Capturing The Feel-Good Spirit Of '66
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Classed as one of the greatest feel-good films in recent British Cinema, 'The Boat That Rocked' is one of those films that could have easily been missed upon its release in cinemas. This is a charming narrative set in 1966, about the adventures of a tight-knit group of Pirate Radio broadcasters aboard a rundown vessel anchored in the North Sea, and their battle with the establishment to keep Radio Rock afloat. The obvious comparison, or focus of inspiration would be the real events of well-known Pirate Radio broadcasts from that era such as Radio Caroline, so we'll get that out of the way. It should be made clear that this film is in no way a historical account of such movements faced by Radio Caroline et al.
This film has a brilliant comedy cast, including the talented Rhys Ifans, Chris O'Dowd, Bill Nighy and of course Nick Frost. They are also joined by Philip Seymour Hoffman as the American DJ aboard the boat who brings many an excellent moment as The Count (I still can't look him in the eyes after 'Boogie Nights'!). What follows is a great film which will make you laugh out loud, feel very sympathetic, and at moments laugh out loud when you should really be feeling sympathy (Thanks to one particular scene; a conversation between the newlyweds aboard the boat... Maybe that was just me, I can have a bit of a sick mind!). Ultimately though, this film fills you with a warm glow and makes you appreciate that some talented people within the British Film Industry can produce such a fine specimen.
On a personal note, I was born towards the end of the 1970's, but always wished I was around to enjoy the 60's (obviously for the culture, not the mind bending sex and drugs experiments of that era - in case mother is reading!!). Straight away, as soon as the film begins, you realise that you are in for a musical treat as well as a great cinematic experience. Featuring one of the greatest 60's playlists in its soundtrack, you just know that this is a construct of people passionate about Rock music. There was a rebellious charm about the music, something that just has not been replicated since. Tracks by The Box Tops, Jimi Hendrix, The Who, The Kinks and many more add a nostalgic feel to this film that is actually quite strange, when you realise you are not old enough to feel nostalgic (Unless you obviously are!).
The cinematography adds to this also. You can just imagine Britain in the Summer of 1966; long, warm, lazy days out in the park or by the beach. Hanging out with friends, listening to the radio blasting out song after great song, and hoping the Pirate Radio DJ uses the F-word live on-air. England on the cusp of winning the World Cup, The Beatles "achieving Jesus-like status", and I'm pretty sure a cold beer tasted sweeter then too (certainly cheaper!). These are all things that come to mind whilst watching this merry band of men (and lesbian, as one character constantly reminds everyone!) jostle and banter with each other, and the yellowish/orange toned cutaways of their captive audience up and down the UK enjoying their broadcasts.
In contrast, you have the British government being represented in such a bland, grey manner. Black suits and ties, white starch collared shirts, neatly Brylcreemed hair and NHS specs! This was the 'square' establishment battling with the gang of 'outlaws' everyone adored. You still found these enforcers quite amusing as you see the lengths at which Sir Alistair Dormandy (played by Kenneth Brannagh), and his subordinate Twatt (Two T's!) would go to bring about the downfall of such morally corrupting behaviour.
A film about struggle, love, despair, respect and of course Rock n' Roll; its climax leaves a smile on your face and nostalgia on your mind!
View trailer here
I have finally got round to making another entry on the blog. Here we are with the third entry to this project, and as you may have already gathered, it isn't a horror film! This is 'Fight Club'. The first rule of fight club is.... well, you know the rest! It would be an amazingly short post if we adhered to the rules! Again, rather than just regurgitate thousands of existing reviews already online, I thought I'd take a different perspective. those familiar with the film, will know how the two most prominent characters are Brad Pitt's Tyler Durden and Edward Norton's 'Jack' (in inverted commas as we do not know his actual name... In fact, he is credited as 'The Narrator', and only referred to as Jack on the blurb on the back of the UK DVD packaging... presumably after the subject in a series of journals he discovers during the film!). It seems as though the other pivotal character in this film text is always understated in influence, lost in all the mayhem. This is of course Marla Singer, whose role is acted by Helena Bonham Carter. This character's influence will be the focus of my analysis here.
