Waiting to Exhale

Tags

1990's, Angela Bassett, Comedy, Dennis Haysbert, Drama, Forest Whitaker, Gregory Hines, Lela Rochon, Loretta Devine, Michael Beach, Waiting to Exhale, Wesley Snipes, Whitney Houston

Film Title

Waiting to Exhale

Director

Forest Whitaker

Starring

• Whitney Houston as Savannah Jackson
• Angela Bassett as Bernadine Harris
• Lela Rochon as Robin Stokes
• Loretta Devine as Gloria Matthews
• Gregory Hines as Marvin
• Dennis Haysbert as Kenneth
• Michael Beach as John Harris
• Wesley Snipes as James

A glossy comedy drama concerning the love lives and friendships of four African-American women, Waiting to Exhale definitely has a lot of things going for it on the entertainment factor. But while it has some things to recommend, primarily a hot soundtrack and largely impressive casting, Waiting to Exhale just felt overall too slight of a film to make an impact on me.

A quartet of African-American women( Savannah, Bernadine, Robin and Gloria) all experience differences in romantic relationships and love . All living in Phoenix, their relationships with men are never easy and they often meet to discuss their various problems with the opposite sex over vino and food. Savannah is a television producer who has been having a relationship with Kenneth, a married man who keeps promising to leave his wife. Yet she is growing restless with his lying and contemplates taking charge once and for all. Bernadine thought she had a great marriage and lifestyle. That is until slimy John leaves her after eleven years for his secretary and she is crestfallen. She must deal with how best to move forward and reclaim her life as a single woman. The trouble is she never expected any of this to happen, so must go back to square one again and see what she can do. Robin is a flighty girl still hung up on a no good guy, but having casual flings with other guys while she waits for him to finally be in a proper relationship with her. And Gloria, who discovers that her ex-husband is gay, desperately craves company as her son is soon leaving home. Luckily, a new neighbour, handyman Marvin , moves in and she takes a shine to him. Throughout it all, the four women have their friendship to fall back on and rely on in confusing times concerning the heart.

Forest Whitaker adds touches of class as director and knows how to create nice imagery. I do believe he’s trying his best to bring these stories to life and he makes them at least watchable. The script and other areas are where Waiting to Exhale loses me. It just comes off as rather a few, slight vignettes than as a cohesive story, which is something of a detriment to Waiting to Exhale. I mean, I don’t mind me some episodic stories but usually its when they flow that I go for them, which sadly wasn’t the main case here. I did like the interactions between the women(which have humour to a lot of them and a nice dynamic), but I wish there were more of them to flesh things out a bit more. It was mainly Bernadine’s story that moved me the most; her story felt the most compelling as she grew stronger and shared a tentative attraction with a man going through crisis( a brief but memorable turn from Wesley Snipes). The other stories didn’t quite have the pulling power of Bernadine’s, even though Gloria’s pining for her neighbour was nicely observed. I can see that Waiting to Exhale provides escapism for many, I just can’t quite place my finger on why it felt somewhat flat for me. It started pretty well, but for me, it grew rather tedious and drawn out if we’re talking about the overall picture. I think it is a movie that does have some satisfaction and fun, but one that doesn’t really burn into the memory that well because of a lack of depth. The soundtrack however, with soul grooves, courtesy of Babyface, is really smooth and easy to listen to. It was a redeeming feature in a flawed movie.

A saving grace of this film is the main cast, especially Angela Bassett and Loretta Devine. Whitney Houston, looking gorgeous and stylish, gives Savannah a wry humour and quiet depth that is very beneficial and lovely. Angela Bassett is the main standout as the wounded but clearly not beaten Bernadine. As broken down as Bernadine is, the innate toughness Bassett brings to the screen always came off loud and clear that would be a fighter. I mean watching her torch her lying spouse’s fancy clothes and car was pretty satisfying viewing. Her blend of anger and vulnerability sold a lot of the emotion the film was going for and did it successfully. On the other end of the spectrum is Lela Rochon, who does a good enough job, but feels more than a bit stretched as the mixed up Robin. Don’t get me wrong, she’s quite appealing in parts, yet lacks the depth that the role later calls for and comes off as too weak in terms of acting chops. Loretta Devine really has a ball as the caring but hilarious Gloria, who represents a certain voice of calm amid all the entanglements. I loved her vivacious energy and timing, it was pretty spot on. Gregory Hines is a nice presence as the only really good guy(along with Wesley Snipes) in the picture. The rest, mainly Dennis Haysbert and Michael Beach, excel at playing the weasels who do nothing but promise sweet nothing to the ladies.

Undoubtedly entertaining as Waiting to Exhale is, I just found my interest levels lagging a lot. I will say that it all was shot nicely, had a soulful soundtrack and nice work from the cast(mainly Angela Bassett and Loretta Devine), but there was something missing that stopped it from being special.

What’s Love Got To Do With It

Tags

1990's, Angela Bassett, Biopic, Brian Gibson, Laurence Fishburne, Tina Turner, What's Love Got To Do With It

Film Title

What’s Love Got To Do With It

Director

Brian Gibson

Starring

• Angela Bassett as Tina Turner
• Laurence Fishburne as Ike Turner

A biopic of Tina Turner, her rise to stardom, abusive marriage to husband Ike and eventual freedom is dramatised with verve here in What’s Love Got To Do With It. Now is quite generic and follows the rules of a biopic to the letter, but that shouldn’t distant from the incredible acting, killer soundtrack and revealing glimpse into a woman’s gradual emergence as a liberated and unafraid star.

We begin in Nutbush, Tennessee where Anna Mae Bullock( Turner’s birth name) is a young girl with a big voice. She is abandoned by her parents at an early age and is raised by her grandmother. Flash forward a few years, and she’s a shy and coltish young lady coming to St. Louis to see her long estranged mother. It is here with her sister that Anna Mae first meets charismatic bandleader Ike Turner in a bar. One night when he’s performing, the microphone is passed around the female patrons. It ends up with her and when she belts out a song, everyone is totally surprised. Ike sees something in Anna Mae and begins mentoring her, later giving her the name Tina Turner and structuring his band around her. Soon success is pouring in for Ike and Tina( who marry quickly) in ways she never thought possible. Yet events quickly sour and get darker as Ike becomes more insecure and addled with drugs. This leads to him putting pressure on Tina to perform no matter whether she’s too exhausted to do it. And when she begins to gain most of the attention, Ike’s abusive streak reaches physical heights and brutal beatings, which terrify and cage Tina. Scared to leave despite his torment of her and humiliation at his hands, Tina sticks with Ike, but slowly crumbles under his abuse. That is until Tina finally gains the stiffening of her backbone needed to leave Ike and take control of her life.

