Finding strength in absurdity?
For Mahmoud Abbas to keep talking as Israel constructs settlements would mean accepting the theft of Palestinian land.
Binyamin Netanyahu, the Israeli prime minister, has called on the Palestinians not to quit direct negotiations while at the same time refusing to extend a moratorium on Jewish settlement construction that ended on Sunday.
Settlers have reportedly resumed building in different parts of the occupied West Bank, making it difficult, if not impossible, for Mahmoud Abbas, the Palestinian president, to continue participating in the US-sponsored talks.
He is now expected to seek Arab support for a withdrawal from the talks at a special Arab League meeting on October 4.
Oslo's fatal flaw
The Israeli suggestion that Palestinians should continue to participate in the talks under these circumstances is essentially asking them to accept the theft of their land while pretending to negotiate over its future status.
The Palestinian demand for a complete halt to settlement expansion - rather than a mere freeze - is long overdue.
While the Oslo Accords stipulated that neither side should engage in actions that could prejudice the final outcome of talks, one of the major flaws of the whole Oslo process, which started in 1993, was that it did not clearly specify an end to settlement construction.
Of course, as settlement construction and the accompanying confiscation of land and displacement of Palestinians would greatly prejudice the final status of the occupied territories, Palestinian negotiators considered this to be covered by the clause. But Israel chose to ignore this - along with most of the other agreements signed since Oslo - escalating its land-grabbing and expanding its colonies across the West Bank and Gaza Strip.
As a result of this, the number of settlers has tripled and, according to an Israeli human rights group, the settlements - together with their surrounding infrastructure - control 42 per cent of the West Bank, while Israel has tightened its grip over East Jerusalem.
Thus when Barak Obama, the US president, called for an immediate halt, then back-tracked to a freeze, on settlement construction, the Palestinians saw an unprecedented opportunity to build an international consensus against the persistent Israeli colonisation of Arab lands.
Obama later dropped his demand that a freeze on settlement building be a prerequisite for the resumption of the then stalled direct negotiations and, using the threat to withdraw international and even Arab funding, effectively coerced the Palestinian side into reluctantly joining talks.
So Abbas attended the talks but insisted that the freeze be extended before delving into other issues, prompting Obama to reiterate his call that Israel extend the moratorium. When this was not forthcoming, Abbas did not immediately walk out - agreeing to give the Americans time to find a compromise that could salvage the shaky talks.
Signing away Palestinian rights
But, so far, the compromises floated by the Israeli media are in essence worse than the settlers' plans to increase construction.
One such proposal is that Israel adopts a partial freeze in smaller settlements while continuing to build in major settlement blocks.
Abbas, whose legitimacy is already under question in the absence of new elections, cannot afford to accept proposals that effectively amount to legitimising Israeli plans to annex the largest and most populated West Bank settlements.
Judging by the official Israeli rhetoric and the leaked proposals, Netanyahu seems determined to pursue the plan he once advocated to annex at least 40 per cent of the West Bank, in addition to East Jerusalem, as part of his vision for a final solution.
The Israeli side is relying mainly on US support and military force to impose such solutions on the Palestinians, in defiance of international law and UN resolutions.
As international law forbids the confiscation or annexation of lands under occupation, Netanyahu is trying to coerce the Palestinians into forfeiting their rights by signing their consent to such a move.
But while Abbas, and the Palestinian position generally, is weak - due mainly to the uneven power balance and partly to Palestinian divisions - he cannot afford to make such a major concession at any stage, let along prior to entering final status talks.
Reconciliation and retribution
Furthermore, the revival of reconciliation talks between Hamas and Fatah in Damascus last week has strengthened Abbas' position as president while simultaneously binding him more closely to the national goals of the Palestinian people.
If anything the prospect of failed negotiations has increased support for national reconciliation so as to prepare the Palestinian people for any potential Israeli - and possibly even American - retribution if and when the talks collapse.
Pressed by the Fatah movement to focus on reconciliation with Hamas, Abbas is now less likely to accept any compromise that would undermine those efforts.
He recently said that participating in negotiations as settlement building continued would "be a waste of time". He ought now to heed those words as it will not only be a waste of time but a waste of Palestinian land, while inflicting more suffering on the Palestinian people.
