Displaying items by tag: Michael Caine

MY GENERATION

UK, 2017, 85 minutes, Colour.

Michael Caine.

Directed by David Batty.

The Generation of the title is that of those born in the 1930s and early 1940s. Some of them had early years in the aftermath of the depression. All of them experienced a childhood during the years of World War II. But, they came into their own in the late 1950s and the early part of the 1960s.

For audiences who lived through some of those years, this will be a fascinating documentary. For audiences, born later, but who remember some of the main characters of the period, especially the Beatles and The Rolling Stones, fashion personalities like designer Mary Quant, Jean Shrimpton, Twiggy, and film stars like Michael Caine. 21^st-century audiences, perhaps this is something of an exercise in ancient history!

The film is hosted by Michael Caine in his 80s. He is a genial host, talking to camera, giving his own background, Maurice Micklewhite, a Cockney, life in the 1930s in London and during the war, his beginning his acting career, in theatre, advertising, films, and commentary on the mid-60s through clips from two of his films, Alfie and The Ipcrss File. As a portrait of Michae Caine, with his history, reminiscences, personalised comments, comparisons between those times and the present, My Generation is very welcome.

Michael Caine is certainly very good and enjoyable company.

There is a great deal of film unusual footage available for insertion into the documentary. In many ways, it is offering something of a treasure trove for those wanting to see the images of the period.

Then there are the interviews with so many of the characters, visuals of their times, the public appearances, controversies, a focus on The Beatles, Mick Jagger and The Rolling Stones, music, the world of fashion…

One of the main theses of the film is that this is the first young generation in British history to change the traditions of the past. There are glimpses of movies from the 1930s and 40s, uppercrust characters, clipped British accents, and drawing-room world which the young generation did not identify with, rebelled against. Here is the value of Caine’s own observations and clips from Alfie.

But, not only, is it a younger generation reshaping, the challenge to class distinctions, but also the movement towards greater freedoms, symbolised by fashion, miniskirts into the 1960s, for instance, the energies of dancing and twisting, the young crowds and their adulation of the music groups, issues of drugs, a completely different perspective – and, inserted all through, clips of upper-class people, members of parliament, social commentators, presented as pontificating on how bad these changes were.

At only 85 minutes, this is a brief but quite engrossing reliving of the times.

THE GREAT ESCAPER

UK, 2023, 96 minutes, Colour.

Michael Caine, Glenda Jackson, John Standing, Laura Marcus, Will Fletcher, Wolf Kahler, Danielle Vitalis, Victor Oshin, Elliot Norman.

Directed by Oliver Parker.

“Lest we forget.” A review as well as an indicator of so many of this film’s themes.

Michael Caine suggests that this will be his last film. He made it as he was turning 89 and it is a solid film and performance if it is his last. It is the last film for Glenda Jackson. She made it as she was turning 86. Both of them had won two Oscars, she two best actress, he two best supporting actor. They had toplined stage, films, television for 60 years.

And, with these stars, and their characters living in aged care, this is a film about old age and ageing – lest we forget. Caine is Bernard Jordan, Navy veteran, present at the D-Day landing. Jackson is his wife Rene, and they met 70 years earlier during the war. Both stars have some wonderful dramatic opportunities in this film, he devoted to his wife, deciding he wanted to attend the 70^th anniversary of D-Day, 2014, she, unwell, yet full of verve and spirit, dry and write comments, letting him go. And, the film gives a lot of attention to the aged care staff, supervisors, doctors, nurses, orderlies, their work as well is relationships.

The film is based on an actual story, dramatised in the media in 2014, Bernie tracked down in France at the D-Day celebrations, photos and stories in the media, his going alone to the celebrations, and his nickname “The Great Escaper”

As might be guessed, this is in the best tradition of British filmmaking, taking us back to the past, gritty spirit during the war, its living on in its elderly.

