Ever After

Tags

1990's, Andy Tennant, Anjelica Huston, Dougray Scott, Drama, Drew Barrymore, Ever After, Historical Drama, Jeanne Moreau, Judy Parfitt, Megan Dodds, Melanie Lynskey, Patrick Godfrey, Romance, Timothy West

Film Title

Ever After

Director

Andy Tennant

Starring

• Drew Barrymore as Danielle de Barbarac
• Anjelica Huston as Baroness Rodmilla de Ghent
• Dougray Scott as Prince Henry
• Megan Dodds as Marguerite
• Melanie Lynskey as Jacqueline
• Timothy West as King Francis
• Judy Parfitt as Queen Marie
• Patrick Godfrey as Leonardo da Vinci
• Jeanne Moreau as Grand Dame

The Cinderella story is given a lively and entertaining retelling, with a fresh historical fiction slant and modern view of the heroine. Ever After boasts heart and good humour, along with some unexpected touches that give the often told story a new coat of shiny paint.

In Renaissance France, little Danielle de Barbarac lives with her caring father. She never knew her late mother and has been raised with kindness by her father on his farming estate. Her father marries the Baroness Rodmilla de Ghent, who comes with her two daughters Marguerite and Jacqueline. Tragedy strikes when Danielle’s father dies following a heart attack and the nastiness of the Baroness really emerges. Years later, Danielle has grown into a beautiful young woman who has been reduced to a life of servitude under her stepmother. Jacqueline is nice to Danielle, but often stays quiet as she is frightened of her mother. The estate has fallen into ruin, while most of the servants have been cruelly sold and Rodmilla frequently spends money she hasn’t got trying to afford a life of luxury she thinks she’s entitled too. Though frequently mistreated by her stepmother and spiteful Marguerite , her spirited demeanor and feisty personality provide her with the right temperament to not simply be a doormat for others. Danielle is no ones fool and is a girl who will speak her mind when she’s pushed too far. One day, she encounters a must unexpected visitor; the dashing Prince Henry. He is attempting to evade his Royal protocol of an arranged marriage and tussles with Danielle when he tries to steal her father’s horse. He offers her payment if she remains silent about seeing him. This fleeting meeting doesn’t mean much to either at first, but it sets up that they will soon meet under more different circumstances. Shortly after, using the money he gave her, Danielle attempts to buy back a servant that her stepmother sold. Dressing up in her mother’s prized dress, Danielle once again meets Henry, who slowly becomes more curious about her. Her passionate manner stirs something within Henry and Danielle too develops feelings, even though he believes she is a member of nobility. Meanwhile, Rodmilla is plotting a way back into court and hearing that Prince Henry is expected to find a wife, sees snotty Marguerite as her ticket to prominence again. As Henry and Danielle fall further into love and she wears down his snobby attitude, complications arise with Danielle feeling guilty about having to hide her true identity. Add to this the presence of wise Leonardo da Vinci, who acts as something of a guardian angel, and it’s about to get fun and adventurous.

When doing an adaptation of a well-known story, things can go either way. You can be overly traditional or go down a fresh path. Ever After takes the latter road, though it manages to still reference the original source material. Andy Tennant strikes a nice, sprightly balance with the two throughout Ever After. The magical fantasy of other versions is stripped away to focus on the budding romance and spirit of the heroine. There are still touches of tradition to be found( the masked ball and the glass slipper) but everything else discovers a fresh and vibrant take on the material and is all the better for it. framing device employed here. In it, we witness an old duchess telling the ‘real story’ of Cinderella to The Brothers Grimm. Through this usage, we get an old storybook feeling but one that is more fun and modern than a lot of other versions. The fact that it presents the story as being a legend is also a cause to like Ever After, further placing it as one of the most interesting interpretations of the tale. The romance is heightened in Ever After, finding time to develop Danielle and Henry as gradual lovers with distinct personalities. Their encounters have a charm that reminded me of an old screwball comedy, with them running into one another and not quite knowing what to make of the other in the confusion. Danielle is especially well written and defined, coming across as resourceful, kind and full of spirit. Her primary goal isn’t to discover a prince( though romance obviously does figure into things) but to help those closest to her. It is definitely the most independent and tomboyish version of Cinderella there is and for that, one of my favourites. There are languors in the pacing in patches, but the irreverent and playful events in the film more than compensate in their effectiveness. The visual style is breathtaking; largely consisting of a gilded sheen that ties in with the setting and the content on display. The location work is as sumptuous as the elegant costume design on show. And of course, the film wouldn’t be the same without its wistful and lively score to keep things generously fun and engaging.

