‘I Served the King of England’ opens in the UK

Ivan Barnev is sublime as a resourceful waiter in Jiri Menzel’s Czech masterpiece

The best film I saw at the 2007 Berlin International Film Festival was called “I Served the King of England” and today it is released finally in the U.K., first at London’s Barbican Centre and then to select cinemas nationally.

Smart, ironic and surreal, like Bohumil Hrabal’s novel on which it’s based, “I Served the King of England,” is often flat-out hilarious. It was third on my Top 10 for 2007 behind only “The Assassination of Jesse James By the Coward Robert Ford” and “The Band’s Visit.”

See my review of the film here: post

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THEATRE REVIEW: Tony Harrison’s ‘Fram’ at the National

'Fram' 2008

By Ray Bennett

LONDON — The title of British theatrical poet Tony Harrison’s new play, “Fram,” means “forward” in Norwegian, but a better name for it would be whatever in that language means “awkward.”

“Fram” was the name of the vessel that Norwegian explorer Fridtjof Nansen (Jasper Britton) used to survey the North Pole in the late 19th century, and his epic journey forms part of Harrison’s play. It gives designer and co-director Bob Crowley the opportunity to have the boat arise impressively from the bowels of the National’s large Olivier stage.

The play is not only about Nansen, though. Related entirely in rhyming couplets, it’s a saga supposedly created by British writer Gilbert Murray (Jeff Rawle) who emerges from his tiny bit of Poet’s Corner in Westminster Abbey to mount a production at the National.

Murray brings along heralded British actress Sybil Thorndyke (Sian Thomas), who will later have a big scene in which she convinces various skeptics that a healthy thespian can make observers believe she is starving.

The awkwardness of Harrison’s self-indulgent construction causes confusion in the historical facts of Hansen’s polar exploration with crusty companion Hjalmar Johansen (Mark Addy) and his later campaigns on behalf of the starving people in Russia in the 1920s.

Harrison switches from Nansen’s speech-making tours of British cities to high society encounters with potential benefactors and allows several minutes for a solo performance by ballerina Viviana Durante to no clear effect.

There are references to many cultural and philosophical things in the lengthy scenes, but they serve no obvious purpose. The mask of tragedy is compared to Edvard Munch’s painting “The Scream,” but its pertinence remains obscure. Video sequences showing scenes of the victims of the Russian famine, however, are affecting, and Thomas is utterly persuasive in her rendition of desperation.

Britton is quite jaunty as the dedicated explorer, and Addy has a few moments to shine as his suicidal shipmate. Harrison’s poetry, however, is awkward, with a dogged reliance on simple phrases and clumsy rhymes.

Venue: National Theatre, runs through May 22; Cast: Jeff Rawle, Sian Thomas, Jasper Britton, Mark Addy, Viviana Durante; Playwright: Tony Harrison; Directors: Tony Harrison, Bob Crowley; Set designer: Bob Crowley; Costume designer: Fotini Dimou; Lighting designer: Mark Henderson; Music: Richard Blackford.

This review appeared in The Hollywood Reporter.

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Edinburgh film festival preview

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By Ray Bennett

LONDON – The Edinburgh International Film Festival, which has moved this year from its traditional August slot to June, announced its lineup today with 142 feature films from 29 countries including 15 world premieres.

The 11-day event opens June 18 with John Maybury’s Dylan Thomas picture “The Edge of Love”, starring Keira Knightley and Sienna Miller (pictured) plus Matthew Rhys. The closing night gala includes a screening of Vito Rocco’s “Faintheart”, a comedy starring Eddie Marsan, Jessica Hynes (formerly Stevenson) and Ewan Bremner.

Artistic Director Hannah McGill said: “We have a terrifically exciting program this year, which is the happy result of a very enthusiastic response from distributors and filmmakers. From powerful artistic and political statements to works of pure, escapist entertainment, I think this is a festival that reflects an active, vibrant world film culture – and suits the diverse and daring tastes of our audience.”

Gala evenings will see screenings of Mark Doherty’s “A Film With Me In It”, José Padilha’s Berlin winner “Elite Squad”, Ira Sachs’ “Married Life”, Bharat Nalluiri’s “Miss Pettigrew Lives For a Day”, and Jonathan Levine’s “The Wackness”.

British films having world premieres include Charles Martin Smith’s “Stone of Destiny”, Kenny Glenaan’s “Summer”, Christine Molloy and Joe Lawlor’s “Helen” and Matthew Thompson’s “Dummy”. They will compete for the UK Film Council-sponsored Michael Powell Award for Best British Feature with others including Oliver Blackburn’s “Donkey Punch”, which has its UK premiere.

