Writer and director Richard Ayoade (The IT Crowd The Mighty Boosh) claims copious influences for his feature debut and the film can’t help but remind us of other indie-flavored coming-of-age flicks like Rushmore and Harold and Maude but Submarine is a decidedly and endearingly unique film. In a season where most of the films we flock to see merit descriptors like “super ” “action-packed” and various forms of the word “huge ” Ayoade’s little dark comedy creeps along below the water line ready to pop up and deliver a delightful surprise for summer movie goers.
Adapted from the novel by Joe Dunthorne Submarine tells the story of Oliver (Craig Roberts) a rather strange highly-intelligent 15 year-old boy who’s determined to lose his virginity by his next birthday rescue his parents’ ailing marriage and to see it all retold in an epic New Wave-y cinematic tribute. This idea that his life will be retold on film flows throughout the film contrasting Oliver’s grandiose retelling of his life against its stark realities. Ayoade allows us to see how unreliably Oliver tells his own story but as the plot thickens we tend to get almost as lost in Oliver’s fantasies as he is.
Oliver’s virginity-ending quest leads him to his girlfriend an eczema-riddled pyromaniac named Joanna (Yasmin Paige). He’s picked her out as being most likely to acquiesce to his proposal thanks to various calculated social factors and thus their adolescent romance begins. While Oliver is exploring his relationship with Joanna – greatly consisting of her burning the hair off his legs with matches while he reimagines their romance as captured idyllically on super 8 film – Mr. and Mrs. Tate’s (Noah Taylor and Sally Hawkins) relationship is slowly crumbling. Jill Tate’s old flame Graham a new age life coach with a useless theory about colors (Paddy Considine) moves in across the way sending Jill into a bout of reminiscence and a longing for her youth that stands to threaten her marriage. Oliver being the precocious young man he is is determined to barrel in headfirst to fix his parents’ ailing marriage which he’s been monitoring for months using the dimmer switch setting in their bedroom. (And it’s been on the sex-less setting for quite a while.)
Of course the most obvious reason this film works is Ayoade’s tight script and meticulous direction but the lynchpin is certainly the fantastic cast. Roberts and Paige though both very young fill the screen like two adults trapped in adolescent bodies. Tayor is fantastic as always but Hawkins ably treads the wafer-thin line between goofy hilarity and the complete and total sincerity of a housewife in crisis. Considine’s Graham gets a little cartoonish at times but those moments are reigned in with a little help from Hawkins.
Ayoade lends a sort of film-brat aesthetic to Submarine playing with French New Wave elements and giving nods to films like Love in the Afternoon. Of course the fact that Oliver is so inclined to remember his life in film scenes helps to unleash the techniques in Ayoade’s repertoire. In other settings this combination may have felt a little jumbled but the story almost begs for it here. Bolstering Ayoade’s plethora of techniques is the style he chose for the film. It’s a bit retro but not overly so. Ayoade situates Oliver’s gloomy seaside town in a timeless space that feels simultaneously old fashioned and completely fresh.
Finally tying all the elements together with a big bow is the soundtrack comprised of original songs by Alex Turner of The Arctic Monkeys. While he had some of the tunes composed before Ayoade brought him in to work on the film the tracks perfectly complement Submarine’s style providing the cinematic drama that Oliver would approve of without undermining the understated reality that he’s so determined not to see.
It certainly doesn’t feel like Submarine is Ayoade’s debut. He’s done his fair share of writing and directing getting behind the scenes on a few British television shows and directing music videos for The Arctic Monkeys and Yeah Yeah Yeahs but this film feels like it comes from someone who’s been in the feature film business for years. It’s seemingly without glaring rookie mistakes or hiccups. And while the retro indie dark comedy vein often lends itself to overdrawn quirk Submarine doesn’t.
Film-brat elements aside at its heart Submarine is a fiercely genuine slightly complicated and completely lovable film.
