Displaying items by tag: Timothee Chalamet

A COMPLETE UNKNOWN

US, 2024, 141 minutes, Colour.

Timothee Chalamet, Edward Norton, Elle Fanning, Monica Barbaro, Eriko Hatsune, Scoot McNairy, Dan Fogler, Boyd Holbrook.

Directed by James Mangold.

For audiences with long memories, singer-songwriter, Bob Dylan, has been a constant presence since he first went to New York City, aged 20, in 1961, made contact with Pete Seeger, admired Woody Guthrie, was given opportunities to sing in clubs, at festivals, and to record. And, he has done so ever since, awarded the Nobel Prize for Literature in 2016 for having created new poetic expressions).still at work in his 80s.

For younger audiences, becoming aware of the Bob Dylan of later years, memories of his songs, his contribution to folk music, his developments and musical talent, may have made a strong impression.

Which means that this two-hour 20 film about Bob Dylan’s earliest years, from a complete unknown in 1961 to a star, acclaimed, also criticised for his transition from folk to electric instruments in developing music styles at the Newport Festival in 1965, will be a significant experience.

And, there is the performance by Timothee Chalamet as Bob Dylan, a physically slight figure, characteristic wavy hair, intent on singing, writing his lyrics, always with a cigarette in his mouth, bringing Dylan to life. (In 12 months to Timothee Chalamet has been Wonka, Paul Atreides in Due 2 and now Bob Dylan, indicating that in his talent, Chalamet is a screen chameleon. It is worth seeing him in interviews as his ordinary self to appreciate his versatility )

Not that Bob Dylan in his early years was always an attractive character to meet. He was self-obsessed, ambitious, intent on writing and composing at all times and all places, fickle, often casual and of-hand, in relationships, especially with singer Joan Baez – but this is a young man in his early 20s. But he knows what he wants for himself and his creativity and career.

However, one of the great values of director, James Mangold’s film is situating the early songs, including some songs from Woody Guthrie and Pete Seeger as well as Blowing in the Wind, The Times are Achanging and quite a catalogue of other songs. And, impressively, Timothee Chalamet sings all the songs himself, plays the guitar and harmonica. In fact, all the supporting cast do their own singing, Monica Barbaro impressive with a beautiful voice as Joan Baez, Ed Norton in a very impressive performance as a sympathetic Pete Seeger, Boyd Holbrook as Johnny Cash. (Incidentally, James Mangold directed the film portrait of Johnny Cash in 2005, Walk the Line.)

There are some moving moments at the beginning of the film and at the end with Pete Seeger present and singing for a chronically ill Woody Guthrie in hospital.

Bob Dylan has been a significant figure in American and world music for more than 60 years. This is a welcome opportunity for us to go back to this introduction to a complete unknown.

