298 – Witness for the Prosecution

Billy Wilder directs this adaptation of Agatha Christie’s Witness for the Prosecution, a courtroom drama concerning a man on trial for the murder of an old woman – did he do it? What’s up with his wife? Will his lawyer’s nurse catch him smoking? As with Christie’s stageplay, The Mousetrap, upon the film’s conclusion, the audience is kindly asked to refrain from revealing its twists and revelations, but we at Eavesdropping at the Movies respect no such requests. Spoilers within.

Charles Laughton is pleasingly hammy, Marlene Dietrich composed, and Tyrone Power a loud, sweaty, stressed out mess – and somehow mostly in the background, despite his central role as the accused murderer. We discuss their performances and characters, the pleasures and methods of Agatha Christie’s mysteries, and Wilder’s direction, which hopes, in that classic Hollywood style, to render technique invisible. Witness for the Prosecution is an engrossing mystery filled with interesting bits of business that enrich its characters, and a classic.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

297 – Spiral

Listen to our podcast on Jigsaw here.

Cinema is back! And to celebrate, we see the new spin-off of the Saw series, Spiral, which… is not a good film. But it gives us much to think on, especially the surprisingly big names of its cast, which includes Chris Rock, Samuel L. Jackson, and Max Minghella. Slasher series don’t traditionally accommodate stars, but, beyond the fact that they’re typically too expensive, Spiral offers a warning against their presence: the screentime they require pulls too much attention away from the thrills, the reason we’re really there. The deaths we’re accustomed to enjoying in Saw films just aren’t given to us in sufficient excess or quantity in Spiral; Chris Rock’s protagonist, a detective hunting a Jigsaw copycat, dominates the story. As if catching the murderer is more exciting than watching him work. Honestly.

Despite our disappointment in the film, we enjoy our return to the cinema after nine months away, José finding a new appreciation for the meditative quality of submitting himself to a movie he can’t pause in a darkened room, after a year of experiencing a fractured, distracted mental state watching streaming media. Mike likes the bigness of the screen, and that’s as far as his introspection takes him. In an increasingly vaccinated Britain, this return to the cinema is more optimistic than the shaky and short-lived reopening of last summer, and feels like it stands a good chance of lasting. And a damn good thing, too. We’ve missed it.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

296 – And Then There Were None (1945)

We explore René Clair’s adaptation of Agatha Christie’s novel of – in the US – the same name, And Then There Were None. In terms of quality, it’s nothing to write home about, sadly, but is interesting nonetheless.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

295 – Suspiria (1977) and Suspiria (2018)

We explore Dario Argento’s Suspiria, his 1977 horror classic, and its loose remake by Luca Guadagnino, from 2018. We’ve never seen either, although Argento’s film casts a long shadow – those who’ve seen it never forget it, and it’s easy to see why. Its visual design is bold, imaginative and beautiful, the images it creates extraordinary, its violence heightened and wild. José loves it, literally wowed by it, captivated by its cinematic flair and interesting casting. But, Mike argues, it’s a film that offers nothing beyond the aesthetic, uninterested in its own characters or story, which leaves him cold.

Our responses to Guadagnino’s remake are reversed entirely. For Mike, it’s superior: ambitious, keen to mine the threadbare original for thematic depth, and laudably attempting to weave together generational guilt, dance, institutional corruption and women’s bodies into a complex tapestry, although one which requires too much audience participation to complete. José thinks he’s giving a pretentious work of ego far too much credit, is turned off by the dance scenes, annoyed at the lack of connection he finds between its wider themes and central coven, angered by its grey, wintry colour palette and dry cinematography… in fact, he’s angered by all of it! Now he knows how his friends felt as he valiantly tried to argue them into appreciating Guadagnino’s Call Me By Your Name, which he loved, but which many of them greeted with similar hostility.

The original a cult classic, its remake a very different take on the core premise – both are worth watching. But if our responses are anything to go by, your mileage may vary considerably.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

294 – The Two Popes

Anthony Hopkins and Jonathan Pryce star as the previous and current Popes respectively, in The Two Popes, an imagined biopic that uses their personas and public profiles as jumping off points to explore a range of ideas. We discuss the success with which the film has been adapted from the original stage play, but the lack of visual artistry it nonetheless exhibits; the ways in which it uses – and ignores – the characters’ histories and mistakes; the sincerity that underpins the entire film; and the rather cheap and simple, if entertaining, use of football to convey Pope Francis as a man of the people. Although we find all sorts of areas to pick at, The Two Popes is easy to recommend – witty, charming, brilliantly performed by Hopkins and Pryce, and keen to explore meaningful ideas with seriousness and solemnity, when the moment calls for it. Worth a look.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

293 – Promising Young Woman

We’re joined by returning guest Celia, on the phone from Canada, to discuss writer-director Emerald Fennell’s unusual revenge thriller, Promising Young Woman. Following the rape and – implied – suicide of her friend Nina, which goes unpunished, Carey Mulligan’s Cassie drops out of medical school, and now spends her nights feigning drunkenness, allowing men to pick her up and take her home, alarming them with her sobriety as they begin to sexually assault her. When a chance reunion with a former classmate reveals that Nina’s rapist is engaged, Cassie embarks upon a campaign of vengeance against those she considers responsible for and involved in committing and allowing her friend’s rape and its cover-up.

