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Showing posts with label 2001. Show all posts
Showing posts with label 2001. Show all posts
Friday, 3 December 2010
"This is what I want, naughty words."
"Oh, it's so bad."
"Don't, don't, don't stop!"
"Give me more, YES!"
Lesson Learned: a)Poetry just may be the most powerful aphrodisiac.
(b) Satine is easily turned on (Christian finds it disturbing)
(c) Elton's John's lyrics are actually useful.
Friday, 27 August 2010
I’m working on a review of another Minghella film, and after touching on his The Talented Mr. Ripley for the Movie Meme yesterday I felt like watching Cold Mountain. In retrospect I suppose that Cold Mountain’s chancing of a genuinely warm reception were sunk before it was even released. The golden age of Miramax was at a peak coming off the banner year that was 2002 for them, Nicole Kidman and Renee Zellweger were two cinema’s brightest stars, and Jude Law was no black hole himself. Truthfully, I resent the way that’s Cold Mountain is remembered today because I really do like it. Is it the shameless attempt for Oscar glory that it’s advertised at? Tough question. Perhaps…but that doesn’t really say much.
Cold Mountain is two stories in one. On one side of America Ada Munroe is working on keeping her spirits up as she waits for a man she never really knew to return home. She’s befriended by an intrepid drifter, Ruby Thewes, and together the two start to work on Black Cove farm. On the other side W. P. Inman is making his way back to Ada after having deserted his troops in the Civil War. Cold Mountain is one of those infuriating love stories that have the couple in question apart for the majority of the film. I’m sure I wasn’t the only one seduced by the possibility of Jude and Nicole together, even though they’re more often than not apart. Really, Cold Mountain’s never really a love story. Some other (potentially clichéd) maxim would probably do it more justice – finding your true selves, overcoming odds; etc.
It’s strange, somewhat, when Cold Mountain came out Nicole Kidman was immediately forgotten in favour or Jude and Renee. Granted, she’d just recently won the Oscar (deservedly) for her work in The Hours but she’d easily have displaced three of the actual nominees that year. Today, Renee Zellweger’s win is regarded as one of the Academy’s largest travesties. I chuckle at that one. I don’t know if that’s the reason that she seems to be so hated now, but it seems silly. I like Cold Mountain, and generally everything about it and I don’t find her performance offensively bad – I don’t find it bad at all. But I’m digressing…there’s no point in turning this into an entry for defensive cinema.
At its heart, it’s a war story in the best of – and worst of – ways. But for a few random moments it never goes to the forefront of battle – and even those aren’t particularly significant, but it shows the effect that war has on a small town, the effect it has on its people, especially those left behind. It’s adapted from a novel, and that makes it that less subtle when it comes to touching on the important issues, but that doesn’t make me any less fond of it. It’s on the nose, but in a good way. There’s a scene where Ruby stands in a bar, “They make the weather and then they stand in the rain and they, ‘Shit! It’s raining!’”. In all its obviousness it’s a perfect summation of war and its effects. It’s a bit of a departure for Minghella in some ways, because Cold Mountain is decidedly more sentimental than anything I’ve seen from him before. I’m willing to admit it spends about thirty minutes settling into itself as it should – but I forgive it those strange moments because even in those odd moments where the story seems to falter it’s only innocuous. The film is still technically proficient. The main trio are good, but Kathy Baker, Philip Seymour Hoffman, Brenda Gleeson, Donald Sutherland and Natalie Portman and Jena Malone in brilliant cameos do good work too. No one ever thinks of Cold Mountain in terms of an ensemble cast, but it is. And it has one of the most brilliant scores of the decades, backed by beautiful music from Alison Krauss. Perhaps, general nepotism makes me fond of it but I often think that Cold Mountain’s not given enough credit.
What did you think of Minghella’s final epic?
Tuesday, 17 August 2010
It’s a strange thing, but often when I hear the name The Lord of the Rings the first image that comes to mind is that of Cate Blanchett’s Galadriel. When we consider that her time in the epic is merely fractional I wonder why. I hate to think it’s my nepotism but perhaps it’s the simple fact that her ethereal voice is what introduces us to the piece. I often think of Cate as a voice actress (her brilliant acting often depends on how well she manages to alter her voice). So often I tie the goodness of her performance to the way she’s able to use her voice (liltingly, powerfully, coquettishly) and it’s important that her soothing voice leads us into the turbulent tale. To consider all that we perceive in a simple glance from Galadriel is testament to what Jackson is doing. The Lord of the Rings is BIG, but it’s not just about EXPOSITION. From the cantankerous farmer who appears for a bit to the protagonists of our tale, Jackson is intent on creating real people. It’s an estimable intent, but it’s easier said than done. We don’t get back-story for them, sometimes we only get a few moments and for all it’s attempting at The Lord of the Rings is no character study.
So much of this first part occurs in the Shire’s brightness that when we do get wind of the darkness in the real world it’s terrifying. It’s where Ian McKellen’s Gandalf is most necessary and most effective. McKellen has such a talent for working with expressions (and so quickly, too). In the twinkling of an eye he moves from deceptively relaxed to frighteningly austere. The Oscar snub heard around the world? No. That was some lineup and I could readily change my mind from McKellen to Broadbent to Hawke (and still make way for Kingsley). It is something curious that McKellen, known for his inspired takes on Shakespeare reaches cult status (in my head, okay) for taking on the role of Tolkien’s mythical creation. It’s not the effect wears off, because The Towers and The Return of the King are still admittedly brilliant in their own way. It’s just that there’s something extraordinary about that very first one that makes me have such an affinity for The Fellowship of the Rings.
