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Monday, 31 May 2010
I'm not usually in the habit of recapping months, but May seemed like it needed its own post.It easily takes the prize for the most hectic month this year (thus far). It came and went in a blur and yet I feel like it lasted forever, moreover I still feel like I’ve been hit by a hurricane. The end of May signals three things – final exams (ugh), heating up with the release of “prestige flicks” (The Kid Are All Right – I cannot, Inception - Marion and Leo, yum) and my birthday (in six days – sigh, getting older). Movie wise, May has been fairly good. I mean, Nanny McPhee was an all around delight and much more satisfying than the other sequel that was getting all the buzz. I’m still split on Chloe and Fish Tank (confused about both, though the latter is “better” - a word I use looesley) and How To Train Your Dragon was enjoyable – though I sincerely hope that this isn’t the best animated film we’ll be getting this year.
Of course, May had to end with a scorcher – the controversial release of Sex & the City . I’m really nonplussed about the controversy. I don’t particularly worship Ebert so I’m not wholly distressed by his rantings – it’s been done before. But I’m not sure why so many found it to be so offensive. To each his own I suppose, but Jose's word are quite sage.
Blogging wise: the nominees for the LAMMY’s have been announced. Congrats to all the nominees – especially those I voted for (Movies Kick Ass, M. Carter at the Movies, Movie Mobsters, Anomalous Material - Movies, A Life in Equinox, The Dark of the Matinee, Ross v Ross, He Shot Cyrus, Reel Whore) and a shoutout to all the great blogs (especially those I voted for) that weren’t nominated (Journalistic Skepticism, The Kid in the Front Row, The Floating Red Couch, The M0vie Blog, Four of Them).
I've been so loopy LAMB Casting is only now in its voting stages. I hope you've cast your votes.
I’m not particularly looking forward to what June brings, but I sure am glad to be done with May. Here’s to hoping June is a little more…peaceful.
How was your May? Looking forward to June?
Strangely, this month was so hectic and yet I've meted out 56 posts. Strange.
Good God, this brings back some memories. Doesn't it make you nostalgic?
Sunday, 30 May 2010
I invited my fellow bloggers to participate in blog-a-thon dedicated to celebrating musicals. They were asked to write on any musical - preferably their favourite - and tell us why it's worth our time. At first I was thinking asking for a favourite would become repetitive with everyone choosing standards, but the posts ae in and the choices are diverse. Head on over to the sites and take a looksee, every post is worth your time so head on over and read them, I did. They may not all have written on their aboslute favourite, but it's obvious - all the musicals covered are well loved.
Jose on The Wizard of Oz (1939) from Movies Kick Ass
The minute she arrives, her view of life is transformed because she has achieved color. Her simple jumper now in pale blue becomes a symbol of serenity and achievement.Did you know that the color blue is meant to symbolize high ideals? With this simple color choice we determine that the filmmakers are placing an importance in the way Dorothy looks, in her expression through what she wears.
Ruben on The Wizard of Oz (1939) from My Floating Red Couch
And speaking of flying monkey attacks: when the Simeon minions swarm and attack our heroes in the haunted forest, they totally get after it. They're all pouncy and rippy and flyey and kidnappy -- they take out some of the scarecrow and throw him over there and take out some more and throw it over there. Just very violent and graphic -- if you're made out of straw, but still.
Crazy Cris on Summer Stock (1950) from Here and There and Everywhere
As usual what sells the show is the chemistry of the leads, and the music. Some musicals annoy me when the music isn't quite "right", when it pulls you out of the story for a 'tah-dah!' musical moment. But here the numbers all pretty much worked seamlessly within the tale, starting off with a song I need to adopt as my own "If you feel like singing, sing!". Judy sings this as she goes through her morning rituals (shower, dress etc.) and it's just such a wonderful moment that I'm sure many people can relate to, when you just feel like singing and to hell with anyone who might have a different opinion!
Chase on Singin’ in the Rain (1952) from The Ludovico Technique: A Film Blog
The perfect confluence of song, dance, sugar-spiked romance and Hollywood satire, the film is one of those rare Hollywood musicals without a flaccid note, number or scene in sight, utilizing its well-rounded cast and catchy verses to win us over time and time again.
Bryce Wilson on A Star is Born (1954) from Things That Don't Suck
Cukor was of course one of the most skilled comedy directors of the forties, which in turn makes him one of the most skilled of all time. And he’s able to keep the film from becoming a slog, putting in some deft comic scenes that never feel out of place, including one nice sequence that turns a killer running gag out of the simple phrase, “Glad to have you with us.”
Fritz on West Side Story (1961) from Fritz and the Oscars
West Side Story is a movie that achieves the impossible – to bring the aliveness and thrill and feelings of the stage production to the screen. Isn’t it thrilling to sit an audience and watch dancers do the dance at the gym right in front of your eyes, on a stage where you can see the brilliant movements so closely?
