THOMAS PODVIN’S FREELANCE WORK
Freelance writer - translator - Editor

Here’s a film that will make backpackers think twice before they take to the road in search of easy women, in Southeast Asia or Eastern Europe. Three young (and horny) American guys are advised that Europe’s hottest chicks are to be found in a Bratislava suburb, in Slovakia. Off they go. But what they don’t realize, until, of course, it is too late, is that American guys are prized in this particular market. Prized for their blood. The 95-minute film starts off as your average teen movie with plenty of the usual hanky-panky, then shifts to the serial killer mode, then on to sheer horror, before finally ending up in the survival genre. Indeed, Hostel isn’t for the squeamish; it’s one wry, twisted, gob-smacking, raw and filthy piece of celluloid. 568 liters of blood were used during production – that’s 6 liters spilled every minute. In spite of the gore, director/scriptwriter Eli Roth (Cabin Fever) does a good job blurring audience perspectives – viewers aren’t quite sure if they’re meant to be voyeurs or victims. It comes as no surprise, then, that Quentin Tarantino is producer and that Japanese trash-cinema king Takashi Miike guest stars.
Lions Gate Films

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

The so-called civilized Western world owes a great deal to its glorious ancestors the Romans, including the notions of war, empire and republic. It seems life in the good ol’ days was full of violence (and orgies); superstition (the winner of a given war was forecast with bird guts); and media pundits (who wandered about shouting out the news in the forum [marketplace]). Such is the focus of the first season Rome, the HBO/BBC multi-award winning TV-series set during the last years of Gaius Julius Caesar’s reign, shortly after completing his conquest of Gaul (modern France). “Rome was a dog-eat-dog place of energy and chaotic filth with a very small elite and masses of poverty,” says creator/writer John Milius (Conan the Barbarian). Indeed, Milius doesn’t spare the viewers sensitivity; Rome is for mature audiences – it's gory, brutish, ruthless, addictive and also very erotic. Just like the real thing. To provide a sense of realism, extra care and money were spent in all departments: from the sets to the costumes (at five acres, the world largest outdoor set; 4,000 designs in wardrobe). Rome also boasts a good cast: Ciarán Hinds (Munich) as Caesar is nothing if not a model of authenticity, strength and charisma. Figuratively and literally, Rome’s a hell of a show.
HBO/BBC

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

That Gladiator, winner of five Academy Awards, has been given the Extended Special Edition treatment comes as no surprise. This three DVD box set was supervised by director Ridley Scott (Blade Runner) and recently released in China. True, this USD 100 million epic isn’t as majestic as, say, Ben Hur (1959), but it did revive the ‘swords and sandals’ genre, after a nigh on four decades' absence. Disc 1 offers the longest cut (164 minutes) in its original aspect ratio (2.39:1, anamorphic) with audio commentaries from male lead Russell Crowe and Scott. Disc 2 features a 3-hour documentary “Strength and Honor” that breaks down the various steps of the filmmaking process (from research/scriptwriting to costume and weaponry design, ending with an overview of the film’s impact around the world). By Disc 3, the viewer may have had about enough; this one contains featurettes on visual effects, deleted scenes, storyboards etc., etc. But the storyboard featuring Crowe battling a rhino is quite thrilling, as is the segment about the “resurrection” of Oliver Reed, who died during production. It seems the special effects team had to re-do several shots where his face was placed over a body double.
CAV Warner

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

In a nation where anyone can carry a gun, it's not easy to distance oneself from violence. At least according to Canadian-born director David Cronenberg (The Fly, Dead Ringers). In this, the director's twentieth film, partially based on the eponymous graphic novel by John Wagner, Cronenberg focuses on the family, whereas Wagner focused on the mob. The film relates the story of the small town owner of a diner, who's thrust into the spotlight after killing (in self-defense) two thugs. In no time, his quiet home life becomes a cycle of ever-more-vicious ultra-violence. With the director posing the question (among others): how much carnage is necessary to protect one's family from harm? Though made with a relatively small budget, History is a prime example of Cronenberg's cinematic audacity and intelligence; he demonstrates the ease with which "normal" people can fall into a spiral of violence, and how it provides an all too easy answer to life's complications. The film itself is full of violence–excessive, quick and intimate, though never exploitative. This straight-forward modern tale, supported by a superb cast (Viggo Mortensen, Maria Bello, William Hurt), won several awards, from NY to LA, and the 63-year-old director's hometown (2005 Toronto Film Critics Association Awards for Best Director and Best Picture and Best Canadian Film).
New Line Cinema

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

(c) that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
May 2006 issue

Perpetual Motion was promoted (and sold) as a Chinese version of Sex and the City. Though this reviewer looked in vain for any trace of sex, or city for that matter (a house serves as the sole location). False advertising aside, the plot is of interest: Niuniu is convinced that her husband has had an affair with one of her acquaintances; to discover the truth, she invites three of her girlfriends, each of whom is a suspect, to a Spring Festival celebration. Indeed, Director Ning Ying has devoted most of her effort to the narrative; Perpetual Motion is almost as devoid of production values as it is of sex. Admittedly, the point here is substance over style, but the film’s cheap look undermines its appeal, and the message. But what exactly, is the message? If Ning Ying’s aim was to present a new, feminist representation of women, she went astray; the film is more of series of sessions with a psychoanalyst: a sort of group-therapy where the main characters are neurotic, manipulative, haughty and pompous. The screenwriter hasn’t helped. Perpetual Motion is full of stereotypes – the very thing Ning is supposedly trying to fight against. Take this line, for example: “Americans aren’t romantic enough, while French are too romantic.” Ahem.
Beijing Happy Village

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

A Mexican immigrant living in a poor Los Angeles suburb dreams of becoming a professional soccer player. He gets his chance when a coach from British club Newcastle United offers him a kick at the ball. Goal! is the first entry in this USD 100 million trilogy that boasts more real life soccer stars (Shearer, Zidane, Beckham) than any one team could possibly afford. And why not? Goal! has FIFA’s blessing (the international football governing body) and will be released to coincide with the 2006 IFA World Cup in Germany (which kicks off this June). Naturally, the series takes aim at the young audience. Says David Beckham, “It will provide a positive message to kids around the world.” So what’s the message, Mr. Posh Spice? To make some filthy lucre in a dog-eat-dog world, or the struggle to fulfill one’s dream – and get rich and famous? The former, of course. Viewers see little of the players day-to-day struggles, rather the film focuses on the behind-the-scenes politicking so endemic to this sport. Michael Winterbottom, the flim’s original director was replaced after objecting to interference from the FIFA. In sum, Goal! is a no goal. A worldwide flop with disappointing box-office scores even in the big football nations.
Buena Vista International

(c) that's Shanghai Magazine
Chief editor: Steven Crane
May 2006 issue

(c) that's Guangzhou
Guanzhou Chief editor: Christopher Cottrell
May 2006 issue