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First, a word from our sponsors: I wanted to say thank you to everyone who contributed to our Indiegogo campaign for 15 Conversations in 10 Minutes. We did very well due to you folks. For those who weren’t able to give, keep us in your thoughts. And if you are able to contribute in the future, contact me and I’ll tell you how. I will even honor the perks on the original campaign.
I am now offering a new consultation service: so much emphasis has been given lately to the importance of the opening of your screenplay, I now offer coverage for the first twenty pages at the cost of $20.00. For those who don’t want to have full coverage on their screenplay at this time, but want to know how well their script is working with the opening pages, this is perfect for you. I’ll help you not lose the reader on page one.
Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? FosCheck out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
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Two films at this year’s AFI fest had, as their central characters, women who work outside the home. But the takes on the situation by the respective filmmakers couldn’t be more different.
In Things to Come (not to be confused with the Sci-Fi film from 1936 starring Raymond Massey…I hope), Nathalie Chateaux teaches philosophy in high school. And I don’t mean teaches philosophy, she TEACHES philosophy (and in a way that makes you put on sackcloth and ashes, moaning and bewailing in despair over the U.S. educational system).
Everything in her life seems in perfect equilibrium. She has a loving husband, family, occupation (her only real downside is that her mother is emotionally unstable).
Then she encounters a series of misfortunes. Her husband asks for a divorce; her mother dies; and she is basically fired from her position of overseeing the philosophy texts used in school. Read the rest of this entry »
THERE’LL ALWAYS BE AN ENGLAND SEQUEL: Movie reviews of Queen and Country and The Second Best Exotic Marigold Hotel by Howard CasnerPosted: March 11, 2015 | Author: Donald | Filed under: Uncategorized | Tags: Bill Nighy, Caleb Landry Jones, Callum Turner, Celia Imrie, David Strathairn, David Thewlis, Dev Patel, Diana Hardcastle, John Boorman, John Madden, Judy Dench, Lillette Dubey, Maggie Smith, Ol Parker, Pat Shortt, Penelope Wilton, Queen and Country, Richard E. Grant, Richard Gere, Ronald Pickup, Tamsin Greg, The Second Best Exotic Marigold Hotel | Leave a comment »
First, a word from our sponsors. Ever wonder what a reader for a contest or agency thinks when he reads your screenplay? Check out my new e-book published on Amazon: Rantings and Ravings of a Screenplay Reader, including my series of essays, What I Learned Reading for Contests This Year, and my film reviews of 2013. Only $2.99. http://ow.ly/xN31r
and check out my Script Consultation Services: http://ow.ly/HPxKE
Queen and Country, the new semi-autobiographical film from writer/director John Boorman (the semi part) is a sequel to Boorman’s earlier film Hope and Glory, an episodic comedy about a young lad’s picturesque adventures during World War II.
When we last saw the wee Bill, he had arrived at school to see it on fire from having been bombed during the Blitzkrieg, prompting him to yell out, “Thank you, Adolf”. It’s nearly a decade later now and Bill is an older teen and is conscripted into the army during the Korean War.
How you respond to Queen and Country will probably depend on how you respond to the way Bill is dramatized here. Personally, and to be ruthlessly honest, I found him a poor excuse for a human being who, first, has an amazing inability to fully comprehend just how lucky he is, and second, for someone whose future lies as a filmmaker, an amazing inability to understand, empathize or read the people he interacts with. Read the rest of this entry »
In the movie Gandhi, the titular character was asked “You don’t think we’re just going to walk out of India” and Gandhi replied, “Yes, in the end, you will walk out”. And the British did. But now, according to the movie The Best Exotic Marigold Hotel, the British are walking back in. And perhaps now India will get its comeuppance for having the temerity to ask their empire builders to leave in the first place.
There is something kind of cute when it comes to the core idea of …Marigold Hotel. Our jobs have been outsourced. Now we’re going to get revenge for it: we’re going to outsource one of our biggest and most unpleasant industries: our old people. In this pleasant and entertaining, but little more, comedy from writer Ol Parker and director John, Shakespeare in Love, Madden, a group of England’s most respected thespians pack their bags and leave the country and foist themselves upon the unsuspecting Indians when they fall for the equivalent of swamp land in Florida: a photo shopped hotel that has been opened by that refugee from Skins and Slumdog Millionaire, Dev Patel, to especially cater to their specialized needs. And with no takesy backsies.
But this outsourcing isn’t even the biggest irony here. No. When the British were asked to leave, the Indians claimed they’d be able to take care of themselves and would be responsible for their own problems. But nearly seventy years later, according to Parker, they are now no better off than when the English were there. So it is left to this group of patronizing patrons to teach the local yokels how to manage their love lives; stand up to their parents; treat the disenfranchised; and run a hotel. Yes, the British are not only back, their back in their old roles of telling the people they once ruled how to rule their country.
Okay, I’m taking a film that is not all that serious a bit too seriously. Because in the end, …Marigold Hotel is a fun movie. Not because it is about a group of people discovering the wonders of India and how it brings new meaning to their lives (which I don’t think the movie remotely does), but because it gives us the great honor of watching a group of incredibly talented actors strut their stuff. And do they strut it. There’s nary a false note here. Everyone–Tom Wilkinson as a gay judge; Judi Dench, as a widow who has never had to take care of herself; Bill Nighy and Penelope Wilton (together again as husband and wife from Shawn of the Dead) as a couple whose relationship is on its last legs; and Ronald Pickup (an appropriate name for his role) and Celia Imrie as two birds of a feather, people looking for sex, love and/or money in a relationship, not necessarily in that order—are first rate here. But it has to be said that as good as everyone is, it’s Maggie Smith, as a racist cockney housekeeper/nanny, who is magnificent. No, I mean, she is really magnificent. I mean, did I happen to mention how magnificent she was? Well, if I didn’t, I have to say it, Maggie Smith is magnificent.
Perhaps Hollywood actors need to take a lesson from the story here. England had no use for these senior citizens, so they gladly shipped them off to the Far East (out of sight, out of mind). Older actors have found that L.A. has no use for them, so maybe they should start outsourcing themselves to England where maybe they could get work doing such movies as Harry Potter (I mean, you had to be a pretty poor actor not to get a part in those films somewhere along the line), Downton Abbey and the recently released Quartet (which would make more than a suitable companion piece to …Marigold Hotel). The parts they’d get certainly couldn’t get any worse than The Bucket List.