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Screen Trek - February 2010

CARRIER: (USS NIMITZ)

February 14th 2010 06:54
Carrier is an Emmy Award winning television documentary series, (DVD release date 14th March, 2010). It comprises four discs, covering many episodes. Yes, it is about the leviathans of the sea, a USA naval aircraft carrier, but, for those who do not love seeing the nuts and bolts of the biggest war machine ever created, this series still has a lot to interest you if you like to delve into other people’s lives.

USS NIMITZ: 103.000 tons of hell!



The aircraft carrier we are introduced to is the USS Nimitz, which is a super-carrier, (“Nimitz class”) which, apart from being the most lethal, largest and formidable weapons platform in the world, is also a floating city for over five thousand souls.

With the accent on the series being mainly on the human element, we get to know some of the characters working aboard while living under an airport runway that never, ever, sleeps!

The conditions for some of the crew, in their sleeping quarters and working posts, leave a lot to be desired. The bottom of the rung crew sleep in a cabin that has six bunks, three aside, with a thin aisle to stand in between them. The bunks look less roomy than your averaged sized coffin! The crew have to organize themselves so they get out of bed at different times and shower and dress accordingly.

For those dreaming of being buddied up to so many males, or females, (quite a few of them are gay too), this is not your ideal honeymoon cruise lifestyle. Sexual fraternization between the sexes is against policy, and the rule of “don’t ask, don’t tell”, applies to gays. Even holding hands is considered an offence which carries punishment. However, a married couple are on the crew, but a blind eye is turned towards that, as long as they do not enact physical affection for each other.


Many sleep right under the deck and when jets land, you hear it and you feel it. No one sleeps through it, but they become accustomed to the background noise and roll over, or do they just slide sideways a little?

I must admit, before I saw Carrier, I thought navies were being kinder to their crew these days, but, in the US Navy at least, you even have to pay for your meals, that rather staggered me. The Australian Navy, as far as I know, do not make their people pay for meals.

I just had a cunning thought; since Australia is having trouble getting enough people to enlist, in the submariners particularly and other disciplines, maybe if they advertised the Aussie military working conditions in America, they would get all the recruits they needed?

Anyway, back to the 101,000 (long ton) monster; we get to meet and know a little about each area of work, from the wheel house to the garbage detail which, incidentally, prides itself on being non-polluting; they remove most of the plastic from garbage that gets dumped overboard each day, but bundle cans into hessian bags and slop out the food stuff. This is hardly cutting edge environmentalism…

However, what amazed me about this series is, the crew often speak their minds, they are critical of conditions, they openly state they know many gays onboard, and do not look forward to heading into arenas of conflict. Mind you, there is also a fair share of archetypal buzz-cut grunts overburdened with testosterone and under-burdened with compassion, no surprise there.

I actually liked this introduction to the series and intend to review the rest of it, when I get my hands on the DVDs. You get a more balanced and realistic view of Americans working in the military; they are not all flag waving, pro-American foreign policy, military blockheads, we see people who are working in it just to survive financially, not that the unskilled get paid much. We meet people who really want to live in a world that is safe and peaceful for all, and you see the apprehension in some crew when, after leaving Hong Kong, they are told they are heading north, to Korea.

Of course, at the pointy end of all that grey metal, is the top brass, who serve their political masters to the letter, even if that would mean annihilating a country.

The only people who gain from war are those politicians who enjoy protection from the electorate, while a war is waged and the vast industrial-military complex, that occult cabal of bomb makers, who need to sell arms, to make a profit.

In closing, Australia needs aircraft carriers. We have none, yet we are an island continent. Aircraft carriers would also allow us to do more good in the world, by serving as a movable platform from which vital aid can be quickly dispensed.
Haiti is benefiting from a US carrier as I write.

Aircraft carriers would also allow us to better protect our borders and also allow us to monitor and protect endangered species, such as the whales. By the way, last I heard, Japan is starting to build carriers again…

ICON FILM DISTRIBUTION: Australian DVD release date: 14th March 2010.

