Category: Film Notes

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Film Notes

Film Notes #13: The Triplets of Belleville (2003)

SPOILER ALERT: Plot details will be revealed!

Sylvain Chomet’s delightful animated film is Number 13 in my Film Notes series.

For those unfamiliar, this series of posts involves me watching a film every day for 30 days, with the following rules:

  • It must be a film I have already seen.
  • I must make notes whilst I’m watching it.
  • Pauses are allowed but the viewing must all be one session.
  • It can’t be a current cinema release.

It will hopefully capture my instant thoughts about a movie provide a snapshot of my film diet for 30 days and curate interesting links to the film in question.

Here are my notes on The Triplets of Belleville (2003) which I watched on DVD on Wednesday 4th April.

N.B. For some reason it was released in the UK as Belleville Rendez-vous but it seems the title has now realigned with the rest of the world.

  • I first saw this at 20th Century Fox in London during July 2003
  • It is still a film I return to and marvel at for it’s incredible surreal charm.
  • This was Chomet’s first feature and an international co-production between companies in France, the United Kingdom, Belgium, and Canada.
  • The ‘period’ opening is very well done, establishing the notion of the Triplets as famous singers (even though they are very much supporting characters)
  • This is a film I often recommend to people if they are bored of mainstream animation and want something a bit different and unusual.
  • It combines the imaginative panache of SPIRITED AWAY (2001) with the wordless charm of THE ARTIST (2011)
  • I actually want to live in Madame Souza’s house with a dog like Bruno.
  • Sound is vital in lending the slightly surreal animation a sense of realism. Especially since there is virtually no dialogue.
  • The emotional distance between the young boy and his grandma is well established.
  • Touching scene when we see the boy’s parents – presumably Souza’s son/daughter?
  • Great touch that Bruno goes crazy at the passing trains – clearly this was written by dog owners.
  • The use of a Hoover, whisk and mower for a cycling warm down is hilarious
  • Interesting circular shot as Souza puts the model wheel on the model Eiffel tower
  • Absence of dialogue makes us focus on the nuances of character
  • Interesting choice of shots when we see Champion from above and when Souza reflects on the photos before turning the lights off
  • Love the way Bruno jumps on the bed the way big dogs actually do.
  • Bruno’s dream sequences are genius.
  • Souza’s whistle is another good example of sound in the film (Foley is actually
  • The gangsters bodies have an interesting geometric shape – note that all characters in this are distinctive but have key differences
  • The kidnap of Champion happens slowly – in a lot of movies they happen in a flash
  • The pedalo sequence is unexpectedly moving
  • Belleville is a cross between Tim Burton’s Gotham in BATMAN (1989) and the environments of Jean-Pierre Jeunet’s THE CITY OF LOST CHILDREN (1995)
  • Hamburger restaurant scene seems to be some kind of commentary on American obesity and capitalism
  • In the triplets apartment even the Oscars are overweight (the film was nominated for Best Animated film)
  • The fishing for frogs scene is an instant classic
  • Transitions between scenes are worth keeping an eye on – note how frog spawn becomes the moon
  • Why does one of the Triplets stop Souza from doing the hoovering and reading the paper? (Maybe the latter is a stage prop?)
  • I love the fact that the sisters all watch TV together in bed
  • What exactly is going on with the kidnapped cyclists? Contraband electricity?
  • Residents of the nightclub seem suitably grotesque.
  • I read once that despite eating fattier food, rates of obesity in France are much lower than the US. Why? Healthier ingredients and smaller portions.
  • Like the visual image of gangsters in pairs
  • The betting scene reminds me of THE DEER HUNTER (1978) – it also appears to be some kind of commentary on the film technique of rear-projection
  • The framing, composition and overall visual storytelling are excellent.
  • Almost every scene is punctuated with a surreal, inventive humour.
  • Theatre scene reminds me of INGLOURIOUS BASTERDS (2009)
  • Note the yellow headlights on the gangster’s cars.
  • I like the fact that one of the ‘vehicles’ during the climax is effectively a portable cinema.
  • Nice payoff with Bruno barking at the train on the level crossing
  • It just struck me that the gangsters all look like Neville Thurlbeck
  • What other film ends up with four old women and a dog being chased by gangsters in a car chase?
  • Chomet’s follow up film would be the equally marvellous THE ILLUSIONIST (2010)

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Film Notes

Film Notes #12: Total Recall (1990)

SPOILER ALERT: Plot details will be revealed!

