The Holy Grail Of Loonyism

 Featured, Information, Opinion  2 Responses »
Jun 072013
 

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By Duncan Harley.

Product placement, or embedded marketing, is as old as the hills.  When, in 1873, Jules Verne published the adventure novel Around the World in Eighty Days in serial form, shipping companies seemingly queued at his publisher’s door in order to be mentioned by name and brand in the next episode.

The Marx Brothers films were full of intended placements with items as diverse as Life Savers Candy in Horse Feathers (1932) and of course Harpo Marx’s famous escape from the villains in Love Happy (1949) on the old Mobil logo, the “Flying Red Horse”, following an exciting rooftop chase around billboards promoting General Electric, Fisk Tires, Bulova watches, Kool cigarettes, Wheaties and of course Mobil Oil.

Even Fritz Lang was guilty of the use of the genre and his film M (1931) includes a 30 second prominent banner advert for Wrigley’s PK Chewing Gum.

Coca Cola, BMW, McDonalds, Pizza Hut and FedEx feature in many movies. Oreos, M & Ms and Hershey Bars feature in many books. The Oreo Cookie Counting Book for example features a cover write up which says:

“Children will love to count down as ten little Oreos are dunked, nibbled, and stacked one by one…until there are none!”

TV of course is not immune to the product placement intrusion. In The Bill, which of course has nothing whatsoever to do with that old creaky duck joke about Donald and Daffy running out of condoms and asking for a supply of prophylactics to be sent up to their hotel room and put on their bill, features all the villains driving about in old fashioned Jaguar cars with the all the cops riding about in fast, sexy, souped up Fords.

The tobacco industry has long used Hollywood as a vehicle to market their wares with the Coen Brothers The Man who Wasn’t There being one of the most talked about recent offenders. In this 2001 classic, the lead character, Ed Crane played by Billy Bob Thornton appears to get through around six packs of Marlboro during the films 1 hr. 57 minutes running time.

The BBC reported as far back as 2001 that:

“Cigarettes are still prominently displayed in films, despite a voluntary ban on “product placements” a decade ago”

A study of the top 25 US box office films each year from 1988 to 1997 found the use of actors to promote cigarette brands had increased ten-fold.

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Little may have changed with Britney Spears, Paris Hilton, and Katherine Heigl all portraying the weed in a flattering light, despite the proven health issues and the criticism from anti smoking groups who view the actions of role models in promoting smoking as blatant advertising on behalf of the tobacco industry via the back door.

According to a recent World Health Organisation study, tobacco is also portrayed in 76% of Bollywood films; India of course being a fast growing market for an industry intent on portraying its products as cool and very western in nature.

All that may be changing however and we might actually have UKIP’s Nigel Farage to thank for this.

Nigel, who is of course NOT an MP, is a keen smoker and is also very well known for holding his political meetings in pubs. He likes to portray himself and the UK Independence Party (membership 27,000) as a people’s movement led by jolly and jovial free thinking lads just like the man next door.

He recently held such a meeting in an Edinburgh public house and had to be escorted from the premises by the local constabulary after being hounded by protesters chanting phrases such as “Ukip scum, off our streets” and “Immigrants Welcome Racists Not”.

So why is the UKIP leader so unpopular? Could it perhaps be to do with policies? I asked several folk in the shire’s pubs if they knew anything about what the UKIP and Nigel Farage actually stand for.

His stance on smoking is of course well known. Smoking rooms in pubs they felt were a great idea though! One local man went so far as to say that if Nigel Farage were to walk into the pub that night and buy him a pint then he would give the man his vote! Another drinker felt it was worth a pint and a nip at the very least!

However on issues such as UKIP’s stance on the compulsory abortion of potentially disabled foetuses, the banning of gay marriage, zero immigration, reduced taxation, leaving the EEC, cutting the UK budget spending to 1997 levels, the building of more prisons, increasing the defence procurement budget, the scrapping of the Crown Prosecution Service in favour of allowing police alone to decide on prosecutions, the doubling of the size of the Territorial Army and increase in total armed forces numbers by 25%, the building of three new aircraft carriers and 50 more Lightning fighter jets, the building of four new submarines equipped with US nuclear missiles and the banning of schools from showing Al Gore’s film An Inconvenient Truth they were somewhat less clear.

