I like to watch film trailers. They usually serve the intended purpose, which is to tell me whether I want to see the film or not.

What I do not understand is when I borrow a DVD of a film and they show the trailer of the very same film before the film begins. What is the point? Presumably film makers make trailers to persuade people to watch the film. Surely if I have gone to the trouble of borrowing the film, inserted it into the player, and sat back in my chair, it is pretty clear that I have committed myself to watching it. I don’t need any more persuading.

This practice is especially senseless with modern trailers that seem to practically give away the entire plot. If you see it a long time before the actual film, you likely forget all but a few moments and so no harm is done. But watching a trailer just before seeing the film is bound to ruin the experience.

Just last weekend, it was even worse. I sat down to watch the film The Man Who Would be King (1975) and not only did they start with the trailer, they even had a “The making of…” type documentary before the film, with interviews with the stars and director discussing the characters and script, showing how the scenes were set up, and so on. I like such documentaries in general but only after I have seen a film. Seeing it before would ruin the suspension of belief needed to enjoy films.

I of course immediately skip past the trailer and documentaries as I am sure almost everyone else must be doing. So why do some film companies do this? Does anyone have any ideas as to what could be the reasoning behind such a practice?

Here is Alan Price singing the title track from Lindsay Anderson’s great 1973 film.

I particularly like the line: “If you can’t be tempted with heaven or hell, you are a lucky man.”

So true.

British director Lindsay Anderson produced a trilogy that began with If… (1968), continued with O Lucky Man (1973), and ended with Britannia Hospital (1982). Anderson’s films were surreal and took swipes at all the stupidity and hypocrisy of society. No one was spared: politicians, clergy, business, trade unions, scientists, education, all were targeted with biting class-based satire.

That great British character actor Graham Crowden plays a mad scientist Professor Millar who was introduced in O Lucky Man, a wonderful, sprawling, surreal film with the best sound track ever (by rocker Alan Price). The role was expanded in the final film from which this scene is taken.

A scene from the new film Casino Jack about lobbyist Jack Abramov, in which the filmmakers cleverly use a moment’s fantasizing by the title character to reveal the real corruption in government. Too bad it doesn’t happen in real life.

Kevin Spacey is a wonderful actor and although I haven’t seen the film, I hope that after a long time he has a role worthy of him. Here’s the trailer.

I just saw the comedy Clockwise starring John Cleese. Here’s the trailer:

Cleese is one of my favorite actors and here he is playing a role that is perfectly suited for him, that of an authority figure frustrated when things don’t go the way he wants them to, as in this scene from Life of Brian

His character Basil Fawlty in Fawlty Towers is another example of his manic comedic touch.

In the film Clockwise he plays a punctuality-obsessed, super-organized principal of a school invited to give the most important speech of his career to an elite organization of school principals. He starts out in the morning to take a three-hour train ride to give the speech but due to a misunderstanding he misses his train. The entire film is about his efforts to find alternative ways to get to his destination on time, with every plan ending in disaster.

This is a role that is tailor-made for Cleese and so you would think I really enjoyed it. Unfortunately, I found the film to be only mildly amusing. I think the problem may lie with me and not the film itself. I don’t enjoy comedies in which the premise is someone trying desperately to achieve some important goal and being thwarted every step of the way. This is why, for example, I did not like Ben Stiller’s Meet the Parents, because you knew from the beginning that the film would be about how he would fail in every effort to please his future in-laws.

There are two reasons for my lukewarm response to such comedies. One is that if the main character is sympathetic, I want the person to achieve his or her goal and be successful and having their hopes repeatedly dashed makes me feel sorry for them rather than want to laugh at their plight. The second is that I tend to plan things somewhat carefully and usually have a backup plan in case things go wrong. When things fall apart, I tend to stay calm, analyze the situation, examine the alternatives, and select the best rather than panic and grab wildly at the first option that presents itself, the way that the characters in these kinds of films do. So while I can enjoy this set up in a short sketch comedy, in full-length features I tend to get annoyed with people for repeatedly acting so stupid and that spoils the fun for me.

In an interview in the extras section of the DVD, Cleese makes an interesting observation about a difference between British and American humor audiences that may explain why Clockwise was not a success in its American release. He says that he thinks that the British find absurd situations funny in themselves (which is why farces are so popular over there) while Americans seem to require actual jokes and wisecracks to make them laugh. He may have a point.

Apparently the German film about the female pope may get a US release soon. Here’s the trailer (thanks to reader Norm).

It’s been a couple of decades since I watched a James Bond film. I saw almost all of the Sean Connery originals, then a couple of the Roger Moore versions, and then gave up on the franchise, thus missing out on what George Lazenby, Timothy Dalton, and Pierce Brosnan added to this iconic figure of cold war fiction.
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You have to grant writers-directors-producers Joel and Ethan Coen one thing: they make interesting films. Not for them the formulaic, genre-tailored approach to filmmaking. Not for them endless sequels to hits or even to follow up a hit film with one similar in style. Each film seems to go off in a different direction from the previous one and stands alone. They take risks and for that quality alone one has to respect them.

