Hawkeye

Bird With
Christmas
Trimmings

Hawkeye
USA 2021 6 episodes
November - December 2021

Warning: Some spoilers.

Hawkeye, the latest of the Marvel TV series which link into the Marvel Cinematic Universe films (MCU) tells a story of main protagonist Clint Barton, played once again by Jeremy Renner and, in this one, he’s just trying to get back from New York to his family for Christmas Day. However, he runs into trouble when a girl called Kate Bishop, played by Hailee Steinfeld, who has been training most of her life to be just like Hawkeye after seeing him in action in the Battle Of New York from the end of the first The Avengers film (aka Marvel’s Avengers Assemble to us here in the UK), stumbles on a secret underground auction of equipment left over from the decimated Avengers mansion, as it was after the events of Endgame. Namely, his old Ronin suit and retractable sword, which gets her into trouble when gangs related to many that Ronin wiped out mistake her for Ronin and come after her. So Hawkeye (aka Barton) has to stay in New York and keep the police and gangs at bay while the two try to uncover exactly what’s going on with the people behind the auction and how Kate’s mother, played by the always wonderful Vera Farmiga, is mixed up in things.

It’s an okay and mostly entertaining show I thought. It doesn’t feel in any way important to the way the Marvel universe is being reshaped at the moment but it does cram in some other elements which will lead on to other things... and ties up one small loose end.

For example, we have Alaqua Cox playing deaf/amputee character Echo, who is soon to spin off into her own series, apparently. And we have Florence Pugh reprising her role as the new, prime Black Widow, sister of Natasha, trying to make good on her mission to kill Clint Barton leading directly from  the post credit scene in Black Widow (reviewed here). There are also a bunch of extra characters in the form of LARPers... which if memory serves stands for Live Action Role Players (yeah, I think some of my friends used to go in for this) and a one eyed dog who seems to have a terrific build up and seems like its own loose end, due to the way he meets up with Kate and Hawkeye in the TV show. I felt like the dog character had more of a purpose, perhaps, in an earlier script but maybe that part was jettisoned at some point... who knows?

And the chemistry is good between all the actors. It simmers along quite nicely with the odd, fairly well staged action scenes thrown in when they’re needed to pick up the pace... there’s a great scene where Kate and Hawkeye are getting to know each other in a car chase where she is firing off different borrowed trick arrows as they try and escape from a load of thugs. So, yeah, I loved the Christmas feel of the show and it was entertaining enough but not quite hitting on the right amount of mystery to maybe feel like it was somehow more important in the grand scheme of things.

One of the things it does do, however, is act as yet another tie in to the old, non-MCU versions of some of the characters and bring them into the Marvel Cinematic Universe. I believe what’s happened with Marvel, after both their acquisition by Disney and then with the latter company also swallowing up Fox, is that they now have control over all... well, almost all... of their former characters. So at the end of both Spiderman Far From Home (reviewed here), Venom - Let There Be Carnage (reviewed here) and, I’m assuming (as I haven’t seen them yet), The Eternals and Spider-Man No Way Home, they’ve started integrating and folding characters and actors from previous non-MCU Marvel films into their own films. This is also the case with Hawkeye in that, when the main villain is revealed to be Kingpin (who it’s pretty obvious was going to put in an appearance in this), then he’s played by Vincent D'Onofrio, another great actor who played him in the old Daredevil TV show (which I’ve also not seen... yet). So, with the recent, possibly quite tenuous, news that Hugh Jackman may also be returning as a Marvel character he made famous in the X-Men films, it looks like we’re going to be seeing a lot more of this bizarre, cross franchise interpolation for a few years to come, I would think.

And, I’ve not much more to say about this other than, it kept me entertained and I had a blast with some of the Christmas references in the show. For instance, when Hawkeye is trying to teach Kate how to throw by aiming at the TV set controls, she hits it and it switches on revealing James Stewart running through Bedford Falls in It’s A Wonderful Life (reviewed here). But my best Christmas moments in the show were musical, when two of my favourite Christmas albums, Christmas In The Stars (The Star Wars Christmas album) and the great Vince Guaraldi’s incredible score to A Charlie Brown Christmas, were both featured as backgrounds to a couple of scenes.