The membership of political parties is at best a very rough indication of popularity, but at the last count the Monster Raving Loony Party had 1,354 members, Labour had 60,000, Lib Dem 48,932 and the Conservatives 177,000. UKIP appears to have a mere 27,000 members in comparison.

Back in 2006, David Cameron branded Ukip members as “fruitcakes, loonies and closet racists”. In early 2013 the Monster Raving Loony Party’s Lord Jug wrote:

“As the official party of protest, we the Official Monster Raving Loonies strongly object to use of the terms ‘fruit cakes and loonies’ when describing Ukip. We who seek the Holy Grail of Loonyism strongly object to the cavalier use of these terms.”

The product placement marketeers must be shaking in their boots right now at the thought of decades of money and hard work spent creating a suave and sophisticated image for tobacco being destroyed at one fell swoop.

As for Nigel Farage, he will be nodding sympathetically while sipping from a pint of beer and puffing on his trademark cigarette.

Sources:

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Theatre Workshop Scotland: The Happy Lands – May 16th

 Events, Featured, History, Information  No Responses »
May 032013
 

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With thanks to Helen Trew.

Described as, “remarkable, original and daring,” Robert Rae’s epic, sweeping portrait of a definitive moment in British history is a ground breaking work that casts the people of Fife at the heart of their own story, told in their own voices.

This work draws its audience into Britain’s only revolutionary action, the General Strike of 1926 – only seven years after the slaughter of the trenches, miners unions lead the country against savage austerity cuts handed to the nation by a Liberal/Conservative government.

Inspired by true stories from local families in Fife, The Happy Lands follows the journey of law abiding citizens who become law breakers in a heroic battle against the state.

The unique and strikingly audacious approach to making The Happy Lands is the first and foremost of its many virtues.

The genuine artistic excellence on display and the integrity that was maintained in the engagement of the ancestors of the mining community sets a new precedent for Scottish film making, and marks The Happy Lands as a unique work of significant artistic and international importance.

Rae’s film has been lauded for its exceptional production values and the outstanding and moving performances of the non-professional actors, particularly those of Kevin Clarke as Michael Brogan, and BAFTA Scotland nominee Joki Wallace as Dan Guthrie

The film taps into a strong spirit of Scottish nationalism, more prevalent now than at any other time in recent history as the world anticipates the landmark 2014 referendum on Scottish independence, falling on the 300th anniversary of the Battle of Bannockburn and in the official Year of Scottish Homecoming and provokes conversation about Scottish national identity and heritage.

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The Happy Lands is currently on release in UK prior to it’s BBC Scotland broadcast.

The film premiered at Glasgow film Festival Feb 2013, had screenings in both Scottish and UK Parliaments, and was recently screened at the China National Film Museum in Beijing to invited audiences.

Comments on The Happy Lands include:

“A powerful account of miner’s’ struggles…the Film transports us back to the realties of 1926….we are swept up in their lives, both tragic and comic. We believe in it. It is a huge success….a superbly innovative way of story-telling.” 

– The Morning Star

“A powerful new film…compelling, vivid performances…..a real story told by real working class people….authentic in a way that Hollywood stars never could be” 

– Socialist Worker

“This is original and daring … this film is unique.  It will become a shining beacon of hope. I’m still not sure that everyone appreciates just how significant this film is.  It is the working class telling working class history.  

“That is rare and valuable and stands up, head high, alongside any political film I ever helped make, or any I have seen. It will live forever.” 

– Producer, Tony Garnett  (Kes, Cathy Come Home)

“Overwhelming – it is marvelous cinema and so much more.” 

– Tom Brown, Political commentator, columnist, broadcaster and author.

“… beautifully shot and very moving.  The acting is excellent.” 

– David Elliot, Director Arts, British Council, China

“Re The Happy Lands: this is a great day …for the Scottish Film Industry” 

– Former Prime Minister, Rt Hon Gordon Brown MP

The Happy Lands, which is directed by Robert Rae and produced by Helen Trew, is a Theatre Workshop Scotland production, supported by Creative Scotland through The National Lottery, in association with BBC Scotland.

Showing at Belmont Picturehouse, Aberdeen on 16th May, 2013.

To book, contact the Belmont Picturehouse, Aberdeen on 0871 902 5721
Our telephone lines are open from 9.30am – 8.30pm, seven days a week (call cost 10p a minute from a BT landline).

