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THE GOOD, THE BAD AND THE MORRICONE As David Scott, Duglas T Stewart and friends pay homage to the music of ENNIO MORRICONE, The CineSkinny explore the composer’s legacy and continuing popularity. Words: CHRIS BUCKLE


In 2007, Ennio Morricone was presented with an honorary Academy Award for his indelible contribution to cinema. It was an overdue reward for a five-time nominee yet to be recognised with an Oscar of his own, though Celine Dion did her best to scupper the moment’s poignancy by warbling a version of ‘Deborah’s Theme’ from Once Upon A Time in America beforehand. Morricone was presented the statuette by Clint Eastwood (who stuck around to translate the Italian composer’s speech), helping to cement an alreadyfirm association between the twin icons of the Spaghetti Western: the latter’s squint and poncho the genre’s visual paradigm; the former’s guitar twangs, whistles and marching trumpets its aural counterpoint. The wide popularity of the soundtracks to The Good the Bad and the Ugly, Once Upon a Time in the West and other opus oaters potentially obscures the breadth of the octogenarian’s work. With nearly five hundred film credits to his name, he’s proven as comfortable scoring pastoral dramas (Days of Heaven), gruesome science fiction (The Thing), political thrillers (The Battle of Algiers) and horror (in collaborations with Dario Argento for The Bird With the Crystal Plummage and The Cat o’ Nine Tails) as he is accompanying the exploits of six-shooting outlaws. Not to mention Mario Bava’s camp classic Danger: Diabolik, which screens at this year’s GFF as part of its Superhero strand (if you plan to make a day of it, Mondo Morricone ticket-holders are eligible for discounted entry to the Saturday showing). His popularity is as strong among


consumers as it as among the filmmakers vying to employ him; his Platinum Collection is permanently nestled in Amazon’s bestselling soundtracks chart, holding its own against Glee compilations and Disney behemoths. On Saturday, Mondo Morricone will celebrate the composer’s career further. First performed in 2000 by Davie Scott of The Pearlfishers and Duglas T Stewart of BMX Bandits, the cast assembled to recreate Morricone’s beloved soundtracks this time is impressive: as well as Stewart and Scott, ex-BBC Scotland presenter Peter Easton returns for a second time alongside Mick Slaven and Jim Gash of Deacon Blue, folk singer Jo Mango, jazz musicians Brian Molley and Allon Beauvoisin, The Wellgreen’s Marco Rea, Sarah-Beth Brown of Born By Wires, Gareth Perrie of Randolph’s Leap, and Stevie Jackson of Belle and Sebastian, each contributing their respective skills to an exciting pool of talent. The contents of the set are under wraps, though Stewart has been sharing some of his favourite Morricone tracks online, so ‘Ecstasy of Gold’ is a likely bet from the Western contingent, while ‘Rabbia E. Tarantella’ (written for Allonsanfan but now better known for its appropriation by Quentin Tarantino for Inglourious Basterds) and the beautiful Metti, Una Cera a Cena score may also creep their way in (and, if non-soundtrack-work qualifies, a version of Mina Mazzini’s astonishing ‘Se Telefonando’ wouldn’t go amiss). Of course, if the song selection process is democratic, all bets are off; find out what does make the cut tonight, 19.30 @ The Arches.

2 » INTERVIEW: ALAN JONES The FrightFest founder discusses this year’s selection 3 » REVIEWS Submarino  Oranges and Sunshine  Son of Babylon  4 » WHAT’S NEW ONLINE The latest news, comments and pictures from the festival 4 » PICKS OF THE DAY Highlights of day nine at GFF 2011


Produced by The Skinny magazine in association with the Glasgow Film Festival Editors Designer Digital

Jamie Dunn Becky Bartlett Mark Tolson David McGinty

GFF BOX OFFICE Order tickets from the box office at or call 0141 332 6535 or visit Glasgow Film Theatre 12 Rose Street, Glasgow, G3 6RB

WOULD A FILM BY ANY OTHER NAME SMELL AS RANCID? MATTHEW STANGER and BECKY BARTLETT trawl through the entrails of grindhouse MOVIE TITLES Hobo With A Shotgun is a must for lovers of great movie names. Originally a spoof trailer to promote the release of Quentin Tarantino and Robert Rodriguez’s double feature Grindhouse, Hobo was developed into a feature film. Starring screen legend Rutger Hauer as the ‘hobo-cidal’ maniac who acts as a ruthless vigilante, killing any crooked cops and paedophile santas that stand in his way, it was a hit when it premiered at Sundance in January. An even greater movie name is The Human Centipede. In this disturbing creation from Tom Six, a twisted German doctor surgically joins three tourists together back-end to front-end (so to speak), forming the ‘human centipede’. Just like Snakes on a Plane, who knows whether it was the film title or the plot that was thought of first – and who cares? Horror films – particularly low-budget exploitation ones – have some of the best titles around; a snappy moniker and an eye-catching poster could be all that was needed for a film to be commissioned. Who cares what the movie’s actually like when it’s called The Incredibly Strange Creatures Who Stopped Living and Became Mixed Up Zombies, for example. Who can resist Killer Klowns From Outer Space? Don’t we all want to know what happens when Santa Claus Conquers the Martians? And of course the puntastic title’s the only reason to watch The Gingerdead Man (and its sequel, The Gingerdead Man 2: Passion of the Crust). And we’ve not even started to mention the amazing selection of ‘versus’ films: Godzilla vs the Smog Monster, The Werewolf vs the Vampire Woman, Puppet Master vs Demonic Toys, Mega Shark vs Giant Octopus... The list is endless. If you can think of any other exceptional titles for films, why not let The Skinny know by tweeting @SkinnyFilm.