Darren of the very prolific M0vie Blog writes:
“I think this is the benchmark for fantasy in the twenty-first century, and perhaps the most popular example of an "unfilmable" movie transitioning to screen. It's still an accomplishment, even after the success and the Oscars and the massive cultural impact, but I can't imagine how impossible it must have seemed when it was originally imagined. And that's perhaps my favourite thing about it - without seeing the film itself, it's almost impossible to imagine the sheer scale of it all. It's also some of the most impressive CGI I have ever seen, Avatar included. However, what's truly astonishing is that Jackson finds the heart of this story, and can guide the viewer to it. Despite the scale and the fantasy, it's a strangely human story.”
I all but devoured the book before I was old enough to grasp the scope of it, and as far as adaptations go The Fellowship of the Rings like its successors is anything but infallible. It’s less a slight at Tolkien and more my leniency that makes me say that I like the changes that occur in the cinematic incarnation more than its literary counterpart. And if you know how much of a literary snob I can be, you’ll know that that’s a big thing. It’s more than the staunchness of adaptation (or lack thereof) though. Literature is language based and, at its height, cinema is a visual medium. I’d watch The Fellowship of the Rings (all 3 hours of it) on silent. It’s not just the CGI though, but I remember The Fellowship in fragments. I have the image of Gandalf’s magic fireworks or Galadriel’s mirror or Arwen’s incantation in the river. On the note of Arwen, it’s easily my favourite deviation from the novel. I’m only infinitesimally displeased that Tolkien’s actual story is so devoid of significant female vigour and I applaud Jackson for giving Arwen power without making it too “Amazonian”. Call it what you will, but Arwen’s journey with Frodo on horseback is one of my favourite scenes of the entire series though there’s not really that much going on. Perhaps it’s because that particular bit of the score is my favourite, or maybe it’s just the climax of the water on the Wraiths – I don’t know, whatever it is it’s proof of how brilliant Jackson and company are.
So many actors were swept to the forefront with the films, though few utilised their status as much as Viggo Mortensen who went on to become one of the decade’s strongest actors. On that note, Heather of the classy Movie Mobsters is with me on becoming a believer of Mortensen with the series.
“At first viewing of the Fellowship I had not read J.R.R. Tolkiens acclaimed novel. In fact I had such disdain for Viggo Mortensen and Liv Tyler that I refused to watch the film. Not only did I fall madly in love with Viggo and Liv, but I was shocked by how amazing the film and the story itself were. The screenplay adapted by Philippa Boyens, Fran Walsh and Peter Jackson himself, was done with such care for the original work of Tolkien and such great lengths were met to keep the integrity of the character’s and their journeys that this is without a doubt some of the best literature translated to the big screen ever. Every aspect of this story was done with the admiration of a true fan and the brilliance of an amazing filmmaker. The Fellowship of the Ring is what going to the movies is all about, and the best part is it’s only the beginning of the journey.”
Heather touches on what’s, possibly, the crux of the brilliance of the The Fellowship of the Rings and the entire trilogy in fact. Jackson is a fan of the franchise, he loves what he’s doing and ultimately no amount of skill, proficiency or flair can combat the love for one’s trade. All three films in the trilogy exude that, and none more than this first instalment. When this does get posted I’ll still be on my break…so in place of what should be a MEME post I’ll point out that The Lord of the Rings trilogy is my favourite series of related films….and this first instalments falls at #3 on my list of favourite films.
People, remember I'm MIA: automated posting.
Tuesday, 3 August 2010
“Murder in the middle of the night, a lot of guests for the weekend, everyone's a suspect.”
0 comments Posted by 2011 at 01:07Although it’s not my favourite film, I often think of Gosford Park as the sleekest films I know. I know it sounds perverse but was it a person; I think I’d be moved to seduce it. It’s even stranger when I consider the fact that there’s little that’s erotic about it. I cited it as my favourite ensemble of the last decade, and I’d probably call it the best ensemble if I included the nineties and eighties, too. Gosford Park is a film concerning class boundaries. A group of aristocrats, along with a film producer and actor, make their way to the eponymous Gosford Park (though it’s never referred to by name) for hunting, and other activities of the elite, for a few days. With all these genteel folks come their servants. In the midst of the second night, a murder occurs – the host. But this is not a Clue inspired piece; neither it is an Agatha Christie thriller. Certainly, a significant amount of beauty derives from a moving confession concerning the murderer, but Gosford Park is less concerned with who and more about how and why…and not just the how and why of the murder, but the lives of our characters – all of them. In this way, Gosford Park sets itself up for something almost akin to failure. The cast is expansive and Altman has to manoeuvre upstairs, downstairs, and back again and all this must be done whilst keeping the narrative taut, but maintaining sedateness that’s necessary. I feel it succeeds on all counts – it’s curious how Gosford Park doesn’t only improve on subsequent viewings but still manages to thrill just as much as the first time.
Alex (who adeptly juggles two blogs of note: Alex in Movieland and My Last Oscar Film) weighs in it and his words sum it up so perfectly:
“It is by far my favourite Robert Altman! Even that says enough; and what could be more interesting than seeing the flawless product of a director at the height of his career? Nobody else could have directed this: the casting is great and the acting beyond words, probably Helen Mirren’s best performance (E/N: true dat). Gosford Park gathers comedy and mystery and drama and romance and wraps it all up in that touch of arrogance and glamour that just makes me wanna ask for more.”
I’m glad Alex touched on the genre shifting that’s occurring. I really can’t say how impressive it is that Gosford Park manages to touch on all that while still maintaining that austere brilliance. There’s a fluidity to Gosford Park even in its demarcated plotlines. I never think of it in pieces, but as one continuous narrative. The entire thing just flies by…It’s interesting though; I think of Kristin Scott Thomas first when I think of the actual film, for many reasons. She’s not my preferred performer in it (*that is she*), but she’s second. Sometimes I’m even more thrilled by her Sylvia McCordle than her Katherine Clifton, and considering how much I’m smitten with the latter – that’s no mean feat. There’s a marvellous dinner moment that always pleases me, I end up rewinding each time. Truthfully, it depends just as much on Emily Watson (her career best in my opinion) and Michael Gambon (deliciously wicked, here).