Further information can be found at:

www.thehappylands.com  and
www.theatre-workshop.com

Smithy’s Scribblins No. 5 – Aboot Gweed Menners

 Aberdeenshire, Opinion  1 Response »
Apr 182013
 

By Bob Smith.

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A wis brocht up tae believe gweed menners wis a necessary social skill.

Onybody faa displayed ony kine o bad menners wis leukit on as a social pariah. Ye war learn’t bi yer mither an faither an teachers aboot sic things so a ayewis thocht fowk faa war lackin in the skills o gweed menners hidna bin brocht up richt. Nooadays a think it still is a bittie doon tae parents bit it’s  maybe a society thingie as weel.

There are still a lot o weel mennered fowk gyaan aboot bit the increase in ill-mennered cyaards is een o society’s curses

Noo yer hardly likely tae mak a gweed impression if yer rude an abrasive,an ye see plenty o iss type o cairry on in TV programmes. Fer instance TV an radio interviewers askin somebody a question an then interruptin afore the bodie bein askit the question feenishes answerin. TV soaps faar scraichin, bawlin an insultin fowk wid appear tae be the norm.

Nae wunner fowk are becumin mair ill-mennered. We hear aboot fit they ca “road rage”. Iss is jist anither name fer bad menners fin ahint the wheel o a motor vehicle.  Stickin the finger up an yellin obscenities jist cos some craitur micht be huddin fowk up is mair an mair noticeable. Cairryin o a blether or haein their mobile switched on at the picters or the theatre is anither example o modern day ill-mennered tykes.

A’ll tak ye back aroon 50/60 ear ago tae a time fan gweed menners wis jist expectit o fowk.

Fin ye wis oot on a date wi a quine ye aye waakit on the street side o the pavement. Iss gings back ti the days fin gentlemen protectit their weemin fae the perils o the road an the gutter. A still git a richt glower fae the wife if a forget tae dee iss.

Ye aye held the doors open fer fowk faa war ahint ye tae waak throwe an ye aye got a thunk ye fer deein so. An ye sure as hell lessened the chunce o anither date if ye didna staun up an hud yer quine’s coat fer her tae pit oan if yer war oot fer a cup o coffee in a cafe or a restaurant (ye only took quines oot fer a meal if ye war “gyaan steady” cos wi wages bein fit they war back then, ye cwidna affoord tae dee iss verra afen).

Fin ye took a quine tae the picters ye aye pyed fer baith seats. A chiel wid hae bin black affrontit if the quine hid offered tae “gyang dutch”, an ye nivver refused a ladies’ choice at the duncin even if the quine wisna tae yer taste. It wid hae bin leukit on as bein the hicht o bad menners.

Iss applied tae baith sexes bit a quine cwid refuse tae dunce wi a chiel if he wis the warse fer weer wi booze.

Mannies an loons ayewis got up tae gie somebody o mair mature ‘ ears or the opposite sex a seat on the bus if it wis staanin room only. Sweirin in front o weemin wis a thing  ye verra rarely heard. Nooadays it’s maistly the weemin faa dee the sweirin.

As a said at the beginnin o aa iss there are still some fowk faa display gweed menners bit they’re gettin a bittie thinner on the grun.  A div like the followin quote “Treat fowk as ye wid like tae be treated. Karma’s only a bitch if you are”  TV an radio interviewers please tak note.

O aye, an espeecially you as weel Mr Trump.

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Roadmap To Apartheid: Film Screening 01.03.13

 Aberdeen City, Information  No Responses »
Feb 252013
 

As part of Israeli Apartheid Week SPSC Aberdeen presents a screening of the award-winning documentary Roadmap to Apartheid.  The film presents a detailed look at Palestine/Israel and how the concept of apartheid can be used to understand the historical and ongoing situation.

About Israeli Apartheid Week

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Israeli Apartheid Week (IAW) is an annual international series of events held in cities and campuses across the globe.

The aim of IAW is to educate people about the nature of Israel as an apartheid system and to build Boycott, Divestment, and Sanctions (BDS) campaigns as part of a growing global BDS movement.

Lectures, films, and actions will highlight some of the successes of the BDS movement and build / support ongoing campaigns.