Drew Barrymore makes for a beautifully spirited and reliable heroine in the form of Danielle. Far removed from the sometimes passive and needing a man to save her incarnations of the Cinderella, Barrymore deftly translates a feisty toughness and genuine sympathy in the part. Danielle is very much a modern woman in an old-time, a strength that the luminous Barrymore plays to and delivers on with her likable charm and clever wits. Anjelica Huston is delightfully malicious and conniving as the stepmother, who dishes out biting remarks and executes underhand sneakiness like a pro. You really can see that Huston is having a ball being so wicked and even a little seductive to. Such diva like personality and slyness is ideal and splendidly conveyed by the fine Anjelica Huston. Dougray Scott is given more to do than most with the Prince Charming part. Scott plays the snobbish yet searching Henry with just the right amount of charm, restlessness and humour that causes him to spark with Danielle. And the gentle, bristling and growing chemistry between him and Barrymore is a lovely sight to witness. Megan Dodds is a bratty and selfish presence as the quite nasty stepsister, while Melanie Lynskey sweetly plays the kinder sibling. Humour and great support comes courtesy of Timothy West and Judy Parfitt, who star as the king and queen who can’t quite seem to work out their son. And special mention must go to Patrick Godfrey’s work as Leonardo da Vinci, whose inspiring speeches and pushes for romance helps Danielle and Henry get closer. The appearance of Jeanne Moreau as the narrator adds immense class and room to reflect, as her voice is so engaging and full of deep wisdom.

A lovingly rendered and fun take on a classic story, Ever After springs to life with both intelligence and care. It all contributes something strikingly modern film with a great protagonist who is anything but a damsel.

The Golden Bowl

Tags

2000's, Anjelica Huston, James Fox, James Ivory, Jeremy Northam, Kate Beckinsale, Merchant Ivory, Nick Nolte, Period Drama, The Golden Bowl, Uma Thurman

Film Title

The Golden Bowl

Director

James Ivory

Starring

• Uma Thurman as Charlotte Stant
• Jeremy Northam as Prince Amerigo
• Kate Beckinsale as Maggie Verver
• Nick Nolte as Adam Verver
• Anjelica Huston as Fanny Assingham
• James Fox as Colonel Bob Assingham

An adaptation of the Henry James novel brought to the screen by Merchant Ivory, The Golden Bowl is an elegantly mounted story of betrayal, adultery and love that is finely acted by a star-studded cast and filled with the right period touches you’d expect from a literary production like this.

It’s the turn of the century and Prince Amerigo is a charming but impoverished Italian prince, from a once noble family. Thankfully, he is engaged to the pretty Maggie Verver; an American heiress whose doting father Adam is a billionaire business tycoon whose work largely relates to the world of art. Yet into the pretty picture once the couple are married and have a baby son is Charlotte Stant, who is a friend of Maggie’s from school, but also the former lover of Amerigo. The couple, as we find out, had to part with one another due to both being poor, but the passionate Charlotte is still very much in love with Amerigo. None of this is known to Maggie, who is a sweet and green girl who thinks the best of everyone. Amerigo panics with Charlotte back in the frame and tries to dissuade her, but he himself can’t deny the fire that still burns intensely within him for her. The two resume their affair, while the driven Charlotte, in an attempt to be closer to him and also secure a comfortable lifestyle, marries the much older Adam. The pair believes that due to Maggie being extremely close to her father that their indiscretions will go unnoticed, which id not the case. Watching from the sidelines is society maven and matchmaker Fanny, who knows the secrets of all parties involved due to her eagle-eyed ways. But as betrayal rises and passions spill over, so do suspicions from Maggie and Adam that something is going on with their spouses. What consequences will emerge due to the intertwined relationships?