What’s Love Got To Do With It is pretty conventional in its main execution like a lot of biopics, but director Brian Gibson still makes it a film to remember with how dark he depicts events behind the curtain. The biggest flaw for me is how quickly everything moves, with certain events and is hit and miss with its timing. Granted, the news footage with a hand-held sort of grain that presents the passing of events in a largely effective manner, even if the screenplay some homes leap frogs some things and leaves you to fill in the gaps. Credit should be given to his grimly realistic the brutality and emotional torture of Tina under Ike is depicted. This unvarnished and at times shocking depiction of events lends a wallop that some biopics miss by trying to be overly glossy. At the centre of the movie is the self-discovery and worth of Tina, who slowly finds a fortitude within herself that enables her to become a survivor. And the other saving grace in the film is the bravura music numbers. From a relentless and exhausting cross cutting performance of ‘Proud Mary’ to the solo triumph of Tina with the title song, the music and its sound are fully alive and vividly staged.

If there is anything that really raises the roof of What’s Love Got To Do With It, it is the two exceptional performances of Angela Bassett and Laurence Fishburne. Angela Bassett strikingly and uncannily captures the feisty, sultry and energetic persona of Turner on stage, while revealing the well of sadness and torment behind closed doors at the hands of possessive Ike. Seriously, Bassett gets so much into the part, that you genuinely feel like you’re watching the real woman in action. That’s one of the highest compliments you can give a star, but it’s warranted with how Bassett turns in a performance of vulnerability, appeal and a burgeoning steel to stand up for herself. Equally as compelling is Laurence Fishburne and his interpretation of Ike. A seductive and very suave guy in the beginning who recognizes the talent in Tina, his mercurial and resentful personality soon comes out with frightening and brute force. Fishburne explosively charts this path and  frighteningly throws himself into the part with superb results. It’s safe to say that the film wouldn’t have been the same or as watchable where it not for Bassett and Fishburne.

Conventional and oversimplified as some of it may be, What’s Love Got To Do With It gets its power from two sensational lead performances of Angela Bassett and Laurence Fishburne. Add to that one hell of a soundtrack, as well as its depiction of the strength that Tina had to gain in order to forge her own success away from the darkness and the film is eminently watchable.

 

Party of Five Season 2

Tags

1990's, Jennifer Love Hewitt, Jeremy London, Lacey Chabert, Matthew Fox, Michael Goorjian, Neve Campbell, Party of Five, Party of Five Season 2, Paula Devicq, Scott Grimes, Scott Wolf

We return to the journey and lives of the Salinger clan in Season 2 of Party of Five. Building on the set up from Season 1, this sophomore installment is just as good in how it deals with tough themes and explores relatable events. Be warned, spoilers will follow.

Charlie(Matthew Fox) and Kirsten(Paula Devicq) are now engaged after many hiccups in their relationship and thinks seem to be improving. Yet more upheaval and chaos throws a spanner in the works and a multitude of things stand in their way. It culminates in Charlie getting cold feet and callings off the wedding, despite the fact that they love each other. Bailey(Scott Wolf) is still struggling to come to terms with the death of Jill, despite the best efforts of buddy Will(Scott Grimes) to bring him out of his shell. At first he largely doesn’t notice sweet Sarah Reeves(Jennifer Love Hewitt), who has an obvious crush on him. But even when he begins to date her, it becomes clear that Bailey is wanting to escape his life that he sees as hopeless. Sarah also has her own struggles, but thankfully brings out some happiness in Bailey. Julia(Neve Campbell) experiences a crisis of the heart regarding her nice boyfriend Justin( Michael Goorjian)and the bad boy Griffin(Jeremy London). Justin breaks up with her after finding out about her tryst with Griffin, then things become more complex for her and Griffin. Julia doesn’t know how to deal with her emotions that are tangled to say the least. It appears that she finally gets a grip on her love life once and for all by reuniting with Justin. Then something really drastic happens and Julia is thrown into a massive tailspin. Claudia(Lacey Chabert), who has now entered high school, finds it difficult to adjust to being older and the pressures of puberty. Hanging out with a troublemaker at school, Claudia begins to rebel a lot. And baby Owen is finally starting nursery, while still needing the mature caring of his siblings in the place of parents. It’s another eventful journey for the Salinger’s as life poses a lot on them, but hopefully through unity they can survive.

Just like I predicted, Season 2 expands on what the debut season set up, finding firm footing in giving more attention to the individual characters, as well as the whole thing of family. The arcs of the characters have depth and honesty to them, tapping into themes of change, lying, love and even the return of their long lost grandfather. And issues faced with honest rendering and impactful force are sexual harassment, teenage pregnancy and commitment, showing the show dealing with complexity and intimacy in a way it knows already in this early stage to manage. Balanced among this is healthy doses of humour that enliven events, yet never get too over the top and take away from the moving stories at its heart. While I don’t think there is anyone who has gone through all of the issues mentioned in such a short space of time, Party of Five boasts a gravity and slices of realism to ground it in the most effective way. You do give a damn about these people and it isn’t a chore to watch the tribulations they must do battle with. Even if some of the stories don’t work as well as others, the overall impact and high quality rise it above just common teen drama into something more moving.

The episode of the wedding is a pretty effective one of highs and lows as Charlie and Kirsten attempt to salvage something but are ultimately at different ends of the spectrum. It’s a real heartbreaking episode as you know the two are meant to be together but are both unsure of what the future holds. Reconciliation could be on the cards, but if so it’s not going to be an easy ride for either party. Equally as wrenching is the episode of Julia discovering she’s pregnant and faced with a very difficult decision. We get to see how everyone reacts to this news and how it impacts on young Julia.  Eventually settling on having an abortion, Julia then experiences a miscarriage that devastates her. As she has no female role model to confide in, she finds unlikely support in the form of the usually not so helpful Charlie. An honest and authentic atmosphere is present throughout this episode, highlighting the issues of teen pregnancy and abortion sensitively.