Speakers and full programme for each city will be available on this website. Join us in making this a year of struggle against apartheid and for justice, equality, and peace.

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“In this award-winning documentary, the first-time directors take a detailed look at the apartheid analogy commonly used to describe the Israeli-Palestinian conflict.

“Narrated by Alice Walker (author of The Color Purple), Roadmap to Apartheid is as much a historical document of the rise and fall of apartheid in South Africa as it is a film about why many Palestinians feel they are living in an apartheid system today, and why an increasing number of people around the world agree with them” (official website).

More on Israeli Apartheid Week here: http://apartheidweek.org

We hope to see you there for what should be a very interesting watch and discussion.

Where: Room NK11, New Kings College, University of Aberdeen
When: 7pm, Friday March 1st
Light refreshments provided

In Motion Animation Festival: 22 Feb – 9 Mar

 Aberdeen City, Events, Information  No Responses »
Feb 142013
 

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With thanks to Kirsty Young – Communications Manager, Peacock Visual Arts.

Peacock Visual Arts’ inaugural In Motion Animation Festival presents an exciting programme of short and feature films, curated from around the world and screened at The Belmont Picturehouse.

It will also feature an intriguing exhibition of drawings and paintings by award-winning artist/animator Thomas Hicks and workshops for all ages, taking place at venues across the City of Aberdeen.

The festival is co-curated by Susie Wilson and Thomas Hicks.

http://www.peacockvisualarts.com/events/403/in-motion-animation-festival-2013

In Motion Animation Festival 2013 – Programme Live!
22 February – 9 March
Opening 21 February, 6 – 8pm at Peacock Visual Arts, all welcome!

Peacock Visual Arts, 21 Castle Street, Aberdeen, AB11 5BQ

Tel: 01224 639539
Mob: 07525 123425
email: kirsty@peacockvisualarts.co.uk

Open Tue – Sat 9.30 – 5.30pm admission free
www.peacockvisualarts.com

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Belmont Films For Human Rights

 Community, Featured, Information  1 Response »
Feb 142013
 

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With thanks to Alison Cram.

Next week you have the chance to catch a screening of two powerful, and ultimately life-affirming, films that capture the strength and dignity of the individual human spirit.

The film screenings have been organised by the Aberdeen Group of Amnesty International, in collaboration with the Belmont Cinema.

On Monday 18th February (at 6.00pm) you can see the documentary film Waste Land.

Filmed over nearly three years, Waste Land follows renowned artist Vik Muniz from Brooklyn to his native Brazil to work with the “catadores” – people who pick recyclable materials from the world’s largest rubbish dump, Jardim Gramacho, just outside Rio de Janeiro.

Muniz’s collaborative project with the catadores, as they create photographic images of themselves out of garbage, reveals both the spirit and dignity of the people and the power of art to express their plight.

Waste Land was the winner of the Amnesty International Human Rights Film Award 2010 and of the Audience Award for Best World Cinema Documentary Sundance Film Festival 2010.

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On Thursday 21st February (also at 6.00pm) is another chance to see Persepolis – a beautiful animated film version of Marjane Satrapi’s graphic novel about growing up in Iran, as the country moves from the Shah’s regime to fundamentalist Islamic state.

Events are seen through the eyes of Marjane herself, a rebellious teenager, who chafes against her lack of freedom and expression.

“When I tell people it’s a lo-fi animation, largely in black-and-white, about Iran, they put their heads in their hands and make a low groaning sound. But I’ve seen those same people bounce happily out of the cinema after seeing it as if they had had some sort of caffeine injection.” – Peter Bradshaw, Film Critic, The Guardian, April 2008

The Group will also have a small stall in the cinema lobby prior to each film, so if you want to ask any questions about what we do or find out more about Amnesty International, now’s your chance!

So in the chilly days of February, why not treat yourself to a thought-provoking and inspiring trip to the cinema?

Tickets for films can be booked in advance through the Aberdeen Amnesty Group.  To book a ticket for Waste Land, please e-mail: alisoncram@madasafish.com.  To book a ticket for Persepolis, please e-mail doughaywood@yahoo.co.uk.

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Django Unchained: A Review

 Articles, Featured, Opinion  No Responses »
Feb 022013
 

Vue on Shiprow was packed, as the bumper audience waited with baited breath to watch Quentin Tarantino’s trailblazing Django Unchained. Andrew Watson reviews.

