Stan & Ollie

Tags

2010's, Biopic, Drama, John C. Reilly, Jon S. Baird, Laurel and Hardy, Nina Arianda, Shirley Henderson, Stan & Ollie, Steve Coogan

Director

Jon S. Baird

Starring

• Steve Coogan as Stan Laurel
• John C. Reilly as Oliver Hardy
• Shirley Henderson as Lucille Hardy
• Nina Arianda as Ida Kitaeva Laurel

A warmly bittersweet film about the last hurrah of legendary comedy duo Laurel and Hardy, Stan & Ollie is a film that invests you with the double act with just how involving, funny and poignant it is.

We begin in 1937 when Laurel and Hardy are at their peak, but even here they are still paid less than the other stars. Stan wants to get out of his contract with producer Hal Roach, as he doesn’t feel appreciated by him. Oliver wants to keep things as they are and not rock the boat anymore than it needs to be. This instance will be one that plays an important part later in the film. Fast forward to the 1950’s, neither man is at their height of fame anymore. But each has been persuaded to go on a music hall tour in the United Kingdom. Stan, who is the one behind the jokes and material of the routines, hopes what they ear in money can be used to finance a picture Stan wants to do. Oliver is in bad shape and not really a well man, but agrees to reform again. As they soon discover, it’s hard getting back out there because new talent has come along and captured the imagination of the public. The shows begin with not many people showing up in the audience, which doesn’t go unnoticed. Plus, various issues that have long remained dormant threaten to overshadow the tour and tear apart a friendship. But over time, the old magic comes back and the road looks set for a return to form, aided by the support of two sparring wives . Though spanners are thrown in the works, like Oliver’s failing health and with the history of the two, it could just be one last hurrah for the legends of comedy that are Laurel and Hardy.

Jon S.Baird is clearly crafting an affectionate but also revealing portrait of the legends and boy does he ever deliver. Along with the clever script that deftly mixes humour and pathos from Jeff Pope, Baird really dazzles with his warm-hearted but still bittersweet approach to behind the scenes of the lives of the beloved team. Of particular note is the virtuoso opening sequence in one shot of the team in their prime walking through the backlog of a studio, while they deliberate their contract with the slimy Hal Roach . Once the cameras roll, they are the Laurel and Hardy of legend, but there’s more going on behind the stage. The balance between the two elements of emotion and laughs is held neatly and makes the film flow amazingly. Nowhere is this more apparent than in the public argument between the duo which is filled with personal feelings of anger, but mistaken by onlookers as just part of their humorous act. In fact there are many instances of Stan and Ollie slipping into the public image that everyone knows in order to save face or escape from the harshness of life. The humour mingles with the melancholy and has you glued as Stan and Ollie realise that they need the other, despite buried grievances from the past. Credit must go to the staging, editing and make up, that make both lead actors the image of the great comedic duo. The recreation scenes from the movies of the stars is also a stroke of genius and is so precise and well realised. It leaves you smiling and with a lot of feeling, like all good movies should. A music score that is by turns deep and by others light, perfectly embodies what Stan & Ollie is going for in terms of audience feeling. I must admit in finding any fault with this movie as it was the definition of a fantastic cinema experience.

What really makes this movie soar is the lead work from Steve Coogan and John C. Reilly as Laurel and Hardy. Both get all the public mannerisms just right, like Hardy’s exasperated facial expressions and Laurel’s passive simpleton tics. It’s really uncanny as Coogan and Reilly have really done their homework and put their all into it. But it’s watching them reveal the behind the scenes nature of each. Coogan splendidly dives into the brains of Stan Laurel( which ironically go against the role of lovable idiot that he was in the public image) and the underlying sadness of someone wanting to succeed, but is also bitter by events of the past. It’s the fantastic mix of humour and emotion that also transfers to John C. Reilly, whose his equal as Oliver Hardy. Reilly has this sunny disposition that’s set against the alternating feeling of fatigue and hope.  The chemistry between the two works beautifully, much like the men they are portraying and paying tribute to. You never doubt for a minute that you’re witnessing two stellar performances that have great nuance. Sometimes with just a look, they say everything they need to. And while they form the centrepiece of Stan & Ollie, two other supporting members of the cast show they are no slouches either. They are Shirley Henderson and Nina Arianda. Both spark off the other as the spouses of the title characters, leading one person to say ‘two double acts for the price of one’. Both ladies are forceful, funny and entertaining in their own ways and they two contribute largely to the film as the supportive but firm wives.  It’s excellent casting all around for Stan & Ollie.

