The last thing I watched was ____________ and it was _____________. I would have loved it / hated it more if ______________ .
If disquieting French drama Early One Morning were a comedy it would need to hijack the title of another recent office-based film: Horrible Bosses. The financial suits upstairs are the cause for middle-aged everyman-exec Paul’s (played to fraught perfection by Jean-Pierre Darroussin) consternation in Jean-Marc Moutout’s film. What a total bunch of bankers! But Paul takes matters into his own hands in an explosive, very personal way. It starts with a coldly curious, matter-of-fact sequence: Paul gets up and ready for work, kisses his wife, gets on a bus and arrives at the office. The immediately perturbing vibe suggests that something terrible is inevitable. As it turns out, he shoots his bosses dead and then sits down at his desk. The film then flashes back to an earlier time to try and work out why Paul goes full nutjob with a handgun. It's clear from the finger pointing at the highly unsporting, self-regarding pair of CEOs (one played with pompous relish by Xavier Beauvois, the director of Of Gods and Men) and the hot potato topic of the recession that the film is trading on being a seasonably pertinent and bold exploration of current themes people will feel a kinship for. The film’s drastic actions are worrying, but maybe the Pauls of the world need a vicarious fictional mouthpiece to do the undoable acts on their behalf. After all, we like a David vs. Goliath tale. This one just goes one furious step further and attempts to annihilate its Goliath for all previous unfair dismissal. Early One Morning is mostly gripping viewing. Best avoided by those who’ve just been fired, mind. C+
The terrible bursts of violence in Early One Morning came fast and furious, but that’s nothing compared to what we get sporadically, intensively and with gut-churning abstraction throughout bold Australian drama Snowtown. [More after the jump.]
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In the Oscar Horrors series we're celebrating Oscar nominated or Oscar winning achievements of or related to the Horror genre. Daily through Halloween!
HERE LIES… Roman Polanski’s screenplay for Rosemary’s Baby, which he adapted from Ira Levin’s bestseller. It lost the statue for Best Adapted Screenplay to a tale of a very different plot – “There are plots against people, aren’t there?” in The Lion in Winter.
JA from MNPP here. When people ask me what my favorite movie is I tell them it’s a tie between Rosemary’s Baby and Alfred Hitchcock’s Rear Window. (I’ve always wished I could fall madly in love with another movie that starts with “R” just so I could make some lame comment about how I bide by “The 3 R’s” but it hasn’t happened yet. Yes I am a nerd.) Point being, since seeing Rosemary for the first time twenty years ago or so, I’ve managed to watch it at least once a year, sometimes more, so it’s one of those movies I know by heart.
One of my first activities upon signing up with a Twitter account was, much to my Twitter follower’s understandable exhaustion, a live tweeting of the film – I find exuberance in pretty much every line of dialogue, whether it be something small like the way Minnie (Ruth Gordon) gags out the words “THE CCCCAAARRRPPPETTT” as Roman (Sidney Blackmer) spills the vodka blush, or something big like Guy (John Cassavetes) telling Rosemary (Mia Farrow) that “ it was kinda fun, in a necrophile sorta way.” I consider the script a perfect thing, and a week (hell, a day) doesn’t go by where I don’t quote something from it.
“The name is an anagram.”
“Pain be gone, I will have no more of thee.”
“He has his father’s eyes.”
“It has a chalky undertaste.”
More on the brilliant screenplay and one of cinema's most iconic shots after the jump...