SYLVIA McCORDLE: 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.
The moment has more value than Elsie’s out-of-turn response. Kristin puts so much emotion into that single line reading and she’s such a steely hostess we rarely get to see her true feelings. Sure, she’s a bit of bitch but she’s an affable bitch despite the ostensibly cold exterior. She’s a strange woman, really. Her scintillating chemistry with Philippe is replaced with a frosty shoulder the next morning. Then there’s a moment that confuses me, I’m not sure if it’s Sylvia or Kristin caught unawares. When Henry Denton has the hot coffee spilt in his lap she releases an almost inauspicious titter that I never see coming no matter how I often I watch the film. It’s another reason why Gosford Park works so well, everything is just so realistic. And on that note of realism consider Yojimbo (of the sage Let’s Not Talk About Movies) and his thoughts…
“Robert Altman’s films are never tidy. They seem to happen “in media res,” as if he just turned on the camera and was filming events as they happened, and they were going to happen, camera or no, with no regard to film-making “rules.” People cluster in odd groups, talking over each other, the camera sometimes seeing nothing while over-hearing in its journey, sometimes separated from the crux of a scene by glass, by terrain, and by happenstance. It’s Robert Altman’s party, and we’re the wall-flowers, impotent, capable of doing nothing but observing and reacting. We are almost-innocent by-standers, detached, but complicit.So, when Altman does a British family drawing room murder (and why anyone would be surprised that Altman would do such a film is itself a mystery, as he was eager to subvert all genres), it cannot end in a burst of connected dots and logic. It involves family, after all, and all families have secrets, as all houses have closets. And the foundation is shaky enough (the crises here being financial) that when one closet door closes, another opens. Families aren’t tidy, either, even after the blood stains get cleaned, the culprit is safely carted off in the Black Maria, and Altman turns off his camera. Murders, like families, are messy things, mysteries within puzzles within conundrums. As such, they are Altman’s natural turf.”
You could probably take his words and let me just shut up (but I’ve never been one to have a word filter…). It’s those intricacies that define Gosford Park. Blink and you’ll miss them, but pay attention and you’re in for an embarrassment of rewards. Gosford Park manages to seem ridiculously sagacious and yet still relatable. No we don’t live England where the class system is dying but we are people and take them from their setting and everyone at Gosford Park is a real person capable of all the human emotions we can imagine (from the grossest vices to the oddest bouts kindness). It’s the things like the fact that Sylvia can seem so austere but the slightest chink in her armour is obvious when her husband (inadvertently?) chooses her sister over her. Or the weirdest way in which Mabel is almost sickeningly enamoured with the movie guest – Jeffrey Northam who has the unenviable task of being both participant and voyeur in the film. Then there are the quotable lines which every actor milks (but not too much) but none more than Maggie Smith who’s line readings (I haven’t a snobbish bone in my body) – she manages to make any line turn into a scintillating example in caustic brilliance.
I’m never sure if Altman and Fellowes want us to feel that those downstairs are nobler than those upstairs, because they’re all quite wicked. Kelly MacDonald gets to play our ingénue and as a servant we get more insight into the workings of their minds. Emily Watson’s Elsie is in the same register as Scott Thomas’ cold Sylvia – of course the only thing that divides them is that one’s a maid and one’s a lady. It seems more than accident that our not-so-benevolent host is sleeping with them both (he is sleeping with his wife…right?) Then, all the hilarious if innocuous plot points are threatened when the emotional core takes precedent – that’s another part of Gosford Park that you’re unprepared for. Helen Mirren is just too excellent for words that I never can get over the highway robbery concerning her and that little golden man. Altman almost stifles us with one beautiful exposition after another, further enhancing the fluidity of the narrative. It’s more than that, though. Helen moves from the brilliance aloofness in her scene against McDonald to being compellingly moving without a word as she cries in the bedroom with Eileen Atkins. And speaking of Eileen Atkins… It’s weird how so few lines seem so weighty when a talented performer gets them – “Don’t cry, they’ll hear you.” It’s chilling.
The thing is, at the end of the day it wouldn’t be wrong to single out its style as Gosford Park’s saving grace. Strip it bare and what we have is the tale of the poor struggling in the world of rich (and the rich unhappy even though they’ve got it “all”) – it’s a world where the poor either strive for idealistic escape or succumb to their lives. It’s not that Altman and Fellowes cover up this simple ideology with fluff – nothing in the film could be termed as such. What they seem to realise is that life is made up of more than the black-and-white and the beauty in Gosford Park is watching these shades of the gray as the minutes go by, the beauty in reading a script that’s too perfect for words, the excellence in watching Altman submit his magnum opus and it’s the brilliance in seeing every single actor in the cast turn in an excellent performance (the most deserved SAG win I can remember). Here it appears at #5 on my list of favourites.
What (or who) would you single out as Gosford Park’s saving grace?
