Nine

Tags

2000's, Daniel Day-Lewis, Fergie, Judi Dench, Kate Hudson, Marion Cotillard, Musical, Nicole Kidman, Nine, Penélope Cruz, Rob Marshall, Sophia Loren

Film Title

Nine

Director

Rob Marshall

Starring

• Daniel Day-Lewis as Guido Contini
• Marion Cotillard as Luisa Contini
• Penélope Cruz as Carla Albanese
• Judi Dench as Lilli La Fleur
• Fergie as Saraghina
• Nicole Kidman as Claudia Jenssen
• Kate Hudson as Stephanie
• Sophia Loren as Mamma

Adapted from the musical play of the same name and inspired by Fellini’s 8 1/2, Nine is a visually lovely musical with some great sequences but the lack of emotional connection doesn’t involve. It is a flawed movie, but there are certain points to praise, even if it adds up to less than the sum of its parts.

In 1960’s Italy, Guido Contini is a well renowned  film director. As he approaches middle age, he is starting to develop writer’s block and his relationships with the women in his life further complicate the matter. With a script not written and producers hounding him to make a hit movie, he begins to struggle whilst juggling the many female influences on him and his own personal torment. The women include his neglected wife Luisa; his fiery yet unstable mistress Carla Albanese; his confidant and costume designer Lilli La Fleur; a prostitute who Guido met as a child named Saraghina; his muse and leading lady Claudia Jenssen; a Vogue reporter Stephanie and the memory of his Mamma. Through musical numbers that play out as fantasies in Guido’s head, we see the turmoil of both him and the many women who surround him, some of these numbers come off better than others.

The whole concept of the musical numbers being part of the tormented Guido’s imagination works in some cases, yet director Rob Marshall achieved this effect better in his last musical Chicago. The film should be praised visually for the way it conjures up the stylish 60’s in Italy in all its glory.  Special mention must go to the costumes which are ravishing to look and crafted with precision. Yet the script doesn’t have much of an emotional core and the results emerge as hollow.

The cast of the film is star-studded beyond belief but only three actors are given a chance to expand on their characters because of the flawed script. Daniel Day-Lewis is reliable as ever as the tormented director Guido, managing to imbue him with a melancholy the script sometimes overlooks. Penélope Cruz plays his feisty mistress Carla, who feels pushed away by Guido. Cruz has a very sexy song to perform “A Call from the Vatican” which she pulls off amazingly, it is a raunchy burlesque style number which will no doubt send pulses racing. Yet Cruz also manages to show the vulnerable side to Carla that is sometimes hidden by her passionate demeanor.  But the best performance of the bunch is Marion Cotillard. She beautifully and movingly plays Luisa, the neglected wife of Guido who is growing tired of his philandering and feeling the pain of his rejection. Cotillard has two numbers that are both stunning because of her. The first “My Husband makes Movies” an emotional ballad about her undying love for her husband is beautifully executed and her face expresses her emotions in a subtle yet stunning way. The second “Take it All” is her anguished and angry message to Guido that she won’t stand his treatment any longer. It is in this number that Cotillard really shines by combining sexy determination with a bruised anger whilst baring her body and soul.

Unfortunately for the rest of the cast, their roles are sketchily written. The delightful Judi Dench is not given enough time to be memorable as Guido’s costume designer and the one who gives him advice. Fergie, most famous as the girl from the Black Eyed Peas, does manage to have an excellent musical number in “Be Italian” despite her character of Saraghina, the beach dwelling prostitute who Guido meets as a child, not really calling for much in the way of acting. Nicole Kidman as Guido’s muse Claudia is a stunning actress to watch but the emotional connection with Guido is lacking and her character as a result is not very memorable. Like with Fergie, Kate Hudson has a strong musical number in “Cinema Italiano” which is stunningly cut between black and white with colour, but her character doesn’t really serve much of a purpose. Finally, the eternally beautiful and talented Sophia Loren portrays the lingering spirit of Guido’s mother but although she is moving in her delivery, the narrative doesn’t flesh out her character enough.

