'Sons of Cuba' review: a brilliant and moving documentary on sporting life under Castro...

Set in 2006 'Sons of Cuba' sets the lives of three "Under-12" athletes at Havana's Boxing Academy against a backdrop of political uncertainty and change in Cuba, as an unwell Castro allows his younger brother Raúl to take over power. There is genuine concern and sadness on the faces of the youngsters as they gather around a television to hear the special news bulletin explaining events. With genuine affection the children refer to him as the "Comandante" and they read stories about his past exploits in colourful picture books as part of school.

There is a refreshing lack of cynicism amongst the young boxers as they refer to each other as "comrade athlete" and hug after bouts. When three champion boxers defect for the United States (where they stand to make more money by going professional) there is very real sadness and betrayal on the faces of every Cuban interviewed. A father tells us that one of the men lived on his street and was a role-model for his son, speaking of him in a tone and manner usually reserved for sex offenders or child murderers. When Castro fails to make a public appearance due to his poor health, the concerned children declare that they will fight the US if they dare attack now.



But if the US are for many Cubans something of a pantomime villain there are small signs that the island has not entirely escape cultural imperialism. One of the boxers wears a Nike jacket, whilst other T-shirts carry familiar slogans and images like "NYC". When the children exercise by pretending to row a boat, one of them shouts "lets row all the way to Florida!" British film-maker Andrew Lang's documentary may be understandably light on actual overt political dissent, but there is something bubbling under the surface.

Not least of all when we meet one junior athlete's father, a former Olympic and World Champion boxer who now lives in a run-down, one-room shack in quiet anonymity. He speaks well of Castro and fondly remembers the time the leader gave him a medal to honour his achievements. But there is more than a twinge of regret in his eyes. "They gave me a car and a house, but the car stopped working long ago and now I live here", he says before thinking and asking "it's not right me living like this is it?" Who is to say what is right and wrong here. How should a retired athlete live? But we imagine that he would be living more comfortably in the US and we are left to wonder if this is the fate that awaits the next generation of champions. At any rate, it contextualises the actions of those who defect.



Cuba has supplied more Olympic champion boxers than any other country and, beyond all the politics, this is chiefly what the documentary explores. How has this relatively small, poor and isolated nation bested the biggest and the wealthiest time and time again? 'Sons of Cuba' does a great job of explaining this. We see the children's daily routine as they get up at 4am to begin training. We see how, even at such a young age, they have their diets strictly monitored and controlled. We are shown the national championships they compete in with students from boxing academies throughout Cuba, which are hugely competitive. And whilst boxing is an individualistic sport, we see how the Cubans are encouraged to see it as a team game, playing in groups for their school. They are instilled with a fiery will to win, but also a huge amount of respect for their fellow fighters.

I am not a fan of boxing and know almost nothing about it, but this human drama, so full of poignant moments and extraordinary characters. The young boxers are so wise beyond their years that you forget they are the "under-12s". There are many scenes of tears, but these are shared with the mothers, the fathers and the coach. They are all on an emotional roller-coaster, hopeful that these young children will someday be able to compete at the Olympics. But, as the former champion tells us in his shack, "sport is a flickering moment". What the future holds for these young stars we do not yet know. But whatever happens, 'Sons of Cuba' is a moving and beautiful documentary that works on many levels. Equally good as a sporting story or as a socio-political document from an interesting time in Cuban history.




'Sons of Cuba' is rated '12A' by the BBFC and can be seen at Brighton's Duke of York's Picturehouse on 13th and 15th of July. Listen out for an upcoming Splendor Podcast on the subject and read Jon's review here.

'White Material' review: A handsomely made, but oddly unfulfilling post-colonial drama...