Thursday, 11 March 2010
I always wonder if writers know that a particular character is going to be excellent on screen. I suppose with the obvious ones like Blanche DuBois, Lady Macbeth, Lavinia are obviously something special even as we read. But supporting ones are tougher to gauge. I never realised the power of Honey until I saw Sandy Dennis’ chilling portrayal and even last year I never thought Helen would be so important until Rosamund did her work. It’s something I love in an actor – when they take something slight and turn it into brilliant. Has anyone done it more brilliantly than she...? – spoilers ahead…
#9 Helen Mirren in Gosford Park (2001)
Sometimes I think that Gosford Park is a movie that must be watched thrice; the first time to set the pace and understand the story, the second time to see the clues thrown our way and the third time to piece it all together. I suppose that that’s a reason that it’s not as widely appreciated since no one feels they should have to watch a film more than once. Still, regardless of how you watch and even though Gosford Park boasts so many actors doing good work (namely Kristin Scott Thomas, Ryan Philippe, Maggie Smith) Helen Mirren stands out. Like households in the era the home is not ruled by the woman of the house – Sylvia, but by the Head Maid – Mrs. Wilson. Mrs. Wilson is a woman who says little but thinks much. Her way of identifying the servants below the stairs is an excellent device. You know I get all hot and bothered when actors show extreme subtlety and Mirren is excellent doing that. Notice her first meeting with Clive Owen. When he says his name there is the slightest jolt in Mirren’s eye that’s easy to overlook but becomes obvious as we re-watch. She repeats the name tentatively and then says coolly, “Mr. Parks, below stairs you’ll be known as Mr. Stockbridge.” It’s only after the film ends we realise just how much Helen is telling us by saying nothing.
She really has a difficult role to play actually. She needs to be cold but she cannot be cold and throughout the film, even though we know she’s a bit of a hardass we never dislike her or her doubt her skill, and yet she’s never pompous about being so good. I like the moment where Kristin Scott’s Sylvia bursts in during the servants’ dinner. She’s perturbed to find out that one of her guests is a vegetarian – of course the omniscient Mrs. Wilson has already found out and addressed the situation. I love Sylvia’s response. Thank you, Mrs. Wilson – ten steps ahead as usual. It’s the tongue-in-cheek lines I love because Sylvia’s words are more accurate than even she realises. But Helen balances this by giving us glimpses of Mrs. Wilson that puzzle us – like that trip she takes to Mr. Stockbridge (Mr. Parks) room. The wistful look on her face is difficult to ignore, and even in that same aforementioned dinner gathering as Parks speaks of his childhood such subtle reactions from Mirren. What a genius. Her line readings are just excellent, she has one of the best in the film actually – “I’m the perfect servant, I have no life.” Her entire final scene with McDonald is excellent, there is no tinge of self pity, just brilliant honesty.
But what really thrusts the film forward are those final moments opposite Eileen Atkins, it changes our entire perspective of Ms Wilson and she does it with little words. That breakdown is not just for theatrics but it’s the most moving portion of the film. As she says the line “I’ve lost him. I’ve lost him.” The gravity of what we’ve seen before finally registers and it’s all for the brilliance of Helen Mirren.
Mirren was robbed on an Oscar here and it remains as my favourite performance of this genius. But what do you think of Helen here?
Wednesday, 24 February 2010
If I had labelled this list “the most iconic” performances of the last decade, there’s a possibility that this could have found its way at the very top. The word iconic is not one that I use lightly, but when a mere image – a stick, a beard, a horse can signify so much and when a believed character is so potently created on screen it can’t help but become iconic, and though he’s not at the very top on the list of my favourites – he’s close.
#13 Ian McKellen in The Lord of the Rings: The Fellowship of the Rings (2001)
I never was one to lump all three Lord of the Rings films together. Still, it does have its benefits – I’m never certain where one begins and one ends and sometimes I end up choosing one or the other on the strength of the story (Tolkien’s) more than on the strength of Jackson’s filmmaking – which is consistently strong throughout. Even if I’m to judge McKellen’s Gandalf sometimes I wonder if his arguments with Worm Tongue (The Two Towers) or those with Ian Holm (The Return of the King) aren’t all equal, sometimes superiror to his work in the first instalment. It is a quandary; I’ll single out his work in The Fellowship as the key even if his work in the other two is in no way less.
The essence of Gandalf – Tolkien’s creation and McKellen’s incarnation – is his trustworthiness. How does one create someone so amicable, the youngest child would not hesitate to approach but formidable enough that the greatest entities would doubt (if only momentarily) before crossing. It’s a bit of an incongruity perhaps, but it’s one that is not apparent when McKellen is at the helm. One thing I constantly appreciate about his Gandalf throughout is his subtlety even while painting a character than exists in such broad strokes. It’s the eternal difficulty of creating such a character; Gandalf is the emblematic fatherly figure, the wise one but McKellen’s Gandalf is neither too wise nor too paternal. The moment where I always get drawn to his brilliance occurs when Bilbo shows him that fateful ring. One can almost hear the very words forming in his head – he’s shocked, confused, aroused, and anxious all at once and that brief, but significant burst of anger always surprises me. Gandalf is written in broad strokes, but McKellen doesn’t play him likewise.
He is consistent though. Each member of the fellowship, all at the Council of Elrond, even – know of the danger that lies ahead, but sometimes it seems Gandalf alone truly realises the gravity of the journey ahead, or perhaps its McKellen alone with so little screen-time signifies how worried he is. His simple act of closing his eyes as Frodo volunteers to be the ring bearer is possibly the most significant sigh of the film; in fact all the moments of extremely subtle facial acting can be accounted to McKellen. I always am impressed by his talent, even those moments that could become clichéd or cyclical are never thus with him: like his irritated look at Pippin when he wakes the Orcs in the cave (a look that is mirrored in The Return of the King with that ball…).
One thing that continues to puzzle me is Gandalf’s exit in The Fellowship of the Rings. His final line – fly you fools – more than being a significant line always piques my interest. Certainly, Gandalf is not immortal or omniscient – perhaps it’s that wry look on McKellen’s face as he delivers the line, but I always think that Gandalf knew he’d be getting out of that cave, by hook or by crook. It’s a question I can debate forever; it can’t be proved - for obvious reasons. Nevertheless, it’s these provocative moments that I return to each time I see The Fellowship. Only few actors could boast of such moments. Unlike the majority, when we return to McKellen’s performance new things arise each time. His Gandalf is not just a literary character, but an iconic person.
