The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

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The Theory of Everything

Tags

2010's, Based on a true story, Biopic, Charlie Cox, David Thewlis, Drama, Eddie Redmayne, Emily Watson, Felicity Jones, James Marsh, Maxine Peake, Simon McBurney, Stephen Hawking, The Theory of Everything

Film Title

The Theory of Everything

Director

James Marsh

Starring

• Eddie Redmayne as Stephen Hawking
• Felicity Jones as Jane Hawking
• Charlie Cox as Jonathan
• David Thewlis as Dennis Sciama
• Simon McBurney as Frank Hawking
• Emily Watson as Beryl Wilde
• Maxine Peake as Elaine

A soaring and immensely moving movie based on the journey of Stephen Hawking and his first wife Jane, as they defied the odds stacked against them, The Theory of Everything has both emotion and insight into a brilliant mind that refused to be halted, despite the dark prognosis given to him and how his wife persevered and supported him.

We begin with Stephen Hawking in 1963 where he is a theoretical physics student at Cambridge. He is especially gifted at maths and curious about cosmology, yet hasn’t decided on what to do for a thesis. Around this time, he meets pretty literature student Jane. Both are of different ideals; Stephen believing in stars and science, while Jane is more artistic and a believer in God. Both start to fall in love and Stephen also begins to become interested in studying time for his thesis. Yet his burgeoning relationship with Jane and are dealt a devastating blow. His muscles start to play up and after a nasty fall and examination, he is diagnosed with ALS; which directly affects muscles, the body and eventually his ability to walk, speak and breath. He is also told that he only has around two years to live. Reeling from this, Stephen throws himself into his theories and attempts to push Jane away, but she refuses as she is deeply in love with him. Together, they marry, have children and instead of giving up, continue to face the hardships of his condition head on. Yet as time goes on, Stephen’s condition worsens and it takes a toll on Jane. She dearly loves him, but the strain of his debilitating body and dependence on her is becoming more difficult to bear. Stephen excels with his theories and experiences success as a respected scientist speaking of the universe and how it came to be, but can obviously see that his condition is not something he can just ignore. As everything grows more testing, Stephen and Jane are forced to confront what to do next, despite their deep love for the other.

James Marsh sensitively directs this biopic with a clear understanding of visual and emotional depth. In terms of pacing, he pitches things just at the right speed, only tripping up sometimes and rarely at that. Other than that, Marsh has a good eye for pattern and symmetry, particularly in reference to Stephen’s study represented by swirling and circular spirals. Kudos must be awarded to the cinematography in this biopic that practically shimmers and lends a hopefulness to what is already a highly moving and extraordinary story. The occasional use of an old style camera, complete with grain and colour abrasion, is also notable in capturing the changing events and as a passage of time for the couple. It’s the emotional core of Stephen and Jane that really stands out the most, as they take on the deafening odds and continue to challenge what they’ve been told. We are invested in their love for each other; we get to glimpse those moments when both realise that it’s not as easy or as straightforward as love just being enough, yet there is still a very touching sense of bond that transcends all the darkness they endure. Both may overcome severe obstacles thrown at them, but there’s a refreshing honesty to The Theory of Everything that underlines how even the strongest of loves can be shaken and pushed to breaking point. Overall, it’s the inspiring nature of the story that is what sells The Theory of Everything, depicting Stephen’s refusal to stop working and Jane’s backbone of steel in supporting him. The resilience that both of them show and went through for real is simply outstanding, considering the initially dire outcome that was predicted for Stephen upon diagnosis. Pathos and uplifting moments are frequently employed and add significantly to the difficult journey of Stephen and Jane; one that is testing as it is rewarding. Some may quibble with the often sprightly pace of the film which only occasionally gets in the way. Though saying that, as the story covers such a large area of time, it seems only right to cut any flab and focus on the emotional and personal crux of it all. In that sense, it cuts straight to the heart of the deeply engaging and honest story observed. And while it does that, it still takes time, especially in the beginning to foreshadow the decline of Stephen’s health through various hints. I simply have to commend the score of this movie that moves through lovely rhythms and melancholy moods with a clear command and soulfulness. It brings out such a richly evocative to an already

What really invests your heart and soul in is the two sublime performances from Eddie Redmayne and Felicity Jones. Eddie Redmayne, in an Oscar-winning performance, is a physical and emotional marvel as the renowned Stephen Hawking. He completely transforms into the part; displaying the deep intellect of his mind, ability to crack a joke even in dire situations and in latter stages when his condition has rendered him unable to speak and largely paralysed, his face and eyes say so much to us all. We truly feel the palpable toll his diagnosis takes on him, but how he is not going to simply give up on his dreams. The difficulties of Stephen’s deterioration physically only seem to make his mind more determined to thrive, a quirk that Redmayne fully explores and exudes with clear nuance and clarity. He is so invested in role that you forget that it’s an actor playing a part, such is the conviction and dedication to the task of playing Hawking that Redmayne does with every fibre of his being. Redmayne fully warranted the Oscar he received for his powerful performance here. No less excellent or beautifully nuanced is Felicity Jones as his wife Jane. Jones has that ability to really suggest her innermost feelings without saying a word, as it is clearly written over her face. This skill is wonderfully employed in a sensitive performance of immense strength and vulnerability from the talented Jones. Jane is a lovely person but no pushover and a compelling force of inspiration, who can be a stalwart rock but is not immune to feelings of sadness and deep uncertainty. Both stars have a sensitive and deeply felt bond with each other that resonates deeply and will stir your feelings. Supporting players are finely chosen, with Charlie Cox, David Thewlis, Simon McBurney, Emily Watson and Maxine Peake fleshing it out. But the film ultimately belongs to Redmayne and Jones.

Anchored by two beautiful performances and strikingly directed and scored, The Theory of Everything celebrates strength and love in the face of adversity. Plus, it allows an understanding into the mind of Hawking and how he triumphed, with help from Jane, to become the respected man he is still now.