All in all, Nine is a very flawed picture that has a weak script and wastes the talents of some actors. But it is a visually arresting piece and it does have some brilliantly choreographed musical numbers.

12 Years a Slave

Tags

12 Years a Slave, 2010's, Alfre Woodard, Based on a true story, Benedict Cumberbatch, Brad Pitt, Chiwetel Ejiofor, Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Sarah Paulson, Solomon Northup, Steve McQueen

Film Title

12 Years a Slave

Director

Steve McQueen

Starring

• Chiwetel Ejiofor as Solomon Northup
• Michael Fassbender as Edwin Epps
• Lupita Nyong’o as Patsey
• Benedict Cumberbatch as William Ford
• Paul Dano as John Tibeats
• Paul Giamatti as Theophilus Freeman
• Sarah Paulson as Mary Epps
• Brad Pitt as Samuel Bass
• Alfre Woodard as Mistress Harriet Shaw

Unrelenting, visceral and staggeringly powerful, Steve McQueen’s 12 Years a Slave is based on the true story of Solomon Northup, a free black man who was kidnapped into slavery and unimaginable cruelty. It won’t be the easiest film to watch, but it shouldn’t be as it shows the horrifying constitution of slavery and one mans quiet bravery in order to survive.

Beginning in 1841, Solomon Northup is a free black man living in Saratoga Springs, New York with his wife and two young children. He works as a carpenter and is highly skilled at playing the fiddle. He is offered a two-week job as a musician by two men, who proceed to drug him and place him in chains in preparation for being sold into slavery. Stripped of his freedom and renamed Platt he is first sold to William Ford, who is relatively benign and benevolent towards Solomon. The same can’t be said about John Tibeats, the weasel like worker of Ford’s takes every opportunity to voice his racist attitudes and tensions soon come to a shocking head. In order to help Solomon, Ford sells him to Edwin Epps. Solomon realises that in order to survive he must hide the fact he is an educated man and be as quiet as possible. Unfortunately, Epps is a violent,unpredictable slave owner who believes he is doing the work of God by abusing his plantation workers. Epps lusts after Patsey, one of his best workers who he also abuses many times. His lusting after her doesn’t sit well with his wife, who takes every opportunity she can to inflict pain on Patsey. As the years go by, Solomon attempts to survive by holding onto his hope. Prepare for a brutally honest, harrowing but also hopeful tale of the quiet courage of one man against the odds.

The first thing that deserves praise is Steve McQueen’s refusal to sugarcoat any of the torture that happens to the slaves. Whereas other movies shy away from it, McQueen lets his camera linger on the brutal scenes to show us the inhumanity of it. Two scenes that are hard to watch but staggeringly powerful and brutal are Solomon struggling with a noose around his neck as we hear his breathing become little more than a gasp and the horrifying whipping of Patsey, her back covered in lacerations and her face streaming with tears. I admire the way McQueen shows the unflinching detail and lets the audience feel the emotional and physical pain endured by the slaves. He doesn’t let the audience sit comfortably and makes them really squirm with the showing of human suffering. Hans Zimmer contributes an evocative score to match the emotional intensity of the film. The cinematography captures the twilight beauty of the bayou as the willow trees gently blow in the breeze but juxtaposes these with sickening images of torture and pain, creating the notion that there may be beauty in the world but the reality is a harsh and brutal eye-opener. To think that these inhumane actions really happened to people is horrifying to think of.