And, yeah, a short review but not much to say about Hawkeye, I think. This one feels like a much smaller piece than some of the recent MCU TV shows but it’s not the least entertaining of them, for sure. I’m now wondering, since the plot thread was resolved in such a way that people who only watch the films will not know that it’s even happened, if we’ll ever be seeing Florence Pugh back as Natasha’s sister in the franchise. Because, presumably, people who haven’t seen this will wonder why she is not trying to kill Hawkeye the next time they meet. I guess we’ll see how popular that kind of move is away from the comic books (where it’s done all the time) when the time comes, no doubt. I think people will be confused.

The Magnificent Seven (2016)

Heaventh Seven

The Magnificent Seven (2016)
2016 USA Directed by Antoine Fuqua
UK cinema release print.

Okay... so Kurosawa’s Seven Samurai was one of the great masterpieces of cinema. No one, I think, would debate that (and retain any credibility, for sure). This film is kind of selling itself as a remake of the first of the more famous remakes of Kurosawa’s classic, The Magnificent Seven, directed by John Sturges in 1960. That film is also a bit of a classic, albeit a second hand one, and I know that a lot of the cast were so in love with Kuorsawa’s original that they were chomping at the bit to play the US equivalents of the original Seven Samurai, as far as some of them could be said to have counterparts in their remake.

People perhaps don’t remember that when the 1960 version of The Magnificent Seven was released in the US it immediately flopped but, did quite well in the United Kingdom and was therefore given another, much more phenomenally successful release in the US immediately following its UK success. At least, that’s the story I know (and it’s a very similar story with John Carpenter’s original Assault On Precinct 13, if memory serves me correctly). So yeah, that version became a perennial classic too and whatever you think of it in comparison to the far superior, original masterwork by Kurosawa, it’s still a lot more of a great movie than a much later remake, the Roger Corman produced Battle Beyond The Stars (which I have a bit of a soft spot for too, to be honest, and which is reviewed here). It also spawned three sequels... Return of the Seven, Guns of the Magnificent Seven and The Magnificent Seven Ride.

Now, the reason I mention all this is because I personally find remakes much more palatable if they’re reworked in a different milieu rather than do it in the same setting as one of the previous versions. So Kurosawa’s chanbara became a Western and then a Star Wars cash in space opera (I believe there was an Italian peplum version of the movie too). I think it speaks to Kurosawas ability to put together classic stories in that exactly the same thing happened to his chanbara Yojimbo when it was remade by, among others, Sergio Leone as a Western called A Fistful Of Dollars and again, starring Bruce Willis, in the 1930s depression era USA as Last Man Standing.

What surprises me about this new take on the original is that Antoine Fuqua and co have decided to remake the Western version of Kurosawas tale as... another Western. Ummm.... would rather had seen something else done with it but I guess, like the recent Ben Hur remake (which I reviewed here) I can’t be too vocal about reworking this kind of thing when some of the remakes are already classics in their own right.

Now, it has to be said that this new version of The Magnificent Seven isn’t really a remake at all. The characters have different names and, for the most part, don’t have too many counterparts from either the original Kurosawa version or the John Sturges version. Although, it has to be said that Chris Pratt is kind of playing a slightly less dashing version of Steve McQueen and Byung-hun Lee is kinda the greatests swordsman from the original, by way of James Coburn’s knife thrower in the first remake. However, all the character names are different and their relationships to each other are different too... although the Takashi Shimura/Yul Brinner role is obviously the one played by Denzel Washington here (although he doesn’t play it the same way) because he has an all black outfit and is the man who leads the others. Ethan Hawke’s character is a little closer in the spirit of the Sturges version because he has a back story relating to Denzel Washington’s character and he plays something like the Brad Dexter role in this one... except he also plays something like the Robert Vaughan role too so, you know, he’s essentially one of the few visible counterparts in the movie and it’s an amalgam of two of them.

The story is the same in spirit but... different too. This time, the villagers live in a small town and the threat to them comes not from Mexican Bandits but from fellow Americans who have taken over their town via the local gold mine. So I guess you can say the film takes certain elements from both Seven Samurai and The Magnificent Seven but does its own thing with them. It’s more a classic Western than it is a remake but, that being said, there are a fair few homages to the originals. I’ll get to the music in a minute but there are a few lines and paraphrases from the Sturges version such as Denzel Washington’s take on Yul Brinner's “I’ve never been offered everything before” (or words to that effect, itself an homage in tone to Takashi Shimura’s “I understand” when he realises the true cost of the farmers’ sacrifice in Seven Samurai). Actually, about the money the Seven are offered here... we are lead to believe it is pooled together by the locals in town but when the Seven arrive, it’s pretty obvious that the two people who hire Denzel and his crew have done so without the knowledge of the townsfolk. So there’s a bit of a weird... “How did they raise the money?” moment I had in the movie just about there. Now as it happens, and this demonstrates the way in which the basic characters have mutated into something completely different for this version, Denzel Washington’s Chisolm character has his own motivations for taking on the job (which you’ll find out right near the end) but as for the others... hmm. Maybe a bit of a story logic shortfall there, I reckon.

