Welcome to part two of my needlessly lengthy attempt to tell you why you shouldn’t be so angry about the remakes.
“Well what about foreign films?” I hear you demanding like the voices in my mind that scream in the night. People always get very angry about remakes of foreign films, especially recent foreign films (and by foreign I’m referring to foreign language for the purposes of this article). During the release of Matt Reeves’ Let Me In I mounted a defence of remaking foreign films on my, sadly defunct, podcast and it prompted someone to leave the following scathing review on iTunes…
“Since the podcast where they defended Hollywood movie remakes I’ve lost respect for them. There is no reason to remake a film ever!! Learn to read and watch the original in it’s own language. Retards.” Continue reading “The Remake Manifesto: Part 2 – On foreign lands and fading memories”
You know the drill, news comes in of a remake that is occurring in Hollywoodland and someone is talking about it and they start to get angry. They will undoubtedly say the something along the lines of the following…
‘Why are they doing another remake? What is the point? This will ruin the other one. Why can’t people just watch the original? Haven’t they got any original ideas?’
If it’s a foreign film you can usually tack on the classic ‘Why don’t people just learn to read subtitles? Why don’t people watch foreign films?’
What you’ll probably notice is that people get absolutely furious about remakes. I once witnessed a co-worker explode in fury when she learnt that The Taking of Pelham One, Two, Three was being remade with John Travolta and Denzel Washington. It did her mood no good at all when I tried to calm her down by telling her it had already been remade before with Donnie Wahlberg. Never mind eh? Continue reading “The Remake Manifesto: Part 1”
Way back in the mists of time, August 2005 to be precise, I went to the local multiplex to catch a couple of films. An odd pair they were with very little in common between them, until I started to think about them a bit more. Recently I have been rolling the two films over in my head and trying to make some sense of the similarities and differences I could see and what they might mean, if anything.
Continue reading “Southern Fried Cinema”
A couple of weeks ago I stayed with a friend of inestimable hospitality (@MGElliott) in the picturesque spa town (City, apparently) of Bath. He asked if I minded watching The Proposition, a film I reviewed on here some time ago. We sat down alongside Matt’s equally generous girlfriend Kim (@nanosounds) to settle into the sweat soaked Australian outback, peopled with all manner of parched violent degenerates and desperate ex-pats (how little has changed). It was whilst watching that I was struck by the use of fencing in the film (shut up), and the way I’d seen fences and land demarcation used in other Australian cinema before. You see, land and land ownership is a terrifically important and evocative subject in Australian life, it is in danger of becoming the very thing that defines them as a people. If you fancy finding out why then have a read up on the Mabo case and you might want to understand what ‘terra nullius’ means too. Continue reading “The Proposition and Fences in Australian Film”