Wrong Turn

Tags

2000's, Desmond Harrington, Eliza Dushku, Emmanuelle Chriqui, Horror, Jeremy Sisto, Rob Schmidt, Wrong Turn

Film Title

Wrong Turn

Director

Rob Schmidt

Starring

• Desmond Harrington as Chris Flynn
• Eliza Dushku as Jessie Burlingame
• Emmanuelle Chriqui as Carly
• Jeremy Sisto as Scott
• Kevin Zegers as Evan
• Lindy Booth as Francine
• Julian Richings as Three Finger
• Garry Robbins as Saw Tooth
• Ted Clarke as One Eye

Rob Schmidt harks back to 70’s horror film such as Texas Chainsaw Massacre and The Hills have Eyes with Wrong Turn, a derivative but effective slasher set in the West Virginia Mountains and woods. If it’s originality you’re looking for, this won’t be for you. If it’s a slasher film with nerve-shredding music, attractive cast and creepy assailants, Wrong Turn may well appeal to you.

Chris Flynn is a young doctor travelling through the West Virginia Mountains to an important meeting. Because of a chemical spill on one of the roads, he decides to take another route to get to his destination quicker. After taking this turn, he collides with a stalled SUV in the middles of the woods. The SUV belongs to six friends; Jessie, Carly, Scott, Francine and Evan. Their vehicle has stopped because someone has placed barbed wire on the road causing their tires to blow. Teaming up with the group, Chris follows them through the woods in search of help, while lovebirds Francine and Evan stay with the damaged vehicles and smoke pot. The rest of the group eventually come across a ramshackle cabin and they decide to enter. Once inside they realise that this is cabin does not exactly belong to the friendliest of people, as body parts, hoards of keys and blooded belongings to campers are discovered. Just as they are about to leave, the occupants arrive. It turns out they are cannibalistic mountain men who are horribly disfigured through generations of inbreeding. They have been turning the woods into a hunting ground and kill anyone who trespasses. Now it is a life or death battle as the group is pursued by the ravenous troika of mountain men. Cue for gory death, chases a plenty and the ambience of a 70’s horror flick as Wrong Turn shifts into fast gear and doesn’t let up until the end.

Whilst low on originality( the film owes more than a debt to Deliverance and Chainsaw Massacre), Wrong Turn still has enough thrills to last it’s 80 minute runtime. Rob Schmidt manages this through unusual camera angles and contrasting lighting. The make up department should be praised for creating menacing villains, we only get a few glances of their faces but the killers are still a startling sight. The trio is all the more scary for their interesting and modern hunting methods, one is a deft archer whilst another has an uncanny gift for smell. The atmospheric and exciting is perfectly attuned to the fast-moving pace of the film.

The two leads, Desmond Harrington and Eliza Dushku, turn in the heroics as the laconic de facto leader and athletic and resourceful babe of the bunch. Jeremy Sisto as the wise-cracking best friend has his moments, but is chronically underused. Emmanuelle Chriqui is also lumbered with an uninteresting character, the screaming girl of the bunch who is basically there to eventually die in some gruesome way. The lack of character development with these two can be distracting, though you probably won’t notice because of the breakneck speed of Wrong Turn.Although it has its fair share of gore( one victim has her mouth torn open with rusted barbed wire), it is the things we don’t see that are most chilling. This is illustrated when the cannibals arrive home and the young group who are hiding, watch in horror as the cannibals eat their daily meal of another unwitting teenager. We don’t really see anything, it is what we hear that makes the blood run cold. Schmidt manages some thrilling, nail-biting sequences such as the group’s discovery of a car and caravan necropolis and their attempt to sneak out of the cabin without becoming the next meal for the trio of mountain men.

So in short, Wrong Turn doesn’t bring anything new to the table. But, it does have two interesting lead characters, some seriously scary killers and a relentless pace that leaves the knuckles white and the blood chilled. Not the best horror film but one that surely packs a punch with gruesome discoveries and eerie surroundings.