Claire Denis’ ‘White Material’ comes with many a high recommendation. It placed (joint) 6th in Sight and Sound magazine’s 2009 poll of critics and it was not the only Denis directed film on the list as ‘35 Shots of Rum’ (also released in France last year) was joint 2nd. Jonathan Romney wrote that having two films in the list served to “reassert her position as one of the most avidly followed auteurs in art cinema” and, in the pages of the same publication, Nick James has reserved even higher praise for Denis writing that “there’s no better film-maker working in the world right now.” Given all this praise it is hardly surprising that ‘White Material’ was heralded as the July issue’s Film of the Month. Elsewhere, Peter Bradshaw’s four star review of the film in The Guardian saw him label it her best since ‘Beau Travail’ and called Denis “a poet of mood and moment”.

This puts me in an awkward position as a reviewer - one I found myself in earlier this year with ‘A Prophet’ – in that I am left wondering whether I have the courage to be like the little boy in the story of the Emperor’s new clothes and declare publicly that I can’t see what they are talking about. ‘White Material’ (and to a lesser extent ’35 Shots of Rum’) is a movie I almost hesitate to criticise as I start to doubt whether I understood it at all. “What did I miss?” I ask. I’m sure it’s in there and I scratch my head whilst fighting against my heart in a vain attempt to locate what I am missing.



I start to try I identify what other critics may be seeing: Claire Denis makes films of undeniable beauty and yet they are also always gritty enough so as to escape being called glossy or shallow. They take no particular viewpoint or political stance (at least none that I can identify) and so they can be lauded as non-judgemental and held up as a sort of objective “truth”. They are slow and subtle works, at their finest capable of evoking great joy and sorrow and of being tense and even frightening whilst still being poignant and tender. But time and time again they leave me cold, unengaged and even a little bored.

Why should I be bored? ‘White Material’ is set in post-colonial Africa in the midst of a civil war. There is barbarity and intimidation throughout. There are scenes of graphic violence, which should be all the more shocking by their close resemblance to reality: Isabelle Huppert portrays a woman whose family coffee plantation is under threat in a changing political climate – one which will see her become the victim of a racially motivated attack not too dissimilar from the kind seen in Zimbabwe in recent years (as shown in the documentary ‘Mugabe and the White African’). There are also child soldiers, reminiscent of those in another recent feature: ‘Johnny Mad Dog’. The political relevance of this story and the potential for something more polemical about racism, colonialism and modern Africa are at the route of my frustration with ‘White Material’. It could say so much and yet seems proud to say nothing at all.



Making overtly political films is very much against current critical favour. To confirm this you only need to watch a few interviews with Kathryn Bigelow as she marched towards her 'Best Director' Oscar earlier this year for ‘The Hurt Locker’. In almost every one she declared proudly that the film was A-political and in no way a comment on rights and wrongs of the Iraq war itself. Ever since Michael Moore popularised left-wing political activism in the early part of the last decade (to some making it seem crass), it has been accepted that the best films are not ideological but simply observe an event impartially.

But one of the best articles from the Cahiers Du Cinema that I ever read at university (and to my shame I can not remember its author) discussed how film is always ideological and can not help but be so. In fact when a filmmaker claims that their work is not ideological, instead suggesting that it is a reflection of how the world actually is, what we see is “truth” as they see it: the “real” world artificially constructed by them and shown through their lens. This sort of filmmaking is somehow more insidious and, even, more dangerous. The people who admit they are making a point are at least flagging up that their film is an idea, whereas when Michael Bay makes a sexist, racist, neo-conservative 'Transformers' movie he can call it entertainment and dismiss any political readings of the movie altogether.

I am not for a moment suggesting every filmmaker needs to be Jean-Luc Godard. In fact on this very blog I have lauded several films in the past for their honesty or objectivity ('The Hurt Locker' among them). But to set a film in post-colonial Africa and say nothing about race or politics whilst you are there is not, for me at least, a fulfilling exercise. Perhaps this could be forgiven if Isabelle Huppert did not cut such an unsympathetic and slightly annoying figure as the protagonist. Nicolas Duvauchelle ('The Girl on the Train')is slightly better as her son who, after one encounter with child soldiers, shaves his head begins carrying a gun, clearly now insane. His unsettling presence suggests a threat which never materializes and he is decidedly underused, his motivations never investigated. Christophe ('Highlander') Lambert is the husband and father and is a solid if unspectacular performer, but again has little to do in a film which is content to follow Huppert around as she consistently ignores warnings from workers, family members and the army about the inevitable violence and disaster to come.



