea. Starring Nicole Kidman, Sam Neill, and Billy Zane, the film masterfully combines suspense, isolation, and intense performances to create a gripping and unsettling cinematic experience.

The story centers around Rae (Nicole Kidman) and John Ingram (Sam Neill), a couple trying to heal from a recent personal tragedy by embarking on a sailing trip across the Pacific Ocean. Their peaceful voyage is shattered when they encounter a drifting schooner and rescue its sole survivor, Hughie Warriner (Billy Zane). Hughie claims his crew succumbed to food poisoning, but as they soon discover, he is far more dangerous than he appears. When Hughie takes control of their boat, Rae must find the strength and cunning to survive and protect her husband, who is left stranded on the derelict vessel.

The film benefits greatly from its stellar cast. Nicole Kidman delivers a powerful performance as Rae, capturing her transformation from a grieving wife to a fierce survivor with emotional depth and intensity. Sam Neill is equally compelling as John, portraying a man grappling with his own grief while facing a life-threatening situation. Billy Zane is chillingly effective as Hughie, exuding a charming menace that keeps the audience on edge throughout the film.

Phillip Noyce’s direction is skillful, creating a claustrophobic atmosphere despite the vast ocean setting. He expertly builds tension through tight, confined spaces and the isolation of the characters. Dean Semler’s cinematography enhances the film’s sense of foreboding, using the stark contrast between the calm, beautiful seascapes and the terrifying events unfolding to heighten the suspense.

The screenplay, adapted from Charles Williams’ novel by Terry Hayes, maintains a relentless pace that keeps viewers engaged from start to finish. The dialogue is sparse but effective, allowing the visual storytelling and the actors’ performances to drive the narrative. The film’s minimalist approach to dialogue and action amplifies the sense of isolation and vulnerability experienced by the characters.

“Dead Calm” explores themes of survival, grief, and the thin veneer of civilization. The film delves into the psychological struggles of its characters, particularly Rae, as they confront their deepest fears and fight for their lives. It also examines the unpredictable nature of human behavior under extreme stress, highlighting the fragility of trust and the instinct for self-preservation.

“Dead Calm” is a suspenseful and emotionally charged thriller that showcases the talents of its cast and director. With its tight pacing, strong performances, and haunting atmosphere, the film remains a compelling exploration of fear and resilience. It’s a testament to the power of psychological thrillers and a must-watch for fans of the genre.

My Old Lady (2014) 11.40pm BBC2

Directed by Israel Horovitz and based on his own play, “My Old Lady” is a poignant and darkly comedic drama that explores complex social themes such as intergenerational conflict, the lingering effects of past traumas, and the nuances of human relationships. Featuring stellar performances by Maggie Smith, Kevin Kline, and Kristin Scott Thomas, the film deftly balances humor and pathos to deliver a thought-provoking narrative set against the charming backdrop of Paris.

The film follows Mathias Gold (Kevin Kline), a down-and-out New Yorker who inherits a Parisian apartment from his estranged father. Expecting a quick sale, Mathias is shocked to discover the apartment comes with a viager, an obscure French real estate arrangement. The current resident, Mathilde Girard (Maggie Smith), is a spirited elderly woman who, by contract, has the right to live there until her death. As Mathias grapples with his financial predicament, he is drawn into the lives of Mathilde and her daughter Chloé (Kristin Scott Thomas), uncovering secrets that challenge his perceptions and force him to confront his own past.

Maggie Smith shines as Mathilde, delivering a performance that is both sharp and endearing. Her portrayal of the resilient, witty woman who holds steadfast to her rights is compelling and heartfelt. Kevin Kline brings depth to Mathias, balancing his character’s bitterness and vulnerability with a touch of sardonic humor. Kristin Scott Thomas adds complexity as Chloé, revealing layers of resentment, loyalty, and longing that enrich the film’s emotional landscape.

