Thought Control - #8 - Jude

Closing the door on this session of Thought Control, let's look at what could also be called a sort of threshold film,

Jude
Michael Winterbottom's feature from 1996, Hossein Amini's adaptation of the book 'Jude the Obscure' by Thomas Hardy.

The Cincinnati Post said in 1997, "Jude (Christopher Eccleston) and Sue Brideshead (Kate Winslet) attempt to transcend a false and rigid morality, only to be ground down as much by their own flaws as by the forces arrayed against them. Still, we can find something heroic in their passionate failure. [...] To fall back on an ancient and useful distinction, 'Jude' achieves pathos rather than tragedy. The characters seem more victims of circumstance than of their own uncompromising natures. Yet the tale's overall impact is undiminished. 'Jude,' as beautiful as it is desolating, blows from the screen like a first gust of winter."

The Washington Times review (1996) noted, "Mr. Winterbottom's harrowing 'Jude' is more in the nature of a barebones adaptation, but the skeleton proves adequate to the book's burden of fatalistic struggle and heartbreak. The principal cast member, Christopher Eccleston, achieves a particularly stirring embodiment of the title character after inheriting the role from a pair of juvenile actors and shouldering its weight to the bitter end. A lean, craggy young spellbinder, Mr. Eccleston seems to grow more persuasive and even commanding in the role as Jude painfully matures and endures."

Chicago Sun-Times (1996) called it a "grim weeper", and pondered, "Only the energy of the leading actors and the glory of the photography rescue the film from the slough of despond - and in a way, Hardy might have thought, that's cheating. [...] What was Hardy arguing in his novel? Many of his books were about ordinary working-class people whose best efforts were not enough to escape the trap set for them by society. They labored, they dreamed, and the establishment slapped them down like troublesome flies. Despite the fact that Hardy was writing at a time when a socialist critique of his society was being fashioned, he doesn't seem to have a political message: Hardy was not a reformer but a mourner."

Jude and Sue are sometimes described as being born ahead of their time. Were they to live in the world of today, would they really fare better - or perhaps worse?


2010-05-14

Thought Control - #7 - Death And The Compass

Christopher Eccleston's career start had two sides: One that was traditional for most newcomers ('Casualty', Morse and Poirot) and the other that was very less so. Definite highlight from the latter is

Death and the Compass
Originally a TV film from 1992, it was expanded to full feature format in 1995. Based on Jorge Luis Borges short story and directed by Alex Cox.

Eccleston plays quite a multifaceted role, a triad of characters; relationship between them and also with other personae in the film could become extremely complicated, depending on the certain viewer's approach. The film differs from other director's endeavours, because of its clean-cut style and tightness of the narrative as well as presentation - still never loosing the specifics of Borges' Byzantine world.

One-of film, a unique performance, and yet, 'Death and the Compass' is absent from practically all Eccleston's filmography shortlists, and rarely mentioned. Is there a particular reason for this omission? Does the film deserve better or are the things as they should be? What in your opinion is this film's place?

2010-05-01

Thought Control - #6 - Strumpet

In previous discussions storylines, actor's role in production, genre choices and character features have been brought up. This time, let's look at certain type of roles, such as in

Strumpet
TV film which was also shown at Edinburgh Film Festival (2001). Written by Jim Cartwright and directed by Danny Boyle.

Christopher Eccleston plays Strayman, an alternative poet with a penchant for adopting strays. Upon meeting a homeless girl who gets the name Strumpet - and his words meeting her music, - they make for a breakthrough only to get entangled in show industry's monetary stratagems.

While their hit certainly lingers in the ears, it is especially the very beginning of the film that introduces the film's platform. Strayman recites a poem during a standard karaoke night at a pub. Danny Boyle commented on the scene: "I have to say that for Chris Eccleston and myself, the start of Strumpet, where we have him delivering John Cooper Clarke's Evidently Chickentown to a pub full of ordinary local people who were hearing it for the first time, that was a bit of a milestone in both our lives. We both come from the same background, we both feel the same way about Cooper Clarke. To have Chris driving that through in honour of him was just a great way of celebrating street life and street beauty and achievement. Really, that scene's a pinnacle for me."