The full extent of her ignorance of the situation is apparent when she visits a pharmacy and comments that they have perhaps gone over the top with security, having an armed guard outside. They respond by saying that they fear it is not enough and later we see that they have been murdered in their shop. If the film creates anxiety it is at the realisation that you are following the only character who has no idea what is taking place, or at least a character who is deluding themselves in an attempt to cling to the past. Unlike the real-life Mike Campbell in 'Mugabe and the White African', Huppert does not come across as strong or brave: just stupid.

Her stupidity is not a compelling enough reason to watch what is happening or to care much about it. I can't help but feel that someone like Werner Herzog would have gotten more out of the extremes of this situation and the insanity of these characters and in doing so he would have said something about human absurdity. In Denis' hands I was left to appreciate the stunning photography and feel nothing, emotionally or intellectually. We are not shown the causes of the trouble which is taking place, instead we are just left to watch a piece of apathetic "oh dearism". And that is a tragedy. I am yet to be convinced that Denis is wearing any clothes.

'White Material' is out now in the UK and is showing at the Duke of York's Picturehouse until Thursday the 8th of July. It is rated '15' by the BBFC.

Thoughts on Michael Mann: "Pantheon" podcast coming next week...

Update: This podcast is up now on the Picturehouse website and should be on iTunes shortly.


Last month Jon and I recorded our first episode in our long-planned "Pantheon Series" of Splendor Podcasts. The last one was about the life and work of Akira Kurosawa, a filmmaker we are both big fans of. However the upcoming show (being recorded tomorrow) is about Michael Mann, Jon's favourite living filmmaker and one I have always been (at best) indifferent towards.

In an effort to educate me and to prepare me for this upcoming episode of the podcast, Jon lent me a stack of Mann DVDs and, over the last few weeks, I have watched every one of his films (most of them for the first time). Now, to get myself in the right headspace for the show, here is a brief summary of my thoughts on the Chicago born director.



From 'Manhunter' in 1986 to 'Public Enemies' last year, Michael Mann has famously focused on male professionals. Men who are the best at what they do and who are committed to their chosen field, usually at the expense of personal relationships. His films are technically cutting edge and meticulously researched. His films, with the exception of 'The Last of the Mohicans' and 'The Keep', always take place in cities which he shoots and lights beautifully. He is "romantic about urban landscapes" (to quote Mann in the splendid Tachen book on his work), often shooting magnificent aerial views and staging many intense scenes on rooftops.

The skyscraper is to Michael Mann what Western landscapes were to John Ford and both men share another trait: a preoccupation with the American experience (on making a living, controlling your own destiny in the face of intimidation and corruption). Like Ford, Mann is a self-described humanist, his work often looking at people from the bottom of society citing their lack of privilege and opportunity in American capitalism for their criminality (see James Caan's character in 'Thief' or Tom Cruise's villain in 'Collateral').



'Heat', 'Manhunter', 'Collateral' and 'Public Enemies' (and perhaps to some extent 'The Insider' and 'Ali') also deal with the idea of opposites. The criminal and the cop, the serial killer and the FBI agent, the proactive assassin and the cabbie reluctant to leave his comfort zone, even Malcom X and Martin Luther King. These men are often working in direct opposition to each other, but are also usually mirror images. Another unifying theme is the Mann canon (Mannon?) is that female characters are often happy to live in lavish houses paid for by their partners (often morally grey) work, yet they are generally unsupportive of their men when they encounter their inevitable moment of crisis. This ambivalence towards female characters is not too dissimilar to the work of Kurosawa, Ford or Kubrick (who Mann greatly admires and cites as an influence).