Israel Horovitz, making his directorial debut, successfully translates his play to the screen, maintaining the intimate and dialogue-driven nature of the story while utilizing the picturesque Parisian setting to great effect. Michel Amathieu’s cinematography captures the elegance and decay of the apartment and the vibrant streets of Paris, enhancing the film’s atmosphere and visual appeal.
Horovitz’s screenplay is rich with witty exchanges and poignant reflections, allowing the characters to evolve organically through their interactions. The adaptation remains faithful to the play’s structure, with carefully crafted dialogues that explore the characters’ inner lives and their complex relationships.

“My Old Lady” delves into several significant social themes, most notably the impact of past traumas on present lives. Mathias’s strained relationship with his father and his resulting emotional baggage are central to the narrative, highlighting the long-lasting effects of familial neglect and unresolved grief. The film also examines the socio-economic challenges faced by different generations. Mathias’s financial desperation and Mathilde’s precarious living situation underscore issues of economic insecurity and the struggles of aging in a rapidly changing world.

Furthermore, the film explores themes of cultural clash and adaptation. Mathias, an American, must navigate the intricacies of French legal and social norms, which serves as a broader commentary on the complexities of cross-cultural interactions and the need for understanding and compromise.

“My Old Lady” is a touching and thought-provoking film that skillfully weaves together humor and drama to explore profound social themes. With outstanding performances and a richly textured narrative, it offers a compelling look at the intersections of past and present, the personal and the cultural. This film is a rewarding experience for those who appreciate character-driven stories that resonate on both an emotional and intellectual level.

Monday 10th of June 2024

Abandoned Engineering 8pm Yesterday

Abandoned Engineering is a fascinating documentary series that delves into some of the greatest engineering projects that have been abandoned.

This episode tells the story of MV Ross Revenge, a remarkable radio ship with a fascinating history. Originally built in Germany in 1960, she later became part of the Grimsby fishing fleet in 1963. As the fishing industry declined, the ship found a new purpose as the home of Radio Caroline in the 1980s. Equipped with a 300-foot antenna mast and a 50 kW transmitter, Ross Revenge broadcasted pirate radio from 1983 until its final pirate transmission in November 1990. The ship ran aground on the Goodwin Sands in 1991, marking the end of offshore pirate radio in Europe. Remarkably, she was salvaged and is now maintained by the Caroline Support Group.

Moonsoon (2019) 12.05pm BBC2

Directed by Hong Khaou, “Monsoon” is a visually stunning and emotionally resonant film that explores themes of identity, displacement, and the search for belonging. Set against the vibrant backdrop of modern-day Vietnam, the film stars Henry Golding as Kit, a British-Vietnamese man who returns to his birth country to scatter his parents’ ashes. Through its contemplative narrative and evocative cinematography, “Monsoon” offers a deeply personal and introspective journey.

The story follows Kit (Henry Golding), who was forced to leave Vietnam with his family as a child following the Vietnam War. Decades later, he returns to a country that feels both foreign and familiar, tasked with finding a suitable place to spread his parents’ ashes. As he navigates the bustling streets of Hanoi and Ho Chi Minh City, Kit reconnects with his roots, meeting old friends and making new ones, including Lewis (Parker Sawyers), an American whose father fought in the war, and Linh (Molly Harris), a local who helps him understand the contemporary Vietnam.

Henry Golding delivers a nuanced and heartfelt performance as Kit, capturing the character’s internal conflict and quiet resilience. His portrayal is marked by a gentle vulnerability that brings depth to Kit’s journey of self-discovery. Parker Sawyers as Lewis provides a thoughtful counterpart, offering insight into the lingering effects of the Vietnam War on the next generation. Molly Harris as Linh adds warmth and perspective, helping to ground Kit’s experiences in the reality of modern Vietnamese life.

Hong Khaou’s direction is both sensitive and deliberate, allowing the story to unfold at a reflective pace that mirrors Kit’s internal journey. The film’s cinematography, by Benjamin Kracun, is breathtaking, capturing the beauty and complexity of Vietnam’s landscapes and cityscapes. The use of long, contemplative shots and natural lighting creates an immersive atmosphere that enhances the film’s introspective tone.