As the real-life 1950's pin-up girl Bettie Page actress Gretchen Mol shakes her moneymaker in this true-American-story drama. Page a Tennessee-raised religious cutie moves to New York in 1949 for a new life when college dreams don't materialize. She's a trusting soul who loves to pose for strangers' cameras and naturally falls into modeling. In no time she's wearing suggestive lingerie and trading spankings with other models. To Bettie the bondage get-ups are silly not prurient. But despite efforts to expand herself and learn acting she remains a pin-up girl. In Bettie's most famous picture she's posing nude in a Santa hat in a 1955 Playboy magazine. After testifying at Congress amid the sexual Puritanism of the '50s Bettie realizes her "notorious" reputation. She quits the biz for her religious beliefs and disappears from the public eye for good. Mol's performance is described in press materials as "incandescent." It is brave to say the least. The actress’ movie career has needed a jolt since she was labeled the next “It” girl in the late ‘90s after starring with Matt Damon in the 1998 Rounders. Her last film was Neil LaBute’s 2003 The Shape of Things. But Mol finds her niche in Notorious. She plays Bettie as she was--a simple-minded and free-spirited character which can be a dangerous combination. The actress doesn't add impresario nuances to the pliable young woman beyond the Southern accents but it is an incandescent performance nonetheless. Lili Taylor (I Shot Andy Warhol) brings her rough features to Paula Klaw Bettie's tough-minded manager transitioning from the Emmy-nominated success of HBO’s Six Feet Under. Mol and Taylor play off each other very well. Recent Oscar-nominee David Strathairn (Good Night and Good Luck) also sneaks in there as a Southern senator calling for pornography investigations. In the hands of director/writer Mary Harron and writer Guinevere Turner Notorious snaps along like an old crime noir quick like a paperback on the beach. It is ironic and biting smoldering with sexuality but the melodramatic intentions are obvious. The dialogue lapses into clunky spots occasionally but they seem deliberate. The script's potency should not be understated. It's a statement about government's role in bedroom matters and the side effects of an American society prudish about its sexuality. Harron seems a sharp-edged journalist a chronicler of 20th century America and recruited Oscar-nominated researcher Sam Green (The Weather Undergound) to strengthen the movie's veracity such as recreating '50s-era Times Square. Bygone technical methods such as Super 8 cameras are used to match the classy black-and-white photography. Notorious is a little rough but fairly successful in its mission.
January 22, 2004 10:50am EST
The Writers Guild of America, west and East announced nominations for outstanding achievement in writing for the screen, television and radio during the 2003 season.
Nominees in the original category went to independent art-house films, including Gurinder Chadha, Paul Mayeda Berges and Guljit Bindra for Fox Searchlight's Bend It Like Beckham; Steven Knight for Miramax's Dirty Pretty Things; and Tom McCarthy for Miramax's The Station Agent.
Nominees for the adapted category went mostly high-profile releases, including Anthony Minghella for Miramax's Cold Mountain; Frances Walsh & Philippa Boyens & Peter Jackson for New Line's The Lord of the Rings: The Return of the King; and Gary Ross for Universal's Seabiscuit.
WGA noms are closely tracked as an indicator of Academy Awards sentiment. Guild winners in the original screenplay category have matched Oscar choices in 11 years over the past 21 while the WGA adapted screenplay award has matched with the Oscar winner in 14 years during the same period.
The films eligible for Writers Guild Awards were released in the year 2003 under the jurisdiction of Writers Guild of America, East and west and affiliate guilds in Australia, Canada, French Canada, Great Britain, Ireland, and New Zealand.
In television, the nominated scripts were originally broadcast between December 1, 2002, and November 30, 2003.
The winners will be announced Saturday, February 21, 2004, at the 56th Annual Writers Guild Awards ceremonies on both coasts.
The Writers Guild of America, west ceremonies will be held in Los Angeles at the Century Plaza Hotel, and the Writers Guild of America, East ceremonies will be held in New York at The Pierre Hotel.