CREDITS
Genre: Documentary
Developed by Mitchell Block
Directed by Maro Chermayeff
Country of origin: United States
Language: English
Episodes: 10

Production
Executive Producers:
Mel Gibson, Bruce Davey, Nancy Cotton, Mitchell Block, Maro Chermayeff
Producers:
Deborah Dickson and Jeff Dupre

Running time:
10 hours, 1 hour each episode
Broadcast
Original channel PBS
Picture format 480i (SDTV letterboxed),
1080i (HDTV)
Original run April 27, 2008 – May 1, 2008


IMAGE CREDIT: This image is a work of a sailor or employee of the U.S. Navy, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the image is in the public domain.

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LOOKING FOR ERIC

February 4th 2010 07:33
Promotional Banner (copyright see below)


Before watching, I was not at all sure I was going to like this film, but I was pleasantly surprised. It has a slightly bizarre beginning; as we watch, without explanation, a man we later find out is Eric, drive his car around barely evading oncoming cars, until he crashes. From the blackout, we then see him in hospital complaining that he mustn’t be late for work, he is a postie, (postal worker).

Such dedication I have not been aware of, since the tales of the United States Postal Service, ‘through sleet and snow….’.

Personally, I am used to Australian postal services, so I didn’t buy it. But later on, we find he isn’t that dedicated. In fact Eric, played by Steve Everts, is a hapless kind of dullard, so it seems, who has two teenage boys from different wives, one white, one black, both of whom do as they please and give their sole supporter, their dad, no love, help, friendship or respect and allow their mates to use his home as a temporary storage for stolen goods.

Eric seems a beaten man.

He does have some mates, one being the larger than life Meatballs (John Henshaw), who is constantly reading self help books and instructing, in a very basic and artless way, how everyone can benefit from his latest book. Eric’s fellow posties decide to cheer him up, after wrote off his car, by telling him daft jokes, it is not too successful.

So, led by Meatballs, they gather at Eric’s house and try using his latest self help book, looking within yourself, eyes closed, and imagining being a winner. It doesn’t work, and the whole attempt is disrupted when they accidentally discover a mound of undelivered mail in Eric’s cupboard. His mates all decide to help him deliver the mail. However, this self help event becomes a tipping point for Eric, who mentally materialises his footy hero, Eric Cantona, the amazing French football (soccer) exponent who famously played for Manchester United.

It is a shock for Eric the postie, and in real life it was also a big shock, as the director (Loach) did not tell anyone who would play the part of Eric Cantona, then, as they shot the scene, the real Eric Cantona came out; a nice touch, particularly if you are a mad English football fan, even more so if you are a MU devotee.

However, all this footy referencing does not alienate the non-loving football audience, for the film, directed by the accomplished Ken Loach, manages to skate between gritty realism, fantasy and comedic moments, yet still deliver a social commentary that strikes true, for life in Britain.

We see how naïve young lads get ensnared by older career crims, into their increasingly murky millieu, and just how difficult it is to get away from their clutches.

Eric also has some unfinished business, with his first wife, Lily (Stephanie Bishop), with whom he is still in love, but had abandoned just after they had their baby, due to as undiagnosed psychiatric condition, an anxiety disorder. The breakdown was triggered by his hostile and overbearing father, (Max Beesley), telling him he had well and truly made his bed and now must lie in it, for the rest of this life! Eric’s real problem was, he couldn’t explain why he had panic attacks about the ones he loved, and so he abandoned them both, without apology or reason.

Their daughter, Sam (Lucy-Jo Hudson) with whom Eric had re-established a relationship with, now has a baby herself, and this is when we meet these important personalities, as Eric helps his daughter cope with her studies by babysitting, this in turn reintroduces Eric to his long abandoned ex-wife Lily, putting pressure on Eric’s complex and haunted personality.

Looking for Eric is quite entertaining and although I had no belly laughs, I did take a good natured shine to the characters as they battle through their personal life mazes, eventually to discover you cannot do it alone.

The scarey concept of mobs of English footy supporters clashing with each other in full scale riot momentarily rears its head in the film, but instead of the usual battles, this footy mob is made up of ordinary good citizens, we know as posties. The scenes covering the defeat of Eric and his sons’ enemies is priceless!