The screenplay, also written by Hong Khaou, is sparse yet profound, focusing on the quiet moments of connection and introspection. The dialogue is minimal but impactful, with each conversation revealing layers of Kit’s character and the cultural context he navigates. The script’s strength lies in its ability to convey deep emotions and complex themes through subtle interactions and visual storytelling.

“Monsoon” delves into several poignant social themes, including the sense of identity and belonging for those who have lived between cultures. Kit’s return to Vietnam highlights the disconnection and search for roots that many immigrants and their descendants experience. The film also addresses the lasting impact of historical events, such as the Vietnam War, on both individuals and societies. Through Kit’s interactions with Lewis and Linh, the film explores how different generations grapple with the legacy of conflict and the process of reconciliation.

Another significant theme is the idea of home. Kit’s journey is as much about finding a physical place for his parents’ ashes as it is about finding a sense of home within himself. The film portrays the fluid and sometimes elusive nature of home for those who have been displaced or who straddle multiple cultures.

“Monsoon” is a beautifully crafted film that offers a meditative exploration of identity, memory, and belonging. With its evocative visuals, strong performances, and thoughtful narrative, it invites viewers to reflect on their own experiences of home and cultural heritage. This film is a poignant and rewarding experience for those who appreciate introspective dramas that delve into the human condition.

Shiva Baby (2020) 2.40am C4

Directed by Emma Seligman, “Shiva Baby” is a sharp and darkly comedic exploration of family dynamics, identity, and societal expectations. Set primarily at a shiva (a Jewish mourning gathering), the film captures the claustrophobic tension and awkwardness of familial and social obligations. With standout performances and a keenly observant script, “Shiva Baby” offers a compelling and often hilarious look at the complexities of young adulthood.

The story centers on Danielle (Rachel Sennott), a directionless college student navigating a chaotic day at a shiva attended by her extended family and community members. Already anxious about her uncertain future, Danielle’s day takes a turn for the worse when she encounters her sugar daddy, Max (Danny Deferrari), and his wife, Kim (Dianna Agron), at the gathering. As the day unfolds, Danielle must manage her parents’ (Polly Draper and Fred Melamed) probing questions, navigate old tensions with her ex-girlfriend Maya (Molly Gordon), and maintain her composure amidst escalating stress and scrutiny.

Rachel Sennott delivers a breakout performance as Danielle, perfectly capturing her character’s blend of insecurity, defiance, and vulnerability. Her portrayal is both relatable and compelling, grounding the film’s comedic elements with genuine emotional depth. Danny Deferrari and Dianna Agron are effective as Max and Kim, adding layers of complexity to their interactions with Danielle. Polly Draper and Fred Melamed provide strong support as Danielle’s well-meaning but overbearing parents, while Molly Gordon shines as the supportive yet conflicted Maya.

Emma Seligman’s direction is assured and precise, effectively using the confined setting to heighten the film’s tension and comedic impact. The tight framing and close-up shots create a sense of claustrophobia, reflecting Danielle’s growing anxiety. Maria Rusche’s cinematography complements the film’s tone, capturing the stifling atmosphere of the shiva while also highlighting moments of absurdity and humor.

Seligman’s screenplay, adapted from her own short film, is witty, incisive, and tightly paced. The dialogue is sharp and authentic, capturing the overlapping conversations and passive-aggressive exchanges typical of family gatherings. The script skillfully balances humor with moments of genuine emotional resonance, exploring themes of identity, ambition, and societal pressure without becoming overly didactic.

“Shiva Baby” delves into several relevant social themes, including the pressures young adults face regarding career and personal success. Danielle’s struggle with her uncertain future and her attempts to navigate societal expectations reflect the anxieties many young people experience. The film also explores the complexity of familial relationships, highlighting both the support and suffocation that can come from family dynamics.

Another key theme is the intersection of sexuality and identity. Danielle’s bisexuality is portrayed matter-of-factly, adding depth to her character and her interactions without becoming the sole focus of her narrative. The film also touches on issues of gender and power dynamics, particularly in Danielle’s relationship with Max.