Yojimbo on A Hard Day’s Night (1964) from Let's Not Talk About Movies
That's pretty ironic, as the four's own bickering is what led the group to self-destruct and go their own ways once they were no longer forced to go together in the same direction by their hectic tour schedule. The only real idyll they have in "A Hard Day's Night" is in the antic "Can't Buy Me Love" sequence, where, in a rare moment of freedom, they caper about a play-field, which Lester films in an eclectic helter-skelter array of techniques, formal and informal: sped-up, slowed down, from the air, and hand-held.** Even that ends with an admonition ("I suppose you know this is private property!").
Ben on My Fair Lady (1964) from Runs Like A Gay
With musical theatre the score must either be so good that the listener appreciates the quality of the writing (see just about anything by Sondheim), or you need to leave the auditorium toe tapping away (try anything by Andrew Lloyd Webber). I won't pretend the music in My Fair is particularly well written, but by God it does make you want to join in.
Simon on Pierrot le fou (1965) from Four Of Them
Fantastic, mesmerizing (despite, as I assume ya'll know, shitty subtitles), surreal, colorful in that way only Godard in a good mood and the sixties can produce. Aided by the fanciful performance of Anna Karina and the half-lovestruck, half-bemused Jean-Paul Belmondo, an unexpectedly catchy song is performed by the two, that might've been an in-character way to pass celluloid had not been for the burst of music the background.
Marcy on Fiddler on the Roof (1971) from Because I Saw The Film
The film is ultimately about love. The love between a father and his daughter. The love between a husband and his wife. The love between two young lovers. The love between a man and God--and that's touching, whether you believe in God or not. There is just something so pure and simple about the musical's message about love, and it's a shame that modern films seem to over stuff the love message with a glow of shallow boxes of chocolates and bouquets of roses.
Andrew on Cabaret (1972) from Encore's World of Film & TV
I suppose Cabaret is not so much a story about what happens as it is a story about how it happens. Fosse has always has his reputation for being an especially stylistic man, and Cabaret represents the zenith of his talents. For, in many ways, Cabaret is a bit like an allegory. We’re transported by the bawdy music and scintillating dances so that by the time tragedy is at hand we’re surprised, even though it’s been sneaking up on us for the entire film.
Alex on Victor/Victoria (1982) from Alex in Movieland
The screenplay is the highlight, without a doubt one of the best ever written. Yes, I stand by it: so many excellent one-liners, the dialogue is fabulous and funny and the story just makes sense all around. It is Blake Edwards’ greatest achievement and one of Julie’s Andrews best performances.
elgringo on Krush Groove (1985) from He Shot Cyrus
The real fun of Krush Groove is in the performances. About half of the film is scenes of rappers and singers performing either on stage for an audience or just out in public with a mix of diegetic and non-diegetic music. In one scene, The Fat Boys sing their song "All You Can Eat" while scarfing down pizza at a Sabarro. It might sound like a Weird Al music video but this is what hip-hop was like in the mid-80s.
Darren on The Lion King (1994) from The M0vie Blog
Still, “Be Prepared” is a powerful little number. Not only is Jeremy Irons freakin’ amazing delivering his lines (“And soon I’ll be givin’ my due!”), but it’s also been suggested that Jim Cumming may have filled in for him when he got a throat ache (and wasn’t able to finish the song). in under three minutes, with a hauntingly demented yet charismatic voice, and iconography borrowed from source I was too young to understand at the time, the musical number managed to do what no amount of ranting or raving or threatening from any Disney villain before or since could do: it convinced me that Scar was irredeemably evil. Sure, he’d go on to throw his brother into a herd of stampeding wilderbeast and (in an act even more evil) convince his nephew Simba that he was responsible, but this musical number was the first hint that something was truly and deeply wrong with the cartoon lion.
CS on Everyone Says I Love You (1996) from Big Thoughts From A Small Mind
The themes of looking for love, being in love, and being in relationships with the wrong people, are common in almost every single Woody Allen film. Yet there is a more optimistic, and whimsical, feel in this particular film than is more prominent than his other works. Everyone from the upper east side elite to the two-bit gangster is struck by cupid’s arrow.
Walter on Everyone Says I Love You (1996) from The Silver Screening Room
The idea here is that normal, everyday people, not given the gift of Garland, can become so full of emotion and romance that they are compelled to sing despite their own limitations. It's a beautiful and dangerous idea, yet Woody is blessed with actors who can actually carry a tune for the most part.
Jude on Moulin Rouge (2001) from And All That Film
Even as Ewan and Nicole spin high up in the clouds, they make sure that the message doesn't get lost in the crazy, over-produced (in a good way) musical number. It also helps that Ewan's voice has that sensual, masculine touch of rogue-ness and the face of a Shakespearean paramour. He's the spark that ignites Nicole's flame (there's a metaphor of worth in there somewhere... look harder!).
Clarabela on Chicago (2002) from Just Chick Flicks
It wouldn’t be a really good musical, without THE BIG FINISH or a big musical number to get your toes tapping. Chicago won’t disappoint you. After much tap dancing and legal maneuvering, Bill Flynn (Gere) helps both Roxie and Velma beat their murder charges. Unfortunately for Roxie, her trial’s publicity doesn’t bring closer to her dreams of stardom. It is as true in Jazz Age Chicago as it is today: People are always looking for the next big thing.