And, with the D-Day theme, this film is very much Lest We Forget. The first flashback to D-Day comes as something of a surprise, very much close-up, on the boat, preparations for the landing, planes flying over, bombardment. And, throughout this film, there are continued flashbacks to D-Day in its detail, especially Bernie’s friendship with Douglas from Nottingham, killed in action. We remember Spielberg’s Saving Private Ryan and the most vivid dramatising of D-Day, the flashbacks here in that tradition.

But Rene also has flashbacks, to the war, a meeting with Bernie, and the beautiful theme of waking early in the morning and being some of the few people who watch the beauty of the Dawn.

A word of praise for veteran actor John Standing. Here we have one of his best performances, an upper-class veteran on the ferry to France, encountering Bernie, offers of friendship, sharing experiences, sharing confidences, each with a sad secret about the dead of the war, sad condemnation of the bombing of civilians, and a visit to the war cemetery.

There are many wonderful moments in the film, one well worth commenting on, the two veterans, hosted by loud Americans, but encountering a small group of German soldiers who had been present to D-Day, going to talk with them, the sadness with one of them, mutual respect, shared sorrows, weeping, and all saluting one another.

While this is definitely a film for older audiences who have long memories, one hopes that it will appeal to those who do not share such long memories but are open to appreciate them..

1. The title, memories of The Great Escape, World War II films?
2. This film and its British tradition, the long tradition, the war films, the British tone, transfer to the 21^st-century, the D-Day is 70 years anniversary, the aged veterans, the elderly?
3. The coastal town, the beachfront, the promenades, the buildings, the streets, buses? The aged care residents, the grounds, interiors, the rooms? Atmosphere?
4. Bernie, this story based on fact, Bernie and his visit to France, fated, the media, the great escaper?
5. The situation, 2014, 70^th anniversary of D-Day, veterans and their age? The plan celebrations? Bernie missing out on the book, deciding to go, René letting him go? Packing his things, early morning, the walk, the chance meeting with Adele, missing the bus, taking the taxi, at the ferry, sitting on the deck, the drink, the encounter with Arthur, they’re talking, accents and contrast, friendship, Arthur and his offers? The effect on Bernie? The offer of the accommodation, the conversations, Arthur and his memories, his brother, the RAF, the bombing of Caen, his brother’s death, Arthur avoiding the issue? Confiding in Bernie? The outings, with the Americans, memories, the drinking, Arthur sick, alcoholic, Bernie and his support? The special tickets for the function? The encounter with the Germans, the contrast with the Americans, the sad memories, the translator, Heinrich, he and Arthur sharing Sword Beach, tears, Bernie giving them the tickets? The mutual salute?
6. The importance of the flashbacks, Bernie is a young man, 20, the Navy, training, the encounter with René, the bonding, talking, sharing, the secret of the beauty of the pink Dawn? But his memories of D-Day, with Douglas, the bond, the cigarettes, the photo, the bombardment, the planes, the dangers, the landing, Douglas and his death? Bernie and never confiding this to René? Finally doing so? Memories of Douglas’s death? Persuading Arthur to go to the cemetery, both men and their memories?
7. Life at aged care, the supervisor and his strictness, checking on Bernie and Renée, Adele, meeting with Bernie at the bus stop, and trouble for not reporting it, René and her support of Adele, Ponting, talking, the tower to, her mother? The orderlies and their kindness? The doctors and their attention?
8. René, age, her make-up, write comments, angina, her illness, not long to live, yet not telling Bernie? Letting him go? The day without him, her write comments, dry humour, exercises with her knees, searching under the bed…?
9. René and her flashbacks to the past, 70 years, who work in the war, meeting Bernie, the relationship, dancing, the pressed flower, the Dawn? Happy marriage, 70 years?
10. Bernie on television, they’re seeing it at the aged care, the media, the newspaper photos, in many languages? Bernie underwear, his being feted, the official taking him to the shops, all the specials? The interviews? His return home?
11. Everybody happy at aged care, watching the television? His return?
12. The renewing in with René, confiding his story about Douglas, her not telling him about her health, going out to the water, wielding her along, looking at the special Dawn?
13. Bernie’s death, René soon after? A quiet but significant life, the wonder of love and long marriage? Devotion?