Johnny Simmons: James McAvoy

Showing posts with label James McAvoy. Show all posts

Thursday, 4 August 2011

The Spin-Off: 2.2

0 comments Posted by 2011 at 17:23

Jose’s anticipation for W.E. (and concurrent retrospective bashing of The King’s Speech) got me thinking about all the plot points at work in Hooper’s Oscar winner. Granted, I liked The King’s Speech. I felt it improved upon multiple viewings unlike most films of its genre, but there are so many interesting concepts at work that could make for (more?) interesting cinema. Case in the point the relationship between David and Albert.

For someone I’m always wont to forget whenever he turns up in anything, Guy Pearce gave a particularly affecting performance as the abdicator (perhaps, I should dedicate a column of Forgotten Characters to him). Firth is great all around the film, especially opposite Rush and HBC but my favourite scene of his is opposite Firth at that engagement party of Wally’s. Maybe sibling drama doesn’t make for revolutionary cinema, but I find the dynamic between the brothers to be more than worthy of a footnote in a film.

The only reason that Albert has all those issues to sort out with his speech therapist/shrink is because his youth is saturated with significant issues. I’d love the idea of a Becket like history of the brothers in their youth, and because women make everything better we could throw in the courtship of Elizabeth for the hell of it. I like Hooper, so I wouldn’t mind him returning for the prequel. I say James McAvoy as Albert and Matthew McFayden as David with Anna Friel as Elizabeth perhaps and we have a winner.

Who’s with me? Is this prequel worth funding?

Wednesday, 27 July 2011

“What about the woman?”

0 comments Posted by 2011 at 17:16

The Conspirator: directed by Robert Redford; written by James D. Solomon

I couldn’t possibly write anything on Robert Redford period/political drama without pointing the way to Tim’s review which says everything I could possibly say with much more alacrity. So, in a way, this review suffices as something of a footnote because even though I’ve got nothing particularly new to the table I’d feel bad devoting nary a word to the film. The first I heard about The Conspirator was a post that RC of Strange Culture did before it was released, and there’s no doubt that American History is mellifluous enough to precipitate dozens of interesting tales about the Civil War era and whatnot. There is an interesting story to be told in The Conspirator, but there’s a devastatingly trite way in which it is told.

Court-room dramas are in many ways a dime a dozen on film, and even less on television but The Conspirator has a strident hook, and I’m not just talking about the fact that it’s based on a true story. The imprudence with which the trial against Mary Surratt unfolds is a fine example of the lesser aspects of the human race but Solomon’s script approaches the issue with a stifling lack of zest. The technical aspects of the film are done with the right amount of gloom necessary for the proceeding but the script itself peters between unwarranted sagacity and occasional hectoring. And Redford is the kind of director who’s obviously interested in making a “statement” so there’s a fighting tendency for his directing to encourage the script’s occasionally heavy handed nature.

But, the cast subverts that nature. I feel a bit annoyed with Redford that he has such a brilliant cast and fails to give them impeccable work. But, looking at the film you wouldn’t know it, well not really. It’s a good ensemble and the actors are all willing to put in credible work. I was looking forward to The Conspirator because of Robin Wright. She made my list of nominees in 2009 for her work The Private Lives of Pippa Lee a film she held down with her luminescence. She doesn’t get to do quite as much here because as much as the film is named after her titular character Solomon’s narrative seems more interested in James McAvoy Aiken, the war hero turned lawyer. And, McAvoy is fine – as is the entire cast – but it’s such a shame that Wright in particular is forced to play her role in a single register (excellently, but still). The film’s female cast – made of Wright, Evan Rachel Wood (impressive in a role that’s too small) and Alexis Bledel in a surprisingly poignant turn. Even though Wright is the de facto lead Redford is intent to leave her for the men of the narrative, sometimes to the disservice of the film. It’s a true shame that Wood and Wright never get a proper scene together.

