The first trailer for Guy Ritchie’s THE MINISTRY OF UNGENTLEMANLY WARFARE debuted today.
Based upon recently declassified files of the British War Department and inspired by true events, THE MINISTRY OF UNGENTLEMANLY WARFARE is an action-comedy that tells the story of the first-ever special forces organization formed during WWII by UK Prime Minister Winston Churchill and a small group of military officials including author Ian Fleming. The top-secret combat unit, composed of a motley crew of rogues and mavericks, goes on a daring mission against the Nazis using entirely unconventional and utterly “ungentlemanly” fighting techniques. Ultimately their audacious approach changed the course of the war and laid the foundation for the British SAS and modern Black Ops warfare.
Directed and co-written for the screen by Guy Ritchie (Sherlock Holmes, The Gentlemen, Wrath of Man), and produced by Jerry Bruckheimer (Top Gun: Maverick, Pirates of the Caribbean, National Treasure), THE MINISTRY OF UNGENTLEMANLY WARFARE stars Henry Cavill (Man of Steel, Mission: Impossible – Fallout), Eiza González (Baby Driver), Alan Ritchson (TV’s Reacher), Alex Pettyfer (In Time), Hero Fiennes Tiffin (After series), Babs Olusamokun (Dune), Henrique Zaga (Beyond the Universe), Til Schweiger (Inglourious Basterds), with Henry Golding (Crazy Rich Asians) and Cary Elwes (The Princess Bride).
Based upon: The book “The Ministry of Ungentlemanly Warfare: How Churchill’s Secret Warriors Set Europe Ablaze and Gave Birth to Modern Black Ops” by Damien Lewis.
So, all savvy filmgoers know that the season for big, noisy action blockbusters is the Summertime (when the livin’ is easy), but with Spring break looming, well, why wait for some popcorn escapism? After all, we’re right in the middle of two big superhero franchise entries (from the competing studios), and a few days away from a thriller in a horror series, not to mention a sports sequel that opens on the same day. It may just be the perfect time for a spy spectacular since Bond is in flux (casting a new 007, y’know), Bourne is in limbo, and Mr. Cruise is about to trade in his flight suit for a tux full of nifty gadgets. I’m sure this new movie hopes to begin a “tentpole”, as it mixes in some satire and some “caper” elements (it’s a “movie mutt”, I tells ya’). Plus there’s a fan-favorite director behind OPERATION FORTUNE: RUSE DE GUERRE.
The opening sequence throws us right into the action as snippets of a violent attack on a secret lab are intercut with the clicks of a sharply attired Brit walking with purpose down a long hallway. At his destination, undercover operations supervisor Nathan Jasmine (Cary Elwes) gets his newest assignment from his boss Knighton (Eddie Marsan). It seems that the aforementioned attack was part of a theft of something deadly and unknown (it’s referred to as the “Handle”). And it appears that the thieves are going to sell it to the highest bidder, which would plunge the world into chaos. Nathan gets the go-ahead to assemble an elite team. His choice for leader, much to the ire of Knighton, is “human blunt force”, Orson Fortune (Jason Statham). His usual “cyber ace” (the “guy at the keyboard”) is part of a rival unit led by Orson’s “frenemy” Mike (Peter Ferdinando). The alternative is snarky American Sarah Fidel (Audrey Plaza). Luckily Orson’s backup “muscle” is on board, J.J. Davis (Bugzy Malone). As the mission ensues, Orson is surprised to see that a “bag man” is linked to undercover arms dealer Greg Simmons (Hugh Grant). But how to get past his heavily guarded estate? Just what does this billionaire want? Not if, but who. Greg was rebuffed when he tried to hire his favorite action film superstar Danny Francesco (Josh Hartnett) is “pop out” of his birthday cake. Sarah proves her cyber sleuthing “worth’ when she gets some dirt on Danny, thus adding him to the team. With Orson posing as his manager, and Sarah as his “arm candy”, can this unlikely trio pull a fast one on Greg and retrieve whatever the Handle is but the whole planet goes kaput?
