This week Chris Deacy is joined by Jack Parsons to discuss the films; Lost in Translation, City of God, The Chronicles of Narnia: Prince Caspian, and Oliver Twist.
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00:00 [Music]
00:13 Hello and welcome to Kent Film Club.
00:15 I'm Chris DC and each week I'll be joined by a guest from Kent to dive deep into the
00:20 impact certain films have had on their life.
00:23 Each guest will reflect on the films which have meant the most to them over the years.
00:27 And every week there will be a Kent Film Trivia where we quiz you at home about a film that
00:32 has a connection to the county.
00:34 And now let me introduce you to my guest for this week.
00:37 He is not only a co-founder of the Canterbury Film Awards but he is also working on an MA
00:43 in screenwriting.
00:44 He is Jack Parsons.
00:46 Hello, thank you for having me.
00:47 Welcome Jack.
00:48 Wonderful to have you on the programme.
00:49 Now I don't know your films in advance but oh this is a fantastic film, lost in translation.
00:54 Well I chose this because it's one of those films where it's the best time to watch it
00:58 when it's late at night and you start with the character and it takes you through that
01:01 journey of Bill Murray going to Japan.
01:03 Obviously he wakes up, he's been on a long flight, he's sleepy and when you're tired
01:07 you're watching it all the colours, all the silvery tones and it feels like you're in
01:12 this dream with him.
01:13 And it's such a beautiful, poignant film.
01:15 It's such a great love story.
01:16 It's so simple, it's these two people in the same situation in Tokyo, completely alienated
01:21 from the world around them.
01:22 They're so different and I guess they're both sleep deprived, they suffer from insomnia
01:27 so they both have that same thing that ties them together and they meet in the bar and
01:31 it's just such a simple rom-com.
01:33 It's not dramatised, it just flows so naturally.
01:35 It's a beautiful film.
01:37 No I agree because it's the whole notion that opposites attract because they're different
01:40 genders, they're different ages and of course also Bill Murray.
01:43 I saw this, I think it was one of the first films I saw in 2004 and Scarlett Johansson
01:48 was not really all that well known at that point but Bill Murray of course had decades
01:52 of baggage.
01:53 But suddenly it was almost as though it shouldn't have done or couldn't have done but this disconnection,
01:58 these two lost souls effectively in a different environment but developed this very tender
02:04 bond.
02:05 In a way, obviously their age is such a big difference.
02:09 I think Scarlett Johansson at the time was 16, 18 when it was one of her big breakout
02:13 sort of films.
02:14 So she's really young obviously.
02:15 But the thing about her as an actor is that she'd just got out of university doing philosophy
02:18 so I guess she's got a lot to ponder about if you're doing a philosophy degree.
02:21 And Bill Murray is sort of having a mid-life crisis you could say.
02:25 Because a bit in the film where she goes 'have you bought a Porsche yet?'
02:27 And he's like 'no, I was going to'.
02:30 They're both aware that they're in the same sort of stage of life but at different points
02:34 completely.
02:35 One's finding what am I doing with my life and the other one's in this sort of opposite
02:39 thing like what am I doing these adverts for?
02:42 I could be making a movie.
02:43 Because he says 'I'm getting paid two million to do this job and I don't care about the
02:47 whiskey at all.
02:48 I should be doing movies, that's what I love to do'.
02:51 But he wanted to get away from the family so he's gone to Tokyo.
02:53 But he didn't mean to find himself.
02:55 I think these two sort of bring it out of each other.
02:57 Meeting someone so much brings out all those sort of feelings.
02:59 What do you call it?
03:00 Yeah, I don't know.
03:01 That's where I'm putting it.
03:02 But it was this jadedness because he's got this sort of sense of humour but he also knows
03:08 that he's on this big juggernaut.
03:10 He's not sure he really wants to be there.
03:12 There's obviously stuff going on at home that he's left behind.
03:15 But suddenly this fascinating interplay of this person who kind of gets him and he gets
03:21 her and they're even doing karaoke together.
03:24 You kind of feel that he's suddenly rediscovered life.
03:28 That's what she's given to him is the youthfulness and what he was looking for, a sense of purpose
03:31 and to be happy and to do what he wants to do.
03:33 I don't know how he felt when he went home because I'd feel like my whole world's changed.
03:38 Obviously the debate of does he go home because he kept delaying to stay an extra week to
03:42 do more adverts that he didn't want to do.
03:43 And I think he was putting himself through that just so he could spend more time with
03:48 her but they still had to keep appearances up.
