Hooray for Holly-Łódź: Cinema 5 – Charlie Kino, Movie 5 – Midnight in Paris (6/6)

4 Comments


20:35pm Charlie Kino, Piotrkowska 203/205

Despite having the appearance of a rundown military barracks, Charlie Kino is a real temple of cinema and a deserved Łódź institution.

My Łodż cinema marathon ended up back where it all began for me in this city. Charlie Kino (or Kino Charlie) was the first cinema that I attended in Łódź, when I went to see a screening of Requiem for a Dream if memory serves. Back in 2001 Charlie Kino was outwardly no different from how it looks today, but back then it only consisted of one auditorium, whereas now it has three separate auditoria. The cinema is Łódź’s most important independent film theatre, having been founded by an organisation of film artists and enthusiasts back in 1994. The cinema is tucked away in a run-down looking courtyard off of the northern end of Piotrkowska, in the ‘Manhattan’ area of the city. It is actually housed on the second floor of a former government building and the owners of the cinema have gradually extended this upstairs space to allow for two smaller screens and a functional bar area. Much of the charm and pleasure of Charlie Kino is the ramshackle, almost homemade quality of the space, with lots of movie memorabilia and paraphernalia dotted around the compact foyer and the theatres themselves. The cinema has traditionally been the location of choice for minor film arts festivals in the city, as well as the more avant-garde cinematic fare that wouldn’t normally be picked up by the chain cinemas. In recent years to protect its niche in a more saturated multiplex market, it has focused much more attention on European and non-English language cinema.

Emotionally I have a strong bond with Charlie Kino, as it is so reminiscent of my favourite cinema spaces from back home, such as The Other Cinema in Soho, the Croydon Clocktower cinema, or the Filmhouse in Edinburgh. It acts as a miniature temple to film, a sacred public place in which film is taken as seriously as any religion and patrons unapologetically think of themselves as cinephiles. However, my faith in Charlie’s extra-commercial causes does not prevent me from harshly commenting on the rather woeful third screen (Sala Klubowa) in which I finally was able to catch up with Woody Allen’s Midnight in Paris. This tiny screen is no more than a home projector put up in an office that is separated from the foyer by a narrow sliding panel. There are no fixed seats in this space, but rather some horrendously uncomfortable Ikea kitchen furniture laid out in narrow rows. Due to the fact that the projector screen is placed fairly high up in the room, I had to crane my head uncomfortably upwards to watch, with absolutely no head support for the duration of the 90 minute running time.

The lovingly decorated interior embraces the film fanaticism of my favourite cinematic haunts such as The Other Cinema in Soho, London and the Edinburgh Filmhouse.

Yes, there are lots of lovely little quaint artifacts and objet d’art, such as an ornate coatstand, a glass chandelier and a post-war Warsaw produced television set, but this should not detract from the bum-numbing, neck fracturing discomfort of sitting through a film in this ill-suited space. Many of these complaints could have been ignored if at least the projection was clean and proportionate, but instead it was almost as bad as the Cinema City effort, with a hideously grainy quality throughout the first half hour, or so. The fact that Charlie charge 14 zł for such screenings doesn’t do it any favours, but I will say that my experiences on the two larger screens have generally been much more satisfactory with Sala Studyjna being fairly close to the scale and precision of Bałtyk’s presentations.

Cinema Experience: 4.5/10

 

I’d purposefully avoided this latest Woody Allen release, as I’d been so thoroughly disillusioned with the utterly objectionable Whatever Works (a film that felt both pretentious and lazy, as well as squandering the combined talents of two fantastic actresses in Evan Rachel Wood and Patricia Clarkson). Allen’s cinematic output has been in an interminable decline for many years now, with only a few brief upswings of the likes of Match Point to consider. The idea of Woody patronising Paris in the same way he had done with London and Barcelona didn’t make me any keener to see this latest ‘return to form’. The impact of Whatever Works had actually been so profound that I had significantly re-evaluated my attitude toward Allen’s oeuvre as a whole, coming to the unsatisfying conclusion that even at his best in the likes of Take the Money and Run, Sleeper, Manhattan, Zelig and Crimes and Misdemeanors, his movies were in essence nothing more than the extended miseries of a chauvinistic misanthrope, who already looked out-of-touch with the times in his 1970’s heyday.

Midnight in Paris by no means sets the world alight and I’d resist describing it as one of Allen’s best works, but it does at least entertain, which is more than can be said for almost any of his films since Bullets over Broadway. It’s in the same magical-realist mode as Play it Again, Sam, The Purple Rose of Cairo and Zelig, with Owen Wilson being cast as the most un-Allen of recent Woody protagonists. Wilson plays Gil, an American screenwriter in Paris with his bride-to-be Inez (played with privileged self-centredness by Rachel McAdams). One night whilst mooching around Paris trying to find his way back to the hotel, Gil is whisked off in a 1920’s carriage-car, by people who claim to be Scott and Zelda Fitzgerald. What ensues is a delightfully broad comedy about nostalgia, which manages to excuse Woody’s whimsically romantic notions about European cities by making the romance of nostalgia a central theme.