What really makes 12 Years a Slave a powerful and important film is the uniformly excellent cast. Heading this is the powerful performance of Chiwetel Ejiofor. He embodies the quiet, stoic bravery of Solomon with immense emotional dexterity. Even when he isn’t speaking, his intense eyes radiate the emotions his character endures as he attempts to survive the utter horror he has been thrown into. His performance is a marvellous and subtle piece of work that deserves all the praise it is getting. Tearing up the screen is McQueen regular Michael Fassbender as the evil Edwin Epps. Fassbender intensely plays this man of cruelty who uses religion as a way to justify his treatment of his slaves. He shows us the unpredictability of Epps as he wrestles with his desire for one of his workers. Lupita Nyong’o in her debut performance is a powerful presence in what has to rank as one of the best debut performances in cinema. She is heartbreaking, sincere and devastatingly powerful as Patsey, the slave who endures an immense amount of cruelty at the hands of her owners. Benedict Cumberbatch plays the benign slave owner who respects Solomon, whilst Paul Dano is a slimy, rat like presence as the insecure racist Tibeats. Paul Giamatti is the unscrupulous man who sells slaves without a care in the world. Sarah Paulson adds a frightening and vindictive dimension to her character, the spurned wife of Epps who unable to handle the love he has for one of his workers takes her anger out in horrifying fashion on the object of his affections. Brad Pitt has a small role as the abolitionist who listens to Solomon’s tale of survival. Pitt isn’t really given much to do in the film and his presence can be a little distracting. Alfre Woodard in a small but memorable role plays a former slave who is married to her former owner and now has servants to wait on her. The only flaw I can really think of is concerning the passage of time which isn’t really addressed that much. But with that being my only quibble, the film is still one of the most powerful and eye-opening films I’ve seen in a long time.

Raw, visceral and full of emotional impact, 12 Years a Slave is a powerful and haunting achievement in filmmaking that should be seen at least once by everyone for its examination of slavery and the courage of one man thrown into it.

500 Followers

Tags

Follows

I just wanted to announce that my blog now has 500 followers. I am shocked and very happy about this. I wanted to take the time to thank every one of you who follows my blog, your continued support can’t be measured. You are the driving force of why I write this blog and for that I am extremely thankful. I never would’ve expected to have this many followers when I started this blog, but the continuing support of you has ensured that this blog keeps going. A big thanks to all of you wonderful people.

The Hunchback of Notre Dame

Tags

1990's, Animated, Demi Moore, Disney, Kevin Kline, The Hunchback of Notre Dame, Tom Hulce, Tony Jay

Film Title

The Hunchback of Notre Dame

Directors

Gary Trousdale and Kirk Wise

Voice Cast

• Tom Hulce as Quasimodo
• Demi Moore as Esmeralda
• Tony Jay as Judge Claude Frollo
• Kevin Kline as Phoebus

One of Disney’s darkest and most mature animated films, The Hunchback of Notre Dame emerges as an excellently crafted drama on faith, acceptance and prejudice inspired by the Victor Hugo novel of the same name. It may not be as cute and cuddly as other Disney films, but it boasts a mature and important  message about not judging people simply because they are different.

1482 Paris. Quasimodo is the kind and gentle deformed bell-ringer in Notre Dame. He is watched by Judge Claude Frollo, a cruel minister who hides behind the cloak of religion and who has a deep loathing of gypsies. Unbeknownst to Quasimodo, Frollo had a part in the death of his mother who was a gypsy on the steps of Notre Dame. He tells Quasimodo that he must never leave the bell tower as he is a deformed creature. Yet Quasimodo yearns for a taste of freedom and urged by his only friends, the trio of gargoyles known as Victor, Hugo and Laverne, defying his master sneaks off to the annual Festival of Fools. Quasimodo is crowned the King of Fools and appears to be enjoying himself. That is until the crowd begin to turn on him and viciously torment him. As he struggles for help, Frollo lets the cruelty continue to teach Quasimodo a lesson even though the kind Captain Phoebus wants to end the humiliation. Quasimodo is saved by another outcast, the beautiful and selfless gypsy dancer Esmeralda who voices her views on Frollo’s intolerance towards those who are different. This encounter between Quasimodo and Esmeralda forever changes both of them in this tale of prejudice, bravery and how although we are all different, we still have the right to be treated fairly.