03:50 She still had her partner and still had his wife so they can't be together but they found
03:55 something of each other.
03:56 It's such a beautiful film.
03:58 And of course it's directed by Sofia Coppola.
04:00 I'm just thinking that there's so much in the films because most recently she did the
04:04 very different take on Elvis.
04:06 And it's that sort of underside thing because when I thought Sofia Coppola Elvis, that's
04:10 not an obvious fit.
04:11 But of course you see the side to Elvis, the more introverted side.
04:14 And I think that's what she's really good at because of course a very, very famous father.
04:18 But she does these films in a very different low-key way but are so character driven.
04:22 But it's these people on the fringes in different ways, outside of their comfort zones but who
04:27 suddenly perhaps find some, they're looking for a spark or they're not looking for a spark
04:31 but they find it.
04:32 And as you say, isn't it better that the film doesn't end with him back home?
04:37 It ends on this break because we can then guess for ourselves exactly how we would in
04:42 that sort of situation play out.
04:44 Yeah, I think the resolution comes because you assume that from the experience they've
04:47 had that you don't need to see the change.
04:50 I think as an audience you're aware that after this they will be different, life will change
04:54 for them.
04:55 Or maybe it won't.
04:56 But I would like to think from watching the film that they've definitely taken that approach.
04:59 So I think at the end of it she's left her partner.
05:02 That's like, "Oh yeah, this isn't going to work."
05:03 Because he goes off with a girl that's completely different to how she is, the polar opposite.
05:06 She's like, I guess a bit ditzy and a bit more like, I don't know, plastic.
05:11 She's a bit more, has more depth and feeling to her and is more emotionally intelligent.
05:15 And obviously the story makes her seem a lot more intelligent because she's done a philosophy
05:19 degree.
05:20 And the way she views her is like, "Oh, this person's a little bit stupid, really.
05:23 And why would you spend time with them and leave me isolated in this bedroom?"
05:26 So it sort of drives her to find a new life.
05:29 Both of them though, their lives are driving them to find this new sort of chapter.
05:32 And obviously being in Tokyo just brings it out of you because it's so different, you
05:35 have to.
05:36 And maybe that's part of it.
05:37 You have to be in a different location.
05:39 You have to be somewhere exotic or the other in order to find that something which maybe
05:46 you wanted, you've been looking for, you never found, maybe you're a bit jaded.
05:50 And it all comes together.
05:51 And I really hope you agree that they hopefully will never even consider doing anything resembling
05:55 a sequel.
05:56 Yeah, no.
05:57 Please don't.
05:58 I really wouldn't want that to happen.
06:00 It's great as it is.
06:02 It's fantastic.
06:03 There's such brilliant characters.
06:05 It doesn't try to be funny.
06:07 There's not forced jokes.
06:08 There's not like a bit every 30 seconds where they're trying to be funny.
06:11 There's bits out of nowhere.
06:13 The scenes, the situations are really funny.
06:15 So in the sequence where Bill Murray's first in the adverts, he's going "Why is he saying
06:18 so much?"
06:19 And she's going "Oh, look, smoky" or one word.
06:22 He knows.
06:23 It's the difference of language.
06:24 It's a contradiction.
06:25 We're going on a journey with them for sure.
06:27 Well it's time now to move on to your second chosen film.
06:31 And now you've gone for, this is a different sort of scale isn't it, City of God.
06:35 Yeah.
06:36 Well, City of God is one of those films where it's just…
06:39 I always forget the director's name and I'd butcher it if I said it so I'm not going
06:42 to say it properly because it's a Spanish name.
06:44 Sorry.
06:45 But when he did the shooting for this film, he casted lots of people from the favelas,
06:48 from the City of God.
06:49 So he went round and he worked for ages and picking out boys from the streets and obviously
06:53 gave them the opportunity to do the film.
06:54 And they worked for years so the feelings you get from the film are such a raw…
06:59 So it feels like a blockbuster film but it's such an authentic representation of what's
07:04 going on in the favelas.
07:05 I know there's a bit of controversy afterwards because they did a documentary following up
07:11 after the film, after ten years of it happened.
07:13 And obviously the success was so international that they only paid the actors a very small
07:17 fee for what they went and did.
07:20 So the lead guy paid Rocket, I forget his name, sorry, he got paid only £10,000 for
07:23 a blockbuster film.
07:24 So it's like the relationships they had obviously when they went to Cannes because
07:27 they got taken out of Brazil for the first time and went to Cannes and they couldn't
07:30 believe the world and the poverty of their lives and the extravagance of a blockbuster
07:36 film and they never got to reap the rewards.
