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The Man from Mo'Wax (2016)
Insightful, raw and innovate take on a classic rise and fall story
Exclusive no holds barred access into the life and career of renowned DJ and Mo Wax record label founder, James Lavelle. A sweeping rollercoaster ride through his career, uprise to downfall, a raw and honest account of young fame and cataclysmic downfall
As part of a younger generation, I unfortunately didn't grow up with Lavelle being a household name but the doc very distinctly and masterfully transports us into this 80's/90's millennial urban world and progressive music industry.
Particular commendation like with any documentary has to go to editor Alec Rossiter and Director Matthew Jones. Whom have clearly trawled through hours of b-roll, interview and gig footage to compile the best and most relevant clips to craft the story. The cuts between the primary footage of young Lavelle spliced next to his coworker and or friend counterpart interviews for the doc as he begins to spiral and tarnish his friendships are excellently placed. However, the sheer volume of contributors and anecdotes from influential figures in his life can become a little overwhelming and I often found myself getting a little lost as to who was who. Aside from signed artist and friend DJ Shadow who then went onto collaborate on and create UNKLE with Lavelle. He is the most significant and arguably only 'character' within the film I understand and empathise with other than Lavelle himself due to their broken bromance.
The journey itself is set out in a very typical documentary rise and fall charting. Showing the incredible journey of an underground young teenager with huge aspirations and seemingly unattainable dreams which he managed to make a reality, defying any and all expectations. As stated 'James turned everything into gold.' The classic Midas touch until that came back to bite him. Aspirations are too high, stakes higher and the low points, catastrophic.
It's clear to see that success at that very early age can spiral, it's the age old story of a child star being given too much power and the temptation of drugs, pressures of the industry and the interview of him revealing his adultery, there's a deep insight and resultant understanding of how and why Lavelle's downfall occured.
Particular mention needs to go to the graphics interspersed throughout the film
The animated record covers of vinyl after vinyl, contrasted with the grainy video archive footage of Lavelle, worked beautifully alongside one another. I appreciated that showing these wasn't all about the music and it was Lavelle's label identity as a whole, appreciation for all art forms, be that from the artists on his label to the visual collaborators whom he admired and enlisted to make his label identifiable and unique.
As Lavelle boasts "ching ching ching" he is evidently incredibly money orientated and this works effortlessly with the fast-paced editing and we're taken on the ride of his career with him and how his ego in the end got the better of him, or was he just misunderstood?
All in all an excellent and insightful watch both into Lavelle himself but also the pressures, record label politics, independent label declines and the dark underbelly to the music industry as a whole.
Hawk (2011)
A very bold production but needs a second viewing to grasp
Hawk is a truly epic film, from the sweeping aerial shots of the stunning landscape, the captivating score, innovative editing and generally bold production. Narratively speaking however, the film definitely takes further viewings to fully comprehend the nature of what is going on, and even then I'm left a little confused.
Director A J Mcmahon does an excellent job of transporting us into this alternate universe from the offset, the grand swilling score and fantastical opening shot creates a world almost immediately and we know we're set for a dramatic fantasy ride.
The harsh realities of life and death are addressed immediately with the Hawk killing the mouse and consistently referred back to in the film. We then hear the advice from Grandfather Gawain to Rowan that 'The gods will be angry if you take her life' referring to the symbolic Hawk, which is only later revealed to have been the case. Lessons of morality, mortality are present throughout, making audiences question particularly by the end, how we address the balance of giving and taking life, what we take for granted and how we treat any and all elements of nature, especially with Gawain stating 'everything is alive' you begin to envision this yourself.
The use of voiceover is very effective in parts, showing that the lessons Gawain taught Rowan, he now wishes to teach and impart on others but I can only feel that that was slightly overused. As a result, the consistent voiceover distracted from the relationship between the two leads, particularly during Gawain's storytelling montage sequence, though brilliantly edited, it would have been effective to see more of this in real time so we could connect to both characters and their bond that bit more. This is so that when Gawain passes, we would genuinely feel Rowan's pain and loss, which I admittedly didn't..