In fact, it is high time that Palestinians call not only for a freeze to settlement construction but a complete halt based on the understanding that the settlements are illegal colonies that obstruct the Palestinian right to self-determination and independence.
Lamis Andoni is an analyst and commentator on Middle Eastern and Palestinian affairs.
Monday, September 27, 2010
Sunday, September 26, 2010
Edward Samuel Milliband wins the leadership
Edward Samuel Milliband (Ed Milliband) has finally won the leadership of Labour Party after 4 months long bid with 4 other runners including his own brother David Milliband. Graduated from Oxford University in Philosophy, Economis and Politics, and grown up in the aegis of his Marxist father, Milliband shares some 23 years long affiliation with Labour Party, Both the brothers worked in Gordon's admiinistration, Ed Milliband sharing a less high profile as a climate change and energy Secretary. Lauded for his intellect, Milliband however is remarkably unpopular for his presentation styles and is often passed ocmments over for his laidback attitude, when put against David Milliband. As young as Tony Blair when the latter won the landslide victory in Labour pary leadership following the sudden demise of his predecessor Johm Smith, Miliband however has a long road to go before he can put himself on par with the United Kingdom's youngest PM (after 1812), Labour Party's longest serving PM and not the least the only person to have led the Labour Party to three consecutive general election victories, Mr. Tony Blair. And the road is not all rosy!
Wednesday, September 22, 2010
From Hell
Release: October 19, 2001 (U.S.)
Directed by: Allen and Albert Hughes
Written by: Alan Moore and Eddie Campbell (graphic novel), Terry Hayes and Rafael Yglesias (screenplay)
Starring:
Johnny Depp as Inspector Frederick Abberline
Heather Graham as Mary Kelly
Ian Holm as Sir William Gull
Robbie Coltrane as Sergeant Peter Godley
Ian Richardson as Sir Charles Warren
The morbid fascination we have with serial killers and their crimes, and the tantalizing nature of an unsolved mystery have provided the inspiration for many a horror movie over the decades. Be it the vicarious thrill of imagining committing crimes as atrocious as serial killings, or imagining catching the depraved lunatic who commits these crimes and dishing out justice. Or perhaps it's a desire to solve the unsolvable, to succeed where so many others have failed. By revisiting the mysteries perhaps we can uncover some clue, some overlooked fact, some evidence that has been missed. To finally unmask those who exist only in shadow, and memory. Serial killers, and unsolved mysteries. Two elements that fascinate, shock, scare, and yes, entertain. It only makes good filmmaking sense to combine them. With From Hell, directors Allen and Albert Hughes take the first modern serial killer, and the most long-running and intriguing unsolved mystery of all time, and fashion them into one of the better horror films of the last decade.
"The Hughes Brothers" as they are known have a somewhat eclectic career. I don't know if they work as collaboratively as the Coens, or if one takes the technical side and the other the creative. But I do know they turn out some good films. Dead Presidents (1995), comes to mind - an underrated "ghetto" flick with some good performances. In 2001 they turned their sights to a ghetto tale of a different time and place: the story of Jack the Ripper.
From Hell begins by literally dropping us into the lice infested darkness of 1888 East End London, Whitechapel district to be exact. Old Jack's stomping ground. The Hughes Brothers, rather than try to give us a history lesson, have gone with an adaptation of Alan Moore's graphic novel, which in turn went with the Freemasons/Royal conspiracy theory (which I can't elaborate on without spoiling the plot), and rather than a documentary-accurate representation of 1880's London, they've gone with a distinct visual style - utilizing bold colors & deep shadows, reasonably flashy direction, and attractive main stars. The first scene, a long tracking shot down into the alleys and along the streets, past hookers plying their trade, drunks staggering in the gutters and horse-drawn carts passing under gas lit arcs of filthy cobblestones, is cinematic brilliance and evidence of the Hughes Brothers' attention to detail and consummate filmmaking skill. There is a lot to like visually: one scene that particularly stands out is the time lapse photography after Jack kills one of his victims, showing the police examining the body and shocked onlookers gawking. Just before this sequence is another very creepy and effective shot: Jack finishes his dirty work then walks away into the foggy night, literally vanishing, ghost-like, into the shadows.