Twister on Chicago (2002) from Movie Mania
Among the songs in the film my favorite is Roxie, sung by Renee Zellweger who is just perfect as the jazzy baby turned murderess who comes to start enjoying her infamy. Much of Chicago's success is thanks to Zellweger who carries the film with her funny, sexy, and all around luminous performance. It's her understanding of the character and her vocal/dancing abilities that make everything work.
Meagan on The Phantom of the Opera (2004) from Wild Celtic
I will forever hope that the Phantom is able to be with Christine. My whole life, since I first saw the play, I would listen to those songs, feel his pain, hear Christine's longing for him and would be moved to tears by the music, the story. It is about passion, music, love, fear, anger, rejection, lust and mystery. In my minds eye, Christine always chooses to stay with the Phantom, to love him and sing with him...to be his angel of music.
Anna on Sweeney Todd: The Demon Barber of Fleet Street (2005) from Life of A Cinephile and Bibliophile
Most musicals are bright and colorful, I prefer dark and moody. So Sweeney Todd works on that level for me. And since it's directed by one of my favorite directors and features one of my favorite actors, that also works.
Joe on Rent (2005) from Oscarfan
The film is really entertaining and I think it works, although the "bursting out into song isn't realistic" thing sometimes becomes too noticeable and sometimes it lacks the soul of the original production. But the music is flawless. There are so many great songs and so many that I love!
Robert on Hairspray (2007) from His Eyes Were Watching Movies
The great music, dancing, and acting aside (and I didn't even mention the fabulous costumes and art direction!), Hairspray is the "perfect musical" because of the feeling that you get during and after you watch it. I saw the film three times in the theater (the most I've ever gone to one movie in the theater, by the way), and at least 3 times on DVD, and every time I just feel so happy and uplifted.
Mike on Hairspray (2007) from You Talking to Me
By taking this story of a chubby girl chasing her dreams out of the John Waters universe and brushing aside inside jokes and obscure cultural references, the message is as simple and touching as ever: Never give up hope; dreams are not selective and anyone with the courage to reach for them has the tools to catch one.
Univarn on the Genre in General from A Life in Equinox: A Movie Lover's Journal
Their songs rain from the depth of their personality. They exude the screen. Define the mood. Create the world. Breath life into each and every moment. The musical is a form of auditory art, in which the vocals, soul, and visuals must align so rightly. Loudness, and gimmick, cheapen this to the point of blandness. Musicals that fail to capture the heart of their own characters sit well with me not.
A hearty thanks to all those who sent in entries, if you're still interested in participating you can send me a link or post it below, I'll try to include it. Now go out into the world making musical waves and keeping the hills alive with the sound of music - naturally.
Saturday, 29 May 2010
Later today I’m hosting a blog-a-thon celebrating the wondrous musicals of the cinema. Check back later in the day for all the entries, here’s mine.
"Divine Decadence Darling"
I always say that I love Cabaret against my better judgement. Not one of Ebb & Kander’s stage shows is as saturated with classics like the original play and I always bemoan the fact that the film couldn’t make use of excellent standards like “Don’t Tell Mama” or “I Don’t Care Much”. Then, there’s the fact that they took a perfectly competent book and eviscerated it for reasons that are beyond my understanding. Yes, when I think about Cabaret it gets me as exasperated as much as it gets me cheerful. But, when I actually sit down to watch it, and the notes begin playing to usher in the beginning of “Wilkkomen” I’m already so far gone into a reverie that I immediately forget what it was that got me annoyed in the first place.
"Wilkkomen, Bienvenue, Welcome"
Cabaret takes place in Berlin during the onset of World War II and the actual Cabaret where we meet Sally Bowles and the Master of Ceremonies is as cathartic as can be. Sure, everything offered there is as synthetic as the dancing girls, but for a few moments it allows the Berliners to step outside of their horrid reality. In the wake of this calamity Cliff, a would-be writer, arrives at the Cabaret falling in love with Sally Bowles – our sociable heroine. But in this way, I suppose Cabaret is not so much a story about what happens as it is a story about how it happens. Fosse has always has his reputation for being an especially stylistic man, and Cabaret represents the zenith of his talents. For, in many ways, Cabaret is a bit like an allegory. We’re transported by the bawdy music and scintillating dances so that by the time tragedy is at hand we’re surprised, even though it’s been sneaking up on us for the entire film. It’s in this way that I (almost) forgive the excision of so many great numbers, and I suppose it’s important that York doesn’t do any singing. Sure, it’s been argued, he’s not really a lead in the film – and he isn’t in the typical sense. But it’s important that what we see of the Cabaret begins with his entrance and ends with his departure. He doesn’t sing, because we don’t either. He’s the only lifeline we have with this corrupted Berlin. More importantly, he can’t cope in a world so egregiously corrupted – neither can we.