White Squall

Tags

1990's, Adventure, Balthazar Getty, Based on a true story, Caroline Goodall, Coming-of-Age, Eric Michael Cole, Jeff Bridges, Jeremy Sisto, John Savage, Julio Oscar Mechoso, Ridley Scott, Ryan Phillippe, Scott Wolf

Film Title

White Squall

Director

Ridley Scott

Starring

• Jeff Bridges as Captain Christopher “Skipper” Sheldon
• Scott Wolf as Chuck Gieg
• Jeremy Sisto as Frank Beaumont
• Ryan Phillippe as Gil Martin
• Eric Michael Cole as Dean Preston
• Balthazar Getty as Tod Johnstone
• Caroline Goodall as Alice Sheldon
• John Savage as McCrea
• Julio Oscar Mechoso as Girard

Inspired by true events of a and the storm they ran into along the way, Ridley Scott’s White Squall is an underrated adventure/coming of age film that while a tad formulaic, is riveting entertainment and spectacle throughout.

It is the early 60’s and a group of teenagers sign up to sail on a ship known as the Albatross for several months. The curriculum is both a mixture of scholarly work and more importantly the practical seafaring variety. The ship is commanded by experienced and tough Captain Christopher Sheldon, who is referred to throughout as Skipper. He is a take no prisoners captain who doesn’t tolerate slacking or idleness. The ship also has Skipper’s wife and medic Alice, English teacher McCrea and cook Girard on board. The main boys comprise of personable and searching Chuck Gieg(who also functions as narrator), the much abused and insecure rich kid Frank Beaumont, timid and vulnerable Gil Martin, misbehaving show off Dean Preston and wise-cracking Tod Johnstone . Their voyage will take them through the South Pacific and the Caribbean, and be a rites of passage for all. At first, the ragtag group of recruits is at odds with Skipper’s methods and continually rebel. His rigorous training takes flight as he expects them to learn discipline, respect and teamwork while aboard. Not that this will be easy as the boys test him with all they’ve got in various ways. He however is not above this challenge and enforces his authority with his tests and  Gradually, a newfound respect and sense of teamwork is discovered among them all. They all manage to bond together to form a skilled set of young men, with Skipper growing quietly fond and protective of them. Experiencing misadventures and mishaps binds them as a group and the training from Skipper more than pays off. Yet just as everyone is coming together, disaster lurks in the distance. They find themselves coming into the view of a ferocious storm, which will test each and every one of them as danger approaches.

Within Ridley Scott at the helm, you know the direction isn’t going to disappoint. And Scott brings his trademark eye for visuals to this exciting story, while still getting to the human heart of the themes of survival and camaraderie. Scott has this tale under his command and allows us time to learn about the crew before disaster hits later on. Spectacle is something Ridley Scott does superbly, but his equally excellent building of emotion and heart is also worthy of praise, particularly in White Squall. Gorgeous vistas and sights are glimpsed, presenting life at sea as something ripping but just as easily challenging and not for the weak of heart. The coming of age aspects of White Squall are far from original but we’ll plated and envisioned. It helps that you buy into the initially green boys growing up and after scrapping and disagreements in the beginning, can be there for each other and pull their weight in times that it is needed. The movie isn’t perfect however, with some of it really going too slow. I believe that because you know imminent tragedy will come you are waiting for it to happen, and it can make you impatient. This presents both a slight flaw and a positive; the build up at least establishes quite a few of the characters to us and let’s us observe their changes under the tutelage of the Skipper, while it can get to be a chore when you’re anticipating the big set piece to flower. Any in pace is however made up when the storm hits and we are dealt an exciting and emotion driven wallop. Using fast cuts, slow motion and stirring yet tense music, the scene is an extended action piece that is mightily impressive in almost every aspect. This intense and ferocious scene where we see the boys go beyond everything they’ve learned can to survive and face danger head on is one of considerable impact and vision. I can’t wax lyrical enough about this scene and what it accomplishes, both on an action level and on emotional clarity. The ending chapter feels a tad tacked on, but can be forgiven for what has come before. A dramatic score is just the ticket for this movie, finding both beauty and danger in its rhythms.

Jeff Bridges exudes a tough, compelling yet fair persona as the captain, mostly referred to as Skipper. He’s the kind of man to keep you in line but reward you if you comply and be part of the team. Bridges boasts a dignity and wry wisdom that inspires both admiration and trepidation among the boys. For me, Jeff Bridges has always been a fine actor when he quietly and subtly gets into part, which is what he does in White Squall. A sea-captain often allows the opportunity to overact and be loud, but Bridges has a more disciplined and nuanced angle that is largely more effective than over dramatic antics. You believe him as this leader because if the commanding energy and the fact that he doesn’t care whether his crew likes him, as long as they pull together even needed. A finely tuned and thoughtfully played performance from the great Jeff Bridges is what we get. Scott Wolf is the main eyes and ears of the film, providing the narration and likable attitude of the movie. He has a certain wonder in his eyes as he observes the events on the ship and he makes a really great lead character. Jeremy Sisto is very impressive, digging into the troubled mind of a spoiled kid, constantly berated by his father and singled out. If this kid could only get a break, he might be able to flourish. Ryan Phillippe is appropriately scared and in a muddle, mainly down to the character feeling he is so weak in all of this, when he’s actually pretty smart. The classic bully comes in the form of Eric Michael Cole, who reveals that he’s really a shy person with no self-esteem that is complimented by Balthazar Getty as the know it all joker. Though these characters feel rather archetypal in the scope of things, they are acted with sincerity. While the previously mentioned actors get parts that they can work with, the rest are awash in a sea of white T-shirts and suntan. As the main woman in the film, Caroline Goodall isn’t given a whole lot to do, but still shows her mettle when the occasion calls for it. John Savage provides some comic relief as the ship’s sonnet quoting teacher along with Julio Oscar Mechoso.

While it’s nothing particularly new, White Squall succeeds in the strength of its story, acting and command under Scott’s stylish yet emotive and exciting direction. For my money, this is a pretty undervalued movie in Scott’s filmography that deserves a watch.