Conversely, It has to be noted that one of the film's richest aspects is Stuart Hancock's glorious score complimented by the evocative choir elements. It really gives that involuntary body response, goosebumps for myself ,due to its grand and exhilarating nature, coinciding with the world Mcmahon has crafted, superbly. Additionally, many technical aspects of the film have been ingrained in my mind, a large amount due to Martin Hills expert cinematography. For instance, the Kurosawa-esque shot in the woods, gazing up at the trees where Gawain spirals into the underworld was pure genius. Additionally, the sweeping shots of the Snowdonian landscape were also stunning, really embedding us in this world and resultant underworld. Though unfortunately due to these being regularly repeated, they began to lose their wow factor and just seemed to be placed in for a quick and seamless scene transition or to convey the time shift, which may have been a slight cop out.
It's a film that makes the audience work, if not paying complete attention, you can miss essential details that will then make the narrative hard to follow. Admittedly, I felt a little lost in the story much likened to Rowan and his grip of fantasy and reality. Therefore, I needed to watch it a second time, at least, to vaguely understand what was happening and even now I'm still not completely there, but perhaps this is a good thing, leaving certain narrative elements up to interpretation.
Killing Thyme (2015)
Killing Thyme but certainly not a waste of time!
A delightfully written and directed narrative short, brought to life by a compelling cast, outstanding cinematography and excellent score. A true pleasure to watch, full of quirks, surprises and dark humour contrasted brilliantly with an innocent naivety, this film has something for everyone.
The small cast is perfect for this film, with the three leads all incredibly strong as characters themselves and through their faultless performances. Joe Reynolds as Sam is a true gem, playing his scenes out with a child-like innocence but a sense of knowing and maturity also. He manages to convey the complexities of Sam's character with utter ease and makes for a truly honest performance. Brian Cox's brilliantly portrayed character of Norman is the binary opposite however and showcases an old cynical nihlist compared with that of a young boy full of hope and intrigue which makes for some excellent character interactions within the film.
All technical elements of the short are superbly thought out, Phil Meheux's cinematography being a clear stand out, breathing life into every frame, particularly in the film's opening, helping to bring audiences on the journey with Sam. This worked excellently with the incredibly crafted animated title cards and Stuart Hancock's jovial score, setting the tone for the film and guiding us into Sam's world. Then accordion used within the score works brilliantly to coincide with the motions of either character, played fast and upbeat with a childish edge when Sam has his screen time and then slows down completely and is drawn out when Norman adds in his depressing nihilistic comments.
Each aspect of the film compliments another, the locations and production design are incredibly well dressed and crafted. The old overgrown allotment next to the busy concrete jungle background of London is truly perfect, almost paralleling the old and new generations and Norman/Sam themselves. Sam's balcony was a particular favourite of mine, filled to burst with plant life and showing how green-fingered Sam is and suggests how much time he spends there. This would make sense due to single mum Anna's busy work life and attending night school also. Sam is clearly alone often, As is Norman, and this is why their unlikely friendship forms.
The irony is, that despite Sam digging up the plant beds and aiming to grow things on Norman's plot, it is in fact Norman who has been planting the seeds. This seed being that he wishes to die, which became more and more firmly rooted in Sams head, to the point Sam convinces himself that Norman truly wishes this and has even inadvertently asked to be killed or Sam to assist with his 'euthanasia'. The only discrepancy here is the corrupt and perhaps dark cognitions that would be going through Sam's head...as a book smart, hyper-intelligent boy, It's quite hard to fathom that he would really think murder is the best course of action. Though you can see the naivety and the good intentions behind it, aside from Sam' yearning for Norman's allotment, I don't wholly believe Sam had it in him to go that far, but that's one of the only negatives I can draw.
The lead up to Norman drinking the overdosed coffee needs mentioning, as it was perfectly constructed. A score that rose in tension along with the camera work and open windowed shed design itself, all elements intertwined masterfully to really have audiences on the edge of their seats and hooked on the action.
The Girl in the Dress (2015)
A classic Working Title-esque British comedy that perhaps needed a little more working.
The premise of the film is highly original and promising with heaps of comedic potential due to its various zany scenarios and eccentric characters. For instance, I appreciated the minimal exposition, throwing us straight into the 'runaway bride' drama, or so it appeared... which worked excellently with quick cuts and the joyfully quirky score to tonally convey what the film encapsulates from the offset.
One of the most brilliant aspects of the film and Natalie Malla's writing is that it's full of ironic juxtapositions. In particular, the presence of Rob in the script, a guy covered in gold spray paint, posing as Henry VIII next to a park bench who turns out to be the most grounded and seemingly stable character within the script, is pure gold.