1. Audience response to Bob Dylan? In the early 60s, from unknown to celebrity, 1965 and his changing of music style, the succeeding decades of success, Nobel Prize for Literature, continuing into his 80s?
2. The focus of this film, 1961-1965? Audience knowledge of the period, in the world, the Berlin Wall, the Cuban crisis, the assassination of Kennedy, the March on Washington, the Vietnam war…? The insertion of this information into the narrative?
3. The music styles of the 1950s, popular songs, the place of folk, the influence of Woody Guthrie, Pete Seeger, Joan Baez and others? The influence of Bob Dylan, his music, lyrics? The peace movement? (And other movements in this time, The Beatles, Elvis Presley, The Rolling Stones…?)
4. The opening and Woody Guthrie’s So Long…, Pete Seeger in court, the judge, the song, the support, This Land is my Land…?
5. The atmosphere of New York City in the 1960s, the venues for concerts, the Newport folk Festival, Monterey? Recording studios? Flats and apartments?
6. The music, the range of Bob’s Dylan songs throughout, their insertion, the film as a collection of his songs? Woody Guthrie’s songs? Pete Seeger’s? Guitars, harmonicas? The transition to electric, bands and the range of instruments?
7. Audience response to the character of Bob Dylan, in these four years, aged 20 to 25, unknown, the way he presented himself, his obsession with music, his ambitions, relationships with Joan Baez, with Sylvie, how committed? The focus on his self-absorption, the consequences, some arrogant behaviour, his devotion to Woody Guthrie, appreciation for Pete Seeger, the clash with him at Newport? Not a character one would like to meet in ordinary life?
8. Sympathetic portrait of Woody Guthrie, ill, no speech, Pete Seeger’s visits, Bob’s admiration, the hospital, the song, his final visit to the hospital and complaining orderly?
9. His background, enigmatic, Zimmerman, changing to Dylan, the story of the carnival, keeping his life in mystery? The opening, arrival in New York, wanting to see Woody Guthrie, going to the hospital, encountering Pete Seeger, singing the song, the response? Pete Seeger and his wife helping out, his composing, the children? The continued friendship with Seeger and his family?
10. The opportunities, his continued singing, the scenes of his composing, the music, the lyrics, writing, typing? His being introduced by Pete Seeger, the response? Joan Baez and her singing, her response, his acclamation? The beginning of the relationship, Joan’s attitude, sharing the songs with him, at Sylvie’s apartment? The later relationship, the clashes, even on stage, his turning up at her apartment, composing, her ousting him? Her later accounts of the relationship? The songs?
11. Meeting Sylvie, at the church, talking, together, seeing Now, Voyager, the cigarettes, the comparisons with the story? (And the prevalence of cigarettes throughout the film?) Sylvie, her personality, her art, the attraction to Dylan, the relationship, going to the concerts, her time away and his infidelity, her suspicions, the breakup, his returning, on the bike to Newport? The influence of The Times are Achanging?
12. Going success, the records, the producer, latching onto him, staying with him, the other executives and their hopes? The record companies, the takes, the initial song and his missing the microphone, his increasing competence and success? Appearances, a claim? People seeing him in the street pursuing him, escaping the taxi? The claim at the concerts, applause, standing ovations? His later speech and denunciation and people’s puzzle?
13. The discussion with the young musician, going to see him play, their working together, the transition to electric guitars, bands?
14. The background of the Newport Folk Festival, the personnel, the discussions, the tradition, Pete Seeger and his investment? Successful years? 1965, Dylan and his choices, the public wanting Blowin’ in the Wind and other classics? His refusal, the clash with Joan Baez? Sylvie departing and the final talk with her? His concession to a popular song?
15. The clash with Pete Seeger, the interventions of his wife? Dylan, his friends, going to the new phase of his life, wanting to continue and develop the music?
16. The final information, his relationship with Pete Seeger and reconciliation, with Joan Baez, the continued success? His career, the Nobel Prize and his not attending? Into his 80s and his approval and consultation for the film?

DUNE, PART 2

US, 2024, 166 minutes, Colour.

Timothee Chalamet, Zendaya, Rebecca Ferguson, Javier Bardem, Josh Brolin, Austin Butler, Florence Pugh, Dave Bautista, Christopher Walken, Lea Seydoux, Stellan Skarsgaard, Charlotte Rampling, Roger Yuan.

Directed by Denis Villeneuve.

Denis Villeneuve’s 2021 version of Dune made quite an impact. The Dune novels by Frank Herbert had been popular for decades. David Lynch had made a version in 1984 which was not favourably received (except by this reviewer!). So, in a sense, Villeneuve’s version was a vindication of the power of the novel, its characters, its imagination, its mythical vision of the future.

Now, here is Dune Part 2 – and, in its immediate release, it seems to have pleased almost everyone, quite a number of bloggers relying on the word “masterpiece”. Whether that be the case are not, the film is certainly visually impressive as was the original. And, this review is based on an IMAX screening, which is thoroughly recommended. The landscapes, the endless mounds of dunes, the craggy mountains, the canyons provide a vastly impressive setting. And, the musical score, the brass instruments and their resounding make the cinema seats reverberate.

And, with this kind of tale-telling, kingdoms, battles, futuristic weapons and armaments, vast buildings and interiors, including an enormous gladiator arena filmed in black and white, hundreds of thousands of spectators, there are what we might call state-of-the-art… Effects.

For those familiar with the novels and the films, there is no need to wonder about the House of Atreides, the fate of the ruler, his young son, Paul, his mother, Jessica, the conflict with the Emperor, the hostility towards the Harkonnens. Those not so familiar may have a lot of moments, especially in the battle sequences, as to who is who and why it is all happening at this moment.

As before, Timothee Chalamet is Paul, Rebecca Ferguson his mother, Zendaya is Chani.

