Introduction to European Cinema - Filmhouse Cinema Edinburgh
Introduction to European Cinema - Filmhouse Cinema Edinburgh
Introduction to European Cinema - Filmhouse Cinema Edinburgh
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8 Maybe you missed.../Res<strong>to</strong>red classic<br />
50/50 THE GIRL WITH THE DRAGON TATTOO<br />
MAYBEYOUMISSED<br />
50/50<br />
Fri 27 <strong>to</strong> Tue 31 Jan<br />
Jonathan Levine • USA 2011 • 1h40m • Digital projection<br />
15 – Contains strong language, once very strong, strong sex and<br />
sex references<br />
Cast: Joseph Gordon-Levitt, Seth Rogen, Anna Kendrick, Philip<br />
Baker Hall, Anjelica Hus<strong>to</strong>n.<br />
As far as movie formulas go, cancer and comedy shouldn’t<br />
mix. Find the right balance between gallows humour and<br />
compassion, however, and the honesty is preserved. Such<br />
is the case with Jonathan Levine’s latest feature, which<br />
tackles its grim subject matter in a manner as hilarious as it<br />
is sincere.<br />
The film follows Adam (Joseph Gordon- Levitt), a 27year-old<br />
nice guy who’s been diagnosed with a rare form<br />
of cancer. He’s immediately rolled in<strong>to</strong> chemotherapy<br />
treatments and given a fifty-fifty odds of survival. Adam<br />
doesn’t have <strong>to</strong> face this dark voyage alone: by his side are<br />
his best friend Kyle (Seth Rogen), his doc<strong>to</strong>r (Philip Baker<br />
Hall) and a therapist-in-training (Anna Kendrick). As Adam<br />
comes <strong>to</strong> terms with the possibility that he may be living his<br />
last days, he and Kyle decide <strong>to</strong> make the most of a dismal<br />
situation.<br />
MAYBEYOUMISSED<br />
The Girl with the Dragon Tat<strong>to</strong>o<br />
Fri 27 Jan <strong>to</strong> Thu 2 Feb<br />
David Fincher • USA/Sweden/UK/Germany 2011 • 2h38m<br />
18 – Contains strong sex and sexual violence<br />
Cast: Daniel Craig, Rooney Mara, Chris<strong>to</strong>pher Plummer, Stellan<br />
Skarsgård, Steven Berkoff.<br />
Hoping <strong>to</strong> distance himself from the fallout of a libel<br />
conviction, journalist Mikael Blomkvist (Daniel Craig)<br />
retreats <strong>to</strong> a remote island in Sweden’s far north, where the<br />
unsolved murder of a young girl still haunts her industrialist<br />
uncle forty years later. Ensconced in a cottage on the island<br />
where the killer may still roam, Blomkvist’s investigation<br />
draws him in<strong>to</strong> the secrets and lies of the rich and<br />
powerful, and throws him <strong>to</strong>gether with one unlikely ally<br />
– tat<strong>to</strong>oed punk hacker Lisbeth Salander (Rooney Mara).<br />
David Fincher’s adaptation of the first part of Stieg<br />
Larsson’s bestselling trilogy is very much a Fincher<br />
film, with shades of his previous crime thrillers Se7en<br />
and Zodiac. Dark, stylish, bleak and atmospheric, with<br />
impeccable s<strong>to</strong>rytelling and an appropriately reserved<br />
performance from Craig matched by an appropriately<br />
forceful one from Mara.<br />
L’ATALANTE<br />
RESTOREDCLASSIC<br />
L’Atalante<br />
Fri 20 <strong>to</strong> Thu 26 Jan<br />
Jean Vigo • France 1934 • 1h29m • Digital projection<br />
French with English subtitles<br />
PG – Contains brief nudity and infrequent sex references<br />
Cast: Michel Simon, Dita Parlo, Jean Dasté, Gilles Margaritis.<br />
Jean Vigo’s first and only full-length feature is one of the<br />
cinema’s greatest masterpieces. The s<strong>to</strong>ry is very simple:<br />
newly-weds Jean Dasté and Dita Parlo find living on a<br />
cramped Seine barge brings tension <strong>to</strong> their relationship;<br />
their naivety falls prey <strong>to</strong> the volatile eccentricity of second<br />
mate Père Jules, the temptations of a flirtatious pedlar,<br />
and their own unreadiness <strong>to</strong> compromise. But <strong>to</strong> this<br />
stark narrative Vigo brings a rich array of moods (comic,<br />
suspenseful, heart-rendingly romantic) <strong>to</strong> explore the<br />
nuances of every single emotion.<br />
It is not clear if Vigo was ever well enough <strong>to</strong> view the cut<br />
made by his edi<strong>to</strong>r Louis Chavance (he died of tuberculosis<br />
soon after shooting the film). The distribu<strong>to</strong>rs, however,<br />
regarded the finished film as worthless and demanded<br />
that it be trimmed, reducing its running time from 89 <strong>to</strong> 65<br />
minutes. L’Atalante was also re-titled Le Chaland qui passe<br />
after a sentimental ballad of the time which was dubbed<br />
over the credits <strong>to</strong> add popular appeal. It was not until<br />
1989 that a 35mm print of the original 1934 version (before<br />
the cuts), which had found its way in<strong>to</strong> the BFI National<br />
Archive, was used <strong>to</strong> form the basis of a full res<strong>to</strong>ration<br />
by Gaumont. This new high-definition digital transfer<br />
(by Criterion) was made from the 2001 Gaumont 35mm<br />
res<strong>to</strong>ration negative (a revision of the earlier res<strong>to</strong>ration)<br />
and aims <strong>to</strong> be as true as possible <strong>to</strong> the original version.