Filmography, Movies

High Spirits (1988) – The Filmography of Neil Jordan

In a brand new project, I am going to be looking weekly at the complete cinematic, feature-length filmography of a director in the run up to a newly-released piece of work.

In the first Filmography project, in advance of his new film Greta to be released in April 2019, I’m looking at celebrated Irish filmmaker Neil Jordan…

There comes a point with any filmmaker, no matter how great or good, when the magic wears off and they produce something they would rather forget. Some get it out of the way early. For some it comes at the end of their career. For Neil Jordan, his fourth picture very much fits the bill. High Spirits is what you might, charitably, coin – a misfire.

You sense with High Spirits the fusion of numerous elements that have marked Jordan’s journey as a filmmaker up to this point, a journey which by now is defiantly idiosyncratic and liable to avoid pigeon-holing. While High Spirits is very clearly a Hollywood product in the manner none of his previous three pictures could be described, it sees for Jordan both a return to his native Ireland when it comes to location and narrative (not evidenced since Angel), plus the interest in fantasy trappings as was The Company of Wolves, even if they are wildly different approaches.

Jordan has stated that he was locked out of the editing room on High Spirits and he has “locked in a vault” the original cut he would have released, suggesting a strong displeasure with a final product which is striking in how forgettable and rote the finished product is compared to, particularly, his last film Mona Lisa. The conflagration of Irish, British and American actors, crew and production values, works to the detriment of the depth and substance we saw in Jordan’s previous films. He remains a director developing and evolving, but this feels from the get-go like an unusual aberration.

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Filmography, Movies

Mona Lisa (1986) – The Filmography of Neil Jordan

In a brand new project, I am going to be looking weekly at the complete cinematic, feature-length filmography of a director in the run up to a newly-released piece of work.

In the first Filmography project, in advance of his new film Greta to be released in April 2019, I’m looking at celebrated Irish filmmaker Neil Jordan…

After a sojourn into the realms of Gothic dark fantasy in The Company of Wolves, Neil Jordan veers back toward territory he explored in his first picture, delivering in the process not only his most accomplished works to date, but one of the highlights of his varied cinematic career.

Mona Lisa saw Jordan ply his trade with HandMade Films, who since being formed by George Harrison (yes, the Beatle) in order to bankroll Monty Python’s controversial The Life of Brian in 1979, had emerged as one of the growing, innovative production companies in British cinema, developing pictures such as Terry Gilliam’s curious Time Bandits in 1981 and a year earlier, John Mackenzie’s seminal British crime picture The Long Good Friday, which made a star of Bob Hoskins. Mona Lisa continued that ascent of stardom for Hoskins in the lead role as one of the UK’s most exciting character actors.

You see while Hoskins is the protagonist of Jordan’s neo-noir crime drama, which sees the director using a London setting for the first time, his leading man George is by far a conventional hero within what is without doubt an unconventional, melancholic romantic picture. There is a real sadness that pervades Mona Lisa, despite George’s inherent everyman optimism and the strings of Nat King Cole singing his take on the titular figure, of course so named after Leonardo da Vinci’s most famed Renaissance portrait. Jordan’s film is one of intentional contradictions.

It is also, in more than a few places, quietly heartbreaking.

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Filmography, Movies

The Company of Wolves (1984) – The Filmography of Neil Jordan

In a brand new project, I am going to be looking weekly at the complete cinematic, feature-length filmography of a director in the run up to a newly-released piece of work.

In the first Filmography project, in advance of his new film Greta to be released in April 2019, I’m looking at celebrated Irish filmmaker Neil Jordan…

The Company of Wolves can be seen as the first stirrings of what would become certain Neil Jordan trademarks in his storytelling.

Sexuality, and principally forbidden sexuality, is right at the forefront of this take on the classic Red Riding Hood fairytale story, something Jordan hinted at exploring in his first film Angel and spirals very much back to in his next film, Mona Lisa. Jordan couches these themes in The Company of Wolves very much in the Gothic romantic tradition, with the central character of Rosaleen the young, naive, innocent beauty who is eventually courted by the literal Big Bad Wolf of folklore. The result is a strange, haunting and often quite eerie piece of work.

Though not Jordan’s best piece of work, it’s a striking next step in just how markedly different it is to his previous, debut picture.