I’ve always found The Hunchback of Notre Dame to be an underrated entry into the Disney collection of films. The animation is second to none in recreating the bustling streets of Paris and the gloomy splendour of Notre Dame in which Quasimodo resides. For a Disney film, it does deal with some deep themes such as prejudice, religious hypocrisy and also lust. The theme of prejudice is handled in a sophisticated manner, we as an audience grow to like Quasimodo and see the kindness of him rather than just his outward appearance that others judge him on. Religious hypocrisy is embodied by the evil Frollo, who often conceals his hatred of those behind the veil of faith.  He truly is a frightening villain because of the cruelty he inflicts on those, especially Quasimodo. It is interesting to watch Frollo because he says he hates gypsies, yet he finds himself lusting after Esmeralda. The scene in which he sings the song “Hellfire” and the fireplace displays visions of Esmeralda dancing is a strange, sinister moment indeed.

The songs in the movie are not as memorable as other Disney tunes, but there is a haunting level of maturity to them. “Out There” sung by Quasimodo is a yearning number about his longing to be free from being trapped in the bell tower. The previously mentioned “Hellfire” is a Gothic song of uncertainty as the pious Frollo wrestles with his passion for Esmeralda. But the song that is most beautiful and memorable is “God help the outcasts”, an earnest ballad sung by Esmeralda inside the eponymous cathedral as she asks God to look over those around her who suffer prejudice and ridicule on a daily basis. One of the biggest highlights of this startling mature Disney venture is the voice cast assembled. Tom Hulce provides pathos and wonder as the downtrodden Quasimodo, a character who is a victim of cruelty because of his appearance. Demi Moore combines passionate selflessness and feisty attitude as the dancing gypsy Esmeralda, who is the first person to show Quasimodo kindness and understand his plight.  Tony Jay is villainy personified as Frollo, his deep angered voice and all-consuming power quite scary to behold. Rounding out the deeply poignant voices is Kevin Kline as Phoebus, the captain who comes to resist Frollo’s persecution of others and begins to see life differently after meeting both Quasimodo and Esmeralda. The gargoyles provide some side-splitting comic relief throughout the story and act as humourous advisors to Quasimodo in his journey.

Dark yet hopeful and important, The Hunchback of Notre Dame is an underrated Disney gem that shows  a level of maturity and awareness than isn’t often seen in other pieces.

Drowning by Numbers

Tags

1980's, Bernard Hill, Dark Comedy, Drama, Drowning by Numbers, Jason Edwards, Joan Plowright, Joely Richardson, Juliet Stevenson, Peter Greenaway

Film Title

Drowning by Numbers

Director

Peter Greenaway

Starring

• Bernard Hill as Madgett
• Joan Plowright as Cissie Colpitts I
• Juliet Stevenson as Cissie Colpitts II
• Joely Richardson as Cissie Colpitts III
• Jason Edwards as Smut

Written and directed by Peter Greenaway, Drowning by Numbers is a baroque examination of sorority, murder and all things numerical laced with dark humour and morbid events. It won’t be for everyone’s taste, but as a black comedy drama with strange imagery and surreal repeating games, it is a sardonic and at times disturbing watch.

In a quiet and seemingly quaint Suffolk town by the seaside, strange events are occurring beneath the supposedly docile appearance. The film focuses on three generations of women who all share the name Cissie Colpitts. As the film progresses, each of the women successfully drown their philandering and useless spouses; the eldest Cissie drowns her husband in the bath, the second Cissie disposes of her spouse in the sea and the seductive youngest drowns her husband in the swimming pool. Their murderous tasks are covered up by the local coroner Madgett, who loves to play morbid games. Although he is promised a reward for his rulings on the suspicious deaths, the three women hold back and lead him on. Madgett’s teenage son Smut, is also obsessed with death and numerical games and his imagination is heightened after the sudden increase in drownings. Yet, soon the townsfolk grow suspicious of the supposed accidental deaths and believe that Madgett knows more than he is letting on. Strange, unsettling and embedded with a knife-edge humour, Drowning by Numbers emerges as an artistic rumination on morbidity, womanhood and sexuality.