“Shiva Baby” is a refreshingly original and sharply observed comedy that captures the chaos and absurdity of family gatherings with wit and empathy. Emma Seligman’s assured direction and Rachel Sennott’s standout performance make for a compelling and entertaining film that resonates on both comedic and emotional levels. With its keen social commentary and relatable exploration of young adulthood, “Shiva Baby” is a must-watch for fans of character-driven comedies and insightful storytelling.

Tuesday 11th of June 2024

Storyville: Copa ’71: The Lost Lionesses 10pm BBC4

Copa ’71: The Lost Lionesses is a captivating Storyville documentary that sheds light on an extraordinary football tournament. The film features the fearless voices of the women who participated, along with recently uncovered archive footage.

Effie Gray (2014) 11.05pm BBC2

Directed by Richard Laxton and written by Emma Thompson, “Effie Gray” is a biographical drama that tells the compelling and tragic story of Euphemia “Effie” Gray (Dakota Fanning), the young wife of the prominent Victorian art critic John Ruskin (Greg Wise). Set in the repressive social milieu of 19th-century England, the film explores themes of marital discord, societal expectations, and the quest for personal freedom. With its strong performances and meticulous period detail, “Effie Gray” offers a poignant and thought-provoking look at the constraints placed on women in a rigidly patriarchal society.

The film follows Effie Gray, who marries the much older John Ruskin only to find herself trapped in a loveless and unconsummated marriage. Ruskin, more absorbed in his intellectual pursuits and art criticism, neglects Effie both emotionally and physically. Isolated and desperate for affection, Effie befriends artist John Everett Millais (Tom Sturridge), which leads to a deepening emotional connection. With the support of Lady Eastlake (Emma Thompson), Effie eventually challenges the oppressive constraints of her marriage, seeking annulment in a society where women’s rights are severely limited.

Dakota Fanning delivers a sensitive and nuanced performance as Effie Gray, capturing the character’s vulnerability and strength as she navigates her oppressive circumstances. Greg Wise portrays John Ruskin with a cold detachment that underscores the emotional neglect Effie endures. Tom Sturridge brings warmth and empathy to the role of John Millais, providing a stark contrast to Ruskin’s aloofness. Emma Thompson shines in her supporting role as Lady Eastlake, a character who embodies the voice of compassion and reason.

Richard Laxton’s direction emphasizes the film’s atmospheric tension and the stifling environment of Victorian society. The film’s pacing is deliberate, reflecting Effie’s gradual awakening and struggle for autonomy. Andrew Dunn’s cinematography beautifully captures the lush landscapes and intricate interiors, enhancing the film’s period authenticity. The visual composition often mirrors Effie’s isolation and entrapment, with carefully framed shots that emphasize her confinement.

Emma Thompson’s screenplay is rich in detail and character development, providing a faithful adaptation of the historical events. The dialogue is articulate and period-appropriate, effectively conveying the societal norms and pressures of the time. Thompson’s script delicately balances the personal and the political, shedding light on Effie’s individual plight while critiquing broader societal injustices.

“Effie Gray” delves deeply into several important social themes, particularly the oppressive nature of Victorian gender roles and the limited agency afforded to women. Effie’s struggle against her repressive marriage reflects the broader constraints placed on women during the era, highlighting issues of marital power dynamics and the lack of legal protections for women.

The film also explores the theme of emotional and sexual repression. Ruskin’s neglect and the unconsummated marriage serve as a stark representation of the period’s often prudish attitudes toward sexuality and the devastating impact these attitudes had on individuals, particularly women.

Another significant theme is the pursuit of personal freedom and self-determination. Effie’s journey from a subservient wife to a woman asserting her right to happiness and autonomy is a powerful narrative of liberation. Her quest for an annulment is not just a personal battle but a broader statement against the oppressive structures of her society.