Scott Wolf rocks it playing the frustration and pain of Bailey, while imbuing a charm and energy that could be the characters saving grace. Once more, Wolf allows Bailey to be troubled, but not so much as we can’t relate to him on a personal level. Matthew Fox impresses again as Charlie; whose coping mechanism of pushing those he loves away makes for drama. scared that his while life has been planned our for him already and wanting escape is rendered excellently by Fox. Neve Campbell hits the right notes with an emotion driven performance as mixed up Julia. You genuinely buy into her turmoil and gamut of unfortunately difficult events she encounters. Campbell nails the intelligence of Julia, but like most people, the pangs of confusion, guilt and unfortunate turbulence are all evoked in her more than capable hands for us to see. Lacey Chabert mixes childlike innocence with playful maturity as Claudia, whose finding out that growing up and all it entails is rough business. Jennifer Love Hewitt joins the cast as the sensitive Sarah, who provides a love interest for Bailey. Possessing an adorable smile and a gentleness, Hewitt is touching and charming in equal measure. She immediately gels with the other members of the cast and slots in nicely as a kind-hearted girl. The main chemistry between the main cast is as splendid as the first season, boasting a deep believability that these people are related. Paula Devicq steps up as Kirsten. I mentioned in my last review that she was a tad wooden last season, but she really shakes at off here with a very good performance. She’s got a sensitive depth and emotive ability that is on full display and shows Kirsten becoming more conflicted over her feelings with Charlie that are frequently challenged and come to a dramatic head. Good support and humour is glimpsed with Scott Grimes returning as loyal best friend Will. Michael Goorjian and Jeremy London provide the two very different love interests for Julia; the sarcastic Justin and rebellious Griffin.

Another impressive season of Party of Five, this second part is an emotionally invested and finely tuned triumph, benefiting from the fine cast and writing.

How to Make an American Quilt

Tags

1990's, Alfre Woodard, Anne Bancroft, Dermot Mulroney, Drama, Ellen Burstyn, How to Make an American Quilt, Jean Simmons, Jocelyn Moorhouse, Johnathon Schaech, Kate Capshaw, Kate Nelligan, Lois Smith, Maya Angelou, Winona Ryder

Film Title

How to Make an American Quilt

Director

Jocelyn Moorhouse

Starring

• Winona Ryder as Finn Dodd
• Anne Bancroft as Glady Joe
• Ellen Burstyn as Hy
• Alfre Woodard as Marianna
• Maya Angelou as Anna
• Kate Nelligan as Constance
• Jean Simmons as Em
• Lois Smith as Sophia
• Kate Capshaw as Sally Dodd
• Dermot Mulroney as Sam
• Jonathon Schaech as Leon

A heartwarming tribute to female friendship and the shaping of life’s experiences, How to Make an American Quilt is a very sweet and enjoyable movie. It’s nothing revolutionary or startlingly original, but it’s story of looking to the past in order to unlock the future is beautifully directed and acted.

Finn Dodd is a 26-year-old graduate student, who is working on a thesis over the summer. She can’t quite settle on a topic and always changes her mind when she thinks she’s got the right parts. This confusion and inability to come to a decision extends to her boyfriend Sam, who has just proposed. Finn obviously cares about him, but is deeply unsure of whether marriage is a good idea for her. While mulling things over, she goes to visit her Great Aunt Glady Joe and Grandmother Hy, who themselves are sisters usually at each other’s throats. They are both part of a quilting group that includes wise leader Anna; her free-spirited daughter Marianna; stern Sophia; grieving Constance and quiet Em. They are currently in the process of making a wedding quilt for Finn and in their own ways, they each inspire her and give her support in her time of indecision. Over the summer, conflicted Finn is regaled with stories of love from their pasts; some tragic and some inspiring. We glimpse the lessons these older women have learned; from how Glady Joe and Hy became more than a little strained, why Sophia turned into such a battle-axe and in general how love is what you make of it. Also present is a hunky guy named Leon, who takes a shine to Finn and potentially throws a spanner in the works. It all comes down to whether she is ready to make a commitment or live her life in freedom.

Jocelyn Moorhouse beautifully conjures up the loving and touching lessons of life in a straightforward but effective way. We become like Finn, learning about the women who came before her and their experiences with love. Moorhouse aims for the emotions and heart with How to Make an American Quilt, and succeeds in getting you invested in the brief flashes of events that these women now speak of. As sentimental as some of it is, the gentleness and often low-key approach keeps the film on a pleasing level without slipping into overly histrionic content. the pleasures in are listening to the various experiences of these women and how young Finn reacts to them. From heartbreak and upheavals to the starts of companionship, all the stories have some weight on her and impact. Like with any film that weaves together an ensemble story line however, some of the arcs come off better than others that are patchy. This is only to be expected really as it would be impossible to craft something that gave every strand, without it turning into a marathon of a movie. The stories that make the most emotive impression are the ones of Hy and Glady Joe and the flashbacks to Sophia’s early life; where she had some promise but never got the chance to enjoy it due to the inevitability of timing. They are played out in organic and poignant fashion that knows how to get your care. The other stories all have currency, though more than a couple may have been better if expanded upon. If I was to compare this movie to something, the equivalent would be a quilt itself. It’s got some rough edges and is well-worn, but has that cosy and snug feeling that lifts your spirits. The luscious cinematography renders everything with a distinct glow. Thomas Newman’s stirring score is a big plus in this feel good movie.

If there is anyone who can play indecision and curiosity convincingly, it’s Winona Ryder. With her naturally inquisitive and youthful face, she’s excellent casting for Finn. All the confusion and searching questions are there, as she listens to the stories of the past in hopes of unlocking her future.  Anne Bancroft and Ellen Burstyn provide gentle humour, classy depth and consummate professionalism as the feuding sisters, whose grievances are plain to see but whose love for the other more than combats anything completely severing them. Alfre Woodard has the right bohemian air and fun for her role of effervescent Marianna. The wisdom and dignified grace of Maya Angelou stunningly embodies the passionate leader of the quilting group Anna. Angelou possesses a nuanced voice of experience and clarity that is impossible to ignore. I could listen to her voice all day it is that soothing and imbued with sage. Kate Nelligan and Jean Simmons are both moving as two of the women, realising they are linked through one of their husbands philandering. Lois Smith captures the well of sadness arising from someone whose ambitions were cut short, resulting in a hostility and bitterness of character. Kate Capshaw is a breath of fresh air in her small but important appearance as Finn’s flighty mother. She seems very irresponsible but what she ends up saying is quite beneficial and unexpected. Whether big or small in size of parts, all of the ladies here do good work. Dermot Mulroney does well with his limited part of Finn’s boyfriend, letting the female cast members take the lion’s share. Johnathon Schaech is largely there to provide the temptation for Finn, complete with the fact that he never seems to be wearing a shirt.

it isn’t going to win prizes for innovation, but the beating heart and gentleness of How to Make an American Quilt is effervescent that you won’t be able to resist its charms. Just cuddle up and enjoy this nice fable on life and sisterhood.

