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How to Get Ahead in Advertising

July 14th 2011 08:46


"Nobody remembers a late television advert, they only remember a bad one"

In 1987 Bruce Robinson wrote and directed Withnail and I - a witty and bittersweet cult classic about two actors who go on holidays 'by mistake'. It's one of my favourite films, and features a breakout performance by the then-young Richard E. Grant as the melodramatic and debauched Withnail. Robinson and Grant, high on their 'indie' success, decided to team up again in 1989 with How to Get Ahead in Advertising.

How to Get Ahead in Advertising is a wonderfully cynical look at advertising and consumer culture. At the time critics and audiences didn't really know what to make of it as it features a Kafka-esque plot involving Dennis Dinbleby Bagley (Richard E. Grant) growing a second head out of the side of his neck (the film's title is a pun). In a way, with the film coming at the end of the 1980s, it's a blackly satirical look at the worst aspects of the decade... consumerism, ruthless marketing, yuppies, business success through pressure, and idealism as a trend. It's pretty easy to follow but Robinson might have been more successful if he'd made his satire in a less fantastical manner. The film we get though is quite an odd duck - surreal, grotesque and driven primarily by Richard E. Grant interacting with himself.

Dennis is a capable and ultra-successful ad exec who finds himself stumped when he has to come up with a campagn for a pimple cream. He starts cracking up when he can't get a handle on it, and an alarmingly large boil starts growing on his shoulder. The boil starts talking to him, spouting advertising-styled voiceovers and other awful things, and soon other people start hearing the boil talk as well. It's hard to tell at first if this is in Dennis' head or if the boil is genuinely able to talk as we see its manifestation through his eyes. As Dennis begins to turn against advertising, the boil starts to take control of him by becoming a punishing conscience... it becomes bullying, aggressive, authoritarian, etc. The boil is a symbol of our ugly consumerist impulses and (hilariously) as it takes over Dennis' body and grows into a second head it decides to try and market boils!

How to Get Ahead in Advertising is a satire of the darkly absurd, calling to mind Kafka's Metamorphosis in the way in combines fear and absurdity to comment on dehumanising aspects of our society. When Dennis suffers a complete psychological breakdown into two different personalities the film takes it a step further... mindbogglingly, both Dennis and his boil-head try to cover up the existence of the other. Dennis' darker side speaks as the 'boil' but his other side also hears it and tries to pretend it's really him that's doing the talking. It's hard to explain unless you watch the film, and I suspect this psychological complexity may also be part of the reason why some people have trouble with the film.

Grant is great in the lead role. No one swears quite like Richard E. Grant and this film is the sort of snidely funny project that suits him to a tee. Unfortunately the nature of the film and his character was probably too bizarre for him to attract any critical accolades or awards, which is a shame because it's a great performance that no one else could've pulled off quite like Grant does. It's a fascinating and entertaining comedy that takes the less easy path too, which is something to be admired.

Originally published on Really Long Link
25
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How to Get Ahead in Advertising

July 14th 2011 08:36


"Nobody remembers a late television advert, they only remember a bad one"

In 1987 Bruce Robinson wrote and directed Withnail and I - a witty and bittersweet cult classic about two actors who go on holidays 'by mistake'. It's one of my favourite films, and features a breakout performance by the then-young Richard E. Grant as the melodramatic and debauched Withnail. Robinson and Grant, high on their 'indie' success, decided to team up again in 1989 with How to Get Ahead in Advertising.

How to Get Ahead in Advertising is a wonderfully cynical look at advertising and consumer culture. At the time critics and audiences didn't really know what to make of it as it features a Kafka-esque plot involving Dennis Dinbleby Bagley (Richard E. Grant) growing a second head out of the side of his neck (the film's title is a pun). In a way, with the film coming at the end of the 1980s, it's a blackly satirical look at the worst aspects of the decade... consumerism, ruthless marketing, yuppies, business success through pressure, and idealism as a trend. It's pretty easy to follow but Robinson might have been more successful if he'd made his satire in a less fantastical manner. The film we get though is quite an odd duck - surreal, grotesque and driven primarily by Richard E. Grant interacting with himself.