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Pillow Talk

Tags

1950's, Doris Day, Michael Gordon, Pillow Talk, Rock Hudson, Romantic Comedy, Thelma Ritter, Tony Randall

Film Title

Pillow Talk

Director

Michael Gordon

Cast

• Doris Day as Jan Morrow
• Rock Hudson as Brad Allen
• Tony Randall as Jonathan Forbes
• Thelma Ritter as Alma

Pillow Talk was the film in which Doris Day was allowed to breathe a new sexy life into her usual wholesome persona onscreen. The results are a highly enjoyable romantic comedy with a cracking, Oscar-winning screenplay and Day creating amazing chemistry with Rock Hudson. It may have its cute and silly moments that seem dated now, but also has a slightly naughty edge that modern viewers will understand and enjoy throughout this frothy film.

The plot revolves around two people living in New York. The people in question are Jan Morrow, an independent interior designer and Brad Allen, a playboy songwriter for Broadway . They have never met each other, but are linked by the fact they have to share a party line due to the state of the phone company. This is much to the chagrin of Jan who tires of hearing Brad Allen chat up a different woman every time she picks up the phone. The two of them bicker constantly, Jan because she needs the phone for important work calls and Brad who insists that Jan is just a nosy and lonely woman. Interestingly enough, one of Jan’s clients Jonathan Forbes, who repeatedly confesses his love to Jan to no avail, is an old friend of Brad Allen and a Broadway millionaire. One night at a party, the amorous Brad lays eyes on Jan and is struck by her beauty, shocked that he initially thought she was an old busybody. Knowing that she wouldn’t be interested if she knew it was him, he cunningly invents an alias of a Texan to woo her. Jan immediately falls for him and can’t resist rubbing Allen’s nose in it over the phone, little realising it the same person. When the lovesick Jonathan finds out, events become complicated and hilarious. So kick back and enjoy as romantic entanglements and sizzling, zippy lines drip from many a frame of this charming picture.

The thing that immediately strikes you about Pillow Talk is how modern a lot of the dialogue is, considering that the film was made in a time when sex wasn’t widely discussed. All in all, the double entendres and innuendos are delivered with excellent verve by Day and Hudson. The lines may seem tame by todays standards, but one can’t deny the raciness that is laced in many of them. The set decoration and costumes capture a colourful side to 50’s business, featuring bright colours and exuberant decor. The delightfully mischievous and skittish score keeps the film running at a brisk pace, and embodies the escapades that the characters go through.

Doris Day shines in her performance, clearly relishing the chance to play a character that is different from the pure young women she often portrayed. She imbues Jan with a humour, sexy playfulness and warmth to create a charming character and sparring partner with Hudson’s Lothario. Rock Hudson shows his skills with comedy, his phone calls with Day a particular highlight, as they bicker whilst he attempts to flirt with her. The chemistry between the two is just magic to see as the brittle Jan comes to love the playboy she allegedly hates. In the supporting cast, Tony Randall is a laugh as the pining Jonathan, his many attempts at persuading Jan to marry him endearing him to the audience. Thelma Ritter, a great character actress, also makes a mark as Alma, the boozy housekeeper of Day’s character. She gets to deliver some of the sparkling lines and does so with a cynical tongue and objectionable manner. Her scene in which she drinks Hudson’s Brad under the table is just hysterical viewing. Michael Gordon directs with an engaging flair, bringing to life the two characters and the many mix ups that occur as a result of Brad’s duplicity.

I’m not the biggest fan of the romantic comedy genre, but the brittle humour and believable chemistry of Doris Day and Rock Hudson did raise many a smile from me. Although it might be too silly and arch for today’s audience, Pillow Talk will probably charm you none the less.