In the first part of this this film, we focus on Paul and his mother, the bond with Chani from the previous episode, the hiding from enemies in the desert (who have enormous sky vehicles and have the power of levitation up the sides of mountains), then some combat with hostile locals. However, the local leader, Stilgar, Javier Bardem, welcomes the foreigners, and, with echoes of biblical/Islamic traditions, a reliance on prophecies and fulfilment, a hope for a Messiah.  Stilgar puts Paul to the test.

Then we go back to the spice industry, the villain, Beast Rabban, Dave Bautista, his ruthlessness, but also his defeat, his return to his master, Baron Harkonnen, Stellan Skarsgaard, who is grooming his nephew, Austin Butler, whom he describes as psychotic, who combats three remnants of the House of Atreides.

There is further drama concerning Paul’s mother, her later discovery of who her father was and what that means in terms of Atreides versus Harkonnens, and her becoming the new Reverend Mother.

New characters in this film include Christopher Walken as the Emperor and Florence Pugh as his Princess daughter, who has been trained by the sinister Reverend Mother, Charlotte Rampling.

Which means that it all has to come to a head, the power of the Emperor, his plans, Paul as the new saviour, Battle confrontation mano a mano between Paul and the psychotic nephew.

While there is some resolution, the way is now open for a climax in Dune Part 3

1. The long popularity of Frank Herbert books? 1984 version? The impact of Part 1?
2. The continuation of the story, life on the planet, Arrakis, the house of Atreides and its destruction, the Harkonnens, the Emperor and his family, the setting in the 10,000s?
3. The landscapes, the dunes in the desert, the mountains, canyons, the cities, the interiors, the vast buildings, the gladiatorial arena? The colour photography? Black-and-white photography for the Harkonnen world?
4. Action sequences, the range of special effects, in the desert, the worms and movement, the winds, the aerial machines, the Army sequences and battles, the hand to hand final combat?
5. The musical score, the instruments, the booming and reverberating sounds?
6. The situation, the destruction of the House of Atreides, Paul surviving with his mother, the previous bond with Chani, hiding and the attacks in the desert, aerial surveillance, the ability of the soldiers to ascend and climb the mountain sides?
7. Paul and his mother and Chani, brought to her people, the issue of the combat, the defeat of their warrior, the response of the crowds, the men, the sceptical women? The funeral?
8. Stilgar, his status in the community, the Biblical/Islamic traditions of written words and prophecy, the hope of a saviour? The men and their beliefs, their prayer? The women critical including Chani? Stilgar and his personality, leadership, influence on the others, belief in Paul? Fulfilment of prophecy? The range of tests, the crossing of the dunes, Chani and her advice and help, the big test, going out into the dunes, the soundings, the worms emerging, giant, Paul and his abilities, the hooks, and riding the worms? Acclaim?
9. The solemn place of the Reverend Mothers, Jessica, her bond with her son, chosen to be a Reverend Mother, the rituals, the old Mother and succession, the transfer of knowledge, the abstract colour visuals for these sequences? Her tattooed face? Her role with the women, knowledge and advice? Her wanting to go south, to return home, with Paul? His refusal? Seeing her off with the entourage?
10. The episode with Beast Rabban, the initial caption about the power and the power with the spice? The spice industry, cause of conflict? The farming of the spice, collecting it, financial issues? The Beast and his autocratic behaviour, slitting the throats of his advisers? Falling foul of the Emperor, the aerial sequences, his defeat, having to kiss the feet of Fayd-Rautha?
11. The tradition of the Harkonnens, the Baron, in the bath, his size, bloated? His relationship with the Emperor? Helping the Emperor to defeat the House of Atreides? His plans for his nephew? The description of the nephew as psychotic? Everybody with shaved heads? Preparations for the gladiatorial combat, the black-and-white photography, the visuals of the arena, the special effects for hundreds of thousands of spectators, the three final warriors from the House of Atriedes, the confrontation with Fayd-Rautha, the fights, his arrogance, the blood, the knives, the final foe giving him a fight? Arrogant Victor?
12. The return of Gurney, the story in the past, smuggling? The friendship with Paul, their bonding? Chani and her suspicions? Gurney and his participation in the insurrection, present at the end?
13. The scenes with the Emperor, his rule, under threat, his assertion? The scenes with his daughter, his hopes for her? The Reverend Mother, her manner, influence in the past, training the daughter, ambitious, controlling, her strategies, her ruthlessness?
14. The buildup to the confrontation with the forces of the Emperor, Paul, the Fundamentalists from the south, the attack, the air vehicles and their destruction, on the ground, the firepower, the skills of the fighters and their disguise, rising from the sands? The visuals of the vast confrontations?
15. The victory, the confrontation with the Emperor, Paul and his assertions, the killing of the Baron, revenge? The Emperor, defiant? Fayd-Rautha as his champion? Paul and his conditions, speaking of marrying the Emperor’s daughter, peace, Chani and her reaction?
16. The Mano a Mano fight, strategies, techniques? Paul being wounded? Turning the tables on his opponent, his death? The Emperor, having to kneel before Paul?
17. Stilgar, everybody rejoicing, Paul as the saviour? His mother and her response? The defeat of the Reverend Mother and the Emperor’s entourage?
18. The ending, the openness to the reassertion of Paul Atreides and his leadership?