As I mentioned earlier, Drowning by Numbers will not be for everyone but there are certain things that can’t help but be praised. The strikingly saturated hues of blue and red that cover Suffolk are exemplary and capture the various themes of aquatic death and underlying passion. A lot of the imagery is really hard to get out of your head. Greenaway clearly has fun placing numbers in the scenes in various ways, such as written, on clothing or sometimes something subliminal and repeating numerous phrases relating to them.  References to historical figure’s last words, morbid games played like ancient rites and a young girl reciting the names of stars in the night sky while skipping all add to the dark tone of the film and the skittish other side that often intertwine with one another to unnerving effect.

As the film continues, the audience is sucked into the twisted game and believe me it’s a strange but interesting experience that makes you sit up and take note. Greenaway depicts an iconoclastic England rarely depicted on cinema screens, cutting through the alleged respectability and manners with a mendacious glee to show a dark undercurrent akin to a really dark fairy tale at various points. Lurid images and the importance of sisterhood play a large part of the story, embodied excellently by the murdering trio at the heart of it. Michael Nyman’s unusual score perfectly compliments the dark humour that pervades Drowning by Numbers.

The cast inhabit their strange roles with charm and wit. Bernard Hill is suitably strange and slightly lecherous as the coroner cajoled into covering up the aquatic deaths but never getting his reward with any of the women. Joan Plowright, Juliet Stevenson and Joely Richardson make for a delightfully scheming and lethal sisterhood, filling the three Cissie’s with vivacity but also showing the hidden secrecy, unspoken camaraderie and manipulation that lies beneath their pretty exterior. Jason Edwards makes quite an impression as the unusual Smut, who collects bugs and is obsessed with anything related to death. Through his narration, we see the escalating morbid quality that his games begin to take on.

It may not be for everyone, but if you want an intelligent, strangely and darkly comic look at murder boasting unusual imagery, Drowning by Numbers may be what you are looking for.

American Hustle

Tags

2010's, American Hustle, Amy Adams, Bradley Cooper, Christian Bale, Comedy, Crime, David O. Russell, Jennifer Lawrence, Jeremy Renner

Film Title

American Hustle

Director

David O. Russell

Starring

• Christian Bale as Irving Rosenfeld
• Amy Adams as Sydney Prosser
• Bradley Cooper as Richie DiMaso
• Jeremy Renner as Carmine Polito
• Jennifer Lawrence as Rosalyn Rosenfeld

Loosely inspired by the FBI ABSCAM sting operation of the 1970’s, American Hustle is a slick, well-acted crime comedy with eccentric characters and themes of survival, deception and scamming. The style may distract from the narrative for some, but David O. Russell’s film is for the most part as tightly constructed as the perm donned by Bradley Cooper’s character. Boasting an excellent A List cast who all bring their talents to the forefront also helps with the success of American Hustle.

It’s 1978, Irving Rosenfeld is a con artist who is aided by the stunningly seductive former stripper Sydney Prosser who he is crazy in love with despite the fact he is married to Rosalyn and has a young son. Sydney poses as an English Lady of the Manor in order to help with the various cons they pull. Their scams are going pretty well until they are busted by FBI agent Richie DiMaso. Rather than hand them up to justice, he instead thinks of a better use for the two. He persuades them into helping him with sting operations, one in which involves Carmine Polito, the Mayor of New Jersey. As the operations continue, they become more dangerous as the mob becomes involved and Irving’s unstable wife Rosalyn begins to suspect something . But in the game of conning, nothing is as clear as it appears and our characters find themselves wound up in deceit and corruption. Prepare for snappy visual style, 70’s grooves and wardrobes, and a whole lot of fun as American Hustle delivers a humour filled journey through the world of con artists.