Big Eyes

Tags

2010's, Amy Adams, Based on a true story, Big Eyes, Biographical Drama, Christoph Waltz, Danny Huston, Jason Schwartzman, Krysten Ritter, Terence Stamp, Tim Burton

Film Title

Big Eyes

Director

Tim Burton

Starring

• Amy Adams as Margaret Keane
• Christoph Waltz as Walter Keane
• Danny Huston as Dick Nolan
• Terence Stamp as John Canaday
• Jason Schwartzman as Ruben
• Krysten Ritter as DeeAnn

A biographical drama about Margaret Keane, who for years was in the shadow of her husband Walter who claimed credit for her work, Big Eyes is evocatively translated to the screen and showcases Tim Burton’s direction with a maturity, and great performances from Amy Adams and Christoph Waltz. If it’s another side of Burton you want, starting with Big Eyes is a recommended one from me.

We start in the late 1950’s, where Margaret packs up her daughter Jane and leaves her first husband. She travels and attempts to make a life in North Beach, San Francisco. But being a divorced single mother isn’t easy for Margaret, though she gets a job at a furniture company. However, art is her biggest passion in the world and the things she paints are often of children with extremely large eyes, which she tries to sell outdoors though to no avail. It is here that charming Walter Keane enters the picture, posing as a painter himself( though we’ll soon learn otherwise). Walter, with his stories and larger than life personality, sweeps Margaret off her feet and after a brief courtship the two are married. With both being art minded, they attempt to make something of their lives doing what they love. After both craft paintings that are displayed in a nightclub, someone takes interest in one of Margaret’s big eye paintings. Rather than jinx a sale, Walter lies and says that he is the artist. Making money from this Walter is thrilled, though Margaret is dismayed at him being so covert. Ultimately, as Margaret is so vulnerable and fragile, Walter uses this to manipulate her into corroborating his scheme and keeping her silent as he passes off her work as his own. This traps Margaret in a big lie that she doesn’t know how to escape from(mainly because she has helped perpetuate it under duress), and for a while she goes along with it, continuing to paint what people don’t know is her work. But as the paintings get more noticed and Walter more greedy, she realises that she can no longer live this sham any more and with burning and emerging toughness, she takes action to reclaim her rightful ownership in a court battle.

Tim Burton is behind the camera in the director’s chair and he does something different here. Over his last few films, I felt that Burton was somehow becoming a bit rote and not at his usual best, due to growing use of CGI and a lack of attention to story. But with Big Eyes, Burton discovers his footing again by toning down his usual macabre sentiments in favour of a deeper and revealing style. Burton doesn’t completely jettison his usual kookiness, as can be attested to a few peculiar sequences where Margaret sees other people with eyes similar to her work, he just reins in his creepy visuals a bit more and crafts a very intimate and personal story that stands out. I definitely enjoyed this more traditional approach from Tim Burton and peppered with a little sprinkling of his unusual magic that don’t overpower the story, Big Eyes excels at being a change of pace in the most effective way.  You can see that Burton has a big respect for the artistic mind by the way he presents Margaret’s emotional attachments to her work, that sadly were relegated to the background by the conniving cons of her husband. As dark as the story is when you look at it closely, there is a wealth of humour thrown in that makes fun of opinions critics have on art and the overall value of it, specifically in regards to monetary worth, which it seems the slimy Walter was consumed with. When the battle of wills omen escape and it leads to court, fun can be head in sequences that prove the truth can indeed be stranger than fiction. Now I wouldn’t say Big Eyes is a perfect movie, it does have a few little flaws. During various moments, the story did find itself losing its way and getting a little repetitive. And a bit more oomph in the middle may have been beneficial, though it isn’t something that does harm to an intriguing piece. But I found myself invested watching this film for the story it provided and an insight into the mind of an artist, while covering themes of personal connection to ones work and female oppression. The flaws I mentioned which in honesty where little ones, thankfully don’t spoil the overall product which is a definite improvement on Burton’s recent output because it tries something you wouldn’t expect from him. The visuals are kept to being bright and ever so slightly mocking as the real turmoil of Margaret was largely hidden by the outward appearance of everything being serene. And Danny Elfman provides a brimming, urgent score, perfectly in touch with Margaret’s awakening.

Amy Adams gorgeously and subtly plays Margaret Keane as a shy and meek woman, who slowly burns with resentment at her circumstances, knowing that some of it falls to her. Right from the start, Adams makes you relate and sympathise with this woman whose good nature was taken advantage of until she eventually decided enough was enough and she wanted her story to be known. She starts out birdlike and fragile and then little by little through nuance, Adams invests the part with a burgeoning voice that won’t be silenced anymore or swept under the carpet. It is an exquisite and moving performance that doesn’t need big theatrics to be effective; instead the quiet and graceful approach from Amy Adams works beautifully in imbuing the part of this artist with a passion and inner strength that eventually percolates through. At the other end of the spectrum is Christoph Waltz. His portrayal of the ruthless Walter is one that features loud and bold brush strokes, which Waltz obviously has customary fun with. I’ve read other reviews that say that he goes way over the top in his work and that it is a detriment to Big Eyes. I wouldn’t go that far because I think the part needs an exuberance that Waltz can provide as evidenced by his other work in movies. The part of Walter is this big talking, savvy man with hardly any subtlety, much like the ringmaster of the circus. And I must say, Waltz has that energy and more, which I think balances well with the gentle work of Amy Adams. Danny Huston as the man narrating the film, is appropriately barbed and cynical, which seems ideal as he is portraying a gossip columnist. The great Terence Stamp infuses his small appearance as a scathing critic with a biting sensibility, while Jason Schwartzman makes for laughs as a snooty artist. It is only Krysten Ritter who doesn’t resonate, as she is given scant to do and can’t bring whatever life there was to the part of Margaret’s friend.

A down to Earth change of pace from Tim Burton, Big Eyes proves to be a memorable version of a true life story, that has a core of emotion and respect regarding art and two excellent performances from the leads.

The Fighter

Tags

2010's, Amy Adams, Based on a true story, Christian Bale, David O. Russell, Mark Wahlberg, Melissa Leo, Sports Drama, The Fighter

Film Title

The Fighter

Director

David O. Russell

Starring

• Mark Wahlberg as Micky Ward
• Christian Bale as Dicky Eklund
• Amy Adams as Charlene Fleming
• Melissa Leo as Alice Ward

Based on the true story of boxer Micky Ward and his unexpected comeback, The Fighter is an exceptional sports drama that benefits from the highly powered cast it has and immensely satisfying direction.