BEND IT LIKE BECKHAM, Written by Gurinder Chadha and Paul Mayeda Berges and Guljit Bindra, Fox Searchlight Pictures
DIRTY PRETTY THINGS, Written by Steven Knight, Miramax Films
IN AMERICA, Written by Jim Sheridan & Naomi Sheridan & Kirsten Sheridan, Fox Searchlight Pictures
LOST IN TRANSLATION, Written by Sofia Coppola, Focus Features
THE STATION AGENT, Written by Tom McCarthy, Miramax Films
AMERICAN SPLENDOR, Written by Robert Pulcini & Shari Springer Berman, Based on the Comic Book Series by Harvey Pekar and the Novel by Harvey Pekar and Joyce Brabner, HBO Films/Fine Line Features
COLD MOUNTAIN, Screenplay by Anthony Minghella, Based on the Novel by Charles Frazier, Miramax Films
THE LORD OF THE RINGS: THE RETURN OF THE KING, Screenplay by Fran Walsh & Philippa Boyens & Peter Jackson, Based on the Novel by J.R.R. Tolkien, New Line Cinema
MYSTIC RIVER, Screenplay by Brian Helgeland, Based on the Novel by Dennis Lehane, Warner Bros. Pictures
SEABISCUIT, Screenplay by Gary Ross, Based on the Book by Laura Hillenbrand, Universal Pictures
Episodic Drama --any length--one airing time
"ABOMINATION (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"BOUNTY (Law & Order), Written by Michael S. Chernuchin; NBC
"DISASTER RELIEF (The West Wing), Teleplay by Alexa Junge, Story by Alexa Junge & Lauren Schmidt; NBC
"LOSS (Law & Order: SVU), Written by Michele Fazekas & Tara Butters; NBC
"PILOT (The O.C.), Written by Josh Schwartz; Fox
"7:00 P.M. -- 8:00 P.M. (24), Written by Evan Katz; Fox
Episodic Comedy--any length--one airing time
"DAY CARE" (Malcolm in the Middle), Written by Gary Murphy & Neil Thompson; Fox
"MALCOLM FILMS REESE" (Malcolm in the Middle), Written by Dan Kopelman; Fox
"NO SEX, PLEASE, WE'RE SKITTISH" (Frasier), Written by Bob Daily; NBC
"A WOMAN'S RIGHT TO SHOES" (Sex and the City), Written by Jenny Bicks; HBO
Original Long Form--over one hour--one or two parts, one or two airing times
AND STARRING PANCHO VILLA AS HIMSELF, Written by Larry Gelbart; HBO
Episode 1, "BEYOND THE SKY" and Episode 2, "JACOB AND JESSE" (Taken), Written by Leslie Bohem; USA
CAESAR, Written by Peter Pruce and Craig Warner; TNT
WILDER DAYS, Written by Jeff Stockwell; TNT
Adapted Long Form--over one hour--one or two parts, one or two airing times
NORMAL, Teleplay by Jane Anderson, Based on the play Looking for Normal by Jane Anderson; HBO
OUT OF THE ASHES, Teleplay by Anne Meredith, Based on the book I Was a Doctor in Auschwitz by Dr. Gisella Perl; Showtime
RUDY: THE RUDY GIULIANI STORY, Written by Stanley Weiser, Based on the book Rudy! by Wayne Barrett; USA
THE STRANGER BESIDE ME, Teleplay by Matthew McDuffie and Matthew Tabak, Based on the book by Ann Rule; USA
Animation--any length--one airing time
"THE DAD WHO KNEW TOO LITTLE" (The Simpsons), Written by Matt Selman; Fox
"MOE BABY BLUES" (The Simpsons), Written by J. Stewart Burns; Fox
MY MOTHER THE CARJACKER" (The Simpsons), Written by Michael Price; Fox
"REBORN TO BE WILD" (King of the Hill), Written by Tony Gama-Lobo & Rebecca May; Fox
"RESCUE JET FUSION" (The Adventures of Jimmy Neutron, Boy Genius), Written by Steven Banks; Nickelodeon
"THE STING" (Futurama), Written by Patric M. Verrone; Fox
Comedy/Variety--Music, Awards, Tributes -- Specials -- any length
THE KENNEDY CENTER HONORS, Written by George Stevens, Jr., Sara Lukinson and David Leaf; CBS
THE 75TH ANNUAL ACADEMY AWARDS, Written by Hal Kanter, Rita Cash, Buz Kohan, Special Material Written by Steve Martin, Beth Armogida, Dave Barry, Dave Boone, Andy Breckman, Jon Macks, Rita Rudner, Bruce Vilanch; ABC
Comedy/Variety--(including talk) Series
