Changeling

'Changeling' is a drama based on the true story of a woman's struggle to discover the fate of her missing son. This film has Oscar woven very deeply into its being. It is directed by Clint Eastwood. The Christine Collins story is one everyone can empathise with. The film is set in Depression era Los Angeles. The 30s has a special appeal for audiences. The cities all teem with promise and exuberance, but the seedy underbelly is pulling the well meaning, well to do folk into the mire. Oh, it's got so much to offer,that thirties city. The visual elegance of the world is captivating in its understated beauty. Oh, it may have been reserved, but wasn't it so classy? And of course, life was real in the thrities.In the 30s there's a special place called the post office, and the bank, and the store, where actual life, not virtual life, happens. It's so wonderful. It's a wonderful life you might say. Wonderful indeed. Wondeful enough so that the winner for 'Best Picture' is.... 30s film!
Not yet convinced of the film's Oscar credentials? Well how about this then? The film is based on a true story. Heh? Tissues are the order of the day, as we witness the main character being broken again and again and again. Her abusers are evil policemen and Nazis in the mental hospital. Jolie tears up the whole time. Yes, it's a genuine tearjerker. Now will you give us the golden statue? Please?
This story took place seventy years ago. So we are left with the question of whether or not it is relevant to today. The story of the parent's struggle to find their child is undoubtedly still relevant. The media coverage of the Madeleine McCann story illustrates this. But whereas the McCann's standard of parenting was scrutinised for leaving their child alone, Collins' was not. Is this because children are more visible these days? Who knows. But this film dosen't scrutinise the crucial initial mistake that Collins made, that is, leaving her child alone for a day.
As for the issue of institutional attrocities, one can think of many contemporary examples where a western government has perpetrated injustices. It's always going on.
This story is tragic on several levels. It's quite touching and disturbing. Jolie is consistent as a study in trauma. John Malkovivh delivers a characteristically turbo charged portrayal of an evangelical. His ability to deliver a ferocious and withering critique of something or other is an impressive feat. We have become used to it, but it should not be taken for granted. His somewhat effete portayal of everyday interaction remains oddly charming, but still odd. The themes of the Christine Collins story remain pertinent to our lives.But it's not the beggining and end of the story by a long way. And this picture stinks of Oscars.

A Film With Me In It.

'A Film With Me In It' is an intriguing title for a film. It begs the question : a film with who, or what exactly, in it? The characters are a group of Dubliners who are subsisting in a death trap of a flat. This group consits of a toally unimpressive 'artistic' duo, one of whose brother is paralysed and mute, an unfullfilled young woman, and a dog. They are are at odds with the world around them in general,and their unsubtle landlord in particular. The inertia of the first act is punctured by a sequence of events that is plausible, but still farcical. At its heart the film is a black comedy.It knowingly employs age old visual techniques and an assertive score to provide a faux horror aesthetic. The odd couple of Pierce [Moran] and Mark [Doherty] are there for the comedy. The film knowingly copies cinema signatures from old film noirs. The old visual references are used in a repetetive way, and eventually become an ironic motif. The score acts as a reminder of the disastrous nature of the action. Everyone was on the same page as regards the feel of the film ,and the minimalism is well expressed. Success for director Ian Fitzgibbon there. The comedic range of the film is quite broad, but is delivered in a minimalist way. The earnestness of Mark is passable as comedy of understating emotions. The impetuosity of Pierce is reasonably amusing as the comedy of neurotic folly. The dynamic between them is consistent enough. Moran's one liners are well delivered. Take your pick, 'that's not love', as Mark and Pierce catch a glimpse of weird sexual practices. 'I'm like a ghost in a void' is nicely weird.In the support cast, Keith Allen fulfills the role of a 'Bollocksface' satisfactorally. David O' Doherty does not flinch as 'David'. Amy Hubberman is Amy Hubermann.
Mark Doherty's film is modest. It is an Irish product, so this is par for the course. It is modest in its conception, and therefore modest in its execution. A film that is made for any Irish filmmaker, or aspiring writer, who finds Dylan Moran funny. And a few students.And some people in their early twenties who heard that it was funny in places from their friend whose younger brother works in The IMC. It is decent, low key fare.It knows its place in the world.