WONKA

US/UK, 2023, 116 minutes, Colour.

Timothee Chalamet, Calaha Lane, Hugh Grant, Olivia Coleman, Keegan-Michael Key, Jim Carter, Patterson Joseph, Matt Lucas, Matthew Baynton, Freya Parker, Rakhee Thakrar, Natasha Rothwell, Rich Fulcher, Colin O'Brien, Sally Hawkins, Rowan Atkinson, Rufus Jones, Tom Davis, Kobna Holdrook-Smith..

Directed by Paul King.

Everyone knows the name, Willy Wonka. He first appeared in Roald Dahl’s story in 1964 and a subsequent story in 1972. Roald Dahl has been one of the most popular storytellers, especially for younger audiences, with such titles as Matilda, The Witches, James and the Giant Peach…

But, Willy Wonka is known far more widely than his readers with the 1971, Willy Wonka and the Chocolate Factory, with the engaging Gene Wilder, and the popular songs, Pure Imagination, and the Oompa Loompa song (both in this present film but not The Candy Man). Tim Burton did a reinvention of Willy Wonka with Johnny Depp in Charlie and the Chocolate Factory.

Now, here is a prequel. Where did Willy Wonka come from, where did he learn how to make chocolate, his relationship with his mother, his ambitions to open a chocolate store, a nicely naive young man setting out on an adventure. The screenplay actually takes a number of issues from the original story, especially the villainous chocolate cartel entrepreneurs and their opposition to Willy Wonka.

So, quite a lot of plot for a prequel. However, this new film is also designed as a musical, rather reminiscent of the film versions of Broadway musicals (and, most probably, Wonka is destined for Broadway and beyond). The new songs are pleasant even if not so memorable as Pure Imagination, sung nicely by the various characters with lyrics that illustrate their characters and the situations – the most memorable, perhaps, involving the repetition and the beat of the word, Scrub.

The film has been co-written and directed by Paul King who became a great favourite with his very pleasing and entertaining Paddington films. He brings the same sensibility to Wonka.

And, to be the new Willy Wonka, here is Timothee Chalamet who has already proven himself as a substantial actor on screen presence in dramas and comedies but, especially as Paul Atreides in Dune – and Dune 2 scheduled for release in 2024. He is quite small, very young-looking, a blend of the innocent and the ambitious, remembering his mother (a cameo by Sally Hawkins), generous, but shocked to discover the greed of a venal world. And the tag, “the greedy always beat the needy” often repeated throughout the film.

There is something rather Dickensian about the early sequences, Wonka encountering an ultra-Dickensian landlady played by Olivia Coleman. And Wonka is sentenced to a long imprisonment below the boarding house, a workhouse laundry, with a different assortment of penalised characters, especially a young girl, Noodle, who tries to save Wonka. Amongst those down below is the former accountant of the cartel, played by Jim Carter, liberated from Downton Abbey.

Willy Wonka has a chest full of ingredients for chocolate, a magician’s capacity for multiplying chocolates with the most exquisite tastes and physical and psychological effects, leading to a lot of comedy turns. He concocts a plan to escape from the laundry with Noodles’ help, then with the help of the others, to find the cooked books of the cartel and expose them. However, they have their allies, the chief of police, the chocoholic Keegan-Michael Key (and his fat suit, fatter suit, fattest suit after his choc indulgence), and the chocoholic priest, Rowan Atkinson this time with no weddings but one funeral.