Murder on the Orient Express

Tags

1970's, Agatha Christie, Albert Finney, Anthony Perkins, Colin Blakely, Denis Quilley, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Lauren Bacall, Martin Balsam, Michael York, Murder Mystery, Murder on the Orient Express, Rachel Roberts, Richard Widmark, Sean Connery, Sidney Lumet, Vanessa Redgrave, Wendy Hiller

Film Title

Murder on the Orient Express

Director

Sidney Lumet

Cast

• Albert Finney as Hercule Poirot
• Lauren Bacall as Mrs. Hubbard
• Martin Balsam as Bianchi
• Ingrid Bergman as Greta Ohlsson
• Jacqueline Bisset as Countess Andrenyi
• Michael York as Count Andrenyi
• Jean-Pierre Cassel as Pierre Michel
• Sean Connery as Colonel Arbuthnott
• John Gielgud as Beddoes
• Wendy Hiller as Princess Dragomiroff
• Anthony Perkins as Hector McQueen
• Vanessa Redgrave as Mary Debenham
• Rachel Roberts as Hildegarde Schmidt
• Richard Widmark as Ratchett
• Denis Quilley as Antonio Foscarelli
• Colin Blakely as Hardman

Surely one of the best adaptations of an Agatha Christie novel, Murder on the Orient Express is a splendid, stylish and sensational murder mystery boasting what has to be one of the most star-studded casts ever assembled on film. Elegantly directed by Sidney Lumet and with a sumptuous recreation of the elite of the 30’s in costume and decor, Murder on the Orient Express is not to be missed for fans of movies that are often referred to as ‘films they just don’t just make like this anymore’.

Hercule Poirot, the famous Belgian detective is travelling aboard the eponymous train from Istanbul to Paris, then he will travel to England to attend important business. The train is unusually crowded but the eccentric Poirot has managed to find a cabin by way of his friend Bianchi, who is also travelling on the same journey. Poirot is approached by a secretive businessman named Ratchett, who offers him a large sum of money if he can find out who has been sending him threatening letters. The detective has no interest in the case and turns it down. The next morning, Ratchett is found dead, stabbed a dozen times in his bed. It is then up to Poirot to investigate the case as the train has been caught in a snow drift somewhere in the Balkan Regions on the night of the murder. He is surrounded by a rich array of suspects including; the loquacious and obnoxious Mrs. Hubbard, the simple-minded Swedish missionary Greta Ohlsson, the icy and glamorous Count and Countess Andrenyi, the quiet conductor on the train Pierre Michel, Colonel Arbuthnott, an officer in the British Indian Army, the buttoned up valet of the deceased, Beddoes, the ageing Russian royal Princess Dragomiroff, Hildegarde Schmidt, her personal maid, Hector McQueen, the secretary to the deceased, Mary Debenham, a teacher and paramour of Colonel Arbuthnott, Foscarelli, an Italian-American car salesman and Hardman, a secretive agent for a detective service. As he investigates, Poirot deduces that Ratchett was really a gangster, who played his part in the notorious kidnapping and murder of Daisy Armstrong, a prominent aviator’s daughter, many years before. Through interrogation and the exercise of his ‘little grey cells’ Poirot tries to figure out this bizarre case filled with secrecy and enshrouded with shocks and red herrings. So sit back and enjoy as the detective makes his way through the case in which nothing is as it seems.

Sidney Lumet keeps the atmosphere of the time and gradual deducing of the crime through employing a brisk pace to the film and making exceptional use of the camera. Nowhere is this more apparent than in Poirot’s excellent denouement in which he paces up and down the carriage and recounts his findings. The way the camera captures the faces of the guests, filled with anxiety, astonishment and shock as they silently listen, is quite masterful as the complex case is laid bare in front of them. The opening sequence in which the history of the Armstrong Case is shown whilst intercut with newspapers clippings, is another highlight of lighting and atmosphere, getting the film off to a suspenseful and haunting start. The magnificent score exudes suspense and glamour and is a great attribute to the film.

