Reviews

'Abraham's Point' (2008): Wyndham Price (Director), Mackenzie Crook, Christian McKay & Mariah Gale. Rating 5/10

Firstly, this is a good film. My review rating of 5/10 suggests an interesting film worthy of viewing. It is heart-warming, despite some scenes of mild violence. It is only likely to cause offence to purveyors of antiques.

'Abraham's Point' was a film that seemed to have disappeared without trace, hence my review. Quickly shot, with a limited budget, it has interesting characters and a positive message. Whether the ending is 'happy', I'll leave for the viewer to determine. Rather intriguingly, there are no 'customary' reviews of this movie that I could find online. This is the first IMDb review & there is nothing in Wikipedia or on the Rotten Tomatoes site.

Mackenzie Crook's character, Comet Snape, seems to be a rather inept French polisher for a small antiques business with an ability to pay in excess of £2,000 at auction on a whim/compulsion. He unconventionally acquires a rather questionable longcase clock, whose glazed dial door mysteriously loses it glass during its travels. An advisor from the antiques trade was seemingly lacking.

Comet is an endearing, traumatised character beset by insomnia. The cause of this is revealed as the movie progresses. Comet goes on an unconventional journey back to his parental home in Wales, bearing the aforementioned bulky timepiece. He faces adversity, supported at times by noteworthy cinematography. 'Abraham's Point' is a positive story of reconciliation, a story in which even the seemingly unredeemable 'criminal' Robert (Christian McKay) gets to manifest his intrinsic decency. A special mention for Mariah Gale as the enchanting Ellie.

Recommended. A positive and thought-provoking film from a relatively unknown director.

Mark Twitchett 07/20

'Peeping Tom' (1960): Michael Powell (Director), Leo Marks (Screenplay), Karlheinz Böhm, Anna Massey, Moira Shearer & Pamela Green. Rating 8/10

'Peeping Tom' was a controversial film directed by a master of British cinema ('The Life and Death of Colonel Blimp, 'One of Our aircraft is Missing, 'Black Narcissus, 'The Red Shoes', etc.). It was ahead of its time in 1960. In our somewhat puritanical age, the same could perhaps be said of today. As for the film, it is easier to say what this film is not. It is not a proto-slasher movie. It is not principally a movie about a serial killer. Perhaps somewhat surprisingly, the sexual dimension is arguably secondary.

The story focuses on Karlheinz Böhm's character Mark Lewis. Ultimately a killer, Mark was traumatised by his father, who monitored him intensively throughout his youth (including on film) for 'scientific purposes', e.g. Mark's reaction at his mother's deathbed was captured on film. The voyeuristic theme of the movie is thus introduced. Capturing fear and distress on tape/film seems to have been particularly important to Mark's father. The father, young son and dead mother in these old films were played, rather significantly, by the director and his own wife & son (Columba). As for the cinematography, apart from the costumes, we are presented with a lush almost 'Hammer Horror-like' backdrop. More interestingly perhaps, the death scene with Moira Shearer is remiscent of Antonioni's later 'Blow Up' (the famous photo shoot - David Hemmings & Vanessa Redgrave). Moira Shearer's performance, her third for Powell, is quite remarkable.

It is suggested that part of the critical outrage on the film's release was due to the sympathetic portrayal of the protagonist. Indeed, we can empathise with Mark - or at least recognise that he, too, is a victim. To understand all is to forgive all. Hitchcock was apparently so concerned by the reception of 'Peeping Tom' that he consequently released his contemporary work 'Psycho' without a press viewing.

It is a matter of cinematic lore that this film destroyed Powell's career. Whether this is true or not - as his 'next' film was not highly regarded ('The Queen's Guards') & he had perhaps unrelated funding difficulties, the work was at least recognised as a significant film during his own lifetime. It must also be remembered that Powell later directed the excellent 'Age of Consent' with James Mason and Helen Mirren (1969).

So, what is the film really about? Whilst I recognise that many an academic paper could be written on this work, (in my view) the film is about the nature of cinema. In particular, the role and motivations of the director and 'his' audience. Whilst the writer (Marks) suggested a strong sexual motivation for Mark, this is largely only hinted at in the movie. The first clear indication in the movie that his motivation was sexual was when Helen kissed him (I stand to be corrected here). He does not react until she leaves, when his erotic response was directed towards his ever-present camera, or perhaps more so towards what his camera represented. Mark considers himself to be a scoptophiliac and even tries to identify a possible therapy. He is a man obsessed, a victim of his compulsions and disturbed youth. However, he desperately fights to overcome these in the case of the 'final girl', Helen (Anna Massey) - for whom he feels genuine affection.