07:39 Only a few of the actors actually had a successful career afterwards.
07:42 But besides the point of that, because that's sort of a damper on the film, it's just
07:45 so brilliant because the story about how you follow these children and it's such a great
07:49 cycle, the cycle of violence and what it's like in the neighbourhood.
07:52 They don't show them, they're not demonising these characters.
07:57 In The Godfather for example, you know these are the bad guys but they're the good bad
08:00 guys because the family sticks together.
08:02 In City of God they are just what their environment is.
08:05 They're just trying to navigate the world that is in front of them.
08:07 So being violent and doing things that you wouldn't necessarily assume is a good thing
08:11 to do is the only option they have.
08:14 And the only option out of it obviously like Rocket, the main character, the difference
08:18 is that he has his camera so he gets to be impartial from the gang war.
08:22 So there's a great scene where little Z, the well-known notorious gangster, runs the
08:25 favela and I forget the other guy's name, he's called Carrot, that's his name, Carrot
08:29 is Ginger Guy.
08:30 And they're having a war, the favela is going to war to who controls it.
08:34 And Rocket's caught in the middle, he's been given the task of capturing the images from
08:37 it and the only reason why he's not even the side, he's put straight in the middle of the
08:41 gunfight because he's got the camera.
08:42 So it's like you're following through the lens of a photographer and obviously you get
08:46 up close and personal, it's just fantastic.
08:49 And do you kind of see when you're watching this, because we were just talking about Lost
08:51 in Translation, now in a different sort of context and a very different sort of scale
08:56 and type of filmmaking, but a similar kind of thread of being in a location maybe that
09:02 is out of sync, maybe something where there is threat, where there is something that we
09:07 are struggling, literally struggling on the streets, oppression, all kinds of warfare
09:11 violence.
09:12 So in this sort of context here, what's the real hook for you in this?
09:15 Do you kind of feel that this is an everyman story?
09:19 I think yeah, it's like what the hook is, it's not the spectacle of the violence, it's
09:24 the personal stories and the struggle of escaping the violence and how everyone has been shaped
09:28 by their environment has changed them to be a certain way.
09:31 So it's like if this world didn't exist for them, what they would have been is completely
09:36 different and that's what for me I love the most.
09:38 I love stories about like sort of children and it's from the perspective of a young person
09:41 because they see the world very differently to an adult and they get to go to places and
09:44 see things that you wouldn't ever get to experience and you wouldn't know because these kids take
09:48 you into their homes and it's such a personal, it feels really personal the story because
09:52 obviously the way they cast it and the actors, it's just yeah, I absolutely love it.
09:56 It's brilliant.
09:57 I mean it came out sort of within a few years of Man on Fire, the Denzel Washington film,
10:02 with a similar sort of dynamic but these are very sort of social conscience films.
10:06 Do you think this changed anything?
10:08 As a result of this film, do you kind of feel that anybody thought wow, this is not okay?
10:13 I think it gave awareness maybe to an issue and not obviously dramatised it but I think
10:18 still in Brazil there's such deep rooted problems with obviously in the society with racism,
10:23 poverty, gang violence and drugs that things haven't really changed past this point.
10:29 They've relatively stayed the same but obviously the film couldn't change it but I think it's
10:33 definitely given…
10:34 I think when I first watched it I wasn't aware of what Brazil was like because I'm
10:38 not from Brazil, I don't really know any Brazilian people so seeing it I was like wow
10:41 and I looked into what Brazil was like and I watched some documentaries afterwards and
10:45 obviously watched the follow up of their lives and the area hasn't changed.
10:49 It's relatively stayed the same with Brazil because of politics and other outside factors
10:52 where they can't change but it definitely gave me more of a conscious idea of what the
10:57 country is.
10:58 Especially because I watched it around the time when the World Cup was happening and
11:01 the stories around the World Cup and how they basically…
11:03 Obviously the favela where they've put them, they've put them outside the city so they
11:05 want them away from the beach and from obviously where the money is and where the usually white
11:10 people are so they've stuck them out in the favela and sort of like…
11:14 They've sort of allowed them to be lawless and for militias to run the favelas because
11:18 the government don't want any part to do with it.
11:20 It's easier I think if they leave it alone because it's such a deep rooted problem
11:23 that they…
11:24 I don't know how you would solve it.
11:25 I can't give the answers.
11:26 But such a good choice but that's one of the great choices of film isn't it?