Dennis is a capable and ultra-successful ad exec who finds himself stumped when he has to come up with a campagn for a pimple cream. He starts cracking up when he can't get a handle on it, and an alarmingly large boil starts growing on his shoulder. The boil starts talking to him, spouting advertising-styled voiceovers and other awful things, and soon other people start hearing the boil talk as well. It's hard to tell at first if this is in Dennis' head or if the boil is genuinely able to talk as we see its manifestation through his eyes. As Dennis begins to turn against advertising, the boil starts to take control of him by becoming a punishing conscience... it becomes bullying, aggressive, authoritarian, etc. The boil is a symbol of our ugly consumerist impulses and (hilariously) as it takes over Dennis' body and grows into a second head it decides to try and market boils!

How to Get Ahead in Advertising is a satire of the darkly absurd, calling to mind Kafka's Metamorphosis in the way in combines fear and absurdity to comment on dehumanising aspects of our society. When Dennis suffers a complete psychological breakdown into two different personalities the film takes it a step further... mindbogglingly, both Dennis and his boil-head try to cover up the existence of the other. Dennis' darker side speaks as the 'boil' but his other side also hears it and tries to pretend it's really him that's doing the talking. It's hard to explain unless you watch the film, and I suspect this psychological complexity may also be part of the reason why some people have trouble with the film.

Grant is great in the lead role. No one swears quite like Richard E. Grant and this film is the sort of snidely funny project that suits him to a tee. Unfortunately the nature of the film and his character was probably too bizarre for him to attract any critical accolades or awards, which is a shame because it's a great performance that no one else could've pulled off quite like Grant does. It's a fascinating and entertaining comedy that takes the less easy path too, which is something to be admired.

Originally published on Really Long Link
7
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Cronos

April 20th 2011 14:15


An early low-budget Mexican horror-fantasy from Guillermo Del Toro, one of the genre's (future) masters. Cronos takes the well-worn vampire mythos and re-imagines them with a new back story and context. In this film a vampiric-like condition becomes a side effect of an incorrectly-used alchemic device from the middle ages. This device is a golden scarab beetle-like instrument that houses a rare insect capable of administering 'fountain of youth'-like properties via its venom. However, its use comes with certain rules that, if disobeyed, can lead to bloodlust and an undead-like state of existence.

The hero of the film is Jesus (Federico Luppi), an elderly antique dealer who gets accidentally stung by the cronos device. He is the guardian of a young grandaughter, Aurora (Tamara Shannath); the veritable apple of his eye. When the cronos device causes him to get younger her finds himself tempted to use it further in order to get a second lease on life... he will be able to see his grandaughter grow up and rekindle a passion with younger wife. But there are others who seek the device, a terminally ill businessman (Claudio Brook) and his brutish nephew (Ron Perlman) who understand its properties and side effects, and a stand off will arise between the themselves and Jesus.

Unlike Hollywood horror films where the protagonists are young people with motivations tied to lust or love, Cronos takes on a fairytale quality in that the protagonist is an old man with a 6 year old grandaughter. This reflects the nature of the story and its motifs of age vs. youth - the presence of antiques and characters preoccupied with their impending deaths. It also contains the dark fantasy aspects that characterise most of Del Toro's work - the gallows humour, offbeat characters, and truly horrifying contrasts of the regular with the abject (such as the scene where Jesus develops a taste for blood). The emergence of a vampiric subtext is also slow and understated... it's an epic story told in a small way, with no direct reference to the hallmarks of the vampire genre and with its own self-contained mythology. The gradual transformation of Jesus is presented as a curse, and he never stops being the film's hero (albeit a flawed one).