I can’t berate Redford for trying to make a statement with his own film, but the unfortunate thing is - The Conspirator is not the type of film where entertainment needs to be sacrificed for edification. There’s enough material for his “message” to hit home. It probably won’t be remembered as the end of the year as anything seminal, and it’s not really seminal in fact but even though the film itself is imperfect it’s home for a talented cast and some fine technical work. It’s strange, the film is about the woman behind it all but it’s really about men...too many men.

C+

Friday, 24 June 2011

“We have it in us to be the better man.”

0 comments Posted by 2011 at 16:57

X-Men: First Class: directed by Matthew Vaughn; written by Ashley Miller and Zack Stentz

I imagine that one of the reasons reboots of franchises, superhero and otherwise, are so common is because as people we’re a bit enamoured with the way it all began. We like knowing how Bruce Wayne became the dark knight, or how Clark Kent became Superman and so on and so on. X-Men: First Class takes us to the beginning of our mutants’ existence as heroes and the narrative it explores is quite simple. The cold war between Russia and the United States is at its height and amidst this already problematic environment the existence of mutants is unearthed by some CIA operatives hoping to prevent what could be the outbreak of World War III.

The first act comprises a double narrative as Erik Lensherr (soon to be Magneto) and Charles Xavier (soon to be Professor X) hone their powers on different sides of the globe. Eric is avenging his family’s death and Charles is working on his mutation thesis. The two storylines intersect when they both try to perform a hit on the big bad Kevin Bacon. One of the biggest credits of X-Men: First Class is how quickly the two hours fly. Vaughn has a strong eye for the visual and it consists one visual spectacle after another. But, what makes it potentially better than other films of its kind is his ability to dole out a visual spectacle without being unnecessarily grandiose. Less is more is about clichéd an adage as there, but Vaughn manages to make X-Men: First Class work both in the bigger and smaller action sequences.

Of course, that sort of becomes a problem because the action sequences are so extraordinary that the emotional bits functioning as bridges between seem more and more superfluous. Sure, there’s a great amount of chemistry at work – Fassbender and McAvoy are both indispensable to the film managing to forge a rapport on which the film is balanced. It’s impossible to deny that the ease with which the two coexist amounts for a significant portion of the films appeal. Vaughn realises that brilliant special effects don’t demand mediocre and thespians and James and Michael are both naturally charming enough to ensure that even if the film’s dramatic narratives are questionable we remain interested. And Kevin Bacon is a worthy adversary for both managing to make his villain extravagant without being happy. But, everything else feels a tad bit lopsided around those three. With the exception of Rose Byrne, who comes off as oddly perfunctory in her role, everyone seems credible in their roles, but it’s difficult for them to standout. I’d wager that January Jones could have been a great deal more interesting if her character seemed to be treated so uncaringly, and Oliver Platt manages to much more than you might have expected with his throwaway character.

Does X-Men: First Class have its dubious issues? Surely. For a film that’s to conceivably take place in the sixties I wish it would have used a great percentage of its budget on ensuring that its production design and costume were actually period appropriate and there’s a reverberation of complacency that seems to ring through most when Vaughn and company realise that the actors are naturally charismatic to make even the most hokey situations work. Still, ultimately a film is about more than just the sum of the parts. It’s about a complete whole that entertains, edifies or both. It’s not anything wholly new or conversant, but it’s more than entertaining.

B-

Sunday, 20 June 2010

Scene On A Sunday (Double Time): Atonement

0 comments Posted by 2011 at 03:17

Though I’m not exactly consistently blogging this weekend (other than meme) this Scene analysis has been imminent for some weeks now. My love for Atonement should be no secret by now (HERE, HERE, HERE, HERE) and it’s only natural that I’d eventually focus on a scene from it. This is probably my favourite scene from the entire film and I’m teaming up with the clever Yojimbo from Let’s Not Talk About Movies. Yojimbo actually does a weekly “Don’t Make A Scene” feature (though his much more educational, mine is just selfish ranting) so this week we’re teaming up to look at the fountain scene in Atonement…but of course, with stipulations. I’ll be focusing on everything visual in the scene – expressions, editing, cinematography, costumes, art direction and such (I’m materialistic like that) and Yojimbo will be assessing the sound and sound effects, the music, the readings of dialogue and such (incidentally, he’s a sound editor so this is right up his alley). So voila, here are my thoughts on the Fountain Scene – the visuals… (All the pictures of courtesy of Yojimbo, he went crazy with them – which I think is just great).