MAESTRO OF THE MACABRE FRIGHTFEST is currently terrorising the closing weekend of the GFF, but ALASTAIR ROY hunted down the festival’s founder and horror aficionado ALAN JONES to pick his brains. Interview: ALASTAIR ROY The GFF always offers up a good mix of films. Do you aim for the same with your FrightFest picks? Absolutely, it’s like tossing a salad isn’t it. Sometimes our audiences will come up to us and say “okay, we’ve had enough of hoody horror, can you please show something else?!” Sometimes you don’t have a great selection to choose from, but this year I think is the best we’ve ever had. It’s a wild mix. What’s with the grindhouse influence this year? Well how can you resist a film with the title Hobo with a Shotgun? It’s completely outrageous and very, very funny. We we’re lucky to secure that after Sundance. It’s gonna get a lot of heat from that. And there’s Machete Maidens Unleashed from the director of the superb Not Quite Hollywood. This one is very funny. I think [director Mark Hartley] is going to make a career out of choosing films from very obscure genres to do a documentary about [laughs]. It’s the clips that make it - they’re just so out there. Mother’s Day is one of my favourites too. It seems the trashiest horror films are getting the best re-makes. Is it better to get scared together? There’s nothing like it. Okay, you can be at home with your fabulous blu-ray, Dolby surround etc, but there’s nothing like being in a cinema, watching a movie and reacting with the audience. That’s what it is to me, that collective sharing of shocking and horrific moments. And every screening is different. I’ve been doing a lot

of retrospectives and Q&As and it’s been very heartening to see young horror fans who never saw these films on the big screen. That’s one of the reasons that we have such a great audience in Glasgow. It’s a mix of the old, the new, male and female – it’s just fantastic. And Weegies aren’t afraid to ask questions, are they? Every single film-maker that comes to Glasgow says to us, “God, you get great questions, they don’t just sit there!” I’ve been at other film festivals around Europe where no-body says anything. But our audiences are so fanatical and committed – they wanna know! Can you give The Skinny readers a heads up on any FrightFest guests?

Well, the three Little Deaths directors should be there. And we’ve asked the Territories director and producer to come over. That film shocked me with how good it was. I must tell you, it really blew me away. It’s an important movie, very serious, quite horrifying and, well, I don’t want to talk too much because I want people to discover it for themselves. But when you come to the end of the movie you think, “Oh my God, that’s what it’s about”. And will you take a break from the blood ‘n’ guts to see anything else at the GFF? If I have time, I’d looove to see Danger Diabolik on the big screen again. I can sing the theme song in my head, [actually sings along]. I know that movie inside out and backwards. That film is very nostalgic for me. I love it to death.

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Director: Thomas Vinterberg Starring: Jakob Cedergreen, Peter Plaugborg &Patricia Schumann


Using a novice cast and crew from the Danish film scene, Submarino harks back to the earlier film-making of director Thomas Vinterberg, a key figure of the Dogme 9 5 movement. Strong on plot and characterisation, it follows brothers Nick ( Jakob Cedergren) and his younger, unnamed sibling (Peter Plaugborg) who are being torn apart by their neglectful, alcoholic mother and the subsequent cot- death of their baby brother. It’s grim stuff to the point that one of the film’s few laughs, where Nick gives his unconscious mother a mild

electric shock via the puddle of her own urine, is equally as saddening as it is funny. Yet the multitude of knocks each brother is dealt always feels believable within the bleak world into which they have fallen. When Nick finds a friend and potential lover dead, his plea of “Please...I can’t take anymore” is particularly choking. Fine performances, small slivers of redemption and an ever-forging presence of hope, despite the odds, make Submarino compelling viewing. [ Juliet Buchan]


Director: Jim Loach Starring: Emily Watson, David Wenham & Hugo Weaving


Diplomatic dilemma and political blame-dodging; children be ing removed from their mothers, dispatched for ‘better lives’ in the colonies only to be abused by the very institutions responsible for their wellbeing. It’s potentially captivating, but Jim Loach misses the mark somewhat with his debut feature. ‘Based on a true story,’ social worker Margaret Humphreys ( Watson) travels to Australia in an attempt to reunite British orphans with their families some thirty years after their deportation. Opting for the Erin Brockovich approach, Loach uses Humphreys to provide not only the film’s perspective, but also its sentimental focus. This is where problems begin. It’s difficult to care about Humphreys’ strained family life - complete with supportive husband and relatively understanding children – within the context of the horrific accounts being retold by the victims of abuse. Consequently any interest in the film dwindles, and the compulsory ‘where they are now’ credits evoke, at most, an ennui-inspired shoulder shrug. A disappointing attempt to illuminate a dark time in Commonwealth history. [David McGinty]