The star-studded cast is almost certainly the biggest draw in the film, even if some actors are underused in the process.  Albert Finney is particularly eccentric and witty as Poirot, stealing the show as he delves into one of the most complex cases in his illustrious career. Lauren Bacall is acerbically funny as the chatty Mrs. Hubbard, her fussy outbursts masking her quiet intelligence. Martin Balsam has some great scenes with Albert Finney as the panicking Bianchi, who is the one who entrusts the case with Poirot. In a small but well-played part that won her an Oscar, Ingrid Bergman is luminous and touching as the missionary with poor command of English. Jacqueline Bisset and Michael York are icily impressive as the wealthy count and his beautiful bride. Jean-Pierre Cassel exudes a quiet intensity and shyness as the conductor Pierre, who is still a suspect despite helping out in the case. John Gielgud relishes the witty lines as the buttoned-up and knowledgable butler Beddoes. Wendy Hiller shines as the evasive member Russian royalty, along with Rachel Roberts as the terse German maid. Vanessa Redgrave glows in her role of the English teacher who doesn’t take kindly to Poirot’s questioning about her relationship with the colonel. In the brief but important role of Ratchett, Richard Widmark is sly and disagreeable even though he knows it’s only a matter of time before something happens to him. On the underused side, unfortunately is  Sean Connery who has nothing much to do in the film except vehemently disagree with Poirot. Anthony Perkins could have been used better, instead of him turning in another variation on Norman Bates. Denis Quilley and Colin Blakely are also not used to any real effect.

Despite the wasting of certain actors talents and the pace lulling at various points, Murder on the Orient is none the less a distinguished and thrilling adaptation of Agatha Christie’s murder mystery, presided over by the excellent direction of Sidney Lumet.

Thank you WordPress and Akismet

This is just a quick post to say thank you to WordPress and Akismet for sorting out my commenting issue over the last week or so. Also, a big thank you to my fellow bloggers for being so patient and checking their spam boxes for my comments, it meant a lot. I am really happy that this issue has been resolved and I can comment as normal.

Death on the Nile

Tags

1970's, Agatha Christie, Angela Lansbury, Bette Davis, David Niven, Death on the Nile, George Kennedy, Jack Warden, Jane Birkin, John Guillermin, Jon Finch, Lois Chiles, Maggie Smith, Mia Farrow, Murder Mystery, Olivia Hussey, Peter Ustinov, Simon MacCorkindale

Film Title

Death on the Nile

Director

John Guillermin

Cast

• Peter Ustinov as Hercule Poirot
• Simon MacCorkindale as Simon Doyle
• Mia Farrow as Jacqueline De Bellefort
• Lois Chiles as Linnet Ridgeway Doyle
• Bette Davis as Mrs. Van Schuyler
• Maggie Smith as Miss Bowers
• Angela Lansbury as Salome Otterbourne
• David Niven as Colonel Johnny Race
• Jane Birkin as Louise Bourget
• Olivia Hussey as Rosalie Otterbourne
• George Kennedy as Andrew Pennington
• Jon Finch as James Ferguson
• Jack Warden as Dr. Bessner

Although it may not meet the lofty standards set by Murder on the Orient Express, Death on the Nile proves to be a star-studded and stunningly filmed mystery from the novel by Agatha Christie. Featuring Peter Ustinov in the first of his many outings as the eccentric Belgian sleuth Hercule Poirot, Death on the Nile is not to be missed for Christie fans and murder mystery hounds alike.

The setting is the glamorous 30’s. Linnet Ridgeway is the spoilt heiress who has everything she could ask for. Her best friend Jacqueline on the other hand is broke and in need of money. Her fiancée Simon is proposed a job working at Linnet’s English estate, it is here that he immediately falls for the beautiful Linnet. We later learn that he broke of his engagement to Jacqueline and married Linnet. This has incurred the wrath of Jacqueline who has stalked the couple on their honeymoon. The newlyweds eventually take a cruise down the Nile, not realising that the wounded Jacqueline is onboard. Also onboard is the famed Belgian sleuth Hercule Poirot, who is enjoying a vacation along with his good friend, Colonel Johnny Race. The rest of the people onboard the ship down the Nile are an eclectic bunch consisting of;Mrs Van Schuyler, a crusty old widow with a habit of stealing; her resentful nurse and companion Miss Bowers; Salome Otterbourne, a flamboyant writer of romantic novels; her unhappy but devoted daughter,Rosalie; Linnet’s melancholy lady in waiting, Louise; Linnet’s American lawyer Andrew Pennington, who is embezzling money from her; Jim Ferguson, a so-called citizen of the world who despises the rich and the odious Dr.Bessner.