Celia loves it, finding that it invokes and brings to life many subtle and important observations about life for women in the patriarchy, enjoying the various forms Cassie’s revenge takes – particularly the “exercises in forced empathy”, in her words – and feeling a call to arms; José decidedly doesn’t, decrying those observations and revenges as cinematically unrealised in what is merely a filmed essay, albeit one that admirably exhibits a style, an aesthetic and a point of view. Mike bravely sits in the middle, pretending to be superior to the other two by virtue of not exhibiting an extreme response to the film. The discussion is varied and passionate – and full of spoilers. Love it or hate it, Promising Young Woman is a thought-provoking, vital film, and well worth watching.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

292 – Affair in Trinidad

Rita Hayworth and Glenn Ford star in Gild– sorry, Affair in Trinidad, Hayworth’s first film upon her return to Hollywood after four years away, and a blatant rip-off of a certain classic film noir from 1946. (There’s also a chunk of Notorious thrown in for good measure.) Expensively cobbled together at Columbia boss Harry Cohn’s instruction, its production was rushed, with its script barely presentable and Vincent Sherman’s direction lazy, but audiences weren’t put off – it made $7m domestically, blockbuster box office in 1952.

Now featured as part of Columbia Noir #2, a box-set from the same series that includes The Garment Jungle, we take the opportunity to see what Affair in Trinidad has to offer – for José, the answer is, “not much, besides Rita Hayworth, gorgeous gowns and rich cinematography” – and discuss more besides, including Hayworth’s name and image, and how and why they were changed. Affair in Trinidad is far from a good film, but one of historical interest, and certainly worth seeing for any fan of Rita Hayworth.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

291 – Sound of Metal

A film that offers a beautiful evocation of community, as Riz Ahmed’s drummer suddenly loses most of his hearing and joins a retreat for the deaf, Sound of Metal also feels regrettably, and unforgivably, dishonest in some of the ways it engineers its story. In this respect, we disagree over one of the film’s key scenes, but agree about what it goes on to depict in the final act. Despite the severe problems we have with the film, it has pleasures to offer, including an outstanding central performance from Ahmed, whose wide-eyed, puppy-dog expressions transparently convey fear, anger, worry and determination, sometimes all at once. For Ahmed alone, it’s worth seeing Sound of Metal.

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

290 – Godzilla vs. Kong

The fourth entry in Legendary’s MonsterVerse, the first crossover in the series, sees a journey to the center of the Earth and Hong Kong made the playground of its titular colossi. In this cinematic universe seeking to challenge Marvel et al., Mike finds visual splendour and an ambition to reach for something a little more meaningful than your usual blockbusters. Indeed, the character of Godzilla, in particular, is well-known to derive from Japan’s horrific experience as history’s first and only target of nuclear warfare, and Mike argues that the MonsterVerse seeks to continue to use its creatures as giant metaphors that punch and breathe fire, unleashed by humanity’s insatiable consumption and arrogant claim on the natural world. José isn’t that impressed with this reading, but finds things to enjoy, particularly the beautiful imagery – though, he argues, while it demonstrates incredible skill and craft on the part of the artists who created it, art is precisely what it lacks. But luckily, although we butt heads over Godzilla vs. Kong, Birmingham remains intact.

Our podcast on Godzilla: King of the Monsters

Mike’s review of 2014’s Godzilla

José’s review of 2014’s Godzilla

The podcast can be listened to in the players above or on iTunes.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.

289 – The Trial of the Chicago 7

At the Democratic National Convention in Chicago in 1968, riots erupted when thousands of anti-Vietnam War protestors clashed with police. Seeking to crush the energetic counterculture, the US government put on trial a group of eight defendants, some political organisers, some cultural radicals, some with hardly any influence, a pacifist, and a Black Panther, hoping to convict them for conspiracy to incite the riots. Aaron Sorkin’s writing is a good fit for this story, the disparate group of defendants arguing amongst themselves sharply, and many scenes flowing beautifully towards their own internal climaxes; the same cannot be said of his direction, the film lacking much visual flair and instinct for expressive imagery.

We revisit our common theme of British actors playing Americans, José finding more fault with it here than Mike does – we can, at least, agree that Sacha Baron Cohen’s accent is atrocious, his Abbie Hoffman a weak point. Mike expounds upon how much he hates himself for how much he likes Sorkin’s HBO drama The Newsroom, comfort food for the American left, which he sees echoes of here.

We find flaw upon flaw with The Trial of the Chicago 7, but despite every one of them, it’s an immensely watchable film with a terrific ensemble cast and entertaining dialogue. With an awareness of its limitations and economy with the truth, we recommend it.

The podcast can be listened to in the player above or at this link.

With José Arroyo of First Impressions and Michael Glass of Writing About Film.