Director: Mohamed Al- Daradji Starring: Shazada Hussein & Yasser Talib


Mohamed A l Daradji follows A h l a a m ’s f l a s h b a c k s a n d dreams with a straight for ward road movie of sor ts. In Son of Babylon, a young boy and his grandmother search for h i s m i s s i n g f a t h e r, a i d e d b y, amongst others, a cigarette selling street urchin and a repentant former member of the Republican Guard. In a newly post-Saddam Iraq, they

naturally encounter American soldiers as well, but the occupation is far from the f o c u s . H e l i c o p t e r s b u z z o v e rhead, while fires and debris scar the streets of Baghdad, b u t t h e w a r i s a b a c kg r o u n d inconvenience at most – Al D a r a d j i ’s e v i d e n t a n g e r i s directed elsewhere. This devastating indictment of t h e f o r m e r d i c t a t o r ’s l e g a c y

– a million missing; 250,0 0 0 bodies dug from the earth thus far – is desperately sad, the soundtrack filled with the anguished ululating of grieving mothers and widows, the c h a r a c t e r ’s j o u r n e y a s e r i e s of mass graves. But the sad ness has purpose: visit the I r a q ’s M i s s i n g c a m p a i g n t o find out how you can he lp. [C h r i s B u c k l e ]




14.45 @ CCA A short Gaelic film competition in its third year. This is a chance to see the winning films on the big screen. Several of the filmmakers will be attending to discuss their experiences.


17.30 @ BLYTHSWOOD HOTEL A free, ticketed event that sees the acclaimed Scottish fashion designer launch her new film, with previews of her Autumn/Winter 2011/2012 collection. Local band Kitty the Lion will be providing live music.



23.15 @ GFT Originally a fake trailer separating the two films that made up Grindhouse, Hobo with a Shotgun has followed in Machete’s footsteps for a featurelength makeover. Director Jason Eisner will be in attendance for a Q&A session.

ESSENTIAL KILLING’s David Graham reviews cult Polish auteur Jerzy Skolimowski’s Essential Killing starring Vincent Gallo. MEEK SHIRLEY The GFF You Tube channel spoke with Scottish actress Shirley Henderson as she arrived at the Festival this week to introduce her new film, Meek’s Cutoff.

SUPERHERO SATURATION Mark Millar sits down with to discuss the current spate of comic book adaptations, and the potential ‘saturation point’ that he predicts forthe superhero movie genre MORE MACKENZIE You Instead director David Mackenzie talks about working once again with Ewan McGregor on his new movie Perfect Sense, and why he feels versatility is important in

Here’s the GFF daily quotable: The team at Quotables have been hot-footing it round the festival this year gathering the choicest nuggets of GFF wit and wisdom for posterity. Here’s a handful of our favourites from GFF 2011...

his work. WESTERN WOMEN Stephen Applebaum at The Scotsman talks about the relationship between women and westerns with Meek’s Cutoff director Kelly Reichardt. Search ‘SkinnyFilm’ to find us on Facebook and tweet us your thoughts @SkinnyFilm

PIC OF THE DAY Photo: Stuart Crawford

17.30 @ ARCHES Inspired by an Italian comic book, director Mario Bava offers a tonguein-cheek alternative to his traditional horror fare.


“I saw the best minds of my generation destroyed by madness, starving hysterical naked, dragging themselves through the negro streets at dawn looking for an angry fix.” — Allen Ginsberg “You mustn’t look at a film with only one point of view.” — Jafar Panahi “Glasgow’s is a punter-friendly festival that aims to put local film fans at the heart of its concerns.” — Jane Graham For many more GFF11 quotes head over to Quotables:


Chaste, avuncular kisses at the Superheroes networking event.

We collected six of the best tweets from Twitter

@COLINBELL Another grand day out @ glasgowfilmfest - ComicCamp 11 probably my highlight so far. Sorry to miss @ davegibbons90, but needs must! #sorrydave

@MARKGLEN Sickness be gone! Back to #gff11 we go. Dave Gibbons in Conversation, Little Deaths & You Instead (@ YouInstead) today.

@PUNX4LIFE What better way to spend your weekend than watching 8 horror films ! @ glasgowfilmfest @glasgowfilm @Film4FrightFest @ cineworld

@JOHNPARKINSON Super-psyched for I Saw The Devil @glasgowfilmfest tonight, assuming this hangover doesn’t kill me before then.

@SCREAM_HORROR All packed and raring to go, heading off to Glasgow for #Frightfest. Let the mayhem commence!

@KOHLFACE Gutted I missed Animal Kingdom last night. 4 stars from the Guardian today #gff

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CineSkinny - 26 February 2011  
CineSkinny - 26 February 2011  

Chris Buckle celebrates the work of Ennio Morricone, Alastair Roy picks the brain of FrightFest founder and general horror guru Alan Jones,...