Another thing this movie has in common with the Sturges version is Steve McQueen’s joke about the guy who jumped out of the window of a tall building. Chris Pratt tells this joke in this version (although I wasn’t too sure about his delivery of this the first time, to be honest) and then the writers have a field day with it and it becomes sort of a running gag in this movie... which is a nice idea but, ultimately, felt overused and therefore undervalued because, you will hear it five or six times throughout the feature and it certainly wears out its welcome at some points.

The final battle is pretty entertaining though. Don’t get me wrong, it’s not got the sheer spectacle and excitement of Kurosawa’s epic ‘rain and mud’ finale but it is pretty much a more engaging and tense shootout than the 1960 John Sturges version... which is something I didn’t expect to be typing. So there’s that.

The tone of the movie is strange, though. Instead of being a classic American Western like the Sturges, we have a movie which takes elements from that legacy but also from the American Revisionist Westerns and, very much, the Italian Spaghetti Westerns too, it seems to me. It’s a very postmodernistic, eclectic version of a Western and although the visuals mostly manage to make this mish mash of Western styles work, it’s the musical juxtapositions which manage to help glue it altogether.

This was James Horner’s last score. That is to say... he’d written some of it from his visits to the set and it was delivered to the director after his death. The rest of the score is by a guy named Simon Franglen but, unless the two composers were both writing in completely different styles (which there seems to be in the movie) then it’s kind of hard to tell where one composer is taking the reigns as opposed to another. And it’s a diverse mix with the emphasis on 1970s revisionist style scoring, classic Americana (I’ll talk about that in a minute) and Spaghetti Western writing... especially the tense underscoring you get to the preamble to some of the gunfights in this. That being said, Horner’s danger motif is front and centre a few times in the movie and, yeah, if you know Horner (or even Prokofiev, for that matter) then it will probably pop you straight out of the action.

One thing which one or another, or possibly both, do in a couple of sequences (but my best guess is it’s Franglen in this case) is suddenly revert back to the Coplandesque style of Americana Western scoring that Elmer Bernstein used, to a certain extent, in the 1960 version. Now, Bernstein's classic score is not actually used in this movie at all other than a somewhat weaker orchestrated version at the end credits... which actually seem to play out visually more like the opening credits to Sergio Sollima’s iconic Western The Big Gundown (aka La Resa Dei Conti reviewed here) than a classic American Western, it has to be said. Bernsteins scoring isn’t used anywhere else in the movie apart from, at a couple of times, a very slight use of a simplified, four note version of one of the melody fragments, repeated here as a background rhythm. It’s actually far subtler than it possibly should be on a big, broad Western calling itself The Magnificent Seven, so I don’t know if that was an intentional reference or not... but mostly the composers don’t take their cue, so to speak, from the memorable Bernstein classic which is probably even more famous than the film it was written for (and reused in the sequels).

And I don’t have much more to say about this one, it seems. The cast are fantastic, especially Vincent D'Onofrio’s turn as Jack Horne but, mostly, the Seven don’t seem quite as charming as the 1960s lot, nor indeed their 1954 counterparts in Kurosawa’s amazing Seven Samurai. They are, however, more politically correct in their genetic make up, it seems to me. You have a dark skinned actor leading a group of men who include a Mexican, an Asian and a Comanche Indian in their number. Which is absolutely great, of course, and makes for an interesting movie but, at the same time, I have to ask myself the question... would you get that kind of ethnic mix working side by side in the Old West? I don’t know the answer to that, actually, because I’m not very well versed on history, especially American history, but I do wonder if it’s a valid criticism or not as to whether this kind of mix of stereotypes would have made a happy, effective team in the late 19th Century.

At the end of the day, however, I’d have to say that this version of The Magnificent Seven (if you want to think of it like that) is brilliantly played, well shot and is blisteringly entertaining. If you like Westerns and are not too worried about how it matches up to any of the previous versions, then you’re in for a treat because this is a pretty good one. An exciting time at the cinema and perhaps one to round up your friends for. I could easily see there being a sequel to this at some point although, like I said earlier, the ending is slightly different than you might be expecting if you go strictly for the ‘counterparts’ game in terms of surviving characters. A fun film though and one I might even watch again some day... so that can’t be bad.

