On the day of his BAFTA Fellowship Award, I present ten of my favourite screen roles from the towering giant of British cinema that is Sir Christopher Lee. In chronological order:
1. DRACULA (1958)
The definitive screen Count, his controlled sinister charm making the neck-plunging even more effective when it strikes! At his best in Dracula (1958) and Dracula – Prince Of Darkness (1966), before the role grew ever more caricatured and rarely allowed Lee any dialogue. Dracula A.D 1972 has a curious novelty appeal however!
2. TASTE OF FEAR (1962)
One of the best in Hammer’s run of Black & White thrillers and Lee’s personal favourite of all his films for the studio. His Doctor Gerrard is only a supporting role but it’s one of Lee’s most restrained and likeable performances.
3. DR TERROR’S HOUSE OF HORRORS (1965)
Lee plays art critic Franklyn Marsh, whose caustic put downs result in a visit from the Beast With Five Fingers! The best segment in an otherwise weak first horror compendium from Amicus.
4. RASPUTIN, THE MAD MONK (1966)
A full-throttle melodramatic performance here from Lee as Russia’s Greatest Love Machine (the mad ra-ra-rascal!)
5. THE DEVIL RIDES OUT (1968)
Hammer’s classic screen adaptation of Dennis Wheatley’s occult thriller sees Lee in heroic mode as the charismatic Duc de Richleau. A peerless performance.
6. THE PRIVATE LIFE OF SHERLOCK HOLMES (1970)
Having previously played Sherlock and Sir Henry Baskerville on film, here Lee has a small but very effective role as Mycroft Holmes in Billy Wilder’s wonderful interpretation of Holmes.
7. I, MONSTER (1971)
Amicus’ take on Jekyll & Hyde allowed Lee the opportunity of playing the dual role from the novella he loved. Shame they had to entirely change Stevenson’s character names though.
8. HORROR EXPRESS (1973)
All aboard the Trans-Siberian Railway for a real ‘B’ Movie treat as Lee’s Professor Saxton boards the train with the frozen remains of a primitive creature. Next stop, Terror Central, calling at Cheap-Scares Common and Chills-On-A-Budget Parkway!
9. THE WICKER MAN (1973)
Lee’s contribution to the greatest British horror film is not only his terrifying on-screen Lord Summerisle (That singing! That wig!) but also his off-screen championing of the film, which has doubtless helped it’s current status as an enduring classic of cinema.
10. THE MAN WITH THE GOLDEN GUN (1974)
As Ian Fleming’s cousin, Lee was perhaps destined to play a memorable screen Bond villain (having been Fleming’s preferred choice to play Dr. No back in 1962) and you don’t get more memorable than the three-nippled assassin Scaramanga and his absurd fun house!
And the five greatest films of the decade are …
5 Hidden (2005)
A bewildering puzzle of a film, as well as a disturbing and gripping thriller, Michael Haneke dissects both bourgeoisie society and cinematic voyeurism in his greatest film to date. Mysterious videotapes sent to the home of TV host Georges (Daniel Auteuil) and his wife Anne (Juliette Binoche), contain endless footage of the outside of their house filmed from a hidden static camera, ultimately forcing Georges to confront terrible secrets from his past. Not only a tragic personal story of a man stalked by his past, Haneke also offers a scathing attack on a self-satisfied intellectual class who share and deny a buried collective guilt, explicitly referring to the massacre of Algerians in 1961, but the idea applies on a more general level. Hidden sustains its incredible disturbing tension throughout, so that when one particularly horrible scene arrives, it is all the more shocking. An extraordinary multi-layered thriller, with a final subtle twist in its tail.
4 Let The Right One In (2008)
A stunning romantic horror film, Let The Right One In is such a richly moving work that any genre pigeon-holing does it a disservice. This is technically and emotionally superb filmmaking, with Tomas Alfredson’s delicate capturing of time, place and character absolutely pitch perfect. In a bleak snow-drenched suburb of 1980’s Stockholm, introverted 12-year old Oskar (Kåre Hedebrant) finds salvation from his bullying schoolmates when he develops a friendship with his young neighbour Eli (Lina Leandersson), who is actually a vampire over 200 years old. Like warm red blood melting through crisp white snow, this film will thaw any hard heart with its strange and poetic central friendship. By turns sensitive and shocking, Let The Right One In is a beautiful and frightening work of nuanced genius, where every detail matters.