Perhaps because of the uber-masculine vibe and this lack of focus on good female characters (Marion Cotillard in 'Public Enemies' is an exception) I find that Mann is totally ineffective at directing love scenes. The mood lighting and the cheesy soft-rock music combine with my total lack of interest in what is taking place during such scenes. Whereas Mann is second to none when scenes concern gun play (stressing realism) or a meeting between two central characters (often sitting in a restaurant). Often the sound effects are louder than the dialogue and I know I am not alone in finding films like 'Miami Vice' and 'Public Enemies' hard to follow for this reason. This could support claims that Mann is primarily a visual stylist. Claims he himself rejects insisting that his visual choices are made to support the story and the characters.



'The Insider' (probably my favourite Mann film) is interesting in that it is the only one of his films in which the characters are non-violent. Al Pacino is a tv news journalist and Russell Crowe (in a much better performance than in 'Robin Hood') is a tobacco industry insider and a scientist. Yet the film opens with Pacino's character blindfolded and at gunpoint, Christopher Plummer's interviewer is later shown angrily threatening a man with a sub-machine gun, whilst Crowe's scientist responds to a potential home invasion by reaching for one of his (many) firearms (later he will subtly threaten to murder the tobacco company lawyers). This interests me because, even in a non-violent film about essentially non-violent men, Mann associates the capacity for violence with masculinity and self-worth. Jaimie Foxx's character is similarly non-violent (a cab driver) at the start of 'Collateral', yet the narrative forces him into violence through which he is able to "grow a pair" (in the American vernacular). Ultimately this side of Michael Mann makes me uneasy.

I could not say that I like Michael Mann's films. At least not all of them and none of them unequivocally. My favourites? Probably 'Heat', (as mentioned) 'The Insider' and 'Thief'. 'Collateral' is flawed in the writing but maybe his most purely fun feature. I only dislike 'Ali' and 'Public Enemies'. Both make great use of period detail and contain good performances (from Will Smith and Marion Cotillard respectively), but neither have depth, simply telling the story as we know it and adding nothing in terms of insight. But even then I would never call them bad films. I have certainly (thanks to Jon's insistence and enthusiasm) come to appreciate and respect the films of Michael Mann far more over the past few weeks and would never question his status as an auteur.



Discuss. Or at least we will tomorrow and you can hear the resulting podcast next week! Here are Jon's own thoughts on the subject.

'Whatever Works' review: Larry David plus Woody Allen? Should be pretty, pretty good...

Larry David and Woody Allen have a lot in common. Both born in Brooklyn, both Jewish, both influenced by Groucho Marx. Both worked in stand-up comedy (though Allen with far greater success) and though both men have acted they are probably most celebrated for their writing. It makes sense then that Larry David (the co-creator of 'Seinfeld' and genius behind 'Curb Your Enthusiasm') and Woody Allen should end up working together, with David starring in Allen's latest comedy 'Whatever Works' (which also marks the filmmaker's return to his native New York after four films away in Europe). David had small parts in 'Radio Days' and Allen's segment of 'New York Stories', but this is his first substantial work with the director. Like 'Tetro' (also out now in the UK), 'Whatever Works' was released over a year ago in the US, but even then it is supposedly thirty years late, apparently having been conceived in the late 70s as a vehicle for Zero Mostel (who died in 1977).



It is oddly fitting that Larry David should be picked to play a role written for Zero Mostel, David having performed the role of Max Bialystock in season four of 'Curb', that series seeing him join the cast of 'The Producers' on Broadway. And whilst slighter in build, David is every bit as large a personality as Mostel. Perhaps not as loud or licentious as he could be, but every bit as direct and (most importantly) funny. Here he is funny as the misanthropic, embittered and pessimistic physicist Boris, particularly when directly addressing the audience ("I was considered for a Nobel prize in physics... I didn't get it!"). He is joined by Evan Rachel Wood's Melody, an upbeat and impressionable young Southerner who he allows to stay in his home and with whom he strikes up an unlikely friendship. As with all Allen film's an impressive cast of actors occupy the various supporting roles (including Michael McKean, Patricia Clarkson and Ed Begley Jr.) and all perform well.