Of course, before we get to that beautiful moment at the fountain we must cut back to the images of Cecilia running in the woods. It just looks gorgeous… It’s strange, though, that Cecilia who seems like the orthodox bourgeoisie English girl of the time (very comfortable in her parents’ wealth) would be so at home in the flora. As the script says, she runs through enjoying the sheer exhilaration of movement – it almost sounds like poetry.

All this of course, played almost simultaneously with those images of Briony at the window. I still marvel at Ronan, perhaps not as skillful as the best child actor but still able to be so morose which is obviously unlike her natural disposition. Vocally, perhaps another actor could have excelled but her expressions are perfect…what is she thinking in that shot? It’s almost as if she’s planning their fates right there.

Then we revert to the past for the duration of the scene.Cecilia is still revelling in the woods.

She walks into the house, I love this particular shot, and it’s the only time that Cecilia has any significant contact with Mrs. Turner. I often wonder what their relationship (if any) was like before the episode, is Cecilia only interested in poor persons like Robbie or is she generally affable? I love too how Brenda Blethyn is always ready to immerse herself into her roles (there’s no hint of her previous part alongside Keira and Wright).

Notice the all green colour scheme? I think it's rather ugly.

This is another shot I love; not subtle at all but the framing of Cecelia by the boys in blue (which just happens to be the same colour shirt as Robbie) is a nice touch. And that house really is majestic.

And then into her bedroom. This is a real house, and yet there’s no sense of harmony. The kitchen’s greenness then to the dark brown of the living room and then the pale beige here. There’s obviously disharmony within the people live there too, but I’m projecting – as always.

And there, the first shot of that fateful vase. Even before we go there, though, Cecilia’s room is just too luxurious for words (and I love how she blends in perfectly with it). Keira always gets flack and really I’m always there to defend her.

I do say that her Elizabeth Bennett is my favourite performance of hers, but each time I see Atonement I see her doing so much more. Of course, Atonement is a completely different beast to Hampton’s script (like McEwan’s novel) which promises subtext after subtext. The expressions on her face are so excellent and event though she reads her lines like nobody’s business, I just love her expressive face.

She’s obviously thinking more about something else than the flowers…

And I like how she throws her head, just slightly, to the side here…

It’s as if she has the world of troubles on her (very small and pointy) shoulders.

And while we’re on the topic of her thinness, Keira almost has a boy’s figure – and she carries herself without pretension but Cecilia is still completely feminine.

She finally does take notice of Robbie outside, and we still can’t tell what she’s thinking…that first expression is vague…

And this one looks particularly annoyed.

But as we'll learn later Robbie does have the ability to make her very agitated.

And she begins thinking...

She glances back out of the window. We get a picture of her in reflected in the mirror, which will happen again soon.

That’s a nice moment where she fixes her hair almost reflexively. The script says she simply checks her reflection in the mirror, but even though she’s not ready to admit it – the attraction to Robbie is there.

…and then she looks almost embarrassed.

We head out to the terrace where we meet another lost soul with the world on his shoulder.

Beautiful shot…Keia’s legs and Robbie looking up at her. Lovely..

She’s really bossy as she asks for that cigarette, but we still like her nonetheless. This next shot – wide shot – is my favourite of the entire scene. The old (but still regal) stone surrounded by the greenness, and our prospective lovers coming down the steps.

Even though he’s lighting her cigarette, they’re really quite far apart.

This is just a moment after her line of preferring the more passionate Fielding. She’s not too comfortable discussing passion with him – not yet, anyway.