The work of Henry James is renowned for at times being difficult to transfer to the screen, but with the talents of James Ivory, Ismail Merchant and Ruth Prawer Jhabvala on board, The Golden Bowl makes for a dazzling film. James Ivory as director loses none of the scathing indictments that Henry James so often focused on, instead bringing out the deceit and treachery with subtle touches and foreshadowing. The symbolism of the eponymous bowl is a great metaphor for the seemingly ideal but cracked underneath unions as the bowl looks so splendid, but has  a flaw when one looks closely upon it. Another excellently written script from Ruth Prawer Jhabvala contributes to the intelligence of the story and the ways that little phrases of dialogue and exchanges can have an extremely big impact on the overall events swirling. Threats and observations from characters are made but hidden behind a veneer of polite society as manipulations begin to figure heavily. Social standing and fortune do come into the story, but The Golden Bowl is much more concerned with the complexities of the heart and the cruel side of human nature when desire comes into play, which it explores magnificently and with assurance. There are a few times when the pace falters during the running time, but that flaw can easily be forgiven due to the engaging and intelligent work on display. A visual style of opulence is employed and contains some stunning pieces, particularly a dance recital of Arabian Nights that also doubles as an expression of the passion and secrets being guarded by everyone. A grand score imbues the film with a passionate core while highlighting the dangerous and manipulative treachery carried out by many of the characters in the name love and station.

One of the biggest draws from The Golden Bowl is the utterly splendid and distinguished cast it has. Making a huge impact is Uma Thurman as the driven and willful Charlotte, whose desire to be with Amerigo and her emotional slips that threatens to bring down the tidy house of cards he has built with Maggie. Any other actress would probably have made Charlotte very villainous, but Uma Thurman wisely plays her as definitely manipulative and sly, yet still with a deep sense of desolation and obsession that can’t be stopped. Jeremy Northam in the part of the impoverished but charming Amerigo shines too; revealing a man caught right in the middle of two women and unable to resist the temptation of the temperamental Charlotte, despite his conscience. Kate Beckinsale is equally as good portraying the initially naive and almost childlike Maggie. Yet once Maggie gets an inkling of something untoward going on, Beckinsale magnificently charts her emergence from the innocent victim to steely and quietly ruthless survivor with conviction. It was good to see Nick Nolte in this film making his character of the gentlemanly Adam appealing, yet laced with the feeling that you wouldn’t want to cross the man with your life. Clearly having an absolute ball in The Golden Bowl is a delightful Anjelica Huston who stars as the meddling matchmaker Fanny, who knows exactly where to put her loyalties and when to play her cards right. Fanny is one of the supporting characters, but Anjelica Huston’s work brings memorability to the character. James Fox is quite amusing as Fanny’s husband, who is a jolly man who leaves matters of the heart and intrigue to his wife, but is still protective to save any bother for her.

With eloquence and subtlety, The Golden Bowl emerges as an underrated film from Merchant Ivory, that more than deserves to be better known due to its compelling story, visual splendour and first-rate performances.

Manhattan Murder Mystery

Tags

1990's, Alan Alda, Anjelica Huston, Comedy, Diane Keaton, Jerry Adler, Manhattan Murder Mystery, Murder Mystery, Woody Allen

Film Title

Manhattan Murder Mystery

Director

Woody Allen

Starring

• Woody Allen as Larry Lipton
• Diane Keaton as Carol Lipton
• Alan Alda as Ted
• Anjelica Huston as Marcia Fox
• Jerry Adler as Paul House

Something of an underrated movie in the scope of Woody Allen’s prolific filmography, Manhattan Murder Mystery has a rapid fire humour and playfulness that is hard to resist. If it’s a light but still amusing comedy, crossed with a murder mystery, this could be the film for you. It isn’t going to be seen as one of his masterpieces, but in my book it deserves a lot more recognition.