David O. Russell directs with visual nods to Scorsese and other crime capers. It is impossible not to watch the snappy edits and use of soundtrack and not think of a Scorsese movie. Although the visuals may overpower the story at certain points and the tone can be a little uneven, the script manages to entertain the audience none the less. Featuring humour galore and interesting characters to flesh out the sharp, snazzy story and the various incidents arising from Richie’s complicated plans. Various scenes that stand out are Irving’s morning routine of styling his elaborate comb over, the sassy Sydney dancing with Richie to the sound of Donna Summer and the unpredictable Rosalyn’s run in with a microwave (which she refers to as a space oven). Special praise must go to costume and hair styling as it is second to none. From gaudy ties to slinky sequined gowns and perms , American Hustle has major props when it comes to styling these characters that populate this crime comedy.

Yet the biggest impression and the thing you will remember the most, is the talented and starry cast of American Hustle. Christian Bales absolutely nails the role of Irving, giving us an interesting character who can be smart, jealous and skilled. Bale gained around  40 lbs for the role and the results show his commitment to the role and how skilled an actor he is. Amy Adams provides a multi-faceted performance in the form of Sydney; she’s intelligent, at times ruthless and sexy as hell. Adams shows us all these sides to her that helps us wonder which side her character really is on in this thrilling con game. Bradley Cooper is an absolute hoot as the over eager FBI agent Richie, he really does make your side split with some of the remarks he comes out with. Jeremy Renner manages to give us a sympathetic character as Carmine, the mayor who makes bad decisions for good reasons and as a result is drawn into the operations. Rounding out the main cast is Jennifer Lawrence as the unstable and spurned Rosalyn. Lawrence really is hysterical in this movie and the film gains a certain vibrancy and spontaneity whenever Rosalyn is onscreen as you wonder what she will possibly do next.

Snappy, hysterical and all round good fun, American Hustle is stylish and well executed. The substance may be slightly lacking, yet you will probably not notice because of the stunning central performances provided. American Hustle is some of the most fun I’ve had at the cinema for a while.

Versatile Blogger Award

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Versatile Blogger Award

I’ve just realised that the wonderful Cara over at Silver Screen Serenade has nominated me for the Versatile Blogger Award. I would like to say a big thanks to her and encourage anyone who hasn’t read her blog to visit it ASAP. 

This is a great honour and an excellent way for to kick off 2014. Now onto the set of requirements for accepting the award.

1. Thank the person who gave you the award.
2. Include a link to their blog.
3. Select 15 bloggers you follow and want to pass the award onto.
4. Nominate the 15 bloggers and inform them of it.
5. Finally, list seven interesting facts about yourself.

Thank you Cara for bestowing this award on my blog, it means a lot and I appreciate your kindness.

Now for the nominees:

1. Alex Raphael 
2. Where the Wild Things Are
3. Movies and Music Cafe
4. Kitt Noir
5. Beguiling Hollywood 
6. RichardAnkersWrites
7. Cinema Parrot Disco
8. Cindy Bruchman 
9. The Sporadic Chronicles of a Beginner Blogger 
10. Film Grimoire 
11. Elemental Reviews
12. Films and Coke
13. Oh! That Film Blog
14. Keith & the Movies
15. Timneath

All of these blogs are amazing so please check them out.

Now for seven facts about me:

1. I really don’t like snakes, I used to be terrified of them. Although now I’m not that bad, people used to call me Indiana Jones because of my dislike of snakes when I was younger.
2. If I were to meet a celebrity now it would be Jennifer Lawrence. She’s such a talented, gorgeous actress who seems really down to Earth and funny.
3. The first film to really scare me as a child was Indiana Jones and the Temple of Doom. I love the movie, but the part when the man has his heart ripped out used to terrify me as a kid.
4. I often like films with a large ensemble cast.
5. I like movies that have an ambiguous ending, I love how it leaves it up to your own imagination.
6. My favourite era of filmmaking is the 70’s, so many amazing movies emerged from this time period.
7. My favourite camera shots in movies are close-ups.

Thanks once again to Cara for the award and I hope you check out the blogs I’ve nominated.