Film
FATE (15) 118mm .000
Elli/HIM”) (i Zl/‘riila‘: S’XIIIISII l‘1lf:él‘>(: IOI we ‘..",1 tzriie. fate was actually iriatle i'l Fill) anti l‘. the first in lurkzsh filriirviaker Xeki [ieiiiirkiliu/s “Tale: of Inii‘urie'x,‘ lr'li'r}, the other two films CON" and l'.’.'iitrr‘g were made in I" [.0 AIM I’W’i-i reariecti.el‘,w. Judging Il/ill' tile first t.‘.ll tiliiis in the trilogy ill/airing liéif, not ,et made it to these shores .‘gtiat fascinates this -11 -‘.'ear- old .'.'r:ti:r director isn't social H'blifll‘LIIllllI, trut the slo.‘.eburn sense of ’,li‘[){IIilI|l,. ()Ieail, influenced by (Jairius' [fie Oats/o'er. Deriiirkubu/ herr- tiaiisriwses the story to Istanbul and iriakes a Mr, change to the tale. llis central character lvlusa (Serdar ()rciiii gets caught up in a crime he didn't coiriiiiit. and doesn‘t seem to haxe the enthusiasm for life to pioclaiii his innocence.
Deiiiirkihu/ is at pains to offer a ‘.’l.‘3ll£tl st;,le and a narrative approach that lll()\.’(?f; away from identification of character and towards ambiguity. lhus he'l! think nothing of haying the camera drifting away from Musa and concentrating instead on some iiiinutiiie of Istanbul lite.
Deirlirkibu/ is Just one of a number of tilmmakers recently exairiining Turkish living. such as Nuri Bilge Ceylan. who made Uralx. Fatih Head On Akin and Ferrari l'lie Turkish Bat/i Ozpetek have also inyestigated the emigre and imiriigrant experience. Recent articles in xaiious cineaste iriagaZines have suggested the beginnings of a wave: this may be the place to start the surf. II()II\ McKibhinl I Fli’rrt.’lt’>tise. Edinburgh from Mon I - 7hr. ~1i’li'al.
I )l RAMA LEMMING (15) 130min 000
Directors seem to enjoy putting the French actor Laurent Lucas through the mixer: in Caiialre iThe Ordea/l his character was tortured and gang- raped. and here hrs yeting inyentor Alain Getty is smashed up in a car crash. gets bitten by the title rodent. and sees his wife Benedicte (Charlotte Gainsbourgl apparently possessed by the spirit of a dead woman.
As \Nltll filmmaker Dominik MoII's preyious \‘lOl'k Harry He's Here to He/p (2000). Lemming explores how a
44 THE LIST :7 Apr—l 1 May 2006
INTERVIEW
DEVIL HORNS
Sam Dunn (left) explains how he came to make a film about the history
of heavy metal.
‘It started as a book project when l was finishing up my graduate degree in anthropology. No one’s ever really done a book on the history of heavy metal. I was talking with Scot (McFadyen, producer pictured, right) about it. We’ve been friends for a long time. Scot was working in film and TV and he said, “well what about a documentary? There’s never been a documentary about the history of metal” and we looked into it and discovered that almost all the film projects that had been done were essentially parodies or spoofs, whether it’s This is Spinal Tap, Bad News or Decline of Western Civilisation.
‘Growing up as a metal fan I felt there was another story that could be told and that there was an opportunity to talk about this music which has been around for so long and yet continues to either get the short end of the stick or has been the target of censorship over the years. The original goal of our film was to do a conventional history of metal and, as we began to develop the research and writing, I guess we felt that we had a limited audience. So Scot suggested, “What about making it a personal journey, a story about you?” I admit I was very reluctant. Making a film about me was not something I ever aspired to do. But we talked it over and felt that by making it a personal journey was a way to bring in people from the outside so to speak. It is one of the largest subcultures, I would say. It’s right on the edge of being between a subculture and in the mainstream.