Other highlights of the festival include Pixar’s “WALL-E”; Shane Meadows’ “Somers Town”; Duane Hopkins’ “Better Things”, fresh from Cannes; Brad Anderson’s “TransSiberian”; and Isabel Coixet’s “Elegy”.

Documentaries on show will include Terence Davies’ Liverpool film “Of Time and the City”; Werner Herzog’s “Encounters at the End of the World”; James Marsh’s “Man on Wire”; and Errol Morris’ “Standard Operating Procedure”.

A new sidebar called Under the Radar will include two world premieres: Martin Radich’s “Crack Willow” and Robert Beaucage’s “Spike”. Directors’ Showcase includes the world premiere of Bernard Rose’s “The Kreutzer Sonata” while the Night Movies sidebar includes the world premiere of Steven Sheil’s “Mum & Dad”.

The Edinburgh gathering is expected to attract some major star power, not least from festival patrons and Oscar winners Sean Connery and Tilda Swinton.

This story appeared in Cue Entertainment.

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Festival de Cannes preview: Here comes Indy!

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By Ray Bennett

LONDON – No question about what film will get the most attention at this year’s Festival de Cannes. Steven Spielberg’s “Indiana Jones and the Kingdom of the Crystal Skull” came in atop a list of the summer’s most anticipated films with 82% declaring the picture the must-see movie of the year.

Filmmakers Spielberg and George Lucas along with star Harrison Ford will be on the Croisette for the Out of Competition world premiere of the Paramount film on May 18. It also will be screened in New York on that day and open in the UK and most of the rest of the world on May 22.

A lot more star power is headed to the Riviera for the festival’s 61st edition including Clint Eastwood, Angelina Jolie, Benicio del Toro, Penelope Cruz, Woody Allen and Quentin Tarantino. Sean Penn heads up the Competition jury, which includes actress Natalie Portman and director Alfonso Cuaron (“Children of Men”).

While Ken Loach’s “The Wind and the Barley” and Andrea Arnold’s “Red Road” claimed top awards just two years ago, there are no British titles In Competition this year with two possible contenders headed elsewhere.

James Gray’s “Two Lovers,” starring Gwyneth Paltrow and Joaquin Phoenix, and Laurent Cantet’s “Entre Les Murs,” starring Francois Begaudeau, complete the competition lineup. Fernando Meirelles’ film “Blindness,” starring Julianne Moore, Mark Ruffalo, Danny Glover and Gael Garcia Bernal, has been named as the opening film.

British director Steve McQueen’s “Hunger,” about the last six weeks of Irish republican Bobby Sands’ prison hunger strike, has been added to the Un Certain Regard sidebar. Michael Fassbender from British TV’s “Hex” and “Murphy’s Law,” who was also in the macho epic “300,” stars as Sands.

Barry Levinson’s “What Just Happened?” will close the festival as expected. It flopped at Sundance but it stars Cannes jury president Sean Penn and Robert De Niro, who has been tagged to present the Palme d’Or at the awards ceremonies.

Two young British writer-directors have won places in important Cannes sidebars this year. Writer and director Duane Hopkins, whose short films “Love Me or Leave Me Alone” and “Field” have won prizes at various festivals including Edinburgh, has earned a spot in Critics’ Week sidebar with his first feature, “Better Things”, about growing up in the Cotswolds.

Brighton’s Thomas Clay, whose first film “The Great Ecstasy of Robert Carmichael” was screened in Critics’ Week in 2005, will be in the Un Certain Regard sidebar with his second feature, “Soi Cowboy”.

Neglected British veteran Terence Davies will see his low-budget documentary about hometown Liverpool, “Of Time and the City”, screened Out of Competition. Artist Sam Taylor-Wood’s “Love You More”, written by playwright Patrick Marber and produced by the late Anthony Minghella, is entered in competition for short films.

Besides them and perhaps “Indiana Jones” costars such as John Hurt, Ray Winstone and Jim Broadbent, the only Brits likely to be on the Croisette this year will be Samantha Morton and Emily Watson who appear in “Synecdoche, New York”, the first feature to be directed by Oscar-winning screenwriter Charlie Kaufmann (“Eternal Sunshine of the Spotless Mind”). It stars Philip Seymour Hoffman in a tale of a parallel universe in New York.