11:29 Well that's about all the time we have for this first half of the show.
11:32 However before we go to the break we have a Kent Film Trivia question for you at home.
11:39 Which vampire themed film did the Kent-born actor Dominic Sherwood star in?
11:44 Was it A) Twilight, B)
11:47 Slayers or C)
11:49 Vampire Academy?
11:50 We'll reveal the answer right after this break.
11:54 Don't go away.
12:06 Hello and welcome back to Kent Film Club.
12:09 Just before the ad break we asked you at home a Kent Film Trivia question.
12:14 Which vampire themed film did the Kent-born actor Dominic Sherwood star in?
12:19 Was it A)
12:20 Twilight, B)
12:21 Slayers or C)
12:24 Vampire Academy?
12:25 And now I can reveal to you that the answer was in fact C)
12:29 Vampire Academy.
12:30 Dominic Sherwood was born in Kent and grew up attending school in Maidstone.
12:35 The vampire themed film was only his second film credit.
12:39 Did you get the answer right?
12:41 Well it is time now Jack to move on to your next chosen film and you've gone for The Chronicles
12:46 of Narnia Prince Caspian.
12:49 Yeah it's obviously a bit different from the first two films in terms of like a blockbuster,
12:55 like a quality of film.
12:56 But this film is a real personal like childhood film.
13:00 So I remember it so clearly because I think I was about six years old, seven years old
13:03 when it came out, I think it was 2007, so yeah I was about six, seven years old.
13:07 It came out and I remember getting it on DVDs, obviously DVDs was the thing.
13:10 And my auntie went, I think she must have gone to Blockbuster or something to get the
13:12 DVD and I remember her setting up a tent in my granddad's garden and she was like you
13:17 can go and watch it out there.
13:18 So I remember like getting the extension lead, bringing it out and it was such like a poignant
13:21 film just because of that, you know, my childhood memory.
13:24 But then I obviously, it's one of those films every year you go back and you visit, everyone
13:28 has a childhood film you go and like you go back and you watch it.
13:30 It may not be the best but you love it because of the nostalgia.
13:33 And when watching it I just love, obviously it's T.S.
13:36 LeWie and I loved the books as a kid, loved the film.
13:38 And the characters are a bit, in this one, a bit bland I would say.
13:42 You know, they don't really, I know where it's not the best film but it's such a childhood
13:46 film and I love all the characters.
13:48 You've got like little mice and minotaurs and they're fighting sort of to save magic
13:52 and bring back magic.
13:53 I'm such a big fan server like so for me it just ticks all my boxes for like a fun film
13:58 to watch.
13:59 And you used the buzz word for me, nostalgia.
14:01 So you got me hooked there.
14:02 And when the first of the Chronicle of Narnia films came out which would have been 2005
14:07 or so, then I remember that really generated a lot of interest because it was Aslan, it's
14:13 C.S. Lewis in the Narnia tales.
14:15 I'm not sure I actually went to see this one but, so you saw this one first but how did
14:22 it fit with the other Narnia films that were made all around this because obviously this
14:25 is your sort of childhood film and you saw this before the first one?
14:30 I saw the first one first because that was the first film, the first Narnia was the first
14:35 film I remember watching at cinema.
14:36 I remember my auntie Jean taking me, so my nan's sister, she took me and I remember going
14:40 with my cousin and I absolutely loved it.
14:41 So obviously when this came out it was like a big thing for me.
14:43 I was really excited to watch it.
14:44 And it's the same in Narnia because I love like, it's got great battle scenes.
14:48 They put a lot of time and effort and they spend a lot of money on like fantastic fight
14:52 scenes so it's really, as a blockbuster, it is really entertaining but the storyline
14:56 is a bit like, because it's at Disney it's very quick.
14:59 It's like, it's got to get you hooked in so you keep going, keep your interest in the
15:03 film, obviously for children so big events have got to keep constantly happening.
15:06 I would like it to be a bit slower and we go into a bit more of the lore of who the
15:10 Telmarines are, obviously from the books you know all that and it gives you that context.
15:13 So I wish in the film you had a bit more depth to like your antagonists, that's what I would
15:17 love but everything about it so far is brilliant because obviously Aslan returns, they come
15:22 back and they save the day, everything ends on a high note.
15:25 You know, the Telmarines, obviously Prince Caspian, he ends up uniting Narnia and the
15:31 Telmarines together so it's a fairy tale film but the spectacle of it to get to that point
15:35 obviously is fantastic.