The problem with the film is two fold. Firstly the Southern characters played by Clarkson and Wood are too broadly drawn and cliché, with many of the gags revolving around supposed dumbness. The targets of the jokes are familiar and well worn (not least in Allen's films) and include religion, Republican politics and gun ownership. Evan Rachel Wood in particular is charming and winsome, but she seems more like a live-action Penelope Pitstop than a real human being. This may be the style of the piece rather than a flaw in the writing, which is perhaps less 'Manhattan' and more 'Small Time Crooks' in tone and style (certainly visually), but it is a less satisfying movie as a result. The second problem is that the film is only interesting or funny when Larry David is on screen and for long stretches he is not.



When Larry is on screen the film is funny, but usually because of his posture, his mannerisms and speech pattern rather than what he is saying. There are some genuinely funny lines, notably in scenes which see him castigating young children for failing to beat him at chess, but too many of the gags are obvious, such as the recurring joke that sees the dumb Southerners mistake Boris' sarcasm for a statement of fact (consequently believing that he plays baseball for the Yankees). However, it is amusing to hear Boris' ongoing rant about how everybody is less smart than him as it almost serves as a parody of the Allen character from many of his greatest films like 'Annie Hall' or 'Manhattan'.

In many ways 'Whatever Works' is reminiscent of 'Manhattan' in that the central character is romantically involved with a younger woman who he tries to educate and improve. He is patronising towards her, calling her a "sweet kid" and questions her emotional development. Both go on the same journey, becoming more accepting of those they consider beneath them. Borris is eventually able to contemplate a relationship with the most irrational and non-scientific of people: a psychic.



It is hard to find fault with the film's philosophy, that (to quote the closing monologue) "whatever love you can get and give, whatever happiness you can filch or provide, every temporary measure of grace, whatever works." Woody's heart is in the right place and his suggestion that we should embrace love wherever we find it (possibly a point he is compelled to make as a means of self-defense against outside judgements of his own personal life) is a wise one. But from an intellectual standpoint 'Whatever Works' is certainly Allen-lite.

It is hard to imagine that 'Whatever Works' will be an enduring classic of the Woody Allen canon. It is pleasant enough to watch. There are some funny moments and it's always nice to see Woody shoot his Autumnal romanticised view of New York and to hear his familiar musical choices (the highlight being Groucho Marx singing "Hello, I Must Be Going" from 'Animal Crackers' over the opening credits). But there is nothing fresh here, nothing to make the film stand out. In the end it is less than the sum of its parts, the dream pairing of Larry David and Woody Allen less satisfying than watching an episode of 'Curb Your Enthusiasm' or a vintage Woody Allen movie. I suspect 'Whatever Works' was not simply a screenplay put on hiatus due to the death of Zero Mostel, but rather because its writer used to have better ideas and make better films.

'Whatever Works' is rated '15' by the BBFC and is still on general release in cinemas across the UK. It is playing at the Duke of York's Picturehouse in Brighton until next Thursday.

'Tetro' review: Francis Ford Coppola rediscovers his talent...

'The Godfather'. 'The Conversation'. 'Apocalypse Now'. With these three films Francis Ford Coppola had, by 1979, boldly and permanently engraved his name into cinema history. So universally admired and influential are those three films that his years spent as a hired gun in order to pay off debts (making such films as 'Jack' and the second 'Godfather' sequel) have done little to damage his reputation or to tarnish his legacy. With his place in history assured, the elder statesman of cinema is now able to make films (more or less) for his own sake and whenever he sees fit. His output has sharply declined over the last decade, but his recent movies are smaller and much more personal. None more so then 'Tetro', the film released in the US over a year ago (on June 11th 2009 to be precise) and the first to carry a solo writing credit for Coppola since 'The Conversation' in 1974.