In the title role, Statham once again delivers as one of the most consistent and compelling action stars. During several exciting action sequences ( a fight on a yacht, a chase into a building, etc.), this swaggering screen superman shows no hint of slowing down (as opposed to a certain 80s star whose stunt had to be “tweaked” and “sped up” AKA undercranking). The only problem is that his Orson, despite a new quirk (his “deal” involves private jets stocked with vintage vino), is pretty much like most of his other roles, even his self-parody in SPY. To give him a little more of a sparring partner, the filmmakers have cast Plaza, perhaps in hope of some “opposites attract” sparks. That never really ignites, but it’s a nice change for her from the edgy comedies and odd “indie flicks” ( though she was remarkably great in her crime thriller EMILY THE CRIMINAL, who could’ve kicked Orson’s tail). Yes, she does grab the laughs even though she’s saddled with the now cliche “gigabyte gobbledygook” (“Some firewall…I’m in!”), and really goes confidently “glam” as the big’s star’s “bimbo” Mikala. In that disguise, she has almost as much fun as Hartnett, who seems delighted to skewer spoiled, indulgent mega movie star “himbos”. Also “havin’ a laugh” is Grant who adds Greg to his growing roster of lowlife villains, combining elements of his Baddies” from THE GENTLEMEN and PADDINGTON 2. He can barely hold back a wink at the camera as he fawns over Danny while brazenly lusting for Mikala. Elwes has the stiffest of upper lips as the buttoned-down uptight exasperated head honcho, whose “slow burn” is matched by his superior Marsan. And kudos to Malone whose J.J. is a great laid back, highly skilled teammate to Orson.
Oh, that fave director I mentioned earlier, well it’s the prolific Guy Ritchie. Here he’s taking a respite from his low-class thugs and punks to hobnob with the smart set in lavish sets and locales, while sharp-dressed operatives ply their deadly trade. It’s all slickly and energetically done, but, well it’s just so familiar. From the aforementioned computer wizardry (I kept thinking of Napolean Dynomite’s “hacker” dreams) to the clumsy “actor tossed into real danger”, which was done so superbly in last year’s THE UNBEARABLE WEIGHT OF MASSIVE TALENT (you can’t beat Nick Cage making out with himself). Perhaps this was due to the film sitting on the shelf too long as it changed studio hands and dealt with real-life global dustups. The big “reveal” of the Handle lands with a dud (it might’ve been a threat from S.P.E.C.T.R.E.), and the double and triple-crosses become more tiresome and confusing than clever. Despite Statham’s combat skills and Plaza’s off-kilter delivery, it all feels like a MISSION IMPOSSIBLE rip-off Netflix seems to churn out several times a year. And even though its mid-end credits sequence revels in a “biting the hand” wit, the gag fizzles, and flops much like the largely forgettable OPERATION FORTUNE: RUSE DE GUERRE. Wonder if that’s French for “failed franchise”?
2 Out of 4
OPERATION FORTUNE: RUSE DE GUERRE is now playing in select theatres
Guy Ritchie’s upcoming film WRATH OF MAN has released a first trailer, starring Jason Statham. The film is in theaters May 7.
A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he unexpectedly unleashes precision skills. The crew is left wondering who he is and where he came from. Soon, the marksman’s ultimate motive becomes clear as he takes dramatic and irrevocable steps to settle a score.
Directed by Guy Ritchie, with a screenplay by Guy Ritchie and Ivan Atkinson and Marn Davies, the film stars Jason Statham, Holt McCallany, Jeffrey Donovan, Josh Hartnett, Laz Alonzo, Raúl Castillo, Deobia Oparei with Eddie Marsan and Scott Eastwood.
Rated R for strong violence throughout, persuasive language, and some sexual references
Guy Ritchie’s upcoming film WRATH OF MAN got it’s first poster today and featured star Jason Statham. The film is in theaters May 7.
A mysterious and wild-eyed new cash truck security guard (Jason Statham) surprises his coworkers during a heist in which he unexpectedly unleashes precision skills. The crew is left wondering who he is and where he came from. Soon, the marksman’s ultimate motive becomes clear as he takes dramatic and irrevocable steps to settle a score.
Ritchie also took to Twitter to make the announcement that the first trailer hits on Monday.
As THE IRISHMAN begins the home stretch to the Oscars are you in need of another mob movie fix? Like Scorsese, this director has a history of flicks about the “thug life” featuring guys and goons that can “lean” on anybody that gets in the way. Well, this is one quite a bit different as it’s not set on the mean streets of East Coast USA, but rather in swinging (like a pendulum do’) London, so it’s got an international flavor. Plus this flick expands past Picadilly into the country estates and castles (hitmen at Downton Abbey. oh dear). So it involves the elite, but people who don’t fret about getting blood spilled on those custom-tailored suits and gowns. Yet, somehow most of the world believes that these “goodfellas'” can still be called THE GENTLEMEN.