A version of this story appeared in Cue Entertainment.

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THEATRE REVIEW: ‘Harper Regan’ by Simon Stephens

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By Ray Bennett

LONDON – A series of crisp scenes marked by sharp observation and illuminated by engaging performances form Simon Stephens’ new National Theatre play “Harper Regan,” about a woman facing crises on all sides.

Lesley Sharp (pictured right with Jessica Raine) gives a performance that demonstrates a keen grasp of the comic and dramatic elements of the title character, a woman with a troubled husband, an alienated mother, a chilly daughter, an unrewarding job and a desperately sick father with no time off to see him before he dies.

Harper is a complex individual manifesting much of what ails a modern woman in her 40s, being bright, loving and trusting but also credulous, stubborn, angry and sad. Her life is revealed in a series of encounters with family members, her employer and assorted strangers when she drops everything to make a dash to be at her father’s bedside.

Central to the problems in her life is that husband Seth (Nick Sidi) is a registered sex offender as a result of taking photographs of small girls in a park. His inability to find work complicates Harper’s relationships with her mother (Susan Brown), who believes Seth to be guilty, and daughter Sarah (Jessica Raine), who refuses to talk about it.

Stephens, whose “On the Shore of the Wide World” won the 2005 Olivier Award as best new play, contrives insightful encounters that show a woman learning to confront her worst fears. Director Marianne Elliott uses Hildegard Bechtler’s elegantly simple set, with a useful balcony, to keep the action flowing.

Raine is bracingly fresh as a young woman who is frighteningly smart but wound very tight, and Harris is all ferocious denial as Harper’s mother.

In single scenes, striking contributions come from Michael Mears as Harper’s fussy boss, Jack Deam as a racist drinker she meets in a pub and Brian Capron as an indifferent partner in a one-night stand.

Sidi, as the humiliated husband; Troy Glasgow, as a shy youth Harper runs into at a park; Eamon Boland, as her mother’s new husband; and Nitin Kundra, as a workman, play their smaller roles well.

Venue: National Theatre, runs through Aug. 9; Cast: Lesley Sharp, Jessica Raine, Michael Mears, Troy Glasgow, Nick Sidi; Playwright: Simon Stephens; Director: Marianne Elliott; Set designer: Hildegard Bechtler; Lighting designer: Chris Davey; Sound designer: Ian Dickinson.

This review appeared in The Hollywood Reporter.

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‘Small Town’ folk with big time plans

By Ray Bennett

LONDON – With little more than a digital camera and the New Forest, four resourceful filmmakers from Ringwood in Hampshire who call themselves Gumboot Pictures have made a fantasy horror movie titled “Small Town Folk” that has been released on DVD in 20 territories around the world.

DNC Entertainment releases the DVD in the United Kingdom this month with Imagination Worldwide already handling the title in several markets and a United States deal about to be sealed.

small_town_folk 2008 x325Not so much low budget as no budget, “Small Town Folk” was made over a period of four years by director Peter Stanley-Ward, producer Chris Musselwhite, coproducer and actor Chris R. Wright (pictured) and writer Natalie Conway. Having attended the Festival de Cannes four times already, they are headed back to the Riviera this month trying to raise money for their next project.

All four were involved in writing their debut feature, which was made on weekends and holidays using a camera Stanley-Ward, who still works in a pub, was given for his 21st birthday. He had made a short film with his brother called “Rat-a-tat-tat” that was shown in festivals and on BBC South. It took him and partner Conway to New Zealand where they snuck onto the set of their hero Peter Jackson’s “The Lord of the Rings: The Return of the King”.

A second short film, titled “The Tavern,” was short-listed in a 48-hour digital filmmaking competition run by Johnny Oddball. An 8-minute hillbilly story, they shot it in five hours and it ended up being screened on the big screen at London’s Curzon.

Then they decided to make a feature. “We thought, let’s make something that will have a professional return,” says Musselwhite, who has worked as a production assistant and film editor. Wright, who works in a shop, adds: “The main point was to show what we could do with nothing.”

“We made it up as we went along. It was the most intense film school,” says Stanley-Ward. “On the first night, we were very excited about starting a movie and just as we began filming we heard rockets and fireworks going off. It was Guy Fawkes Night and we’d forgotten.”

With the help of actor/writer Dan Palmer, who had made a couple of small films of his own, they tightened the script and bought some material from a local shop so they could use green screen effects. Gradually, using home software, they made the film appear as if it were made “in black and white in colour”.

