Flash Gordon With Wine and Chaplin: Spirit of the Tramp

I’ve been to a couple of cinema events this week and wanted to give them a quick review. Although they were both one-offs (at least for now), they each belong to a larger programme of cinema that you can (and should) absolutely look out for.

Flash Gordon With Wine

On bank holiday Monday I went to an event that melded two things I’d been aware of for a while but shamefully hadn’t experienced before: the seminal 1980 sci-fi Flash Gordon and the Wine Events Company’s excellent Movies With Wine.

Firstly, the film. We were told at the start that Flash Gordon was selected for that particular screening (on May the 4th) because the Wine Events Company hadn’t been allowed the rights to screen Star Wars – a film that had only been made because George Lucas hadn’t been allowed the rights to adapt Flash Gordon. Fortunately, this was exactly the sort of campy, over-the-top riot of colour, music and ridiculous dialogue that lends itself perfectly to increasing levels of alcohol in the bloodstream.

Flash Gordon (Sam J Jones) is a star quarterback who, through a series of unlikely events, finds himself defending the Earth from the Emperor Ming (Max Von Sydow). He’s accompanied by travel agent Dale (Melody Anderson) and scientist Dr Zarkov (Topol) – three cosmic travellers who are impressively unperturbed to discover a range of different intelligent alien species. They find unlikely allies in Ming’s daughter Princess Aura (Ornella Muti), her boyfriend Prince Barin (Timothy Dalton), and his rival Prince Vultan of the Hawkmen (Brian Blessed). Together they spark a revolution against Ming and his sinister masked enforcer Klytus (Peter Wyngarde).

The whole film was magnificently daft in the best possible way. Brian Blessed – apparently a Flash Gordon fan who asked to join the cast and agreed to a low fee – was clearly given free rein to go as over-the-top as he wanted, and he was having an incredible time. There was a cheer when he walked in and pretty much every time he spoke. Queen’s soundtrack thrummed along perfectly matched to the pace and tone of the movie. And for all the silliness, there was some dark imagery in there too – someone in the production crew clearly had a thing about eyes. Most of the room was already a big fan of the film and their delight at the most iconic scenes only increased as more wine was poured.

Going in, I was slightly apprehensive about how the wine was going to work with the film. I didn’t particularly like the idea of servers wandering up and down the aisles to pour while I was trying to watch a movie. But it actually all worked really well. We were given a glass on entry and asked to avoid downing it just yet. Then Tony, the Wine Events Company’s sommelier, came in dressed as Flash and putting on an impressive American accent to introduce both the film and the first wine (a Ribolla Gialla). He took us through how to swirl and sniff the wine to properly appreciate the aroma, and how to draw in air through the mouth to release the flavours before swallowing, as well as talking through the history of the wine itself and the notes to watch out for.

He then started the film, which was paused every 20 minutes or so for the next wine. Each new glass was accompanied by some trivia about the film as well as another professional wine tasting lesson, not to mention an increasingly committed selection of costumes. Crucially, the moments where the film was paused were carefully selected to time with an appropriately silly moment on the screen, almost becoming a joke in itself, so it never felt like the narrative was being truly interrupted. By the end we’d drunk five glasses – three whites and two reds – all loosely themed as the exotic and unusual wines from Ming’s own wine cellar. They weren’t huge glasses, so it was enough to feel like we’d drunk a fair bit of alcohol but not enough to make us ill or too hungover the next day. This was possibly helped by us heading across the courtyard afterwards to soak it up with some food at the Alfred Works food hall, which is well worth a visit.

Movies With Wine is a regular fixture at the Mockingbird cinema in Digbeth (and in other venues too), and they have some great events coming up. Their next one is Mamma Mia 2 With Wine on 17 May, which I can imagine fitting the format incredibly well. But if ABBA’s not your thing, there’s also Labyrinth, Willy Wonka and the Chocolate Factory (with Wine and Chocolate), Pulp Fiction, Jaws and Blade Runner all to look forward to. I’m particularly eyeing up The Princess Bride With Wine in November, which I think is to fantasy what Flash Gordon is to sci-fi. If you’re a film fan, this is a unique way to enjoy some classic movies, and if you’re a wine fan then this is a wine tasting session with a difference. Either way, I would heartily recommend checking the Mockingbird’s programme or the Wine Events Company’s website and seeing what tickles your fancy.

Chaplin: Spirit of the Tramp

I also had the privilege this week of attending the first event on the schedule for this year’s Flatpack Film Festival – the UK premiere of Chaplin: Spirit of the Tramp. The film follows Charlie Chaplin’s son Michael as he explores Charlie’s Romany heritage and the influence it had on his work, as well as reminiscing on what it was like growing up as a son of the biggest film star on the planet. It was all inspired by a letter that was found locked away in a drawer from a member of the travelling community, calling Charlie a liar for saying in his autobiography that he’d been born in London when they both know he was born in a caravan park at the Black Spot in Smethwick. Chaplin had often alluded, both privately and publicly, to having Romany ancestry, and the film explores his fascination with their culture and music and how it crept into his films and characters.

The theme of ancestry and cultural heritage runs strongly through the film, both behind and in front of the camera. Several of Michael’s brothers and sisters are interviewed, all of whom have a lot of personality that shines through in their answers (as well as a fascinatingly diverse range of accents). It’s clear that they’re not all as convinced by the letter as Michael is, but their reflections on conversations they remember with their father are enough to leave the possibility open. It won’t be possible to prove where Charlie was born, but the family has enough experience and respect for the craft of storytelling that they’re happy to leave it as a mystery. The film is directed by Michael’s daughter Carmen, and co-written by her and her husband Ashim Bhalla, and her authorship no doubt helped her father, aunts and uncles open up more than they might have done otherwise – their tone is comfortable and familiar throughout. In a nice touch, Carmen’s daughter Uma also appears on screen a couple of times to interview Michael, her grandfather, about his earliest childhood memories. In a story about lineage, every generation of Chaplin is represented and contributes to the discussion.

As well as the Chaplin family, Carmen and Michael spoke to a diverse range of people from all over the world to get a deeper understanding of the Romany travelling culture. The community is given a voice through musicians, dancers, filmmakers and more, and the film is respectful of a group that historically has often been exploited and stereotyped in the cinema (something it acknowledges even Chaplin was guilty of on occasion). There is also a wealth of footage from Chaplin’s films, including some extended clips that are allowed to play through for several minutes, and there was something beautiful about having the chance to see these pieces of classic cinema on the big screen. The highlight was a scene from A King In New York, in which Charlie appeared with a very young Michael who lectured him about the realities of freedom in modern America.

As this was Flatpack’s opening event, it wasn’t just a premiere screening. At the end of the film Carmen, Ashim and Uma appeared to talk about the film and answer questions from the audience. They came across well and it was clear that, in exploring her ancestry with her family, Carmen had gained more from the process than just a finished film.

Chaplin: Spirit of the Tramp is not out on general release but may get a limited release in the future. Watch out for it in other festivals. In the meantime, Flatpack is on for another week and has a host of great events, including more documentaries and Q&A screenings. Head over to their website to check out the programme and book tickets.