Despite long-lived aspirations to appear in a Ken Loach film (the director has apparently maintained Eccleston got enough work without him), Strayman is the only Chris Eccleston's role where he is playing a contemporary person not just down, but quite off the ladder of society (not counting Boethius who's more of a phenomenon than a character).

How come?

2010-04-13

Thought Control - #5 - Othello

Let's start Volume Two with a film that is somewhat sporadically available, but the effort to trace it is well worth it. Arguably, one of the best villains hails from

Othello
Shown in 2001, TV film, directed by Geoffrey Sax, Andrew Davies' modern take on William Shakespeare's tragedy.

Christopher Eccleston plays the character of Iago, here Ben Jago (a role he'd been offered once by The Royal Shakespeare Company, but had to decline due to other commitments).

In the film, the action is transplanted from historical Venice to current-day London, where two high-rank policemen's, John Othello and Ben Jago's paths clash spectacularly on the board of political games.

In a 2001 pre-première interview with Marion McMullen Eccleston commented on Jago: "I think there is a malign and destructive side to all of us, but by and large we keep it under control." [on what drives Ben Jago] "I wanted it to be a compulsion to destroy, because he's not entirely sure why he does it. He is incapable of intimacy which makes him invulnerable. He has great control over himself, but also absolutely no control either - he's completely contradictory. I wanted the audience to look for regret, but see none."

Ben Jago shuns no means digging a wolftrap for his 'frenemy' and suddenly his superior Othello, the first black commissioner of the Metropolitan Police. Aside from pulling various threads inside the institution, Jago, not unlike the politicians behind the castling in the force, uses the race card. While his so-non-PC rant, reacting to the news, could be discounted as mere enraged raving - and is indeed qualified soon after by Jago himself as a 'passionate performance', there's little ambiguity for example around him networking online, throwing biscuits to white supremacists.

In the Production Notes (based on the same session of interviews as above) screenwriter Davies comments that "Jago discovers he does have racial feelings after all" first when he's wronged by Othello's promotion. Eccleston disagrees: "I don't think Jago is a racist. I think it's much more likely that he is a man thwarted in love. Othello's love for Dessie adds as much fuel to his hatred as does the colour of Othello's skin. I think he's seen white men whip themselves into a frenzy about their hatred for black people and he uses that on himself and on us. But I don't think it is the deciding thing ... Jago's too bright to be a racist."

Where do you find yourself in this discussion?

2010-03-26

Thought Control - #4 - Perfect Parents

Returning to the theme of religion that started Thought Control session, the first project from the post-'Doctor Who' era,

Perfect Parents
TV film from 2006, directed and written by Joe Ahearne.

Chris Eccleston plays Stuart, a father who wishes all the best for his daughter, but his actions start an avalanche of disastrous events. For this role Eccleston won Best Actor at Rome Fiction Fest 2007 (See Timeline).

Eccleston and Ahearne met filming 'Doctor Who', and already in 2005 they were supposed to shoot a film together. The feature was called 'Double Life' and billed as (probably sci-fi) romcom, but it fell through late in pre-production. The project was abandoned completely, and Joe Ahearne set to writing a new script. Eccleston's casting was confirmed in April 2006, and 'Perfect Parents' aired during Christmas holiday same year.

The story evolves from real-life fact that a certain percentage of non-religious parents cheat in order to get their children into better - and strictly Catholic - schools. Writer and director Ahearne doesn't stop at this, among other things, he includes a priest with dubious past and looks behind the façade of said schools.

While it is possible to see it in broader terms than all-out criticism of religion, paradoxically, all the while dealing with approximately relevant, non-fictitious topic, the film quickly departs from reality as the action progresses.

