Michael Winterbottom’s Shoshana

It was a time of colonialism the “anti-colonialists” seem bizarrely nostalgic for. The indigenous Jewish people were organizing for the independence of Israel, but the British were clinging to their “Mandate of Palestine.” There were also Arab colonizers, hoping to replace the British colonizers, but they hardly factor in British filmmaker Michael Winterbottom’s Shoshana, which is now playing in New York.

Shoshana Borochov is an ardent socialist Zionist Russian émigré to Israel. She is also a member of the left-leaning underground independence group, the Haganah. Thomas James Wilkin is a Hebrew-speaking British colonial policeman tasked with disrupting the more aggressive Irgun. Their backgrounds are so different, their romance should not work, but it does, at least for a while.

Unfortunately, their relationship starts souring with the arrival of Wilkin’s new boss, Geoffrey Morton. In fact, that is true for British-Israeli relations in general. Morton intends to use the same tactics he successfully employed against Islamist insurrectionists against the Jewish independence groups. Unlike Wilkin, he makes no distinction between the moderate Haganah, the confrontational Irgun, and the “militant” (as they now say in the press, about other terrorist groups) Lehi, which split from Irgun, rejecting their de facto truce with the British for the sake of victory over Hitler.

Predictably, the more Morton cracks down, the more Israelis hate the British, especially Wilkin, because he is usually right next to his boss, wringing his hands, during torture sessions. However, Morton must resort to more forms of trickery, because recruiting Jewish informants proves much more difficult than it did when he targeted the Arab terrorist networks.

Somewhat counterintuitively, Winterbottom’s screenplay (co-written with Laurence Coriat and Paul Viragh) downplays Jewish-Arab tensions, focusing instead of British colonialist mismanagement and antisemitism. It also gives the Romeo & Juliet love affair equal footing with the political intrigue. Fittingly, Gershwin’s “The Man I Love” serves as a recuring soundtrack motif, often accompanying Borochov’s heart-achey voiceovers.

Douglas Booth and Irina Starshenbaum (the Russian-Jewish thesp, who was excellent in the Russian underground drama Leto) develop a lot of chemistry together. It is also fascinating to watch their characters evolve, especially Wilkin, who clearly understands he “is on the wrong side of history,” even though the film never uses that exact expression. Likewise, Borochov eventually accepts the level of commitment required to protect her dream of a free and independent Israel.

The Trip to Greece: One Last Jaunt

Greece is the birthplace of the marathon and EU austerity budgets, but neither represents the style of Steve Coogan and Rob Brydon’s culinary tours across Europe. It is only five-star restaurants and hotels for them, but if the formula works, why fiddle with it? The British comedic actors return for one more jaunt playing hyper-meta versions of themselves in Michael Winterbottom’s The Trip to Greece, which actually opens today in a handful of cities and also releases on-demand.

Coogan has won seven BAFTA Awards—and don’t you forget it. However, the caricature he has created of himself is somewhat lonely and regretful, especially compared to the uber-meta Brydon, who is a happily contented husband and father. Throughout the series, he has been totally fine to receive second-billing to Coogan, especially since it gives him the liberty to deflate his friend’s self-important pretensions.

This time around, they will be reviewing the finest restaurants in Greece, but they are well aware they have done this several times before (in Spain, Italy, and the North of England), as their jokes will attest. Turkish viewers might possibly object to the title, since they retrace Odysseus’s trek, starting at the site of ancient Troy in Turkey. Mortality will also cast a shadow over this Trip, because Coogan will constantly call his fictional son for news on his ailing fictional father.

Of course, the heart and soul of the latest Trip remains their improvised banter and one-upping celebrity impersonations. They revisit greatest hits, like Michael Caine and Roger Moore, but they probably get their biggest laughs doing Mick Jagger and Keith Richards.

Tribeca ’17: The Trip to Spain

Seriously, does anything go better with spicy seafood than Roger Moore impressions? They’re in Spain, you see. The Moors, Roger Moore. Get it? You will if you join Steve Coogan and Rob Brydon for another culinary jaunt in Michael Winterbottom’s The Trip to Spain, which screens again today at the 2017 Tribeca Film Festival.

Steve Coogan is still Steve Coogan and Rob Brydon is still Rob Brydon. Coogan was always the more famous one, but that is especially true now that he is riding high on the success of the ridiculously overrated Philomena. However, despite his professional frustrations, Brydon appears to be the happier one. It would be more accurate to say the loving father and sort of faithful husband is somewhat happy, whereas the emotionally unfulfilled Coogan is really just miserable. Of course, we are talking about their Trip franchise analogs, not the real comedians, right?