HIGHLIGHT: Ron Perlman is the grumbling Angel de la Guardia, a more regular guy then he usually gets to play. His character is obsessed with getting plastic surgery, which plays into the film's themes of vanity and tampering with nature.
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The Loved Ones

December 3rd 2010 06:24


Magnificently demented and entertainingly appaling, The Loved Ones is a brutally sadistic horror film dressed up in pink-ribbon, school dance aesthetics. It kicks off with great opening static shots of Victorian suburbia accompanied by Little River Band's Lonesome Loser, demonstrating the beautiful cinematography that goes on to make the film such an enthralling and visceral, skin-crawling experience. A good opening like this can mean so much, it pulls you into a film and piques your curiosity, and in this case the film holds the viewer tight for all of it's brief, heart-stopping 84 minutes


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68
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Peeping Tom

February 22nd 2010 07:05


When we first get to know the protagonist of Peeping Tom we've already witnessed him committing a rather disturbing murder, seemingly just for the purpose of filming such a thing. It's a strange way of introducing a film's 'hero', by rights the audience should be ready to hate him, but as Peeping Tom progresses we're consumed by an overriding need to understand this guy and he becomes a kind of sympathetic figure in spite of the horrendous murders. It's quite easy to see why veteran director Michael Powell became a focal point for so much outrage after making this oddly macabre thriller, and it's a movie that's very much ahead of it's time and seems downright anachronistic for something made in the early 60s


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Night of the Living Dead zombies walking through a field
The Internet Archive is a magnificent repository of copyright free images and video clips, saved and archived in one spot.

For me, it's the moving images section that fascinates... the collection of old classic movies, expired past their copyright, now sitting happily in the public domain. You can watch all these great classics, for free, or download to your home computer


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99
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The Ring

March 16th 2007 00:04
The Ring


At the time of it's release, the Hollywood remake of the J-horror smash 'Ringu', was the spearhead of new wave of horror for the west. It was everything the genre has been crying out for in the last decade. I can't help but feel that 'Scream' was not the godsend most felt it to be, humour was the last thing that horror needed (at the least, that sort of gen-x self-referential humour) and taking away the focus off teens and slasher-style villains was the best thing that could've happened. 'The Ring' is (as far 'the West' is concerned) one of the keystones of this resurgence in sophisticated and mature horror (led by the massively successful 'Sixth Sense'), humourlessly atmospheric and never once degrading itself by winking to it's audience


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93
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Mary Shelley's Frankenstein

October 17th 2006 13:09
Mary Shelley's Frankenstein (1994)


Following in the footsteps of Francis Ford Coppola's classy rendition of 'Dracula' comes 'Mary Shelley's Frankenstein', directed by and starring Kenneth Branagh (and also produced by Francis Ford Coppola). And I can't say that it's quite as successful in it's intent as Coppola's film


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90
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An American Werewolf in London

September 9th 2006 11:05
An American Werewolf in London (1981)


Usually I don’t really dig horror films, but ‘An American Werewolf in London’ has always appealed to me because of it’s dark humour and setting. We join the protagonists, David and Jack, a pair of American backpackers, out on the moors of England. Insert a shifty bunch of local yokels, an unfriendly pub adorned with satanic symbols and a spooky English wilderness to get lost in, and hey presto! You’ve got the makings of a Werewolf


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Unman, Wittering and Zigo

September 5th 2006 09:18
Unman, Wittering and Zigo (1971)


This is a film that seems to be very much under the radar


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102
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The Exorcist

August 4th 2006 06:02
The Exorcist
The Exorcist (1973)


Often billed as 'the scariest movie of all time' and now re-released as 'the version you've never seen', 'The Exorcist' was one of those classic 70s stylish horror films that I simply had to check out (like 'The Omen'). So I did. Check it out, I mean


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92
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Night of the Living Dead

June 12th 2006 11:56
Night of the Living Dead
Night of the Living Dead
This ahead-of-it's-time cult film made waves as the original zombie hack-'em-and-dash-'em flick. There's not much to it in light of the many imitations it's spawned since, but it still stands up as an original and quirky piece of film-making.

The plot? Young folk joke about the undead. One of them get's scared. The undead appear and wreak havoc. Group of strangers hole themselves up in a cottage as scores of zombies home in on them in their quest for human flesh. It's cheesy, but in a good almost-kitschy way. Of course, this sort of stuff seems cliched now, but this low-fi low-budget horror film pretty much got there first, inventing genre conventions that would eventually give way to such cliches. It's quick to get to the action, perhaps afraid that it's audience will otherwise tune out if it doesn’t give something worth seeing straight-up, and then slowly builds a bigger picture of apocalyptic proportions from there (all on the cheap of course, cleverly using radio and television broadcasts to portray a country-wide crisis


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