15:36 Great war scenes, I love like catapults so I love scenes of like great catapults, they've
15:40 got some great catapults in that film and yeah.
15:43 I feel saying it, I spoke about Lost in Translation and the city of Gonau gone to Narnia, it's
15:48 just nostalgia, the feeling like this film is such a childhood memory, I cherish it so
15:52 much.
15:53 So Lost in Translation is about as far removed from a special effects CGI film as you can
15:58 get but this film, I mean how does it stand up in terms of its technology after what more
16:05 than 15 years?
16:07 I still say it's pretty good.
16:08 CGI obviously there's a few bits you go oh, but then like I think they're now about some
16:12 modern films, I know that CGI but back then for 2007/8 really good.
16:18 Aslan looks real, there's like a scene with a little mouse, like an assassin mouse and
16:23 that's a bit questionable but there's a great scene where they cross the bridge and the
16:27 water rises up into like a lady of the river, that looks fantastic especially for 2008 and
16:32 it picks up the bridge and throws it, that's like fantastic.
16:35 There's a great battle scene where they fly in on the back of falcons and that looks really
16:40 well done and obviously it's Disney so it's so well done, it's enjoyable but it's not
16:45 the best story wise.
16:47 But because it's a childhood film, is it a film that you can or that you avoid watching
16:55 in the years since because you don't want to spoil it, you don't want the lustre to
16:58 go.
16:59 I get the sense that you have watched it because you mentioned how the special effects have
17:02 stood the test of time but is this a film that you can return to and how often do you
17:06 return to it?
17:07 It's a film that I won't return to, it's like every now and then I'll be like maybe I'll
17:12 watch it and I'll put the first one on and I'll give that a watch and give this a watch
17:14 as well but I'd say once every couple of years maybe I'd go and watch it.
17:19 I've got other childhood films that I'd go to before this.
17:22 This one was just such a poignant memory of a period of time that I had to pick it because
17:27 when you're in the sessions being like choose a childhood film or films that you love, I
17:30 was like yeah, this is one of them that I thought would be good to put in.
17:34 And do you think it does justice, albeit for a new generation, to the C.S. Lewis story?
17:39 Do you feel did this prompt you to want to find out about the more literary basis to
17:44 this?
17:45 Where does it slot in for you?
17:47 I think it does because if you really enjoyed the film and you liked the story, it doesn't
17:51 give you enough because you know when you read a book it's so much more depth because
17:54 you can go and have inner monologues and have characters do things you couldn't do in the
17:58 film format.
17:59 So it definitely would entice you to want to read the book because obviously I watched
18:03 these first and then the books came out when I was an adult and I listened to them inaudible
18:06 so then I was like wow, they're fantastic.
18:08 And I think definitely watching these films would inspire you to then later on go and
18:11 read the literature.
18:12 You've got it sorted.
18:13 Yeah.
18:14 Alright, well it's time now Jack to move on to your final chosen film and now you've gone
18:19 for Oliver Twist but of course I don't know which version of Oliver Twist you've gone
18:25 for.
18:26 I can see it's the original.
18:27 Yes, I've gone for the original, the 1951 version and the reason being is that obviously
18:32 everyone who grew up in Britain in schools you're indoctrinated with Shakespeare and
18:36 Dickens.
18:37 I was in school because I had Dickens when I was very young.
18:38 It was like Charles Dickens, Oliver Twist, Christmas Carol were stories we studied and
18:43 you talk about so much in school.
18:45 And this was one of the films they showed us.
18:47 I don't know why they showed us.
18:48 It's 13 plus and it's really quite, well obviously Oliver Twist, really graphic and in depth
18:54 like problems, society, Victorian Britain and it's just such a fantastic film.
18:58 It's just so beautifully shot.
19:01 The director obviously did Lawrence of Arabia, original River Croy, so it's like blockbuster
19:04 like fantastic British cinema and it's just done so well.
19:08 The story of it is just so poignant.
19:10 It's just beautiful.
19:12 Well, the combination of David Lean and Charles Dickens and of course the Kent connection
19:17 as well with Dickens which is very important.
19:20 But isn't that the thing about Dickens because it's 19th century, you're dealing with all
19:24 sorts of social problems.
19:25 It's actually similar in a different way to what you were saying about your second film
19:29 that you chose.
19:30 But there's something in this that really, it's social commentary and it also has unbelievably
19:36 lasted time.
19:37 The fact that there have been so many adaptations of Dickens' novels over the years.
19:42 Yeah, and it has the cast of it that's fantastic as well.