3 Mulholland Dr. (2001)
Hurrah for David Lynch. Without his skewed psychological dreamscapes the cinema would be a far duller place. There’s something about Lynch’s unique off-kilter aesthetic that keeps me riveted to the screen, even in muddled but brilliant films like Lost Highway and Inland Empire, but with Mulholland Dr. he succeeds in making a work so unremittingly captivating that it doesn’t matter when none of it seems to make any sense. Of course, half the fun on repeated viewings is trying to work it all out (clue – it’s literally a film of two halves). If you thought Billy Wilder nailed feverish Hollywood noir with Sunset Boulevard, this menacing and surreal response to that film presents warped Tinseltown paranoia at the level of a carnivalistic nightmare. Mulholland Dr. is a monumental piece of intoxicating cinema, ranking with The Elephant Man and Blue Velvet as David Lynch’s third out-and-out masterwork.
2 Lost In Translation (2003)
A beautiful and totally charming tale of the unlikely friendship formed between an ageing movie star and the young wife of a celebrity photographer, both caught at emotional crossroads in their lives. Bonding over a shared sense of alienation and culture shock, a poignant relationship blossoms within the hotel’s sterile interiors. The couple’s final inaudible words together leave the audience floating with possibilities, but the impact is simply breathtaking. With career best performances from Bill Murray and Scarlett Johansson, an irresistible shoegaze soundtrack, and exquisite direction from Sofia Coppola, Lost In Translation is simple, sweet and so effective. Appropriately enough, this is a film to fall in love with and to lose yourself.
And The Film Of The Decade …
1 There Will Be Blood (2007)
So here it is, a film so devastating in its ambition and execution that no other came close to claiming the top title. The film’s many great aspects are all too clear when compared against other great cinematic jewels – There Will Be Blood offers a complex character dissection similar to Citizen Kane, it has the same themes of destructive greed as The Treasure Of The Sierra Madre, the same bold visionary style of 2001: A Space Odyssey, the same sprawling social commentary as The Godfather etc. In summary, this is one hell of a film. Channeling John Huston with frightening skill, Daniel Day Lewis’s tour-de-force performance as Daniel Plainview fully realises the character’s remarkable descent into evil. From a penniless wreck crawling over miles of hills with a broken leg to an insane ageing millionaire prowling madly around his empty mansion, the character arc of Plainview is truly terrifying. With this film, Paul Thomas Anderson cements his reputation as America’s greatest modern auteur. From its no-nonsense opening title to its closing dedication to Robert Altman, There Will Be Blood is an astonishing, mad, surprising, thematically rich, visually audacious masterpiece.
Look out for the next 100 Films Of The Decade list which will be published in January 2020.
10 Amélie (2001)
A picturesque postcard of Paris from the imagination of Jean-Pierre Jeunet, Amélie is a romantic comedy in which the word whimsical could almost have been invented. But that’s not to say it isn’t also extremely clever, witty, poignant and absolutley gorgeous to look at. Audrey Tatou plays the waitress Amélie Poulain, who goes to great lengths to surreptitiously alter the lives of those around her for the better, the role of guardian angel giving her lonely existence a purpose. The film is filled with the most wonderful comic touches (and conversely, touching comedy) such as when Amélie is mistakenly assumed to have a heart defect since the only time her heartbeat raced was during her medical inspections – the only physical contact with her father. The whole film has a glorious and unique colour scheme of glowing greens and yellows, giving it the quality of an eccentric fairytale. Endlessly inventive and engaging, Amélie is a total delight from start to finish.
9 Pan’s Labyrinth (2006)
Disturbing and enchanting in equal measures, Pan’s Labyrinth is a tour-de-force of allegorical adult fantasy from Guillermo Del Toro, restoring the traditional fairy tale back to it’s dark and twisted roots. In Spain 1944 at the close of the Civil War, the viscous Captain Videl hunts out anti-Franco guerilla fighters whilst his stepdaughter Ofelia discovers a fantastical world in an ancient labyrinth. The horrific and graphic realities of war are mirrored by an underground world of scary yet compelling creatures, with the film presenting a delicate balance between the brutal and the beautiful. The seamless mix of CGI, make-up and animatronic effects is quite incredible, making huge strides in this area. Pan’s Labyrinth perhaps overreaches itself with its overwhelming flow of ideas and conceptual levels, but there’s no denying the film’s incredible bewitching aesthetic and stunning cinematic vigour, which alone make it worthy of the top ten.