“Effie Gray” is a beautifully crafted film that offers a poignant and insightful examination of the restrictive social norms of 19th-century England. With its strong performances, particularly from Dakota Fanning, and its meticulous attention to historical detail, the film provides a compelling portrait of a woman’s fight for independence and dignity. Emma Thompson’s thoughtful screenplay and Richard Laxton’s sensitive direction make “Effie Gray” a moving and thought-provoking exploration of gender, power, and personal freedom.

Kes (1969) 1.25am Film4

Directed by Ken Loach and based on Barry Hines’ novel “A Kestrel for a Knave,” “Kes” is a poignant and gritty drama that captures the harsh realities of working-class life in northern England. The film tells the story of Billy Casper, a young boy who finds solace and a sense of purpose through his bond with a kestrel. With its raw, naturalistic style and powerful social commentary, “Kes” stands as a landmark in British cinema, offering a timeless exploration of youth, aspiration, and the struggle against societal constraints.

Set in a bleak mining town in Yorkshire, the film follows Billy Casper (David Bradley), a 15-year-old boy who is neglected at home and bullied at school. Trapped in a life devoid of opportunities, Billy discovers a kestrel hawk and becomes determined to train it. Through his relationship with the bird, Billy experiences a rare sense of freedom and accomplishment, contrasting sharply with the oppressive environment that surrounds him. Despite his efforts, the pressures of his harsh reality continually encroach upon his fleeting moments of joy.

David Bradley delivers an extraordinary performance as Billy, embodying the character’s vulnerability, resilience, and quiet determination. His portrayal is both heartbreaking and inspiring, capturing the essence of a young boy striving to find meaning in a seemingly indifferent world. The supporting cast, including Freddie Fletcher as Billy’s abusive half-brother Jud and Colin Welland as the sympathetic teacher Mr. Farthing, provide strong, authentic performances that enhance the film’s realism.

Ken Loach’s direction is masterful, employing a naturalistic style that immerses the audience in Billy’s world. Loach’s commitment to social realism is evident in every frame, from the unvarnished depiction of the mining town to the improvised dialogue and use of non-professional actors. Chris Menges’ cinematography complements Loach’s vision, capturing the stark beauty of the Yorkshire landscape and the gritty details of the urban environment. The film’s visual style is both evocative and unflinching, reinforcing the story’s emotional impact.

Barry Hines’ screenplay, co-written with Loach, remains faithful to the source material while enhancing its cinematic qualities. The dialogue is authentic and unpretentious, reflecting the speech patterns and dialects of the region. The script’s strength lies in its ability to convey deep emotional truths through simple, everyday interactions. It deftly balances moments of quiet introspection with scenes of intense conflict, creating a narrative that is both compelling and deeply moving.

“Kes” delves into several significant social themes, most notably the crushing impact of poverty and limited opportunities on young lives. The film paints a stark picture of the British educational system, which often fails to nurture the potential of children like Billy, instead preparing them for a life of manual labor. The harsh discipline and lack of encouragement Billy faces at school underscore the systemic neglect of working-class youth.

Another key theme is the search for identity and self-worth. Billy’s bond with the kestrel symbolizes his desire to rise above his circumstances and find a sense of purpose. The bird represents freedom and aspiration, offering Billy a glimpse of a life beyond the confines of his environment. The film poignantly explores how even small moments of joy and achievement can provide a lifeline in an otherwise bleak existence.

“Kes” is a profoundly moving and thought-provoking film that remains as relevant today as it was upon its release. Ken Loach’s sensitive direction, combined with David Bradley’s remarkable performance, creates a deeply empathetic portrayal of a young boy’s struggle for dignity and hope. The film’s unflinching depiction of social issues and its celebration of the human spirit make it a timeless classic of British cinema.

Wednesday 12th of June 2024

The Conversation (1974) 11.30pm BBC2

Directed by Francis Ford Coppola, “The Conversation” is a masterful psychological thriller that delves into themes of surveillance, paranoia, and moral ambiguity. Starring Gene Hackman in one of his most nuanced performances, the film explores the ethical dilemmas faced by individuals whose work involves invading the privacy of others. Set against the backdrop of 1970s America, the film is both a gripping character study and a chilling commentary on the era’s growing mistrust and technological advancements.