"Tomorrow Belongs To Me"
But then, how can one call a sensation like Minelli’s Sally Bowles corrupted? It’s a perfect combination of star and character and Liza’s Sally is a force to be reckoned with, even if she does sing too well for the novice that Sally should be. Few musical moments are as heart wrenching as when she takes to the stage to sing “Maybe This Time” – a number that for some reason isn’t as oft remembered as it should be. Joel Grey’s androgynous Master of Ceremonies is more obviously perverse. The man has a talent for showmanship, and I’m still surprised that Oscar decided to reward him in the face of the more typical lineup. It’s a job well done on their part. I suppose in some ways, Fosse really is the star of the show. His direction is flawless, and even though I’ll forever hold that grudge for the shafting of this flick in the Best Picture category, at least they rightfully recognised Fosse for his directing. As we prepare for Liza’s final number I’m never sure if we should be praising her or Fosse. We notice his eerie theatrics as the screen is clouded and we notice how Liza manages to reach to the flawed core in the eponymous number. For us to understand Cabaret we have to understand the title number first. It’s not a song of irrepressible joy, but a resignation to a life of unfulfilling debauchery in the face of real pain. She realises the desperation and frenzy in the piece and as she sings those final few lines you can’t help but pity this ridiculous creature. They're all looking forward to tomorrow while simulatenously afraid to face it...and who can blame them?
No matter how much I wish Cabaret had done differently, I realise always that I can’t argue that what it does – because that is done flawlessly. I can’t think of any musical piece that manages to impress both dramatically and musically as this. It’s a perfect combination of skill on all counts and it cruises dangerously close to perfection at #14 on my list of favourites.
…oh yes, it also happens to my favourite musical film…hence, the review…
I’m hosting that Musical Blog-a-thon on Sunday (details here), so if I hope you’re getting those entire prepared – thanks to those who’ve already submitted. The list of entries will be up on Sunday by 5:00 pm.
PS. I hope you're voting for the LAMB Casting feature
Silly me, I forgot to leave the link...so I'm reposting...
Friday, 28 May 2010
Few people believe that Disney had anything good to offer at 1994’s brilliant The Lion King. Luckily, I’m one of those few. I think Mulan is an obvious choice as something excellent, but the one that I hold even dearer and the one’s that less remembered is 1997’s Hercules. Only recently Luke pointed to a brilliant musical piece from the film, so I guess I’m not the only thinking about it at the moment. Of course, the film isn’t really an accurate account of the Hercules myth – like all thing’s Disney it’s simplified – but enchantingly so. I’d probably be moved to call the score for Hercules its triumph, and it’s really one of the best they’ve put out.
The story begins with the five muses who begin to recount the story of the great Hercules. It’s a clever choice from the filmmakers. It’s more personal than a narrator, but narration is necessary and the five muses (who are hilarious, I might add) do just enough to make this story accessible while keeping it in its time. This was back in the day before all animated films needed recognisable voices, since the film is littered with big Broadway stars that most of us probably don’t know. And it’s Broadway star Susan Egan who delivers on point voice work as Meg who stands out as the film’s star. Her role is shorter than most heroines, and she’s definitely more nuanced and Egan’s atypical smoky voice (atypical for Disney at least) that make her so memorable. It’s a pity she only gets one number, but she knocks it out of the park with “I Won’t Say I’m In Love” accompanied by the muses.
However, like so many of the stories from Disney Hercules is not just concerned with legend and romance. Like The Lion King before it (and in some ways even The Little Mermaid and Beauty & the Beast) it examines the relationship between children and parents. It’s not quite as invasive as The Lion King but it does a good job nonetheless. And Hercules is also lucky enough to have one of Disney’s most macabre villains. Unlike so many animated films it doesn’t aim to drown all its poignancy in silliness and though it does give in to the sentimental on occasion it still manages to remain honest. Sure, it doesn’t make my top 100 – but that doesn’t mean that I can’t love it still. It’s worthy of your time and remembrance…and that’s the Gospel Truth!
Thursday, 27 May 2010
When A Room With A View closes and we segue into the ending – unlike anything Forster had written – I’ll admit, I get a little happy. I’m always wont to call myself a cynic, I usually am, but I can’t deny that Lucy Honeychurch’s happiness makes me just (vicariously, of course) as pleased. It’s one of the reasons I don’t read A Room With A View in its entirety, even though I’m sensitive to the fact that a happy ending makes us lose Forster’s point – but so be it. It’s a little similar to my response to Atonement’s end, so I guess I’m really an idealist at heart.