Katrin Cartlidge is Claire Dolan

Claire Dolan 1998 US

Directed by Lodge Kerrigan

Artificial Eye DVD Region 2

Call me a cold bugger but it’s not that often that “movie star” deaths leave any emotional mark on me. I love seeing the people up there on the screen bring the light alive with their presence, but I really don’t know them so when various deaths are announced... I might feel a little shocked for a couple of minutes but usually I’ll just register it in my brain as a little “factoid”... useful for movie quizzes and bus shelter conversations and there’s really not much of a response in me at an emotional level. Would I pass Deckard’s empathy test with this stuff? Probably not but I can fake it as well as a Nexus 6. I am who I am.

Over the last decade, however... two actresses died who passed well before their time and their work always hit such a chord in me that their passing still causes me some major sadness in my heart when I think of them (Brittany Murphy almost made it three... but I’m not nearly as worked up over her). One of these two was the late, great Adrienne Shelley. Her murder sucker-punched me so much that I never quite got to see the last film she starred in and directed... Waitress (maybe it’s time I got around to seeing that one now).

The other actress who died in 2002 at the age of 41 due to complications rising from pneumonia and septicaemia was Katrin Cartlidge. I hadn’t seen a lot of her work but she was absolutely electric in Mike Leigh’s films, especially as the head-over-heels-in-love-with-David-Thewlis flatmate in Naked. She was suitably and typically gobsmacking as Jack the Ripper victim Dark Annie Chapman opposite Johnny Depp and Heather Graham in the Hughes’ Brother’s From Hell and when she put on a posh accent for her take as an out-in-the-field news reporter in Danis Tanovic’s No Man’s Land, another facet of her absolutely flawless acting talent was revealed. She also worked with Lars Von Trier in Breaking the Waves but that is another one I have yet to see.

I’ve been wanting to see her starring turn in Claire Dolan for a while... I think this is probably the only movie where she is the actual star and most of the footage on screen is of her. Finally saw it last night and I was not disappointed.

I’ve not seen any other films directed by Lodge Kerrigan but I’m going to have to take a look at some of his other stuff on the strength of this amazing film. Absolutely stunning framing throughout. Lots of geometrically composed shots using strong verticals and horizontals across the screen including some absolutely stunning shots of buildings which are very reminiscent of some of the building shots that Hitchcock used to use (see if you can watch the opening titles of this movie without being reminded of North By Northwest). I saw Cameron Mitchell talk about Mario Bava once on an interview. He stressed that when Bava used to shoot a film, every frame of the film was like a perfectly composed still photograph. I think the same could possibly be said of this director’s work... certainly in this movie anyway.

Claire Dolan stars Katrin Cartlidge as an Irish prostitute in the US trying to get out from under her pimp (Colm Meaney in an absolutely chilling performance that definitely puts paid to his Star Trek image) after the death of her mother. She tries to do this by earning as much as she can while getting her new “boyfriend” pregnant. Men are treated as interchangeable, sexist, mysogynistic pigs in this movie apart from Vincent D’Onofrio who she chooses to father her child (another wonderful actor who will always be remembered by me for his portrayal of Conan creator Robert E. Howard opposite Rene Zellwegger in The Whole Wide World).

This is not a dialogue heavy film. This is a film where the camera broods on the contemplation of Katrin Cartlidge as she immerses herself in the role of Claire Dolan. This is absolutely fantastic work. The dark, sombre movie is further enhanced by a moody, understated score by Simon Fisher Turner and Ahrin Mishan.

The movie culminates in a completely ambiguous ending which leaves you in a lot of doubts as to whether you should be feeling good or bad. It takes two shots/scenes - one of Claire Dolan on a positive note... but this is juxtaposed with another scene with her pimp some time after. Rubbing these two sequences together makes you ponder the things which have gone before. This is no easy resolution.

When I watch this actress at work I am always reminded of the tragedy of her death at the age of 41. So I’ll leave you now a reminder of her in her own words, with a quote from an interview a couple of years before she died...

“"I actually love getting older. I hated my 20s; I couldn't wait to be 30. I'm really looking forward to turning 40, if I get there. And not just because things are more successful now, but because I think the older you get, the more you find life interesting apart from your own problems. So roll on. I can't wait."