Seen from one side, this is merely a blunt dial-a-controversy - that makes little use of, for example, well-crafted depiction of family life, and fails its characters with wobbly logic. From the other, the film might have an aim outside itself - but does the story bear enough in it to feed a discussion and not appear simply sermonizing?

2010-03-13

Thought Control - #3 - Clocking Off

The end of the 90's - very beginning of the Noughties was a period of many colours, that produced a batch of very different projects. Let's look at the specific department of 'With or Without You', 'Linda Green' and the truly representative and probably best known of them,

Clocking Off
BBC series, directed by Geoffrey Sax and written by Paul Abbott, was shown in the year 2000.

Chris Eccleston appeared in the first season's second episode (plus a surplus blink-and-you-miss-it moment of the fourth). His airport runway controller Jim Calvert is a bit of a lad - but his life changes, first with a heroic deed, then, an act of charity and finally love.

For Eccleston the end of the 90's meant a restart after an undeservedly empty year - which followed, inexplicably, the first real high of his career. Restart brought roles in films of probably every imaginable kind: Quirky indies, blockbusters, romcoms. The last category is interesting, because while the themes were also there before, it was first during this period that social problematic was more or less completely divorced from the characters.

At the time Chris Eccleston said, "I'm certainly not complaining about the roles I've had. But I've done a lot of heavy drama and I wanted to play something that was lighter, and I thought this was well-written." Or as he half-joked in another interview: "The movers and shakers of Soho have me pigeon-holed as a class-avenging lout," he sighs. "But that's not fair. I've reread Jude and looked in vain for opportunities to introduce custard-pies. That's why it was lovely for once not to have a father who hated me or children trying to kill themselves in 'Clocking Off'. It was a nice change to play a bit of a loon, a daft lad."

Responsible for the writing was Paul Abbott whom Eccleston knew from 'Cracker' (as producer for 'To Be A Somebody) - and after 'Clocking Off' went on to guest-star in the first episode of Abbott's less successful affair 'Linda Green' (2001). The one feature film of this genre was also a result of repeated collaboration, with 'Jude' director Michael Winterbottom - 'With or Without You' (1999), a film which is remarkable for its warmth and lack of cynicism.

Is this genre choice just a statistical, automated outcome of that certain time, filled with oscillations, or could it have been a possible career direction - and what would have happened if it were?

One thing is certain - Eccleston didn't have any trouble with these lighter characters. While there might be fewer things to discover in them and with them, absence or minimum of heaviness doesn't mean lower quality of the product. Maybe it would be easier to find films in this direction?

2010-02-24

Thought Control - #2 - Let Him Have It

Chris said he owed his loyalty to Derek not to Peter Medak.
'If you're borrowing the drama of epilepsy you have to show the reality. But Hollywood doesn't like ugliness.'

(From Iris Bentley's book Let Him Have Justice, read relevant extracts here on the blog)

Let Him Have It
Vivid Entertainment movie, premièred at Toronto Film Festival in 1991; written by Neal Purvis and Robert Wade, directed by Peter Medak.

Christopher Eccleston plays Derek Bentley (30 Jun 1933 - 28 Jan 1953), mentally disabled youth, convicted and hanged for a murder he didn't commit. He was fully pardoned first in 1998 (read an article).

The production originally started with Alex Cox at the helm. Cox cast Eccleston (as Bentley) and Paul Reynolds (as Craig) with the intent of making a truthful film, in b/w. I. Bentley: "But it turned out his ideas were a bit too revolutionary and before long he fell out with the producers." Cox was replaced by Medak, film took on a different direction and both Eccleston and Reynolds had to re-audition.

Initially satisfied with film's message (it did bring the case back to light), Eccleston soon discovered changes that had been introduced, and how the reality was glossed over. He spent a month visiting Lingfield Hospital School in Surrey, where he found out about the specifics of epilepsy and learning disability Derek suffered from. He was further encouraged by Derek's sister, Iris Bentley, who was supposed to be a consultant for the film, but was rarely listened to. In her frank and poignant book she lists various discrepancies, from trivial to fundamental ones.

