It’s astonishingly late, but at last here’s a round-up of my reviews for TAKE ONE from this year’s Cambridge Film Festival. There was, as ever, a fine selection of films and special guests; when there are several movies you want to see all being shown at exactly the same time, then you know it’s going well. Two of the reviews below are actually of my favourite films in the whole line-up: the re-release of NOTHING BUT A MAN and the Middle Eastern western MY SWEET PEPPER LAND, and I was chuffed to be able to introduce the latter. Neil Brand’s two appearances – brilliantly accompanying the restored print of NOSFERATU and his NOT SO SILENT MOVIES family show – were also a highlight. The bar was always humming with activity and chatter, and the staff and volunteers were incredibly helpful and friendly (not always easy when the inevitable last minute hiccups pop up). Not even the stinking cold I caught at the midway point could keep me away.
A pity then, that the excitement and atmosphere was somewhat dampened by the unsettling prospect of a death sentence being handed to the Arts Picturehouse by the Competition Commission, in its inexplicable bid to wreck one of Cambridge’s cultural pillars. We’ve yet to learn which of its cinemas Cineworld will sell in Cambridge, but the signs aren’t promising: the Picturehouses in both Bury St Edmunds and Aberdeen have already been given their marching orders, and Cineworld don’t appear to be interested in appealing the Commission’s decision. So what becomes of the Festival next year is anybody’s guess.
However, that didn’t stop Tony Jones and his seemingly tireless team from putting on a great show. All sort of new discoveries, old faithful friends and other intriguing oddities were given the big screen treatment. If this does prove to be the last festival in its current form, then at least it bowed out with grace and pride intact. Well done to all.
So here are my reviews:
My Sweet Pepper Land
A satisfying blend of Middle Eastern drama and spaghetti western homage, MY SWEET PEPPER LAND is a flavoursome brew to savour. Director Hiner Saleem (himself a Kurd) has created, in some ways, a rather old-fashioned drama which frequently raises the expectation of violence in one form or another, but mostly backs away from the bloody retribution normally associated with the genre. The result is a film where tensions remain bottled and passions are kept in check, with the outcome feeling slightly unsatisfying as a consequence.
My Beautiful Country
A new spin on the old biblical story of The Good Samaritan, MY BEAUTIFUL COUNTRY delicately explores a tentative romance between a young Serbian widow and a wounded Albanian soldier against the backdrop of the 1999 Kosovo War. Whilst there may not be anything dramtically fresh or new in Michaela Kezele’s film, it does wield plenty of emotional heft in its focus on a forbidden romance and the unforeseen consequences of helping someone who has suddenly become the enemy. It also attempts to raise awareness (none too subtly) of the use of depleted uranium ammunition by NATO in the conflict, through a sub-plot centred on children’s wartime experiences.
Danny Trejo’s indestructible federale returns in this amusing if nonsensical sequel to the original 2010 grindhouse-inspired parody. Changing tack from the down-and-dirty revenge movies that drove the earlier plot, the inspiration this time around is late 70s/early 80s action films; and director Robert Rodriguez takes his cue from Roger Moore’s Bond era, when gadgets and fantastical action came to the fore. This entry is basically Rodriguez reconfiguring his family SPY KIDS movies for adults, adding lashings of violence and saucy humour to the mix.
Nothing But A Man
A low key yet unwaveringly honest assessment of racism in the American South during the mid-Sixties, NOTHING BUT A MAN is an unfairly neglected gem that fully deserves its forthcoming BFI re-release. Directed by Michael Roemer – a man with barely a handful of credits to his name – its poignant tale centres on black railroad worker Duff (Ivan Dixon), an easygoing free spirit who tries to improve himself by settling down with schoolteacher Josie (Abbey Lincoln) and working in a ‘normal’ job. He slowly discovers that little has changed while he’s been away; the local white population still call the shots, and anyone who acts above their station is quickly and comprehensively shut out of the community.
Google and the World Brain
Just how much intellectual property should be placed in the hands of a single entity? And who exactly should profit from it? It’s a moral dilemma that Ben Lewis’ compelling documentary attempts to pick apart through an investigation of Google’s digital books project. Inevitably it fails to explore the issue in as much depth as the subject truly deserves, but given the importance of the debate, Lewis should be applauded for getting it this far into the public eye. After all, the decisions being made now about how far one company can go in publishing any book it chooses may have far-reaching consequences for us all.
What better way to open this year’s Cambridge Film Festival than with an exploration of one of its most famous residents? HAWKING is an intimate look at the life of the renowned physicist. Switching between his current hectic schedule of lectures and media appearances, and pottering through a history of his life to date, the film gives a polished overview of its remarkable subject and his defining achievements.