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I was fairly looking forward to this, despite being amongst what I would consider contemporary cinema snobs.  You know the type. The kind that actually liked Inglourious Basterds!

Django charts the freedom of a black slave (Jamie Foxx) and his bid to save his wife from a similar fate.

He’s freed from a chain gang by unlikely bounty hunter Dr. Schultz (Christoph Waltz), who teaches Django the art of ‘spaghetti western’ gun slinging.

I took awhile to warm to Waltz’s character, and found him rather too smug and politically correct.  However, his unflappability throughout the duration won me over.  This was as such that my lack of vocabulary would call it dastardly, a sort of cunning you’re glad to see in a good guy.

Even towards the end, when he appears outfoxed and nothing more than a sullen loser, you literally see the cogs in his head turning.  Viola!  He’s back on top of his game and anyone in his way, between him and glory.

He’s employed by the government to hunt down their ‘most wanted’, dead or alive.  He agrees not only to, as I’ve said, train up, as he christens him, Mr. Freeman; but to also help Django recover his wife from the evil clutches of plantation owner, Calvin Candie (Leonardo DiCaprio).

Being a Tarantino film, there’s liberal lashings of the corporal kind, as well as derogatory and racist language.  All of the time in question, of course.  Letting dogs loose on a runaway slave was one of the scenes a bit harder on the eyes.

This wasn’t all without scandal, of course.  My pal told me that Quentin had been much criticised for the scene which appears to show an embryonic gathering of Ku Klux Klansman.  Apparently this isn’t historically accurate.

Fair play to the guy, though, he tried to make light of it.  One of the assembled goes off in a huff, due to the lack of appreciation towards his wife’s work, that being the eye holes for the sacks hauled over their heads.

Personally, I found this scene to be milked far beyond its comic worth.  There are scenes in the film infinitely funnier than this, namely the introduction of Samuel L. Jackson’s character, Mr. Candice’s head butler.

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The comedic chemistry between Foxx, DiCaprio and Jackson, when freeman and servant meet for the first time, is priceless.  The latter is outrageously funny, a boundless man despite his fragile frame leaning heavily upon a walking stick.  You struggle to see how such an opinionated man could be servant to anyone, let alone a plantation owner.

It’s actually only later on you discover his loyalty to his master.  I suppose this is testament to the complex characters on show, in this violent romp.

Furthermore, he’s actually instrumental in blowing the cover of the two, aforementioned renegades, who come to Candice’s with supposedly unrelated business to avoid arousing suspicion.

Prior to this prelude to a seemingly unhappy ending, though, laughs can be found in the strangest of places.  In fact, it comes right at the start when Freeman is still a slave, his freedom bought by the blast of Schultz’ gun.  A cannon, more like it.

Seriously, seeing is believing and the way this gun despatches with half a horse and its rider is side splitting…and although there are no ‘fountains’ of blood, as it were, the embellishment of guts and gore is hyperbole in the extreme.

Also look out for the impossible angle of trajectory in which a certain woman falls upon herself, cue gun blast.  That definitely got one of the biggest laughs of the night.

Having said that, the one criticism I would make about this film is its length.  It seems, as I try my hardest not to give too much away, that the film was extended in order that it reach its logical conclusion.

Albeit, Foxx’s character upside down with his dick chopped off would’ve been an absolutely horrible note to end on, but I, in all seriousness, turned to my mate and said there’d either be a sequel or, at this rate, the film would end up being about four hours long!

All in all, other highlights included the standoff prior to Django’s capture and his subsequent return to the plantation to save his wife.  The common denominator in both, of course, is the reason why most people should’ve been coming to see this.  Guns and guts!

Tarantino’s no fool, though.  A keen observer will have noticed that gore isn’t all he’s got eyes for.  Notice the unyoked horse, as Foxx frees his fellow slaves.  Maybe this is just coincidental, maybe Freeman doesn’t like saddles.

Doubt it, though.  Excellent film.

 

Jack Reacher: A Review

 Information, Opinion  No Responses »
Jan 242013
 

This was my first visit to Cineworld at the Beach in a long time, and it was to sit beside my sleeping father, an avid Lee Child reader, and watch Jack Reacher. Andrew Watson writes.