It’s the early 90’s in Lowell, Massachusetts and Micky Ward is a promising boxer with talent but not much luck. He is trained by his half-brother Dicky Eklund, who had a shot at the big time but has since fallen into drug addiction, a large group of sisters on his back and his brash mother Alice manages his career, thought it seems her main interest is the money at first. Yet while Micky has loyalty to for teaching him almost everything he knows about boxing, he has started to become wary of his brother’s drug habit and how his mother manages his career. And after another defeat that seriously knocks the wind out of his sails, he contemplates whether he should continue with boxing. Of course, his family doesn’t take too kindly to this idea. Yet Micky finds comfort in the arms of honest barmaid Charlene, who tells Micky that he will have to cut ties with his family if he ever wants to succeed as a fighter in the big time. Dicky finds himself in serious trouble and is put in prison for various crimes, which severs a lot of the relationship between him and his brother for a while. It all comes down to Micky to make this decision of whether family loyalty is as important as striving to hit the heights of greatness before it is too late and he can longer do it.

David O. Russell is on confident directorial duties and brings a variety of talent and vision to The Fighter. He uses a good helping of grit and infuses it into the material, best shown in the slight grain the film is tinted with to heighten a sense of authenticity. The crowd pleasing aspects come off amazingly and we all love to root for the underdog story, and this is one such story. Between the upheaval of family shouting matches and Micky’s attempts for success, The Fighter manages to satisfy both audiences that it is going for; the fans of boxing movies and those who like based on true life success tales. There is some great use of juxtaposition; seen when a drugged up Dicky is recounting his promising fight from years ago against Sugar Ray Leonard and then inter cut to this is the real footage of his once successful time, clearly showing just how far he has fallen since. This allows characters to shine in the film, especially Dicky, who undergoes a major transformation once incarcerated. At first, The Fighter is a little slow off the mark, before soon swinging into victory by pulling your interest into the story with the amount of energy and growing inspiration it has going through its veins. There is a healthy sprinkle of humour in the film( particularly shown in the fact that Micky can hardly get a word in edge ways because of his outrageous family) that actually works in the long run and doesn’t distract from the drama. And once the film gains footing, it plays out rather nicely and doesn’t disappoint you with its outcome. A knockout soundtrack bristles throughout The Fighter, driving a lot of the action both emotionally and aurally.

Mark Wahlberg cuts a subdued and good-natured presence, tempered with a deep feeling of dilemma of what to do. He is caught between his family and his abilities, and Wahlberg captures that excellently as the quiet heart of the inspiring story. It’s as much a physical performance as one that is emotionally internal too, a balancing act Wahlberg maintains to a high degree. Wahlberg’s quiet and subtlety are offset marvellously by the immensely convincing work of Christian Bale, who picked up a fully merited Best Supporting Actor Oscar for playing Micky’s drug-addicted brother. His very appearance, skeletal and almost spider like in movements, is so wholly convincing and integral that you can’t tear your eyes away from him. Yet while visually adept for the part, Bale also emotively brings out the shattered dreams of the pitiful Dicky, who can’t see that his days as a fighter are over because of how hooked on crack he is. There is a tragedy to the part that Bale plays to perfection and both this and his physical commitment to the role burn into the memory for a long time. Amy Adams is well cast against type as Micky’s girlfriend and supporter Charlene. The role allows Adams to showcase her versatility as a sexy and feisty lady; and the part is very different from how many have usually seen her in the past. Starring as Charlene, she imbues the part with an understanding and realistic toughness that fits it like a glove, as she encourages Micky to take a chance. She drops a million f-bombs, calls people out on their bull and has an attitude to burn; all of which Adams brings to the table with her considerable talents that cement her as one of the best actresses and my personal favourites out there. Melissa Leo, who collected a Best Supporting Actress Oscar for her role, is on fine form too as the mother/manager of Micky. While the part calls for her to be showy and aggressive, Leo makes it all work and unravels how Alice wants good things for her kids, she just can’t handle anyone else that she sees as getting in the way and undermining her. The role could have easily become a caricature, but with the winning Leo playing it, any such trepidation melts away as her boisterous yet realistic performances attests to.

A well-directed and entertaining sports drama, The Fighter comes out as an inspiring and eventful story with an authenticity and splendid cast ensuring a knockout delivery.

La Vie en Rose

Tags

2000's, Édith Piaf, Based on a true story, Biopic, Emmanuelle Seigner, Foreign Language Film, Gérard Depardieu, Jean-Pierre Martins, La Vie en Rose, Marion Cotillard, Olivier Dahan, Sylvie Testud

Film Title

La Vie en Rose

Director

Olivier Dahan

Starring

• Marion Cotillard as Édith Piaf
• Sylvie Testud as Mômone
• Jean-Pierre Martins as Marcel Cerdan
• Emmanuelle Seigner as Titine
• Gérard Depardieu as Louis Leplée

An unconventional biopic of the hugely talented but deeply troubled French singer Édith Piaf, La Vie en Rose is a largely effective rendering of the tragedy she endured. The pace can be a bit off as can the choice to shoot out-of-order at various intervals, yet the fiercely intense and ward-winning work from Marion Cotillard and the handsome design of the piece, more than compensate for these quibbles and foibles to fashion a theatrical experience.

It is 1918 when Édith is first glimpsed as a girl living in poverty with her mother, who sings in the street for whatever money she can get. Her mother, wanting to be an artist, abandons her daughter with a relative. The little girl’s father returns from the War and takes Édith with him for a very short time. Her father then drops her off at his mother’s place in Normandy, which is a brothel, so he can go back to the circus. Young Édith is a very sickly child who nearly goes blind due to disease, she regains her sight after a long time of being without the use of her eyes. One of the prostitutes there named Titine, becomes something of a maternal figure and nurses her through these hard times. In later years, her absent father returns and forcibly takes her with him to the circus. Yet this doesn’t last and they are left busking on the streets, which is where the young Édith discovers her talent for singing. As she grows into a young woman, she continues to sing on the street, until one day she is discovered by Louis Leplée, who asks her to perform in his nightclub. She is given the last name Piaf( which in French slang means Little Sparrow) owing to her diminutive stature. Her first stab at stardom is cut short when Leplée is murdered, and it is assumed to be the work of men who Édith unintentionally knows, who are in fact nasty criminals on the side. Temporarily stuck in what to do and besmirched by many, she manages to catch the eye of songwriter , whose rigorous and often brutal training helps her with her perfect what would become her dynamic stage persona. Later with a new manager, Édith eventually hits stardom, though it soon turns out to be something that will lead to her downfall as drug addiction, thwarted love affairs( particularly the one with married boxer Marcel Cerdan) and many moments of tragedy that ruin her already temperamental and brittle mind are inflicted on her. Soon the lively woman is replaced by one that is aged well beyond relatively young years, yet still wanting to project passion. The film is depicted as a reverie of her memories from various parts of her short but eventful life, the structure of the film will be discussed later in this review.