After a brief flashforward involving one of the plot principals, the story really begins on a dark night as Ray (Charlie Hunnan) discovers a most unwelcome visitor lurking in the shadows of his plush home. It’s a sleazy P.I. named Fletcher (Hugh Grant) and he’s got a business offer. He’s just finished a job for “Big” Dave (Eddie Marsan), editor of the popular tabloid the Daily Print, digging up lots of “dirt’ on Ray’s boss, “cannabis king” Mickey Pearson (Matthew McConaughey). But Ray can buy it all from Fletcher before it sees print. Of course, Ray needs a hint at what he’d be buying. We get the backstory on Mick: born to poor parents in Florida, USA he wins a Rhodes Scholarship at Oxford, where he balances his studies with a lucrative pot-selling “side hustle”. He amasses a “weed” empire, deciding to put down roots in the UK by marrying the gorgeous Rosalind (Michelle Dockery). They rub elbows with the highest of high society, which answers one of the mysteries about him. Namely, where does he grow and produce his “primo” product”? He attracts the attention of another rich Yank, Matthew Berger (Jeremy Strong), who intends to buy the operation. Luckily Mickey wants to start a family, so after naming a hefty price tag he lets Berger in on the big secret. Mickey has made deals with the cash-strapped “upper-elites” (the Earls, Lords, etc.) to set up underground greenhouses on their secured properties. Mickey even takes Matthew to visit one. Then word leaks out about Mickey’s retirement. An ambitious young mobster from the East, Dry Eye (Henry Golding) makes an offer that’s is quickly rejected by Mickey. Then that secret “bush” locale is hit by a bunch of young thugs. Throw in a tough boxing coach named, well, Coach (Colin Farrell), and the drug-addled daughter of royalty, and it’s starting to look as though Mickey will never “get out”. But just how much evidence does Fletcher have? And will Ray convince his boss to buy it?
A stellar cast has been assembled for this crime caper with Oscar-winner McConaughey front and center as the American who’s just as sophisticated and cultured as any of the native brits (well, really more so than most in this tale). He seems to be channeling more of this TV ad persona (you’ve seen those baffling car ad in which he’s featured) than most of his screen work (Mickey is almost the inverse of the yahoos in GOLD, MAGIC MIKE, and even DALLAS BUYERS CLUB). He’s smooth as silk, only creasing his GQ ensembles when someone disrespects him. Or when he’s around his wife. Much like Gomez in THE ADDAMS FAMILY his Mickey is hopelessly enamored of the ravishing Rosalyn played with a smoldering tough sensibility by Dockery, who seems ecstatic to be out of the Downton finery. Another “happy camper” is Grant who can barely contain his joy in being cast as the skeevy, pervy (his threats to Ray are mixed with aggressive flirtations) private eye. He flits about the screen like a mischievous imp as he spins a tale of double-crossing and deceit. Farrell is quite entertaining as the gruff, no-nonsense Coach who only gets his hands dirty in order to protect his beloved “lads”. Speaking of dirtying your hands, Goulding appears to relish his turn as the scowling, always plotting Dry Eye, who seethes as he’s denied a seat at the “adults’ table”. Strong scores as the somewhat foppish (not quite the fashion plate as Mickey), but dangerously brilliant (at least two steps ahead) Berger. And as Mickey’s #1, Hunnam is everything you’d want in a right-hand man, though he’s got a real cleanliness mania, whether it’s Fletcher removing his shoes or having to go into a high-rise drug “nest”. Filth is this tough guy’s Kryptonite.
This flick marks sort of a homecoming, or at least a return to his roots, of director Guy Ritchie, who also wrote the screenplay with a story assist from Ivan Atkinson and Marn Davies. In the dozen years since ROCKNROLLA Ritchie has bounced about from the RDJ Sherlock HOLMES franchise, to franchise wannabe THE MAN FROM U.N.C.L.E., to the darned near-unwatchable KING ARTHUR: LEGEND OF THE SWORD, to last Summer’s fairly sanitized ALADDIN (though not the worst of the live-action reboots). He’s back in his “comfort zone” and his “home turf” as he keeps the action zipping briskly along while throwing us many unexpected curves and bits of inspired hilarity (Old MacDonald will never sound the same). Ritchie even throws in some satiric jabs at his own profession as Fletcher indulges his own cinematic aspirations (he includes a screenplay in his blackmail package). And he still has a taste for film making flourishes, slowing down the actions, speeding scenes in reverse, along with creating a rap music YouTube street-fighting video. Sure he still peppers the script with “F-bombs” (and being in the UK there are “C-bombs”) and blood, though he saves the gore to make the most impact. And there’s even a nice tribute to the recently departed, much-missed “Mr. Creosote”. Needless to say, the fancy mansion and wardrobes are quite dazzling. To sum things up, THE GENTLEMEN is an unpredictable, most welcome return to the lowlife and high-class law-breakers in Guy Ritchie’s London underworld.