8 No Country For Old Men (2007)
After over twenty years of brilliant and fiercely individualistic filmmaking, The Coen Brothers made possibly their greatest film with this adaptation of Cormac McCarthy’s meditative crime thriller novel. Whilst sharing similar themes of chance, free-will and fate, as well as the corruptible effect of crime, with landmark Coen thrillers Blood Simple and Fargo, this study of nihilistic violence presents us with characters whose routes along the path of greed and violence is never assured or controllable. The whole film is neatly summed up by a quirk of psychopath Chigurh (a chilling Javier Bardem), who flips a coin to decide the fate of his victims and his decisions – every character’s actions and consequences in the film are equally haphazard. As well as its rich characterisations and evocative landscapes, No Country For Old Men is also a masterclass in taut suspense. A staggering achievement.
7 Children Of Men (2006)
In a dystopian Britain of 2027, reporter Theo Faron (Clive Owen) becomes involved with an underground group of rebels who are fighting to save mankind from a mysterious global infertility epidemic. Like all great science-fiction, Children Of Men is a thrilling (and here, grimly terrifying) vision of the future, as well as exploration of contemporary anxieties (immigration, homeland security, social cohesion). The film is notable for several remarkable one-camera tracking shots, particularly the seemingly real birth of a child and an exhilarating action sequence of a car being attacked by a guerilla army. Also worth mentioning is Michael Caine, giving one of his best performances in years as an ageing hippie activist. Children Of Men is best British film of the decade and one of the greatest works of speculative science fiction.
6 The Lives Of Others (2006)
A powerful and moving tale of humanity and self-sacrifice within the oppressive regime of 1980’s East Germany, Stasi surveillance officer Gerd Wiesler (a wonderful performance from Ulrich Mühe, who died shortly after the film’s release) is assigned to listen in on playwright and suspected spy Georg Dreyman in his apartment. But as Wiesler develops an increasing emotional attachment to the life of Dreyman and his wife, the tragic Christa-Maria, he becomes compromised between his duties to the state and his compassion for the artistic ideals of his target. The film met with criticism for its controversial depiction of the Stasi, especially the idea of a Stasi officer being the hero. With compelling plot turns, subtle characterisations and outstanding cinematography (capturing the grim setting of the GDR with dour greens and greys), I can’t recommend The Lives Of Others enough – watch it and let its poignant beauty overwhelm you.
20 About Schmidt (2002)
A perfect tragicomedy from Alexander Payne, About Schmidt‘s measured pace and delicate wit make it a refined joy to watch. After the death of his wife and subsequent discovery of her affair, retired insurance actuary Warren Schmidt takes a road trip across America to regain some control over his life. Jack Nicholson acts with surprising restraint throughout in one of his subtlest performances since Five Easy Pieces, a film directly referenced here with a roadside café scene in which Schmidt dutifully accepts the waitress’ ordering policy, in contrast to the confrontational encounter from 1970. This scene neatly sums up the overall tone of About Schmidt – the grudging realisation that life is just a series of flawed relationships and quiet disappointments. Painfully funny in every sense.
19 WALL•E (2008)
The world has become uninhabitable through pollution and a surplus of junk, with a cleaning robot and a VHS copy of Hello Dolly! pretty much all that’s left of civilisation on earth. The opening section of Wall-E is an ingenious, dialogue-free account of WALL-E falling in love with advanced probe robot EVE, only for her to attempt to blast him to pieces at every opportunity. As you’ll no doubt gather, Wall-E is a very unusual animated film, even by Pixar’s standards. The film unapologetically refuses to pander to young children (or even some adults!) in its political and ecological agenda, or with its subtle visually driven story, but embraces anyone happy to ride the film’s daring science-fiction concepts. In fact, it’s almost unthinkable that the Disney corporation would put out a film openly criticising the homogenous consumer society of America, considering their huge merchandise range and theme parks, but here it is! With a bold scope of ideas, a delicate emotional impact and stunningly realised artistry, Wall-E can sit proudly alongside Fantasia, Beauty And The Beast and Toy Story as one of the greatest animated films of all time.
18 Amores Perros (2000)
The film that first catapulted the Mexican New Wave on to the international scene, Amores Perros is an astonishingly visceral and profound viewing experiences. Consisting of three starkly different stories, all featuring dogs and all centred around a pivotal car accident, the opening ‘Octavio and Susana’ sees Gael García Bernal become involved in the dangerous pursuit of dog fighting and the closing ‘El Chivo and Maru’ is the surprising story of a professional hitman (Emilio Echevarría) living as an apparent vagrant surrounded by his pack of beloved mongrel dogs. But my favourite segment is the central ‘Daniel and Valeria’, a curiously moving tale of a supermodel confined to a wheelchair who loses her dog beneath the floorboards of her new apartment, the trapped pet paralleling the restraints of her life and relationship. The first, and best, of Iñárritu’s loose ‘Death Trilogy’ along with 21 Grams and Babel, Amores Perros is a smouldering cinematic powder keg waiting to explode across your senses.