A wonderfully entertaining biopic that manages to sidestep the usual histrionics and over the top nature of the genre, Stan & Ollie weaves a warm picture that is bolstered by the spot on performances of Steve Coogan and John C. Reilly.

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.

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.

 

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.

Coal Miner’s Daughter

Tags

1980's, Beverly D'Angelo, Biopic, Coal Miner's Daughter, Levon Helm, Loretta Lynn, Michael Apted, Phyllis Boyens, Sissy Spacek, Tommy Lee Jones

Film Title

Coal Miner’s Daughter

Director

Michael Apted

Starring

• Sissy Spacek as Loretta Lynn
• Tommy Lee Jones as Doolittle Lynn
• Beverly D’Angelo as Patsy Cline
• Levon Helm as Ted Webb
• Phyllis Boyens as Clary Webb

Based on the life of the queen of country music Loretta Lynn, Coal Miner’s Daughter emerges as a superb biopic, thanks in no small part to the Oscar-winning performance from Sissy Spacek and direction from Michael Apted.

Opening up in Butcher Hollow, Kentucky, we see Loretta as a 15-year-old girl and daughter of a coal miner, one of eight children living on a cabin on a hill. The family is poor, but make their best of what they have at their disposal. Loretta falls for Doolittle Lynn, most commonly referred to as Doo, and after a quick courtship, she marries the much older man. Her parents are none to pleased about this, but her father wants his daughter to be happy so allows the marriage. From the start of the marriage, there is turmoil and upheaval as arguments and raising four kids before she turns 20 takes its toll on the young Loretta. Doo is well-meaning despite his attitude towards his wife and buys her a guitar after seeing her talent for singing. Loretta is uncertain, but begins playing in honky tonks to much success. Doo persuades his wife to pursue a career and though reluctant, Loretta agrees. After securing a hit record, a whirlwind of publicity follows and Loretta soon becomes a huge star on the country music scene, eventually earning the title of ‘The First Lady of Country Music’. Yet with this new-found success comes a variety of problems such as keeping up her image, near exhaustion from constant touring and her tumultuous marriage which leads to a breakdown.

While Coal Miner’s Daughter covers certain familiar themes as other biopics such as a tumultuous life, it is the way that it is told that makes it stand out for the better. Michael Apted infuses the film with a personal feeling and thoughtfulness that lets the events of Loretta’s life play out with brisk assurance and revealing detail. He also keeps the drama from not being too in your face, instead settling for subtle insights into the eventful life that Loretta leads from the poverty of Kentucky to wild success as the country music queen. While there is plenty of drama to be found in Coal Miner’s Daughter, it never feels exploitative or melodramatic at all. Another asset to the film is that it is told in linear fashion, rather than over use of flashbacks that often cheapen other biopics. Through this strategy, we see the growth of Loretta over the years and are always fascinated by the facets of her life. The musical numbers are outstanding, especially from Sissy Spacek who shows off deft musical talent and a stellar voice that really blows you away.

In a role that earned her a well-deserved Oscar, Sissy Spacek shines with heartfelt delivery and quiet subtlety as Loretta Lynn. Displaying the girl’s initially naive view of the world and then her self-assurance, no-nonsense attitude and personal demons, Spacek is always riveting to behold. Required to age from a young girl to a grown woman, she does it with marvelous ease and we never once doubt that she is Loretta Lynn. Her previously mentioned music skill is amazing to behold, and Spacek gives the songs her all and succeeds all the way through. Tommy Lee Jones is well cast as her well-meaning but temperamental husband Doo, who does help her with her career but is prone to berating her and bickering with her on many an opportunity. Beverly D’Angelo is marvelous as Patsy Cline, who befriends Loretta and is often a key figure in advising her. D’Angelo also shows off her amazing singing voice, filled with passion and clarity. In the supporting roles as Loretta’s father and mother, Levon Helm and Phyllis Boyens exude tough but loving care for their daughter.