Still, this is a feature film, not a documentary, and in theory, the director's - audacious or not, artistic or market guided - vision. A restless actor - is it a hindrance or a gift for a production?

2010-02-10

Thought Control - #1 - The Second Coming

Unlike previous discussions, Thought Control presents a question based on a different film each time. See the schedule for the first volume.
There aren't any special rules. Both elaborate ideas and fleeting thoughts are equally fantastic, and equally encouraged - the only requirement for you is:
Please ask your fellow disputants further questions!

Let's start with:

The Second Coming
Shown on ITV in 2003, produced by Red Production Company, it is written by Russell T Davies and directed by Adrian Sherhold.

Chris Eccleston plays Steve Baxter, a random bloke, born and braised in Manchester, who is The Second Coming, the Son of God. He delivers an ultimatum for humanity - they have to choose, write the Third Testament or face Armageddon.

So, without pointing at specific religions, and apart from separate characters' fate, consider the new world. In your opinion, is it a happy or a worrying ending?

2010-01-27

Have A Think #9: Do You Like Music?

This time, a practical exercise. Here's a situation - you might have experienced it already - you mention Eccleston to your acquaintance and find out that you're talking to a person who has never heard about him. Hasn't even seen him in films without knowing it was him. And as the circumstances dictate, you have not more than ten minutes to explain and illustrate - if you want, make a pitch - and introduce your friend to Chris Eccleston.

You have all and any material you could think about. What would you use? Pictures or stills, extracts, video or audio? What's the best representation? If you've already tried it out, how did it work?

2009-10-08

Have A Think #8: Property Is Theft

Films affect us in various ways, and they also broaden our minds. And often they bring a challenge - or at least a question or two. For example, what is a Jacobean tragedy? (It has violence, to start with; "Every mode of violent death available to Renaissance man, including a lye pit, land mines, a trained falcon with envenom'd talons, is employed," to quote Pynchon.)

Or maybe, waiting for a coming Chris Eccleston project, you might have just found yourself with a 'G.I. Joe' comic - Watching a Katrina hurricane documentary (Spike Lee's for example) - Reading about Amelia Earhart (Chiclit's current pastime) - Perusing Askwith's book (like Alex).

In other words, if you prepare for a film, how? What about further studies? Do you prefer one to another?

2009-09-10

Have A Think #7: Leveraged Buyouts

There's recreation, and there's deliberate recreation. After a hectic week Chiclit found herself unwinding with a good rewatch of 'Doctor Who' Chris Eccleston series. It has a high Zen-factor in Alex's book too, but what are your preferences?

What is your favourite stress reducing performance - movie, series, or perhaps a certain episode? Which of his films do you get lost in? Does it change, say, with time or depending on specific circumstances? Or have you discovered the panacea?

2009-09-03

Have A Think #6: Apply In Writing

Derek Bentley, Trevor Hicks, Gen. Ford, Fred Noonan - Chris Eccleston played these historic persons, as well as characters hailing from the stories by Mike Phillips, Jorge Luis Borges, Thomas Hardy, Jennifer Egan, Susan Cooper, Herbjørg Wassmo. Also, a project ('Feet In The Clouds') that would unite these two aspects is in development. Our reader Jen has remarked that Eccleston should have been John Constantine, and thought it would be interesting to hear what other roles are envisioned. Hence, a question.

What real-life or fictional character can you see - or perhaps always have seen - as played by Eccleston? Never mind any temporal or other limits (your project could also be placed earlier in the filmography, for example). Should it be a direct portrayal or an interpretation? What is this association based on: Intuition, physical semblance, his acting style, ideology? And to go further, who would you appoint to write the adaptation or to direct?

2009-08-19

Have A Think #5: Fantastic. One Of Those

We've discussed some of Chris Eccleston characters before, especially those with dubious tendencies. There's though also a certain department of possible heroes: By nature or by plan, successful or not quite, or even victims.