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To be fair, my dad didn’t even need to be rudely awakened by special effects to maintain a steady gaze upon this Tom Cruise adaption of Child’s novel, One Shot.
I’m used to his sleeping antics by now, but felt inclined to lie about this particular outing because of how aggrieved I’ve been by his past behaviour!

Anyway, though he claims he wasn’t too impressed, Dad’s wakefulness is testament to the quality of the film, no matter his misgivings.

Foremost of these is the selection of the pint-sized Cruise for the leading role: Dad tells me that Reacher’s at least 6’6” in the books.

Having said that, there were also some gripes that I had early on in this blockbuster. What’s with the conspiratorial whispering between Reacher and Helen Rodin (Rosamund Pike)?

I know that there are scandals at play here, as Helen and Reacher tussle with her powerful father (Richard Jenkins) to prove the innocence of supposed murderer, James Barr.  Despite this, it all seemed overtly theatrical and, frankly, irritating.

Barr stands accused of randomly laying waste to passers-by for sick kicks, and his track record as a sniper in the army screams his guilt. However, being based on the thrilling storytelling deployed by Child, it’s safe to say that it’s not necessarily a simple open and shut case.

Not for Reacher, anyhow, who, I’ve read, can be readily compared to Sherlock Holmes in his powers of deduction. I’d agree with that.

Initially dismissed as paranoid and unaccustomed to the largely non-ulterior motives of civilian life, being an ex-military policeman, Reacher nevertheless convinces Helen to look at potential corruption within her father’s department.

Even the viewer, impressed as they may be by Reacher’s unbeatable fighting chops, doesn’t know what’s going in his head, given the man’s mysterious and recalcitrant nature throughout.

What he keeps to himself, he keeps from his enemies, as he tries to stay two steps ahead of the game.

He then overcomes a third man holding a gun to his head, as his back is turned.

Not until he’s ganged up on by a horde of young men who insist that Reacher disrespected their sister, and the suspiciously quick police response, did my Dad and I really think there was a deeper conspiracy at play.

All very serious stuff.  Though there are lighter moments, too.

Take for instance the fight scene in the bathroom.  Reacher’s proven to be beatable, with an unsuspected blow to the head with a baseball bat.  He falls into the bath, disorientated.  Cue comical rush by the two henchman to beat the crap out of him, only to foil themselves squeezing through the doorway at the same time.

It doesn’t stop there, either.  They then unsuccessfully play ball with him, hitting the rim of the bath as Reacher somehow remains out of reach.  This buys a now seemingly human Jack time to recover and prevail.

He then overcomes a third man holding a gun to his head, as his back is turned.

Wait a minute!

So Reacher can triumph over certain death, despite a pistol at point blank range, but he can’t handle or anticipate an unwieldy lump of wood?

Never mind, Robert Duvall’s at hand to help the viewer quickly forget inconsistencies within seemingly faultless characters like Reacher. After all, the latter’s youth, set against the aged, grizzled toughness of former army man Cash (Duvall) shows many things.

First and foremost, the obvious. Would it not be incorrect to assume the invincibility of relative youth is consistent, alternately, with elderly endeavour proving an altogether different kind of survival instinct?

I digress, I suppose. Any such debate can be illustrated with this: by the final fight scene, Reacher is hurting badly, while Cash has only a grazed eye.

Is this because he’s tougher, or because he knows his limits? He’s doing his ‘damage’ to the enemy on the perimeter of the fight scene.  All the while, Reacher’s the fool taking the hits, in the centre of all the action.

Old are canny, young are reckless!

My enjoyment of this film was largely unqualified, yet my Dad had reservations.

Go figure, I enjoyed it!

The Hobbit: Reviewed At Vue

 Featured, Information, Opinion  No Responses »
Dec 212012
 

Peter Jackson’s The Hobbit arrived in cinemas recently; could it live up to Jackson’s Lord of the Rings epic work?  Aberdeen Voice’s Andrew Watson shares his thoughts.

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It was my first visit to Vue on Shiprow in a while, and it was to see what many regard as the blockbuster of the year, The Hobbit.

Although it was excellent on the whole, in the realms of fantasy and science fiction it doesn’t quite surpass the mastery of this year’s earlier blockbuster, Prometheus.