Police Inspector Fred Abberline (Johnny Depp) is assigned the unenviable task of tracking down the Whitechapel murderer who would infamously become known as Jack the Ripper - who in reality stalked and murdered at least five women in the latter half of 1888. Abberline is aided in this task by the excellent British actor Robbie Coltrane who plays his partner Sergeant Peter Godley. Their relationship brings to mind echoes of Holmes and Watson. It seems the Ripper has his sights on Mary Kelly (Heather Graham) and her close knit band of streetwalkers. As the girls are viciously killed one by one, Abberline's investigation leads him from the dark alleys of Whitechapel to the lofty halls of Queen Victoria's palace, and begins to uncover a truth so disquieting those with vested interests will do almost anything to make sure it never gets out.
Much (fun) has been made of Johnny Depp's cockney accent and Heather Graham looking just a little too healthy for an 1880's Whitechapel prostitute in From Hell. When it is taken into account that the accent and indeed Depp’s performance are stylized to match that of the film, the accent is not distracting at all. Depp is a fine actor who nailed the distinct personality based on all accounts of Abberline perfectly. Graham doesn’t fare so well with the accent, and yes she's a little too clean and has all her teeth (which was a rarity back then) - but this is a story, a legend if you will. We can excuse a little beauty in an otherwise ugly tale.
The murders in From Hellare presented as brutal and ugly. The details (which in reality were unbearably grisly) are mostly left to the imagination, but we are still left with a strong impression: these poor women died in horrible ways. When you're dealing with an actual event, there's no room for highly stylized violence - these were real people, with real feelings and real lives that were ended suddenly and without any reason besides the whim of a madman. They deserve respect, and don't take up any more screen time than they have to. The story focuses on Abberline and his attempts to find the killer, and uncover the sinister truth.
Everyone knows the Ripper story, at least in passing, but the Hughes Brothers have crafted a tale with From Hell that is more fiction than historical fact; a commentary on class society and the way something as abhorrent as murder can cut through societal layers (pun intended) and expose the dark side of a supposedly "enlightened age". Of course it wouldn't be a movie without a love story and Abberline finds time amidst the chaos to fall for the "hooker with a heart of gold" Kelly.
Performances in From Hell are strong across-the-board. I get a kick out of Robbie Coltrane's many euphemisms for prostitute, such as "bang-tail" and "pinchprick". I also get a kick out of watching Depp lose himself in a role that seems like it was written with him, and only him, in mind. Depp's Abberline is an opium-smoking, absinthe-drinking, troubled soul who relies on hallucinatory visions to help him solve the case. Depp is a remarkably versatile actor and is, as usual, perfect in the role. Mention should also be made of the late Sir Ian Richardson who plays the pompous, racist Metro Police Commissioner Sir Charles Warren who assigns Abberline to the case. His ridiculous assertion that an educated man could not be responsible for such heinous crimes, and his theory "what about the Jews? A Jew butcher..." is priceless line delivery and excellent characterization. The prejudices held by many "upper class" people both then and now are clearly illustrated.
The inimitable Sir Ian Holm as Sir William Gull, the Queen's personal physician, cannot go without mention. Holm is brilliant in From Hell as the deluded and sinister Gull, an advocate of the grotesque medical procedure known as lobotomy. The lobotomy scene in this film is more disturbing than the actual murder scenes. Rounding out the cast are Jason Flemyng as Gull's put-upon coachman Netley, Mark Dexter as Prince Albert (whose dalliances with the unfortunate Ann Crook provide the basis for the whole "Royal Conspiracy" thing), and Katrin Cartlige, Susan Lynch, Lesley Sharp, Annabelle Apsion and Samantha Spiro as the unfortunate victims: Annie Chapman, Liz Stride, Katherine Eddowes, Polly Nichols and Martha Tabram.
From Hell is dark, sinister, moody, and operatic in it's gothic scope. It did pretty poorly both at the box office and critically upon it's release as people seemed to expect either a straight horror film or a factual account of the Ripper's crimes. From Hell is neither. It's a darkly beautiful tale of tormented souls and the darkest side of human nature.