'Tetro' stars enfant terrible Vincent Gallo in the title role as a man who has forsaken his past and, to some extent, his future in order to live a life of quiet anonymity. Maribel Verdú plays his supportive and kind-hearted girlfriend Miranda, whilst obscure television bit-part actor Alden Ehrenreich is his brother Bennie. Gallo, in spite of his reputation as a combative and sometimes spiteful man off camera, imbues Tetro with a warmth and vulnerability which is sometimes quite moving. He convinces completely as the suffering artist type and performs with an undeniable intensity.

Equally good is Verdú, who almost stole the show from Bernal and Luna in 2001's 'Y tu mamá también' and is just as brilliant a performer here. It is unthinkable that aside from roles in 'Pan's Labyrinth' and the 2004 flop 'The Alamo' Verdú has not been a regular sight on international movie screens. But happily Coppola has taken notice and in 'Tetro' she is able to showcase her talent: giving Miranda strength and intelligence, but also compassion and genuine sex appeal. Despite these winning performances, Alden Ehrenreich gives the star turn here, being reminiscent of a young Leonardo DiCaprio (with maybe a hint of Brando) in his facial expressions, mannerisms and delivery. Already tipped by some as the next Spiderman actor, Ehrenreich could definitely be a major star in the near future. There is also a small but welcome role for Rodrigo de la Serna (whose most famous role was in Walter Salles' 'The Motorcycle Diaries' in 2004) who is a cheerful screen presence as Tetro's friend Jose.




Mihai Malaimare Jr. (who also worked on Coppola's 2007 film 'Youth Without Youth') is responsible for the film's remarkable black and white photography, mostly shot in Spain and Argentina (where the film is set). You will not see a more beautifully composed and (dare I say) stylishly shot film this year. I was concerned before seeing it that 'Tetro' could turn out to be nothing more than art for arts sake: a pretentious and self-indulgent work and an exercise in style over substance. Yet 'Tetro' is in fact mainly driven by its story and the relationships between its central characters.

The narrative is admittedly slight and could probably be summarised in a few sentences, but the film's form helps to convey the emotional journey undertaken by Tetro and Bennie in coming to terms with the family's past. I don't know enough about Coppola's background to be certain, but this story of the rivalry between a fathers and sons feels as though it is of personal significance to the director. Tetro's flashbacks, which (in an amusing reversal of cinematic convention) take place in colour and a different aspect ratio to the rest of the film, are pretty successful at establishing a very real cause for the character's hurt. They are also somehow among the most convincing "memories" ever committed to film, feeling like incomplete sketches of moments in time. Not so much what happened, but what Tetro feels about what happened from his viewpoint.



Sometimes the film is self-consciously flashy, perhaps to its detriment as it distracts from the action at hand (such as when Tetro is seen speaking to Bennie in silhouette - cool as the image is). There are also colourful, CGI-infused scenes of dance in homage to the great ballet films of old (such as 'The Red Shoes' or 'The Tales of Hoffmann') which, for me at least, fell flat and seemed a little self-indulgent. But for every frame of misplaced virtuosity there is a genuine moment of genius. For example, there is a brilliant and jarring reverse angle involving a motorcycle accident which is powerful and magnificently executed.

Perhaps the film is too serious, too humourless for too much of its running time (which is overlong at just over two hours). It is intensely dramatic, and it is not an exaggeration to say it is almost operatic - not unlike Coppola's 'Godfather' films. This is clearly the desired effect but it leaves me feeling a little cold and disconnected. There are also some interesting themes which are not explored to a satisfactory degree. For instance, Tetro challenges Bennie to murder him in order to make the ending of his play more truthful. This idea about the relationship between art and "truth" and the supposed virtue in linking one to the other might have been better developed.



Despite these flaws there is almost no sensible argument for denying that 'Tetro' is Francis Ford Coppola's most interesting film since 1983's 'Rumble Fish' (with which the film bears more than a passing resemblance). That is not to say it is the most enjoyable or fun since that date, but it is certainly his most complete movie in a long while. It is written, directed and produced by Coppola with clear engagement and real love. In 'Tetro' we may have evidence that one of the medium's most celebrated artists has rediscovered his muse. A fact which we can only hope will lead to more interesting films in the future. If it doesn't turn out that way, then it is at least a respectable closing chapter to an interesting career.