Paul Verhoeven’s sci-fi actioner is Number 12 in my Film Notes series.

For those not familiar with this series of posts, it involves me watching a film every day for 30 days.

The following rules apply:

  • It must be a film I have already seen.
  • I must make notes whilst I’m watching it.
  • Pauses are allowed but the viewing must all be one session.
  • It can’t be a cinema release.

The point is to capture my instant thoughts about a movie and my overall film diet for 30 days, as well as curate interesting links to the film in question.

Here are my notes on Total Recall (1990) which I watched on DVD on Monday 2nd April. Give these people air!

  • Wonderful trailing opening titles that suggest SUPERMAN (1978)
  • Pounding title music by Jerry Goldsmith that recalls another Schwarzenegger film – Basil Pouledoris’s main theme to CONAN THE BARBARIAN (1982)
  • Love the intensity of the opening Mars scene – Verhoeven really knows how to sell visceral violence (e.g. You really feel those eyes are popping out of his head)
  • Slightly disappointed that he chose to go for the ‘it’s only a dream’ edit in which Arnie sits bolt upright. Has anyone ever woken up from a dream like this?!
  • Note that Sharon Stone is actually pissed off and jealous at the dream – a sign of things to come
  • Verhoeven got his Hollywood breakthrough with ROBOCOP (1987), which blended 80s action movie with surprisingly sharp political satire
  • TOTAL RECALL (1990) continues the trend with its social commentary blended within the framework of a sci-fi thriller.
  • Films like THE TRUMAN SHOW (1998), THE MATRIX (1999) and INCEPTION (2010) played around with similar concepts
  • Nice touches: fingernail polish, x-ray machines and video walls
  • The x-ray machines are now standard in US airports!
  • Production design is great – clever blend of sets and Mexican subway system.
  • Love the recall salesman / travel agent – he’s actually selling me on this holiday
  • Arnie’s line “don’t bullshit me” seems ADR’d
  • The scene where Arnie explains what kind of woman he really
  • Like the pacing in this film – no dicking around. 15 minutes in and we’re off.
  • Sharon Stone is at her glamorous best in this film – you can see why Verhoevan cast her in BASIC INSTINCT (1992)
  • The videophones are basically Apple FaceTime (they even have a portrait screen)
  • Fight scenes are brilliantly choreographed by Vic Armstrong – we really feel every punch and crunch.
  • Michael Ironside is a genuinely great villain. Charming, ruthless and we get the vibe he doesn’t mess around.
  • Subway shoot out is brutal fun. Think they had to make cuts for the theatrical release.
  • Notice how this is really a continuation of the previous chase (which hadn’t really ended).
  • The tracking device predicts the current debates about the surveillance society
  • Love the dryness of Arnie’s lines.
  • Verhoeven has been deftly handling action and narrative now for about 20 mins
  • Sound design and Rob Bottin’s make up work are A-grade in the bug removal scene
  • Good miniatures for the spaceships on Mars. Although this was made on the cusp of the ILM revolution ushered in by TERMINATOR 2 (1991) and JURASSIC PARK (1993) it still stands up for the most part.
  • Kuato is freedom fighter who in this film we are expected to sympathise with but I wonder how the remake will play around with this idea in a post-9/11 world.
  • Rob Bottin’s make up is excellent in the airport scene.
  • Note the use of a vertical set to simulate zero gravity (a trick Vic Armstrong
  • Cohaagen is to Mars what NCP was to Detroit in ROBOCOP (1987).
  • Sets are believable because Mars is an indoor world anyway.
  • Cab driver: “I’ve got five kids to feed!”
  • Apparently during filming the crew all thought Rachel Ticotin was going to be the big star, not Sharon Stone
  • The hotel room scene was almost certainly a big influence on INCEPTION (2010).
  • Don’t be fooled by the fact that this is a sci-fi starring Arnie – this is very good genre writing
  • Lot of product placement in this film (Sony, Fuji Film and Miller Lite)
  • Great female fight, expertly arranged by Vic Armstrong who really wanted to stage a memorable scrap
  • The pacing is brilliant during Quaid and Milena’s escape – back when action was cleanly edited and featured smooth camera work
  • Rob Bottin’s make up work is outstanding – especially the cab drivers arm and Kuato
  • The villains have a devilish wit which gives the film a pleasing light touch.
  • Obligatory ‘explanation scene’ is actually an interesting exercise in making the audience uncertain
  • Even by modern torture porn standards, the brainwash scene is brutally violent.
  • Quaid’s line “Give these people air!” was referenced in Judd Apatow’s KNOCKED UP (2007).
  • Even the goldfish die.
  • Quaid: “Screw you!!!”
  • Slightly dated rear projection work with the reactor
  • The pace in the second half of this film is absolutely tremendous
  • Sound design also excellent. You can really hear guns and punches.
  • The fight on the lift is another corker – notice the foley on
  • I’ve always loved Ronny Cox’s line about being “home in time for cornflakes”
  • Climax also features great use of vertical sets
  • Satisfyingly visceral gore of Cohaagen’s eyes popping out. More brilliant work from Rob Bottin.
  • I think the VFX crew used the old milk in tank trick to simulate to clouds on the mountain. Also used in RAIDERS OF THE LOST ARK (1981) and POLTERGEIST (1982).
  • Nicely ambiguous ending which allows different interpretations (Verhoevan’s is considerably darker than Arnie’s)
  • Cameras by ARRI