Pamela Green (Milly) is said to have reported, perhaps rather disturbingly, that Powell had his two young sons witness the filming of her 'nude' scene in the studio (not in the UK print). This reinforces the voyeuristic theme, the director as voyeur. Powell is watching his film being filmed, in which a film is shown portraying Powell and his family (as actors), who are the family of our primary voyeur Mark. He, in turn, films others in order to catch the ultimate height of emotion (fear) in his 'victims'/'actresses' faces, as the director himself Powell might do - and as we will ultimately witness ourselves on the big screen. One thing is clear, the principle voyeurs here are Powell and the audience. Perhaps this is what made and still makes the film so disturbing. It is certainly no 'slasher'. If anything, the film challenges the motivations of those drawn, like Mark, to filmed graphic and horrific scenes - scenes which are are largely absent from 'Peeping Tom'. Apart from the denouement, the horrors are largely suggested, rather than shown.

Thoroughly recommended. A compelling and thought-provoking film from a master of British film.

Mark Twitchett 07/20

'The Misfits' (1961): John Huston (Director), Arthur Miller (Screenplay), Clark Gable, Marilyn Monroe, Montgomery Clift, Eli Wallach & Thelma Ritter. Rating 9/10

'The Misfits' is a problematic film to review. Art imitates life in Miller's creation. Of the leads, perhaps only Ritter & Wallach can be said to be truly acting. An elderly and frail looking Gable (59) had a heart attack two days after filming was completed, succumbing ten days later. Within two years, Monroe had overdosed (36yrs). Clift, with his demons, was not destined to live until old age (45yrs). Huston had a gambling habit & was drinking very heavily. Monroe & Clift were subject to their addictions. In Monroe's case, she was barely functioning. Unsurprisingly, they all invariably arrived late on the set, to Gables' chagrin.

Further complicating matters, the screenplay was allegedly written by Miller as a 'Valentine' to his wife. However, the marriage was collapsing/collapsed and both had strayed or were straying maritally (tragically, with Yves Montand in Monroe's case). It is disturbingly apparent that, at times, Norma Jeane is playing Marilyn playing Norma Jeane. Miller was effectively analysing Monroe & their marriage for all to see - and Monroe had to read the lines. Gable even spoke lines that Miller had used when he had first met Monroe - and which had made such a strong impact on her. She sometimes only received her lines hours before shooting from Miller, who was constantly amending/re-writing the script as the plot developed. This greatly added to the actresses' stress. Some 'Valentine'! Whether or not Miller gave 'Norma Jeane' a happy ending, I'll leave for the viewer to discover.

The story, commencing in Reno, primarily depicts the 'journey' of a divorcée called Roslyn (Monroe). She accompanies an aging Cowboy, Gay (Gable) and his friend & partner, Guido (Wallach) to the latter's uncompleted home, remote from town. Guido has lost his wife by (negligently?) failing to reliably provide access to medical care. He is mentally and morally adrift. Clift & Ritter's characters, Perce & Isabelle,have suffered significant adversity, too. However, only Isabelle seems to have reconciled herself to her past. The evolving relationship between Gay & Roslyn is central to the film. The other male leads, perhaps unsurprisingly, compete with Gay for her affections. The denouement follows on from the decision by the three male leads to capture wild horses, which are - unbeknownst to Roslyn - destined to be pet food. Roslyn's reaction to the ensuing scenes of macho derring-do are pivotal. Will Gay let Roslyn down at this final hurdle? For all the central characters, the story is one of loss, failure & decline. They, rather than the wild horses', are the eponymous 'Misfits'. The tension in the movie is derived from the choice that Monroe has to make. Whom will she choose - Gable, Clift or Wallach? Will she ride off into the sunset with one of them - or will the melancholic nature of the movie prevail?

The last completed film of Gable & Monroe, it is arguably their best work. Gable is truly heroic in adversity and Monroe is both beautiful & compelling. They are 'everyman'. For Gable & Monroe, portraying a cowboy past his prime in an alien world and a depressive woman with a rather 'disresputable' past seeking a strong 'father figure' to give her stability/security were not too far out of step with their real lives. Perhaps this, coupled with Monroe & Clift's excesses during filming, ensured that 'The Misfits' would become a classic, indeed a masterpiece.

Thoroughly recommended. If I get the chance to see this on the big screen, I'm sure it will make an even greater impact. Enjoy!

Mark Twitchett 07/20