Aladdin (Mena Massoud) meets the larger-than-life blue Genie (Will Smith) in Disney’s live-action adaptation ALADDIN, directed by Guy Ritchie.
The first TV spot for Disney’s upcoming live-action adaptation ALADDIN is here and includes new, never-before-seen footage. Be sure to check it out and on May 24, 2019 hop on a magic carpet and go see ALADDIN in theaters nationwide.
A thrilling and vibrant live-action adaptation of Disney’s animated classic, “Aladdin” is the exciting tale of the charming street rat Aladdin, the courageous and self-determined Princess Jasmine and the Genie who may be the key to their future.
Directed by Guy Ritchie, who brings his singular flair for fast-paced, visceral action to the fictitious port city of Agrabah, “Aladdin” is written by John August and Ritchie based on Disney’s “Aladdin.” The film stars Will Smith as the Genie; Mena Massoud as Aladdin; Naomi Scott as Jasmine; Marwan Kenzari as Jafar; Navid Negahban as the Sultan; Nasim Pedrad as Dalia; Billy Magnussen as Prince Anders; and Numan Acar as Hakim.
Mena Massoud as the street rat with a heart of gold, Aladdin, and Will Smith as the larger-than-life Genie in Disney’s ALADDIN, directed by Guy Ritchie.
“Aladdin” is produced by Dan Lin, p.g.a., and Jonathan Eirich, p.g.a., with Marc Platt and Kevin De La Noy serving as executive producers. Eight-time Academy Award®-winning composer Alan Menken provides the score, which includes new recordings of the original songs written by Menken and Oscar®-winning lyricists Howard Ashman and Tim Rice and includes two new songs written by Menken and Oscar and Tony Award®-winning songwriters Benj Pasek and Justin Paul.
Acclaimed filmmaker Guy Ritchie brings his dynamic style to the epic fantasy action adventure KING ARTHUR: LEGEND OF THE SWORD.
Starring Charlie Hunnam in the title role, the film is an iconoclastic take on the classic Excalibur myth, tracing Arthur’s journey from the streets to the throne.
On Saturday, Warner Bros. debuted the trailer during their Comic-Con presentation in Hall H.
When the child Arthur’s father is murdered, Vortigern (Jude Law), Arthur’s uncle, seizes the crown. Robbed of his birthright and with no idea who he truly is, Arthur comes up the hard way in the back alleys of the city. But once he pulls the sword from the stone, his life is turned upside down and he is forced to acknowledge his true legacy…whether he likes it or not.
Starring with Hunnam (FX’s “Sons of Anarchy”) and Oscar nominee Law (“Cold Mountain,” “The Talented Mr. Ripley”) are Astrid Bergès-Frisbey (“Pirates of the Caribbean: On Stranger Tides”) as Mage; Oscar nominee Djimon Hounsou (“Blood Diamond,” “In America”) as Bedivere; Aidan Gillen (HBO’s “Game of Thrones”) as Goosefat Bill; and Eric Bana (“Star Trek”) as Arthur’s father, King Uther Pendragon.
Guy Ritchie (“The Man from U.N.C.L.E.,” the “Sherlock Holmes” films) directed the film from a screenplay is by Joby Harold (“Awake”) and Guy Ritchie & Lionel Wigram, story by David Dobkin (“The Judge”) and Joby Harold. The film is produced by Oscar winner Akiva Goldsman (“A Beautiful Mind,” “I Am Legend”), Joby Harold, Tory Tunnell (“Awake,” “Holy Rollers”), and “The Man from U.N.C.L.E.” and “Sherlock Holmes” producers Steve Clark-Hall, Guy Ritchie and Lionel Wigram. David Dobkin and Bruce Berman are executive producers.
Ritchie’s behind-the-scenes creative team included two-time Oscar-nominated director of photography John Mathieson (“Gladiator,” “The Phantom of the Opera”), Oscar-nominated production designer Gemma Jackson (“Finding Neverland”), editor James Herbert (“The Man from U.N.C.L.E.,” “Edge of Tomorrow”), costume designer Annie Symons (Masterpiece Theater’s “Great Expectations”), makeup and hair designer Christine Blundell (“Mr. Turner,” the “Sherlock Holmes” films), and Oscar-nominated VFX Supervisor Nick Davis (“The Dark Knight”).