This story appeared in Cue Entertainment.

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FILM REVIEW BRIEF: Mackenzie Crook in ‘Three and Out’

'Three and Out'

By Ray Bennett

LONDON — Suicide is played for laughs in Jonathan Gershfield’s odd little British film “Three and Out,” in which a subway train driver is told that if a third person goes under his wheels in a month he can retire with a huge payoff.

Mackenzie Crook stars as the frustrated train driver who stumbles upon a man named Paul (Colm Meaney) who has decided, after a life as a wastrel, to do himself in.

Part black comedy and part family drama, the film’s dodgy setup undermines what becomes an involving story with appealing stars as the unlikely duo travel north to find Paul’s ex-wife (Imelda Staunton) and daughter (Gemma Arterton, pictured with Crook).

The film is quirky enough to spark some interest beyond home shores but is more likely to thrive on DVD.

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THEATRE REVIEW: Trevor Nunn’s ‘Gone With the Wind’ musical

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By Ray Bennett

LONDON – Tomorrow is another day for Scarlett O’Hara but how long that will remain true for the new musical “Gone With the Wind” is another question.

Three-time Tony-winning director Trevor Nunn has delivered a long-winded show with rushed scenes, dull music and lyrics so banal that Rhett Butler is unlikely to be the only one who doesn’t give a damn.

All the familiar characters are there, but without the book or the film in mind, they would not add up to much. Jill Paice (pictured with Darius Danesh), Broadway star of “Curtains” and “The Woman in White,” works hard as Scarlett, but the songs put too much strain on her pleasing but delicate voice.

Danesh, who won fame on the U.K. television show “Pop Idol,” does a much better job of channeling Clark Gable as Butler. He’s a fine singer and not a bad actor. The rest of the cast have the burden of delivering a series of musical numbers that, unusually for a musical, are not listed in the program.

North Carolina gospel singer NaTasha Yvette Williams, who played Sofia in Broadway’s “The Color Purple,” and London stage veteran Ray Shell lend their joyous vocal power to one or two songs that have a gospel influence but have forgettable melodies and familiar phrases like “All God’s children born to be free.”

Supposedly based on the best-selling Margaret Mitchell novel rather than the Oscar-winning 1939 movie, the production mirrors the film closely except that it places tedious songs where character development and genuine drama should be.

Without a lot of scenery, Nunn’s regular designer John Napier must rely on the large spaces of the New London Theatre with a movable porch for the Tara and Twelve Oaks estates and a long balcony. All the action takes place on the theater’s large, bare apron stage, with characters chasing off through the audience via several gangways.

Most of the big set pieces are merely described by the chorus so that epic scenes are reduced to spoken exposition. To depict the burning of Atlanta, a large Georgia flag is set on fire while some scenery in the balcony collapses and cannons boom offstage.

The show is a first-time effort by Los Angeles resident Margaret Martin, who has a doctorate in public health from UCLA and among other things runs the Harmony Project, which provides free music lessons to underprivileged children in Los Angeles.

She obtained the rights from the Mitchell estate and took the work to Nunn, whose musical hits include “The Life and Adventures of Nicholas Nickleby,” “Cats” and “Les Miserables.” For the British director, this appears to be one literary classic too much.

Venue: New London Theatre, through Nov. 27; Cast: Jill Paice; Darius Danesh; Edward Baker-Duly; Madeleine Worrall; NaTasha Yvette Williams; Jina Burrows; Julian Forsyth; Susannah Fellows; Ray Shell; Jacqueline Boatswain; Based on the novel by Margaret Mitchell; Book and lyrics: Margaret Martin, adapted by Trevor Nunn; Music: Margaret Martin; Director: Trevor Nunn; Executive producer: Aldo Scrofani; Set designer: John Napier; Costume designer: Andreane Neofitou; Lighting designer: Neil Austin; Movement director: David Bolger; Sound designer: Paul Groothuis; Musical director: David White; Presented by Aldo Scrofani, Colin Ingram, Gary McAvay, Nederlander Presentations, Peter Kane.

This review appeared in The Hollywood Reporter.

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THEATRE REVIEW: ‘The Last Days of Judas Escariot’

Joseph Mawle (Judas) and Edward Hogg (Jesus) in The Last Days of Judas Iscariot, photo by Hugo Glendinning x650

By Ray Bennett

LONDON — An appeal in the case of the apostle who ratted on the messiah in the story of Jesus Christ becomes an electrifying examination of faith and redemption in Stephen Adly Guirgis’s excoriating play “The Last Days of Judas Iscariot” at London’s Almeida Theatre.

