Needing to take some forms into town to get completed,I decided to see what was being shown at the cinema. Finding the listings to be filled with inane-sounding blockbusters,I was taken aback to spot a "live" theatrical adaptation of Luchino Visconti's Film Noir Ossessione (which I've sadly not yet seen.) Finding the National Theatre versions of Frankenstein and Coriolanus( 2011 & 2014-both also reviewed) to be extremely distinctive versions,I got set to see a Film Noir on stage.
View on the film:
Stripping the Film Noir world bare,co-writer/(with Simon Stephens and Jan Peter Gerrits trims the set down to the bare elements,with a bar table,an engine (which spills oil over the stage) accordions in glass and a shower creating a minimalist landscape where Gino is isolated.
Brilliantly using the "filmed" aspect of the production, Hove charges up a cinematic Noir atmosphere,in overlapping shots of Gino's face,stylish side shots behind Joseph's shoulders,and oil poring like an open wound against dour lights,offering aspects that viewers of the stage show could not see.
Adapting Luchino Visconti's adaptation of James M. Cain's book (!) the writers brilliantly balance Italian Neo-Realism with deep-fried US Film Noir. Limiting themselves to seven characters,the writers give each of them a Noir loner state of mind,from the abusive dialogue of Joseph to the gasping for freedom from Gino.
Drinking up the soundtracks mix of Opera and The Stooges,the writers strike the minimalism of Italian Neo-Realism with a deep-fried fury of southern Film Noir,with Gino and Hanna's lust simmering with a deadly passion,and a fellow drifter giving the tale a homoerotic undertone.
Spitting orders at Hanna, Gijs Scholten van Ascha gives a fantastic performance as Joseph,whose southern charm Ascha cracks with blunt exchanges fuelling the unease between the trio. Bravely appearing naked on stage, Halina Reijn gives a magnificent performance as Hanna,who sizzles as a seducing Femme Fatale in Hanna's brief encounters with Gino,which Reijn tones down,once she has set Joseph and Gino off.
Wandering into the Noir darkness, Jude Law gives an excellent performance as Gino,that hits a sensuality in the lingering touches with Hanna and a deepening helplessness of this inn not being a safe haven from drifting Noir.
View on the film:
Stripping the Film Noir world bare,co-writer/(with Simon Stephens and Jan Peter Gerrits trims the set down to the bare elements,with a bar table,an engine (which spills oil over the stage) accordions in glass and a shower creating a minimalist landscape where Gino is isolated.
Brilliantly using the "filmed" aspect of the production, Hove charges up a cinematic Noir atmosphere,in overlapping shots of Gino's face,stylish side shots behind Joseph's shoulders,and oil poring like an open wound against dour lights,offering aspects that viewers of the stage show could not see.
Adapting Luchino Visconti's adaptation of James M. Cain's book (!) the writers brilliantly balance Italian Neo-Realism with deep-fried US Film Noir. Limiting themselves to seven characters,the writers give each of them a Noir loner state of mind,from the abusive dialogue of Joseph to the gasping for freedom from Gino.
Drinking up the soundtracks mix of Opera and The Stooges,the writers strike the minimalism of Italian Neo-Realism with a deep-fried fury of southern Film Noir,with Gino and Hanna's lust simmering with a deadly passion,and a fellow drifter giving the tale a homoerotic undertone.
Spitting orders at Hanna, Gijs Scholten van Ascha gives a fantastic performance as Joseph,whose southern charm Ascha cracks with blunt exchanges fuelling the unease between the trio. Bravely appearing naked on stage, Halina Reijn gives a magnificent performance as Hanna,who sizzles as a seducing Femme Fatale in Hanna's brief encounters with Gino,which Reijn tones down,once she has set Joseph and Gino off.
Wandering into the Noir darkness, Jude Law gives an excellent performance as Gino,that hits a sensuality in the lingering touches with Hanna and a deepening helplessness of this inn not being a safe haven from drifting Noir.