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Film Notes

Film Notes #11: Blow Up (1966)

Michaelangelo Antonioni’s classic exploration of the dark side of Swinging Sixties London is Number 11 in my Film Notes series.

For those not familiar with this series of posts, it involves me watching a film every day for 30 days.

The following rules apply:

  • It must be a film I have already seen.
  • I must make notes whilst I’m watching it.
  • Pauses are allowed but the viewing must all be one session.
  • It can’t be a cinema release.

The point is to capture my instant thoughts about a movie and my overall film diet for 30 days, as well as curate interesting links to the film in question.

Here are my notes on Blow-Up (1966) which I watched on DVD on Sunday 1st April.

  • Great opening titles set against the green grass, which will be important later on.
  • The strange performance troupe are charging around The Economist building. Was that deliberate social commentary?
  • Antonioni’s second colour film after RED DESERT (1964) and the first to have a leading man.
  • Verushka can’t really act, but maybe that’s the point.
  • How was the cliche of the 1960s London photographer ever done before this film?
  • Cuts in the photo shoot are like photo rather than film edits.
  • Clever for Antonioni to use a photography studio as a location, as he can play around with the idea of photographer as director. The park (location), studio (soundstage), models (actresses), propellor (props) and darkroom (lab) can all be seen as analogues for the filmmaking process. After all what is cinema but photography at 24 frames per second?
  • As you might expect from Antonioni, the compositions are absolutely tremendous: interesting, playful and formally brilliant.
  • 1960s fashions are a mixture of the cool and grotesque.
  • There’s something dark and unknowable about Hemmings – although dark and strange things happen to him, he remains an ambiguous, unlikeable character.
  • The way he leaves the models waiting in the studio is the sign of an inconsiderate ass. But that’s also why he’s an interesting protagonist.
  • The way he talks to the models shows that he has significant social status within this world
  • Blue house on Woolwich Road shows his eye for interesting buildings.
  • This is definitely one of the great London movies – Antonioni brings an outsiders eye to Swinging London.
  • Why does he go into the antiques shop? Just browsing? Conversation with the Irish guy is very Pinteresque.
  • The famous scene in the park begins around 23m
  • I bet Nikon were glad one of their cameras got featured in one of the most analysed scenes in movie history!
  • Note how calm the editing is as the scene unfolds
  • The sound of the wind is key, although subtle it’s always there. Wonder what equipment they mixed it on.
  • Vanessa Redgrave and her lover are deliberately kept at a distance so see them as though we were looking through Hemmings’ viewfinder.
  • Redgrave: “This is a public place!” (Irony that she expects privacy in a public place)
  • All this outdoor dialogue between Redgrave and Hemmings is post-synced
  • We find out that the action takes place on a Saturday morning, as the girl selling him the propellor says “that’ll teach you to fall in love with things on Saturday morning!”
  • What the hell does he want with a propellor anyway?
  • Love the shots of him driving around London. It is bleaker and more interesting than people might remember.
  • Hemmings: “Already there are queers and poodles in the area”
  • Peter Bowles as his agent is good value. I’m curious as to what publications he is selling those photos to.