(Yahoomovies)
Directed by: Allen and Albert Hughes
Written by: Alan Moore and Eddie Campbell (graphic novel), Terry Hayes and Rafael Yglesias (screenplay)
Starring:
Johnny Depp as Inspector Frederick Abberline
Heather Graham as Mary Kelly
Ian Holm as Sir William Gull
Robbie Coltrane as Sergeant Peter Godley
Ian Richardson as Sir Charles Warren
The morbid fascination we have with serial killers and their crimes, and the tantalizing nature of an unsolved mystery have provided the inspiration for many a horror movie over the decades. Be it the vicarious thrill of imagining committing crimes as atrocious as serial killings, or imagining catching the depraved lunatic who commits these crimes and dishing out justice. Or perhaps it's a desire to solve the unsolvable, to succeed where so many others have failed. By revisiting the mysteries perhaps we can uncover some clue, some overlooked fact, some evidence that has been missed. To finally unmask those who exist only in shadow, and memory. Serial killers, and unsolved mysteries. Two elements that fascinate, shock, scare, and yes, entertain. It only makes good filmmaking sense to combine them. With From Hell, directors Allen and Albert Hughes take the first modern serial killer, and the most long-running and intriguing unsolved mystery of all time, and fashion them into one of the better horror films of the last decade.
"The Hughes Brothers" as they are known have a somewhat eclectic career. I don't know if they work as collaboratively as the Coens, or if one takes the technical side and the other the creative. But I do know they turn out some good films. Dead Presidents (1995), comes to mind - an underrated "ghetto" flick with some good performances. In 2001 they turned their sights to a ghetto tale of a different time and place: the story of Jack the Ripper.
From Hell begins by literally dropping us into the lice infested darkness of 1888 East End London, Whitechapel district to be exact. Old Jack's stomping ground. The Hughes Brothers, rather than try to give us a history lesson, have gone with an adaptation of Alan Moore's graphic novel, which in turn went with the Freemasons/Royal conspiracy theory (which I can't elaborate on without spoiling the plot), and rather than a documentary-accurate representation of 1880's London, they've gone with a distinct visual style - utilizing bold colors & deep shadows, reasonably flashy direction, and attractive main stars. The first scene, a long tracking shot down into the alleys and along the streets, past hookers plying their trade, drunks staggering in the gutters and horse-drawn carts passing under gas lit arcs of filthy cobblestones, is cinematic brilliance and evidence of the Hughes Brothers' attention to detail and consummate filmmaking skill. There is a lot to like visually: one scene that particularly stands out is the time lapse photography after Jack kills one of his victims, showing the police examining the body and shocked onlookers gawking. Just before this sequence is another very creepy and effective shot: Jack finishes his dirty work then walks away into the foggy night, literally vanishing, ghost-like, into the shadows.
Police Inspector Fred Abberline (Johnny Depp) is assigned the unenviable task of tracking down the Whitechapel murderer who would infamously become known as Jack the Ripper - who in reality stalked and murdered at least five women in the latter half of 1888. Abberline is aided in this task by the excellent British actor Robbie Coltrane who plays his partner Sergeant Peter Godley. Their relationship brings to mind echoes of Holmes and Watson. It seems the Ripper has his sights on Mary Kelly (Heather Graham) and her close knit band of streetwalkers. As the girls are viciously killed one by one, Abberline's investigation leads him from the dark alleys of Whitechapel to the lofty halls of Queen Victoria's palace, and begins to uncover a truth so disquieting those with vested interests will do almost anything to make sure it never gets out.
Much (fun) has been made of Johnny Depp's cockney accent and Heather Graham looking just a little too healthy for an 1880's Whitechapel prostitute in From Hell. When it is taken into account that the accent and indeed Depp’s performance are stylized to match that of the film, the accent is not distracting at all. Depp is a fine actor who nailed the distinct personality based on all accounts of Abberline perfectly. Graham doesn’t fare so well with the accent, and yes she's a little too clean and has all her teeth (which was a rarity back then) - but this is a story, a legend if you will. We can excuse a little beauty in an otherwise ugly tale.