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Alias

Alias – ‘The Prophecy’ (1×16)

If The Box was the episode which transformed first season of Alias from a narrative perspective, The Prophecy is the episode which sees Alias finally embrace the fact it exists on a fine line of two distinctive genres.

It is hard to look past The Prophecy as perhaps the most important episode of Season 1 of Alias, indeed it may well be one of the most important episodes of the entire series. The Prophecy is the episode which embraces and contextualises the Rambaldi mythology in a way JJ Abrams’ series has thus far been hesitant to do. John Eisendrath’s script acknowledges that the reveal at the end of Page 47, which saw the key page of Milo Rambaldi’s 500-year old manuscript unveil an image of our heroine Sydney Bristow, was a moment Alias could never come back from. 

This was the moment Alias becomes as much science-fiction as it has been pure, pulpy espionage.

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Star Trek: Discovery, Television

Star Trek: Discovery – ‘Brother’ (2×01)

If not a second pilot episode, Star Trek: Discovery certainly delivers a brand new mission statement with Season 2 premiere, ‘Brother’.

Looking back on the first season of Discovery, it was not only the strongest first season of a Star Trek show since 1966, it was also the most radical. Trek’s return to television under the original auspices of Bryan Fuller, later with significant support from Alex Kurtzman after a difficult road has now emerged as show runner and steward of Trek’s modern TV revolution on CBS All Access, was designed as a refreshed update from the era that spanned the late 1980’s through to the mid-2000’s. Gone were the stand-alone episodes, the 24/25 episode seasons, even the traditional structure of network television with one eye on syndication. Discovery was living in the now.

Season 1 threw a great deal at the wall. A ship and Captain we didn’t even see or meet until the third episode, allowing the first two episodes to serve as more of a prequel epilogue than a traditional Star Trek two-part pilot of old; pure, serialised storytelling which contained character development and story tropes such as the time loop episode within a broader season-long arc; and in particular, the Captain of the ship—the inviolate hero of all Trek series of old—turned out to be the villain of the piece, not to mention the fact our main character turned out not only to be of lower rank, but a mutineer to boot! Not all of it stuck, but Discovery from day one broke the Star Trek rules with a casual, F-bomb dropping swagger of its own.

Perhaps the most surprising aspect of ‘Brother’, therefore, is just how hard it works to feel like the Star Trek that long came before Discovery.

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Filmography

Angel (1982) – The Filmography of Neil Jordan

In a brand new project, I am going to be looking weekly at the complete cinematic, feature-length filmography of a director in the run up to a newly-released piece of work.

In the first Filmography project, in advance of his new film Greta to be released in April 2019, I’m looking at celebrated Irish filmmaker Neil Jordan…

The debut feature of Neil Jordan belies that of a newcomer to cinema. Angel, while rough around the edges, displays a depth and artistry to signal out this filmmaker.

Jordan was already an established novelist, and the son of an Irish professor as well as university student of Irish history and English literature, when he circuitously arrived at the camera when he shot an on-set documentary about John Boorman’s re-telling of the Arthurian myth, Excalibur. In quite a fascinating piece of history concerning the foundations of the Irish Film Board and a certain level of controversy around Boorman’s role within it, Angel ended up becoming a crucial launchpad of Irish cinema in the early 1980’s, not to mention kickstarting Jordan’s career.

Boorman, by this point a celebrated director both in the UK and Hollywood thanks to pictures such as Point Break and Deliverance, served as a clear totem for Jordan in his role as Executive Producer on Angel, a picture which carries weighty themes on a small frame.

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Television

Star Trek is Boldly Going… but to where?

What many Star Trek fans considered an unlikely impossibility has finally, it seems, happened: the franchise is well and truly back on TV, and here to stay.

When Star Trek: Discovery launched at the tail end of 2017, after several delays, it ended the franchise’s 12 year exile from television screens following the slow demise of Star Trek: Enterprise, and the Rick Berman\Paramount TV dominance of the late 80’s and 1990’s – if not the most iconic in terms of popular culture, then without question the most successful era of Star Trek in its half a century of history. Discovery was a symbolic return for one of television’s most legendary series and, as every Star Trek sequel series has done over the decades, it divided opinion.

If you put aside Discovery’s quality, and the difficulties behind the scenes in bringing it to bear, one fact is indisputable: it has triggered a revival of Trek which is now heading in some very unexpected directions.

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