A movie for every day of the year – a good one
iPhone launched, 2007
On this day in 2007, Apple launched the first version of the iPhone. Until then, mobile or cell phones had been phones first, with a range of other capabilities – camera, email, mp3 player, internet access – tagging along behind. Apple’s creative breakthrough was to design the iPhone as a very small computer which also had phone functionality. This might look like a “six and two threes” explanation but what the iPhone did, which no phone had done before, was deliver a more integrated service, so the phone became in effect a Swiss army knife of the digital era: a mobile office with added leisure features which meant you could leave the house and work out where you were going, who you were meeting, how to get there and what you needed to know, all of this while en route, listening to Lana Del Rey as you went. The phone was an instant success and continued Apple’s return from the dead which had been signalled by the iMac, was continued by the iPod/iTunes, and finally completed by the iPhone. In fact the iPhone has become the tail that wags the dog, the operating system of Apple’s computers now looking like, and functioning like, the OS on the phone. To call the iPhone a success is to severely under-estimate what it has done – not only putting the two world leaders, Nokia and Blackberry, onto the critical list (Nokia phones sold off to Microsoft in 2013, Blackberry worth $82.4bn in 2008, $3.4bn at end 2013), but also creating the benchmark by which all other phones are judged, as well as the template for rivals (eg Android) to copy. When I say “copy”, I obviously mean “aspire towards”.
Oldboy (2013, dir: Spike Lee)
What a strangely negative reception Spike Lee’s remake of Park Chan-wook’s 2003 original, manga-based thriller got. A classic case of reviewers assessing a film for what it’s not, rather than what it is, Lee’s film certainly is not as powerful as the original – not as gothically badass in any direction – but it’s still a very good, expertly delivered, well told and periodically thrilling story that’s well worth your groats, shekels or dollars. The story – if you don’t know it from the original – is the same: a total asshole (here played by Josh Brolin) is imprisoned in one small room for 20 years. He has no idea why. He’s in solitary. Is fed, watered, taken care of, has TV access, but otherwise it’s him, the four walls and that’s it. And then, suddenly, he’s free again. And being a badass kinda guy, he heads off on a revenge jag to find the guy who imprisoned him, not for one second pausing to ask a simple question – is this sudden release all part of some wider, dastardly plan aimed specifically at punishing me further?
It is, of course, and it’s this tease of a plot that gives the film its dramatic drive. Helping it along are all manner of powerful little nuggets. Like that classic “fight in a very small space” sequence from the original. Lee chooses to reference it rather than recreate it – he’s smart, and knows that the original has been re-purposed so many times since the film debuted in 2003 that its original impact just isn’t there any more. Talking of impact, the hammer fight – I’ll just say “yes!”, with an extra exclamation mark! Modern brutalist gothic is Lee’s intention, and the cast stays on message – Samuel L Jackson in a kilt (again) and looking like some mad medieval pope, Sharlto Copley over-enunciating very amusingly as the extremely bad man whom Brolin (raw, animal, intense) eventually comes across, Elizabeth Olsen as the wafty wavery love interest who’s not what she appears. And notice that silent Chinese woman acting as Copley’s concubine (anyone know her name?), a racial stereotype lifted straight out of a penny dreadful or shilling shocker – or early James Bond films.
And on the subject of pastiche, it is often overlooked – because Spike Lee is so well known for his message films – just how in control he is as a journeyman director. And he is definitely giving us touches of Bond in among the other thriller references. Hitchcock too in his beautifully staged set pieces. As for the frequent use of the iPhone, which repeatedly bemuses the technically prehistoric Brolin – Satnav? Yellow Pages? A camera? – though it’s clearly a product placement buy-in (Apple possibly responding to Google’s slightly backfiring free ad of a film The Internship) it does at least locate us in the here and now, and confirms Brolin as the film’s ignorant underdog hero. Something the film does need, because it’s never that clear. No, it’s not as pure as the original, but Lee’s Oldboy is still a tense and intense thriller.
- Who better than Josh Brolin to play a vengeful badass?
- Copley’s excellent villain
- The clothes (costumes: Ruth E Carter) really match the film’s mood
- Cinematography by Sean Bobbitt (12 Years a Slave)
© Steve Morrissey 2014