The murders in From Hellare presented as brutal and ugly. The details (which in reality were unbearably grisly) are mostly left to the imagination, but we are still left with a strong impression: these poor women died in horrible ways. When you're dealing with an actual event, there's no room for highly stylized violence - these were real people, with real feelings and real lives that were ended suddenly and without any reason besides the whim of a madman. They deserve respect, and don't take up any more screen time than they have to. The story focuses on Abberline and his attempts to find the killer, and uncover the sinister truth.
Everyone knows the Ripper story, at least in passing, but the Hughes Brothers have crafted a tale with From Hell that is more fiction than historical fact; a commentary on class society and the way something as abhorrent as murder can cut through societal layers (pun intended) and expose the dark side of a supposedly "enlightened age". Of course it wouldn't be a movie without a love story and Abberline finds time amidst the chaos to fall for the "hooker with a heart of gold" Kelly.
Performances in From Hell are strong across-the-board. I get a kick out of Robbie Coltrane's many euphemisms for prostitute, such as "bang-tail" and "pinchprick". I also get a kick out of watching Depp lose himself in a role that seems like it was written with him, and only him, in mind. Depp's Abberline is an opium-smoking, absinthe-drinking, troubled soul who relies on hallucinatory visions to help him solve the case. Depp is a remarkably versatile actor and is, as usual, perfect in the role. Mention should also be made of the late Sir Ian Richardson who plays the pompous, racist Metro Police Commissioner Sir Charles Warren who assigns Abberline to the case. His ridiculous assertion that an educated man could not be responsible for such heinous crimes, and his theory "what about the Jews? A Jew butcher..." is priceless line delivery and excellent characterization. The prejudices held by many "upper class" people both then and now are clearly illustrated.
The inimitable Sir Ian Holm as Sir William Gull, the Queen's personal physician, cannot go without mention. Holm is brilliant in From Hell as the deluded and sinister Gull, an advocate of the grotesque medical procedure known as lobotomy. The lobotomy scene in this film is more disturbing than the actual murder scenes. Rounding out the cast are Jason Flemyng as Gull's put-upon coachman Netley, Mark Dexter as Prince Albert (whose dalliances with the unfortunate Ann Crook provide the basis for the whole "Royal Conspiracy" thing), and Katrin Cartlige, Susan Lynch, Lesley Sharp, Annabelle Apsion and Samantha Spiro as the unfortunate victims: Annie Chapman, Liz Stride, Katherine Eddowes, Polly Nichols and Martha Tabram.
From Hell is dark, sinister, moody, and operatic in it's gothic scope. It did pretty poorly both at the box office and critically upon it's release as people seemed to expect either a straight horror film or a factual account of the Ripper's crimes. From Hell is neither. It's a darkly beautiful tale of tormented souls and the darkest side of human nature.
(Yahoomovies)
From Hell
Release: October 19, 2001 (U.S.)
Directed by: Allen and Albert Hughes
Written by: Alan Moore and Eddie Campbell (graphic novel), Terry Hayes and Rafael Yglesias (screenplay)
Starring:
Johnny Depp as Inspector Frederick Abberline
Heather Graham as Mary Kelly
Ian Holm as Sir William Gull
Robbie Coltrane as Sergeant Peter Godley
Ian Richardson as Sir Charles Warren
The morbid fascination we have with serial killers and their crimes, and the tantalizing nature of an unsolved mystery have provided the inspiration for many a horror movie over the decades. Be it the vicarious thrill of imagining committing crimes as atrocious as serial killings, or imagining catching the depraved lunatic who commits these crimes and dishing out justice. Or perhaps it's a desire to solve the unsolvable, to succeed where so many others have failed. By revisiting the mysteries perhaps we can uncover some clue, some overlooked fact, some evidence that has been missed. To finally unmask those who exist only in shadow, and memory. Serial killers, and unsolved mysteries. Two elements that fascinate, shock, scare, and yes, entertain. It only makes good filmmaking sense to combine them. With From Hell, directors Allen and Albert Hughes take the first modern serial killer, and the most long-running and intriguing unsolved mystery of all time, and fashion them into one of the better horror films of the last decade.
