Join Frank, Tom, and the esteemed Mac McSharry as we bring Podcasting Them Softly’s For Your Ears Only and 3 for 3 full circle! We discuss three “undercard” films of Sean Connery’s at length, discuss his contribution to film, along with some of our other non-Bond films that didn’t make our respective selections! Upcoming podcasts from the three of us include Pierce Brosnan’s final outing as James Bond in DIE ANOTHER DAY and then a brand new 3 for 3 where we discuss our three favorite character actors.
I hate to be that guy that always champions universally reviled films as actually being pretty good, but I have to be honest in my reviews and I really don’t see the big issue with 1998’s The Avengers, but keep in mind I’ve never seen a single episode of the original 60’s tv series. This was some seriously fun, albeit chaotic and unfocused 90’s big budget retro espionage silliness that might not be the most amazing thing, but definitely entertained me for what it has to offer. In this iteration the roles of dapper super spies Emma Peel and John Steed go to Uma Thurman and Ralph Fiennes, who both look damn sexy in the costumes and have cutesy chemistry with each other that was endearing, they’re an interesting mix and they haven’t done a film together since but I enjoyed the flavour that their pairing projected. They work for an appropriately arch government agency called ‘The Agency,’ run by two veteran cranks given the code names ‘Mother’ and ‘Father.’ The sheepish gimmick of casting Jim Broadbent as Mother and Fiona Shaw as Father is a an amusing if thinly conceived running joke that serves as a cheeky litmus test for the film’s overall saucy sense of humour. Our two heroes must do battle with Sean Connery’s Sir August De Wynter, a de facto Bond villain and all around nut-job who wants to hold the entire world ransom by controlling the weather with a giant machine he’s designed. Cue rampant meteorological destruction in London, elaborate set pieces, glib line delivery and all the big budget production design you can shake a jewel encrusted cane at. Speaking of that, I don’t care what you think of the film itself, there’s just no denying the positively stunning set design, costuming and overall visual flair… this is one seriously good looking movie, starting with its cast. Fiennes rocks that pinstripe suit to the fucking nines, while Thurman has maybe never been sexier in her skinny leather catsuit. Connery has this Burt Reynolds thing going on with his hair which oddly suits him, and speaking of suits he goes through one impressive range of wardrobe bedazzlement here, showing up in everything from full highland regalia complete with a kilt to a Snow White n’ silver custom job to a full on teddy bear costume when he arbitrarily decides to hold a teddy bear board meeting with his nefarious cronies all done up like plush toys. He gets priceless dialogue too, including precious barbs like “rain or shine, all is mine” and seems to be having a right hammy blast with the character. Shaw and Broadbent are old pros and have fun chewing scenery with droll, proverbially plummy cutlery and the cast includes the likes of the lovely Carmen Ejogo, Eileen Atkins as a charming old granny who wastes baddies with a WWII era sub-machine gun, John Wood, Patrick McNee as an accidental invisible man, Keeley Hawes and Eddie Izzard in a Paul McCartney wig who gets one solitary line of dialogue, but I suppose if you’re only gonna give that dude one line it might as well be the film’s single PG-13 F bomb. Ok so this isn’t the greatest movie ever made but it’s most definitely not as bad as the reputation would have you believe, I think the mob mentality snowballed a tad there. Sure it’s inane as all hell, there’s visible editing issues and it doesn’t flow as well as other films of its ilk but hell, if you look up eye candy in the cinematic dictionary you’ll find the drop dead dime-piece of a poster gleaming back at you. Production design, costumes and big sexy action set pieces certainly don’t save a film or shunt it into annals of pedigree but they can certainly make one well worth watching, and on that front I wasn’t disappointed, not even a bit. Sift through the bad press and make your own decisions on film, you’ll be surprised what you find yourself enjoying.
Podcasting Them Softly is extremely proud to present our first Special Edition CINEMATOGRAPHER’S CORNER POWERCAST with two time Oscar nominated director of photography Seamus McGarvey. For the last 25 years, Seamus has been putting together an amazing and eclectic body of work that stretches all genres and styles, with just some of his credits including THE WAR ZONE for Tim Roth, HIGH FIDELITY for Stephen Frears, THE HOURS for Stephen Daldry, Oliver Stone’s THE WORLD TRADE CENTER, the unforgettable and chilling family drama WE NEED TO TALK ABOUT KEVIN from director Lynn Ramsay, Joss Whedon’s THE AVENGERS, last summer’s blockbuster GODZILLA, this past winter’s worldwide phenomenon 50 SHADES OF GREY, and four huge collaborations with director Joe Wright including ATONEMENT, ANNA KARENINA, THE SOLOIST, and this Fall’s extremely exciting looking PAN, which is a new spin on the classic tale of Peter Pan. He two upcoming projects are Gavin O’Connor’s THE ACCOUNTANT staring Ben Affleck and Tom Ford’s next film NOCTURNAL ANIMALS. He’s one of the most in demand cinematographers of his generation, and it was an honor to speak with him. Enjoy!