Everts as Eric, with the real Cantona


Eric Cantona, unknown to me before seeing this film, is the philosophical sounding board, the moral compass and intestinal fortitude long buried within our hapless hero Eric the postie’s psyche. Cantona makes an interesting balance to the postie character, even more so since Cantona is Eric the postie’s hero, who tries to dismantle the ‘god-like’ status that footy fans erroneously bestow upon their favourite sportsmen. (This was the reason why Cantona wanted the film made.)

In real life, Cantona was known for his bizarre and often opaque adages, and one famous one appears in the credits, a clip of the original interview when Cantona stated, “When the seagulls follow the trawler, it is because they think sardines will be thrown into the sea.” This was apparently an explanation (as I found out researching it) Cantona gave for kung-fu kicking a Crystal Palace fan in 1995.

Another interesting aspect of this film, director Loach, not known for indulging in comedy, but more so social commenatry, speaking up for the more powerless in society, is that he withdrew the film from the Melbourne Film Festival, where it was chosen as the opening night feature. Loach publicly stated he would not allow his work to appear because of a protest against projects that were financially supported by Israel.

Here is the actual statement (edited down) given on the Melbourne Film Festival site;

“Looking for Eric Cancelled
Posted 17th July, 2009
The Melbourne International Film Festival has been forced to cancel screenings of the film Looking For Eric from this year's festival following director Ken Loach's decision to withdraw the film from the program.
Mr Loach's decision is part of an orchestrated campaign to target events that are in receipt of financial support from the State of Israel. Loach requested that we join the boycott and as an independent arts organisation MIFF has refused.
The festival has a long tradition of programming films that examine various points of view on the Middle East including the Israel Palestinian question.”


I found it a rather odd, in fact pointless action to take, as it harms your own product, rather more than it makes any constructive addition to a serious international socio-political debate. However, I saw online reviews to be all favourable.

Although the film maybe not be worth an Oscar, it is still very entertaining, with an interesting social commentary cleverly woven throughout. The real art of good story telling is to bring people in and disarm their preconceptions and prejudices, thereby you may leave a seed for more thought and enlightenment.

Screen writer Paul Laverty (My Name is Joe, Land and Freedom, The Navigators ) once again joins Loach in this film, creating a script that is engaging and keeps propelling the narrative and action along at a good pace. Unlike his rather more depressingly realistic works with Loach in the past, this film manages to place a foot in both entertainment arenas, light hearted and dramatic, the combination allowing the psychological and social exploration more palatable.

AWARDS
WON:
2009 British Independent Film Award: Best Supporting Actor: John Henshaw
NOMINATED:
2009 Cannes Film Festival: Golden Palm: director Ken Loach
2009 European Film Awards: Best Actor: Steve Everts


DISTRIBUTORS: ICON FILM DISTRIBUTION

RELEASED on Blu-ray & DVD on February 3, 2010

CREW

Director: Ken Loach
Writer: Paul Laverty
Music: George Fenton
Producer: Rebecca O'Brien
Production: Studio Sixteen Films
Country: United Kingdom
Language: English
Budget: £4m


CAST
• Steve Evets as Eric Bishop
• Eric Cantona as Himself
• Stephanie Bishop as Lily
• Gerard Kearns as Ryan
• Stefan Gumbs as Jess
• Lucy-Jo Hudson as Sam
• Cole and Dylan Williams as Daisy
• Matthew McNulty as Young Eric
• Laura Ainsworth as Young Lily
• Max Beesley as Eric's Father
• Kelly Bowland as Ryan's Girlfriend
• Julie Brown as Nurse
• John Henshaw as Meatballs
• Justin Moorhouse as Spleen
• Des Sharples as Jack
• Greg Cook as Monk
• Mick Ferry as Judge
• Smug Roberts as Smug
• Johnny Travis as Travis
• Steve Marsh as Zac
• Cleveland Campbell as Buzz
• Ryan Pope as Fenner


IMAGE CREDITS:The cover art and production photograph copyright is believed to belong to the distributor of the film, and/or the publisher of the film, all rights reserved.
FAIR USE RATIONALE: Use for review purposes only, low res. reproduction not meant for copying or re-distribution.
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FAME (the remake) review

February 1st 2010 06:56
FAME official poster (copyright protected: see below)


This film, (USA cinematic release in 2009), is a remake of the original film of the same title, first released in 1980. I cannot compare the two, as I did not see the first film, as I was already ensconced in our own national theatre school (N.I.D.A.) which left me no time outside of studies and production work.

