After what feels forever (or at least as long as a Judd Apatow film), my Glasgow Film Festival experience is well and truly under way. This is by far the biggest, and most prestigious film festival I have attended, let alone covered in any kind of blogging capacity. There is a definite buzz in the air, as the great, good, bad, and unheard converge on this fair city to celebrate film.
And is a fair city, despite what people might have you believe. When I mentioned to friends and colleagues that I was off to Glasgow for a week, I had to immediately add ‘to cover a film festival’ to avoid the kind of looks I usually reserve for fans of The Only Way is Essex. That said, you could hold a film festival on the hard shoulder of the M25 and I would think it was the most magical place on Earth.
Note to self: copyright motorway hard shoulder film festival idea.
Yesterday I had the pleasure of meeting the lovely Steven Neish (@popcornaddict) and Amy Taylor (@TrashTaylor), and had originally planned to record our conversation for the one-off festival podcast I’m producing. Unfortunately I got too caught up in excitable tweet up chat, and before I knew it I had to run off to see my first film. We’ve rescheduled for Sunday, when we’ll all have some films under our belt.
So it was a relaxed start to the festival for me yesterday, with just one film. Michael Winterbottom‘s fourth (if you count The Trip) collaboration with Steve Coogan, and once more they’ve produced a character study of an often-misunderstood, egocentric, and uniquely British celebrity. The Look of Love is a biopic of Soho peep show ‘legend’ and one-time richest man in Britain Paul Raymond. It details his successful business exploits, but focusses on the many women in his life; particularly on his relationship with his daughter. It’s an enjoyable film and the soundtrack, visual style, and casting of a number of British comic talents make the first half a good-natured romp.
The biggest problem I had with the film was Coogan’s performance, which at times bordered on Alan Partridge going to a fancy dress party as Tony Ferrino. That observation alone feels mean-spirited and snarky though, and can we really blame Coogan for having created such an iconic character that audiences struggle to differentiate between him and his alter-ego?
The real stars of The Look of Love are the female cast, in particular Anna Friel as Raymond’s wife Jean, Tamsin Eggerton as his ‘muse’ for the launch of his first magazine, and Imogen Poots as his daughter Debbie, who spends her life desperate for his validation. Poots is appearing later in the festival in A Late Quartet, and is fast becoming an actress of immense talent.
Today’s pick of the festival is Stoker – The first English-language film from Chan-wook Park (Oldboy, Sympathy for Lady Vengeance) is the art-house equivalent of a new Star Wars film. One of the most unique directors working in film today presents a twisted midnight-black tale about young India Stoker’s (Mia Wasikowska) infatuation with the creepy uncle (Matthew Goode) who comes to stay after the death of her father. Nicole Kidman continues her career renaissance (you can also see her in The Paperboy at Glasgow Film Festival) as India’s fragile mother.
Stoker is showing at Cineworld at 4.30pm today.
The Failed Critics coverage of Glasgow Film Festival is sponsored by Brewdog Bar Glasgow – providing award-winning beers and brilliant food in one of Glasgow’s friendliest bars.
We would have spent most of the festival there regardless, so we’d really like to thank them for their generous hospitality.