The music is by Daniel Pemberton (“The Man from U.N.C.L.E.”).
Warner Bros. Pictures will release the film on March 24, 2017.
Oh my, is it be “spy time” once more? Already? Wow, 2015 has been a big movie year for all those “cloak and dagger” undercover men (and women)! Early in the year, audiences were introduced to the “hush-hush” exploits of KINGSMEN: THE SECRET SERVICE, ripped fresh from a very adult graphic novel. As Summer began to heat up, funny lady Melissa McCarthy took satiric aim at the genre in SPY (aided by action vets Jason Statham and Jude Law). And just two weeks ago, film fans were gasping at the daredevil work of Tom Cruise, risking life and limb in his fifth go-round as Ethan Hunt, leader of the IMF in MISSION IMPOSSIBLE: ROGUE NATION (number one at the box office for the last couple weekends). And before the end of the year, the king of “gentlemen agents”, 007 AKA James Bond returns in his (official) twenty-fourth action extravaganza feature film SPECTRE. Besides the genre, this week’s release has connections to two of those aforementioned flicks. Like Mr. Cruise’s current hit, this film is based on a popular weekly network television show from the “swingin’ sixties” (1964-68, to be precise). And Bond’s creator Ian Fleming had a big hand in the development of that TV series (particularly in the naming of a main character). As they’d say into their slick communication gadgets, “Open Channel ‘D’!”. After years in development limbo, THE MAN FROM U.N.C.L.E finally gets a big screen reboot/remake (THE WILD WILD WEST and GET SMART had movies years ago!). Looks like the secret HQ entrance at Del Floria’s Tailor Shop is now at the multiplex!
The opening credits of this “affair” (each TV episode title ended with that word) gives younger film goers a bit of a history lesson, “Cold War 101”, you could call it as grainy black and white news footage and graphic animation helps place us in the divided city of Berlin Germany circa 1963. Suave, smartly dressed Napoleon Solo (Henry Cavill) glides into the Soviet-occupied Eastern section of the city. We soon learn that Mr. Solo is an undercover CIA agent, recruited by the agency after he was jailed for working in the black market after his military service. He meets up with the focus of his new mission, fiesty auto-mechanic Gaby (Alicia Vikander). She’s the daughter of a scientist who has recently vanished. When Solo sneaks Gaby into West Berlin, they are nearly thwarted by the almost-unstoppable KGB agent Illya Kuryakin (Armie Hammer). Later, we learn that Gaby’s uncle has been snatched up by an Italian auto magnate, Alexander (Luca Calvani) and his wife Victoria (Elizabeth Debicki), who plan to use his skills to create stream-lined, deadly nuclear weapons, which they will sell to the highest bidder. This alarms the spy community and compels the East and West to join forces. Now reluctant partners Solo and Kuryakin will travel to Rome. Solo, posing as an antiques dealer will go after Victoria, while Kuryakin, taking the role of Gaby’s architect fiancée, will circle Alexander. The safety of the world just may depend on this secret agent “odd couple”.
Cavill trades the blue body armor and red cape for several superbly tailored suits, and makes a quite believable sixties spy. He even adopts the clipped, tight-lipped, off-the-cuff delivery of TV’s original Solo, Robert Vaughn crossed with a pinch of Cary Grant charm. He also handles the action scenes well, but really seems to lack the ruthless, dangerous element so evident in spies from Connery to Craig. That lack is somewhat taken up by Hammer who makes Illya a single-minded “weapon of mass destruction”(much more believable here than as a certain “masked man of the plains”). For much of the time he clenches his fists, waiting for the right moment to transform into a blond, blue-eyed hulk. His accent is strictly from Chekov (not the playwright, but the Star Trek staple), which helps to punch up the humor in his often deadpan dialogue. He appears to have more chemistry with Cavill than with his potential paramour, international cinema’s actress of the moment, Vikander. She reveals a loose, frolicking fun side, not really seen in her previous screen work, particularly when her endearing hotel suite “go-go” dance suddenly become a frisky wrestling match with Hammer. Unfortunately she’s never given a chance to join in the action and get “down and dirty” with the boys, and, for most of the third act, is regulated to the “damsel-in-distress” role. The opposing team (the baddies) lack any real charisma. Calvani glares while suppressing the urge to twirl his opulent mustache with menace. His on-screen spouse Debicki slinks about in lush vintage fashions in a game of “cat and mouse” with Cavill, seeming more like a bored trophy wife than villainous (until her cold-blooded side emerges in the film’s last thirty or so minutes). Some of the “evil” slack is taken up by Sylvester Groth as Gaby’s Uncle Rudi, an old-school sadist, who is a part of the film’s funniest, but really twisted, scene. Hugh Grant elicits a few chuckles as the befuddled English aristocrat who constantly crosses paths with Cavill, while the terrific Jared Harris is wasted as his gruff CIA handler.
