Home' Trinidad and Tobago Guardian : June 14th 2013 Contents 12 Friday, June 14, 2013 • Issue 92
Fans of old-school reggae are in for a
treat when the trinidad+tobago film festival
(ttff) hosts a free screening of the music
documentary The Story of Lover's Rock at
the St James Amphitheatre on Sunday 16
June from 7pm.
The film is being shown as part of T&T Film
Nights, which is sponsored by the Trinidad
and Tobago Film Company, and as part of the
annual We Beat music and arts festival,
which takes place from June 7-16. This is the
third year running the ttff is hosting a film
screening at We Beat.
Directed by Menelik Shabazz, a Black-
British filmmaker originally from Barbados,
The Story of Lover's Rock is a joyous celebra-
tion of a unique genre of music. Often dubbed
"romantic reggae", lover's rock is a sound that
developed in the United Kingdom in the late
1970s and early 80s. Against a backdrop of
riots and racial tension, it allowed young
Caribbean people to experience intimacy and
healing at parties and clubs.
Lover's rock paved the way for artists like
Maxi Priest and UB40, and influenced Ja-
maican reggae musicians such as Gregory
Isaacs and Freddie McGregor.
Seamlessly blending interviews and dra-
matic recreations with concert footage, The
Story of Lover's Rock won the jury prize for
best documentary feature at the ttff in 2012,
and was also a selection of the European Film
Festival last year. According to the synopsis
of the film from the ttff, it will make you want
to "turn down the lights, turn up the volume,
hold on to your partner and start grooving."
The screening, which takes place in associa-
tion with the St James Community Improve-
ment Committee, is free of charge, for all
ages and open to the public. Doors open at
6pm and there will be refreshments on sale.
The ttff is presented by Flow and given
leading sponsorship by bpTT, RBC Royal Bank
and the Trinidad and Tobago Film Company
Limited. For more information, please call 621-
0709 or visit www.ttfilmfestival.com.
There really is a Ryan Gosling for
everyone. A Ryan Gosling that makes
us stronger and keeps safe at night. For
the forlorn pre adolescent girl- there's
sentimental Ryan Gosling in The Note-
book. For the big, hardback man-
there's big, hardback Ryan Gosling in
Drive. There's even a Gosling for you
dear reader, he's out there somewhere.
Perhaps he's in Derek Cianfrance's new
melodrama A Place Beyond The Pines.
Now, Ryan Gosling aside, let's keep in
mind that this is not a film of sunshine
and rainbows and joy. Let's keep in mind
that this is the director of Blue Valentine:
remember that one movie that did away
with the traditional optimism of cine-
matic romance and instead portrays a de-
generating marriage and tragic love? The
film was something that mainstream ro-
mance or mainstream film for that mat-
ter wasn't: it was honest. It's the honesty
that makes the film poignant in any way
and essentially, what made Blue Valen-
tine one of the best films of 2010.
So once again, Cianfrance's delves into
the melancholic world of cinema, this
time with less marital discourse and
more motorcycles. Leave your smiles at
the door, this is my review of A Place Be-
yond The Pines.
The film opens with Ryan Gosling
shirtless, so it's clear where Cianfrance's
ambition lies. Most films wait halfway
through but this is a Cianfrance film, he
takes risks. The film opens to this re-
markable tracking shot of Gosling as he
struts through the fairgrounds, the cam-
era is rooted to him - so from a visual as-
pect everything is caught peripherally.
We hear kids screaming, bells and whis-
tles going off; it's remarkable because
this is reality- this is how real life works.
You're watching a living breathing world
unfurl before you with each step and
right off the bat; the film is a master-
Pines' works as a crime- drama and
tells the sprawling tale of three very
different generations of men: Luke a
motorcycle stuntman played by Gosling
who turns to a life of crime to support
his lover (Eva Mendez) and their new-
born son, Bradley Cooper is Avery
Cross, a rookie cop who is forced to
fight corruption in his own department
and we come to rest on Dane DeHaan's
Jason, Luke's 15-year-old son filled to
the brim with angst and drugs and all
the good stuff that cinema teenagers
are made of. The story compels these
characters to eventually cross paths in
some way or the other and have their
fates become entwined. The divergent
character arcs are all interlocked with
similar themes of poverty, fatherhood
and how we make our own karma.
These aren't your cardboard cutout
characters that Cianfrance scraped off
the floor, they aren't cliches or arche-
types; these are people made to face
the fates that they have chosen.
Gosling isn't just another tough guy
and Cianfrance captures it. The close
ups of him having to hype up himself
before strutting into a bank, the way
his voice breaks as he barks orders,
even the way the camera shakes dur-
ing his get away scenes, there is a de-
finitive vulnerability to this character.
Cooper reminds you why he has an
Academy Award nomination and you
don't. Dane DeHaan showcases the
same talent we saw in Chronicle and
Lawless. The symbiotic relation be-
tween the characters, the daunting, lin-
gering shots and the haunting score all
contribute to the conveyance of the re-
alism in this film. It feels as though as
though you're watching literature.
Then this raises the question: should
I really be watching literature? Its po-
etic climax doesn't translate the same
way it does in film as it would've in a
novel. If you read it, you would say: 'Oh
he did that because of some metaphor,
personification whatever...' but seeing
doesn't have the same effect. This
could be due to the uneven pace of the
film, which translates to the possibility
of Pines overstaying its welcome, de-
spite the fact that you will be rewarded
with some of the most cinematic per-
formances to date.
This is not a film for the people who
like movies; there is no place for the ca-
sual moviegoer here. This is a film for
the people who love movies. for the
people who see art in cinema. If you
must choose one film to suck away
your joy for two hours, let it be this
Following the global premiere of World War Z, British rock band MUSE per-
formed THE 2ND LAW a cut from the film and other hit songs at a huge outdoor
concert live at Horse Guards Parade Grounds, St. James' Park, UK.
Brad Pitt and Angelina Jolie
attended the premiere and the
Angelina Jolie and Brad Pitt
were in good spirits and ap-
peared excited and happy with
the launch events.
"Two years ago, we wanted
to find --- remember the theme
from 'The Exorcist'?
It's called 'Tubular Bells,'"
Pitt said. "We wanted to find
something like that."
"At the same time, these
guys were reading the book,
unbeknownst to us, and were
fans of the book. They wrote
the album that's out now, 'The
On it, we found the song,
'The 2nd Law,' that we thought
was exactly what we were
looking for the film," Pitt said.
"It just kind of worked out in a
nice, kismet kind of way."
Wake up to World War Z
will be in Trinidad and Tobago
on June 26. The Epic Disaster
Action film stars Brad Pitt,
Mireille Enos, Eric West,
Matthew Fox, David Morse
and James Badge Dale.
The story revolves around
United Nations employee
Gerry Lane (Brad Pitt), who
traverses the world in a race
against time to stop a pan-
demic that is toppling armies
and governments and threat-
ening a shocking end to
Links Archive June 13th 2013 June 15th 2013 Navigation Previous Page Next Page