Olivier Dahan directs this biopic on the life of the ‘Little Sparrow’ with some interesting ideas and style. While the script takes a bit of getting used to, Dahan and his flair for drama ensure that there is never a dull moment in what is often a moving and painful film. Now the main point of discussion in La Vie en Rose has to be the aforementioned structure of it. The events in life are depicted as a series of vignettes that at first don’t seem to link, but if you look closely actually match up quite a bit. I must say that the nonlinear execution can get quite confusing on occasion and I could have done with a bit more exposition and order, but I understood that the film was eschewing certain tropes of the biopic to conjure up the feeling of her life flashing before her eyes. The feeling of her reflecting on life when she is near the end is backed up by the expressionistic lighting, that mirrors a candle billowing and creating a deep golden colour that could go out any minute. Overall, the representation of her life is complex and sometimes lacks coherence, but still it gets across that she gave so much in her short life, that by the end she had nothing left in her. The use of Piaf’s music deserves credit as a lot of it bleeds into the next scene in a most theatrical and melancholy manner. The famous songs of hers, including the title song and ‘Non, Je Ne Regrette Rien’ are all here and performed with emotional clarity.

The centre of La Vie en Rose and quote possibly the best thing in the movie is a truly staggering performance from Marion Cotillard, who garnered the Best Actress Oscar for her devastating work playing the iconic Édith Piaf. I can’t think of one thing Cotillard doesn’t put across or express here; there’s the fierce lust for life, tortured frailty, selfish tantrums and deep sadness to be seen throughout. The best way to describe the excellence of Cotillard’s performance is that she doesn’t just play Piaf, she literally lives and breathes this woman with unnerving emotion and realistic conviction. There are moments when you have to pinch yourself that it is Marion Cotillard acting as her work is so convincing and uncanny. Simply put, Marion Cotillard puts in a deep and shattering performance that ensures you won’t ever forget its intensity. Sylvie Testud is pretty good starring as Piaf’s best friend from her youth, who grows distant and resentful of her because of the way she abuses and treats others once she has become a star. I thought Jean-Pierre Martins was well cast as Marcel Cerdan, whose affair with Piaf had a huge impact on her. The scenes he shares with Cotillard are well-played across the board and add to the film. There was a beautiful melancholy and love expressed by Emmanuelle Seigner when portraying the prostitute who became an unlikely figure of motherly love for a very young Édith. Gérard Depardieu appears in the small but important role of the man who discovered Piaf and he does some good work in the limited time he is allotted.

The non chronological narrative may act as more of a hindrance than a help, but as an evocation of the tragic ups and down of life and sensationally played by the wonderful Marion Cotillard, La Vie en Rose shines with moving moments. Despite a few gripes, La Vie en Rose made its mark on me that I don’t believe I’ll forget it in a hurry.

Dark Angel

Tags

2010's, Alun Armstrong, Based on a true story, Crime, Dark Angel, Drama, Joanne Froggatt, Jonas Armstrong, Laura Morgan, Mary Ann Cotton, Penny Layden, Sam Hoare, Thomas Howes, Tom Varey

A two-part mini series recounting the life of Victorian serial killer and black widow Mary Ann Cotton, Dark Angel is pretty chilling stuff to watch. Though I feel it could have been more effective of it had more episodes, Dark Angel still hits the creepy notes of disturbance and turmoil that evoked the hardships of life at the time and how one woman took murderous charge over her own. Be warned, spoilers will follow in my review of the series based on true events.

We begin with Mary Ann Cotton(Joanne Froggatt) in prison in Durham, England, awaiting her execution by hanging in 1873. From here, we flashback to many years before when she came back to her home along with her first husband William(Tom Varey) and a young daughter. She had lost five children through gastric fever and coming back was something of an attempted fresh start. She moves in with her mother(Penny Layden) and step father(Alun Armstrong) for a while, yet when William gets a job on a steamship they have to move. Several children later and several more deaths follow Mary Ann, who finds the bed sit she lives in a dirty and horrible place designed to crush her spirit. Importantly, she has to purchase arsenic to get rid of bed bugs in the dank home. When William returns from work with a busted leg which means the family won’t be able to survive with no one earning money, a light comes on in Mary Ann’s head. Knowing that William has taken out life insurance( which was just coming into prominence with many families at the time), she slowly begins poisoning him by lacing his meals and tea with arsenic. William eventually dies painfully and his death is put down to disease, as it was so rife at the time. Mary Ann collects on the life insurance as a result of this and survives from possibly starving. Seeing how easy this is, Mary Ann moves around the North East and continues to gain more husbands, who all perish( but one) when they become no use to her anymore or can’t provide for her. And it isn’t just husbands that drop like flies, step-children, her own mother and best friend all end up six feet under, ensuring more money for her and that she won’t be found out. It is only years later that a suspicious grocer finds the woman a little menacing and slowly deduces how evil this Mary Ann Cotton truly is; leading to her arrest and eventual hanging.

