LONDON – Following the shock result of the UK referendum to leave the European Union, the dystopian satire Children of Men has been reclassified as a documentary.
The British Film Institute has reclassified Alfonso Cuaron’s 2006 dystopian satire Children of Men following the Brexit result of the UK referendum on the European Union. A spokesperson for the BFI said:
The thing is we originally thought that the racism and hatred towards immigrants shown in Cuaron’s film was over the top, but actually we see that it is the driving thought of most little Englanders, of who there are much more than we realized.
But why is the BFI making such a political stance?
Well, did you like An Education? Or Hunger? Or Macbeth, Nanny McPhee, Amy, or Tinker Tailor, Soldier ,Spy? Or Game of Thrones? Or Under the Skin, or Pride, or Berbarian Sound Studio?
I didn’t like Nanny McPhee.
But did you like The Lobster, fish Tank, Belle? Shaun the Sheep?
Then those were all made with vital help from the EU Media fund which paid the UK over 130 million pounds over the last decade. That won’t be there anymore.
Children of Men star Clive Owen.
MACBETH – REVIEW: Michael Fassbender murky, mumbling and murderous Scottish noble mucks about in the mist.
Justin Kurzel – of Snowtown fame – directs a new adaptation of one of Shakespeare’s most popular plays. Already creditably served by an Orson Welles version and Rom Polanski’s bloody take, Kurzel’s Macbeth is a beautifully rendered piece of out and out gloom. Set in the cold forbidding boglands of Scotland and in a period aggressively Dark Aged, Fassbender is the Laird who, with the goading of Witches and wife (Marion Cotillard), decides to hasten his upward mobility with some judicious well placed stabbing.
If there is one criticism, it might be that the film is utterly drained of humor – the Porter scene (never actually funny, truth be told) being cut – and so is effectively a one note piece, a drone that is matched by the percussive, internal organ liquidating soundtrack. And yet like the music, it also holds a hypnotic power as blood is waded through and ambition leads to atrocity and on to destruction. Fassbender’s troubled soldier descends into madness and the whole world seems so consumed by blood, violence, sound and fury, that even the possibility of goodness seems to have had its throat cut late one moonless night.
The performances are all suitably intense, the direction and photography stylish, but it’s the screenplay that really deserves some praise. This guy can write.
HOLLYWOOD – In another EXCLUSIVE extract from Sir Edwin Fluffer’s autobiography “In Like Niven!” comes this startlingly honest account of the great English actor and director Sir Laurence Olivier.
Larry Olivier had moved into a new place high in the Hollywood hills. It was every bit as grand and elegant as the great man himself, but the tree outside his bedroom window was home to a large family of rooks, and the dawn chorus would often wake him from his slumber.
I’ve never been much of a morning person and darling Larry’s early morning phone calls filled me with dread. Following the success of Henry V and Hamlet he’d found another one of Billy Shakespeare’s screenplays to have a go at; but this time he’d decided to turn it into a musical.
Banquo! was to be his all singing, all dancing version of Macbeth, and he’d already started work on the score with Larry Adler. I went round for breakfast to hear the fruits of their labour. Adler took out his harmonica and played me a couple of numbers including There Is Nothing Like A Thane and Kiss Me Hecate, I cancelled my plans to go bowling with Keenan Wynn and said “Where do I sign?”
We were all ready to begin filming, sets were up, costumes were made, Donald O’Connor had been booked, then tragedy. Larry lost a tooth during a heated game of chequers with Bobby Morley and his singing voice went with it. He wouldn’t let the part go to anyone else and the whole thing was cancelled – Three months of work down the drain, and I was furious with him.
Larry Adler gave me one of his harmonicas to say thank you for all my support but I could never learn to play the bloody thing. In the end, I gave it to Charles Bronson who used it to great effect in Sergio Leone’s One Upon A Time In The West. But that’s another story…