  • One thing about watching films of this era is the post-synced sound design. Makes you appreciate the rich mixes of the post-5.1 era.
  • When Hemmings says he’s fed up with London and those “bloody bitches” we suspect he’s disillusioned with the shallow lifestyle he’s leading.
  • His portfolio is clearly that of a social voyeur.
  • Note the clever, elliptical cutting of the stranger at the restaurant window – most directors would have clearly showed his face
  • Is there is a significance in the “Go Away!” sign that he seems happy for the protestor to put in his backseat
  • Redgrave looks great when flustered.
  • How does her character know he is home?
  • Obligatory 60s jazz on the soundtrack.
  • Hemmings plays louche disinterest very well well. Not as easy as it seems.
  • Hemmings: “Sorry love. The bird I’m with won’t talk to you” (People forget how common ‘bird’ was as a slang phrase until the 1990s.
  • Hemmings seems more intrigued by the cryptic game Redgrave is playing than the sex she seems to be offering him
  • Good use of pauses and silence
  • Hair stuck in the film visible at 54.55 as Redgrave leaves – this film needs a frame by frame restoration on Blu-ray
  • Hemmings developing his photos is actually a great procedural scene.
  • It not only gives the movie its title but is perhaps how audiences today and in the future will get to see how photographic film was developed in the pre-digital era
  • We see (and don’t see) what Heemings sees.
  • Even though I’ve seen this film many times, the examination of a still image in a motion picture is a striking idea.
  • Sound design is used to recreate the atmosphere of the park as we relive the scene through the photos
  • The implication seems to be that Redgrave and an accomplice had her lover in the park bumped off.
  • Although it seems tame by today’s standards the scene with the frolicking girls would have provided invaluable publicity and buzz
  • Colours on the girls dresses appear to have been carefully chosen
  • Ansel Adams once had a line: “A true photograph need not be explained, nor can it be contained in words”. That’s also a pretty accurate description of this film.
  • The scene where Hemmings goes back to the park at night reminds me of NO COUNTRY FOR OLD MEN (2007)
  • Sarah Miles looks curiously pained when she observes Hemmings watching her have sex – it just occurred to me what an interesting scene that really is just typing that last sentence out.
  • It seems Hemmings uses Kodak film (always the best!)
  • Hemmings: “I saw a man killed this morning”
  • This would make an interesting double bill with either THE PARALLAX VIEW (1974) or BLOW OUT (1981). All films play on the notion of sound and vision being unreliable.
  • Sarah Miles has incredible hair in this scene.
  • This is one of those films that you never get bored of watching – perhaps because it is about the act of observation itself.
  • What other 1960s film features The Yardbirds?
  • Jimmy Page and Jeff Beck in an Antonioni movie! This scene was overflowing with talent.
  • Note the recurrence of the colour purple.
  • Love how the party shows the lazy decadence of 60s London. Someone’s been murdered and they don’t give a toss!
  • Closing sequence is one of my all time faves. I’ll leave you to debate in the comments below.

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Film Notes

Film Notes #10: Man on Fire (2004)

Tony Scott’s 2004 revenge drama starring Denzel Washington is Number 10 in my 30 day Film Notes series.

For newcomers, this month-long series of posts involves me watching a film every day for 30 days.