LATE NIGHT WITH CONAN O'BRIEN, Written by Mike Sweeney, Chris Albers, Jose Arroyo, Andy Blitz, Kevin Dorff, Jonathan Glaser, Michael Gordon, Brian Kiley, Michael Koman, Brian McCann, Guy Nicolucci, Conan O'Brien, Andrew Secunda, Allison Silverman, Robert Smigel, Brian Stack, Andrew Weinberg; NBC
MAD TV, Writing supervised by Scott King, Written by Dick Blasucci, Lauren Dombrowski, Bryan Adams, Bruce McCoy, Michael Hitchcock, Steven Cragg, Chris Cluess, John Crane, Jennifer Joyce, Tami Sagher, David Salzman, Richard Talarico, Jim Wise, Kal Clarke, Sultan Pepper, Bill Kelley, Maiya Williams, Dino Stamatopoulos, Rick Najera, Brooks McBeth, Jason Kordelos, Michael McDonald, Stephnie Weir; FOX
PENN & TELLER: BULLSHIT!, Written by Penn Jillette, Teller, David Wechter, John McLaughlin; Showtime
REAL TIME WITH BILL MAHER, Written by Billy Martin, Scott Carter, David Feldman, Brian Jacobsmeyer, Jay Jaroch, Chris Kelly, Bill Maher, Ned Rice, Paul F. Tompkins; HBO
ALL MY CHILDREN, Written by Agnes Nixon, Megan McTavish, Gordon Rayfield, Anna Theresa Cascio, Frederick Johnson, Jeff Beldner, Janet Iacobuzio, Lisa Connor, Addie Walsh, Victor Miller, Mimi Leahey, Bettina F. Bradbury, John PiRoman, Karen Lewis, Amanda Robb, Rebecca Taylor, Christina Covino, David A. Levinson; ABC
ONE LIFE TO LIVE, Written by Josh Griffith, Michael Malone, Shelly Altman, Lorraine Broderick, Richard Backus, Ron Carlivati, Anna Theresa Cascio, David Colson, Leslie Nipkow, Michelle Poteet Lisanti, Becky Cole, James Fryman, Katherine Schock, Ginger Redmon, Daniel Griffin; ABC
"DON'T LOOK BACK" (Out There), Written by Willie Reale and Mark Palmer; PBS
FULL COURT MIRACLE, Written by Joel Silverman and Joel Kauffmann & Donald C. Yost; Disney Channel
I WAS A TEENAGE FAUST, Written by Thom Eberhardt; Showtime
THE MALDONADO MIRACLE, Teleplay by Paul W. Cooper, Based upon the novel "The Maldonado Miracle" by Theodore Taylor; Showtime
Documentary - Current Events
"TRUTH, WAR AND CONSEQUENCES" (Frontline), Written by Martin Smith; PBS
"THE WAR BEHIND CLOSED DOORS" (Frontline), Written by Michael J. Kirk; PBS
Documentary - Other Than Current Events
BECOMING AMERICAN: THE CHINESE EXPERIENCE--BETWEEN TWO WORLDS (PART 2), Written by Thomas Lennon & Mi Ling Tsui and Bill Moyers; PBS
"CYBER WAR!" (Frontline), Written by Michael J. Kirk; PBS
"THE ELEGANT UNIVERSE: THE STRING'S THE THING" (Nova), Written by Joseph McMaster; PBS
"THE ELEGANT UNIVERSE: WELCOME TO THE 11TH DIMENSION" (Nova), Written by Julia Cort & Joseph McMaster, PBS
"THE MURDER OF EMMETT TILL" (The American Experience), Written by Marcia Smith, PBS
"SEABISCUIT" (The American Experience), Written by Michelle Ferrari; PBS
News - Regularly Scheduled, Bulletin or Breaking Report
"PASSING OF MUSIC LEGENDS" (CBS News Sunday Morning), Written by Robert Mank;
"CBS SHOWDOWN WITH SADDAM" (CBS News), Written by John Craig Wilson; CBS
News - Analysis, Feature, or Commentary
"BAPTISM BY FIRE" (60 Minutes), Written by Barbara Dury & Morley Safer; CBS
"WALL STREET" (NOW with Bill Moyers), Written by Michael Winship & Bill Moyers; PBS
AUTISM: SHADES OF GRAY, Written by Julia Kathan; ABC News Radio
AFTERNOON DRIVE, Written by Bill Spadaro; 1010 WINS Radio
WORLD NEWS THIS WEEK, Written by Stuart H. Chamberlain, Jr.; ABC News Radio
News--Analysis, Feature or Commentary
REMEMBERING ED BLISS, Written by Mike Silverstein; ABC News Radio
THE ROAD TO LAUGHTER: A TRIBUTE TO BOB HOPE, Written by Steven Gosset; CBS Radio Network
On-Air Promotion (Radio or Television)
BUFFY/ENTERPRISE, Written by Eric Jacobson; CBS/UPN