Wilson is an effortlessly engaging presence, who strikes up the necessary chemistry with Marion Cotillard, who plays his 1920’s love interest a fashion designer who would prefer to be living in Belle Epoque Paris. There are also some amusing cameos, in particular Adrien Brody’s daft turn as a rhinoceros-obsessed Dali. Overall the comedy isn’t as witty as it things, but is nonetheless affectionate, which differentiates it strongly from Allen’s more resolutely downbeat and vindictive recent fare. The biggest disappointment about the movie is that it doesn’t explore in more detail the idea of Gil’s influencing the developments of the past (aside from a brief gag about The Discreet Charm of the Bourgeoisie). My film night ended on a staggeringly coincidental note, as Léa Seydoux turns up as the possible love interest toward the end of the movie, having also been one of the first screen presences in Mission Impossible: Ghost Protocol, way back at 9:30 this morning. One of Łódź’s great urban rhythms is this sense of reoccurring moments of serendipity. After all it was the home of that great director of coincidences Krzysztof Kieślowski.

Film Rating: 6/10

Advertisements

Hooray for Holly-Łódź: Cinema 3 – Polonia Kino, Movie 3 – The Extra Man (4/6)

Leave a comment


16:10pm Polonia Kino, Piotrkowska 67

The El Mariachi band will file in around twilight.

Polonia Kino is a sister cinema to Bałtyk and a fellow member of the Helios cinema chain (something equivalent to Odeon). Out of all the cinemas featured in this little project Polonia has perhaps the most ideal location, as it is housed toward the rear of a courtyard, just opposite The Grand Hotel, slap-bang in the centre of the city. There are at least two decent coffee shops barely a 50m walk from the cinema, as well as some of the best bars in the city within a 200m radius. Within the courtyard itself you have the added bonus of a longstanding Mexican theme restaurant, as well as the best of the Łódź Presto franchise Italian restaurants (one of the best value places to eat in the whole city). The exterior of Polonia looks like a traditional two-storey picturehouse, with a large foyer area and three screens. The concessions are a bit more tuckshop style than Bałtyk. I paid for 4 zł for a bottle of Sprite, which despite having been in a chiller was lukewarm at best.

A post-war raised letterbox screen is featured in all three of Polonia's compact auditoria.

Whereas Bałtyk tends to focus on 3D fare, big-budget blockbusters, kids movies and Polish releases, Polonia has diversified into indie fare, non-mainstream American releases and European cinema. My abiding memory of Polonia is as the cinema that I’d visit to watch those quiet little films like The Straight Story, About Schmidt and Genova. It seems fitting then that the movie I hustled up to see today was a low-key oddity starring Paul Dano and Kevin Kline, called The Extra Man. Sadly I was one of only two people in the cinema to watch the film. The screens in Polonia are classically raised, letterbox affairs, of the kind utilised by most provincial European picturehouses during the latter half of the last century. Being quite narrow horizontally it gives the impression that the image is somehow compacted, but really the projection is to ratio, with nothing missing from the frame. Initially the projection was slightly squint, but that was quickly corrected by the projectionist (how quaint) and, as with Bałtyk, the image quality was impressively clean throughout. Sound was functional without having the superior surround range of Bałtyk’s vast auditorium, however that is wholly appropriate for the more intimate charms of Polonia’s cinematic fare. The pricing for Polonia was exactly the same as Bałtyk, with my afternoon ticket costing 17zł. My sole serious complaint would be the prompt start time of the film, which means a complete absence of trailer material.

Cinema Experience: 8/10

 

Paul Dano is one of the most unusual performers currently working in Hollywood and his curious, slightly bruised, physical features and carefully mannered acting style made him a perfect piece of casting in this solid adaptation of Jonathan ‘Bored to Death’ Ames novel. At first the curious rose-tinted period vignette at the beginning of the movie threw me. I momentarily thought I was going to be subjected to the kind of retro-irony to be found in Todd Haynes Far From Heaven. However I was pleasantly surprised to see the way in which this gentle comedy-drama wended its way between the various different New York eccentrics that Ames loves to fixate upon. In the end it brought to mind the John Hurt and Jason Priestley feature Love and Death in Long Island.

The directing and writing team of Robert Pulcini and Shari Springer Berman previously brought Harvey Pekar’s curmudgeonly comic book genius to the big screen in American Splendor and they do a fairly good job  of capturing some of the inspired slapstick and pathos of Ames’ source novel. They are aided on this front by a wonderful performance from Kevin Kline as the contrarily Catholic upper-class gigolo Henry Harrison. Every time that Kline shared the screen with Dano, the younger actor seemed to significantly raise his game, in much the same way as he did in the presence of Daniel Day-Lewis in There Will be Blood.

The quietly affecting absurdism of the film’s central idea, namely the confused sexual identity of Dano’s Louis Ives, provokes some laugh-out-loud funny moments, particular a sequence in which Kline rubs a small lap-dog all over his body to try to transfer fleas to the mutt, but the general tenor of the movie is that of gracefully declining elegy and nostalgia. In some ways it is a companion piece to my last viewing of the night, Woody Allen’s Midnight in Paris, which similarly deals with a central character who feels woefully out of touch with modernity. The Extra Man is by no means a masterpiece but in its own minor manner it manages to cast a compelling spell upon the attentive viewer, that can induce tears of both joy and sadness from such quirky sights as two men dancing upon a beach in the Hamptons. It also manages to pose the question: why isn’t Katie Holmes in more films?

Film Rating: 6.5/10