17 United 93 (2006)
Five years after the September 11 bombings seemed the appropriate time for a series of dramatic responses to the event. Oliver Stone’s World Trade Center was a disaster movie with a heart, but the twin towers attack could hardly be presented with more affecting power than in the startling 2002 real-footage documentary 9/11. So Paul Greengrass approached the tragedy from a different angle, presenting in real-time the brave resistance of passengers aboard United Airlines Flight 93, the hijacked plane that failed to reach its planned target. Filmed with permission from the victim’s families (though one can barely imagine the heart-wrenching catharsis they must have experienced watching it), United 93 is almost unbearably explicit in its unfolding of events. A difficult and controversial film for sure, but a defining piece of emotive cinema, with Greengrass’ vérité style simply documenting the horror without compromise.
16 Eternal Sunshine Of The Spotless Mind (2004)
The fractured and deceptive nature of memory forms the basis for this mind-bending romantic comedy from writer Charlie Kaufman. Taking the pioneering visual trickery of his music videos to the big screen, Michel Gondry perfectly channels Kaufman’s stream of consciousness into a beautifully lucid flow of imagery. Jim Carrey and Kate Winslet appropriately play against type in a film that essentially reinvents cinematic storytelling as it goes along. Structured with dizzying ingenuity and presenting its ideas with impressive clarity, Eternal Sunshine Of The Spotless Mind is one of the most satisfyingly contorted assaults on mainstream cinema.
15 The Assassination Of Jesse James By The Coward Robert Ford (2007)
The greatest exhumation of the Western since Unfogiven and one of the most beautiful films of the decade, The Assassination Of Jesse James By The Coward Robert Ford is a rueful psychological study of the criminal mind, of lonely landscapes and eager mythologizing, all filmed with impeccable mood and lighting. Brad Pitt embodies the ageing Jesse James with a growing paranoia and gradual acceptance of his own inevitable demise, manipulating his friendship with the young wayward gang member Robert Ford (Casey Affleck) to seal his legendary standing. Affleck is an absolute revelation in the complex role of the troubled and insecure Ford and several sequences, including a shocking train hold-up, are among the best the genre has ever delivered. A stunningly photographed, epic character assassination.
14 Downfall (2004)
The first major German film to feature Adolf Hitler in the central role, Downfall presents us with the last ten days in Hitler’s bunker, Oliver Hirschbiegel filling every moment with a chilling tension and a true sense of irrevocable decay. Bruno Ganz, a legend of the German New Wave, pulls off a remarkable feat by humanizing Hitler as a dimensional character but offering no sympathy for him, instead we are witness to his spiralling madness and pain as power slips from his hands. But there’s an emotional attachment from the Führer, with all activity in the bunker seen through the eyes of young personal secretary Traudl Junge (Alexandra Maria Lara) who is not complicit to the evils of the Nazi regime and offers an important central heart to the film. Downfall is one of the most powerfully vivid depictions of a specific time and place you could ever see.
13 Zodiac (2007)
Having perfected the serial-killer shocker with Se7en (1995), David Fincher turned the whole concept on its head with this amazing procedural thriller. Following the lives of Crime Reporter Paul Avery (Robert Downney Jr), Political Cartoonist Robert Graysmith (Jake Gyllenhaal) and San Francisco Detective Dave Toschi (Mark Ruffalo) over a 20 year period, this is a serial-killer film where the destructive evil is not so much in the perpetrator as within those who obsessively hunt him down and the effect on their relationships and careers proves devastating. Although Fincher punctuates the narrative with several bravura murder (or attempted murder) sequences, and even sneakily offers a false suspenseful ending, the majority of Zodiac is taken up with the gripping and insightful study of three characters destroyed by their own haunted quest for the truth. With its ambitious and subtle use of effects, its refusal to make things easy for the audience and a unique approach to its topic, I’ll stick my neck out and say that Zodiac is Fincher’s finest film to date.