Kudos to Dark Angel for how it telegraphs the squalor of Victorian life and how dank it all was. With a grey and brown colour palette, the world is unrelentingly grim for Mary Ann, who obviously chafed at her lack of prospects and eventually turned to murder to assert some form of power. Seriously, Dark Angel is enough to put anyone off tea for a long time, watching as this was one of Mary Ann’s wicked ways of slipping poison to her unwitting victims. I never thought the words ‘Everything will look better after a nice cup of tea’ could carry so much malevolence. Now the issue of pace is something of a double-edged sword as far as Dark Angel is concerned. On one hand, it moves pretty rapidly that it can be hard to keep up with what time frame we are in and what exactly is happening. Yet in another breath, it also conveys the grim efficiency of Mary Ann and how she managed to elude detection for so long by moving about and insidiously worming her way into people’s lives. Overall, the uneasiness is pretty darn effective, though I couldn’t escape that lingering feeling that a few more episodes may have done the story more justice. For what it’s worth, Dark Angel is still alarmingly watchable, as there is something grimly fascinating about watching how an average woman of the time took devious command of her life after feeling so slighted by the hand it had dealt her. And though we know the end result, it’s the lead up the captures the most interest for a lot of it. Be warned that Dark Angel is more than a little squirm inducing as historians have estimated that she may have killed up to 21 people, though we don’t see this, what we do witness certainly makes it appear possible that she was capable of anything. We may never really know why Mary Ann Cotton did what she did, but this drama provides a compelling visualization of her emergence as a woman of greed and horror. The music used is pretty minimal and through this, out attention is drawn more to the darkness and stark nature of this horrifying true story.

Joanne Froggatt is the series ace in the hole, embodying the part of Mary Ann Cotton exquisitely. At first, there is some genuine sympathy that Joanne Froggatt projects as Mary Ann; you can clearly see that life is one long drudge of housework, child rearing and soul-crushing poverty in the beginning. It’s the following events as she becomes very selfish and callous, killing anyone who stands in her way to financial gain or security that make the part truly horrifying. Froggatt doesn’t miss a beat, charting the rise in her killer instinct and avaricious ways that are captured through nuances of seductive charm, boiled anger and unrepentant mind. I admire her commitment to the role and how she played it with a certain subtlety rather than going for an overtly dramatic approach. Alun Armstrong is particularly good as the stepfather; a hardworking man who can’t help but have that nagging concern that something is just not right. The same goes for Penny Layden who compliments him well as Mary Ann’s mother, who while caring for her daughter, just doesn’t have the strength to shake off her suspicions of foul play. Sam Hoare is seen the most out of the four husband’s as he plays the rich and grieving widower in need of a nanny for his children. Hoare gets the sadness of the character across, but wisely he is the only husband to live as he realises that Mary Ann is not the sweet girl who came into his house when he discovers her thieving of money from his account. Jonas Armstrong plays Joe, a bit of rough who engages in a long affair with the devious Mary Ann. The part doesn’t particular call for a lot, but Armstrong gets the uncouth manner of the miner right enough. Laura Morgan fares very well in the supporting part of Mary Ann’s unsuspecting best friend, while as two of the unfortunate men who are offed by the wicked woman, Tom Varey and Thomas Howes evoke sympathy in their brief tenures.

So while it could have benefited from some more expansion to it, Dark Angel successfully gets by due to the shock of it all and the excellent work from Joanne Froggatt as the murderous Mary Ann Cotton.

And if anyone wants to get an idea of the series, below is the trailer.

Wild

Tags

2010's, Based on a true story, Drama, Jean-Marc Vallée, Kevin Rankin, Laura Dern, Michiel Huisman, Reese Witherspoon, Thomas Sadoski, Wild

Film Title

Wild

Director

Jean-Marc Vallée

Starring

• Reese Witherspoon as Cheryl Stayed
• Laura Dern as Bobbi Grey
• Thomas Sadoski as Paul
• Michiel Huisman as Jonathan
• Kevin Rankin as Greg

Based on the true story of Cheryl Strayed, who embarked upon a self-reflective journey to get her life back on track, Wild is a quietly stirring film that unfolds quite beautifully and gains excellence from a physically enduring performance from Reese Witherspoon.

We pick up with one Cheryl Strayed in 1995; a young woman hiking 1,100 miles of the Pacific Crest Trail from the Mojave Desert to the Washington-Oregon border. Through flashbacks, we get to glimpse Cheryl’s life up to this point and what drove her to embark on this journey. The biggest event is the death of her beloved mother Bobbi, who always retained a positive outlook on life even when the odds were stacked against her. Her death subsequently left a hole in Cheryl’s life that she tried to fill with drug abuse and promiscuity. This had a knock on effect on her marriage to Paul, which ultimately ended in divorce when he couldn’t get through to her. Now on the journey, despite a lack of experience in hiking, Cheryl is attempting to forgive herself and come to terms with what her life has become after it fell completely apart. The journey she takes is one of both mental and physical anguish; her shoes are too small, she doesn’t have all the right materials and being a novice at hiking is not exactly helpful to her in the arduous voyage. Though she considers at various stops giving up because of how harsh and painful the journey is, something ultimately pulls her back and with the people she encounters, Cheryl grows stronger and finally begins to take stock of everything she has been through and the ways in which her travel will change her.

Films where characters go on journeys of self-discovery and change can often come off as saccharine and clichéd. Wild is thankfully not one of those films as it retains a natural quality that keeps it rooted in emotion and feeling throughout, without needing to go for big scenes of drama. Jean-Marc Vallée gives deep drops of intimacy to the proceedings through expressive close-ups and having Cheryl’s experience link to her past. He also isn’t afraid to show the darkness of Cheryl’s life in detail, where other films would shy away from doing so in order to keep something of a nice vibe. We are given the chance to witness Cheryl’s life, warts and all, and can really understand why she would want to just get away from all of it. Wild in itself is something of a contained story, which might seem strange as it is about a long trek, but what I mean is that the story is largely Cheryl’s and how events have impacted on her and her growth along the way. The film eschews bellowing histrionics for rumination and nuance( thanks to the assured direction of Jean-Marc Vallée and sensitive Nick Hornby script-which brings sprinkles of heart and small bits of humour to the film), which stand Wild in good stead as we gain a significant understanding of Cheryl through the flashbacks presented. And talking of flashbacks, the way they are placed within the narrative is seamlessly done and never becomes confusing as to which time frame we are in. From a visual standpoint, Wild is a lovely looking film, particularly at showing both the beauty and harshness of nature in the wilderness that can be very unpredictable. There are those out there who will sniff at Wild and say that not a lot happens within the story and that it isn’t anything particularly new. This is to miss the subtlety at work as everything is rooted in something of a realness that grows on you as the film continues. Quite a lot happens within the film, it just transpires in small vignettes of triumphs and tests that Cheryl must go through and endure to fully get herself together again. There are a few niggles in the narrative that slow it a bit, yet these are few and far between, as Wild stays on a relatively equal and level footing thanks to the talent both behind and in front of the camera. Music is used in a most complimentary fashion that joins together moments from the past with the present in Cheryl’s reveries.

