Me and Orson Welles - Released 4 Dec

Effortlessly imagining the heady world of 1930s New York theatre, Richard Linklaker’s (Dazed and Confused, School of Rock) follow up to the disappointing Fast Food Nation, is an engaging and smartly scripted coming of age trip through the drama of life on the stage.

Teen song and dance man Zac Efron (High School Musical, 17 Again) is undoubtedly the main draw as a young actor who gets his dream break with Orson Welles’ Mercury Theatre Company. In just one week, Efron’s green but determined Richard Samuels goes from star-struck wannabe to Broadway debuting Shakespearian actor. Along the way he finds romance with an older, sophisticated theatre assistant (Claire Danes) and painfully witnesses at first hand the mysteries of Welles’ genius and artistic temperament.

First of all Efron is fine – likeable and lively as the wide-eyed innocent, he brings a vitality to the role that his young fans will surely appreciate. Not exactly a stretch of a character for him, but one that he plays to good effect. And of course, his hair and teeth look great.

The film is, however, all about the magic of Orson Welles and the storming performance of newcomer Christian McKay, who manages to capture Welles’ every nuance and tick with alarming accuracy. From the first bellowed boom of the famous Wellsian tones McKay announces his arrival on screen as a major talent. His Orson is fantastic; funny, erudite, charismatic, manic and hugely intelligent. In short, the movie is worth going to see on the strength of this performance/impression alone.
Strong support from a cast including Brits Eddie Marsden (so good in Mike Leigh’s recent Happy Go Lucky) and Ben Chaplin (The Thin Red Line) lends an extra bit of class to an already high quality production but in truth this is McKay’s – and Orson’s – show. The story is lightweight stuff and the style and tone will not win any awards for originality. What sets it apart is McKay’s extraordinary portrayal. Once again Orson is the star of the show, which is, of course, the only way he would have had it.

Rob Monk

Haneke's The White Ribbon - released 13 November

The White Ribbon
dir Michael Haneke
released 13 November

The gifted and controversial Haneke follows up his American remake of Funny Games with this Palme D’Or grabbing psychological thriller. Revealing dark questions of the human condition very much characteristic of the filmmaker’s probing intellect, The White Ribbon is a creepily disturbing psychodrama that effortlessly plays on societies’ fears of abusive authority and hidden evil.

Shot entirely in black and white; all expressionist shadows and brooding menace, the film follows the strange events and apparent accidents that trouble a rural school and farming community in 1913 North Germany. A narrator, (identified later as the young schoolmaster), links the events in the film with Germany’s history in the first half of the 20th century and although not overtly pointed out, it is the rise of fascism that Haneke is concerned with here.

The village is one big cess-pit of fear and paranoia - of abusers and the abused and of hate born of ignorance and out of control authority. A laugh-riot it most certainly is not. But a more high minded and emotionally challenging movie will not be delivered this year. Grueling, intense and displaying steely eyed focus, The White Ribbon marks a high point for modern European cinema.

Rob Monk

Birdwatchers - Out Now

Birdwatchers
Dir: Marco Bechis
Released 18 Sept

A thoughtful and well observed story of culture clash in rural Brazil, Birdwatchers is at times haunting and sad, capturing rare images of a stunning and beautiful land. The traditional way of life of the indigenous Guarani-Kaiowa people of Mato Grosso do Sul is pushed to the forefront, revealing a proud race constantly under threat from the modern world. The film is the story of their ability (and struggle) to adapt accordingly, while staying true to the beliefs of their elders.

Unfortunately, a somewhat disjointed and disorientating narrative does not fully do the tribespeople or their plight complete justice. The plot jumps around too quickly in an effort to personalise the political statement of the piece. The burgeoning love affair between trainee shaman Osvaldo and farmer’s daughter Maria and the flirtations between ‘The Scarecrow’ (recruited by the landowners to watch the tribe) and the local women could have both received more screen time. Instead their stories are left to dwindle disappointingly away. Similarly, the emotional impact of a second suicide within the tribe feels curiously dampened by the amount of ground that is being covered.