James lends just the right amount of cheek to Robbie, I appreciate how he’ll laugh at the strangest of moments remember the letter (and of course, no laughing after that night in the library)... There he goes running behind her…

CECILIA Leon’s coming down today, did you know?

ROBBIE I’d heard a rumour.
CECILIA He’s bringing a friend with him.

CECILIA This Paul Marshall. The chocolate millionaire.
ROBBIE Are the flowers for him?

CECILIA Why shouldn’t they be? Leon says he’s very charming.

It’s so significant, they’re talking all the while, and not only is Cecilia a “safe distant” away from him she’s not even looking in his direction. Robbie, of course, is not the least bit affronted.

This shot doesn’t add much – but I like it nonetheless, for some reason…

CECILIA The Old Man telephoned last night. He says you’re planning to be a doctor.
ROBBIE I’m thinking about it, yes.
CECILIA Another six years of student life?
ROBBIE How else do you become a doctor?

CECILIA You could get a Fellowship now, couldn’t you?
ROBBIE But I don’t want to teach...

CECILIA With your First.

He breaks off, looks away for a moment; then turns back to her.

ROBBIE I said I’d pay your father back.

Before I go into Cee’s reaction – am I the only one recalling Kristin Scott Thomas’ cold but still warm women in Keira;s characterisation. She takes Robbie’s word just a little personally (of course her intention was to get a rise from him). And while we watch her stalk off, I must say that I love this particular costume. The detail on it (you can’t really see it with that shot (go HERE) but it’s so very intricate and just screams Cecilia.

Great expression, there – almost as if she’s offended but you know, rich people don't speak about money.

CECILIA That’s not what I meant at all.

And another gorgeous wide shot is there above (my second favourite). So much we’re seeing – the greenness of the estate, the loveliness of the house and that beautiful fountain. Cecilia and Robbie are just speckles now. Is that foreshadowing or me overanalysing?

Once again he run off behind her...what is with him and running (remember the train?)

He's a bit annoying with the vase bit, though...she obviously doesn't want his help.

CECILIA I’m all right, thanks.

But Robbie persists, reaching for the vase.

ROBBIE You take the flowers.

CECILIA I’m all right!

That expression on McAvoy's face is particularly vague, I like it - he's probably thinking what to do, what to do?

I like how he looks across at her, as if to guauge her feeling.

And she looks up with a look of complete annoyance, which I love (see my banner).

Cecilia looks at him, horrified.

CECILIA You idiot!

And he responds with a laugh leaving Cecilia nonplussed…they just have an unbelievably striking chemistry (where were there NOMINATIONS). I’d love to see them meet again, for a romantic comedy perhaps…

CECILIA You realise this is probably the most valuable thing we own.

ROBBIE Not any more, it isn’t.

Love that line reading.

ROBBIE Careful!

Then she begins to strip.

This is a difficult moment to pull off; Keira most make it seem like her decision is natural and not a seduction, and McAvoy must be embarrassed without being too silly. His first expression is one of genuine surprise…

He turns away in politeness still not believing her nerve.

And still that look of teasing is on his face.

What is he thinking there...

Then she steps over the lip of the fountain and lowers herself into it.

This is obvious foreshadowing (not just me overanalysing). Cecilia in the water is a beautiful image and it’s shot very delicately.

...and she comes out.

James look of transfixion is the first look on Robbie’s face, thus far, where he’s not in complete control of his expressions. He’s not as unmoved by Cecilia as he pretends to be…

They’re so odd; they both look away from each other simultaneously…

Even though Robbie pays her a look momentarily…that shot of him above is a perfect example of James doing so much. It’s Robbie completely casting off his outward show of irreverence, we can see him almost wanting to apologise.

Both of them now understand the gravity of this experience…Robbie looks a schoolboy just reprimanded at lessons and in the shot below Cecilia looks as if she doubts her decision…

Though she obviously thinks she’s in the right…if looks could kill. (On that note, why hasn’t Keira played a fiery vixen yet? Cecilia and Eliza are too tame, I hope she gets a little bitch in Never Let Me Go.)