BAIT
In cinemas June 22nd (Victoria) / July 1st (elsewhere)
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Mark Jenkin has created the most visually memorable film so far this year with Bait, which he shot on 16mm B&W stock using a vintage wind-up Bolex, which meant he couldn’t record live sound, so the whole soundscape including all dialogue was added in post. Furthermore, Jenkin processed the film himself by hand, and used things like coffee grounds and vitamin powder in the process, giving the resulting image an honestly-achieved hand-made look. The story itself is also bold and original, the tale of Cornish gentrification seen through the eyes of a local fisherman struggling with economic survival in the new Cornwall tourist economy. The aesthetics of the film inevitably consign it to the arthouse, but for the right viewer, this film will be fresh, vibrant, exciting and extremely memorable. It certainly was for me.
DEAD STILL
Acorn TV
Everyone loves Michael Smiley, right? He’s on of those actors that, upon his entrance into a film, gives you a frisson of confident elevated expectation: “Oh, he’s in it. Well that’ll be good!” His role in Ben Wheatley’s Kill List, as one of the most quotable hit-men in cinema, remains his signature performance, but among his 96 credits are scene-or-movie-stealing turns in A Field In England, The Lobster, Burke and Hare, Down Terrace and Free Fire. His big face and beautiful Northern Irish speaking voice are the tools through which his sardonic, ironic line deliveries flow: he’s the guy who can make all his lines funny without actually steering a scene or film’s dramatic intentions into comedy.
He’s the kind of actor you can end up taking for granted, and who often never gets their one great leading role, let alone their own TV series, but here it is, a vehicle of Michael Smiley, and an Acorn TV Original no less. He plays Brock Blennerhasset (what a name!), a post-mortem photography expert in 1880s Ireland (what a concept!) He takes staged photographs of dead people before they’re buried – which apparently was a thing – who gets tangled up in a series of suspicious deaths. It’s a mystery, and there are detectives and suspects, but Blennerhasset is neither, while, dramatically, at times serving as both.
Smiley’s decades-crafted persona sets the tone of the show: the aforementioned sardonic irony pervades, resulting in gentle humour and a classically cosy mystery vibe. Fans of this kind of gentle period crime show should lap it up; fans of Smiley, likewise. It’s a surprisingly buttoned-up role for him – Blennerhasset is successful, a bit pompous, and Smiley has to affect a posh voice, softening his trademark brogue – but his essence shines through: the man can spin almost any line into a funny one. He’s a treasure.