Previously...
James McAvoy in Atonement
Brad Pitt in Burn After Reading
Sunday, 10 January 2010
Here’s my overdue assessment of the final three categories in 2001 in film.
Notable Missed Titles
Black Hawk Down: I actually have no excuse for not seeing this, I had the DVD for a week gave and back and still didn’t see it. It’s not like I don’t like Ridley Scott either; The Man Who Wasn't There: No reason for not having seen this either, although I'm not quite sure I'll like it.
Pearl Harbour: The Mad Hatter said it wasn’t anything good, so maybe I dodged a bullet with this one; Amelie; Amores perros: Why is it that I don't see enough foreign language cinema? These two are often revered, but alas. I've not seen either; The Shipping News: Never saw it over here, Kevin Spacey+Judi Dench+Cate Blanchett? I think I could like this one; Sexy Beast: I’ve wanted to see this, but it’s been more of a latent demand since I’ve never tried to get it. Should I?
Writing [Original Screenplay]
Bandits
Gosford Park
Legally Blonde
Moulin Rouge
The Others
Gosford Park and The Others face off her with Bandits as a close third. Of course Fellowes’ eclectic Gosford Park is an easy winner but The Others’ screenplay most not be underrated.
Writing [Adapted Screenplay]
Bridget Jones’ Diary
In the Bedroom
The Lord of the Rings: The Fellowship of the Rings
Ocean’s Eleven
Shrek
In the Bedroom and The Fellowship of the Rings face off here. I end up giving it to the latter that manages to condense the looooooooong and episode first part of the series, changing characters and taking this and that out and making it work completely. Extra points for that final minutes from Galadriel onwards where the dialogue is exceptional poetic. Tolkien would have been impressed.
Director
Tier Two
Steven Soderberg for Ocean’s Eleven
Atoine Fuqua for Training Day
Richard Eyre for Iris
David Lynch for Mulholland Drive
Ron Howard for A Beautiful Mind
The Nominees
Alejandro Amenabar for The Others
Todd Field for In the Bedroom
Peter Jackson for The Lord of the Rings: The Fellowship of the Rings
Baz Luhrman for Moulin Rouge
The Pictures
F: Shallow Hal[#56]; Rat Race [#55], Not Another Teen Movie [#54], Scary Movie 2 [#53], Josie & the Pussycats [#52], Cats & Dogs [#51]
D-: Baby Boy [#50], The Wedding Planner [#49], America’s Sweethearts [#48]
D: Kate & Leopold [#47], The Princess’ Diaries [#46], Corky Romano [#45], Osmosis Jones [#44], Summer Catch [#43]
D+: The Fast & the Furious [#42], Get Over It [#41], Town & Country [#40]
C-: Sugar & Spice [#39], See Spot Run [#38]
C: Vanilla Sky [#37], The Mummy Returns [#36], The Glass House [#35]
C+: Serendipity [#34], Swordfish [#33], American Pie 2 [#32], Lara Croft: Tomb Raider [#31], Heartbreakers [#30], Ali [#29], Monster’s Ball [#28], The Mexican [#27], Planet of the Apes [#26], Two Can Play That Game [#25]
B-: The One [#24], Down to Earth [#23], Blow [#22], I Am Sam [#21], O [#20], Monsters’ Inc [#19] A Knight’s Tale [#18], Harry Potter & the Sorcerer’s Stone [#17], Memento [#16], Save the Last Dance [#15]
The Top 14
#14 Bridget Jones’ Diary [B]
It’s a slight British comedy, but no less enjoyable for it. Zellweger manages to make her Bridget a true heroine all the while highlighting her ghastly qualities. There’s a self assuredness to the writing which doesn’t undermine its source or play down to it.
#13 Mulholland Drive [B]
Lauded by so many I find no shame in saying that I don’t get this film at all, and I don’t think that I’m as effusive a fan either. Certainly, David Lynch imbues it with some enviable traits and Naomi Watts and Laura Dern though not my favourites are splendid. It’s a film that demands a repeat viewing, one that I am unwilling to give it. But even if I can’t quite admit it’s brilliance, I do know that it’s a good film.
#12 Legally Blonde [B]
Legally Blonde plays like the typical teenage female empowerment film, but it’s so aware of its strength, and yes its shortcomings, that it’s able to become more than just the bauble you’d expect it to be. Of course, most of that can be accredited to Reese Witherspoon’s entertaining Elle Woods, but it’s also silliness and simultaneous smartness of the lines and the willingness to make all it’s characters – including it’s dubious heroine – the butt of jokes.
#11 A Beautiful Mind [B]
I’ve never been an unwarranted fan, but I can’t despise this so many have come to. My essential problem with this is Jennifer Connelly who makes me resent all that Russell Crow tries to do with his character. Surely, Ron Howard is not the most innovative director but A Beautiful Mind is a fine film from where I stand.
#10 Iris [B]
I demand a rematch of Kate and Judi. It remind me of The Godfather II where we have two stalwarts [DeNiro and Pacino] but never in any scenes together. Similarly, I wish that Dench and Winslet could have gotten a chance to play off each other. Nevertheless, Iris manages to work quite well with the charming Jim Broadbent turning in a good performance.
#9 Training Day [B]
It’s not as generic as the good cop/bad cop tag it’s been given. Denzel Washington and Ethan Hawke give two good performances, but the film is a garish and seemingly authentic portrayal of a day in the life. The writing packs a punch and there is not a wasted moment of screen time here. Even Eva Mendes cannot spoil this.
#8 Shrek [B]
To be fair, Shrek 2 was able to capture the charm just as well as the original; but there is just something, some sort of unique panache about the first time we meet this ogre from the swamps. It’s more conscious about its surroundings than most films of its kind and it does it all while paying reference to its peers that are both cheeky and refreshing. Children may find it entertaining, no doubt, but this is definitely a fairytale for adults.
