Cambridge Film Festival Daily

Issue 2 / Friday 17 September

Ever wondered what local rural life was like over one hundred years ago? Well your questions are about to be answered by COMMON GROUND, a detailed and authentic look at life in the village of Littleport around the dawn of the twentieth century, which plays tonight as part of the EAST ANGLIA SHORTS programme. The result of collaboration between Littleport’s own Field Theatre Group and local filmmak-er Peter Harmer, COMMON GROUND was very much a labour of love...

Written and directed by Debo-rah Curtis, the short had been in the planning stage for around three years before its realisation, with the aim being “to tell the stories of people living and working on the land”. But there was a sense of urgency that hung over the project, which got underway when Curtis became ominously aware that

the landscape was changing forever: “it was a case of catching it before it goes… and I believe it will go. We had to do it there and then, because that generation of people who worked all their lives on the land were extremely elderly or they were unable to tell us their stories any longer.” Even in the three years since the short was con-ceived, changes to the local landscape were happening fast, “some of the locations we’d earmarked earlier had disappeared. So it was now or never.”

Curtis speaks of this loss of con-nection with the past with a sense of regret, but even so she didn’t allow the film to get too nostalgic, as COMMON GROUND depicts the grim realities of a life spent working the land. One sequence shows how even pregnant women were expected to continue the back-breaking labour, whilst young children were often prevented from going to school if they could be put to good use bringing in a wage. “It’s more of an elegy, a sort of melancholic feeling, rather than a “good old days, wish they’d come back.” That would be an insult to people who lived that life, which was very tough. We didn’t want to lighten it, make it jollier than it was and skirt around issues. But there is a sense of loss: of a loss of contact with the land.”

It was a life of toil that became all too real for the cast of local non-actors, who approached the project with “a bit of method-style direction”: “we took them up into the fields to actually work continued on page 2

COMMON GROUND

Hot Ticket

Friday 17 September

WORLD’S GREATEST DAD - Police Academy alumni Bobcat Goldthwait directs motormouth Robin Williams in this dark comedy.

A SWEDISH LOVE STORY - The Roy Andersson season starts today with his rarely seen debut feature from 1970.

I N T E R v I E W

Grounded in the Method

DIRECTOR JONATHAN FuRmANSkI OPENS uP THE wORlD OF wRINklY RAPPER ClARENCE ‘BlOwFlY’ REID

It’s tough to avoid first time director Jonathan Furmanski has been a fan of the controversial singer/songwriter Clarence ‘Blowfly’ Reid since high school. His documentary THE WEIRD WORLD OF BLOWFLY isn’t just a showcase for the unsung granddaddy of rap – it also features some fascinating off-stage character studies. The film celebrates Clarence’s legacy and untangles a bundle of contradictions: the man, the artist, the performer, the son and father. “The scene with him and his mother is one of my favourites in the film,” says Furmanski. “You learn so much, even though that scene comes in the last reel. He’s a very complicated man. A lot of people would dismiss Clarence or Blowfly as a novelty; I wanted to dispel the idea that Clarence is one-dimensional.” Documentaries often follow a contrived story arc, but THE WEIRD WORLD OF BLOWFLY is a straightforward collection of interviews and scenes from Blowfly’s comeback tour. “Clarence’s story is open-ended,” Furmanski explains. “There’s no great triumph or tragedy at the end, just the understanding of all the triumphs and tragedies of Clarence’s life.”

Much of the film illustrates Clarence’s volatile but affectionate relationship with his manager, Tom Bowker. “There are obviously some hefty egos involved, but that’s part of what’s so interesting about them,” says Furmanski. “They both have very strong ideas about how things should be done and they don’t always agree... in fact, they hardly ever agree. But in the end, they entertain each other.” Some say Tom exploits Clarence – but does it matter? It’s obvious from what we see on screen that Blowfly’s fans mean

so much more to him than money. Furmanski is in two minds about this. “Clarence has been exploited throughout his career, or he allowed himself to be exploited, so he doesn’t have anything to show for his life’s work. Clarence was happy to have someone interested in getting his music out there and a lot of people took advantage of that. As far as Tom being exploitative, I think it’s easy to look at their relationship and think that Tom has some personal goals that aren’t in Clarence’s professional best interest, but I also know that Tom was the only person working on Clarence’s career at a time when it had completely foundered.”

Blowfly’s recent collaborators include 2 Live Crew and breakcore artist Otto Von Schriach. How does Clarence feel about working with new technology? “Clarence, like so many of his contemporaries, talks about the old days of recording almost wistfully,” says Furmanski. “When he was recording Betty Wright or Gwen McCrae or his own material back in the ‘60s and ‘70s, the band played live to tape - no overdubs, no punch-ins - and he’s very proud of the skills he developed then as a musician, songwriter, and producer. He had to tell everyone their parts and make sure they were done right. A scene that didn’t make it into the film had a lot of his friends talking about what it was like to work with Blowfly in the studio. They said they couldn’t stop laughing at what Clarence was singing and he would get furious that they were ruining takes.”