Jacqueline’s persecution of the couple comes to a head one night in the saloon of the boat. She angrily confronts Simon and produces a pistol from her bag, before shooting Simon in the leg. This commotion is stopped when Simon is taken to Dr. Bessner for treatment and Jacqueline is given a short of morphine from Miss Bowers, in order to calm her manic state of mind. The next morning, Linnet is found dead in her cabin, her cause of death a gunshot wound to the head. It is then up to the intelligent Poirot to distinguish who out of the many guests would kill the heiress. It turns out that everyone on the boat either had a motive or grudge against her, but who actually went through with bumping her off? Prepare for a sumptuous and twisting web of secrets, deceit and revenge as the scrupulous Poirot tries to get to the heart of the increasingly difficult investigation.

The first thing that strikes you the most about Death on the Nile is the attention to detail. The authentic costumes deservedly won an Oscar and the set decoration is richly adorned to a high visual standard. The film also makes stunning use of many landmarks in Egypt, such as the temples of Abu Simbel and Karnak. The score is excellently composed, and captures the beauty of the Nile and then eventually the suspense and secrecy as Poirot attempts to find the murderer. Perhaps the biggest draw of the film is the cast, loaded with star power. As with most Christie adaptations, we have many eccentric characters, some more interesting than others in various cases. In his first performance as Poirot, Peter Ustinov combines eccentric mannerisms with a humour and intellect that make him a great interpretation of the iconic character. His scenes with David Niven, who is ideally cast as the archetypal British gentleman, have a fun edge to them but a serious understanding as they each work their way through the murky case in hand. Simon MacCorkindale makes an impression as the simple man whose relationships with two women seem to have caused fatal consequences. Mia Farrow embodies anger, jealousy and dejection as the vengeful Jacqueline, who won’t let go of the man she has always loved. In the small but pivotal part of the wealthy Linnet, the beautiful Lois Chiles creates a character who is both an arrogant, home-wrecking bitch and a persecuted woman. It is because of her actions that the whole story is set in motion and culminates in her death.

The great Bette Davis is a hoot as the scolding old widow, she is matched by Maggie Smith as her put upon nurse. The two actresses have a great energy in their scenes, bickering and exchanging bitchy lines with great zeal. There is also a delightfully eccentric performance from Angela Lansbury, as the scandal loving author who embarrasses herself a lot, especially in front of her daughter. In a brief part, Jane Birkin exudes a sad and tired quality as Linnet’s lady in waiting, who secretly wants a dowry in order for her to marry. As well as these stars, there are others but their roles are not fleshed out well enough to make them really interesting. Olivia Hussey works as best she can with her part, but isn’t given enough material to make her character memorable. George Kennedy and Jon Finch both suffer from the fact that their supposed motives for killing Linnet are not that convincing. And Jack Warden, who does have his funny moments, is most certainly underused. These are the only quibbles that I have with the film, as for the most part it is an exciting and gripping mystery with talent and locations surrounding it.

Although slightly slow in parts, Death on the Nile is still great fun as you try to work out who it was who killed Linnet. Mystery lovers this the film for you and for fans of starry casts, look no further than this excellent adaptation of Agatha Christie’s novel.

Also on another note, I’ve just realised this is my 100th post. I can’t beleive I have written this many.

The Crucible

Tags

1990's, Arthur Miller, Daniel Day-Lewis, Drama, Joan Allen, Nicholas Hytner, Paul Scofield, Salem Witch Trials, The Crucible, Winona Ryder

Film Title

The Crucible

Director

Nicholas Hytner

Cast

• Daniel Day-Lewis as John Proctor
• Winona Ryder as Abigail Williams
• Paul Scofield as Judge Thomas Danforth
• Joan Allen as Elizabeth Proctor
• Bruce Davison as Reverend Samuel Parris
• Rob Campbell as Reverend John Hale

Scripted by Arthur Miller from his acclaimed play and directed with fervent energy by Nicholas Hytner, The Crucible captures a palpable atmosphere of fear and hysteria during the Salem Witch Trials. Powerfully acted and emotionally intense, it makes for memorable viewing.