#7 Bandits [B]
It is a flawed comedy, but with it works cast so boldly and comes up with such rambunctious goings on that we can’t help but forgive the faults. Cate Blanchett does a wicked comedy bit that often goes uncredited and although it may not have anything profoundly fresh to add to its genre it does it with much aplomb.
#6 In the Bedroom [B+]
Detractors have called it out for its compactness but they miss the point that In the Bedroom never attempts to be larger than life. It’s more efficient than many try to be and does it better than most. The cast’s work is so good because the film is so compact. To look at the ending in isolation does make it seem a tad jaunty, but it’s when all comes together that we realise the goodness of this piece.
#5 Ocean’s Eleven [B+]
This Soderbergh remake is edited like magic [only oversight made me leave it out here], it features a cast ready to make a movie and completely unselfconscious about it. Soderbergh, as usual, is intent on entertaining us without ‘dumbing’ the subject for us and as Ocean’s develops we can’t deny that we’re enthused.
#4 The Others [B+]
The atmosphere evoked in this thriller is so strong that I almost wish it was done in black and white like those old movies. Nicole Kidman gives a strong performance, but she’s not the only thing that makes this worth watching. It takes the twist that The Sixth Sense uses but makes it more fulfilling. The difference is that without the twist The Others still works as a profound drama and here the trick is less of a superfluous ploy and more of a profound psychological strategy. It’s probably all the same for some, but this film is a underrated goodie.
#3 Moulin Rouge [A-]
As I’ve said in my review, Moulin Rouge works wonderfully when it shouldn’t, the garish lighting, the startling colours, it all comes together beautiful. As Jim Broadbent watches over all and Nicole and Ewan are delectably perfect and Luhrman instils it all with something so wonderful. I’m not sure that it’s perfection, but it’s so fun that even when you finish you forget that this is a film where the heroine dies. Of consumption no less.
#2 Gosford Park [A+]
Gosford Park is the type of film you could use to show people how to make good films. It’s the type of film where repeated viewings are demanded, not because the film is esoteric without it but because with them you realise just how astutely Altman has completely created a world where nothing is done superfluously. Like the way Helen Mirren almost imperceptibly starts when she hears the name Parks or the way that Emily Watson twinges just a little as she sees her master, or the impish self-centredness of Maggie Smith. It’s a thoroughly enjoyable mystery that’s more than a mystery and doesn’t take it’s audience for dunces. That’s a rarity.
#1 The Lord of the Rings: The Fellowship of the Rings [A+]
There’s nothing like the first one. The Fellowship has an edge because it’s the lightest of the three while still having enough of the seriousness to not be bauble like. Ian McKellen is outstanding as Gandalf and Liv Tyler is perfect as Arwen. Surely, the role is not true to the novel but seeing her protect Frodo from the Wraiths is such a beautiful moment. In fact, the entire film with just has the magical feel to it – cliché, but still true.
So which 2001 piece would you trumpeting today? Altman, Jackson or Luhrman? Or neither? Which Kidman piece?
Wednesday, 6 January 2010
So. Now it's on to 2001 and the acting of the women. It was pretty here and there, I didn't agree with either of the AMPAS' choices. But that's nothing new, for me.
Supporting Actress
Tier TwoCate Blanchett in The Fellowship of the Rings
Laura Dern in Mulholland Drive
Cameron Diaz in Vanilla Sky
Michelle Pfeiffer in I Am Sam
Kate Winslet in Iris
Strangely Kate doesn’t make the list, though I think her performance is outstanding. I’m not sure I quite ‘got’ Mulholland Drive, and strangely I don’t think I care. Still, Laura Dern was fine as I remember her. Blanchett’s Galadriel was a thing to behold and she made a profound mark with such a small role in a film of such cope. Pfeiffer and Diaz were underrated. Pfeiffer’s character in I Am Sam was a throwaway one, but completely realistic, and Diaz was the best thing in Vanilla Sky. That’s not saying much, though. And although Kerry Washington didn’t make the list, her work in Save the Last Dance was the strongest in the film too. And she was a complete delight.
The NomineesCate Blanchett in Bandits
Helen Mirren in Gosford Park
Maggie Smith in Gosford Park
Kristin Scott Thomas in Gosford Park
Marisa Tomei in In the Bedroom
Marisa Tomei showed us in In the Bedroom that her Oscar was not a fluke; but she was steamrolled by the Gosford ladies for me. Helen Mirren is most impressive as Mrs. Wilson – a truly exceptional performance, followed by the overlooked Kristin Scott Thomas in a cold turn as a longsuffering wife. Cate Blanchett’s comedic genius only just edges out Maggie Smith for another comedic performance, this time in a drama.
Lead Actress
Tier Two
Halle Berry in Monster’s Ball
Julia Stiles in Save the Last Dance
Naomi Watts in Mulholland Drive
Sigourney Weaver in Heartbreakers
Reese Witherspoon in Legally Blonde
Watts and Berry are just knocking on the door of the five. Once again, I can't jump with such delight on Mulholland Drive train, and I can't say I has aching for Watts to be nominated; but she was good in her film. But Sigourney and Reese carve enjoyable comedic characters in their films, and though I suppose it’s residual adolescence I do find Stiles charming in Save the Last Dance.
The NomineesJudi Dench in Iris
Nicole Kidman in Moulin Rouge
Nicole Kidman in The Others
Sissy Spaceck in In the Bedroom
Renee Zellweger in Bridget Jones’ Diary
Judi Dench’s Iris is not her strongest work, but it’s still nomination worthy. Nicole Kidman takes the gold and silver for Moulin Rouge and The Others respectively. Of course double nods are not allowed at Oscar, but both were exceedingly impressive performances. Sissy Spaeck is third for her haunting work in In the Bedroom.