Told with heartfelt care and quiet power, Coal Miner’s Daughter becomes a tremendous biopic that is riveting to watch.

 

Elizabeth

Tags

1990's, Biopic, Cate Blanchett, Christopher Eccleston, Elizabeth, Fanny Ardant, Geoffrey Rush, John Gielgud, Joseph Fiennes, Richard Attenborough, Shekhar Kapur

Film Title

Elizabeth

Director

Shekhar Kapur

Starring

• Cate Blanchett as Elizabeth I
• Geoffrey Rush as Francis Walsingham
• Joseph Fiennes as Robert Dudley
• Richard Attenborough as William Cecil
• Christopher Eccleston as Duke of Norfolk
• Fanny Ardant as Mary of Guise
• John Gielgud as the Pope

The early years of Elizabeth I’s reign are given a splendid retelling by talented director Shekhar Kapur. Avoiding conventions of historical dramas, he gives the tale a dark and brutal edge as we watch the young queen fight off conspiracy and become a strong monarch. Boasting a superb performance by Cate Blanchett, Elizabeth is nothing short of enthralling from beginning to end.

In 1558, the catholic Mary I is dying of a cancerous tumour. Childless, the next in line to the throne is her half-sister Elizabeth, who is a protestant. It is a time of unrest as the seesaw of religion swings back and forth precariously. When Mary dies, Elizabeth becomes queen. The young girl is spirited and often naive and the position she has inherited is not exactly ideal. She is pressured to marry as soon as possible and produce an heir. Elizabeth though is more interested in her love affair with the dashing Robert Dudley. Meanwhile, England is threatened from abroad by Mary of Guise, who has gathered troops in Scotland. As well as the threat from abroad, there is conspiracy within her court as various members plot ways to dethrone her, the most prominent being the Duke of Norfolk who considers her a heretic. The thorny issue of religion also rears its head and threatens to destroy her reign as violence and chaos erupts. Realising the threats that surround her and aided by loyal but calculating Francis Walsingham, Elizabeth nimbly begins to transform from romantic young woman to ruthless and wilful queen in order to rule over this time of uncertainty and become the iconic Virgin Queen that the world knows. Politics, romance and bloodshed all combine in this splendid biopic that breathes fresh life into the story and gives it a riveting makeover.

While many historical biopics paint a quaint picture of monarchy, Elizabeth delivers another side. The court of Elizabeth is a place of political intrigue and dark deeds, where views are divided by beliefs and violence is often around the corner. From the start, Elizabeth is in danger and must face the plots that threaten to engulf her. Shekhar Kapur magnificently captures the conspiracy and unrest of the time with his use of colour and camerawork, with dark red symbolising both passion and blood and a roaming camera that stalks the eerie palace and gives it a sepulchral tone. Interestingly, Kapur seems to take an influence from the most unlikely source, The Godfather. The similarities can be seen with the main characters in each, that must after reluctance change themselves and sacrifice personal attachments to become a feared ruler in order to survive and uphold dynastic order. Also, the lush cinematography that accompanies many scenes of assassinations does resemble some of the bloodshed of The Godfather. The musical score is suitably filled with royal splendor and underlying menace, while the sumptuous costume design is breathtaking. Historians may balk at some of the more fanciful elements of Elizabeth, but a few liberties here and there gives the film an exciting edge.

In the leading role of Elizabeth, Cate Blanchett is a revelation. Her expressive face displays the journey she goes on and the strength that she uses to become a ruthless and powerful leader, capable of making difficult decisions. Filling the role with passion, emotion and vigour, Blanchett is a marvel. Ably supporting her is Geoffrey Rush as her advisor Francis Walsingham, who will do anything to protect her, including murder. Joseph Fiennes makes for a suitably handsome romantic interest, while Richard Attenborough is great as an elderly counsellor who attempts to guide the young girl. The other roles are competently portrayed by Christopher Eccleston, who exudes menace and anger as the conspiring Duke, Fanny Ardant as the ambitious Mary of Guise and John Gielgud as the Pope.