The following rules apply:

  • It must be a film I have already seen.
  • I must make notes whilst I’m watching it.
  • Pauses are allowed but the viewing must all be one session.
  • It can’t be a cinema release.

The point is to capture my instant thoughts about a movie and my overall film diet for 30 days, as well as post interesting links to the film in question.

Here are my notes on Man on Fire (2004) which I watched on BBC1 HD via PVR on Saturday 24th March.

  • There is a weird Harry Potter connection to this film: JK Rowling’s agent Christopher Little also represents the A.J. Quinnell – author of the book on which it is based.
  • It has been filmed once before in 1987, with Scott Glenn in the Creasy role.
  • In that film the action was in Italy but here it has been relocated to Mexico.
  • Chanting music over opening titles, interchanging film stocks and the AVIDs are working overtime!
  • Walken and Washington have an instinctive rapport – we immediately get the vibe that these guys know each other
  • Dialogue establishes that they have been involved in some heavy stuff (ex-special ops)
  • Harry Gregson’s score has been used in a lot of news documentaries
  • Note the sound on the lighting of Mickey Rourke’s match – Scott loves a visceral audio mix.
  • The fleet of cars driving across the landscape recalls REVENGE (1990) another revenge themed film Scott shot in Mexico.
  • Some stylistic similarities between the two films, even though Scott has utilised the advances in digital editing and post-production
  • Neat trick making Dakota Fanning a precocious child – she’s essentially playing a version of herself.
  • Radha Mitchell was coming of the success of PITCH BLACK (2000) – she looks beautiful but her role is rather underwritten
  • First time I’ve seen this in HD and the clarity of image and golden hues are stunning (like his brother Ridley, Tony Scott is a master of light).
  • Nice tension created about a possible kidnapping in the traffic through cutting and camera.
  • Mitchell and Washington’s conversation is unusually constructed – use of zooms into the mirror used as well as conventional edits.
  • The ‘Creasy getting drunk’ scene is a little overcooked.
  • Like the fact that Walken has several phones – well researched detail.
  • Pita at the pool sequence is a good example of Scott’s attention to sound.
  • Pita: “Creasy, what’s a concubine?”
  • Nice chemistry between Fanning and Washington
  • Build up to the kidnapping is nice – interesting blend of camera moves, edits and sounds
  • Note the calm of the classical piano
  • Scott is using digital editing systems almost as a paintbox
  • Old school editors must be turning in their grave at a film like this
  • Like the fact that Spanish is spoken and the way the subtitles are done – slinking along the screen in sync with the words
  • Bursts of Lisa Gerrard’s vocals are used in this film to indicate emotion – her extraordinary voice was first used in THE INSIDER (1999) and then GLADIATOR (2000)
  • The visuals used to denote the kidnappers are insane
  • Ransom demand scene is not quickly edited (although it feels like it) but the flashing and speeded up effects give that vibe.
  • Like the way “La Hermandad” pops up in sync with dialogue.
  • Reverse chopper shot of Mexico skyline used from earlier?
  • Walken’s performance has a nice easy vibe that provides some welcome relief from the heavy drama.
  • Rachel Ticotin previously filmed TOTAL RECALL (1990) in Mexico.
  • Creasy quickly becomes a vengeful badass but that’s logical given his line of work.
  • Finger cutting scene is intense but it’s the kind of sequence that would infuriate the late Pauline Kael and her many acolytes.
  • Car falling off cliff recalls similar scene in THE LAST BOY SCOUT (1991).
  • Creasy looks a bit out of place at the rave with that head scarf.
  • I think Tony Scott should do a whole film set at a rave – really go to town.
  • Split screen, bleach bypass, hand cranked cameras – this is visual overload!
  • One way Scott and his DP Paul Calderon relieve the furious style is to cut to a relatively pristine image.
  • The dancers cheering Creasy’s shotgun blasts is an effective touch – shows the atmosphere of mayhem.
  • Great night time photography in the conversation between Washington and Ticotin
  • Walken line about Creasy’s art is priceless – still not sure if it’s delivered with a metaphorical wink to the audience
  • Would it really be practical to fire a rocket launcher into a busy Mexican high street?!
  • Impressive explosion and flames however, plus this scene gave us the poster image.
  • Great location for the ass bomb scene. Really notice the lighting in HD.
  • It would have been really cool if the on screen stopwatch had synced in real time.
  • Washington’s delivery of his lines in this scene is excellent.
  • I bet someone somewhere has actually used the line “I wish. You had. More time!” just to be a badass.
  • Tony Scott was clearly born to shoot in Mexico.
  • Interior lighting of characters is tremendous.
  • Radha Mitchell doesn’t seem that distressed her husband has just blown his head off in their home.
  • It would be fair to say that this film is not a study of the social conditions that produce violence and kidnapping.
  • Creasy refusing money and blowing the hand off the Voice’s brother shows he really doesn’t care about what drives the ransom business (i.e. money)
  • Nice reverse offer from The Voice (“I will give you her life for your life”).
  • Interesting choice of time and location for the climax (often films end
  • Great shooting and use of music for the end.
  • Film has a slightly different resonance after the Fritzl case and all the subsequent kidnap films which almost became a Euro subgenre.
  • Like the way a mainstream film doesn’t wimp out at the end.
  • Nice symbolic touch of him dropping the St Jude medallion at the end and the credit that gives the date of the final day (Dec 16th 2003)
  • Alternate ending has Creasy going to the house of the Voice and blowing it all up.

