Shadows on the Stage: Riffing on a classic

Encounter

dir-scr Phil Willmott

Above The Stag Theatre, Vauxhall • 14.Oct-15.Nov

A loose riff on David Lean's classic 1947 film Brief Encounter, writer-director Phil Willmott's play sets out to imagine the way the story might have unfolded if the movie's gay screenwriter Noel Coward had been able to write it about two men instead. So the whole thing is a bit gimmicky by definition, sometimes straining to make a witty reference or political comment. But it's an intriguing idea with lots of possibility.

It's also an involving story on its own, using present-day scenes to frame a late-1940s story about a doctor (Adam Lilley) and a station agent (Alexander Huetson) whose schedules converge every Thursday afternoon on the platform at Vauxhall (insert inside joke here), so they begin to hang out together, talking about their wives and children and trying not to acknowledge the illicit attraction they feel for each other. Until they do, flinging open a can of worms the original film never even peeks into.

This open acknowledgement of sexuality at a time when being gay was illegal adds a major kick to the story, even though addressing it head on begins to undermine the emotional power. Unlike Brief Encounter, which can leave a viewer in tears even on the 10th viewing, this play only musters a lump in the throat.

The four-person cast dive in with plenty of personality. Lilley has an offhanded, authentic intelligence and wit as Larry, a doctor with a respectable career and a family that seems happy to everyone but Larry and his stoic wife (Penelope Day, who doubles as the station's sassy newsagent). Opposite him, Huetson brings considerable masculine charm as the likeable railway employee Arthur, although he sometimes overplays his internal feelings. The chemistry between them zings from the moment they meet. The fourth cast member is Chris Hines, who plays both the disapproving priest and an alert police constable.

The nicely crafted set might be too complex for such a small space, representing a wide range of settings with more detail than was strictly necessary. But the black and white design is clever, and the lighting nicely augments the shifting moods. And if the musical underscore sometimes feels somewhat pushy, at least this theatre has finally found a show that incorporates the sound of trains rumbling overhead. And also one that's packed with themes that still echo around this particular corner of London. And the whole world for that matter.

LFF 12: Sail away

The 59th London Film Festival came to an end this evening with the gala screening of Steve Jobs. But before that, Athina Rachel Tsangari's Chevalier (above) walked off with the award for best film. Annoyingly that was one of the films on my need-to-see list that I didn't manage to see (it's impossible to see everything).

Once again, the LFF proved itself a rather harsh atmosphere for the press - unlike most festivals in the world, we have to pay dearly for our accreditation, and there are no parties, no freebies, just lots of great movies, usually showing five at a time so you have to choose carefully what you see. It's pretty exhausting, but the programme is an excellent compendium of the year's top festivals, so it's a great way to catch up. Here are the prize winners, my favourites, and a couple more highlights...

LFF AWARDS 2015:

Best Film: CLEVALIER
Doc (Grierson Award): SHERPA
First Feature (Sutherland Award): THE WITCH
BFI Fellowship: Cate Blanchett
BFI Ambassador: Tom Hiddleston

MY BEST OF THE FEST:

1. CAROL
2. ROOM
3. VICTORIA
4. TANGERINE
5. STEVE JOBS
6. TAXI TEHRAN
7. TRUMBO
8. OUR LITTLE SISTER
9. THE CLUB
10. A BIGGER SPLASH

Special mention: FROM AFAR. THE LOBSTER. THE ENDLESS RIVER. TRUMAN. QUEEN OF EARTH. SUFFRAGETTE. GRANDMA. THE FORBIDDEN ROOM. HE NAMED ME MALALA. YOUTH.