Clarence has said in interview that he hates blues – Furmanski agrees that Blowfly probably is anti-blues. “He would say the blues are all about things being sad and wrong, whereas Blowfly kind of celebrates life in his own depraved way. Of course he wants to make money, and be successful, and gain the recognition he rightly deserves - but I think he really doesn’t care if it’s five or 5000 people listening to him. As long as he’s out there entertaining, he’s happy.” Rosy Hunt THE wEIRD wORlD OF BlOwFlY is screened on Friday 17

September at 10.30pm

and it did terrible things to them. They found it very affect-ing, and very quickly when they were cold and hungry… it res-onated very strongly.” This re-enactment of the real life rou-tine was necessary in order to get the level of detail required for the project. Peter Harmer, who was hired to assist the group with the film’s many technical challenges, explained how this work was captured on film: “They’d start working the land, and then I’d walk into that space and film it. We shot a lot and we kept rolling until we had what we wanted. It was funny; after we wrapped up quite often people would carry on working the land.” Working this way meant Harmer was then tasked with editing over ten hours of material down into the 33 minute final film.

The great authenticity of the short is also testament to the production design work of Jennifer Stevens (the project’s co-author, who also worked as the producer), who ensured costumes were accurate right down to the smallest detail, which wonderfully compli-ments the use of real historical sources. This all adds up to a haunting and evocative portrait of Fen life. Robert Beames

COmmON GROuND is screened with EAST ANGlIA SHORTS on Friday 17 September at 6.30pm

F RO M PAG E 1

Common Ground

THE WEIRD WORLD OF BlOwFlY

I N T E R v I E W

Rapping dirty

R E v I E W

THE EXTRAORDINARY ADVENTuRES OF ADÈlE BlANC-SECDIR / LUC BESSON105 MINS / FRANCE 2010

The archaeological, action/adventure genre has become increasingly formulaic under Hollywood guidance since its rise to popularity. However, similarly to his previous work of science-fiction innovation, THE FIFTH ELEMENT, Luc Besson has once again stamped his own auteurship onto a popular Hollywood genre.

Unfortunately, whilst the film may be innovative in some respects, it closely upholds many tired stereotypes and immature comedy devices. One particular scene in which the blundering, Jacques-Clouseau-style police inspector is defecated on really encapsulates the low level to which Besson stoops for comedy at various points in this film. Occasionally descending into unforgivable absurdity, THE EXTRAORDINARY ADVENTURES OF ADÈLE BLANC-SEC is most definitely a flawed work.

However, with the exception of the aforementioned scenes, this is certainly an enjoyable and very amusing film. Visually, the film is as impressive as any other, Besson delivering a triumph of colour and light, framing his shots with beautiful precision and delicacy. Most impressive however is Louise Bourgoin’s strength as Besson’s Adèle, helping retain much of its intended offbeat charm. The film is essentially entrusted to her and, fortunately, she manages to balance the many aspects of her talented yet vulnerable heroine with particular skill.

Despite a variety of shortcomings, THE EXTRAORDINARY ADVENTURES OF ADÈLE BLANC-SEC is a pleasing and enjoyable film, and certainly rivals Besson’s previous works. Daniel Harling

THE EXTRAORDINARY ADVENTuRES OF ADÈlE BlANC-SEC is screened again on Friday 17 September at 1.00pm

R E v I E W

THE wEIRD wORlD OF BlOwFlYDIR / JONATHAN FURMANSKI93 MINS / USA 2010

The image of an elderly man dressed in a sequin superhero costume saying the words “I’m feeling sexy like a pregnant toad” is not something you see everyday. I’m not entirely sure which bit sits more uncomfortably with me: the spectacle of a sparkly senior superhero, or my mental image of a sexed up toad. This is just one of the many searching questions I had to ponder as I explored THE WEIRD WORLD OF BLOWFLY.

This documentary follows singer/songwriter Clarence Reid and his deliciously degenerate alter ego ‘Blowfly’. Clarence is 69, proclaims to have invented rap music in 1965, has penned several top 10 hits for other R&B artists and has trouble with his knees. Clarence’s stage persona ‘Blowfly’ has a notorious and extensive back catalogue of rude and lewd lyrics, stalks the stage in a mask and cape and is hailed by Chuck D as a major influence.

Stricken with debt and struggling to gain the recognition he believes he deserves, Blowfly and his band embark on a comeback tour playing everywhere from half empty rural bars to half full European stadiums.