'Tetro' is rated '15' by the BBFC and can still be seen at selected cinemas in the UK. The Duke of York's have two shows left at the time of writing: 13.30 and 18.15 on Thursday the 1st of July.

Ray Harryhausen is 90 today!

Today marks the 90th birthday of Mr. Ray Harryhausen, the legendary stop-motion animator beloved for his groundbreaking effects work in a number of Hollywood movies from the 1940s up until the 1981 film 'Clash of the Titans' (arguably his most famous work). To celebrate this almighty birthday, here are clips of some of his most admired work:

Willis O'Brien won an Academy Award for Best Special Effects in 1949, thanks in no small part to Harryhausen's work as the animator of the titular ape in 'Mighty Joe Young' (appropriate as Harryhausen fell in love with cinema and animation watching another ape, King Kong, in 1933).



'The Beast From 20,000 Fathoms' (1954) was a real landmark movie, directly inspiring Eiji Tsuburaya's work on the first Japanese 'Godzilla' movie later that same year (and by virtue of that, all of the big monster movies of the 50s and 60s).



Harryhausen provided effects for many more monster movies (such as 'It Came from Beneath the Sea' in 1955) but in the 1956 film 'Earth Versus the Flying Saucers' Harryhausen turned to animating alien invaders. As you can see from watching this clip, the animation in this film was a big influence on Tim Burton's 1996 'Mars Attacks!'.



His first work on colour, 'The 7th Voyage of Sinbad' (1958) started perhaps Harryhausen's most famous work on swashbuckling sword and sandal adventure stories which really allowed him the scope to develop lots of different creatures and action sequences. Harryhausen would work on two further Sinbad films in the 1970s: 'The Golden Voyage of Sinbad' in 1974 and 'Sinbad and the Eye of the Tiger' in 1977.







The 1963 'Jason and the Argonauts' contains probably the most haunting and famous Harryhausen sequence of all: the battle with the skeleton warriors. The jerky nature of the animation gives it a visceral quality unmatched in the cleanness of modern CGI. Watch it in full below:



One that always stuck in my mind (probably because of my dinosaur fixation) was the 1966 film 'One Million Years B.C'. I have always remembered the bit where a lava flow falls on top of a woman who is running away. The film is pretty dire, but there are some great effects to be seen, including the historically impossible sight of cave men fighting an Allosaurus with their spears. But you don't go to see a Harryhausen movie for a history lesson!



As mentioned above, the most well-loved of them all is probably the original 1981 movie, 'Clash of the Titans' (like 'Mighty Joe Young', the victim of a shoddy remake). Watch the trailer below, if only to laugh when a man shouts "destroy Argos!".



Anyway, happy birthday Ray and may we be wishing you a happy century in ten years time! Thanks goes to Sam Clements of the Ritzy Picturehouse in Brixton for tweeting Ray the first birthday message and starting this whole thing off. If you're on twitter, follow Simon Pegg's example and join Sam in wishing: #HappyBirthdayRay

If you want to watch some Harryhausen films in full, the BFI Southbank had some signed DVD boxsets for sale last time I was there (last week). So snap one of those up if you are a fan of the great man!

July's episode of 'Flick's Flicks' presented by this blogger...

Out today is my very first episode presenting the Picturehouse film preview show 'Flick's Flicks'. In it I preview 'Leaving', 'Heartbreaker', 'White Material' and 'Inception' and I also talk to Jon (my co-host on the Splendor Podcast) about the Duke of York's fundraising efforts to save a small Nicaraguan cinema. The Cini Esteli is in danger of closure and a special screening of 'Walker' with a video introduction specially recorded by director (and charity patron) Alex Cox is taking place on Sunday the 18th of July.

Here is that episode, so enjoy!