I wonder if there’s some point that on all three of Merchant Ivory’s Oscar bids they lost to films that were more (broadly at least) male centred. Truth is, I’d have given The Age of Innocence the win in the last bid, but Scorsese’s tempered piece wasn’t even in the running. It’s not that Merchant Ivory is women based, regardless of how much I adore film books will always be my first love and it’s in this same way that Merchant Ivory is not for everyone. Of course, neither Platoon, Schindler’s List or Unforgiven are films for everyone but easily – the audience base is wider. A Room With A View, like so many of Forster’s works, examines the issue of class divisions in England but unlike a certain other class division piece A Room With A View is definitely milder – not for the worst, though. The film concerns…
A Room With A View stars Maggie Smith in a register she’s particularly used to playing, and yet her Charlotte is not a lazy characterisation...and Helena Bonham Carter as Lucy Honeychurch is lovely...it's her second film so she's not as developed as she was in the nineties but as Jose says...Her Lucy's combination of sexual awakening and innocence is delightful and sweeping. You can't put it any better than that. She's so lovely and she's only a part of the excellent cast. Denholm Elliot and Julian Sands are good as is Daniel Day Lewis and Judi Dench is small but fulfilling roles - before they became legends of the trade. I don't know why A Room With A View isn't remembered just a little more, it's such an excellent piece and it's so much fun....but not in the way you'd expect. It's thoroughly British and thoroughly entertaining and #13 on my list of favourites...What do you think of it?
Wednesday, 26 May 2010
Did anyone watch Grey’s Anatomy’s season finale last Thursday? Season six has been a bit hit and miss, and without Izzie something just a feel a little off, I’m no fan of those Mercy Westers. Still, everyone knows that if one thing’s notable about Grey’s Anatomy it’s that the season finale is usually quite strong, and last Thursday’s double dose of “Sanctuary / Death & All His Friends” was easily one of the best instalments of the last season.
– Chandra Wilson is still one of the best actresses on television and it’s an affront that she’s still Emmy-less. At this point, I’m not hopeful that she’ll ever win the prize. She’s done her best work in Seasons Two through Four (she was actually the best thing in the stodgy season Four) but she’s been passed over continually. The highlight of the show has always been the acting and Wilson, Pompeo, Chambers and Ramirez each brought their A-game. Incidentally, these five continue to be the best actors on the show (even if Chambers and Ramirez are never remembered for their work).
– Dr. Webber (aka James Pickens Jr.) was on the ball throughout the episode. He’s been battling with his alcoholism for some time now, and it was a good moment seeing him confront those issues in attempt to save his hospital. I suppose this would mean that he returns to his job as Chief – and really, it’s about time. Derek really wasn’t the man for the job.
– Was it just me…or was anyone else thinking that they’d kill off Patrick Dempsey? Really, I wouldn’t have been too sad about it. For someone with so many admirers he strikes me as one of the blandest leading ladies. I now in the whole MerDer legend, Meredith is the one everyone hates but I’ve never liked the two together.
– What ever happened to Mandy Moore? Every now and then Mandy Moore reminds me that she’s just a little better than people give her credit for. Sure, her guest performance consisted mostly of playing dead and fumbling with bedpans – not exactly heavy lifting. But it did remind me of the promise she has (had?).
– Where do we go from here? Is Meredith going to get depressed, dark and twisty because of her miscarriage – I’ll admit I like dark and twisty Meredith. Are Lexie and Alex going to hook up? God, I hope not. That’s a loathsome idea. Back in season four I had thought that he and Cristina were heading somewhere (granted, back in season three I thought he and Meredith were heading somewhere)…so I’m probably not a good judge of these things. And with Hunt finally manning up and choosing Cristina does this mean Teddy will finally be leaving? I sure hope so…
Ranking the Seasons…
Season Two
Season Three
Season One
Season Five
Season Four
Season Six
Ranking the Season Finales…
Season Two
Season Five
Season Six
Season One
Season Four
Season Three
Did you watch the season finale? Thoughts? How would you rank the finales and the seasons?
Back when no one was reading, I posted my thoughts on Helena Bonham Carter. Here is the post in its entirety...
I don't know what became of Enid Blyton, but HBC has The King's Speech coming out this year and I cannot wait...I adore her, and today is her birthday - she turns 44. If you could only watch one incarnation of dear Helen...which would it be?I was going to write about Kristin Scott Thomas, but I saw Harry Potter & the Half Blood Prince yesterday and all my adoration of Helena Bonham Carter [or HBC] came rushing back and I decided I'd do her instead. While writing this post I realised that even though I have a few of her films on DVD, I don't have enough. I've got Sweeney Todd, Merlin, Live From Baghdad, Hamlet and Howards End. I don't know where the hell my copy of Fight Club is [somebody's got some explaining to do!]. But alas, I have never owned a copy of her best work - The Wings of the Dove on DVD, because it is unavailable in my country. Horrors. But I'm getting way ahead of myself. Let us take a walk down memory lane as we celebrate the beloved Helena Bonham Carter, Mrs. Tim Burton, Ms. Bellatrix Lestrange, Mrs. Lovett and so much more. She also happens to be Gemini like me which makes her extra special.I'm not sure what my first meeting with HBC was, but I'll start with one of her early triumphs in A Room With A View where she played Lucy Honeychurch opposite Dame Maggie Smith. I suppose she was in a way overshadowed by her costars [it was her first film], but I still think HBC was wonderfully dainty as the London misfit travelling with her chaperone and cousin Charlotte. A Room With A View is a good film to check out if you haven't seen. And Twif you haven't seen...ummm why, not? Moving on about four years later when HBC tackles Shakespeare. For the record I will always prefers Branagh's Hamlet to Gibson's Hamlet. But I do enjoy HBC in the role. This was back in the day's when Mel Gibson was not a joke, but they did have good chemistry... and thank God she didn't play Ophelia like some simpering fool. Two years later she returns to Merchant Ivory gloriousness with Howards End which is one of my favourite films. It's also the best film Helena has been in, so you should check it out. She plays the sister of Emma Thompson as middle class 19th century Londoners who deal with the injustices of their society. Helena is completely mesmerising as Helen Schlegel. Once again no Oscar love was forthcoming despite the year being VERY weak. Still, she won in my heart. She continued for the next few years playing in some low key fare, earning a Golden Globe nod for a TV movie as the wife of Lee Harvey Oswald, and then playing Woody Allen's wife in Mighty Aphrodite.