Party of Five Season 1

Tags

1990's, Lacey Chabert, Matthew Fox, Neve Campbell, Party of Five, Party of Five Season 1, Paula Devicq, Scott Grimes, Scott Wolf

I recently found Party of Five on Netflix, having heard about it being popular in the 90’s. So I decided to give it a watch and I’m happy I did. Focusing around five siblings as they come to terms with the tragic death of their parents, it makes for earnest, moving and excellent television. What could have been an overly melodramatic concept, instead captures the things that young people go through smartly and with substance. Be warned, spoilers will probably follow in my overview of this promising first season.

It has been six months since the Salinger siblings lost their parents in a car accident and they are all still dealing with it. The orphans are oldest son Charlie(Matthew Fox); an immature, occasionally selfish 24-year-old who is appointed the head of the family; Bailey(Scott Wolf), the responsible but hapless 16-year-old; sensitive and awkward Julia(Neve Campbell); child prodigy Claudia(Lacey Chabert) and baby Owen. Each of them is trying to stay afloat and keep going with their lives, despite having responsibilities they are not ready for, thrust upon them. The shift in dynamics strains them all, as Charlie is not the most natural leader there is and frequently screws up. Bailey has to make sacrifices because of his maturity, which in turn causes his grades and teenage life to slide. Julia, who is a natural with poetry and writing, feels lost and begins to experiment with trying to be popular and accepted. And little Claudia, who is never far from her violin, is often the catalyst for mischief and sometimes soul-searching questions. The arrival of young Kirsten(Paula Devicq), who is hired as a nanny helps with things, yet gets equally complicated when her and Charlie become involved. The dramas and mounting pressures in their lives( loyalty, struggles to find oneself, love, keeping their father’s restaurant going and the nature of grief) is a constant burden as they really have no one to look up to. And with the many troubles of being a youth brings, it’s going to take a lot for them to get through everything that lies in wait for them. Through it all, the Salinger family, through frequently close to falling apart, manage to stick together through their respective grief and care.

There is something very organic about Party of Five; be it in the conversations of the characters or how they deal with things. Sure there is a lot of dramatic impact that is generated through the content, yet it feels very natural and how a family would be. The Salinger clan are relatable because of the way they are written, with the scripts fleshing out their tumultuous lives and fractured but alternately tight-knit closeness. The show stays on the right side of earnestness, only dipping its toes into sentimentality on the rarest of occasions. Originality is not what the show is going for, as it has the angst, hardships and relationships of adolescence in abundance. But that isn’t a deterrent from it, far from it in fact. Party of Five is a drama about the bonds of family and a mighty fine one at that. To be honest, lack of originality rarely bothers me when something is well made. The show isn’t attempting to be overly intellectual, and yet it does have significant clout when it comes to dealing with difficult issues sensitively. It’s the emotions that it really goes for and thankfully it never feels manipulative in how it elicits them. Too many dramas aimed at teenagers and young adults are superficial and shallow; Party of Five has a lot more on its mind and rises to a good level of genuine thematic material.  The inclusion of a soft guitar score is another thing that helps shape the show, with how it creeps in and nicely aids with its naturalness and calm.

The tropes of growing up and discovering the complexities of life, seen from Bailey’s unfortunately tragic relationship with a girl hooked on drugs that he can’t see at first or Julia discovering that her late mother, who she idolized, might have had an affair are just a few examples of what is covered. And while the show is eventful, it gives equal time to each of the characters stories, that often intertwine with each other. Not every episode is a knockout, but really when is that the case in any show? But the vast majority of the episodes depicting the struggles and journey of the Salinger family are engaging and filled with sincere emotional weight. And even though the main premise casts a tragic air over things, Party of Five is far from just an epic downer. It inevitably has a sadness to it that is well shown, but there is humour, drama and heartfelt reflection that round out events nicely. Life may be unfair and difficult for the Salinger clan, but the overall message is one of hope, even in the darkest circumstances. Season 1 is the set up of the show and it promises a lot more to come. I reckon Season 2, like most shows, will be the main step up and really hit its stride. Not that this debut season is a slouch, I feel it will become more expansive and build on the impressive building blocks that this has formed.

Scott Wolf leads as the reliable Bailey, who is the guy who fixes things yet often gets things wrong too. He is still a teenager at the end of the day, whose had to grow up fast and is more than a bit resentful of that fact. Bailey mainly represents the assertive but unlucky spine of the family and its core, which Scott Wolf unaffectedly brings out. It’s hard not to root for him, especially when the chips are down. Playing the part of reluctant guardian Charlie is Matthew Fox, who also impresses. Fox strikes the right balance between Charlie’s desire to live his life and the sacrifices that he’s had to employ to keep his siblings together. Charlie is a guy trying to assert authority, but being constantly challenged with the feeling that he’s not up to it, which is where Fox really hits the mark. Neve Campbell is incredibly convincing as Julia, whose always searching for herself and uncertain of her identity. This confusion is played very well by Campbell, who immediately gains our sympathies and successfully embodies the depth of Julia’s struggles with adjustment. Sensitivity tinged with melancholy colours the sensitive Julia, as her kindness and search for answers moves you. By far the best thing in Party of Five is how well the cast works together. They are immensely believable as a family going through change and the unfairness of life. From their interactions, misunderstandings and ties, we witness a family close to the edge but slowly pulling back up to some form of normality. Little Lacey Chabert is delightfully as the precocious Claudia, who is mature in many ways but still very much a child. She’s funny, petulant and at times wise beyond her years, all performed with effervescence by the young Chabert, who shows no sign of nerves when acting alongside older performers. Paula Devicq, while a bit wooden at first, certainly grows on you as the romantic interest of Kirsten, while Scott Grimes supplies humour as Bailey’s wise-cracking best friend Will.

A heartfelt family drama that never feels too forced or hackneyed, Party of Five is an honest and eminently watchable series that has me very much interested to see what future installments hold. If Season 1 is anything to go by, it must be good.

Il Postino

Tags

1990's, Drama, Foreign Language Film, Il Postino, Maria Grazia Cucinotta, Massimo Troisi, Michael Radford, Philippe Noiret

Film Title

Il Postino

Director

Michael Radford

Starring

• Massimo Troisi as Mario Ruoppolo
• Philippe Noiret as Pablo Neruda
• Maria Grazia Cucinotta as Beatrice

A beautifully moving paen to poetry and altering friendship, Il Postino weaves a quiet yet lyrical spell on you as we watch a shy man flourish under the tutelage of a great poet. A subtle and at times amusing film, Il Postino also has a bittersweet nature that is hard to forget once you’ve seen it.

