MCN Columnists
Mike Wilmington

Wilmington By Mike WilmingtonWilmington@moviecitynews.com

Wilmington on Movies: The Hundred-Foot Journey

Helen Mirren, of Great Britain is a great movie actress and Om Puri, of India, is a superb actor—and together, as they share the stage and the kitchens for their new film The Hundred-Foot Journey, they whip up quite a tasty dish: a lip-smacking love story and a culinary comedy treat.

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Wilmington on Movies: A Most Wanted Man

Bachmann is a cynic, a spoiled idealist, an addict who chain smokes cigarettes, downs whiskey after whiskey and speaks in a rumbling monotone glib growl laced with world-weary innuendo. For his sins, he’s been assigned to the anti-terrorist office in Hamburg, a snake pit of spying and double-dealing in which murder runs rampant and catastrophes like the 9/11 World Trade Center attack are planned. You could not possibly see this part performed better than Philip Seymour Hoffman does here.

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Wilmington

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“One of my favorite things in watching any performance on film is when there isn’t a lot of cutting going on and when you get a chance to become really absorbed in the artist in hand. The same way we do, hopefully, at a concert, when we get a chance to really trip in to something that’s happening on stage. Whether the singer’s singing, or one of the other musicians is playing, we sort of stay there instead of cutting round with our eyes a lot.”
~ Jonathan Demme

“We’ve talked about this before in the past, my obsession with the Shakespearean histories having the ideal combination of the sweet and the sour. In ‘Henry IV, Part II’ which we’ve discussed before, in the end of that story it’s very complex and haunting because Prince Hal becomes Henry the King, and he has transcended his hoodlum days and at the ceremony is Falstaff, his good friend with whom he has really fucked around and been a loser with, and Falstaff comes up to him and says, ‘Now that you’re king we can really party,’ and the king famously says, ‘I know thee not, old man.’ It becomes Henry IV’s anointment and Falstaff’s catastrophe. That’s life. I have experienced very little unfettered triumph. There are moments, such as when my children are born, but even that comes with new fears and anxieties. In a sense the better you can communicate that life is both at once, the more powerful over time something becomes. One strives for something where the threads are there because it lasts in way that is very palpable. The idea of a tragedy is powerful in literature and theater, but in cinema it doesn’t work, certainly not commercially, and less so critically. Why is that? I think it has to do with how movies are so close to us.”
~ James Gray