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Film Notes

Film Notes #9: The Spy Who Loved Me (1977)

* SPOILER WARNING: Details about the film will be revealed *

Lewis Gilbert’s 1977 Bond film is Number 9 in my 30 day Film Notes series.

For newcomers, this month-long series of posts involves me watching a film every day for 30 days.

The following rules apply:

  • It must be a film I have already seen.
  • I must make notes whilst I’m watching it.
  • Pauses are allowed but the viewing must all be one session.
  • It can’t be a cinema release.

The point is to capture my instant thoughts about a movie and my overall film diet for 30 days, as well as post interesting links to the film in question.

Here are my notes on The Spy Who Loved Me (1977) which I watched on ITV4 on Friday 23rd March.

  • Roger Moore’s third and best outing as Bond, even though LIVE AND LET DIE (1973) is more purely enjoyable.
  • The opening scene with the sub sinking is very similar to THE ABYSS (1989), only minus the aliens.
  • The theme on Triple XXX’s music box is Lara’s Theme from DR. ZHIVAGO (1964).
  • The other Lean film theme referenced in the desert sequences is LAWRENCE OF ARABIA (1964)
  • Subsequent stunt where Bond skis off a cliff is stunning – one of the best live action jumps ever.
  • Bond films provide an interesting gauge of the Cold War – the Russian characters are usually consistent with Moscow relations
  • The shark death at the beginning was surely a cash in on the success of JAWS (1975)? They even named one of the henchman after it!
  • Stunts are mostly impressive for the time, blending live action, rear projection and miniature work.
  • Marvin Hamlisch’s score is unusually funky for a Bond film.
  • All the stuff with the Pyramids creeped me out as a 6 year old watching this on TV.
  • The sexism of the era is apparent in the cheesy gags but the Bond girl is more integral to the story.
  • Lotus coming out of the sea features the obligatory scene where a drunk man does a double take at his bottle.
  • Some occasionally sloppy shots, such as Bond and Anya being lowered down to the US submarine.
  • Guessing this was shot on anamorphic, but why do ITV persist in cropping widescreen films to 1:85? Will the audience complain?
  • The miniature of the speed boat as Anya and Stromberg leave is woeful even by standards of the day.
  • Stanley Kubrick advised his old colleague Ken Adam – who designed the iconic War Room for DR STRANGELOVE (1964) – on the lighting for the enormous submarine set – at that time one of the largest ever built.
  • They must have needed a lot of orange boiler suits to film the climactic gun battle.
  • The climax of TOMORROW NEVER DIES (1997) references the climax of this film with the big fight on the sub.