19:44 So Alec McGuinness obviously, he plays one of my favourite characters from it.
19:48 Obviously he shouldn't be but I just love the idea of this boy, obviously the traumatic
19:53 childhood he had going to the mortuary and just being bullied and he just flees and he
19:57 runs to London.
19:58 Obviously he's picked up by the Artful Dodger, probably not the best person to be picked
20:01 up by in London if you could be picked up.
20:03 But to be taken to a gang of thieves and obviously Alec's there and he's never experienced before
20:09 joy, people actually being nice to him and not a hard existence.
20:12 So when he comes in, they give him food for the first time and he sees all the handkerchiefs
20:16 and they teach him how to pickpocket.
20:17 It was just such a, I don't know why that for me was the real heartfelt bit of the film.
20:22 He's found a group of children just like him, like a family, like a new family that he's
20:26 never had before.
20:27 Obviously they're not using him to steal but he's become whole of a group of people that
20:33 actually like Oliver who he is and want to take him and teach him the ropes of London.
20:37 And obviously the set design, when you go through these cobbled streets and narrow alleyways
20:41 just give you such, invokes such a different image of London that doesn't exist anymore.
20:46 So it's like going back in time, watching Oliver Twist, the contrast of what the children
20:52 lived through back then and how everything looks.
20:55 Because I think I saw the musical, the 1968 Carol Reid version first.
21:00 Have you, and there was a Roman Polanski version.
21:03 How do they compare?
21:04 I mean this obviously is the seminal one for you but have you seen the others?
21:08 I have seen the other ones and I think the difference is that the tone is completely
21:12 different.
21:13 This one is so much darker, I think more of a social commentary.
21:15 It makes it seem like this is really rough, like things are really hard, like life in
21:19 these places.
21:20 The way London looks makes it look a lot harsher.
21:23 Which is I think, in musicals when they first meet it's a lot more fun.
21:27 They take them out, they're still buns in the street, they're running and playing and
21:30 singing.
21:31 It sort of takes away from the message of what Oliver Twist was, was all social commentary
21:35 about the condition of children, what people have to go through, the workhouses and the
21:38 life of Victorian Britain.
21:40 But they're still brilliant films and they're really enjoyable to watch.
21:43 But for me this is what the message of Oliver Twist is.
21:46 It's about children, like suffering and the hardships of London.
21:50 But looking into London, obviously, the broken alleys and the back homes and obviously doing
21:54 a lot of problems with alcohol, the drinking dens and Fagan and how people are allowed
21:59 to abuse children because there's no structure to help these people at all.
22:02 And if you don't come from wealth, like obviously his grandad was extremely wealthy, he would
22:06 have been just like anybody else, just left to roam in the streets, abandoned pretty much
22:11 and like a wild child, like a Mowgli.
22:13 And it sounds like a precursor to City of God in that sense.
22:18 Do you sort of see the two as companion pieces?
22:20 I see them similar in terms of like these children.
22:23 Because obviously the extreme poverty of London is this, I guess, mimic of the favelas because
22:28 they're ramshackle, built houses by people who moved to London, put up their houses.
22:32 A lot of them are falling to bits and it's all these sort of winding streets ridden with
22:36 crime and sort of child gangs, just like Oliver Twist.
22:40 It's a parallel to City of God in a completely different circumstance but still showing you
22:45 like the abject poverty that society is in at the time.
22:48 Which is just, it's great how it transcends, this film was shot a long time before and
22:52 the story was written in 1850.
22:54 So to still have a voice for today and you can see it in modern times I think just shows
23:00 how poignant the story is.
23:03 And when was the last time you watched this?
23:05 I'm not going to lie, I did watch it yesterday.
23:09 So I could know what I was talking about when I came here.
23:12 I actually watched it a month ago but I fell asleep during it.
23:17 My girlfriend was like "you missed it, you've got to watch this film, it's amazing!"
23:20 And then I fell asleep during it so I was like "I've got to watch this again if I want
23:23 to talk about it" so I know it well enough.
23:26 I recommend it so highly to go and watch, it's such a brilliant film.
23:29 That comes out very clearly.
23:30 Brilliant.
23:31 Well thank you Jack, I'm afraid that's all the time we have for today.
23:34 Many thanks to Jack Parsons for joining us and being such a brilliant guest.
23:39 And many thanks to you all for tuning in.
23:41 Be sure to come back and join us again at the same time next week.
23:45 Until then, that's all from us.
23:47 Goodbye!
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