But in was in 1997 that HBC gave her greatest performance earning her only Oscar nomination for The Wings of the Dove as a complex character Kate Croy. I have only seen this film once and if you have not seen it you should, if you have a chance to buy it, do so. It's delightful. One of the best of 1997 and despite not winning the Oscar Helena did win the NBR and some other critics awards. The next year she played Morgan Le Fey in the miniseries Merlin. That movie is rather gruelling but it's good and HBC is delightful as the lisping, demonic woman/child Morgan. This was actually the beginning of a whole line of revolting/freaky/outrageoys/crazy characters. Take for instance her work as Marla Singer in Fight Club... a performance that was worthy of an Oscar nomination I might add. HBC is all kinds of hot with Brad Pitt, despite a very strange character.
She earned a second Emmy nod for her performance in Live From Baghdad (pictures here), a political thriller of sorts but a good film nonetheless. It's a pity this couldn't have been a big screen hit. She soon got involved with Tim Burton and his pet projects, some were not right for her but she was outstanding in Big Fish, Sweeney Todd and Corpse Bride. If it's possible, this is her second best performance ever for me. I know this is an animated film but her performance as The Bride is so haunting. I wish this could have been a live action film, it could have been a great career opportunity for her.Today I have to be satisfied with snatches of my beloved in Harry Potter films or whenever Tim Burton lets her out for play. Hopefully that TV production of Enid Blyton does not suck. Who knows? Maybe it could be Emmy bound since it seems that her Oscar hopes have all but gone. Still I continue to adore... and you should too. She's brilliant.
REMEMBER this post is automated, I'll respond to your comments on Friday.
I’ve been hearing about Fish Tank for months. More often than not, it was through the words of an enthusiastic reviewer of the film. In fact, a number of important people (important to me, at least) were generally positive about it like Jose, Hatter, Tim, Nick. I’ve seen Fish Tank for some time now, but nothing’s coming. What is Fish Tank about? A sixteen year old girl, and would-be dancer, meanders through life culminating in a crush on her mother’s latest boyfriend. I can’t write about Fish Tank, or rather my issue with it without revealing plot details so SPOILERS ABOUND. Be warned.
I also can’t talk of Fish Tank without thinking about An Education – I film I fell for last year. Both films are directed by women, both focus on a sixteen year old Briton, both girls fall for older married men and both girls believe in the infallibleness of their brains. Of course, they differ in styles – completely. An Education sedateness (often mistook for unoriginality) differs starkly when measured againt Fish Tank’s shaky camera and general penchant to impose itself on us, almost like a real person. I don’t have an issue with the style, but truthfully I’m confused as to why Arnold’s choice of shooting in “real time” makes her such a wonder. To be certain, she is skilled equally as a writer and director, but she’s far from flawless on both counts. During the film, I was often moved to doubt the validity of these characters. It’s ironic, really, Fish Tank prides itself on being as authentic as can be but I often felt it to be just as pretentious, at times. Incidentally, it’s an issue I had with Precious - sometimes in her predilection for showing the harsh reality Arnold comes off (to me) as someone intent on shocking us and failing to attach it to any narrative progression. Furthermore, a particular scene in the marshes though ostensibly thrilling does nothing that makes it particularly necessary to the narrative as far as I see.
It’s crass to focus the entire review on finding fault with Fish Tank since it’s not wholly without accomplishments. Jose was quite enamoured with Fassbender’s performance, and he is good. But my issues with the narrative prevent me from being particularly moved by him. It’s to his credit, though, of the entire cast he’s the one who’s able to portray the most while saying the least. He has a knack for adroit facial expressions which few actors could profess to. We know what he’s up to even before he makes any noteworthy decision to do it. Moreover, he manages to prevent himself from becoming a villain just as Sarsgaard before him. In the same way, can we help but compare Katie Jarvis to Carey Mulligan? I suppose, you can assume where I stand on that issue – you’d be right. Jarvis does fine, though I never believe that she’s really interested in dancing – or Connor for that matter. Perhaps it’s an inclination of her character, but she seems unmoved by everything around her, a pivotal moment of tears towards the end leaves me more confused than moved. Incidentally, it’s Kierston Wareing who emerges as the cast’s strongpoint for me – even as she’s given little do, and all in broad strokes - trumping another similarly psycho mother. She’s not a caricature and underneath her pedestrian behaviour (in more ways than one) Wareing is carving a real character – just look at her final scene.