Regardless, Brydon and Coogan are together again, following up their restaurant tours of Italy and the North of England with a saunter through Spain. This time, Brydon will do the newspaper reviews, while Coogan takes notes for a self-indulgent book. Of course, Coogan brings up Philomena every chance he gets. His digs at Brydon also seem less good-natured, but his Welsh counterpart largely lets them roll off his back. After all, this is a good gig for the working-class celebrity.

Once again, the two bickering friends mine comedy gold from their dueling celebrity impressions. Coogan is also quite the good sport allowing Brydon and Winterbottom to deflate his pomposity for comic effect. There is no question Coogan and Brydon dominate this Trip, just like they did previous installments of the UK television series/US film franchise. However, Kyle Soller scores a lot of laughs in his scene-stealing cameo as Coogan’s ex-American agent.

All three Trips are consistently funny films, but they also offer a bittersweet, deeply humanistic portrayal of middle-age and its related insecurities. Frankly, the trilogy makes us willing to forgive Coogan for What Goes Up, whereas Brydon still has plenty of good credit accrued from his voice-work in the Julia Donaldson animated specials (The Gruffalo, Room on the Broom). Recommended like the return of a slightly balmy old friend that always raises your spirits, The Trip to Spain screens again tonight (4/24), as part of this year’s Tribeca Film Festival.

The Trip to Italy: Pasta on the Menu

D.H. Lawrence and E.M. Forster found inspiration in Italy. So did Byron and Shelley—a fact Rob Brydon will hardly let Steve Coogan forget. He will quote both poets at length when the celebrity impersonating duo embark on another road-trip in Michael Winterbottom’s The Trip to Italy (trailer here), which opens this Friday in New York.

Italy might just be the only Winterbottom film that resembles any of his previous work. Clearly sticking with the game plan that proved so winning in The Trip, he turns Coogan and Brydon loose to eat and riff with abandon. Playing somewhat fictionalized and exaggerated versions of themselves (or so we can only hope), the comedians obsess over their careers and complicated personal lives, while touring through Italy for a series of magazine articles.

Just about everyone who saw the original Trip know it as the Michael Caine impression movie (or television show, as it was presented in the UK). There is not the same pitched impersonation battle this time around, but Brydon gives his Al Pacino and Tom Hardy good workouts. Arguably, the Italian Trip is not quite as funny as their tour through the north of England, but the food is considerably more tempting. The second time around will also resonate more with cineastes, who should enjoy their visits to the famous locations seen in John Huston’s Beat the Devil, Jean-Luc Godard’s Contempt, and William Wyler’s Roman Holiday.

Admittedly, both Trips are rather light when it comes to narrative, but it is rather fascinating to watch Coogan and Brydon portray their own somewhat unsympathetic meta-analogs. While Coogan played a rather soulsick Coogan the last go round, he makes a good faith attempt to redeem himself and reconnect with his fictional son in the new outing. In contrast, Brydon goes from being the more likable one to a bit of a cad this time.

If you do not feel like visiting Italy after watching the latest Trip, you were not watching with your eyes open. Winterbottom and cinematographer James Clarke make it look spectacularly beautiful. Brydon and Coogan also land an impressive number of laughs, which Winterbottom wraps up in a surprisingly effective bittersweet bow. Recommended for fans of British comedies and foodie films, The Trip to Italy opens this Friday (8/15) in New York at the IFC Center.

Sundance ’13: The Look of Love

Paul Raymond was like the British Hefner, except he was significantly richer.  It turns out real estate and dirty magazines were a highly profitable combination.  Who knew?  Yet, despite the money and the parties, Raymond’s story is rather sad, at least according to Michael Winterbottom’s big screen treatment, The Look of Love, which screens during the 2013 Sundance Film Festival in Park City.

Initially a burlesque impresario, Raymond’s first foray into publishing was a failure.  The timing was better for Men Only in the early 1970’s.  Much like Hefner, Raymond planned to turn control of his companies over to his daughter Debbie.  Unfortunately, as the audience quickly understands from the flashback structure, this will not come to pass.

Matt Greenhalgh’s screenplay unambiguously argues doing coke with your daughter does not constitute good parenting.  Actually, Look’s inclination to pass moral judgment is rather refreshing.  Yet, it clearly wants to have its cheesecake and eat it too.  There are plenty of scenes of Raymond’s naughty stage shows and photo-shoots.  However, the real estate side of his empire gets decidedly short shrift.  It might not be as cinematic, but it is important.  At the height of his family tragedy, Raymond was declared the wealthiest man in the UK, but Look never really explores his considerable business acumen.