Helm's Rob, is a complete stand out for me with his effortless comedic timing. His delivery and ability to switch from sarcastically blunt to emotional and considerate is plaudible. Olivia's Poulet's Emily however, just didn't stand up to Helm's performance. Though her character and situation is farce and over the top, I believe the dialogue to have been too on the nose at some points and the delivery lacking believability.
The cinematography was also rather stagnant for me, especially during the park sequences. Reverting to the shot reverse with little other coverage made it feel a little more theatrical than cinematic. Feel they wasted the chance to utilise both camerawork and editing to heighten the comedy even more here. Thankfully, this changed during the second half of the film where Whyte's camerawork tracks Emily as she crawls through the church seats; the movement here worked perfectly alongside James Jones' humorous and playful score which paralleled beautifully with Emily's motions and emotions making the scene that more hilarious.
The second half of the film on the whole was rather disappointing, compared to the well-paced first half. It seems much too rushed, neglected even. The cuts to the wedding guests were pretty unnecessary particularly as we only focus on Emily for the duration of the scene. I did appreciate the decision to do this, but feel missing out her reaction to the vows may have been a mistake, as it may have helped us warm to and empathise with her character more.
On the whole, an easy watch with a quirky little narrative, characters and set up. I just felt the execution of all of these aspects needed a little finessing along with sharpening up the dialogue and reworking elements of the second half of the film.
Gin & Dry (2010)
A prime example of what makes short form great.
*Spoiler Warning*
A charming and excellently produced film I didn't know I needed but truly glad I discovered. The synopsis and overarching plot is enough to ignite interest 'A booze heist in an old people's home' who wouldn't want to find out what happens!? This is then bookended by lessons of love, mortality, companionship and touches on ageism to make for an unforgettable watch.
The film's undoubtedly self aware, the initial and almost cliche close ups of the whiskey tumblers clinking, the slow jazz on the record player and the distinctive golden age stylised title cards establish a stereotypical narrative layout and aesthetic. This is then completely uprooted when you get into the main chunk of the film consisting of a fast-paced booze heist, with almost juvenile pensioners in the most unlikely of settings.
The pacing of the film is incredible, every element of the narrative has its purpose, the underpinning drama and emotion within the script flowed effortlessly in and out of the berserk heist plot. Technically too the film was incredibly well executed, particular note needs to be addressed for the distinctly warm and filmic overlay colour grading throughout adding to 'older person' aesthetic. The sound design too stands out with the soundscapes crafted, encompassing all background elements of the home masterfully, contrasted with beautifully sharp moments like the glass clinking, drinks fizzing and record player scratching really draws us in. The set design perfectly portraying the somewhat depressing nature of the home, with the arguably hideous floral furnishings and and poor attempt at christmas decor, it just shows how we as a younger generation often turn a blind eye to the elderly and their needs, narratively depriving them of alcohol too adds to the absurdity and generation disparity.
I adored the quirky personalities of the various elderly characters, and the booze conquest acting as a juxtaposition to what we think the elderly archetype is. However, Badi Uzzerman's Rajeet does let the film down somewhat, as his diction and delivery are often hard to decipher which annoys more than entertains, particularly as his lines have great comedic potential. David de Keyser's heartfelt yet slightly childish portrayal of Albie however, saves the day, making a great protagonist whom we warm to immediately even when delivering what could be deemed cliche lines 'about the war' Keyser articulated them with a raw honesty and genuinity that works perfectly. Alongside June Watson who plays his wife Dee, the cheeky and flirtatious lines between the two shows they really are young at heart which makes it even the more surprising when she is revealed to no longer exist. These scenes are all masterfully shot by Ross McLennan, who makes perfect use of fore and background and shallow depth of field during their scenes, never fully depicting them both in shot together, which is very smart, though I'd have liked to have seen a little more coverage on Dee within the narrative.
The last scene in particular is utterly heart wrenching, the two-shot of the both characters immediately sets a sense of unease due to not having seen them side by side before and sets us up for a pretty emotionally draining finale. The camera work here, though very overt, works brilliantly in the scene allowing us to truly empathise with albie and reinforces the message of time running out and perhaps our disregard of the elderly and the utter loneliness they may feel. Genuinely a stunning watch, highly recommend.