The year is 1950 and Mario Ruoppolo lives on an Italian island, where the main job for men is fishing. Trouble is, the good-natured and simple Mario hates fishing, so is left to laze about with nothing to do and his father telling him he needs to find a job. This is all subject to change with some exciting news for the island. The very famous poet Pablo Neruda has been exiled from Chile for his political views and is now seeking refuge on the island. As there is a huge influx of mail, a postman is needed to deliver it to the esteemed visitor. Listless Mario gets the job as postman delivering the hoards of mail that arrive for the renowned poet. Mario sets about on this job and while doing it, attempts to converse with Neruda, who is the talk of the town. Neruda is polite enough but aloof as he wants to be in solitude, which Mario doesn’t realise at first. Gradually his enthusiasm and pluck resonate with the old master, who begins to like the innocent postman. A friendship between the two very different men( one an eloquent poet, the other an uneducated postman) is ultimately struck up. Neruda tells Mario of the importance and beauty of words, which Mario takes on board and stores. Around this time, timid Mario finds himself falling in love with the stunning Beatrice, a local barmaid. The trouble is, he can hardly put a sentence together whenever he’s around her. Seeing that Neruda has an excellent reputation with women, Mario implores him for support. Neruda and his mellifluous gift for words encourages Mario to emerge from his shell and give voice to his feelings day by day. As a result, Mario starts to grow in confidence under the guidance of Neruda, and soon enough, his love for the beautiful Beatrice can finally be expressed without him looking like a fool. Over the course of the time spent together by Mario and Neruda, they each make a defining impression on the other that neither will forget.

Michael Radford, a British film maker, directs this Italian language film with a sure hand and buoyant charm that is hard to resist. It’s the simplicity and little moments that cause Il Postino to really make its presence felt. It isn’t a film of big, grand moments; favouring a quiet and languid time for the relationships between characters to manifest and ensue. The interactions between the good-hearted but and stately Neruda are what really interests and pleasingly transfer to the viewer’s enjoyment of watching them come to an understanding that benefits both in ways they didn’t realise. A lot of may be about Mario’s attempts to woo Beatrice which are tentatively done, but his burgeoning friendship with Neruda is the real ace in the hole.  An observant quality frames the impact each man has on the other, with the power of descriptive words passed from Neruda to his young charge eliciting a gentleness and occasional humour. In fact, humour plays a decent part of Il Postino, especially in how Mario woos Beatrice and her stern Aunt misinterprets the whole thing. Yet within the film is a reflective note that can’t be missed. There is a scene later on in Il Postino that is imbued with a relatable pathos and inspiration. In it, Mario finally begins to realise that he is something special and while Neruda has left the island, he comes to see just how much he was impacted by the great man and how he has been changed substantially from when we first saw him. Such a heartfelt and inspiring scene that feels so warm and soulful, it’s just glorious to see. There is a definite tinge of poignancy that comes in the film when Neruda leaves after the warrant for his arrest is scrapped, leaving Mario feeling a bit lost without his mentor. And while there are those who will scoff at the movie and declare that not a lot happens, they are the missing the life-affirming and unobtrusive way that quite a lot happens, just in measured and lovingly rendered vignettes. Il Postino doesn’t need to be grandly over the top of melodramatic all the time; a winning relaxed approach is the right one for such a movie as this. The sun dappled imagery of the Italian island is blissfully gorgeous to look at, complimented by the moving and adventurous score to the piece.

Massimo Troisi is the eponymous postman in what would sadly be his final role. Essaying the awkward mannerisms, pining, childlike eyes and hapless charm of the transforming Mario; is excellently understated and soulful as the beating heart of the film that evolves with nuance from simple-minded and listless man to passionate and inspired person . Most of the bittersweet nature of Il Postino comes from Troisi , who tragically died a day after filming completed. He had a heart condition and postponed surgery to be in the film. Despite struggling, he soldiered through making this film( he had a co-screenwriting credit too), only to sadly not see the greatness of it all coming together. Watching his beautifully emotive and amusing performance is both a treat and a sad reminder of the talented man. Philippe Noiret is just right as the influential Pablo Neruda; brimming with humour, dignity and a thoughtful way about him. It’s easy to see why Mario looks up to the guy. There’s an authoritative and spirited streak that runs through the work of Philippe Noiret , making Neruda a man you could see yourself trusting and learning from. At first he prefers the quiet of being alone, but is won over by Mario and finds himself growing very fond of the man who he can help. Maria Grazia Cucinotta stars as the object of Mario’s affection and while not the most demanding role, her sensual appeal is employed well, that it is easy to see why Mario would become some enchanted by her. Cucinotta possesses a smouldering beauty that seduces the camera whenever she appears.

A sweet yet poignant movie of easy yet invested direction and nice performances, Il Postino splendidly captures the feeling of growing and being inspired lovingly and with a deep heart. As a showcase for the late Massimo Troisi, it ensures his presence and talents are in full glory and act as a touching reminder of his ability. Truly a sweet movie for everyone and one to be treasured.

Marvin’s Room

Tags

1990's, Diane Keaton, Drama, Gwen Verdon, Hal Scardino, Hume Cronyn, Jerry Zaks, Leonardo DiCaprio, Marvin's Room, Meryl Streep, Robert De Niro

Film Title

Marvin’s Room

Director

Jerry Zaks

Starring

• Diane Keaton as Bessie
• Meryl Streep as Lee
• Leonardo DiCaprio as Hank
• Hal Scardino as Charlie
• Robert De Niro as Dr Wally
• Hume Cronyn as Marvin
• Gwen Verdon as Aunt Ruth

A film based on a play that covers themes of family, illness and forgiveness, Marvin’s Room is a beautifully affecting movie that earns the laughs and tears it elicits in the audience through the natural work from an accomplished cast.