Steve Jobs
dir Danny Boyle; with Michael Fassbender, Kate Winslet 15/US ****.
Whether this film is an accurate portrait of the eponymous Apple founder is frankly irrelevant. This is a storming example of the power of cinema to tell a story with complexity and invention. Every element works together to carry the audience through the narrative using just three key scenes that would actually play well on-stage. But the way it's shot and edited adds layers of depth... MORE >

Goosebumps
dir Rob Letterman; with Jack Black, Dylan Minnette 15/US ***
Like Jumanji on steroids, this action-horror romp packs the screen with animated mayhem swirling around an established comedian and a cast of plucky kids. The breathless pace holds the attention, boosted by surprisingly sophisticated gags peppered all the way through. But while working overtime to keep the audience entertained, it undermines every serious point it pretends to make... MORE >

LFF 11: Surprise us

The surprise film at this year's London Film Festival was Anomalisa, and directors Duke Johnson and Charlie Kaufman, plus actor David Thewlis, were on hand to present their film to the audience. Alas, I wasn't able to attend this year, so I'll have to wait until the film is screened to the press prior to its UK release. Meanwhile, the parade on the red carpet is continuing with tonight's awards ceremony, at which Cate Blanchett will be presented the BFI Fellowship. The last day of the festival is tomorrow, and it will be all about Michael Fassbender. Here are a few more highlights...

Truth
dir James Vanderbilt; with Cate Blanchett, Robert Redford 15/US ****
Cate Blanchett's gives yet another storming performance in this smart, enlightening backstage drama about the 2004 scandal at CBS News, which ended the career of iconic newscaster Dan Rather. Like a populist blending of The Newsroom with Good Night and Good Luck, the film is talky and a bit too obvious in the points it makes, but it's also important...  MORE >

Ruben Guthrie
dir Brendan Cowell; with Patrick Brammall, Alex Dimitriades 15/Aus ****
It seems obvious that an Australian filmmaker would make a movie about alcoholism into a blackly hilarious comedy. What's surprising here is that the serious undercurrents are just as pungent, and that the film never slips into the usual simplistic approach to the topic. As a result, it's both entertaining and thought provoking.

Victoria
dir Sebastian Schipper; with Laia Costa, Frederick Lau 15/Ger ****.
German filmmaker Sebastian Schipper took a big risk shooting this epic romantic thriller in a single unbroken take, and the resulting film not only wows the audience with its technical audacity but also fully engages the emotions. This story of a young expat's two-hour odyssey is genuinely terrifying, darkly touching and thumping entertainment.

From A to B
dir Ali Mostafa; with Fadi Rifaai, Fahad Albutairi 14/UAE ****
This is a lively road movie with an unusually sharp script that combines character-based humour, introspective drama and a sharp sense of the political scene as three 25-year-olds drive from Abu Dhabi to Beirut, recreating a trip they were supposed to take five years earlier. It's also cleverly timely, connecting with political realities while keeping the audience laughing, then hitting us with an emotional whammy.

LFF 10: See the world

The gang from Youth lined up on the red carpet last night at the London Film Festival: Paul Dano, Harvey Keitel, Paloma Faith, Rachel Weisz, Michael Caine and director Paolo Sorrentino. I had a slightly slower day today - just two films and a night off at the theatre! Here are a few more highlights...

Dheepan
dir Jacques Audiard; with Jesuthasan Antonythasan, Kalieaswari Srinivasan 15/Fr ***
With a powerfully topical subject, this drama both grapples with big issues and gives in to some oddly slanted politics that seem to convey a rather lopsided message. It's strikingly well made, with a solid cast and a sometimes startling realism. But filmmaker Jacques Audiard seems to get caught up in both the violence and the unrealistic dreams of refugees.

Taxi Tehran 
dir Jafar Panahi; with Jafar Panahi, Hana, Omid 15/Irn *****
Banned Iranian filmmaker Jafar Panahi continues to make sharply clever films that manage to just fit within the rules of his sentence (this is his third). Once again cleverly exploring the nature of filmmaking itself, this film also offers a strikingly earthy, funny exploration of Iranian culture. And human nature.

Gold Coast 
dir Daniel Dencik; with Jakob Oftebro, Danica Curcic 15/Den **.
Beautiful landscapes and an artful, almost experimental approach make the most of this rather pointed drama about colonial Europeans in Africa. Packed with big ideas about how humans bend the laws of nature at their peril, the film is ambitious but also self-important and morally simplistic. And the way the story is told eliminates any opportunity for either narrative kick or emotional resonance.

