18:15pm Silver Screen, Aleja Marszałka Józefa Piłsudskiego 5
For the fourth film of the Day I cantered up the remainder of the pedestrianised section of Piotrkowska and slipped through the underpass on Al. Piłsudskiego to hook up with Marta, once more, at the Silver Screen cinema and casino complex. Silver Screen was one of the pioneer multiplex companies in Poland until it was bought out by MultiKino in 2008. Shortly before I arrived in Łódź in 2001 Silver Screen’s flagship complex was opened, which immediately redrew the cinema landscape in the city. With 10 screens on a five-storey, purpose-built, city centre site, Silver Screen was a glamorous addition to the city’s film theatres, a position further enhanced by the small-scale casino operation and ‘sky-bar’ that allowed for essential views of the city skyline, as well as serving up a pretty mean Cuba Libre.
Since the opening of the Cinema City complex in Manafaktura, Silver Screen has lost a little of its new kid on the block allure. Oddly Multikino resisted the urge to alter the Silver Screen brand in Łódź, something that is partly explainable as a result of the multiplex’s unique position within the Multikino family of cinemas as a theatre that profits from screening less obviously commercial cinema. Unlike Multikino’s other Polish cinema’s Silver Screen tends to have a roster of films that aren’t entirely dominated by the latest big-budget Hollywood offerings, which is not to say that Silver Screen is art house, but rather a little more refined than your regular run-of-the-mill multiplex.
One of the annoying characteristics about Silver Screen is the extremely authoritarian approach to screening that the cinema demonstrates. Although seating location is optional, people tend to be corralled into the same seating zones by ticketing staff, whose attitude tends toward the Polish bureaucratic. On top of that the multi-tiered structure of the complex means that exits and entrances are much more regimented than in any of the other city cinema’s, making the whole process of getting in and out of the movie, or making your way to the bar, all the more awkward and confusing.
The screens vary in size from fairly large Cinema City style ‘premier’ screens, to smaller and less well organised auditoria, such as Screen 6 in which we watched the stockmarket horror Margin Call. As with almost all modern cinema chains Silver Screen tend to have very comfortable and cushioned seating, although unlike with Cinema City and the Helios group, they have skimped a little on leg room. The biggest problem that Silver Screen has is to do with the position of seating, with many auditoria having staircases running down the centre, or close to the centre, of the audience area. This means that there are far more seats in the theatre that have awkward, fringe views of the screen, which might leave a number of people disappointed on busy nights – and Silver Screen tends to still have a sizable traffic in terms of audience numbers. Also the auditoria tend to have seating that is very close to the screen, which forces viewers located in these seats to crane their heads upward toward the film projection.
In terms of the projection itself, the image was crisp and clear, with sound at a good level and theatre lighting dropped to near blackness. Unlike Cinema City the film was screened in the correct format ratio and also featured by far the longest trailer reel of any of the cinema chains (a whopping five full previews). The premium price of Silver Screen tickets is 22zł making it rather prohibitive in comparison with most of the other cinema chains visited. That said, in terms of concessions, promotional material and film range it is hard to compete with this venue, which is serviced by a downstairs food court, two cafes, an arcade and the aforementioned ‘sky bar’, as well as the usual sweet counters and popcorn dispensers.
Cinema Experience: 7.5/10
Margin Call was a movie I’d heard so little advance information about, which probably made its effect all the more powerful. Producer/star Zachary Quinto was particularly superb as the canary in the corporate counting house, but then a cast which featured such sterling performers as Kevin Spacey, Jeremy Irons, Paul Bettany and Stanley Tucci was uniformly excellent throughout. Demi Moore also continued her career resurgence with a tight-lipped, clench-jawed performance as the woman left holding the baby carriage as the bomb goes off. This film was writer-director J.C. Chandor’s debut feature and the signs are that Hollywood has another talent on their hands in the Tony Gilroy mode.
This fictional movie about the origins of the current financial crisis feels aesthetically very similar to two recent Clooney efforts Michael Clayton (written and helmed by the aforementioned Gilroy) and the chilly romance of Up in the Air. In an early sequence the movie actually uses the same employee severance interview structure as the latter of those films. What is remarkable about Chandor’s direction is the way in which it utilises many of the tricks of effective horror cinema, with: slightly out-of-focus shots, mysterious things occurring off-camera or partially obscured within the shot, steadily escalating tension and a methodical use of reaction shots to maximise the perception of fear. This is in essence a horror movie, where the evil villain is the amorphous and wholly nebulous force of chaos. Rather than simply plotting an easy route to condemning the finance industry for getting the world into this latest monetary crisis, Chandor’s script is savvy enough to see that the markets go through cycles of decline and expansion that can be influenced by the behaviour of those operating within them, but can never be wholly controlled or predicted.
It would be easy to criticise the film for taking a too superficial approach to its subject matter, particularly in the way it frequently avoids going into the specifics of the failed projections. Yet this would be to ignore the fact that the lack of knowledge is what is truly terrifying in the movie, with the absence of significant understanding even on the part of mathematicians and analysts hired by the financial sector only adding to the ‘fear factor’. Also it has to be acknowledged that few audience members would be willing to sit through a hardcore dissection of the vagaries of recently created financial investment packages and stock options. In this regard Chandor and Quinto have done an admirable job of approximating the panic of the early stages of a financial crisis, whilst going some of the way to humanising the faceless ‘fat-cat’ villains that so many people now seem to blame.
Another marvellous aspect of the film is the way in which it seems to turn the hustling-bustling New York metropolis into a bizarre ghost town, seemingly on the verge of yet another profound psychic trauma. This effect is established through the impressive way in which Chandor demonstrates the disconnection and remoteness between the people in the glass-panelled offices and the city they nominally inhabit. Kevin Spacey seems to embody the moral outrage, however muted, at the objectionable behaviour of Jeremy Irons’ ruthless corporate head, yet ultimately both characters are doing what they have to do in their own best interests. In this world money talks and its value is the sole arbiter of action. Irons’ character is right to suggest that if his company didn’t dump these assets then another company would. All that they are really guilty of, it would seem, is following a mass social delusion of wealth and having the vision to come to their senses before reality becomes a nightmare.
By far the most interesting and haunting moment in the whole movie is when Paul Bettany visits Stanley Tucci’s sacked risk analyst. Tucci, one of the very best character actors out there, tells an anecdote about his previous work as a civil engineer and the bridge he helped build that actually contributed something to the communities it served. What goes unspoken here is that Tucci’s work for the corporation has none of this tangible value, or meaning, a concern for which brings Tucci broadly in line with Pitt’s Billy Beane from Moneyball.
Film Rating: 7.5/10