The film follows Harry Caul (Gene Hackman), a reclusive and meticulous surveillance expert hired to record a conversation between a young couple, Ann (Cindy Williams) and Mark (Frederic Forrest). As Harry meticulously analyzes the recording, he becomes increasingly paranoid about the implications of what he has captured. Haunted by a past surveillance job that ended in tragedy, Harry’s growing obsession with the tape leads him down a path of ethical quandaries and personal unraveling.

Gene Hackman delivers an exceptional performance as Harry Caul, capturing the character’s complex blend of professionalism, paranoia, and vulnerability. Hackman’s portrayal is understated yet powerful, drawing the audience into Harry’s internal struggle. Cindy Williams and Frederic Forrest provide strong support, adding layers to the mystery through their enigmatic roles. The supporting cast, including John Cazale as Harry’s assistant Stan and Harrison Ford as the sinister Martin Stett, further enriches the film with their nuanced performances.

Francis Ford Coppola’s direction is both precise and atmospheric, creating a sense of claustrophobia and tension that permeates the film. Coppola’s use of sound is particularly noteworthy, with Walter Murch’s sound design playing a crucial role in building suspense and reflecting Harry’s growing paranoia. Bill Butler’s cinematography complements the film’s themes, using shadows, reflections, and tight framing to visually convey Harry’s isolation and obsession.

Coppola’s screenplay is tightly constructed, weaving together elements of mystery, suspense, and character study. The dialogue is sharp and economical, revealing just enough to keep the audience engaged while maintaining an air of ambiguity. The script’s strength lies in its ability to delve deep into Harry’s psyche, exploring the moral implications of his work and the toll it takes on his personal life.

“The Conversation” addresses several pertinent social themes, most notably the ethical implications of surveillance and the erosion of privacy. The film’s portrayal of Harry’s work raises questions about the morality of eavesdropping and the potential consequences of invasive technology. In an era marked by Watergate and growing public distrust, the film’s themes resonated deeply, reflecting societal anxieties about government overreach and personal freedoms.

Another significant theme is the psychological impact of guilt and obsession. Harry’s past experiences and his fixation on the current surveillance job illustrate how professional detachment can give way to personal torment. The film also explores the notion of control and vulnerability, as Harry, despite being an expert in surveillance, becomes a victim of his own paranoia and the very tools he uses.

“The Conversation” is a brilliant exploration of surveillance and its ethical ramifications, anchored by Gene Hackman’s compelling performance and Coppola’s masterful direction. The film’s meticulous attention to detail, atmospheric tension, and profound social commentary make it a timeless thriller that remains relevant in today’s technologically driven world.

Thursday 13th of June 2024

Israel: A Twice Promised Land (one of two) 6.15pm PBS America

Israel: A Twice Promised Land is a captivating documentary series that delves into the pivotal events that led to the establishment of Israel. The first episode focuses on the decisive years following World War II, leading up to the UN vote on the Partition Plan in 1947. It culminates with Israel’s historic declaration of independence in 1948. The second part airs Friday.

The Graduate (1967) 10.30pm BBC4

Directed by Mike Nichols and based on Charles Webb’s novel of the same name, “The Graduate” is a seminal film that captures the disillusionment and rebellion of the 1960s youth. Starring Dustin Hoffman in his breakthrough role, the film is a satirical yet poignant exploration of societal expectations, generational conflict, and the search for personal identity. With its iconic performances, sharp screenplay, and innovative direction, “The Graduate” remains a timeless classic that continues to resonate with audiences.

The film follows Benjamin Braddock (Dustin Hoffman), a recent college graduate who returns home to California uncertain about his future. Amidst the pressure from his parents to follow a conventional path, Benjamin becomes entangled in an affair with Mrs. Robinson (Anne Bancroft), the seductive wife of his father’s business partner. Complications arise when Benjamin falls in love with Mrs. Robinson’s daughter, Elaine (Katharine Ross), leading to a series of comedic and dramatic events that force him to confront his own desires and the expectations placed upon him.