First up, the good! Big, big kudos to the producers for setting the film in 1963, making it a true prequel to the original TV series (oh, if only the recent FANTASTIC FOUR reboot was set in that era!). The pre-“mod” clothing, cars, and props are almost a love letter to that “pop explosion” from fifty years ago (good period songs along with the nifty score by Daniel Pemberton). Sadly, the plot and direction are oddly lackluster. The director Guy Ritchie, best known for his high-octane, ‘in your face” action sequences, seems strangely muted here, almost muzzled, in fact. There’s none of the frenetic energy last evident in his two SHERLOCK HOLMES flicks. The action set pieces seem closer to a made-for-TV film, especially after the spectacular stunts that Agent Hunt executes in the still “packin’ them in” MI:RN. Hey, the fights and chases from the Connery Bonds were more “pulse-pounding”. These here are closer to Derek Flint and Matt Helm. Speedboats? eh. Antique ATV? Whatever. There’s not even a lot of fun “retro spy gadgets” in use. Ritchie and three others (really?!) penned the tepid. meandering script. At least the Italian locations pop with color, but Berlin is dank, dark, and dull. The film limps along several minutes after the end of the mission to deliver a lackluster coda intended to set things up for a sequel, or a franchise. Now, there’s yer’ impossible mission! “Close channel ‘D'”, please!
We wish to thank the United Network Command for Law and Enforcement without whose assistance this review would not be possible.
Working across a wide range of musical mediums, Ivor Novello Award-winning and BAFTA-nominated composer Daniel Pemberton has embraced everything from large scale orchestral and choral works to innovative electronic sound design, live salsa bands to post-rock guitar line-ups.
From THE COUNSELOR, THE AWAKENING and the upcoming STEVE JOBS film, to name a few, Pemberton has delivered another eclectic score – this time Guy Ritchie’s latest movie THE MAN FROM U.N.C.L.E., in theatres Friday, August 14.
Fans of the TV show are familiar with the theme music from composer Jerry Goldsmith, with additional music for the various seasons provided by Morton Stevens, Walter Scharf, Lalo Schifrin, Gerald Fried, Robert Drasnin and Nelson Riddle.
Now comes the film version and a 5-star, international score that exudes the 1960’s as if it was pulled from a time vault. You’re right into the film from the first musical note and drum beat.
Recently the composer and I spoke about his affection for spy movies and on being chosen by Guy Ritchie to take on the music for THE MAN FROM U.N.C.L.E.
WAMG: Guy Ritchie said of your MAN FROM U.N.C.L.E. music, “The score was a very important, fundamental part of the film.” When were you brought onto the project and what did he tell you he was looking for?
Daniel Pemberton: Right from the start. I had a meeting with Guy and he asked me if I wanted to do it. I try to get involved in films as early as possible, that way you write a better, more unique score. I was involved as they edited and we worked in tandem. Guy has an amazing editor James Herbert who had some important musical ideas. I worked with them all the way through the process and we would add my music to the film in different ways.
We would do that 4 or 5 different takes. James is great. He’d say, “We’ve got the scene. Let’s try it a different way.” They’d always be pushing you to try different music that was the most surprising and exciting ones that would end up in the movie.
WAMG: It doesn’t sound like something from today – it’s as if you’re watching and listening to a score set in the 60’s from one of the composers of the time – like Henry Mancini, Elmer Bernstein or Jerry Goldsmith.
DP: I love 1960’s spy scores. It’s probably my favorite movie genres and I grew up with that. I spent decades absorbing every great spy score. This world wasn’t new to me. I didn’t have to do the research as it was already running through my blood.
I wanted to make it feel it was of the time and a 1960’s spy score. I wanted every one of the tracks on UNCLE to feel like the tracks on those spy scores.
WAMG: Was it a conscious decision to stay away from using the Goldsmith/ Lalo Schifrin themes from the TV show?