12 In The Mood For Love (2000)
Having made the greatest romantic film of the 1990’s with Chungking Express, the great Wong Kar-Wai repeated the achievement and then some for the 2000’s with the sublimely gorgeous In The Mood For Love. No film has ever achieved the same mesmeric beauty seen in this tale of unrequited love in 1960’s Hong Kong. Chow Mo-wan (Tony Leung) and Su Li-zhen (Maggie Cheung) fall for each other after discovering an affair between their respective partners, but refuse to take the same destructive path themselves. Imbued with deep reds and yellows, and put to an incredible string score from Michael Galasso and Shigeru Umebayashi, In The Mood For Love is a sumptuous treat for the eyes and a tender sensation for the heart. Also highly recommended is the 2004 sequel 2046 which traces the aftermath of the unconsummated affair.
11 A History Of Violence (2005)
One of the few out-and-out Horror directors to carve out a critically lauded career of art house/genre crossover films, David Cronenberg distilled the best of both areas with his incredible noir-thriller A History Of Violence. Viggo Mortensen plays the mild-mannered diner owner Tom Stall, whose past catches up with him when he becomes a local hero after an attempted robbery. With a dark nod to the bleak character studies of film noir and an obvious debt to Straw Dogs, this riveting thriller is rich with social and evolutionary metaphors, Tom’s secrets representing mankind’s innate need for violence both for success and survival. Allowing plenty of scope for Cronenberg’s brilliantly explicit gore, but also for a revealing meditation on the nature of violence, A History Of Violence has become the essential first port of call in this director’s remarkable “body horror” of work.
50 Almost Famous (2000)
A semi-autobiographical comedy drama from rock journalist-turned-director Cameron Crowe, Almost Famous tells the story of 15-year old William (Patrick Fugit), assigned by Rolling Stone Magazine to write an article on the road with ‘almost famous’ rock band Stillwater, on the false assumption that he is a much older and experienced journalist. Amidst the raucous rock ‘n’ roll comedy, a charming romance blossoms between William and band groupie Penny Lane (Kate Hudson). But the emotional heart of the film comes from Frances McDormand as the anxious disapproving mother whose two children have both escaped the trappings of home life, only for them to find truth in the adage ‘home is where the heart is’. The film’s wonderful enveloping rock soundtrack, containing choice cuts from Led Zeppelin, Simon & Garfunkel, Elton John and The Beach Boys among others, became just as popular and influential as the film itself. Hilarious, uproarious but also deeply touching, Almost Famous perfectly encapsulates the fundamental driving forces of love and music.
49 Persepolis (2007)
In bringing her own graphic novel to the screen, Marjane Satrapi’s autobiographical account of growing up during the war and revolution in late 20th-century Iran becomes a captivating and poetic animated feature. Although set against a harrowing depiction of war-torn Iran, with an honest portrait of Iranian families’ hopes and fears, Persepolis‘s amusing coming-of-age tale is indicative of humanity’s resilient sense of humour when surrounded by tragedy. The teenage Marjane secretly buys banned western rock music, wears punk clothing and submerges herself in Austria’s bohemian youth culture during an expatriation, but her rebellious streak is offset by her shame at rejecting her own Iranian routes. The superb black and white animation flows from scene to scene with dazzling invention, faithful to both the stylised immediacy of graphic novels and smooth fluidity of the animated movie.
48 Moon (2009)
Just as Arthur C. Clarke’s prophetic decade of discovery came to a close, a film came along to conjure up comparisons with 2001: A Space Odyssey and revive interest in the great British science-fiction film. Sam Rockell gives a tremendous virtually solo performance as Sam Bell, stationed alone for three years at a lunar industrial base, with only the HAL-like robotic servant GERT (the sedate tones of Kevin Spacey) for company. But after a concussive accident in a lunar rover, Sam wakes in the infirmary to discover that he might not be quite as alone as he’d thought. Duncan Jones’ first feature makes excellent use of it’s relatively low budget, with superb sterile sets and impressive split-camera effects. Also of note is the excellent model work – a refreshingly tangible quality in an age of predominant CGI. But all this would mean very little if it weren’t for the film’s thoughtful and engrossing narrative. A brilliantly sustained claustrophobic puzzle of lost identity, Moon is no mere space oddity. (sorry!)
47 Sweeney Todd – The Demon Barber Of Fleet Street (2008)
Stephen Sondheim had not licensed one of his musicals for the cinema since his dissatisfaction with A Funny Thing Happened On The Way To The Forum, but he wisely let Tim Burton make a film of his macabre stage masterwork. Leaving all the songs virtually intact, Burton adds his own visual opulence with a fantastically stylised recreation of back-street Victorian London. The score is fantastic, the gore is revolting and Johnny Depp sings like Anthony Newley. The greatest live-action musical since Cabaret, Sweeney Todd – The Demon Barber Of Fleet Street is a Grand Guignol triumph of razor-sharp excellence.
