Another year, another set of good intentions. It’s the same every January, as well as my vague declarations to “start jogging again” and “cut out crap food”, I always head into movie awards season with a new set of film resolutions. Even the creation of this website was the result of a festive spirit fuelled desire to better myself through the education of film.
Although I mentioned on the Failed Critic Podcast Review of 2013 that my resolution was to watch more silent films (and that is something I need to do), it was while browsing my Letterboxd review of the year I realised how little ‘world cinema’ I had seen in those 12 months. Although two of my top five of the year were foreign language films (including my film of the year The Act of Killing), only 30 out of the 231 films I watched weren’t in English.
So this year’s challenge is to emulate my great childhood hero Willy Fog (I’ve seen the cartoon series, but never read Jules Verne’s novel) and travel around the world in eighty films. My only rule is that I can’t include films I’ve already seen, and although the first twenty or so look easy enough, I’m definitely going to need some help and recommendations from people reading the site and listening to the podcast.
So starting as I hope to go on, here’s a double bill.
No.1 American Hustle (USA)
I know this looks like I’m cheating, but the United States of America is a country after all, and I’m not inclined to make things more difficult than they already are. Plus, how could I not start this challenge with a film that perfectly encapsulates its country of origin; it even says the name in the title!
American Hustle is a film based on the true story of an FBI investigation into corruption that snared some senior US politicians at the tail end of the 1970s. What makes the story worthy of cinematic adaptation is that the FBI recruited a small-time couple of con artists to orchestrate the deceit. It’s a film about the American Dream, post-Nixon politics, and the glitz and glamour of a decade that has been dusted off and put on a pedestal by a number of film-makers recently, most notably Ben Affleck’s Argo, and Ron Howard’s Rush.
The talent on show is the current cream of the American acting community, including Jennifer Lawrence, Amy Adams, Bradley Cooper, Jeremy Renner, Louis C.K., and a small cameo from Robert De Niro. Token Brit Christian Bale might as well be American by now, having portrayed one of America’s most popular cultural icons (Batman) and one of its most iconoclastic literary creations (American Psycho). In fact, I’m struggling to remember the last time I heard him with a British accent.
Director David O. Russell is one of the most feted of recent US directors, and with good reason. His latest film features his trademark focus on characters over plot, and he is obviously someone who gets the best out of his performers. What’s different from previous films is that he is wearing his influences on his sleeve, specifically Martin Scorsese and Goodfellas.
While some have complained that the story is slightly too long, or predictable, I have now seen this film twice and can’t agree with either criticism. For a film that was improvised at some key points, the main narrative holds together pretty well under close scrutiny. What makes this a great film for me is the performances, especially in the funnier scenes featuring Jennifer Lawrence and Bradley Cooper. While it may not be quite the timeless classic that it is pilfering from, it is still one of the best films I’m likely to see in 2014.
The second film in my odyssey has been sat on my shelf as part of a box set for over two years. One of the earlier films from Finnish auteur Aki Kaurismäki, it tells the story of the fictional (but subsequently very real) Siberian punk band Leningrad Cowbows and their attempts to crack America after a local mogul tells them that Americans will “buy anything”. The resulting film is a road movie following the band (all kitted out with two foot long winklepinkers and quiffs of a similar length) as they make their way across America in an old Cadillac (sold to them by Jim Jarmusch in a fun cameo).
It’s an odd film, but very funny. The band’s manager Vlad is a wonderfully deadpan presence, and the band grow increasingly tired of his orders and the fact that he has a constant supply of cold beers that he has stashed in the cabinet holding their frozen bass player. As I said, it’s very odd.
The only Kaurismäki film I’d seen before this was 2012’s Le Havre, which has a similar feel to its central performances that, while not entirely cold, are far from the realist cinema we’re used to in mainstream Western Cinema. I could draw a definite line between the films of Stanley Kubrick, with their emotional coldness and static camera shots, and the films of Wes Anderson, particularly the quirky characters and bizarre onscreen behaviour that we see in this film. I’m now very much looking forward to the sequel Leningrad Cowboys Meet Moses, and the concert film Total Balalaika Show.
Right, on with the journey. Why couldn’t Jules Verne have gone with 50 days?