1692 Salem, Massachusetts. In the early hours of the morning a group of girls sneak into the woods for a strange ritual with a Barbadian slave, Tituba. The gathering appears innocent enough, with the girls wishing for various boys in the village to love them by scattering offerings into a pot. One of the girls, Abigail Williams, wishes her former employer who put an end to her affair with her husband,dead and kills a chicken. This causes the girls to whip up a frenzy by wildly dancing and chanting. They are then discovered by Abigail’s uncle, Reverend Samuel Parris. Then eerily, two of the girls involved fall into deep comas and gossip spreads like fire through the puritanical village that it is the devil’s work and that witchcraft is involved. Panicking, Abigail claims that Tituba was working with the devil and that it possessed the group. It is here that events take a sinister turn, as Abigail realises the power that she wields. She, influencing the other girls, begin to name member of the village they ‘saw’ practicing witchcraft. One of those named is Elizabeth Proctor, the good wife of John who had the affair with Abigail when she was a servant. Mass hysteria ensures as more names are accused and the village begins to tear itself apart with fear and uncertainty. Caught up in this commotion are John, who realises how much trouble is being caused as a result of Abigail’s lies, his saintly wife, the judge who has the difficult decision to make and Abigail, the instigator of this hysteria.

Nicholas Hytner should be praised for conjuring up an atmosphere of religious fear and panic as the residents turn on each other and the village takes on an almost mob mentality. What he excellently captures is the snowball effect of lies and how the word of one person, without a shred of proof, can have a corrupting influence on those around whose minds are clouded with uncertainty. Arthur Miller, writing from his own play, cleverly shows the parallels between the trials and the McCarthy era witch hunts in the time the play was written. The musical score is exceptionally used to highlight the divided and fearful emotions as the narrative plays out.

What really makes The Crucible compelling viewing is the cast assembled. Daniel Day-Lewis as John Proctor turns in a typically intense performance as his character begins to see the repercussions of his dalliance with the spiteful Abigail. As the catalyst of the story, Winona Ryder is manipulative, conniving and wounded as the vixen like Abigail, who is out for vengeance as she still carries a torch for John. Her feverish emotions are a particular highlight as we watch her manipulate the village and point the finger at the innocent people with a mendacious fervour. Paul Scofield is one of the highlights from the supporting cast, making his judge character a powerful and imposing presence as he debates what to make of the mass hysteria engulfing Salem. Embodying a quiet stoicism and sincerity, Joan Allen shines as the innocent Elizabeth, the one who incurred the wrath of Abigail and is now seeing what the lying girl is capable of. Bruce Davison and Rob Campbell appear as just some of the many caught up in this circular time of fear and blaming. The only quibble I had with The Crucible is that sometimes the pacing lulls and the narrative slows. But when the story hits the emotional heights it really soars as a dramatic study of fear, vengeance and unforseen consequences.

Powerfully, emotionally raw and at times disquieting, The Crucible is an excellent adaptation of an acclaimed play that boasts terrific performances and the right amount of period atmosphere.

Announcement for fellow bloggers

Hi There. I’m writing this post as over the last few days when I’ve commented on blogs that I follow, the comments disappear. I have a feeling that my comments are ending up in spam for some unknown reason. I wanted to let people know as I don’t want anyone to think I’m not bothering to comment as that is not the case. Until this is resolved, I ask would you please check your spam in case any of my comments have ended up there. Thank you for reading this I appreciate it and sorry for any inconvenience.