Without being patronising, veteran director Ridley Scott has a few more Hollywood years under his belt than Peter Jackson.  It’s inevitable in my eyes, therefore, that, as supremely talented as the latter is, his capacity to create new worlds doesn’t quite excel that of Scott –  Yet.

The Hobbit takes quite a long time setting the scene, though mercifully most of the backstory on show is quite intriguing:  particularly that of the Dwarves, cast from their homeland by a fire-breathing dragon.

I couldn’t help but draw comparisons of the Dwarves’ story to that recounted of the Israelites during the time of Moses, that of a nomadic race with no place to call their home.  This is in fact a central plot to the film, contrasting their instability with the home comforts of Bilbo Baggins (played by Martin Freeman), before setting out on his Unexpected Journey.

The sedate country life of Bilbo is very twee, and as I found in the first Lord of the Rings film, rather irritating and sickly in its happiness.  Thankfully this quickly comes to a close when wizard Gandalf (Ian McKellen) invites the Dwarves over, in the hope that Baggins will join them in their quest to reclaim their home.

This conclusion of Bilbo’s sanctuary from conflict is done with a touch of humour, too.  Most of the Dwarves sport Scottish or Irish accents, marauding Bilbo’s food store then greedily slurping his beer before setting out on their adventure.

In fact The Hobbit consistently goes out its way to amuse the viewers, though sometimes you find yourself amused out of politeness.  Key moments, however, include the rather amusing Cockney-sounding Trolls who eat snot and belligerently assail anyone, friend or foe.

The key moment, though, is also probably one of the most anticipated parts of the film, the introduction of Gollum: one of the principal characters, despite the relatively small part he plays throughout the duration of the film.  The role, played by superbly versatile Andrew Serkis must not only be demanding; but is an absolute joy to watch.

He’s already won many plaudits for his acting in this film, and it’s easy to see why.  Battling a split personality, his character verges from the menace of Gollum and his wretched, demonic teeth to the arresting innocence of Sméagol and his big, blue eyes.

His game of ‘riddles’ with Bilbo isn’t only integral to the development of the plot and, therefore, Baggins’ survival, it’s also supremely humorous.  The battle of wills inside Gollum/Sméagol’s head is as volatile as it is side-splitting, and he still manages mental gymnastics in his battle of minds with Baggins.

Finally, comes a spoiler alert of sorts.  Or, rather, myself trying my utmost to prevent my blabbing.  Anyway, and this little detail might be rather insignificant for most, the end of the film is heralded with a scene evocative of  the omnipotent ‘eye’ which features throughout the Lord of the Rings trilogy.  I won’t tell you how or why it comes about though.

I genuinely look forward to parts two and three of this new trilogy, although I hope the plans to release all a year apart won’t affect the quality of output.  The thinking being, I suppose that you keep the audience waiting too long and they’ll lose interest.

Personally, I think if you make a film as well as you can, taking your time and deliberating over every detail, anticipation will be palpable and interest will soar!

Blood In The Mobile: Free Screening At Belmont

 Community, Information  No Responses »
Nov 232012
 

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Local charity Get Real About Drugs Education Aberdeen (GRADE A) teams up with the Belmont Cinema to deliver a free movie screening at 11am on Saturday 24 November. With thanks to Kenneth Watt.

Danish director Frank Poulsen’s 2010 documentary Blood in the Mobile addresses the issue of conflict minerals by examining illegal cassiterite mining in the North-Kivu province of eastern DR Congo, an industry strongly linked to human rights abuses.

The cassiterite dug out of the illegal mines is, according to Danish corporate monitor organisation Danwatch, primarily purchased as tin by the electronics industry after processing in East Asia. It is then widely used in the manufacture of mobile phones.

Youth councillor Virag Erdei, who sits on both the Aberdeen City Youth Council and its sister group GRADE A:

“As young people we feel very strongly about this issue. Many people of our age group are becoming ill and are dying because of the products we are buying in the Western world.

“I hope this film can educate and inform, as we all have a social and environmental responsibility to change the planet and make it a better place.

“I would like to thank the Belmont for screening the film for us and their support.”

Members of the public are encouraged to come along to the free screening at the Belmont Cinema, Aberdeen at 11am on Saturday 24 November. More information available from Aberdeen City Youth Council website: www.acyc.info

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