46 Control (2007)
Retelling the troubled life and tragic suicide of Ian Curtis could have been a painfully morose experience, but Dutch photographer Anton Corbijn’s adaptation of Deborah Curtis’ Touching From A Distance is as richly rewarding as Joy Division’s own awe-inspiring music. Control‘s stark black and white presentation acutely reflects the haunting mood of the era, as if the iconic monochrome photographs of the band come to life before our eyes. Newcomer Sam Riley conveys great poignant apathy in a complex examination of depression and isolation. A poetic counterpoint to 24 Hour Party People, Control is one of the most beautiful British films ever made.
45 Punch-Drunk Love (2002)
A terse excercise in passive-aggressive strangeness, I was initially perplexed and confounded by Paul Thomas Anderson’s unusual romantic comedy, but repeated viewings revealed a quite extraordinary work of subversive, unconventional romance. Casting Adam Sandler is the first great provocation, his character of Barry Egan being a darker, more damaged version of the actor’s usual misfit persona. Then there’s the soundtrack, with Jon Brion fusing random off-kilter drum rhythms and an oppressive harmonium together with Shelley Duvall singing ‘He Needs Me’ from Popeye. The screen fills with bold splashes of colour seemingly at random, and Phillip Seymour Hoffman turns up as a violently abusive phone sex-line supervisor. Disorienting and odd, Punch-Drunk Love is a typically daring assault on a generally bland genre by a true cinematic visionary.
44 Frost/Nixon (2008)
Who’d have thought David Frost would be at the centre of the greatest cinematic clash since Hans Gruber fell to his death. But Peter Morgan creates another exciting rendering of real events after his success with The Deal and The Queen. Shaping the film as an intellectual boxing match, the heavyweight self-satisfied ex-president Richard Nixon (Frank Langella) squares up against lightweight wheedling showbiz playboy David Frost (Michael Sheen). But the encounter soon develops into a crucial opportunity for both parties to salvage their reputations. It could be argued that Ron Howard makes little concessions to cinema in adapting the play, but it hardly matters since the acting and dialogue are pitch-perfect. A riveting dramatic duel.
43 Howl’s Moving Castle (2004)
The boundless creativity and imagination of Studio Ghibli proved the perfect company to bring Diana Wynne Jones’ fantasy novel to the screen and brought anime supremo Hayao Miyazaki out of his short-lived retirement. The story brims over with elaborate fantasy and frankly defies a one-sentence summary, but among the many fantastic creations on display are Calcifer the vivacious fire demon, the repulsive Witch Of The Waste, and the devoted prince-turned-scarecrow Turnip Head. Howl’s Moving Castle casts an intoxicating animated spell and is another sparkling gem on Studio Ghibli’s rich cinematic crown.
42 Frozen River (2008)
A powerful first feature from Courtney Hunt, Frozen River is a timely reminder of those living on the literal peripheries of society during the economic downturn. In a remarkable début film performance, Melissa Leo plays struggling single mother Ray Eddy, who resorts to smuggling immigrants across the dangerously icy Canadian border as a means of supporting her children over christmas. Entirely filmed on location in snowbound Upstate New York, the grim setting adds a menacing power to this intense story of despair. Close-ups of Ray’s stark pale face and dry cracked skin have the same dramatic impact of Dorothea Lange’s famous photos of Depression-era mothers, and this film is an equally significant document, albeit fictionalised, of a financially stricken era. Frozen River offers the rare merging of a sharp socially conscious drama with an urgent edge-of-the-seat thriller.
41 I’m Not There (2007)
The intrepid Todd Haynes revealed the dramatic strategy of his remarkable film by explaining “He’s like a flame: If you try to hold him in your hand you’ll surely get burned. Dylan’s life of change and constant disappearances and constant transformations makes you yearn to hold him, and to nail him down”. Of course, this most distinctive and audacious of biopics isn’t really a biopic at all. The name Bob Dylan is only mentioned once, in the opening credits as ‘inspired by the music and many lives of Bob Dylan’ (hence he’s ‘not there’). Six disparate actors, including Richard Gere, Heath Ledger, Ben Whishaw and even Cate Blanchett, portray six fictional songwriters at various junctures of creative life. I’m Not There brilliantly captures the extraordinary, multi-faceted career of a musical giant in a bold cinematic style.