Not one for the purists, Elizabeth still succeeds thanks to visually stunning direction, a powerful lead performance and a tense atmosphere that gives history new life.

Cadillac Records

Tags

2000's, Adrien Brody, Beyoncé Knowles, Biopic, Cadillac Records, Cedric the Entertainer, Columbus Short, Darnell Martin, Eamonn Walker, Emmanuelle Chriqui, Gabrielle Union, Jeffrey Wright, Mos Def, Musical

Film Title

Cadillac Records

Director

Darnell Martin

Starring

• Adrien Brody as Leonard Chess
• Jeffrey Wright as Muddy Waters
• Columbus Short as Little Walter
• Beyoncé Knowles as Etta James
• Mos Def as Chuck Berry
• Eamonn Walker as Howlin Wolf
• Gabrielle Union as Geneva Wade
• Emmanuelle Chriqui as Revetta Chess
• Cedric the Entertainer as Willie Dixon

Charting the history of Chicago based Chess Records in the 1950’s, Cadillac Records is a sometimes uneven but always interesting biopic of the man behind it, Leonard Chess and the roster of stars that signed to the label and created rock n roll and blues sounds that live on today. What it lacks in originality it more than makes up for with soulful music and some great performances.

Narrated by Willie Dixon, we see as Leonard Chess, a Polish immigrant manages to work his way up the ladder of success because of his ear for talent and non-judgemental view of people. He sees the world of blues and rock n roll as a way to make money and treats the singers like a family. He works hard to craft the record label, which got the eponymous nickname because Chess would give his artists a Cadillac when sales increased. Yet his job isn’t easy as he brings talent into the arena as booze, jealousy and drugs emerge just as much as the rock n roll and blues play. Muddy Waters, Little Walter, Etta James and Chuck Berry are just some of the artists whose tales are told in this story of rock n roll and the troubling nature of fame and the influence of Leonard Chess.

Director Darnell Martin has a keen eye for detail which takes us into the fast-moving world of booze, blues and fast cars of the 1950’s. The editing used is effortless in combining old news reels to the events onscreen. Where the film falters is how issues such as racism and the dubious accounts of the label are skated over without much thought. If these issues had been presented rather than being relegated, the film may have flowed better. The passage of time is also out of tune with years passing by without a single notice. On a positive note, the narration by Willie Dixon(portrayed with wise charm and humour by Cedric the Entertainer) makes for intriguing viewing as he dissects the rise and fall of Chess Records from an inside perspective.

Where Cadillac Records really hits its stride is in the music and the performances of the cast. The scenes of artists performing make for immensely great viewing as we watch the construction of so many influential kinds of music that still have power today. The cast performs these classic numbers with clarity, emotion and above all soul. Adrien Brody is compelling as the driven Leonard, whose label soon becomes too much for him to control as music changes and the 60’s ushers in a new sound. Jeffrey Wright emerges as one of the standout players with a robust performance as Muddy Waters. He delves into the mindset of a talented individual, ladies man and immense performer. Columbus Short provides pathos as the talented but ultimately tragic Little Water, who spiralled out of control as a result of drink addiction. Music star Beyoncé Knowles sizzles as the sexy, feisty but vulnerable Etta James. She shows us the wounded women with a stellar voice who is afraid of rejection and whose life is as eventful as a blues number as she falls into drugs and booze. Knowles should be praised for her emotive rendition of ‘At Last’, which she sings with such beautiful emotional strength. Mos Def imbues the role of Chuck Berry with humour and flair that can’t be bettered. In his small role as Howlin Wolf, Eamonn Walker provides danger and an almost combustible talent. Unfortunately, Gabrielle Union and Emmanuelle Chriqui are saddled with underwritten roles as the wives of Chess and Waters.

It might be uneven and sometimes a little distracting, but Cadillac Records soars with its musical numbers, visual style and soulful performances that keep the viewer engaged throughout.