As the story unfolds we get to know the person behind the profanity and he is a genuinely intriguing character. Although I found it perhaps difficult to sometimes sympathise with the subject matter of some of his lyrics and opinions, I think I may have finally found a superhero to believe in. I just don’t think I’ll be able to look at a toad in the same way again. John Davis

THE wEIRD wORlD OF BlOwFlY is screened on Friday 17 September at 10.30pm

R E v I E W

Fry’s exploration of the world and music of WagnerwAGNER & mEDIR / PATRICK MCGRADY89 MINS / UK/SWITzERLAND/RUSSIA/GERMANY 2010

WAGNER & ME charts Stephen Fry’s exploration of the world and music of Wagner, which unfolds as preparations are made for the annual Wagner festival in Beyreuth, Germany. The film is carried along by Fry’s boyish enthusiasm, bubbling to the surface on occasions such as a rehearsal of the Ride of the valkyries, a bare-boned affair where the robust orchestral score is played only by a piano and the valkyries are distinguished only by their perspex shields and wings. Throughout, the film pauses on details that bring colour to the piece, such as Fry’s chagrin when the pianist allows him to play the final note of the Tristan opera on Wagner’s own piano and he gets it wrong.

The tone grows darker as it turns to the question of what happened to Wagner’s music in the decades after his death. Yet the difficulty that such a legacy presents for Fry (himself Jewish) is rarely clouded with sentimentality, whether during the compelling interview of a member of the inmates’ orchestra at Auschwitz or when explaining the context behind Wagner’s own anti-semitism.

Presented in a laid-back, intimate style, the pace is not frantic, and refreshingly the film trusts its audience to hold their attention long enough to watch extended clips of rehearsals and performances of Wagner’s operas. One might question to what extent this film belongs on the big screen, when it seems well-suited to its original location on BBC Four. Nevertheless, Fry’s multi-faceted exploration of this ‘stained silken tapestry’ of the Wagnerian world makes for compelling viewing, for devotees of the composer and novices alike. Eleanor Rosamund Barraclough

wAGNER & mE is screened on Friday 17 September at 4.00pm

WAGNER & ME

For more information:Call: 0845 196 2981Email: sarah.jones@anglia.ac.ukVisit: www.anglia.ac.uk/artspicture

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Cambridge Film Festival Daily © 2010

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How did you go about raising the funds for the film?

Stephan Littger (S): We self funded - that’s really all there is to say! This was the first fully professional film I’ve made.

Paul Ichilcik (P): I went about five times over budget. Trying to tell a story at the same time as juggling all the logistics is quite challenging!What would you say is your greatest challenge as a filmmaker and how did you overcome it?

(S) As a director the biggest chal-lenge is making a film that’s entertain-ing, bringing your idea that is abstract at first and making it something that is alive and entertaining; trying to create that miracle.

The deeper you think about a sub-ject, the more superficially you have to present it, otherwise you’re going to lose the audience. Which other filmmakers do you most admire?

(S) The most recent ones that I would

name (because that is a difficult ques-tion!) in this decade would be Michel Gondry and David Fincher. If I didn’t confine it, I would say Kubrick, Polan-ski, and the list could be endless.What are your favourite films that you feel should be watched by all aspir-ing filmmakers?

(S) If you want to be a documentary filmmaker, probably it’s a good thing if you don’t watch a documentary film, because that’s already in you, so watch a very stylised filmmaker. And if you’re a stylised filmmaker watch a documen-tary; it’s about stimulating ideas.

(P) From a scriptwriter’s perspective AMERICAN BEAUTY is often cited. It’s just so economical and everything has a meaning in it.What do you feel are the pros and cons of filming on digital and on film? Which do you personally prefer?

(S) I’ve never filmed on film. For practical reasons I filmed on the Red which is very standard and not even that expensive these days, and it’s very

beautiful. Digital is not better or worse – we’ve now achieved a level where it is as satisfactory to look at as film. It’s a different aesthetic so look at the story, and if you really feel it then go with 16mm. And if you don’t care then choose the cheapest!Do you always work to a strict script and storyboard?

(P) If it’s a good script, the actors can enhance it but they’re not going to fun-damentally change it.

(S) I use some composite scenes – it’s not a concrete storyboard. I’ve worked with a professional storyboard-er and it was wonderful to understand that the storyboard is really a tool.What advice would you give to budding filmmakers and script writers?

(P) There’s a great book on screen-writing called Save the Cat.

(S) I need that advice myself! Fiona Scoble

TOXIC ORANGES will be showing with THE HAPPY POET on Sunday 19 Sep-tember at 5.00pm, Emmanuel College

Filmmakers on Filmmaking

Stephan Littger © TC

A U D I E N C E AWA R D

Top Ten: the people’s Favourite Film Award

Half the fun of the Festival is dis-cussing the films afterwards - and the Festival would like to know what you think. Go online to register your reac-tions and rate the films you’ve seen.

In this space in future issues we’ll be letting you know what the current TOP TEN films at the Festival are, as voted for by you the public.

Last year’s winner was SÉRAPHINE. As for this year - it’s up to you!

YO U N G C R I T I C S

Young Critics at the Cambridge Film

If you are in full time education, why not write reviews for the Cambridge Film Festival? Email cpo25@cam.ac.uk for further information.