Wild’s ace in the pack is Reese Witherspoon in a revealing performance that carries a large chunk of the film on her shoulders. She keeps Cheryl grounded in the long run of the story but also delves with nuances, into the wealth of emotional turmoil that still haunts her. I admired the way that Reese Witherspoon showed off a very different side to herself in this film; she really made the part feel organic and natural from the very first moment we glimpse her. She gives an authentic, raw and fearless energy to the part that displays Cheryl as flawed but still relatable to the audience as we understand her sadness and want her to succeed. It has to stand as one of her best performances, as it is mightily impressive watching her reflect and react to the things that have been thrown her way, both mentally and physically. Supporting Witherspoon is the lovely work from Laura Dern as her mother, largely seen in flashback. Dern projects such a ray of sunshine to the film that you can see why Cheryl would go into a real tailspin as her lifeline of happiness is gone. Thomas Sadoski is well cast as Cheryl’s ex who still tries to be of help to her, even after their divorce. Michiel Huisman and Kevin Rankin each play people Cheryl meets a long the way, and who each give her something to spur her on.

The odd wandering bit of film can be forgiven as Wild wisely retains a modesty and reflection that makes for a subtle yet moving film, headed by a commanding and committed Reese Witherspoon, in one of her best roles.

The Conjuring

Tags

2010's, Based on a true story, Horror, James Wan, Lili Taylor, Patrick Wilson, Ron Livingston, Supernatural Horror, The Conjuring, Vera Farmiga

Film Title

The Conjuring

Director

James Wan

• Vera Farmiga as Lorraine Warren
• Patrick Wilson as Ed Warren
• Lili Taylor as Carolyn Perron
• Ron Livingston as Roger Perron

Inspired by the case of Ed and Lorraine Warren; paranormal investigators who came to the aid of  the Perron family, who were experiencing disturbing events in their home, The Conjuring is a spooky exercise in genuine terror in the old-school vein. You won’t be sitting or sleeping soundly once you’ve seen this movie.

In 1971, Carolyn and Roger Perron move into an old farmhouse in Rhode Island with their five daughters. Yet within days of arrival, unexplainable phenomena beyond any explanation occur. All of the clocks in the house stop at the exact same time, Carolyn is trapped in the basement after hearing noises, she also develops strange bruises with no apparent cause, and one of the girls claims that a force is disturbing her sleep before threatening the family with a warning of death. Terrified, Carolyn and Roger seek out the help of Ed and Lorraine Warren. The couple are paranormal investigators with Ed having studied demonology and Lorraine being a powerful clairvoyant. Ed and Lorraine come to the house and set apart unearthing what the cause of this haunting and evil presence may be. Sure enough, more creepy events ensue for everyone and the evil within the walls refuses to leave. Ed with his knowledge of such things is worried though about Lorraine as while she is a clairvoyant whose senses are immensely powerful, each time she encounters something paranormal and supernatural, it weakens her little by little. Lorraine meanwhile is not the type to just sit around and with steadfast curiosity, she refuses to give up even at the expense of her own well-being. Ed and Lorraine have found some strange things in the past, but this could be the one to top them all. With determination they venture deeper into the history of the old farmhouse in an attempt to bring whatever resides there out. Yet coming up against the shocking evil that is located in the Perron home proves to be the Warren’s hardest and most personal case, that pushes them way beyond anything they have encountered before.

James Wan successful direction takes its cues from the horror movies of old that were all about the terror of the unexplainable and the unexpected. He is excellent at steadily layering on the horror and suspense with admirable restraint, before unleashing full-on terror when you least expect it. Believe me when I say, the last half of The Conjuring is frightening and so very intense that you won’t have any nails left by the end. Wan is adept at the old phrase that what you don’t see or think you see is a lot more scary than just revealing itself to you. The events depicted are inspired by the findings of Ed and Lorraine, but whether or not you believe the true story angle of The Conjuring is beside the point. The ensuing occurrences of creepiness and spiritual horror are presented without a CGI fanfare that weakens other films of the genre. This approach to the display of events that befall everyone makes the discoveries all the more realistic and even tangible. While the story has one foot in fact, the possibility of the supernatural is also there. This offers a good insight into how the two could overlap with the other, most embodied by the Warren’s themselves who are Catholic yet still believe in the paranormal. There is nary a drop of blood to be found in The Conjuring, which is admirable as it knows the meaning of restraint and how eeriness can be much more effective for scares. I wouldn’t say there is anything shiny or brand new to be found in The Conjuring, yet refreshingly this does not detract from the haunting ambience that the whole piece emits from beginning to end. If I had to choose an area in this film that I was probably most impressed by, it would be the overall visual style and sound effects in The Conjuring, as they neatly balance with the rest of the unnerving movie. The faded visual style gives a worn out feel to the house and events and while being effectively used for ambience, it also constructs a convincing recreation of the 70’s setting to a very high standard. The uneasy score, mixed with the jolts of things that go bump in the night, make sure this film is as haunting as anything in recent horror memory.

Vera Farmiga is the heart of The Conjuring as the sensitive clairvoyant Lorraine Warren. A softly spoken character whose abilities are extraordinary, Farmiga exhibits a resilience of strength but an underlying vulnerability in the part that is extremely well-acted. She registers concern and hopefulness without a drop of sentimentality with relative ease that all adds up to a strong performance of resolute emotion and significant clout. Backing her up is the sagacious presence of Patrick Wilson as her notable husband Ed. He gives off a well-worn charm and quiet depth in the most subtle of ways that perfectly compliments the work of Farmiga. And I must say, that the two share a very good chemistry and working relationship with the other that is very much in evidence throughout The Conjuring. Lili Taylor is extremely convincing as the terrified mother, who is the worst affected by the haunting of her house and whose emotional frailties become more noticeable as the film progresses. Ron Livingston provides understatement and stifled horror as the husband of the haunted property, who is trying to hold it together to protect his family from whatever it is that wishes them malice and harm.