It’s weird, after Hatter’s review I said that despite all the good I’d heard I didn’t think I would like Fish Tank, but I couldn’t say why. I still can’t put my finger precisely on what doesn’t work for me, though I’ve tried. But despite my issue, it’s still a fairly good venture from those involved. I wonder how you’ll feel when you see it…
B-/C+
The lone mixed review I recall was Danny...
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Tuesday, 25 May 2010
The Long Overdue Review of Cloudy With A Chance of Your Dragon Er, How To Train Your Dragon
0 comments Posted by 2011 at 18:43Last year presented us with a host of animated films, two of which I’d refer to as near masterpieces. Unless I’m mistaken, Dreamwork’s How To Train Your Dragon is the first animated film of the year. The premise of the story is the eternal battle between Vikings and the dragons. This, somewhat atypical, premise is only a disguise for the timeless story of a boy coming-to-age and out of touch with his surroundings. Hiccup is a very enthusiastic, but ultimately uncoordinated boy. As fate would have it, his father is the head Viking which only maximises his inadequacy. In the wake of yet another embarrassing paternal moment he makes a discovery about the dragons, one that changes his life in more ways than one.
In many ways How To Train Your Dragon reminded me of Cloudy With A Chance of Meatballs), an animated film from last year I was less than impressed with. The parallels may be incidental, but they’re still striking. Both protagonists are out-of-place in their surroundings, both are motherless with fathers who don’t understand and both make a stunning discovery that leads to disaster and then ultimate triumph (yikes, spoiler). Lining them up against each other, I suppose they’re not that different – but yet, I find How To Train Your Dragon much more of a success than its predecessor. It’s not necessarily that the more recent film is more visually adept. It’s not...whereas Cloudy was beautiful to look at, but hollow How To Train Your Dragon is not that visually thrilling but in its slight story there’s a definite charm to it all. True, I could not stop thinking of Harry’s experience with the Hippogriff in The Prisoner of Azkaban...but J.K. Rowling doesn’t have dibs on taming flying wild creatures, neither does this guy...
There are some things about How To Train Your Dragon that confuse me. Why do all the adults talk with some kind of European accent, whereas the children are all American? And speaking of adults – where are the all the women? First I was trying to think what happened to Hiccup’s mother, and then I realised that there weren’t any women in the film (unless I missed that). It’s a conceit, I think, where children’s film are given a free pass when it comes to logistics, though I know I’m as guilty as anyone. But, How To Train Your Dragon was one of the few animated films I didn’t see with my young nephew. So there was no vicarious thrill of seeing a young child enjoy it, but it’s still a respectable film. Robert loves it heartily, I don’t. But it’s a good one.
B
B
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Monday, 24 May 2010
Do you know that I adore Kristin Scott Thomas? Why this woman does not get higher profile work is beyond, she's scintillating. Unfortunately I do not get the chance to see her art house French flicks, but here are some memories of the lovely Kristin...
Annie in The Horse Whisperer (1998)
"I haven't ridden Western before."
Fiona in Four Weddings & Funeral (1994)
"I was a lesbian once at school, but only for about fifteen minutes"
Juliette Fontaine in I've Loved You So Long (2008)
"The worst prison is the death of one's child. You never get out of it."
Sylvia McCordle in Gosford Park (2001)
"Well, I know you're interested in money and fiddling with your guns. But I admit it: when it comes to anything else, I'm stumped."
Katharine Clifton in The English Patient (1996)
"Am I K in your book? I think I must be."
Is Kristin K in your book or do you prefer her as another? Does your British loveliness make you swoon or no?
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Sunday, 23 May 2010
When I think of the loveliness that is David Lean’s excellent Summertime I always turn immediately to the ending. We watch the beautiful Katharine Hepburn, old and yet young, as she waves a heart wrenching goodbye to her suitor who will never be able to give her the flower he picked specially for the occasion. Few cinematic moments so sedate make me tear up as much. I’m not sure if I’m tearing up at the sincerity of the story, or the fact that Hepburn and Lean’s excellent production is all but forgotten today. Kate has rarely been as girlishly enchanting, and no piece of Lean leaves me praising his authenticity as much, but I’m usually alone on both counts…and when Lean has been known for sprawling epics like Dr. Zhivago, and Lawrence of Arabia. and The Bridge on the River Kawi…I suppose I should be able to understand.
