Argo

Ben Affleck’s Argo took the Golden Globe for Best Picture – Drama, and may yet take out Best Picture at the Oscars.  It is the true story of how six American diplomats were rescued by a CIA operative from Iran during the 1979 hostage crisis.  Here is truly a case of fact being stranger than fiction.  I’m pretty sure that a proposal for a movie with a plot as outlandish as this would be rejected as too unrealistic.  The rescue was pulled off by pretending that the six diplomats were in Iran to make a movie.  To be precise, a science fiction movie called Argo, which required on location filming in a Middle Eastern dessert environment.  The setting up of the fake movie production in Hollywood involving a real make-up artist (John Goodman) and film producer (Alan Arkin) is a lot of fun.  Alan Arkin as the acerbic, world weary producer, is a particular delight.   The action then shifts to Iran and the film takes on a much more serious tone.  The suspense of the final escape is almost unbearable.  Another delight for me was to see Bryan Cranston in a major role.  He richly deserves an expanded career and recognition following his excellent work in Breaking Bad.  This is a terrific, gripping movie and confirms Ben Affleck as a great film maker – here he directs, stars and produces. 

Anna Karenina

A new version of Anna Karenina.  This is at least the twelfth film adaptation of Leo Tolstoy’s novel since 1914 (notably with Greta Garbo in 1927 and Vivien Leigh in 1948).  This one stars Keira Knightley, arguably the most beautiful Anna ever.   She is absolutely stunning, and so is the film.  It’s a visual feast, the sets and costumes magnificent.  This is a highly stylized version, filmed in part as a stage production, with moving sets that shift and change around the actors as they move from one location to another.  This staging, as well as other stylized elements, such as the very unusual and amusing dance sequence, gives the story a welcome lighter touch.  This is, as you would expect from Tolstoy, not a light and fluffy tale, and those seeking a feel-good, happy ending should look elsewhere (I might suggest Silver Lining Playbook for a start).  All of the story that takes place within the confines of Russian high society are filmed on stage, while peasant life on the streets is shot backstage and the scenes in the country on location.  This seems to me to very effectively emphasise the artificiality of high society, which is very much what Tolstoy wanted to portray.  This won’t be everyone’s cup of tea by any means, but I found it very enjoyable.  Knightly is superb, as is Jude Law, but the stand-out performance for me was Matthew Macfadyen as Anna’s brother – a very funny and warm portrayal. 

Zero Dark Thirty

Kathryn Bigalow directed the excellent Hurt Locker and now she has directed and co-produced Zero Dark Thirty, the story of the manhunt and eventual killing of Osama Bin Laden. I love Hurt Locker. I think it's one the most suspenseful and gripping films I have ever watched. I was less gripped by Zero Dark Thirty, perhaps because I knew the outcome.

This is, of course, a true story and it's informed by firsthand accounts from the people involved. Even so, I find some of the events and actions of the CIA and armed forces hard to swallow. The interrogation of captured terrorists seems completely unfocused and arbitrary. I suppose that is the nature of this type of process, but I find it hard to believe that it can deliver any concrete or reliable outcome. I found some of the questions asked by the CIA interrogators completely unbelievable. "What does he look like?" Really? "Er..he has a long beard and wears a turban." The prisoner at least tried to be helpful and answered: "he's tall".
The way the Camp Chapman attack is portrayed also seems unlikely to me. Would you really allow people who are known suicide bombers to drive an unchecked car right into a US military camp? Even if there was a risk of spooking a potential informant, I would have thought this is outweighed by the almost certain risk of being blown to smithereens.

Then there's the matter of the stealth helicopters. When we first see these menacing looking machines in a hanger someone mentions that they are experimental and that the project to develop them was abandoned. Is this then really the best choice of vehicle for such a critical mission? Of course, as we all know, the Navy Seals manage to crash one of the helicopters, or it malfunctions, which did not make for a very smooth operation.

I find it hard to believe that the US forces would go in and kill this person, and be prepared to kill not only everyone in the house, but even those in surrounding houses coming to his aid, without firm confirmation of his identity. Based on the movie they were not sure it was Bin Laden until his body was identified by the CIA agent (played by Jessica Chastain). How could she even be sure it was him? She could only every have seen photos and videos of him just like everybody else.

I can't help but think that there must be more to this story than shown here, no doubt kept secret for good reason. These gaps in information detract from what is otherwise a very well made and acted movie.

Les Miserables

Finally! I have been waiting years to see a film adaptation of my favourite musical. It would be difficult to make a bad film out of Les Miserables. The music is among the most beautiful you can ever hope to hear. I have happily watched a filmed version of the 25th Anniversary concert, staged at London's O2 Arena, sung with no props or actions. If you have a musical score that strong, how can you go wrong? Director Tom Hooper certainly does not go wrong with this film. His vision does full justice to the magnificent score. The performances by Hugh Jackman (Valjean), Russell Crowe (Javert), Anne Hathaway (Fantine) and Sacha Baron Cohen (Thenardier) are all excellent, each bringing depth and a real heft of emotion to the songs. I'm confident awards will be flowing their way over the next month.

Their performances were undoubtedly helped by the fact that the songs were all recorded live, rather than dubbed afterwards. This is a rare feat for a musical, if not a first. It must be a huge strain on the actors, but it paid off in spades. Live recoding means that the vocals may not be perfect, but the emotions are real and immediate, which adds significantly to the impact of the film.

I enjoyed Les Mis tremendously and I look forward to many repeat viewings. I have, after all, seen the stage version at least seven times and regularly play the soundtrack from start to finish. I never grow tired of it.

The Hobbit

Peter Jackson's first installment in his new Hobbit trilogy was our official Boxing Day film selection for 2012. It did not disappoint. It has all the grandeur and Orc bashing action that you would expect from a prequel to Lord of the Rings. Martin Freeman is prefect as Bilgo Baggins, the Hobbit selected by the wizard Gandalf (again wonderfully brought to life by Ian McKellen) to join a band of homeless dwarfs on a quest to reclaim their lost treasure and kingdom. JRR Tolkien's book, The Hobbit, is a fairly slim volume. I understand the film trilogy is filled out with some adaptations of the appendices to Lord of the Rings. Some scenes do feel as though they have been strung out a little, such as the lengthy intro, which takes place almost entirely in Bilbo's Hobbit hole. Still, for the most part, the 169 minutes fly by, filled with battles and high adventure. The scene between Bilbo and Gollum may also seem a tad long to some, but for me he is such a fascinating little creature and so wonderfully portrayed by Andy Serkis, that I did not mind. All round another excellent addition to Jackson's Tolkien films and no doubt another shot in the arm for New Zealand tourism. The photo above is of the WETA statue of Gollum at Wellington Airport.