DP: Guy wanted a very different take on the film’s theme. He had a vision on how he wanted the film to look and sound, that you have to respect, and we had it in there for a while, but it didn’t feel right.
It wasn’t like it didn’t go with the tone of the film, Guy just wanted a new take on the music. In the same way when Christopher Nolan did BATMAN, he didn’t use the Nelson Riddle TV theme – although that would be quite funny.
But I was quite keen on getting THE MAN FROM U.N.C.L.E. in there somewhere. There is a short little musical cameo of the TV theme that’s in there. It’s in the scene where Napoleon Solo is changing the radio channels in the car and he hears it for a second, dismisses it and keeps changing the channels. Once again the film’s editor, James Herbert, while doing the sound mixing, quickly edited it in the scene.
WAMG: The soundtrack is filled with some fabulous tracks of a Cold War, espionage score. “Escape From East Berlin,” “The Vinciguerra Affair“ and “Bugs, Beats and Bowties” to name a few. It’s what you’d expect in this type of exotic film. What did you use to get a bold, 60’s type sound?
DP: Another great thing about scores from that era, everyone was using crazy instruments. I love using crazy instruments because it gives you something new and something you haven’t heard before.
Guy loves anything that’s unexpected and unusual. There’s an amazing flute player, Dave Heath, who we used a lot. He plays a lot of the crazy sounds you hear in the “East Berlin” track.
We’ve got a lot of percussion, organs and a Marxophone, which is a bit like a zither and a cymbalom which is like a giant zither, famously used by John Barry on THE IPCRESS FILE. It gave it a classic, Cold War sound.
We’ve got vintage guitars and genuine old 1960’s harpsichords. We had two harpsichords – an old classical one and a 60’s boxy one. The classical one had this beautiful range, but didn’t have the punch or the attitude that the 60’s one did and it had such a great sound to it, so we used more of that. That harpsichord sounded brilliant. We also put it through an old 60’s mixer which compressed everything a bit more heavily.
WAMG: The percussion section on “The Drums of War” is just insanely great.
DP: That was the result of a crazy evening in the edit suite. Everyone was pleased with the cue, but felt like we’d heard that before. Everyone on this film loves mad percussion and wanted mad bongos, so it was 7 or 8 in the evening and they tell me there will be a first screening the next day and to just throw in some big percussion. I went home and worked all through the night until 3 in the morning and pretty much what I wrote that evening is in the film now. It’s all the different drums playing the different tempos together as they’re going in and out of time.
WAMG: What’s going on in the “Take You Down” track? Is it Vocals run through a mixer or purely instruments?
DP: That’s vocals run through really heavy distortion. I really enjoy that track and it was great to write crazy bold cues. My favorite kinds of movies are ones where you don’t know what’s going to happen – where you’re ready for a surprise. And when it’s accompanied by crazy music, you go, whoa what’s that?! It’s a great moment when it enters the movie and it was a really fun track to do. We did that cue with two drummers playing at the same time and that’s why it sounds so big – we wrote each drummers part full out and had them play it together at Abbey Road and it sound huge.
It’s very much like the “Drums of War” track where you have this polyrhythmic music to create these crazy sounds.. It’s chaotic in the middle and eventually comes back together at the end. It’s very complicated to do but sounds very cool.
WAMG: The songs mixed throughout are fantastic! Nina Simone, Louis Prima, Tom Zé and Valdez – you could almost swear the film was made 50 years ago. The selection of these songs just makes the soundtrack even more fun to listen to.
DP: I’m a massive soundtrack album geek and anytime I put a soundtrack out, I’ve gone over every single detail down to the pauses between each track. Those songs are a big part of the film and they had to be on the album. “Jimmy, Renda se” by Tom Zé and Valdez was one of the first songs we added and Guy loves that song – he hadn’t heard it before. None of the songs feel out of place alongside the score.
WAMG: During the action sequences and transitions, there are kaleidoscope split-screens, where the score is very important. How did you approach these?
DP: There’s a scene where the screen is starkly divided into eight parts, along with these cutting sounds effects, and I wrote in the bongos cues, so as the screens divides, you hear the bongo player’s music as an added sound. We spent a lot of time trying to get details like that spot on so it feels really cool.
WAMG: You previously worked with Ridley Scott on THE COUNSELOR, which was a very modern score. Depending on the genre, how much do you like to experiment and come up with new sounds for your scores?
DP: Every film I do, I want to come up with a unique sound for that world. When I get hired, people want my take on the story and on the world, and I often come up with different ideas very early on and usually they’re not like the film.