Directed by Rupert Goold (“Macbeth”) and featuring a sensational performance by Scottish actor Douglas Henshall (“Primeval”) as Satan, the play is set in a kind of cosmic night court with a floor of cracked shale and a dungeon that leads to hell.

Saints testify on a balcony while video images play in the background. Witnesses include Pontius Pilate (Ron Cephas Jones), Mary Magdalene: Poppy Miller; Mother Theresa (Dona Croll) and Sigmund Freud (Josh Cohen).

American playwright Guirgis, a member of New York’s LAByrinth Theater Company, comes to grips in the play with important questions of betrayal and forgiveness while mixing moving testimonies with wildly comic exchanges.

Each character is paying one penance or another for real or perceived sins including the impatient judge (Corey Johnson), neurotic defense counsel Cunningham (Susan Lynch) and tortured Egyptian prosecutor El-Fayoumy (Mark Locker).

The play begins with Iscariot’s mother (Amanda Boxer) plaintively mourning her son and questioning a God of love that would condemn her misguided son to eternal torment. Then begins the hearing that pits God and the Kingdom of Heaven against a Judas Iscariot (Joseph Mawle, pictured top with Edward Hogg as Jesus) who is portrayed as catatonic with guilt and grief.

Jesus is seen as an ethereal presence as the various characters rely on the four gospels to establish what might have happened. But the cunning examination and frequently outrageous interplay, with a great deal of scurrilous language, reveals a fine intelligence at the play’s heart.

Director Goold manages sudden changes in mood and tone with remarkable assurance, which serves to blend seemingly incongruous elements smoothly, especially in the ruminative final scene.

Douglas Henshall (Satan) and Susan Lynch (Fabiana) photo by Hugo Glendinning x650

The acting is fine throughout with Henshall (above with Lynch) devastating as the smoothest, most debonair Lucifer. Elegant with a touch of goatee and the air of a southern gentleman, he scorches the stage with sentences that emerge with delicacy and appear to catch fire as their meaning penetrates.

Mawle has several scenes in which Iscariot’s suffering is made plain through agonized silence while Lynch and Lockyer spar with increasing comic savagery. Jones is a suave and manipulative Pilate; Gawn Grainger is haunting as a deviously self-justifying Caiaphus the Elder; and Jessika Williams delivers needed respite as a wise and sassy Saint Monica.

Venue: Almeida Theatre, runs through May 10; Cast: Joseph Mawle; Douglas Henshall; Edward Hogg; Amanda Boxer; Dona Croll; Corey Johnson; John Macmillan; Susan Lynch; Mark Lockyer; Jessika Williams; Poppy Miller; Ron Cephas Jones; Shane Attwooll; Josh Cohen; Gawn Grainger; Playwright: Stephen Adly Guirgis; Director: Rupert Goold; Lighting: Howard Harrison; Music and sound: Adam Cork; Video and projection design: Lorna Heavey; Presented by the Almeida Theatre Company sponsored by Coutts.

This review appeared in The Hollywood Reporter. Photos by Hugo Glendinning.

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THEATRE REVIEW: Ringwood players’ ‘Follies’

By Ray Bennett

To stage a Stephen Sondheim musical gives pause to the best in the business so top marks to the Ringwood Musical & Dramatic Society in Hampshire for tackling “Follies” and carrying it off with flourish.

One of hundreds of regional theater troupes around the country, RMDS seldom shrinks from a challenge under president John Truman, and veteran director Pete Talman made a bold decision to present the show in the round.

Cast member Julian Peckham observed in the program that “the show has proved a big challenge for all: from production crew to choreographer (Cindy Wischhusen) and musical director (Jane Lee), and not least the performers.” All the more reason to celebrate their success.

The cast featured RMDS leading ladies going back to the 1950s including Annette Arnold, Poppy Garvey, Rosemary Guy, Anne Maynard and Anita Rosser. They each had some time in the spotlight and, boy, did they deliver.

The show tells of two loverlorn couples as youngsters and in later life. My brother Richard Bennett and his son Ali Bennett, played Ben Stone. Chris Grant and Victoria Richardson were Phyllis Stone. Chrissie Peckham and Samantha Laurilla played Sally Plummer and Julian Peckham and Luke Beavis were Buddy Plummer. They were all splendid and so were the rest of the large cast.

Here’s more about RMDS

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