Rough Cut (Yeong-hwa-neun yeong-hwa-da) (Director: Jang Hun): The Korean title of the film translates roughly as “A Movie is a Movie” and that captures a bit of the flavour of this gangster/buddy movie set within another film shoot. Written by Korean master Kim Ki-Duk (director of 3-Iron), it’s essentially the story of two men: Soo-ta is an action movie star, playing tough gangster roles. Gang-pae is an actual gangster, who has often wished he was a movie star. Their lives come together unexpectedly when yet another co-star quits Soo-ta’s latest film, annoyed that the star has failed to pull his punches in their fight scenes. Soo-ta remembers Gang-pae after the gangster had one of his henchman ask for an autograph. The movie star proposes that Gang-pae join the production and the gangster agrees on the condition that they fight for real. It’s a macho showdown that neither man can resist.
And for most of the movie, it’s played for laughs, with the film’s director worriedly asking “Soo-ta, are you alright?” after each of Gang-pae’s punches connects and draws blood. We also see the gangster lose some of his ruthlessness, thanks to a female co-star who falls for him. But he seems to resist making himself so vulnerable and repeatedly reverts to his old persona. Dreaming of another life seems futile to him, and working on the film is taking him away from important work he’s doing for his imprisoned boss, whose trial is upcoming. And that work isn’t pretty.
The final third of the film is breathtaking. There is a climactic fight scene for the film-within-a-film that takes place on a muddy beach, and both actors hold nothing back. By the end of it, it’s difficult to tell one man from the other, which seems to indicate that some sort of bond has formed. Instead, the last scene reinforces in the most brutal way the difference between the gangster and the movie star.
In keeping with Korean film tradition, the melodrama is amped up, including the schmaltzy guitar soundtrack. The female characters aren’t really developed much, either. But the end result is still effective; you want these two guys to become friends, to learn from one another. You want there to be the possibility of redemption. The ending isn’t so much frustrating and shocking (though it is both) as it is incredibly sad.
Rough Cut has been picked up for distribution in Canada by Evokative Films. Look for theatrical and DVD releases next spring.
(7/10)
Tagged as:
#afterdark09,
korea
Black (Director: Pierre Laffargue): I was a little concerned when I saw that the Toronto After Dark Film Festival had programmed two films with similar blaxploitation styles (and even similar titles). After seeing the rollicking Black Dynamite (review) a few nights ago, I wondered if anything could top that experience for pure fun. The nice thing is that Black doesn’t really try to do the same things. I suspected that the film’s French origin would lead to a more stylish and less slapstick film, and I was right.
French rapper MC Gab’1 is the essence of cool as the titular Black, leader of a gang of bank robbers in Paris. But after a heist goes spectacularly wrong, he’s receptive when his cousin calls from Dakar to offer him an irresistible job. A briefcase full of uncut diamonds is being kept in a safety deposit box at the bank where his cousin works as a security guard, and Black is confident that he and his French pals can easily rob the unsophisticated Senegalese and be back in Paris quickly. Of course, things don’t go exactly to plan.
Before he knows it, the plan is complicated by a corrupt banker, Russian mercenaries, wrestlers with machetes who can make themselves invisible, and a man whose snakelike appearance hints at his true character. Black ultimately meets his match though in Pamela, a woman as tough as she is beautiful. When they team up, it’s refreshing to see her take charge. By the end, the plot has taken us to some very strange places, and the pacing is a bit slow in spots, but it’s all gorgeous to look at. There is some dazzling camera work during some of the chase scenes through the streets of Dakar, and the opening set piece (an armored car robbery in Paris) is brilliantly directed, ratcheting up the tension and making the resulting flight to Africa feel like an escape.
Adding to all the style is a fantastic propulsive soundtrack of African artists like 70s Afro-jazz trumpeter Don Cherry, the inimitable Fela Kuti and modern interpreters like Antibalas.