After reading some of the online information about the original film, I was made aware of an immediate difference between the two films; a character’s exclusion from the 2009 version leaving me puzzled. I know all the character’s names were changed, but I did not expect a particular character ‘type’ to be excluded.

One of the characters in the 1980 film was openly gay and dealing with his life and others’ attitudes and prejudices, but this character is missing from the 2009 version. All we see is a brief (seconds) appearance of a gay caricature type. Why would they cut that character out? I would have thought it even more relevant and topical to today’s world; given the societal nexus of a more openly ‘gay’ attitude with the de-criminalization of homosexuality, clashing with the persistent homophobia that still permeates all levels of society to some degree.

The ‘gay’ character was not the only one to suffer from a new re-write; all the main characters were re-written, with near equal time on screen for all of them, which created new problems for the production.

The film tries to cover too much ground in one small film; you cannot gain any depth in characterisation when you flit from one character to the other, unlike a television serial which has a whole year or more to develop its characters. This leaves the audience feeling less involved with the film and its protagonists, making you a slightly disengaged observer, unless, you went through a theatre school yourself.

I found the film actually quite realistic in many ways; starting with the rip off merchants waiting to take advantage of gullible young talent, both monetarily and sexually. The effect of working all day and night, in study, practise and production development does produce the effect of knowing other students on a more superficial level, however, you always get to know some fellow students very well and develop affections and friendships, as is natural for the social being.

Even though I felt the film did portray many aspects of theatre school life realistically, for a film, it would not quite work for the majority of audiences, who understandably want to become more involved in the life of the characters portrayed.

Fame is still entertaining, and worth a look on a slow day at home, with some good dance sequences. It also can serve as an informal guide, in a way, for those wanting to enter the entertainment world through formal studies.

The oddest aspect of the film is the huge success of its theme song, “Fame”, which only appears at the end, over the credits. If I had re-directed it, I would have incorporated the song into an end of school year performance, to me that would have made more sense.

On the cast; generally they are ‘all American’ good looking teen types, including; Naturi Naughton, Asher Book and Paul Iacono, all of whom I expect we will see more of over the next few years. The young ‘stars’ are supported by able character actors, such as Kelsey Grammer, who appears all too briefly, so little can be made of Grammer’s engaging talents. Charles C. Dutton has slightly more screen time and delivers a very realistic character, as the drama tutor, who tries to help a young balck actor battle with his personal demons.

Definitely better than a lot of ‘rainy day fodder’ films, with the choreographed sequences for the dance numbers being quite entertaining.


ICON FILM DISTRIBUTION is releasing FAME on DVD & BLU RAY FEBRUARY 3RD 2010.

IMAGE CREDITS:
PRODUCTION POSTER IMAGE OWNERSHIP AND COPYRIGHT PRESUMED THAT OF THE DISTRIBUTOR AND/OR PRODUCTION HOUSE; ALL RIGHTS RESERVED.
PERMISSION: FAIR USE RATIONALE, FOR REVIEW PURPOSES ONLY, LOW RES. IMAGE AND NOT FOR COPYING.


Directed by
Kevin Tancharoen

Produced by
Mark Canton
Gary Lucchesi
Tom Rosenberg
Richard Wright

Written by
Allison Burnett

Starring
Naturi Naughton
Collins Pennie
Kay Panabaker
Asher Book
Kherington Payne
Walter Perez
Anna Maria Perez de Taglé
Paul Iacono
Kristy Flores
Paul McGill
Debbie Allen
Kelsey Grammer
Charles S. Dutton
Megan Mullally

Music by
Mark Isham

Cinematography
Scott Kevan
Editing by
Myron Kerstein

Studio Metro-Goldwyn-Mayer
Lakeshore Entertainment
United Artists

Distributed by MGM (USA)
Entertainment Film Distributors (UK)

Release date(s) September 25, 2009 (US and UK)
September 24, 2009 (AUS)
Running time 107 minutes
Country United States

Language English

Budget $18 million
Gross revenue $41,713,690[1]
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