Marvelously rendered with style and suspense, The Conjuring is a refreshingly old-fashioned horror that jangles the nerves from start to finish and never resorts to cheap tricks to get the scares.

Dangerous Beauty

Tags

1990's, Based on a true story, Catherine McCormack, Dangerous Beauty, Drama, Fred Ward, Jacqueline Bisset, Marshall Herskovitz, Moira Kelly, Naomi Watts, Oliver Platt, Romance, Rufus Sewell

Film Title

Dangerous Beauty

Director

Marshall Herskovitz

Starring

• Catherine McCormack as Veronica Franco
• Rufus Sewell as Marco Venier
• Oliver Platt as Maffio Venier
• Jacqueline Bisset as Paolo Franco
• Fred Ward as Domenico Venier
• Moira Kelly as Beatrice Venier
• Naomi Watts as Giulia De Lezze

Taking basis from the true story of 16th Century courtesan and poet Veronica Franco, Dangerous Beauty is an underrated movie that finds a somewhat inspiring and passionate tale in the journey of a trailblazer who gained both respect and scorn.

16th Century Venice: women are seen as property and marriage has nothing to do with love, more for the sake of duty and money. Veronica Franco is a beautiful young girl with a passion for verse and desire for learning. She is of lowly birth, yet has a kittenish disposition that covers this. Young and passionate Veronica is in love with Senator’s son Marco Venier, and he returns that love. Yet due to the fact that she is of inferior birth and that her family can’t provide a dowry, the two can never marry. Devastated by this knowledge, she is consoled by her mother Paolo. Her mother then gives Veronica a talk on a path to that could liberate her to a comfortable existence. The profession in question is being a courtesan. Hearing this surprising advice from her mother, Veronica recoils at first at the idea of selling her body for profit. But once she hears that courtesans can have a sense of influence and rights to an education, she takes note. Forsaking her love for Marco, Veronica transforms due to her burgeoning intelligence and drive into a courtesan of which she becomes greatly renowned. Veronica finds her fortunes changing and her reputation growing, both for better and for worse in some quarters. She gains respect from a lot of people higher up the social ladder, yet earns the hate of ladies who see that their husbands could very well be Veronica’s clients. Her poetry flourishes and though the world that she inhabits is male-dominated, through her intellect and passion she gets a foothold in society. Yet Veronica, while gaining independence, craves the love of Marco secretly yet understands the precariousness of standing. Fate has other plans however as war brews, plague arrives and the Inquisition takes residence in Venice. Veronica is forced to testify in court about her life, to which she shows her mettle and takes aim at the hypocrisy of society in unconventional style.

A film like Dangerous Beauty had the potential to be overly sleazy and trashy, so it’s good that it steers clear of both by way of confident and understanding direction. Marshall Herskovitz has this innate ability to sympathise with the characters, mainly in the case of Veronica. He doesn’t pass judgement on her despite the profession she embarks on, portraying her more as a girl who takes the initiative in order to prosper in a world that is obsessed with social standing and class. A script filled with drama, romance and wittiness, stands Dangerous Beauty in good stead as it busts apart the hypocritical attitudes of the time and especially the burdens on women in general. The parts of humour, provided mostly by Veronica and her excellent way with words, moves the story along with a brisk pace that doesn’t scrimp on the deeper parts of the story either. Now with Dangerous Beauty being a film about a courtesan, there is a sexual tone to the movie. Yet as sensuality is presented, it is done in a way that isn’t just about naked bodies and sweating. Sex is a power play in a sort of way in Dangerous Beauty, exposing how women were looked at in the time but how Veronica switched it up with her untamed personality. There are some areas where the film can be a little uneven, but Dangerous Beauty is not harmed by this thankfully as its story and execution remain intact. Beauty is glimpsed through the vast array of colour that features heavily, the visual department really knock it out the park recreating 16th Century Venice. An expressive score encompasses the humour, drama and passion on display with beautiful shifts in emotional levels.

Catherine McCormack delivers a splendid performance here as the soul of the film. Imbuing Veronica with a keen intention to learn, seductiveness and later outspoken feeling, she truly is a marvel. Boasting a beauty yet a heart and desire, you can’t quite take your eyes off her. Plus, her interpretation of the often witty and poetic words Veronica speaks are both fun and refreshing. McCormack is simply like a breath of fresh air, boasting the right temperament and conviction for the part of a woman who refused to be compromised by chains and retained dignity. The character of Veronica Franco is supposed to stand out and man does Catherine McCormack do just that. Rufus Sewell exhibits a sensitivity and sense of conflict within nobleman Marco, who knows that he loves Veronica but is obliged by duty to marry someone else. We witness the stiffening of his backbone as Dangerous Beauty commences and he begins to change. One of the biggest stand outs after McCormack is Oliver Platt. He essays the role of Marco’s cousin who isn’t as well off as he and whose jealousy burns that Veronica’s poetry flourishes with a chance of money while his dwindles. Although the character is a wastrel, there are many notes of tragedy to him. Jacqueline Bisset is simply terrific as the extremely wise mother who instructs her daughter into the ways of a courtesan under her watchful eye. She boasts a delightfully observant cynicism that has been shaped through her years as a young woman in a male-dominated world and the way in which she can educate her daughter in how to gain something. Then we have Fred Ward who clearly has a ball with the role of Marco’s uncle, playing him with a wily understanding of his nephew’s needs and a genuine respect for Veronica, where others scorn her. Though largely in the background for a lot of Dangerous Beauty, Moira Kelly comes into her own later on with a scathing attack on the unfair treatment of women in society. And look out for an early role from Naomi Watts as the timid and dutiful wife chosen for Marco.

A satisfying and beautifully rendered drama of one woman and her integrity, Dangerous Beauty is sumptuous, fresh and at times quite funny. I greatly advise people to see this film as it is a pretty underappreciated one in my eyes.