Marvin’s Room revolves around two estranged sisters; sweet and sensitive Bessie and driven Lee. Bessie lives in Florida, where she takes care of her bedridden father Marvin and dizzy Aunt Ruth. She has been doing this for twenty years now, yet hasn’t taken the time to really think of herself once. Lee is the more rebellious sister, who has worked hard and wants to get her life into a sense of order, complete with her two sons Hank and Charlie. Just as she appears to be, her troubled son Hank burns the house down and is institutionalized. His increasingly erratic and antagonistic behaviour towards his mother who he blames for divorcing his absent father does nothing to help, with Lee really hitting breaking point over what to do. It is around this time that Bessie discovers that she has leukaemia and that she needs a bone marrow transplant. Despite not having spoken to her sister in over twenty years, Bessie implores Lee to come and visit her. She hopes that she can find a match for the operation and hopefully bury the hatchet with her sister. Lee, even though she still has her differences with her sister, packs up her kids from Ohio and heads to Florida. The reunion is far from what you’d call an easy one for everyone involved. Bessie feels resentment towards Lee for not helping take care of their father, while Lee feels that Bessie is judging her for not being as sensitive a person as she is and thinks that Bessie has given too much of her life to caring for her family. Hank is also still troubled and distant from everyone, though he finds comfort in the form of Bessie who he believes listens to him more than his mother. Old wounds are opened as Bessie and Lee try to reconnect and Hank starts to mature in the presence of his Aunt. Reconciliation and understanding could be on their way, if everyone can finally accept the others and unearth a kinship that has long been missing.

Jerry Zaks may not have much of a cinematic finesse in his approach to the film, yet his eye is more focused on character and development( at which he scores points.) the natural and quietly emotional way that it tells the story that truly makes Marvin’s Room a moving experience. What is most surprising about Marvin’s Room is that it has a welcome dose of humour in it. It has you laughing one minute, then in tears in a heartbeat. And while this could have turned out to be a bad thing, it is actually one of the biggest successes of the film. It really brings you into the piece and highlights the naturalism and summarizes how unpredictable life can be for all of us. Dysfunctional family and the ways in which they can falter, but ultimately be reunited in unexpected circumstances is played out in accomplished fashion. Sure there are confrontations between characters, but they thankfully don’t go over the top and remain within the context of the film to its benefit. Some could argue that it is a sentimental movie, but it stays just on the right side of that to make a film that celebrates life and connection with people we never thought we’d understand. The odd mawkish moment here and there can be swept under the carpet when the film is as affecting and nuanced as Marvin’s Room. Don’t let the seemingly made-for-TV sounding plot detract you from the film, as it traverses well above manipulative manhandling of the audience in favour of soulful observation. In fact while illness forms the main crux of the story, it is the nature of family and that is most effective and compliments the scenes of disease and possible death. Marvin’s Room isn’t flawless by any means as some of the pacing is off and I might have liked it if the film ran a bit longer. But all in all, it’s a very accomplished and emotion driven story that gets your attention through the laughs, tears and smiles. Rachel Portman supplies the evolving music of this piece; splendidly supporting the quietly stirring and bittersweet parts of the film through rising rhythms and emotive piano.

Diane Keaton beautifully heads the cast with a quietly and movingly acted role of the caregiver sister finding out she herself is ill. A nuanced and sincere amount of feeling is embodied by Keaton as Bessie sensitively attempts to be brave. Genuine decency can often be difficult play without going into overt politeness, luckily Diane Keaton manages to portray goodness stunningly. There is no slipping into overly saintly or martyr like here, just a heartfelt delivery. There is just something very warm and soulful about Diane Keaton here that makes it stand out as one of her best performances. Meryl Streep is on fine form as the chain-smoking, fiercely independent sister who is trying to keep her life together, yet has to come to terms with responsibility for probably the first time. The part of Lee is a flawed woman who can be self-interested and impatient(not to mention at the end of her tether), but with Streep in the part, we get to observe how her brash outer shell has been made by her own experiences and how she really is more than a little vulnerable underneath it all. Streep works wonderfully alongside the luminous Keaton, genuinely conveying the distance and eventual closeness the siblings acquire over the course of the film. A young Leonardo DiCaprio holds his own against his older co-stars with a performance of anger, damage and eventually reflection. DiCaprio nails the troubled persona of teenager Hank and finds a feeling of loneliness and wanting for attention in there, which makes him hit it off with Bessie as he feels she gets him. DiCaprio brings layers and forceful feeling to the part which benefits from it considerably. Hal Scardino has the more modest part of the younger brother whose often buried in a book, but Scardino makes the most of it to play off DiCaprio’s intensity well. Providing amusing support is a genial Robert De Niro, portraying the yet often inelegant doctor who gives Bessie her diagnosis and whose attempts at being positive are sometimes anything but. Hume Cronyn, without uttering a word, conveys the helpless feeling of illness in old age, while Gwen Verdon is funny and sweetly touching as the scatterbrained Aunt.

Heartwarming and sincere, plus sporting a great cast of actors doing some lovely work, Marvin’s Room is a successful and touching testament to the themes of redeeming oneself and appreciating life.

Deceived

Tags

1990's, Damian Harris, Deceived, Goldie Hawn, John Heard, Thriller

Film Title

Deceived

Director

Damian Harris

Starring

• Goldie Hawn as Adrienne Saunders
• John Heard as Jack Saunders

It isn’t a top-tier thriller but Deceived still manages to be surprising and filled with suspense for everyone to feel. Featuring Goldie Hawn in a dramatic departure from her usual comedy, Deceived is a pretty well executed movie that is often overlooked if I must say so.

Attractive Adrienne, who is an art restorer briefly meets handsome curator Jack at a restaurant when she is stood up on a blind date. They later see each other at Adrienne’s work, and the spark between them is set. After a whirlwind romance, the two marry and we pick up with them five years later where they have a daughter named Mary. Yet trouble and doubt creep into paradise with a series of events that cause Adrienne to question her husband. First of all, a man who works with Jack discovers that a recently arrived artifact has actually been substituted for a fake, but is then murdered before he can tell anyone. A friend of Adrienne’s claims she saw Jack in New York when he said he was in Boston. Plus, many things that Jack has told Adrienne aren’t adding up. Yet just after airing her suspicions about Jack, he is killed in a freak car accident. Devastated by this, Adrienne does her best to be strong for Mary, but can’t shake the feelings of something being very untoward. These are heightened when Adrienne is informed that her seemingly by the book husband was actually using the name of a man who has been dead for over sixteen years, sending her into a tailspin as her suspicions regarding his death come to life. And someone from a distance is stalking Adrienne without her knowledge. It appears that Jack may be very much alive and hiding somewhere, the deeper Adrienne digs. Yet she can’t be sure of anything because of the smoke screens that keep getting thrown up and somehow pull the recent rash of bizarre events together. Somehow Adrienne must make sense of all of these tangled threads as her own life is in jeopardy the more she marches towards answers.