Larry and Carol Lipton are a middle-aged married couple who are anything but similar. Larry is a nervous, cynical man stuck in a cycle, while Carol is adventurous and loves a sense of excitement. The couple have settled into a period of normalcy that is more or less dullness and complacency. Larry works as a publisher, while Carol dreams of opening a restaurant some day. The repetitive nature of their lives is suddenly changed when their elderly neighbour’s(an elderly couple named Paul and Lillian House) invite them to have a nightcap. Lillian is a remarkably healthy woman for her age, her husband Paul is a stamp collector, who proceeds to bore Larry to tears as he waxes lyrical about his hobby. The next day, Larry and Carol are shocked when is found dead of a heart attack. Feeling strange since they only just met the couple and because seemed so healthy, Carol in particular becomes a little suspicious of Paul. For one, he doesn’t seem at all to be an emotional wreck at his wife’s death, rather he appears to be rejuvenated and overly genial. Certain other things arouse Carol’s interest and she comes to suspect Paul of murdering his wife. Nebbish Larry dismisses her claims as fanciful but Carol sees it as an opportunity to do some sleuthing. Her good friend and recently divorced charmer Ted joins her in this amateur investigation, which makes Larry a little jealous because it is obvious Paul has feelings for Paul and she could possibly reciprocate. After being caught in many close shaves investigating the mysterious Paul, Carol manages to coerce Larry into helping, albeit reluctantly. Also of help is the sexy Marcia Fox, a mystery author and one of Larry’s clients who he plans to set up with Ted. Carol though begins to think that Marcia is more interested in making a move on her husband than his literature. As a sort of flirting rectangle forms, the quartet join forces to discover the truth. Was the neighbour really murdered by he relatively unassuming and apparently good-hearted husband? Or is Carol’s imagination getting the better of her? And what will become of these romantic entanglements between the group? To spoil all of that would be a sin.

Woody Allen brings a whole lot of energy to Manhattan Murder Mystery, blending together romantic issues with a mystery to good effect. The two things shouldn’t really work together but Allen makes it move along in an almost harmonious fashion. In a sense there are two mysteries going on, the one revolving around suspicion of murder and the other of will any of the flirtations in the quadrangle amount to anything more. There are times when the movie goes on a bit, but this can be seen as a minor flaw in an underrated entry into his movies. There is a definite ring of familiarity with the film and the characters that makes us know it’s a Woody Allen movie, and yet it still works well because the audience at least you know the kind of madcap humour you will get and the types of character personas. Allen playfully alludes to Hitchcock not some cracking sequences, mixing his trademark humour with some tension filled touches that add up to a good little package. With the use of a roving camera, everything is always moving, including the story. This unusual camera trick is employed very well to give the sense of adventure and rejuvenation Carol finds while playing Nancy Drew and the technique only occasionally becomes overbearing. A lovely jazz soundtrack is utilised in Manhattan Murder Mystery that supplies lots of fun to the amusing story.

Starring as he often does in his movies, Woody Allen reprises his worrisome, talkative and cynical persona audiences know and love to good effect here, complete with an array of hysterical one liners as his character Larry becomes concerned that his wife is concocting a fantasy.  With Diane Keaton returning to Woody Allen movies, it’s an added bonus watching them play off each other. Having been his one time muse, Keaton knows exactly how to deliver his brand of comedy with ease and it shine through here in her performance as the free-spirited and offbeat Carol. Giving the part a whole lot of energy, exact comic timing and warmth, it is a triumph for Keaton that catches the eye almost immediately. And nothing is quite like watching these two bounce off each playing the bickering married couple. Providing reliable support is Alan Alda and Anjelica Huston in delightful performances. Alda has a likable persona and cheeky grin that is used well to play the open-minded and eager Ted. There is certain twinkle in Alda’s eye that is unmistakable and adds a lot to his character. Anjelica Huston relishes the role of the vampy authoress Marcia, whose expertise in the mystery genre prove very helpful during the sleuthing that takes place. Combining sassy confidence and ample sex appeal with a quick talking intellect, Huston is the perfect actress for the part. As the suspected murderer and neighbour, Jerry Adler displays a geniality that could very well belie something else and entirely different.

