Government cuts Founders' Building upkeep fund - The Founder

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12 The Founder | Wednesday 25 November 2009 E X T R A Film 1001 films to see before you die Batman (1989) Kayleigh Dray “Haven’t you ever heard of the healing power of laughter?” Call me old-fashioned, but I much prefer this twisted ‘80s original to the latest blockbuster The Dark Knight. And, despite the grittier effects, I feel Tim Burton’s production is truly the finer telling of the rodent crusader and his nemesis, the ever-smiling Joker. But, of course, some of you may have lived under rocks all your lives and never seen nor grasped the concept of the Batman. Thus, my pity obliges me to summarise one of the greatest plots of all time, just for you. Welcome to Gotham City. What was once a great city has fallen into disarray, a den of eternal depravity, increasingly inky with crime and sin…until a Dark Knight arises. Sure, he’s dressed as a bat. A very muscular bat, complete with “ armoured car, flying machine and, Batman this does not matter, which of course, the awesome utility belt. highlights Burton’s clear role as a “Where does he get these wonderful toys?” Surely the extortionate Whilst the action element is Batman fantasist, not a realist. prices would be a little steep for is stylish, there, this visually inventive and most dark, brooding vigilantes? Not sumptuous feast is also very much for Bruce Wayne (Michael Keaton), thrilling the playboy millionaire who dresses in a suit by day and a cape by night. And why does he do this, other than the obvious reasoning that black is slimming? This vengeful creature of the night seeks to soothe the psychotic, unpredictable ” and concerned with psychological neurosis and social breakdown. In one hell of a what might have conceivably been a film directed at children, Burton’s Gotham is a world tainted by ride an adult awareness of humanity’s Clown potential for harsh cruelty. his embittered heart after the murder of his parents. Great performances from the became the first ever to be rated Prince of Crime...the Joker. This results in a movie that To add romance to the mix, entire cast make this movie an a 12 in Great Britain, in the vain enter Vicky Vale (Basinger), a absolute treat but, in typical Burton hope of preventing young children prize-winning photo journalist fashion, you become acutely aware from watching the movie and, with who wants to uncover the secret that this film is…odd, to say the a body count of 56 (admittedly of the mysterious ‘bat man’. As for villainy, step right up the unrivalled prince of terrible black humour, Jack Napier (Nicholson). Horribly disfigured after a firefight in a chemical factory and, devoid of the last vestiges of sanity, he seizes control of Gotham’s underworld as least. The imaginative designs and quirky concepts, seen throughout his films, echo German expressionism, although occasionally one might feel frustrated that Burton seems reluctant to confront the thematic implications of his nightmarish scenarios. Nevertheless, in tame by today’s standards) it’s not difficult to see why. But there’s only so many ways to stop kids from sneaking into cinemas, and Batman quickly became a playground idol. The ‘80s masterpiece won an Oscar for Best Art Direction, was nominated for seven BAFTAs, including Best Actor in a Supporting Role for the amazingly talented Jack Nicholson, plus a multitude of awards and nominations from the Brits, BMIs, Golden Globes and Grammies. Not only did it rocket to the top of the Box Office, but it made an estimated additional $750 million in merchandising alone. Just think of all the plastic Batman dolls that could buy you! Yet steer clear from the outfit itself, as it weighs a whopping 70lb – hardly aerodynamic, calling to mind a flying mole-man rather than sleek bat! Batman is stylish, thrilling and one hell of a ride. While he’s not generally associated with action, Burton proves to be in his element as the Dark Knight swoops out of the shadows, crashes through windows and employs a host of extraordinary, jealousy-inducing gadgets. The worst sin a movie can commit is to be dull, and that is something which the original Batman is never guilty of.