Midnight in Paris

Tags

2010's, Adrien Brody, Alison Pill, Comedy, Corey Stoll, Fantasy, Kathy Bates, Marion Cotillard, Michael Sheen, Midnight in Paris, Owen Wilson, Paris, Rachel McAdams, Romance, Tom Hiddleston, Woody Allen

Film Title

Midnight in Paris

Director

Woody Allen

Cast

• Owen Wilson as Gil Pender
• Rachel McAdams as Inez
• Marion Cotillard as Adriana
• Michael Sheen as Paul Bates
• Kathy Bates as Gertrude Stein
• Adrien Brody as Salvador Dali
• Alison Pill as Zelda Fitzgerald
• Tom Hiddleston as F. Scott Fitzgerald
• Corey Stoll as Ernest Hemingway

From the opening minutes of Midnight in Paris, as the camera takes in the sights of the city with a jazz soundtrack, you know you’re in for something magic and nostalgic from Woody Allen. Funny, touching and imaginative, Midnight in Paris is a comical fantasy film of beauty and the link between the past and present and how one longs for a life before their time.

Gil Pender is a hack screenwriter who is desperate to write a novel. He is a wide-eyed and nostalgic guy who travels to Paris with his gorgeous but disagreeable fiancée Inez, with her wealthy parents. Gil is suffering from writer’s block and is in need of inspiration, though Inez dismisses this as a daydream and cares more about herself. After an evening at a wine tasting with Inez’s pedantic friend Paul, Gil goes for a walk through the Parisian streets as it chimes midnight. As this happens, an old car from the 20’s pulls up and the passengers coax Gil into getting in. He does and soon realises he has been transported into his favourite era and along the way he meets such iconic figures as F. Scott Fitzgerald, Ernest Hemingway, Gertrude Stein and Salvador Dali. This re-invigorates Gil’s imagination and he continues to travel back in time every night into the magical and nostalgic world. Through his trips to the past, Gil gains more inspiration, falls for Picasso’s alluring mistress Adriana and begins to realise that his union with Inez is not exactly a match made in heaven.

Prepare to be swept into the glamorous fantasy world conjured up from the pen of the prolific Woody Allen, who imbues the material with humour and a bittersweet longing for the past. His Oscar-winning script and various characters of literacy fame that populate it are funny, assured and highly enjoyable. Woody Allen shows he still has the gift for comedy after so many years in the celluloid spotlight. It is almost impossible not to be captivated by this tale of the tentative link between the past and present. Props should go to the jazz score that sets the right period setting and the dazzling cinematography, that bathes Paris in a golden glow of times gone by. Many beautiful shots abound in the film, but the one I remember the most is Paris in the rain. It just has such a poetic and romantic beauty about it that I can’t describe as I’d need a good few pages to do so. Above all it’s the characters that capture the interest of the viewer as Gil explores the nocturnal haunts of the famous. A played by Owen Wilson, Gil becomes a wide-eyed dreamer escaping his boredom by journeying back to another time. Wilson takes on this role with a charm and imagination, that is in the mould of roles Allen used to play many years ago. Rachel McAdams absolutely nails the role of the stylish but increasingly shallow Inez, who disapproves of Gil’s romantic notions of nostalgia. Fleshing out the supporting cast are a wide array of talented individuals. As Paul, the know-it-all friend of Inez, Michael Sheen injects humour as he tries to be much superior than he really is. Marion Cotillard, who is fast becoming one of my favourite actresses, is ideally cast and radiantly beautiful as the alluring Adriana. She has charming chemistry with Wilson, highlighted more by the fact that both characters wish for a long-lost past. Whilst Gil enjoys the 20’s, Adriana longs for a time before this. This adds a distinct poignancy tp the picture as we watch them fall for each other and discuss their nostalgic longings that somehow remain elusive at times. Also look out for Kathy Bates who is witty and wise as writer Gertrude Stein, Adrien Brody who is a hoot as surrealist Salvador Dali and Corey Stoll as Ernest Hemingway, whose advise holds special meaning to Gil. And not forgetting the pairing of Alison Pill and Tom Hiddleston who are excellently cast as the Fitzgerald’s.

Touching, warm and funny, Midnight in Paris is a comedy injected with a mischievous fantasy that is guaranteed to at least make you smile. Woody Allen proves he’s still got what it takes to make quality movies with this delightful picture.