Dustin Hoffman delivers an iconic performance as Benjamin Braddock, perfectly capturing the character’s awkwardness, confusion, and quiet rebellion. Hoffman’s nuanced portrayal adds depth to Benjamin’s internal struggle, making him a relatable and sympathetic protagonist. Anne Bancroft is equally compelling as Mrs. Robinson, embodying a complex mix of seduction, bitterness, and vulnerability. Katharine Ross shines as Elaine, bringing warmth and sincerity to her role, and providing a counterbalance to the more cynical characters.

Mike Nichols’ direction is innovative and assured, utilizing a variety of stylistic techniques to enhance the film’s themes and mood. The use of long takes, unconventional camera angles, and jump cuts creates a sense of disorientation that mirrors Benjamin’s inner turmoil. The film’s visual style is complemented by Robert Surtees’ cinematography, which captures the sunny yet superficial facade of suburban California. The iconic shots, such as Benjamin framed through Mrs. Robinson’s leg and the underwater sequences, have become emblematic of the film’s artistic vision.

The screenplay, written by Buck Henry and Calder Willingham, is sharp, witty, and incisive. The dialogue captures the generational divide and the emptiness of bourgeois values with biting humor and keen observation. The script deftly balances comedic elements with moments of genuine emotional depth, allowing the characters to evolve in a believable and engaging manner. The adaptation stays true to the spirit of the novel while making the story accessible and impactful for a cinematic audience.

“The Graduate” addresses several significant social themes, most notably the existential angst and disillusionment of the younger generation. Benjamin’s aimlessness and rebellion against societal expectations reflect the broader cultural shifts of the 1960s, as young people questioned traditional paths and sought new forms of identity and fulfillment. The film also critiques the materialism and hypocrisy of the suburban middle class, exposing the superficiality and moral compromises that often underpin conventional success.

Another important theme is the complexity of human relationships and the search for genuine connection. Benjamin’s relationships with Mrs. Robinson and Elaine highlight the contrasts between physical desire, emotional intimacy, and the longing for authenticity in a world that often feels contrived and performative.

“The Graduate” is a masterful film that combines sharp social commentary with compelling character studies and innovative direction. Dustin Hoffman’s breakout performance, supported by an excellent cast, brings to life a story that is both specific to its time and universally relatable. Mike Nichols’ direction and the film’s distinctive visual style have cemented its place as a landmark in American cinema.

Monster (2003) 11.15pm Film4

“Monster” (2003), directed by Patty Jenkins and starring Charlize Theron and Christina Ricci, is a riveting biographical crime drama that delves into the life of Aileen Wuornos, a notorious serial killer who was executed in 2002. This film stands out not only for its compelling narrative but also for the transformative performances that bring the story to life.

Charlize Theron delivers a powerhouse performance as Wuornos, undergoing a striking physical transformation that makes her nearly unrecognizable. Beyond the physical changes, Theron immerses herself in the complex psyche of Wuornos, portraying her with a rawness and vulnerability that evoke both empathy and horror. Theron’s portrayal is not just an imitation but a deep, nuanced embodiment of a troubled individual driven to extreme actions by desperation and a history of abuse.

Christina Ricci, playing Selby Wall (a character based on Wuornos’s real-life lover Tyria Moore), provides a poignant counterpoint to Theron’s intensity. Ricci’s performance captures the naivety and conflicting emotions of a young woman caught in a tumultuous relationship, adding layers to the film’s exploration of love, manipulation, and dependency.

Patty Jenkins, in her directorial debut, masterfully balances the gritty realism of Wuornos’s life with a narrative that avoids sensationalism. Instead of focusing solely on the violence, Jenkins delves into the emotional and psychological landscapes of her characters, providing context to Wuornos’s actions without excusing them. The film’s cinematography, with its stark, unflinching shots, enhances the sense of bleakness and desperation that permeates Wuornos’s world.

“Monster” also benefits from a well-crafted screenplay that captures the essence of Wuornos’s tragic life story while maintaining a tight narrative structure. The dialogue is both authentic and impactful, driving home the themes of societal neglect, the search for love, and the devastating effects of trauma.