However, there are many powerful scenes that resound in what is essentially a serious political film. The opening scene of bird-watching tourists floating down the river, expressing surprised delight at the ‘natives’ who jump up and down shaking spears and bows as they go by is great. Shortly afterwards we see these same ‘natives’ in modern dress getting paid for their acting work.

The political and social landscape of Guarani-Kaiowa is deeply imprinted on the movie and theirs is a story richly deserving of attention. It is a shame that at times it feels as though a traditional documentary may have worked better. That said, the film is a moving and humbling account of a battle that has and is being fought all around the globe.

Robert Monk

All Tomorrow's Parties - The Film

All Tomorrow’s Parties
DVD release and download Nov 2

“For the fans, by the fans” is a phrase that comes to my mind whilst watching this lively, vibrant documentation of the first ten years of the popular ATP festival. Collated from hundreds of hours of footage of the festivals submitted by bands, fans and the organisers themselves on a variety of different formats, the film is more than your average concert movie.

Like the festival itself, the film plays host to a chaotic mixture of styles – with an emphasis on experimental guitar music – and the varying quality of the film recordings adds to this slightly schizophrenic, surreal experience. Snippets of live performances from the likes of Belle & Sebastian, The Gossip, Animal Collective and Iggy Pop provide the meat and bones of the film, but they are interspersed with a fan’s eye view of the festival. The editing is adventurous and imaginative - many of the clips look back to the traditional British holidays of times past that took place in usual ATP venues of Minehead and Camber Sands.

A sense of the festival’s character and personality really comes through; as ATP founder Barry Hogan states, it was originally set up to be “like a best friend’s mix-tape, only on stage.”The off the wall, easy going nature is captured perfectly, whether it’s Daniel Johnston playing to a small crowd in a chalet or someone falling off a balcony drunk. There are times however, when it all feels a little bit ‘Woodstock’ - too many shots of young men with long hair acting stoned.

Without a narrative or voiceover the film is somewhat disorientating and trippy, but as a tribute to a modern musical institution and the raw power of rock and roll All Tomorrow’s Parties takes some beating.

Rob Monk
www.atpfestival.com

The Agent

The Agent

Dir. Leslie Manning/ Written by Martin Wagner 

Ever wonder who decides what books you read? No, it’s not Richard and Judy, not even Oprah. The answer, as delivered by this spiky and clever little film, happens to invariably be the literary agent (played with gutsy vigour here by William Beck). Alexander the agent is cunning, ruthless and oblivious to taste or criticism and is out to make lots and lots of money. Which he does very well.  And like all the best con-men, we find that he is strangely likeable and charismatic in spite of ourselves …

Plunging us head first into the wheelings and dealings of the publishing world, Martin Wagner’s bitingly funny screenplay follows disgruntled author Stephen (a world-weary Stephen Kennedy) in his attempts to get his agent to justify his fee and his occupation.  Fearing that his agent is not doing enough to push his second novel, Stephen takes matters into his own hands…

The Agent started out as a play and it shows in the production. There are only a few characters (Maureen Lipman turns up in one very funny scene) and most of the film is a two-way conversation between Stephen and Alexander taking place in a non-descript office. But what the film lacks in action or variety of tone it more than makes up for in the quality of the writing and acting. The two leads are superb and absolutely convincing in their given roles. Kennedy’s edgy desperation drives the film and evokes tremendous sympathy as the man who has been knocked by life one too many times. Beck is equally good and displays great levels of wit and charm. The characters are so believable that at points the film almost feels like a documentary.

The real star on show however is the terrific writing. I doubt a more truthful film exists in relation to the literary world and if it does it could scarcely be more energetic, funny or stylish. A real gem, packed with wonderful lines and two incredible, performances. This is a challenging and thought provoking film that treats its audience with a maturity and respect, which is unfortunately all too rare in British cinema. Seek it out.

The Agent is out September 18th and is showing at the BFI Southbank.