The Founder | Wednesday 25 November 2009 E X T R A 13 Film Glorious 39 Daniel Collard Film Editor When a young man in modern-day London goes to visit two old relatives to find out about his family’s past, a story of conspiracy, lies and betrayal unfolds as Britain begins to feel the tremors of the approaching Second World War, in the glorious summer of 1939. “It’s not always a good place to go, the past.” This is writer/director Stephen Poliakoff ’s first foray into cinema in over a decade, having spent his time since then crafting award-winning TV dramas such as The Lost Prince and Gideon’s Daughter. With Glorious 39, however, he has something far too powerful to keep from the big screen. Romola Garai (Atonement) stars as Anne, the adopted eldest daughter of the Keyes family, rich and powerful British aristocrats overseen by the charismatic patriarch and high-ranking MP, Sir Alexander (Bill Nighy, Notes on a Scandal). As Britain celebrates the apparent safety from war with Germany granted by the Munich Treaty, trouble is brewing under the surface of the Keyes’ idyllic existence. When Anne stumbles across clandestine vinyl recordings stored at her family’s Norfolk home by sinister government official Mr. Balcombe (Jeremy Northam, Gosford Park), her perfect life begins to unravel around her as she begins to uncover a conspiracy to appease Hitler and keep Britain out of the coming war – at any cost. As the film develops from period drama to intense political thriller, Poliakoff displays a mastery over escalating tension easily comparable to that of Hitchcock. Anne’s terrifying journey is a brilliantly conceived combination of naturalism and the surreal, as the intimidation, betrayals and shocking violence she encounters on her quest for the truth take their toll on the young woman’s sanity. Like the ‘Master of Suspense’ himself, Poliakoff inlays his film with a sense of gathering dread, throwing the audience offbalance with a series of twists and shocks that never feel gimmicky or derail the story [although I did at one point fall off my chair. Ed]. Having amassed a cast of some of the most talented actors Britain has to offer, Glorious 39 delivers some truly brilliant performances. Garai really is incredible as the heroine, Anne: she portrays a beautiful innocence that feels all the more tragic when it is corrupted and torn away by the events around her. But there is also an innate strength in her performance that makes you realise why Anne has no choice but to try and fight the evil she encounters, regardless of what form this evil may take. Nighy is superbly subtle as the benevolent Sir Alexander, utterly convincing as a man who really does have both his country and his family’s best interests at heart. The staggeringly talented “ ”and Having amassed a cast of some of the most talented actors Britain has, Glorious 39 delivers brilliant performances cast, including Oscar-winner Julie Christie (Finding Neverland), Eddie Redmayne (The Other Boleyn Girl) and Charlie Cox (Stardust) to name but a few, provide hugely memorable individual turns as well as ensemble support, while there are powerful cameos from David Tennant and Christopher Lee as the to be enjoyed. Awe-inspiring directing and performances aside, what makes this film really interesting is its exploration of a relatively unknown part of modern British history. Poliakoff said that he “wanted to create a suspenseful story that would resonate with a modern audience, but which was firmly based on historical fact. So many elements of Glorious 39 are true, the spying, the secret service being used by the government to quell all opposition to its policy of appeasement and how passionate feelings were unleashed even amongst the least politically minded about whether to face up to Hitler.” By grounding these intriguing historical events in a family drama, Poliakoff is able to turn a potential history lecture into a dramatic exploration of how it truly affected the people involved. Anne’s world is thrown into chaos when she is forced to decide between her duty to her family and her duty to herself and what she believes in. It is this personal conflict, not the global one that is to come, that is at the heart of this film, and what makes it such a fascinating experience. Glorious 39 is out in cinemas from November 20th (London) November 27th (nationwide) The Invention of Lying Jonathan Woodhouse Whether you like him or not, Ricky Gervais has pushed the boundaries of comedy ever since mockumentary-style sitcom The Office hit our screens eight years ago. Shortly following this up with hit series Extras, Gervais has quickly become the master of social satire, exposing the world for its triviality and desperation whilst still managing to make us laugh at the same time. In his latest effort The Invention of Lying, Gervais brings us to a society where no-one in mankind’s entire history has ever told a lie. In this world everyone tells the truth, no matter how blunt or uncomfortable it may be, with the first half hour of the film firing rapid, unexpected dialogue from all directions to hilarious effect. Gervais, as well as co-writing and co-directing with newcomer Matthew Robinson, stars as Mark Bellison, a loser in a non-descript town somewhere in 21st Century America. In this alternative reality there is no fiction, no religion and adverts are brutally honest – “Pepsi: for when they don’t have Coke”. An unsuccessful screenwriter (films here are basically filmed historical lectures), Bellison is even more out of luck when love interest Anna (Jennifer Garner) dismisses any idea of a relationship due to his appearance and his lack of financial security. Seemingly down and out, Mark goes to a bank to withdraw the remnants of his earnings and in his desperation utters the unfathomable: the world’s first lie. What follows is a expertly crafted comedy where anything is possible. Much like his personas in The Office and Extras, Mark Bellison is played comfortably by Gervais and his style of comedy translates well to the screen. Bellison is perhaps a much more likable character compared to his previous roles and as such is played far more honestly, with Gervais proving he is worth his salt as an actor as well as a comedian. It would seem that Gervais is at an experimental stage with his own streams of consciousness, making Mark Bellison a character that is very much grounded in reality despite the cinematic world that surrounds him. The seemingly simple concept of one man being able to tell “something that wasn’t” means that some of the laughs are obvious, yet The Invention of Lying manages to subvert ideas of the human condition and asks some of the deepest philosophical questions recently put to film. However this is something that moviegoers may struggle with: Gervais doesn’t have a whole TV series to play with here and thus some layers of this 99 minute film may be lost to a mainstream audience. Perhaps that is the point; Mark Bellison’s swift fall from grace as a result of his actions allows Gervais to explore the moral ambiguity of lying without being conclusive. Much like his TV efforts, Gervais disguises his film as a fairly harmless comedy (with the inevitable romantic subplot) but delves into something radical and unexpected. A great supporting cast (including cameo appearances from Edward Norton and Phillip Seymour Hoffman), a well conceived story with many laugh-out-loud moments, Ricky Gervais’ first proper foray into cinema (let’s forget Ghost Town) is brave and ultimately successful. Whilst being by no means perfect, The Invention of Lying should stay with you long after leaving the cinema – and you may even discover your own personal truths in it, somewhere.
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