The cartel is sinister, led by the aggressive Patterson Joseph, aided by Matt Lucas with an orange wig which falls off, and Matthew Baynton who chokes whenever he tries to say the word “poor” and gags when others see it. They are due for a comeuppance.

And, the Oomps Loompas? Well worth awaiting the arrival of a miniature Hugh Grant as Lofty, resentful that Wonka has stolen his special beans and demanding repayment. Hugh Grant has been sending himself up in recent films and obviously is enjoying this escapade, a heroic rescue for Wonka and Noodles – and a kind of MC entertainment during the final credits!

Roald Dahl is often quite dark in his stories. Even though Wonka is very light, there are the three villains, there is the corrupt chief of police and priest, and a dire attempt on the life of Willy Wonka and Noodle.

This is quite a lavishly produced entertainment, incorporating happy memories of Willy Wonka from the past, drawing us into his extraordinary chocolate world yet again.

1. The popularity of Willy Wonka, Roald Dahl’s stories, 1971 film, 2007 film? Now a musical? Prequel?
2. The production values, fantasy and effects, costumes and decor, locations, the city blend of London/Paris/Berlin?
3. The new songs, the characters singing them, the lyrics illustrating the characters and situations, Scrub, the dance routines, the lavish stagings and sets, choreography – and Broadway musicals?
4. The incorporation of the original song, Pure Imagination, theme for the film? The Oompa Loompa song?
5. Willy Wonka and his origins, with his mother, her care and love for him, the chocolate bar, the message? The dream of opening the chocolate store, the memories of the store in the city? His ambitions? Setting out, his suitcase and its contents, his magic powers? Farewell to his mother? Her reappear at the end and the opening of the store? Being with him?
6. Arrival in the city, his personality, young, enthusiastic, naive, the 10 sovereigns, the demands made on him, a fine for daydreaming… No money, sitting on the bench, Bleacher talking with him, taking him to Mrs Scrubbit? Nice, nasty, demanding the money, his staying the night, with the money, her demanding interest, is relegation to the basement, not reading the fine print, the warning from Noodles?
7. Downstairs, the laundry, hardship, the song, Scrub, Noodles at her place, the other members, the comedian, Abacus and his being an accountant? The plan, Wonka getting out with the laundry, then everybody getting out, working together, the search for the books of the entrepreneurs (and the flashback to Abacus searching and his arrest)?
8. The cartel, the three personalities, the aggressive leader, Matt Lucas and his bad wig and naive utterances, the chocolatier who could not say the word “poor” and choked when he heard it? Their shop, encountering Willy, tasting the chocolate, turning against him? Using the chief of police, his being paid in chocolate to eliminate opposition? The deals, a touch of conscience, taking the chocolate, becoming fatter and fatter? The priest, the Cathedral, the confessional, payment by chocolate, the lift downstairs, the preparation for the funeral, the giraffe, getting the giraffe out, the group getting inside, the chocoholic monks, the funeral?
9. Noodles, the nice orphan, age, mystery of her background, drop-down the shoot, the ring, Willy recognising the link with the chocolatier? Helping, the dangers, the final revelation, the story of her birth, inheritance, disappearance?
10. The scheme for Mrs Scrubbit and Bleacher, pretense that he was Austrian nobility, his dressing up, the flirting, the final expose?
11. The nature of the chocolates, the people in the square, the response? The police? The ingredients of the chocolates, going to the zoo, the episode with the giraffe? In the Cathedral?
12. The arrival of Lofty, the background of the Oompa Loompas, Lofty and his size, dress, Hugh Grant’s manner, vocal style, song, walk, accusations about the stealing of the beans, the flashbacks? His keeping guard? His reclining, Willie and his puzzles? His coming to the rescue when the couple were drowning in chocolate? The origins of the Oompa Loompas and their work in the factory, Lofty being shorter and the truth, becoming the taster?
13. The threat to Willie and Noodles, the cartel and the confrontation, releasing the chocolate, their almost drowning, the rescue? And the transformation of the chocolate into the town square fountain? The chocolates the entrepreneur, their flying, the arrest, the good policeman and the exposure of the overlarge Chief of Police?
14. Noodles, the happy ending, reunited with her mother?
15. The happy ending, and the future for Willy Wonka and his chocolate factory?
16. And Hugh Grant And puzzled but, the MC during the final credits?