Damian Harris is on hand for directing duties and his handling of the thriller is pretty great. He lulls you into that false sense of security in the beginning before unearthing the sinister nature underneath. The pace is one that really keeps you engrossed for the most part of it all, complete with a few neat surprises. There is a wintry feel to Deceived that plays into the visuals and renders things in a chilly and unusual format. This is employed stylishly when the tension is cranked up and Adrienne is put in significant danger because of her desire to know the truth about the man she called her husband. Not all of the twists that Deceived takes are exactly what you’d call logical and some do fall flat, but most of them are by and large excellent at keeping the audience on their toes. Suspense is handled in a relatively efficient way, with the unraveling of real identity and possible danger for Adrienne take centre stage. Especially in the last half, Deceived becomes quicker and a cat and mouse game emerges, filling the screen with a great amount of thrills. There is something Hitchcockian about quite a lot of Deceived and while it’s nowhere near the work of the great Master, it manages to sustain some chills. Thomas Newman is on music duty and the tension is raised significantly by his switching tempos and sense of creeping suspense.

I really enjoyed seeing Goldie Hawn in a more mature and serious part that showed her in a different light. If her work in Deceived is anything to go by, she should really delve into more drama because she has the chops for it in how she downplays her effervescent and bubbly personality for something effectively subdued. Hawn excels at being very natural and believable playing a woman whose life comes crashing down around her, when she witnesses that her husband really wasn’t the man she thought he was. Levels of vulnerability, feelings of betrayal and ounces of strength help as Hawn gets the audience to sympathise with her and want her to get to the bottom of the knotty events, that may also prove fatal for her if she isn’t careful. Purposefully mysterious is John Heard, who relishes the opportunity to play such a sly and potentially dangerous man. Exuding a calculating charm and smooth approach, the talented John Heard makes Jack someone who may appear genuine, but who clearly has something sinister on his agenda.

Not what you’d call the best thriller there is but pacy and filled with enough twists to keep you guessing, Deceived triumphs based on that and the opportunity to see Goldie Hawn in something serious. For an hour or so of thrills, Deceived could be a winner for you. I personally think it’s quite an underappreciated film.

The First Wives Club

Tags

1990's, Bette Midler, Comedy, Dan Hedaya, Diane Keaton, Goldie Hawn, Hugh Wilson, Maggie Smith, Sarah Jessica Parker, Stephen Collins, The First Wives Club, Victor Garber

Film Title

The First Wives Club

Director

Hugh Wilson

Starring

• Goldie Hawn as Elise Elliot
• Bette Midler as Brenda Morelli
• Diane Keaton as Annie MacDuggan
• Sarah Jessica Parker as Shelly
• Maggie Smith as Gunilla Garson Goldberg
• Dan Hedaya as Morty
• Victor Garber as Bill
• Stephen Collins as Aaron

An utterly devilish and fun comedy that follows three women getting back at their menfolk in mischievous ways, The First Wives knows how to be terrific entertainment and a sparkling showcase for Goldie Hawn, Bette Midler and Diane Keaton.

We begin in the late 60’s when four young women; Elise, Brenda, Annie and Cynthia are graduating college and promising to be in touch regularly no matter what. Decades later and the ladies have hardly been in contact with each other, through a variety of reasons despite the fact they all live in New York. Elise is an actress, who at one point had popularity but is trying to be younger as there is more demand for it in Hollywood and has turned to booze. She has also split from her producer husband Bill after he was caught fooling about with a younger actress and is now asking for alimony. Brenda has a young son and is now separated from her husband Morty;who also played away from home with a younger lady, in this case the bimbo social climber Shelley(even though Brenda was the one who helped him set up his business.) Annie is still technically married to louse Aaron though they are trying a temporary separation. It is through Cynthia that everyone is brought together, as she commits suicide following her husband leaving her and marrying someone else. Elise, Brenda and Annie meet at the funeral and spill their own problems to each other. Although both Elise and Brenda feel anguished, Annie thinks she is getting her marriage back on track, due to her ability to see the good and not confront decisions. That however goes out the window when she learns that he is actually leaving her for her therapist. Getting closer again after so many years apart, the trio decides that they aren’t just going to take this treatment and slowly they band together to formulate a plan. Three heads are better than one as they plot an amusing series of revenge schemes directed at the men in their lives. Much hilarity ensures along the way, showing that revenge can be quite fun and extremely sweet when you know what to do.

Hugh Wilson’s energetic direction moves events with a kinetic drive and humour, yet never sacrifices any of the sympathy or seriousness that The First Wives Club has to offer. There are those that will accuse this movie of man bashing from the start, but I find that to think that is missing some of the point. Sure the men depicted are not dactyl model citizens but the main focus is on the ladies getting perceived justice after being wronged. Everything is mainly done with a sprightly and at times acidic humour that makes the film very funny and not just one that ridicules men. After all it is just a film and I do t think the intention is to alienate men at all, I didn’t feel slighted by the film at all. I had an absolute ball with its mix of comedy and drama, that really got you to feel for these ladies and then take pleasure as they took back control over their lives. And talking of what made the film great, the script of arch one liners and a bundle of hilarious scenes is sufficient enough to pique anyone’s interest. Take for instance, when the ladies sneak into Morty’s apartment to search for papers that prove he’s a crook and must exit when he returns, using a window cleaner lift. If you’re not laughing by the end of that outrageous scene, you clearly have no humour. And that late rendition of ‘You Don’t Own Me’ is a showstopper if ever there was one. The music score provided is one of lively intent and dynamic jumps in tempo, which suits the film down to the ground.

The three main ladies of this comedy are sensational and their chemistry is a highlight. Goldie Hawn is side-splittingly hilarious as the vain and shallow Elise, who is desperately trying to be young through cosmetic surgery and is at times very highly strung. The energy of Hawn is superbly suited to the often manic but creative character, who emerges as quite decisive in the plans to ruin the man who wronged her. Really capturing the attention is Bette Midler; the most vindictively amusing and loud of the club. You can’t fault Midler and her knack for comedic zingers, which are dispensed with vigorous style and attitude. Diane Keaton completes the triangle of great ladies by playing the repressed Annie as a bottle of jangled nerves, waiting to explode. Keaton is a dab hand at humour but also gets the right notes of sympathy for the character too as her strength slowly reveals itself. As aforementioned, these three ladies work beautifully together and it is clear as day that they had a good time making this comedy. Sarah Jessica Parker elicits plenty of laughs playing the trashy girlfriend of Morty with an eye on getting to the top, while an amusingly tart Maggie Smith rocks it as the much widowed society lady with significant tricks up her sleeve and resources to burn. Dan Hedaya, Victor Garber and Stephen Collins are the men of the film who find out just how much revenge can hurt. Hedaya is the clear standout of the guys with his constant attempts to explain away his actions quite funny.