No examples will be provided, because we'd like to know, who would you - no doubts or second thoughts - call a positive character? If you have suspicions about all of them, who comes closest? Is it more difficult to take Eccleston's characters for granted? Who would you go behind enemy lines with - or perhaps you would prefer a villain?

2009-08-12

Have A Think #4: Permanent Solution

Probably everyone had a film recommended to them by a friend, or perhaps watched something for experiment's sake. And yet there are films you'd prefer not to get involved with - and many more you're indifferent to. Chiclit wonders this week about some of the films she'd seen that have the only thing in common - they star Chris Eccleston.

"I know that I never would have sought out 'Anchoress', but loved its starkness and thought about it for days. I would never have discovered 'Death and the Compass', but I found the final scenes thrilling and fun - and am convinced Chris Nolan had them in mind when he developed the recent Batman. 'Othello' was great, watching a Shakespeare drama re-purposed as a modern treatise on friendship and race (timely in the middle of our recent Presidential campaign) - but not sure I would have seen it if I hadn't been following the Eccleston filmography."

So, what movie (or television show) has Christopher Eccleston led you to that normally you would never have watched? How did it affect you? Did it convert you into a fan of a certain genre? Encouraged to learn more about one director or other? Made you see Eccleston's other films in different light?

2009-07-28

Have A Think #3: A Bout Of Tourism

After a week's break - finishing the reviewing - another topic to think about. This time, a simple subject with a twist. Inspired by this postcard for 'Manchester Reads' project, let's take a look at the films we almost know too well from a different angle.
Write a postcard from any Chris Eccleston film you like (ca. 70 words) - that affected you most as a whole, that has a character you find special, or just the last one you saw.

Like this: A postcard from 'Strumpet' by Danny Boyle.

Dear viewer,
Smashing night. Met local cause célèbre, Strayman, - the artiste helped himself to my chips, obviously, but his pack was docile, for a change. He promptly absconded, muttering he has to write something down.
Karaoke was a killer. Tie a yellow ribbon! Bought Strayman a pint for the poetry attack. I wish Cooper Clarke paid a visit and connected Strayman with them right people who'd help him break through for real.
A.K.

2009-07-21

Have A Think #2: Criminal Philanthropists et al.

This week let's look at the roles Chris Eccleston played through his career, in general.
Those who are familiar with several of his films, tend to form one of the following opinions: That he plays villains best, that he plays good persons best, or, the happy medium, that 'it's all about the grey zones'.

For how do you decipher these characters? There was Red Scharlach, criminal philanthropist; cracked accountant David; Nicky Hutchinson whom Eccleston himself called anti-hero; Norfolk and his pride; Leo Zhukovsky, a man who was his mission; Vindici, Jacobean Man Without A Name; Major Henry West, one man squad of despair. And these are just the most obvious examples.

So, the question is, which role forced you to make the most memorable double take? Did you find yourself rooting for the 'wrong' person in a certain movie? Was there a particular occasion when Eccleston's approach changed your perception of the film? Made you adjust your opinion after you thought about it? Which character do you find hardest to put in this or other box?

2009-07-07

Have A Think #1: Collaborations

Through his career Chris Eccleston has collaborated repeatedly with several directors and writers. For example, Alex Cox cast him in 'Let Him Have It', then went on to direct him in 'Death and the Compass' and 'Revengers Tragedy', Michael Winterbottom directed him four times, Charles McDougall - three. Jimmy McGovern has written 5 features Eccleston has appeared in, and five writers are responsible for two films each. We would like to look at one specific collaboration, that with director Danny Boyle.

'Shallow Grave', big screen début, 'Strumpet', one of two TV projects as successful regrouping manoeuvre, '28 Days Later', return to bright lights without dumbing down or giving up the original ideas - these films were important turning points for Danny Boyle. But what about Eccleston? What place do these projects have in his filmography? Are they exceptional in some way for you? How do you think Boyle-Eccleston collaboration is different from others? Can you see them working together again?

2009-06-30