Chemsex
dir William Fairman, Max Gogarty; with David Stuart, Matt Spike 15/UK ****
An unblinking exploration of one of London's more disturbing drug scenes, this documentary plays on both fascination and distaste for sexual activities that go against the flow. It sometimes feels sensationalised, veering perilously close to Reefer Madness territory, but the issue is real. And what it has to say about both addiction and sexuality is hugely important.

Screen Talk:
Todd Haynes

The filmmaker sat down with festival director Clare Stewart to talk about his work in front of an audience of 450 gripped cineastes. The conversation was extremely literate, as Haynes went into his thought processes, methods and experiences while making Superstar, Poison, Safe, Velvet Goldmine, Far From Heaven, I'm Not There, Mildred Pearce and Carol. He discussed running themes (illness, isolation, societal demands) and recurring actresses - he clearly adores both Julianne Moore and Cate Blanchett and offered intriguing insights into the different ways they work. 

LFF 9: Don't be shy

Rooney Mara and Cate Blanchett were the stars of last night's red carpet premiere of Carol, and Blanchett will be out again on Saturday for the premiere of Truth and to be honoured with the BFI Fellowship at this year's London Film Festival. Tonight's red carpet stars include Michael Caine, Harvey Keitel, Rachel Weisz and Paul Dano for Paolo Sorrentino's Youth, and Agyness Deyn, Peter Mullan and Kevin Guthrie for Terence Davies' Sunset Song. Here are a more highlights...

Youth
dir Paolo Sorrentino; with Michael Caine, Harvey Keitel 15/Italy ****
Gorgeously shot in a spectacular setting and edited with cheeky energy, this atmospheric film has a rather freeform plot exploring age and mortality from unexpected angles. But the characters are so witty and offbeat that they can't help but hold the attention, and writer-director Paolo Sorrentino plays engagingly with artistic ambition and romantic passion to keep the film utterly riveting.

Sunset Song 
dir Terence Davies, with Agyness Deyn, Peter Mullan 15/UK ****
Adapted from Lewis Grassic Gibbon's classic 1932 novel, this is a wrenchingly beautiful look at life in rural Scotland, crafted with real artistry by Terence Davies. The film has an unusually period tone, keeping everything bracingly realistic while observing events from a darkly personal perspective.

Closet Monster 
dir Stephen Dunn; with Connor Jessup, Aaron Abrams 15/Can ***.
Filmmaker Stephen Dunn takes a strikingly introspective look into the life of a young boy who feels like his life is spiralling out of control. Beautifully shot and edited, the film mixes artfully stylised flights of fancy with earthy themes that cut to the heart of big issues like bullying and self-loathing. But more than that, this is a thoughtful exploration of someone learning to accept his sexuality.

Ratter
dir Branden Kramer; with Ashley Benson, Matt McGorry 15/US **
Yet another gimmicky found-footage style movie, this feels more like a polemic about the dangers of webcams than a thriller with a cogent story. While it's slick and unnerving, filmmaker Branden Kramer seems so intrigued by his idea that he completely forgets to establish proper characters or situations. It looks cool and has some solid freak-outs, but never seems to have a point.

LFF 8: Own the moment

It's was the dame's turn to hit the red carpet at the London Film Festival last night: Maggie Smith out for the European premiere of The Lady in the Van. I've kind of hit the wall today - there hasn't been enough time to see all the films and write about them, perhaps because I'm seeing four movies every day! But tomorrow I only have two in the diary, so that should help restore a sense of balance. Here are some more highlights...

Carol
dir Todd Haynes; with Cate Blanchett, Rooney Mara 15/US *****
With delicate precision, this story unfolds in a way that's both true to its period and fully relevant now. A beautiful companion piece to director Todd Haynes' own Far From Heaven, this is based on a Patricia Highsmith novel about two women trying to live their lives the best they can, but finding themselves against the grain of society. And it carries a powerful kick.

Take Me to the River 
dir Matt Sobel; with Logan Miller, Robin Weigert 15/US ***. 
After starting as a gently witty drama, this film turns dark quickly, sending its central character on an unexpected odyssey. The themes it's exploring are so intense that the film feels creepiest when everyone is smiling broadly. And even though the film is flooded with a sense of foreboding, where it goes is utterly unpredictable.