What were your thoughts on the year?
Monday, 4 January 2010
I hope you're not getting tired of my year be year process of reviewing the decade. I care if you do. Honest, I do. No one? Good. So, on to the actors of 2002. I didn't see a few of the films with the outstanding males, and when I did I made some different choices. Oh well. Who wants generic picks?
Supporting Actor
Tier Two
Matt Damon in Ocean’s Eleven
Colin Firth in Bridget Jones' Diary
James Gandolfini in The Mexican
Ed Harris in A Beautiful Mind
Clive Owen in Gosford Park
Damon, Firth and Galdolfini rise above some incredibly stock characters and make magic. Damon especially is a hoot as Linus showing some incredible comedic skills. His rapport with the cast [especially Pitt] is delightful to watch and just makes Ocean's Eleven a success. Harris is good in A Beautiful Mind and Owen only just misses the mark as the enigmatic Parks in Gosford Park.
The Nominees
Sean Bean in The Lord of the Rings: The Fellowship of the Rings
Jim Broadbent in Iris
Jim Broadbent in Moulin Rouge
Ian McKellen in The Lord of the Rings: The Fellowship of the Rings
Ryan Philippe in Gosford Park
I suppose Philippe seems like a dud here, but if Gosford Park did anything it was proof that he could act. He had an oddly fascinating chemistry with Kristin Scott Thomas and lent a definite charm to the film. So in the battle of Gandalf vs Boromir, Gandalf is the winner. Obviously. Boromir is a mere human. And Jim Broadbent faces off against himself with his Zidler from Moulin Rouge prevailing.
Lead Actor
Tier Two
George Clooney in Ocean’s Eleven
Heath Ledger in A Knight’s Tale
Guy Pearce in Memento
Sean Penn in I Am Sam
Mekhi Phifer in O
Maybe I'm easy on him, but Heath Ledger was oddly charming in A Knight's Tale, and Clooney whom I usually despise works his charm with much aplomb in Ocean's Twelve. Though I never really got into Memento Pearce was fine, and Penn had a tough job with that hammy character in I Am Sam. I'm glad he was nominated at the Oscars actually. He and Phifer are the best of this bottom five.
The NomineesRussell Crow in A Beautiful Mind
Ethan Hawke in Training Day
Ewan McGregor in Moulin Rouge
Denzel Washington in Training Day
Tom Wilkinson in In the Bedroom
I suppose it is surprising that Crow is there, but I did feel he was one of the truly strong things about the film. Of the two Training Day guys I’ve already pledged my allegiance to Ethan Hawke who emerges as the winner [surprise, no?] with Tom Wilkinson close behind for heart wrenching turn in In the Bedroom. Ewan McGregor secures the bronze for an underrated and exceptional piece of acting in Moulin Rouge.
So, surprised at Ethan Hawke, Sean Bean, Ryan Philippe? Who are your choices?
Sunday, 3 January 2010
Univarn remarked a few days ago in a podcast that 2001 was the beginning of the battle between two franchises – The Lord of the Rings and Harry Potter. I happen to like both, but I don’t really think it’s fair to compare the latter to the former. Other than the two blockbuster hits, 2001 was filled with some goodies. So, on to another year in the decade I’m looking at the technical categories.
Original Song
“May It Be” from The Lord of the Rings: The Fellowship of the Ring
“If I Didn’t Have You” from Monsters’ Inc
“Come What May” from Moulin Rouge
I didn’t see Pearl Harbour so I can’t make Faith Hill’s “There You’ll Be” eligible. The Mad Hatter did say that I didn’t miss anything, but the song was fine. Schmaltzy, but fine. I wasn’t too keen on the song from Monsters’ Inc. It was good, but I didn’t see it as a winner. We all know about the controversy with song rules not allowing “Come What May” to be eligible. Enya’s “May It Be” was my favourite of the year.
Original Score
A Beautiful Mind
Gosford Park
Harry Potter & the Philosopher’s Stone
The Lord of the Rings: The Fellowship of the Rings
The Others
Visual Effects
Harry Potter & the Philosopher’s Stone
The Lord of the Rings: The Fellowship of the Rings
Moulin Rouge
Of course Moulin Rouge was not really that technical in the ostensible way, but it was something of a visual delight – which is why it ends up here. Harry Potter had some cool special effects but of course nothing could conquer The Lord of the Rings. Enough said.
Sound Effects
The Lord of the Rings: The Fellowship of the Rings
Memento
Moulin Rouge
Shrek
Planet of the Apes
Art Direction
Gosford Park
Harry Potter & the Philosopher’s Stone
The Lord of the Rings: The Fellowship of the Rings
Moulin Rouge
Planet of the Apes
The Lord of the Rings trumps again here with Moulin Rouge as a close runner-up. Both films had some effective and sometimes outlandish set designs and both made them work to success. Gosford Park’s art direction was a little more subtle but no less impressive. Is Harry Potter a head-scratcher for you? I hope not. I’m not explaining it.
Costume Design
Gosford Park
Harry Potter & the Philosopher’s Stone
Legally Blonde
The Lord of the Rings: The Fellowship of the Rings
Moulin Rouge
What a five. Legally Blonde isn’t in my top 3, but you have to admit Reese Witherspoon looked good in pink. The Lord of the Rings trumps here, but Gosford Park had some realistic, lived in and original costumes. Moulin Rouge is next.
Cinematography
Gosford Park
The Lord of the Rings: The Fellowship of the Rings
Moulin Rouge
Mulholland Drive
The Others
Gosford Park wins here, easily. Camera movement here was just so effective, and of course it was. It was an Altman flick. The Lord of the Rings and Moulin Rouge battle it out for second and third respectively. The Others and Mulholland Drive both had formidable cinematography
Editing
Gosford Park
The Lord of the Rings: The Fellowship of the Rings
Memento
Moulin Rouge
The Others
PS. In case something momentous happens today on the blogosphere, I won't be here. I'm banning myself [just for today]. School opens tomorrow, I have to do some reading. Joy.
