Independent films – Nicole Davis

Amid Britain’s political turmoil and the likely devastating impact on its creative sector, I thought I’d try to bring some levity to bear. And what better way to do that than to talk about cats.

So here are cinema’s most recent entries into the feline hall of fame…

Nasty Baby | Sula

Freddy’s feline friend ‘Sula’ is director Sebastián Silva’s actual cat, an unsurprising discovery given the scant privacy she affords him. In a series of touching scenes, the cat’s presence becomes more than just a gimmick, but undoubtedly the one during which Sula wins the affections of the audience is the bath scene. With trademark curiosity and playfulness, her gentle prodding of Silva’s forehead lend the moment an air of tenderness, befitting the film’s raw and improvised tone.

Listen Up Philip | Gadzuki

Like a child in a faltering marriage, Gadzuki the cat, in Alex Ross Perry’s lacerating comedy Listen Up Philip becomes a pawn in the drawn out break-up of Philip (Jason Schwartzman) and Ashley (Elisabeth Moss). Gadzuki is a staple throughout, sharing several heart-warming exchanges with Moss, and even garnering his own voiceover mention and narrative resolution, but his shining moment occurs roughly one hour in. When Philip returns to New York to win Ashley back, Gadzuki serves as proof that Ashley has moved on and is even used as a puppet to express Ashley’s newly unearthed dislike of her ex. It’s an empowering scene for Ashley, and perhaps a slightly exploitive one for Gadzuki, but the duo make a charming pair and you can’t help but feel they’ve got each other’s backs.

Inside Llewyn Davis | Ulysses

The Coen Brothers’ poignant exploration of the Greenwich Village folk scene in 1961, arguably features the most characterful cat ever to have graced screens. Indeed, Oscar Isaac’s flame-haired companion has inspired endless critical evaluations. What is its significance? Is the cat Llewyn? The consensus seems to be that the cat amplifies Llewyn’s quest for an identity outside of his folk duo, joining him on a journey of self-reflection and giving him a sense of purpose when he so desperately needs one. Even if that is just retrieving said cat from various escapades.

The Grand Budapest Hotel | Persian Cat

The most ill-fated cat of the bunch begins his cameo in the arms of Jeff Goldblum’s Kovacs and ends it dispatched from the clutches of Willem Dafoe’s Jopling. A particularly fluffy specimen, though the Persian’s appearance is short-lived, it’s a memorable addition to Wes Anderson’s bevy of whimsical characters. What’s more, his exit allows for a signature Andersonian visual gag; even the cat’s corpse is perfectly symmetrical.

The Voices | Mr. Whiskers

Unlike the other films where the cat is a somewhat comforting presence, in Marjane Sartrapi’s black-comedy The Voices, Mr. Whiskers is a manifestation of Jerry’s (Ryan Reynolds) more deranged thoughts. As Jerry spirals downhill into a murderous pickle, Mr. Whiskers – the sardonic Scottish-accented sociopath to Bosco the dog’s more optimistic offerings – steals every scene he’s in with his morbid diatribe.

Once upon a time there existed such a thing – an institution, a marvel, an industry – as silent cinema. The transition from this mute art form to the sounds of actor’s voices that mark our movies today was supposedly characterised by chaos, upheaval, rapidity – the sudden realisation that sound was the way forward! (As depicted in the beloved film Singin’ in the Rain). Such is the film industry’s propensity for dramatization.

And now it appears that much the same rhetoric is being employed in regard to Hollywood. The glittering, gold-mine of movie stars and moguls, big budgets and even bigger egos, could potentially be usurped by a different system.

Indeed, legendary filmmakers Steven Spielberg and George Lucas have recently diagnosed the terminal condition of this beloved filmmaking industry. (For a full interview, click here).

They speak about the ‘Going for the Gold’ gambling mentality (and reality) which will inevitably be its undoing. Hollywood are betting on a few large-scale $250-million blockbusters every year. Sooner or later, say the directing duo, the entire industry will go bust when those few large expensive feature films flop, and the entire industry will be re-defined.

“There’s going to be an implosion where three or four or maybe even a half-dozen mega-budget movies are going to go crashing into the ground, and that’s going to change the paradigm.”

Such evidence can be found in massive flops like John Carter, Green Lantern or the 3D Mars Needs Moms which all lost something in the ballpark figure of $100million. This slew of un-savvy investments could certainly spell the death knell for the industry.

Spielberg points out the seemingly inevitable conservatism of the movie industry in the face of expanding content choices: “You’re at the point right now where a studio would rather invest $250 million in one film for a real shot at the brass ring than make a whole bunch of really interesting, deeply personal – and even maybe historical – projects that may get lost in the shuffle.”

He lamented that it’s becoming harder and harder for even brand-name filmmakers to get their projects into movie theatres. In fact Lincoln – you know, that Oscar-winning, $180million-making, historical biopic – was intended for HBO. And if Spielberg is having a hard-time convincing studios to get behind him, imagine how tough emerging talent will find it to break into the industry.

TV is fast becoming the way to go, with a recent glut of big name actors popping up in TV series; Claire Danes in Homeland, Kevin Spacey in House of Cards, Laura Linney in The Big C, Diane Kruger in The Bridge, the list could go on.

It hardly seems surprisingly considering that TV shows are starting to exhibit a lot more integrity, variety and genius than the film studios, which have recently churned out duds like The Lone Ranger, After Earth, White House Down and Pacific Rim. The Lone Ranger costing Disney more than $200 million to produce and took in $29million on its opening weekend at the box office.

Spielberg suggests that, soon, Hollywood’s rose-tinted glasses may take a turn for clarity, when it edges further and further toward bankruptcy. And will ultimately forced to change its corporate ways. That change might include: movie-going becoming a rarer, more special and more expensive occasion – likening itself to the theatre; movies being released in all formats, everywhere, at the same time; and most movies coming to us via online services. This, the pair suggest, will mean a bright future for movie-makers with a particular vision – they will be able to make a living out of globally aggregated niche audiences.

And whilst that may very well be the only way to sustain, or resuscitate a floundering business model, it seems somewhat poignant that such a favoured pastime will be reduced to a ‘birthday treat’, or to laptop screens only as more and more people undoubtedly revert to downloading their entertainment.

When this door closes, another one might open – independent films may rise in popularity – but if greed sends Hollywood to the grave, it should be a lesson to us all that mainstream isn’t always the way to go.

Tag: Independent films

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