"The Hughes Brothers" as they are known have a somewhat eclectic career. I don't know if they work as collaboratively as the Coens, or if one takes the technical side and the other the creative. But I do know they turn out some good films. Dead Presidents (1995), comes to mind - an underrated "ghetto" flick with some good performances. In 2001 they turned their sights to a ghetto tale of a different time and place: the story of Jack the Ripper.
From Hell begins by literally dropping us into the lice infested darkness of 1888 East End London, Whitechapel district to be exact. Old Jack's stomping ground. The Hughes Brothers, rather than try to give us a history lesson, have gone with an adaptation of Alan Moore's graphic novel, which in turn went with the Freemasons/Royal conspiracy theory (which I can't elaborate on without spoiling the plot), and rather than a documentary-accurate representation of 1880's London, they've gone with a distinct visual style - utilizing bold colors & deep shadows, reasonably flashy direction, and attractive main stars. The first scene, a long tracking shot down into the alleys and along the streets, past hookers plying their trade, drunks staggering in the gutters and horse-drawn carts passing under gas lit arcs of filthy cobblestones, is cinematic brilliance and evidence of the Hughes Brothers' attention to detail and consummate filmmaking skill. There is a lot to like visually: one scene that particularly stands out is the time lapse photography after Jack kills one of his victims, showing the police examining the body and shocked onlookers gawking. Just before this sequence is another very creepy and effective shot: Jack finishes his dirty work then walks away into the foggy night, literally vanishing, ghost-like, into the shadows.
Police Inspector Fred Abberline (Johnny Depp) is assigned the unenviable task of tracking down the Whitechapel murderer who would infamously become known as Jack the Ripper - who in reality stalked and murdered at least five women in the latter half of 1888. Abberline is aided in this task by the excellent British actor Robbie Coltrane who plays his partner Sergeant Peter Godley. Their relationship brings to mind echoes of Holmes and Watson. It seems the Ripper has his sights on Mary Kelly (Heather Graham) and her close knit band of streetwalkers. As the girls are viciously killed one by one, Abberline's investigation leads him from the dark alleys of Whitechapel to the lofty halls of Queen Victoria's palace, and begins to uncover a truth so disquieting those with vested interests will do almost anything to make sure it never gets out.
Much (fun) has been made of Johnny Depp's cockney accent and Heather Graham looking just a little too healthy for an 1880's Whitechapel prostitute in From Hell. When it is taken into account that the accent and indeed Depp’s performance are stylized to match that of the film, the accent is not distracting at all. Depp is a fine actor who nailed the distinct personality based on all accounts of Abberline perfectly. Graham doesn’t fare so well with the accent, and yes she's a little too clean and has all her teeth (which was a rarity back then) - but this is a story, a legend if you will. We can excuse a little beauty in an otherwise ugly tale.
The murders in From Hellare presented as brutal and ugly. The details (which in reality were unbearably grisly) are mostly left to the imagination, but we are still left with a strong impression: these poor women died in horrible ways. When you're dealing with an actual event, there's no room for highly stylized violence - these were real people, with real feelings and real lives that were ended suddenly and without any reason besides the whim of a madman. They deserve respect, and don't take up any more screen time than they have to. The story focuses on Abberline and his attempts to find the killer, and uncover the sinister truth.
Everyone knows the Ripper story, at least in passing, but the Hughes Brothers have crafted a tale with From Hell that is more fiction than historical fact; a commentary on class society and the way something as abhorrent as murder can cut through societal layers (pun intended) and expose the dark side of a supposedly "enlightened age". Of course it wouldn't be a movie without a love story and Abberline finds time amidst the chaos to fall for the "hooker with a heart of gold" Kelly.
Performances in From Hell are strong across-the-board. I get a kick out of Robbie Coltrane's many euphemisms for prostitute, such as "bang-tail" and "pinchprick". I also get a kick out of watching Depp lose himself in a role that seems like it was written with him, and only him, in mind. Depp's Abberline is an opium-smoking, absinthe-drinking, troubled soul who relies on hallucinatory visions to help him solve the case. Depp is a remarkably versatile actor and is, as usual, perfect in the role. Mention should also be made of the late Sir Ian Richardson who plays the pompous, racist Metro Police Commissioner Sir Charles Warren who assigns Abberline to the case. His ridiculous assertion that an educated man could not be responsible for such heinous crimes, and his theory "what about the Jews? A Jew butcher..." is priceless line delivery and excellent characterization. The prejudices held by many "upper class" people both then and now are clearly illustrated.