An Ideal Husband

Tags

1990's, An Ideal Husband, Cate Blanchett, Jeremy Northam, John Wood, Julianne Moore, Minnie Driver, Oliver Parker, Oscar Wilde, Period Comedy, Period Drama, Rupert Everett

Film Title

An Ideal Husband

Director

Oliver Parker

Cast

• Rupert Everett as Lord Arthur Goring
• Cate Blanchett as Lady Gertrude Chiltern
• Minnie Driver as Miss Mabel Chiltern
• Julianne Moore as Mrs. Laura Cheveley
• Jeremy Northam as Sir Robert Chiltern
• John Wood as Lord Caversham

Based on the play by Oscar Wilde, An Ideal Husband is a witty, delightful and well-acted period comedy surrounding a potential parliamentary scandal and those involved. Cracking dialogue and an excellent satirical look at society’s conventions, it whisks along at a brisk pace and keeps you entertained all the way.

The film is set in 1895 London. Sir Robert Chiltern is a respected rising star in parliament with a beautiful, devoted wife Gertrude and the admiration of his colleagues. His seemingly perfect existence is shaken by the arrival of Mrs. Laura Cheveley; a manipulative women with knowledge of a past misdeed Robert committed that could bring his career into disrepute and threaten his marriage. Worried about the potential parliamentary ramifications and marital distrust, he calls upon his best friend Lord Arthur Goring; a notoriously idle philanderer who incurs his father’s wrath by the fact he is not married and has no interest for it. Goring agrees to help as he knows Laura Cheveley from years before, but finds that his proud bachelorhood may be under threat because of this and the fact that Chiltern’s sister, Mabel is head over heels in love with Arthur.Prepare for hysterical lines and witty insights into political life as Arthur attempts to help his friend whilst preserving his caddish demeanor and single living.

What immediately struck me about An Ideal Husband was the topicality of it, as in this era we have seen many political scandals and parliamentary shocks. This adds a certain modernity to the film despite it being a period piece, it could have taken place today and been just as fun. Yet the period setting helps with the witty satire of political scandal present in the Oscar Wilde play of the same name.Oliver Parker views the various machinations of polite society with a humorous edge, showing the audience the extent of scandal on society back then. The script further adds to the laughs as we witness both Robert and Arthur’s desperate attempts to evade the scheme of the vindictive Mrs. Cheveley and its potential effects on both of their personal lives. The adventurous score brims with mischievous glee as characters exchange barbed lines whilst remaining allegedly polite in high society.

The cast assembled shine with crackling dialogue and interesting characters. Rupert Everett steals the show as the philandering Arthur and breathes life into his character and his outlook on life. Also,watching him trying to retain bachelor status proves highly comic viewing. Jeremy Northam, in the pivotal role of the worrying Robert, portrays the best friend character with a lively and engaging performance. Julianne Moore is delightfully scheming and foxy as Laura, her character clearly knowing how to play people like a fiddle for her own personal gain. As the loving Gertrude, the versatile Cate Blanchett exudes a touching wistfulness as she comes to realise her husband isn’t as perfect as she originally thought in a finely judged performance. Rounding out the lovely ladies is Minnie Driver as the quick-witted and lovestruck Mabel. Her expressive face is ideally utilised to comic effect as we watch her many advances towards Arthur in the hope he will reciprocate her loving emotions. And not forgetting John Wood, who is a caustically witty presence as Arthur’s impatient and disapproving father.

A period comedy with a fine cast and a particularly humorous look at scandal, An Ideal Husband is a joy from start to finish with its bristling nature and witty script. If it’s a satirical period comedy with delightfully funny examinations of scandal that you’ve been searching for, then you may find it with An Ideal Husband.

1000 Likes

I’ve just realised that I have got 1000 likes on my blog. I want to use this post to say a thank you to everyone who has liked a post on my site. Without your appreciation, this may never have happened. So a huge thank you to everyone it means a lot. When I started this blog I was worried that no one would like it, I guess this is an indication that I was very wrong indeed.