Having said all that, the results are a mixed bag and I cannot say that I have enjoyed all the films that I have seen of their oeuvre: Raising Arizona (1987), The Hudsucker Proxy (1994), Fargo (1996), The Big Lebowski (1998), O Brother, Where Art Thou? (2000), No Country for Old Men (2007), Burn After Reading (2008), and A Serious Man (2009).
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(My latest book God vs. Darwin: The War Between Evolution and Creationism in the Classroom has just been released and is now available through the usual outlets. You can order it from Amazon, Barnes and Noble, the publishers Rowman & Littlefield, and also through your local bookstores. For more on the book, see here. You can also listen to the podcast of the interview on WCPN 90.3 about the book.)

Up is a truly outstanding film that I can strongly recommend to anyone.

This latest animation coming out of Pixar Studios tells the story of Carl, a 78-year old curmudgeonly man who, on the verge of being forced out of the home he lived in with his beloved late wife Ellie and sent to a retirement home, decides to carry out their unfulfilled joint childhood dream of following in the footsteps of a legendary explorer who disappeared long ago in South America in search of a mystical place called Paradise Falls that harbors an exotic bird that no one else believes exists.

The explorer used a blimp to travel and this inspires the old man to attach a huge number of helium balloons to his house and use it too as a blimp to get to his destination. But a complication arises when a little boy named Russell, a novice member of a children’s explorer’s club, accidentally ends up as a stowaway on his journey.

You get a good sense of the set up of the film from the trailer below, though it does not hint at what happens later.

The film has comedy and adventure in abundance and never drags. After watching it, it struck me how much superior it was to the film Avatar, despite all the hoopla generated by the latter. (See my review of Avatar.) Both films are fantasy adventures. Both have highly predictable storylines, Up even more so than Avatar. You have no doubt that both will have happy endings with some bittersweet elements thrown in. Both use computer graphics extensively, though Avatar is far more advanced and has 3D.

So what makes Up so much better? The answer is simple: it has a much better story, writing, and characters with depth. It does not hurt for a dog-person like me that it also has lots of dogs. Even though the main characters are a grizzled old man and a rotund little boy, you soon find yourself really caring about them in a way that you did not about the much better-looking lead couple in Avatar. There was one short and silent sequence early on, showing the life of Carl and Ellie from childhood to old age, that was extraordinarily beautifully done. I am not usually emotional while watching films but this sequence was so exquisite and poignant that it brought tears to my eyes.

It seems to me that it is the creators of animations that are making some of the better films these days. I recently saw another excellent animation Ratatouille and that managed to make a rat (a rat!) a highly engaging character. And going back to 1967, Walt Disney’s Jungle Book has remained one of my favorite films of all time, combining great songs with humor and suspense. Perhaps the reason that animations tend to be among the better films is that the creators of animations know that they cannot depend on film-star power and sex and violence to overcome a weak plot or clunky dialogue. The story, writing, and direction are always the keys to good films, and for animations they are even more important.

A good guide to how good a film is is the extent to which I pay attention to implausibilities, incongruities, and inconsistencies. In the case of Avatar, several such elements struck me even while watching the film, as I noted in my review. But while watching Up I simply did not care if there were any. Looking back, Up had a lot more plot holes than Avatar but I still don’t care. Maybe the reason is because it was an obvious animation while Avatar looked more realistic, and one gives animations more slack. But I think another important reason is that when you get absorbed in a film and its characters, one does not want to let small things destroy one’s enjoyment.

I have never quite seen the appeal of awards and so am baffled that there is so much anticipation about the Oscars and that people actually watch over three hours of the awards show. Having said that, I am glad that Up won for best animated feature film and was also nominated for Best Picture at this year’s Academy Awards. If that gets more people to see it, that is a good thing.

POST SCRIPT: On being an art critic

“People have pointed out evidence of personal feeling in my notices as if they were accusing me of a misdemeanour, not knowing that a criticism written without personal feeling is not worth reading. It is the capacity for making good or bad art a personal matter that makes a man a critic. The artist who accounts for my disparagement by alleging personal animosity on my part is quite right: when people do less than their best, and do that less at once badly and self-complacently, I hate them, loathe them, detest them, long to tear them limb from limb and strew them in gobbets about the stage or platform…. In the same way, really fine artists inspire me with the warmest personal regard, which I gratify in writing my notices without the smallest reference to such monstrous conceits as justice, impartiality, and the rest of the ideals. When my critical mood is at its height, personal feeling is not the word: it is passion: the passion for artistic perfection – for the noblest beauty of sound, sight and action – that rages in me. Let all young artists look to it, and pay no heed to the idiots who declare that criticism should be free from personal feeling. The true critic, I repeat, is the man who becomes your personal enemy on the sole provocation of a bad performance, and will only be appeased by good performances. Now this, though well for art and for the people, means that the critics are, from the social or clubbable point of view, veritable fiends. They can only fit themselves for other people’s clubs by allowing themselves to be corrupted by kindly feelings foreign to the purpose of art.”

– George Bernard Shaw, quoted in Bernard Shaw: His Life and Personality by Hesketh Pearson (1961), p. 126

(My latest book God vs. Darwin: The War Between Evolution and Creationism in the Classroom has just been released and is now available through the usual outlets. You can order it from Amazon, Barnes and Noble, the publishers Rowman & Littlefield, and also through your local bookstores. For more on the book, see here. You can also listen to the podcast of the interview on WCPN 90.3 about the book.)

In a series of recent posts titled The Noble Lie (part 1, part 2, and part 3), I explored the idea of whether lies can have some positive benefits. The highly enjoyable film by comedian Ricky Gervais adds interesting perspectives to this question. (Note: Almost everything in this review about the film can be seen in the trailer below, so there are no real spoilers.)
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