The inimitable Sir Ian Holm as Sir William Gull, the Queen's personal physician, cannot go without mention. Holm is brilliant in From Hell as the deluded and sinister Gull, an advocate of the grotesque medical procedure known as lobotomy. The lobotomy scene in this film is more disturbing than the actual murder scenes. Rounding out the cast are Jason Flemyng as Gull's put-upon coachman Netley, Mark Dexter as Prince Albert (whose dalliances with the unfortunate Ann Crook provide the basis for the whole "Royal Conspiracy" thing), and Katrin Cartlige, Susan Lynch, Lesley Sharp, Annabelle Apsion and Samantha Spiro as the unfortunate victims: Annie Chapman, Liz Stride, Katherine Eddowes, Polly Nichols and Martha Tabram.
From Hell is dark, sinister, moody, and operatic in it's gothic scope. It did pretty poorly both at the box office and critically upon it's release as people seemed to expect either a straight horror film or a factual account of the Ripper's crimes. From Hell is neither. It's a darkly beautiful tale of tormented souls and the darkest side of human nature.
(Yahoomovies)
Directed by: Allen and Albert Hughes
Written by: Alan Moore and Eddie Campbell (graphic novel), Terry Hayes and Rafael Yglesias (screenplay)
Starring:
Johnny Depp as Inspector Frederick Abberline
Heather Graham as Mary Kelly
Ian Holm as Sir William Gull
Robbie Coltrane as Sergeant Peter Godley
Ian Richardson as Sir Charles Warren
The morbid fascination we have with serial killers and their crimes, and the tantalizing nature of an unsolved mystery have provided the inspiration for many a horror movie over the decades. Be it the vicarious thrill of imagining committing crimes as atrocious as serial killings, or imagining catching the depraved lunatic who commits these crimes and dishing out justice. Or perhaps it's a desire to solve the unsolvable, to succeed where so many others have failed. By revisiting the mysteries perhaps we can uncover some clue, some overlooked fact, some evidence that has been missed. To finally unmask those who exist only in shadow, and memory. Serial killers, and unsolved mysteries. Two elements that fascinate, shock, scare, and yes, entertain. It only makes good filmmaking sense to combine them. With From Hell, directors Allen and Albert Hughes take the first modern serial killer, and the most long-running and intriguing unsolved mystery of all time, and fashion them into one of the better horror films of the last decade.
"The Hughes Brothers" as they are known have a somewhat eclectic career. I don't know if they work as collaboratively as the Coens, or if one takes the technical side and the other the creative. But I do know they turn out some good films. Dead Presidents (1995), comes to mind - an underrated "ghetto" flick with some good performances. In 2001 they turned their sights to a ghetto tale of a different time and place: the story of Jack the Ripper.
From Hell begins by literally dropping us into the lice infested darkness of 1888 East End London, Whitechapel district to be exact. Old Jack's stomping ground. The Hughes Brothers, rather than try to give us a history lesson, have gone with an adaptation of Alan Moore's graphic novel, which in turn went with the Freemasons/Royal conspiracy theory (which I can't elaborate on without spoiling the plot), and rather than a documentary-accurate representation of 1880's London, they've gone with a distinct visual style - utilizing bold colors & deep shadows, reasonably flashy direction, and attractive main stars. The first scene, a long tracking shot down into the alleys and along the streets, past hookers plying their trade, drunks staggering in the gutters and horse-drawn carts passing under gas lit arcs of filthy cobblestones, is cinematic brilliance and evidence of the Hughes Brothers' attention to detail and consummate filmmaking skill. There is a lot to like visually: one scene that particularly stands out is the time lapse photography after Jack kills one of his victims, showing the police examining the body and shocked onlookers gawking. Just before this sequence is another very creepy and effective shot: Jack finishes his dirty work then walks away into the foggy night, literally vanishing, ghost-like, into the shadows.