The Ones Below 
dir David Farr; with Clemence Poesy, Stephen Campbell Moore 15/UK ****
As it puts an infant child in jeopardy, this fiercely clever psychological thriller draws easy comparisons with the iconic The Hand That Rocks the Cradle. But this is no schlock horror movie; it's a much more subtle exploration of parental paranoia and urban angst in which every moment is soaked in echoes of impending doom. And screenwriter-turned-director David Farr keeps his wits about him, while scaring us out of ours.

Our Little Sister 
dir Hirokazu Kore-eda; with Haruka Ayase, Masami Nagasawa 15/Jpn ****
Exquisitely observed, this warm and gentle drama prowls around generational relationships without too much plot but plenty of resonant impact. Filmmaker Hirokazu Kore-eda continues his astute depiction of family interaction with characters are remarkably authentic. And the situations are lively and witty without ever tipping over into melodrama.

Desierto
dir Jonas Cuaron; with Gael Garcia Bernal, Jeffrey Dean Morgan 15/Mex **. 
While this strikingly well-made thriller touches on big issues regarding migration, it ultimately settles for being merely violent, almost wallowing in the hideous immorality of right-wing Americans who believe they should be allowed to take the law into their own hands. This lack of complexity leaves the film superficial and pointless. So forget the subject matter - the filmmakers did - and enjoy this as a ghastly horror thriller.

LFF 7: Run for your life

The London Film Festival is now fully in its stride, dazzling audiences with the best films from the year's festivals while keeping the journalists hopping with an intense schedule of press screenings (I am seeing three or four films a day, others are seeing five or six). Somewhere I'm sure there's something festive happening, but I haven't really spotted it, aside from a press drinks hour the other night at Picturehouse Central's gorgeous new members' bar. And most of the films have been great, including these four...

The Lobster
dir Yorgos Lanthimos; with Colin Farrell, Rachel Weisz 15/Ire ****
Greek filmmaker Yorgos Lanthimos (Dogtooth) makes his English-language debut with this blackly comical satire about how society pressures us into relationships. It's telling and complex, and it feels like two movies mashed together, plus a very dark coda. But an up-for-it-cast brings out layers of meaning while keeping us laughing brittlely... MORE >;

The Lady in the Van

dir Nicholas Hytner; with Maggie Smith, Alex Jennings 15/UK ****

Alan Bennett adapts his own memoir for the big screen, cleverly playing with the idea that he is writing his own story. Yes, a homeless woman really did live in a van in his driveway for 15 years. And since the great Maggie Smith plays her on-screen, the film is not only entertaining, but its message has a spiky bite. 

The Wave [Bølgen]
dir Roar Uthaug; with Kristoffer Joner, Ane Dahl Torp 15/Nor ****
Structured exactly like a classic disaster movie, this Norwegian dramatic thriller is particularly well-made, with vivid characters and a believable sense of the science behind it. The premise is a picturesque fjord that has long been at risk of a mountainside collapse, which would trigger a devastating tsunami. And in this solidly crafted, only slightly corny movie, an entire village's day has come.

The Endless River
dir Oliver Hermanus; with Nicolas Duvauchelle, Crystal-Donna Roberts 15/SA ****
A harrowing drama about the cycle of violence in South Africa, this film certainly isn't easy to watch as it continually challenges the viewer's preconceptions. Dark and tough, it's evocative and simply gorgeous to watch, even though the story is relentlessly painful. Filmmaker Hermanus finds real resonance using period-style touches in a present-day story. Although it somewhat heavy and over-serious for some viewers.

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C R I T I C A L   W E E K

I only had a few of non-LFF screenings this week, including a very late press screening for Guillermo Del Toro's visually ravishing but otherwise disappointing Crimson Peak; the nutty British werewolf thriller Howl; the offbeat Argentine road movie Jess & James; and the acrobatic documentary Grazing the Sky, which is a must see for fans of physical movement. I have a glut of LFF films to come, and won't be back in non-festival mode until after this coming week.