The film’s pacing is deliberate, allowing for a slow build-up that mirrors the unraveling of Wuornos’s life. This approach, combined with an evocative score, creates a haunting atmosphere that lingers long after the credits roll.

In conclusion, “Monster” is a haunting and powerful film that offers a deeply humanizing look at a figure often vilified in the media. It is a testament to Charlize Theron’s incredible talent and Patty Jenkins’s skillful direction. The film challenges viewers to confront the uncomfortable realities of abuse, mental illness, and the dire consequences of a society that often fails its most vulnerable members.

Friday 14th of June 2024

Rebecca (1940) 3.10pm TalkingPictures

“Rebecca” (1940), directed by Alfred Hitchcock and based on Daphne du Maurier’s novel of the same name, is a timeless gothic thriller that masterfully blends romance, suspense, and psychological drama. This film, which marked Hitchcock’s first American project, stands as a quintessential example of classic cinema, showcasing his directorial prowess and the talents of its leading actors, Laurence Olivier and Joan Fontaine.

The story revolves around a young, unnamed woman (Joan Fontaine) who marries the brooding widower Maxim de Winter (Laurence Olivier). Upon moving to his grand estate, Manderley, she finds herself living in the shadow of Maxim’s first wife, Rebecca, whose presence looms large despite her death. The new Mrs. de Winter’s struggle with Rebecca’s haunting legacy and the sinister housekeeper, Mrs. Danvers (Judith Anderson), drives the film’s tension and intrigue.

Joan Fontaine delivers a standout performance as the new Mrs. de Winter, capturing her character’s evolution from a shy, insecure girl to a woman forced to confront the dark secrets of her husband’s past. Fontaine’s portrayal is both vulnerable and compelling, drawing the audience into her psychological turmoil.

Laurence Olivier, as Maxim de Winter, is equally captivating. He imbues his character with a complex mix of charm, aloofness, and hidden torment, making Maxim a fascinating and enigmatic figure. The chemistry between Fontaine and Olivier adds depth to their tumultuous relationship, enhancing the film’s emotional impact.

Judith Anderson’s performance as Mrs. Danvers is iconic. She exudes a chilling menace, becoming the embodiment of Rebecca’s lingering influence over Manderley. Her intense fixation on Rebecca and her malevolent manipulation of the new Mrs. de Winter create some of the film’s most memorable and suspenseful moments.

Hitchcock’s direction is impeccable, employing his signature style to build suspense and maintain an atmosphere of mystery. The use of shadow and light, the meticulous set design of Manderley, and the haunting score by Franz Waxman all contribute to the film’s gothic aesthetic. Hitchcock’s ability to create tension through visual storytelling is evident in every frame, making “Rebecca” a masterclass in suspense.

The screenplay, adapted by Robert E. Sherwood and Joan Harrison, stays true to the spirit of du Maurier’s novel while enhancing its cinematic qualities. The dialogue is sharp and evocative, and the pacing is deliberate, allowing the story’s psychological complexity to unfold gradually.

“Rebecca” also explores themes of identity, memory, and the destructive power of obsession. Through the new Mrs. de Winter’s journey, the film examines how the past can overshadow the present, and how one woman’s struggle to assert her identity is complicated by the lingering echoes of another’s life.

“Rebecca” is a masterpiece of classic cinema that showcases Alfred Hitchcock’s genius and the exceptional talents of its cast. It is a haunting, beautifully crafted film that continues to captivate audiences with its timeless story and atmospheric brilliance. “Rebecca” is not just a film; it is an enduring work of art that remains as compelling today as it was upon its release.

and finally, Israel: A Twice Promised Land (two of two) 6.15pm PBS America

Part 2 of Israel: A Twice Promised Land delves into the critical decades from 1948 to 1967. These years were punctuated by significant events, including the 1948 Arab-Israeli War, the 1956 Suez Crisis, and the Six-Day War in 1967. These conflicts shaped the Middle East and continue to resonate today.

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