Summertime is a film where nothing much really happens and yet everything does. Katharine plays Violet, an aging spinster who finally saves up the money to go to Italy for that holiday of bohemian rhapsody she has dreamed so much of. She’s simultaneously at bliss and out of place in the sensuality of the surroundings, and this is all the more exacerbated by her introduction to the similarly sensual Renato a philandering shop owner. Out of this certain attraction between the two a tentative romance grows that’s beautiful to watch. Never has Kate’s femininity been as piercing on screen and opposite the completely Italian Rossano Brazzi, and shot by Lean’s meticulous dedication she is a joy to watch. I can’t think of writing about this film without remembering this post which (objectively) assesses all that is good – and admittedly bad – in Summertime. But, really, I’m torn when I watch it. Is it Hepburn the actress faltering in moments of uncertainty or is it Jane Hudson, the woman, unsure of her place in Italy? It’s strange, Jane is completely unlike our perceptions of Kate and yet Jane seems decidedly like Kate…or a variation of Kate (which is all the same).
It’s the sort of masochistic tendency I have, where I’m unable to appreciate the few tenuous moments of bliss in the narrative but, instead, revel in those moments where Kate’s Jane is at her lowest. Kate is known for comedy, deservedly so – but her skills as a straight dramatic actor are vastly underrated. Her technique is not that of the chameleon, but Jane – someone so generically normal – seems like a special creature in her hands. Sure, it’s the very issue that makes The Rainmaker somewhat of a mixed bag. But, the thing is, Summertime is a stronger narrative. Incidentally, Summertime was adapted into a musical (Do I Hear A Waltz?) as was The Rainmaker (1110 in the Shade) – I can’t speak for the former but the stodginess of The Rainmaker is imprvod by music… but me and by digressions…back to Italy. It’s the mark of our ideology that spinster is a dirty word, while bachelor is a suave term – but Kate’s embodiment of spinsters in the fifties (Jane, Lizzie, Rose) represents a time where the word is not a representation of something perverse but winningly noble. It’s not that Jane is such a perfect creature, but it’s Summertime is about more than making moral judgments on the characters…
It’s remembered mostly for Kate’s disastrous fall into the Canal (the body double failed to stand up “straight enough” for her), and strangely the fall is one of the few moments where Kate seems completely uninhibited – to a fault. Jane is not comfortable in her life of singledom as the officious Rose and it’s the moments of disconcertment that make her special – something that Kate gets right more often than not. Summertime is probably the perfect example of what a sentimental favourite is. But that realisation doesn’t make me appreciate any less…it’s #19 on my list of favourite films.
Have you seen Kate in this...or do you prefer another David Lean piece?
Have you seen Kate in this...or do you prefer another David Lean piece?
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Saturday, 22 May 2010
One of the reasons referred to when Titanic gets his customary bashing is James Cameron horrific writing. You know, I really couldn’t care less about the words – they’re good to me. But I understand their argument. Still, I think there’s a method in his ostensible madness. It’s interesting to note how the two most ostentatious characters (Caledon, Ruth) are the ones with the strangest dialogue. And speaking of Ruth...why is Frances Fisher’s scenery chewing so often forgotten? Sometimes some good scenery chewing is just what I’m in the mood for, and no scene shows off Frances more, though it’s an important for Rose as well.
It’s the morning after the wild part with Jack, and Cal had just done his (now famous) table tossing scene. Rose is being dressed, for church probably. She looks so troubled the scene already is grim.
You are not to see that boy again, you understand me.It’s not a question; it’s a simple statement of fact – as far she’s concerned, at least. Rose is already prepared with her look of defiance. It’s in preparation for her response, which is a perfect line from Cameron – even if it’s a little incongruous.
Oh stop it, Mother. You’ll give yourself a nosebleed.
I can’t help but laugh each time I hear. Rose is good and pissed off, and who can blame her with a mother like that?
This is not a game. Our situation’s precarious; you know the money’s gone.
Of course I know it’s gone. You remind me everyday.
Your father left us nothing but a legacy of bad debts hidden by a good name. That name is the only card we have to play.
I’ll admit, the dialogue is funny – perhaps unintentionally so, but isn’t that half the fun? Frances is giving all she has to sell Ruth’s desperation (as selfish as it may be).
Even that sentence formation is strange, as pretentious as can get. I’m probably reading too much into it, but it’s as if Ruth can’t let her guard down not even with her daughter. She continues, accusing Rose of selfishness – a claim even the more misguided of us won’t believe. And Rose isn’t misguided...I don’t understand you. It is a fine match with Hockley. It will ensure our survival.
I’m being selfish?But Ruth knows this game well, she’s a consummate schemer. This set of lines is her piece-de-resistance.
Do you want to see me working as a seamstress? Is that what you want?Frances’ voice cracks just the slightest on that word seamstress.
Rose’s expression is so unreadable...
But Ruth continues...
...to see our fine things sold at auction?
Our memories scattered to the wind.I love how she covers her mouth there, so completely fake.
I reckon Rose realises that too...
Poor girl...
It’s so unfair.She’s not really replying to her mother, as much as she’s thinking things over to herself. It’s as if the physical closeness between the two still doesn’t assure that they’ll have singularity in thought.
Of course it’s unfair. We’re women. Our choices are never easy.
I like this part, not for the line, but for Ruth’s about-face. Just a moment ago she was covering her mouth in agony, and she’s already strong enough to turn around with an impassive face to deliver this bit of knowledge. It leads into one of the most sinister maternal embraces.
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