Saturday, 3 October 2009
Spectacular, spectacular. Zidler, Satine and Christian must convince the Duke to fund their new play, a new play that has not been written. The manic recitative rendition that occurs in the bedroom is beautiful to look at yet absurd at the same time. With his frenzied camera movements and the orgasmic explosion of colours Luhrman does something that may not be quite new but it is rare. And as it is in ‘Spectacular, Spectacular’, so it is in Moulin Rouge!
If Shakespeare had decided to do a musical in his youthful days [re A Midsummer Night’s Dream, Love’s Labour’s Lost] I don’t suppose that Moulin Rouge! would be far off from his creation. The plot of Moulin Rouge! is as absurd as the most bauble like of Shakespeare plays and Elizabethan trifles of the era. Propelled by a sensitive artist, it is about his yearning to experience the bohemian life as he falls for a delectable vamp who may not be as reckless as she pretends. It has a dark, brooding villain looming over it complete with the necessary henchman to carry out his underhand work…and all this occurs under the watchful eyes of our benevolent host – Harry Zidler. This is the Moulin Rouge! Moulin Rouge! should probably come with a warning…leave all propensity to disbelief at the door. Because we really cannot take it as truth, and yet every movement of the characters enthral and we are indeed hooked.
All the virtues and vices of Baz Luhrman come to glorious congregation in Moulin Rouge!’s outrageous scheme. The film is thoroughly his and just as Burton Sweeney Todd was thoroughly his, it is the same for Luhrman. However, despite my love for Moulin Rouge! my appreciation of it does not pitch in until the entrance of Satine. It’s not that Ewan doesn’t do a good job as the lead, because he is phenomenal. And the scenes outside of the Moulin Rouge! are pretty to look at, but it is not until 'Diamonds Are A Girls Best Friends', or possibly 'Diamond Dog's from just before that the charm of what is the Moulin Rouge! really kicks in. Satine’s entrance is one of the most thrilling entrances I can recall on film – musical or not. It is all orchestrated so well with the paleness of Nicole against the dark backdrop of the club. She truly is a sparking diamond.
Moulin Rouge! treads a line that is almost impossible to go along smoothly. The film is an odd mix of hilarity, tragedy, drama and comedy and it doesn’t stay in one tone for too long. It’s a bit of a risk on the creator’s part. This is not the Elizabethan era which demands obtuse comedy to heighten the drama. This is a film of the new millennium. But it works. And no doubt the gameness of the cast is essential. Ewan and Nicole are wonderful as the lead and John Leguizamo, Jim Broadbent, Richard Roxburgh and Caroline O'Connor
all given in top notch performances. This is a true ensemble film, in every sense of the word.
Yes, it gets a bit silly when we think of it. Is there any fatal disease as ubiquitous as consumption in 19th century period pieces? But despite its silliness...or perhaps because of it there is a sweetness and charm to Moulin Rouge! that is not lost on me.And I really do love it. It’s doubtful whether or not Baz will ever be able to helm a film so in keeping with his talents. But regardless, we’ll always have the Moulin Rouge! Truth! Beauty! Freedom!...and the last one escapes me... Whatever, it's #89.
Wednesday, 30 September 2009
It’s hard enough being in one film with a huge cast, but when you’re in one of three films all with huge casts, someone is going to end up getting lost in the rubble. When the film in question is The Lord of the Rings, you’re just happy you’re in the biggest trilogy of all time. You’re not a hobbit, you’re not Gandalf, and you’re not Aragorn…so you probably will be forgotten. Like this entry.
Sean Bean in The Fellowship of the Rings
as Boromir
We first meet Boromir at the Council of Elrond as the representatives ponder what to do with the ring. Boromir goes against the grain, why not keep it and use it’s power – for good. He immediately rubs us the wrong way. Obviously his persona is in complete opposition to Aragorn – or Strider as we know him. This is not the noble man; there is a lust for power in his eyes that is not lost on us. When he realises that Aragorn is the heir of Isildur his contempt is not hidden well. “Gondor has no king”, he sneers to no one in particular. Aragorn is our hero and that is where our allegiance lies, but we can understand Boromirs feelings. With his father as Steward of Gondor he is the imminent steward and Aragorn poses a direct threat to him.
Boromir is one of the nine chosen for the journey to Mordor and the Fellowship continues as good as can be expected. All memory of Boromir coveting the ring is gone until that day that Frodo lets it drop carelessly. Boromir picks it up “It is a strange fate that we should suffer so much fear and doubt over so a small thing”…we have forgotten that this ring really is something dangerous, no matter how small it is.But that malevolent look in Boromir's, who has become friendly with the hobbits, eyes is something distressing.
In the entire of the trilogy Boromir’s death stands out for me as the most profound. After becoming overwrought with his lust for the ring he frightens Frodo into putting on the ring and breaking the Fellowship. With the donning of the ring the Orcs arrive and wreak havoc on the Boromir, Aragorn, Gimli and Legolas. Boromir has already become enraged with himself and he fights valiantly to protect the little ones…but he dies, poetically of course with an arrow through him. It’s that final scene that sells me…as he pleads to Aragorn forgiveness. "I have failed you all." And then those final lines "I would have followed you, my brother...my captain...my king"…it is the saddest moment in the film. We realise that this is not a superhero film or a fantasy flick that ends in happiness for the good guys or those trying to be such. This is a poignant and somewhat tragic tale of man. I don’t think I’ll ever forget Sean Bean’s performance.
But what about you? Does Bean impress you as Boromir?
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