"I Am Marla's Raging Influence"
Marla Singer is the key to the door where Jack assesses the world of Tyler Durden. In many ways, she is a 'real world' Tyler with the freedom and power Jack so wishes to acquire. Marla is the intimate axis between Jack and his life as Tyler. When they first meet, Jack and Marla appear to be kindred spirits. Two people confused about what they want from life and where they should be. It is shortly after, that Tyler 'enters' in order to give them direction!
The film as a whole is centred around Jack's struggle to be free. His subconscious desire to gain and express identity, which would be the total opposite of the 'Ikea Boy' lifestyle he finds himself in. Jack is so fed up with his mundane existence, hopping from business flight to business flight, that he fantasizes about being on-board a fatal mid-air plane collision. Marla is the catalyst for change, and Jack knows she plays a key role in finding his identity. Described as a "faker", Marla blocks Jack from feeling false emotions, and as the film progresses, she becomes a key feature in these emotions. The encoded message suggests that she is life, she is support, a structural basis for whatever it is that we need for identity and ownership of ones life. She is God. Marla's character becomes Jack's motive and reasoning. Jack's creation of Tyler is actually a male interpretation of Marla. Tyler is how Jack would see himself if he were to "let go" and become Marla. This may go some way to explaining why Jack does not initially give Marla his name when they are first introduced to each other.
Thinking about it, neither Tyler nor Jack actually exist, and Marla is the only one from the trio with a 'true' identity and a home - following the suspicious circumstances Jack's condo and possessions had been blown to pieces.
As mentioned earlier, 'Jack' is an alias (another one) taken by The Narrator later in the film, following his discovery and reading of journals which contain prose written about someone called Jack ("I am Jack's cold sweat", "I am Jack's smirking revenge", "I am Jack's complete lack of surprise"). 'Jack' is stuck so far in a rut with his mundane life, that he sees Marla as his saviour...someone 'real'.
Tyler's (Jack's) sexual attraction to Marla is an important element to the narrative. Tyler explains to Jack, "The things you own will end up owning you". This makes the audience wonder if maybe Jack's aim is not only to be liberated from what he owns, but also to unleash his emotions and sexual desires. This may be the motive for Jack in creating the 'attractive' Tyler alter ego - One side note... there is a scene where Jack and Marla are arguing in the street before he puts her on a bus to get out of town. They are standing in front of a cinema advertising the film 'Seven Years in Tibet'... a Brad Pitt film. Has Jack created Tyler Durden in Brad Pitt's image as this is what he sees as women finding sexually attractive? Surely, no coincidence! Jack's pursuit of Marla, not only makes her the reason but also the cause.
As 'Fight Club' evolves into 'Project Mayhem', Marla may seem to be all but forgotten and her attempts to contact Jack seem fruitless. The conclusions of 'Project Mayhem' can be argued to be carried out for her benefit. Tyler craves her sexually whilst Jack longs for a romance with her. This duality is always present, even when they deal with the patrons of 'Fight Club'. Perhaps this male aggression is a subconscious desire to please Marla, to prove their masculinity. This is evident when Jack discusses 'Fight Club' with Marla, his sarcastic tone suggesting his desire to impress her.
In the restaurant scene, Marla proves her control over Jack by screaming for him to shut up whilst surrounded by members of 'Project Mayhem'. Their reluctance to intervene suggests a hidden authority that Marla has (especially when the waiter recommends no clam chowder!). After all, if what Jack does is all for her, then perhaps the other members are all too aware of Marla's influence over Jack. Even his alter ego, Tyler displays fear towards Marla - he asks Jack never to speak to her about him - shows the extent of her influence over him.
The film follows themes of power, liberation, freedom, identity and constrained life. These are the obvious themes on display. However, when sexual desire becomes a theme, Marla's character takes a whole new lead. Jack desires Marla, but he cannot control her. He has no control over how she came back to him even though he sent her as far away as he could. He controls (is responsible) for the demolition of the credit card company office blocks, but is helpless in how she was bought back to him. Ultimately, Jack achieves his goal in gaining Marla's affections. They stand there together hand-in-hand as the tower blocks around them come tumbling down and everything is "restored to zero".