Peppered with humour as well as quite a bit of tension woven in, Manhattan Murder Mystery may have that ring of been there done that in a few instances, but the overall product is a delightfully funny trifle of a movie.

The Addams Family

Tags

1990's, Anjelica Huston, Barry Sonnenfeld, Christina Ricci, Christopher Lloyd, Comedy, Dan Hedaya, Elizabeth Wilson, Horror, Jimmy Workman, Judith Malina, Raúl Juliá, The Addams Family

Film Title

The Addams Family

Director

Barry Sonnenfeld

Starring

• Anjelica Huston as Morticia Addams
• Raúl Juliá as Gomez Addams
• Christopher Lloyd as Uncle Fester/Gordon Craven
• Dan Hedaya as Tully Alford
• Elizabeth Wilson as Abigail Craven
• Christina Ricci as Wednesday Addams
• Jimmy Workman as Pugsley Addams
• Judith Malina as Grandmama

Ideally cast and brimming with dark humour throughout, The Addams Family retains the dark edge of the original cartoons and incorporates some of the madcap moments from the original series. Focusing on a plot to extort the macabre clan out of money by an imposter posing as Uncle Fester, it is a devilish delight for all who watch.

The eponymous clan is a macabre extended family interested in all things dark and mysterious. They consist of the debonair Gomez and his morbidly elegant wife Morticia; their two mischievous children, Wednesday and Pugsley, old Grandmama; zombie like servant Lurch and disembodied hand Thing. For 25 years, Uncle Fester has been missing and Gomez is starting to suspect that his brother may truly be lost. Into the family’s delightfully ghoulish mansion comes Tully Alford, the lawyer who owes a debt to loan sharks. He wants Gomez to invest money as he knows he is worth a fortune, but the head of the family won’t budge. Whilst reporting back to the loan sharks, Abigail Craven and her brutish son Gordon, he notices that Gordon bears a striking resemblance to the long-lost Fester. Seeing the opportunity in this, they disguise him as Uncle Fester so he can infiltrate the Addams gold vault. Although he is welcomed back into the family, Wednesday is the one who begins to suspect that he is not really her Uncle. Gordon himself even comes to question whether he really is Fester as he feels a kinship towards the clan. Cue for ghoulish laughs, Gothic surroundings and the original kooky family.

The first thing to praise in the film is the overall visual look, capturing the gloomy atmosphere that the eponymous family enjoy so much. The mansion in which they live is cleverly constructed, consisting of long corridors, cobweb laden basements and spooky methods of transport. The lively music score perfectly compliments the macabre yet playful activities the family enjoys on a daily basis. One of the biggest assets of the picture is the script, that is laced with a dark humour and sinister joy. Morbidly humorous exchanges provide the most laughs such as when Morticia helps Fester unpack and finds cyanide. Her response “Fester, as if we’d run out”. It’s moments like this that keep the devilish film rolling on along with the many eccentric characters that abound.

The cast assembled for The Addams Family all fill their roles with comic glee and individuality. Raúl Juliá is suitably debonair and romantic as Gomez, he also has dark and lustful chemistry with Anjelica Huston. Huston embodies the role of Morticia, showing a loving mother and a cadaverous yet glamorous vamp, who can flirt like mad when needed and is a dab hand at sinister one liners.  Christopher Lloyd seems born to play the role of Fester, and is particularly convincing as his character begins to wonder whether he is Fester after all. A young Christina Ricci perfectly plays Wednesday with a morbid and severe personality, whilst showing a twisted side to her as she experiments on her brother in startling ways. Jimmy Workman excellently plays of Ricci as Pugsley, who although many times is the one used in experiments, he also manages to repay the favour in his own ghoulish way. In the supporting cast, Dan Hedaya and Elizabeth Wilson stand out as scheming con artists with only money on the mind. Judith Malina also makes an impression as the ragamuffin Grandma, who brings a whole new meaning to the word home cooking.

Even if the plot about the imposter doesn’t interest you, it shouldn’t detract from the humorous exploits of the creepy family and the glee that arises from them. Laced with dark humour and brought to life by Barry Sonnenfeld, The Addams Family is creepy yet fun to watch.