Police Inspector Fred Abberline (Johnny Depp) is assigned the unenviable task of tracking down the Whitechapel murderer who would infamously become known as Jack the Ripper - who in reality stalked and murdered at least five women in the latter half of 1888. Abberline is aided in this task by the excellent British actor Robbie Coltrane who plays his partner Sergeant Peter Godley. Their relationship brings to mind echoes of Holmes and Watson. It seems the Ripper has his sights on Mary Kelly (Heather Graham) and her close knit band of streetwalkers. As the girls are viciously killed one by one, Abberline's investigation leads him from the dark alleys of Whitechapel to the lofty halls of Queen Victoria's palace, and begins to uncover a truth so disquieting those with vested interests will do almost anything to make sure it never gets out.
Much (fun) has been made of Johnny Depp's cockney accent and Heather Graham looking just a little too healthy for an 1880's Whitechapel prostitute in From Hell. When it is taken into account that the accent and indeed Depp’s performance are stylized to match that of the film, the accent is not distracting at all. Depp is a fine actor who nailed the distinct personality based on all accounts of Abberline perfectly. Graham doesn’t fare so well with the accent, and yes she's a little too clean and has all her teeth (which was a rarity back then) - but this is a story, a legend if you will. We can excuse a little beauty in an otherwise ugly tale.
The murders in From Hellare presented as brutal and ugly. The details (which in reality were unbearably grisly) are mostly left to the imagination, but we are still left with a strong impression: these poor women died in horrible ways. When you're dealing with an actual event, there's no room for highly stylized violence - these were real people, with real feelings and real lives that were ended suddenly and without any reason besides the whim of a madman. They deserve respect, and don't take up any more screen time than they have to. The story focuses on Abberline and his attempts to find the killer, and uncover the sinister truth.
Everyone knows the Ripper story, at least in passing, but the Hughes Brothers have crafted a tale with From Hell that is more fiction than historical fact; a commentary on class society and the way something as abhorrent as murder can cut through societal layers (pun intended) and expose the dark side of a supposedly "enlightened age". Of course it wouldn't be a movie without a love story and Abberline finds time amidst the chaos to fall for the "hooker with a heart of gold" Kelly.
Performances in From Hell are strong across-the-board. I get a kick out of Robbie Coltrane's many euphemisms for prostitute, such as "bang-tail" and "pinchprick". I also get a kick out of watching Depp lose himself in a role that seems like it was written with him, and only him, in mind. Depp's Abberline is an opium-smoking, absinthe-drinking, troubled soul who relies on hallucinatory visions to help him solve the case. Depp is a remarkably versatile actor and is, as usual, perfect in the role. Mention should also be made of the late Sir Ian Richardson who plays the pompous, racist Metro Police Commissioner Sir Charles Warren who assigns Abberline to the case. His ridiculous assertion that an educated man could not be responsible for such heinous crimes, and his theory "what about the Jews? A Jew butcher..." is priceless line delivery and excellent characterization. The prejudices held by many "upper class" people both then and now are clearly illustrated.
The inimitable Sir Ian Holm as Sir William Gull, the Queen's personal physician, cannot go without mention. Holm is brilliant in From Hell as the deluded and sinister Gull, an advocate of the grotesque medical procedure known as lobotomy. The lobotomy scene in this film is more disturbing than the actual murder scenes. Rounding out the cast are Jason Flemyng as Gull's put-upon coachman Netley, Mark Dexter as Prince Albert (whose dalliances with the unfortunate Ann Crook provide the basis for the whole "Royal Conspiracy" thing), and Katrin Cartlige, Susan Lynch, Lesley Sharp, Annabelle Apsion and Samantha Spiro as the unfortunate victims: Annie Chapman, Liz Stride, Katherine Eddowes, Polly Nichols and Martha Tabram.
From Hell is dark, sinister, moody, and operatic in it's gothic scope. It did pretty poorly both at the box office and critically upon it's release as people seemed to expect either a straight horror film or a factual account of the Ripper's crimes. From Hell is neither. It's a darkly beautiful tale of tormented souls and the darkest side of human nature.
(Yahoomovies)
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