‘It was a long hard road. We set out to make this film about five and a half years ago. There was some scepticism on the part of some potential financiers that we could pull it off. There were battles on many fronts. I think it’s quite telling that many of the musicians we wanted to grant us interviews and be involved in the project were quite untrusting; this was a direct result of the fact that they thought we were going to make fun of them. Sharon Osbourne was really resistant right from the beginning. We had to get around her because she manages all of Black Sabbath. Luckily Iron Maiden’s manager Rob Small was really helpful to us right from the beginning. He was one of the first people to come out and say “I really like what you guys are doing, I support what you’re doing”.’ (Interview by Mark Robertson)
I Metal: A Headbangers JOurney lS out on selected release from Fri 28 Apr.
See review, page 45.
complacent couple's eguilibrium is disrupted by the arrival of a mysterious intruder. Here though. the Scandinayian lemming discovered in the pipe under the Sink. turns out to be a red herring. More emotionally destabiIiZing is the sinister spOuse Alice lCharlotte Ramplingi of Alain‘s boss lAndi‘e Dussollierl. who. ower dinner chez Getty. launches a verbal assault on her husband and hosts. Influenced by Hitchcock and Bunuel. Moll gh. es the ricth ambiguous Lemming the look and feel of a waking dream: hence the sparse. claustrophobic compositions. the contrast between shadow, night-time interiors and Sunny daylight. and the sense that events c0uld be interpreted as the DFOJGCIIOR of unconscious male
anxseties. Strong performances too. with the doubling of Ranipling and Gainsbourg reinforced by the uncanny correspondence bet .‘.'een the 9 actresses" looks and gestures.
iTom Dawso'ii
I Film/701x863, Err/7r mgr? from Fr 25 Apr.
CRIME. IJIOCKUMENTARK THE MAGICIAN (15) 83min .0
This lllOCkUlllElllal‘, about li/telbotirrie- based hitman Ra; Shoesmith played by writer direct0r Scctt Ryan . .nihc's Supposedly filmed at .‘Jork by his Eurcpean neighbour and flirr‘ snident Max Massimiliano Anorignettoi. s a blatant rip-off of two far better films: the 1992 Belgian serial killer moci<doc
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lite tit tillllit,‘ li' other. I". i»- It rill-st. aspects of his IlItf. l’eihar 7. ii-s- the life at a contract kiilel as something niiintlane is the lzlea here. but as a piece of lllt)(1I\l,‘l‘, there's lust riot etltltlttlt (tiling; all I raise it ltlilttl‘. cr enen an memos. linen '.'.ll(rll Shoesmith Jets around to taking a tellou‘r I().‘.’III(: out to the forest I.) ha.e the poor hugger dig his own grate. Ryan stretches the empty “.rtene tori tar. There's no magic here.
livliles Fielden
I Cirlet‘.orirf Rent/en‘. St'eef. (finger. and Vrie. EUI/lblllgl‘ from Fr: :5 ."vlli'l‘,. Fi/rnhouse. Edinburgh from If) Mal
ROMANCL COMEDY RUSSIAN DOLLS (15) 129mm 00
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Four ,ears on front the surprise box office success of ‘.-iriterdirer,tr,r Cedric Klapisch's Pot Luck carries this similarly tir‘ider.'.ihelrriing sequel Russia/l Def/s. The student t.‘.'erltyscmethings who .‘rere sharing a flat in Barcelcria ha.e no scattered across Europe, Approaching his thirtieth I/lnllfléty‘. Aaiier iRorriain Ding, is struggling to make his mark as a writer and to find the dreams: ha'.'rig firis‘ned .'.’II'I err/ironrrientaf campagner l/lartine (Audrey Tatoiii. hes torn 'r,et.'.’een his Cute and funny Engliin friend Wendy iKelI, Reilly‘i. with .vhorr. he's collaborating on a TV soreenpla, called Pass/Gnate‘ Love in Venice. and the beautiful model Celia iLu-fi,’ GOrdom. whose autobiography he's ghOSI-HHIIRQ, Hopping between Paris. Primrose Hill and St Retersburg the latter being the locaIIOn tor a wedding attended by the groupl. the middlebroxi RUSS/an Do/ls picks On
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