Reuniting with Winterbottom again (following the thoroughly entertaining Trip), Steve Coogan is quite masterful in the dramedic lead, vividly portraying Raymond’s recklessness and remorse.  Unlike obvious comparison films (such as Boogie Nights), Look boasts several strong women characters, including Raymond’s first wife Jean and his longtime lover, Fiona Richmond, both of whom were once involved in the risqué side of his business.  One might even go so far as to say Tamsin Egerton projects empowered confidence as Richmond, the sex symbol who eventually has enough.  As Ms. Raymond #1, Anna Friel’s mature, self-possessed sexuality also works quite well on-screen.  Conversely, Imogen Poots’ lost little rich party girl persona becomes rather exhausting.

It is hard not to enjoy Raymond’s breezy first act success story, but since we know more or less how it ends, the third act plays out like a grim end-game.  As a period production, Look gets the groovy details right and if you dig David and Bacharach, you will have plenty to hum along with here.  Look is a fascinating morality tale, but it just could have used a bit more pep down the stretch.  Recommended reservedly for Coogan fans and those obsessed with the early adult smut industry, The Look of Love screens again Wednesday (1/23) in Salt Lake, Thursday (1/24) in Sundance Resort, and Saturday (1/26) in Park City, as part of this year’s Sundance.

Tribeca ’12: Trishna

Social class is a hard immutable fact of life in Thomas Hardy’s Tess of the D’Urbervilles.  Plunking the classic story down in contemporary America would be highly problematic, but India is a different matter.  Taking a few liberties here and there, Michael Winterbottom still captures the spirit of the original novel and its new setting in Trishna (trailer here), which screened at the 2012 Tribeca Film Festival, with further screenings coming up this week as part of the San Francisco International Film Festival.

Jay will serve as both Trishna’s Angel and Alec.  Touring the off-the-beaten-path attractions of Rajasthan, his head is turned by Trishna, the primary provider for her large family.  The son of a British hotel mogul, Jay recruits the young woman for the resort he reluctantly manages.  Things are quite pleasant for Trishna, making considerably more than she ever could in her village, while Jay harmlessly pines for her. 

One night when her defenses are weakened, Trishna succumbs to Jay’s advances.  Instinctively realizing a Rubicon has been crossed, Trishna retreats, but Jay pursues, whisking her off to Mumbai, where they are socially accepted as a couple.  However, Trishna’s life and relationship will take a dark turn, paralleling Tess’s tragic history with men.

You never know what you’re going to get from Winterbottom, but he has emerged as the leading cinematic interpreter of Hardy’s novel, following up Jude and The Claim, very loosely based on the Mayor of Casterbridge.  He is clearly comfortable navigating the film’s sexually charged power dynamics, but Trishna also exhibits an affinity for India, even including musical montage sequences (with original songs composed by Amit Trivedi) that would not be out of place in high-end Bollywood cinema.

Winterbottom uses the subcontinent as a big canvas, covering a wide swath of geography, but his focus rarely strays from Frieda Pinto’s Trishna.  While some might find her maddeningly passive, she is a product of her environment.  Through Pinto’s haunted presence, viewers get a sense of the social and cultural weight crushing down on her.  Thanks to Winterbottom’s streamlining, Riz Ahmed’s Jay has to turn on a dime from leading man to a cruel exploiter.  Still, there are enough underlying consistencies in the impulsive, entitled persona he creates to maintain audience credibility.  Pinto and Ahmed really carry the dramatic load, but veteran character actor Roshan Seth (Chattar Lal in Indiana Jones and the Temple of Doom) has some memorable moments as Jay’s stern but humanistic father.

Granted, everyone should have a pretty good idea where Trishna is headed.  After all, Hardy is not exactly famous for his happy endings.  However, Winterbottom’s treatment of Tess is boldly cinematic.  (Incidentally, Polanski’s Tess will screen as a classics selection at this year’s Cannes, so cineastes might want to break out their Cliff Notes.)  Literate and absorbing, Trishna is recommended for anglophiles and fans of Hindi cinema, alike.  A strong selection of the recently wrapped 2012 Tribeca Film Festival, it screens Wednesday and Thursday (5/2 & 5/3) during this year’s San FranciscoInternational Film Festival.