Official site of the film
Here is the Q&A with director Pierre Laffargue and producer Lauranne Bourrachot from after the screening:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Duration: 19:17
Black opens at the AMC Yonge-Dundas on August 28th
(7/10)
Tagged as:
#afterdark09,
blaxploitation,
senegal
Franklyn (Director: Gerald McMorrow): Featuring a fairly high-profile cast (Ryan Phillippe, Eva Green, Sam Riley), this film from first-time director Gerald McMorrow was making its North American premiere at Toronto After Dark, nearly a year after it premiered in London. Digging around a little on the IMDB site, I found that it’s done very little business theatrically and will have a difficult time recouping its $12 million budget. Now normally I don’t care about such matters, but in the case of Franklyn, it may be somewhat instructive.
The film gradually weaves together four separate threads. Three of the characters live in present-day London, while one (Phillippe) exists in a futuristic steampunk world called Meanwhile City. The trailer and marketing materials lean heavily on the steampunk angle to try to lure genre fans such as those who attend Toronto After Dark, but in reality, the steampunk segments, though beautiful to look at, are the least satisfying parts of the film. The blame for this lies squarely at the feet of the casting director. Phillippe is simply dreadful in a role that by all rights should have gone to a British actor. Playing a masked vigilante atheist in a city where religion is the law, Phillippe attempts action-hero stuff by fighting “clerics” and delivering a ponderous voiceover.
When the film cuts back to the other characters, it feels like we’re in a completely different movie. Eva Green plays a suicidal artist whose bizarre video projects seem to exist in the film only to show her in different outfits and with different makeup. Sam Riley is a heartbroken young man whose childhood imaginary friend suddenly reappears. Bernard Hill plays a quietly religious man looking for his son who has escaped from a mental asylum. Although I don’t want to spoil anything, I think you might be able to figure out where this is headed.
I’m not opposed to this sort of psychological thriller. In fact, just a few weeks ago I mentioned Paperhouse (1988), another British film which similarly blended genres to come up with something fresh. And I will give McMorrow credit for an interesting idea which he is able to tie together nicely by the ending. But for most of the running time, audiences are likely to be confused, and for genre audiences like those at Toronto After Dark, I suspect most would have preferred to watch a film that was completely set in the steampunk universe. To make matters worse, the casting of Ryan Phillippe was a huge misstep; his line readings had me rolling my eyes very early in the film.
I suspect that this will head straight to DVD on this side of the pond, and it would make an interesting rental, but one can only hope that McMorrow will get another chance to do a genre-blending film the right way.
(6/10)
Tagged as:
#afterdark09,
steampunk
Black Dynamite (Director: Scott Sanders): I don’t think the programmers of the Toronto After Dark Film Festival could have picked a more perfect film for their Opening Night gala. A nearly-sold-out Bloor Cinema was rocking with laughter from practically the first frame of Scott Sanders and star/writer Michael Jai White’s affectionate spoof of 70s blaxploitation movies.
The first thing I have to say is that Michael Jai White was a revelation. At 41 years of age and a well-muscled 240 pounds, he seems almost incapable of the flying martial arts kicks he regularly delivers to the dope dealers and pimps who populate the story. But not only can he whoop ass. His comic timing is perfect as well, which isn’t that surprising when you consider that he’s the writer of the film. Director Sanders revealed in the post-screening Q&A that he and White had been working on the idea behind the film for many years, and they put together a cheap trailer using clips from old films mixed with their own dialogue. The trailer was enough to get the film funded, even though they spent a significant amount of the budget on licensing old footage from 70s shows like Charlie’s Angels and The Rookies.
The cruddy 70s look is essential to maintaining the “grindhouse” feel of the many cheaply-made films Black Dynamite is mocking. Sanders even goes so far as to include “mistakes” like boom mikes intruding into the frame (an homage to Dolemite, he says) and hilarious continuity errors like a character’s tears disappearing and reappearing between scenes. The audience lapped it up, even when the plot’s ludicrous twists and turns brought Black Dynamite face to face with President Nixon, who seemed pretty handy with a set of nunchuks.
A film like this could easily have been fun but forgettable. Gunplay, martial arts, and the spot-on kitschy art direction keep our eyes amused, but for me the real creativity was on display in the writing. The many memorable one-liners and hilarious song lyrics give this tremendous repeat viewing potential. Within the first ten minutes, I was already eager to bring my friends to see Black Dynamite.
Here is the Q&A with director Scott Sanders from after the screening:
Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.
Duration: 14:23
(8/10)
Tagged as:
#afterdark09,
blaxploitation