I did another project with Ridley called “The Vatican” where I used Italian choirs with organs and hip-hop breaks. I love coming up with different ideas of how to approach a film and I often start with the main cue because there are so many different ways to tell a story. I want it to be unique and its way more work and way more grief, but when you get it right it’s exciting because when I go to see a movie, I want to think anything could happen here – not just two hours of an obvious sound.
WAMG: Your next score is for Danny Boyle’s STEVE JOBS and it was just announced that the movie will close the 59th BFI London Film Festival. You said you like your scores to be unique, so will it have a melodic motif with a technological sound like a computer or from the world of Steve Jobs?
DP: I’m not telling. (Laughs) We record that this week at Abbey Road and we’re doing some very different chords and cues than on any previous film. The only thing I’m allowed to say is that the Apple slogan from 1998, “Think Different,” has a big part.
From WaterTower Music, THE MAN FROM U.N.C.L.E. soundtrack is available to order at iTunes and Amazon. The track list is below.
1. “Compared To What” – Roberta Flack
2. Out Of The Garage
3. His Name Is Napoleon Solo
4. Escape From East Berlin
5. “Jimmy, Renda se” – Tom Zé and Valdez
6. Mission: Rome
7. The Vinciguerra Affair
8. Bugs, Beats and Bowties
9. “Cry To Me” – Solomon Burke
10. “Five Months, Two Weeks, Two Days” – Louis Prima
11. Signori Toileto Italiano
12. Breaking In (Searching The Factory)
13. Breaking Out (The Cowboy Escapes)
14. “Che Vuole Questa Musica Stasera” – Peppino Gagliardi
15. Into The Lair (Betrayal Part I)
16. Laced Drinks (Betrayal Part II)
17. “Il Mio Regno” – Luigi Tenco
18. Circular Story
19. The Drums Of War
20. Take You Down
21. We Have Location
22. A Last Drink
23. “Take Care Of Business” – Nina Simone
24. The Unfinished Kiss
Henry Cavill stars as Napoleon Solo opposite Armie Hammer as Illya Kuryakin in director Guy Ritchie’s action adventure THE MAN FROM U.N.C.L.E., a fresh take on the hugely popular 1960s television series. Set against the backdrop of the early 1960s, at the height of the Cold War, it centers on CIA agent Solo and KGB agent Kuryakin who are forced to put aside longstanding hostilities and team up on a joint mission to stop a mysterious international criminal organization bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology.
The duo’s only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe.
The film also stars Alicia Vikander and Elizabeth Debicki, with Jared Harris and Hugh Grant.
Saving the world has never looked SO GOOD! We’ve got your passes to this year’s fast-moving, action-packed, sexy and stylish international adventure.
Henry Cavill (MAN OF STEEL) stars as Napoleon Solo opposite Armie Hammer (THE SOCIAL NETWORK) as Illya Kuryakin in director Guy Ritchie’sTHE MAN FROM U.N.C.L.E., a fresh take on the hugely popular 1960s television series.
Set against the backdrop of the early 1960s, at the height of the Cold War, the film centers on CIA agent Solo and KGB agent Kuryakin. Forced to put aside longstanding hostilities, the two team up on a joint mission to stop a mysterious international criminal organization, which is bent on destabilizing the fragile balance of power through the proliferation of nuclear weapons and technology.
The duo’s only lead is the daughter of a vanished German scientist, who is the key to infiltrating the criminal organization, and they must race against time to find him and prevent a worldwide catastrophe.
THE MAN FROM U.N.C.L.E. opens in IMAX and in theaters on August 14, 2015.
WAMG invites you to enter for a chance to win passes (Good for 2) to the advance screening of THE MAN FROM U.N.C.L.E. on MONDAY, AUGUST 10TH at 7PM in the St. Louis area.
We will contact the winners by email.
Answer the following:
British composer Daniel Pemberton creates a bold, fresh sound for Guy Ritchie’s new film. With the movie set at the height of the cold war, Pemberton was able to channel ‘60s-era spy films while exploring contemporary world music for what he describes as a “kaleidoscope of international color.”
Who composed the score for the original TV show?
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OFFICIAL RULES:
1. YOU MUST BE IN THE ST. LOUIS AREA THE DAY OF THE SCREENING.
2. A pass does not guarantee a seat at a screening. Seating is on a first-come, first served basis. The theater is overbooked to assure a full house. The theater is not responsible for overbooking.
3. No purchase necessary.
Rated PG-13 for action violence, some suggestive content, and partial nudity.