Funny yet knowing when to be serious, The First Wives Club is great viewing as a comedy and to watch three great actresses working together with gusto.

Damage

Tags

1990's, Damage, Drama, Erotic Drama, Jeremy Irons, Juliette Binoche, Leslie Caron, Louis Malle, Miranda Richardson, Rupert Graves

Film Title

Damage

Director

Louis Malle

Starring

• Jeremy Irons as Stephen Fleming
• Juliette Binoche as Anna Barton
• Miranda Richardson as Ingrid Fleming
• Rupert Graves as Martyn Fleming
• Leslie Caron as Elizabeth

Erotic obsession and the devastation of infidelity are dispassionately captured in Damage, directed with clinical hands by Louis Malle and performed admirably by the cast. It’s not a film for all tastes, but for those willing to view an intense and glacial unearthing of attraction, Damage may well interest you.

Stephen Fleming is a former doctor, who is now in the sphere of British politics as a government minister. His life is largely ordered and well off, with his loving wife Ingrid and two children; grown up Martyn and young Sally. While his life is pretty impressive and successful, you get the feeling that Stephen desires more out of what he says as a slightly dull and stuffy existence. That very thing finds him when he meets Anna Barton, a new girlfriend of Martyn’s who is gorgeous yet glacial. Stephen is immediately captivated by the icy Anna, who silently allows and entices his attractions to manifest and culminate in an affair. For Stephen, he is experiencing sexual bliss and something out of the ordinary, while for Anna it is more clouded and enigmatic. She seems to enjoy this thrill of the chase when it’s on her terms, yet remains passive outside of the bedroom with her hand clearly on Stephen’s heart. knows that what he is doing is wrong, but the beautiful Anna has awakened something within him that can’t be easily tamed. It completely consumes him from every angle and his ordered world is turned upside down. The affair intensifies, even though Martyn announces that him and Anna are to be married. It is Anna who mainly seems to control what is going on, telling Stephen that she is going to marry and still have relations with him. Yet after dinner with Anna’s mother who hints at her daughter’s damaging influence, considers breaking things off with her. Before this can happen though, revelations and sadness sweep over as the affair’s impact is brutally drawn out.

Louis Malle’s direction is one of measured pacing and subtle hints, that allows Damage to move along with a sharp eye on the affair and the ways it tests everyone. A lot of the tension in the film is found in the glances between Anna and Stephen, with each thinking they know the other’s thoughts and desperately wanting to get physical. There isn’t a moralizing factor in Damage and while and Anna are obviously hurting others b their clandestine actions, Malle refuses to pass judgement and presents them as two people who just can’t quit their desire, regardless of the consequences. The view of the characters will no doubt be what the audience wants it to be, but kudos to the script that explores the depths of obsession and how incendiary desire can become on even the most decent person. Which brings me on to the sex in Damage, which is animal and messy, up close and uncomfortably personal. It isn’t movie style sex though the people aren’t without appeal, it is depicted as a lustful thing that isn’t always pleasant or earthy. That may sound like a criticism, but it isn’t because Damage shows the burgeoning affair with an uncompromising air making it fierce but ultimately  bruising. That’s why the sex in it is so different and unusual, it boasts an intimacy that never lets you look away through the cold and arresting treatment of things. Anyone going in expecting to be aroused will no doubt be disappointed, as Damage focuses more on the awkwardness and attempts to remain concealed best conveyed through body language. Sex and desire is played out as an exercise in both emotions and longings that are brought up yet slowly begin breaking through, with often compromising and ultimately tragic results in the long run. As smart and piercing as Damage is, it isn’t completely above the level of soap opera is some of its moments. Thankfully, these moments are only really a few in what is largely a successful and strangely gripping dive into the rivers of erotic longing, that wisely for the most parts rises above the need for melodrama. In fact, emotions are kept largely at simmering level until inevitable tragedy and heartache and that’s when Damage really soars, as the moments are so unexpected and emotionally violent. Some may say that the film is too cold, but that is to miss how objectively it views the characters and their actions. The music mirrors the bubbling tension and breaks in tranquility, before discovering a well of sadness that comes in handy when all is laid out on the table.

In this brewing drama of wrenching consequences, the assembled actors admirably perform with all they have got, with spectacular results. In the lead of the bewitched government minister, Jeremy Irons subtly portrays both an agonizing guilt and an almost school boy infatuation that refuses to remove itself from him. Irons is a pro at playing the stiff upper lip aspects of the part, while hitting home the deep obsession he feels whenever Anna is around him that causes him to jeopardize everything in his life he has worked hard for.  Juliette Binoche has the right seductive allure and remoteness for the role of Anna, which she plays wonderfully. The part is a difficult one because Anna is someone who holds a lot back, but when you someone as talented as Binoche, the results are compelling. Through little flickers and nuances, she hints that there may be more feeling to Anna behind her icy surface, yet we can never be quite sure as she knows how to manipulate others too and her actions are not always what you expect. Her combination of aloof poise, come hither glances and possible danger are employed in a most striking way, with Binoche a sensual yet mysterious femme fatale. It isn’t difficult to see why Stephen risks everything for the melancholy yet arousing Anna, she really is a beautiful yet complex woman( due in no small part to the intelligence and suggestion of Juliette Binoche.) Yet the real fireworks and best performance in Damage is from the always interesting and dependable Miranda Richardson. Starring as the dutiful and caring wife who slowly comes to notice little things not adding up and earning a distrust of Anna, there is an elegance and grace to Richardson’s work that soon gives way to volcanic shock. And when I say shock and anger, she really goes for the jugular when everything spills out about the affair. It’s a soaring piece of acting and one that burns into the memory, owing to how deeply felt and bravely astonishing Miranda Richardson is. Rupert Graves has probably the least engaging part of the cuckolded Martyn, but he manages to really invest a sense of being bowled over by Anna and not being able to see what is right in front of him. Leslie Caron really makes her presence known in only a couple of scenes. Playing the wise and withering mother of Anna, she exemplifies an understanding of her daughter’s actions and knows exactly what she will do if she can. I had fun seeing Caron in the film as she largely says what everyone else is thinking, laced with a toxic undercurrent of foreknowledge.

A quietly intense and measured erotic drama that packs a punch as it goes on, Damage provides a striking view of overwhelming attraction and the brutal fall out from ones actions in the name of passion.