 

Marie Antoinette

Tags

2000's, Asia Argento, Biopic, Historical Drama, Jason Schwartzman, Judy Davis, Kirsten Dunst, Marianne Faithfull, Marie Antoinette, Rip Torn, Rose Byrne, Sofia Coppola, Steve Coogan

Film Title

Marie Antoinette

Director

Sofia Coppola

Cast

• Kirsten Dunst as Marie Antoinette
• Jason Schwartzman as Louis XVI of France
• Judy Davis as Comtesse Anne de Noailles
• Steve Coogan as Florimond Claude
• Rip Torn as Louis XV of France
• Rose Byrne as Yolande de Polastron
• Asia Argento as Madame du Barry
• Marianne Faithfull as Empress Maria Theresa

Sofia Coppola’s third picture, loosely based on the life of the notorious French queen, is not the average historical drama/biopic we are used to seeing. If it’s cold hard facts you are looking for, turn away now as this takes liberties with history. But if you can accept the film as an MTV style, rock and roll story of a young girl stuck within the alienating boundaries of monarchy and pressure, then you may enjoy this sympathetic, visually sumptuous and ambitious account of the much debated Queen and her life.

At the beginning of the film the year being 1768, we are introduced to Marie Antoinette. She is the 14-year-old daughter of Empress Maria Theresa of Austria and is charming, beautiful and naive. She is selected by her mother to marry the Dauphin, who will later become King Louis XVI, in an attempt to form an alliance between Austria and France. The young girl travels to France and meets the current king, Louis XV. After her marriage to Louis the Dauphin, who is nervous and not at all intimate with her, she is encouraged by those around her to produce an heir. This proves hard for Marie as there is hardly any passion within her union to Louis.The naive Marie is further alienated by her courtiers for being Austrian and for the fact that she hasn’t produce an heir yet. This leads to her feeling trapped and lonely within the many rules and customs of Versailles that she frequently dismisses as ridiculous . To ease her loneliness, she begins to spend large sums of money on fashion, gambling and throwing lavish parties.  This or so we are led to believe is one of the many reasons that the French people revolted against the monarchy and ultimately led to her downfall.

The first thing to note when watching the film is the visual appeal, which can’t be faulted. Making stunning use of Versailles, we are shown the lavish and equally decadent side to Marie’s lifestyle. Versailles, in the hands of Coppola almost becomes a pre-revolution high school, complete with gossip around every corner and scandal at every door. Differing from the conventional classical music of period pieces, Coppola lets loose with a soundtrack of 70’s and 80’s anthems, the results of which are sometimes interesting and other times intrusive to the narrative. Sofia Coppola’s script paints an interesting portrait of the controversial Marie, this time showing us a misunderstood young girl trapped within her new lifestyle whose choices incurred the wrath of many. I personally found this account an interesting one, there also were a few times in which events could have been expanded, but on the whole it was a curious spectacle nonetheless. One thing that can’t be faulted is Kirsten Dunst’s expressive portrayal of the eponymous queen. She captures the skittish, carefree and naive side to her whilst revealing a melancholy uncertainty arising from her loneliness and alienation. Jason Schwartzman is a hoot as Louis XVI who doesn’t often see the attractiveness of his bride and is initially unable to feel intimacy with her. Judy Davis ably stars as the lady in waiting who scolds Marie for her carefree attitude when it comes to the traditions of the French court. Rose Byrne adds a comedic side to the film as the money spending best friend of Marie who is one of the few people who amuses her in her life. In a brief but memorable role, Marianne Faithfull is icily imperious as the Empress who knows exactly what she wants. Look out for Steve Coogan as a witty diplomat, a stately Rip Torn as the ailing Louis XV and Asia Argento, delightfully sultry as the dishonorable mistress of the king.

I often thing that Marie Antoinette gets a lot of dissent because of its modern ideas and contemporary casting. But if you can handle a slightly revamped film that paints an original portrait of the monarch in question, Sofia Coppola’s ambitious Marie Antoinette may be the film you’re looking for. Yes it may have its flaws, but then again, history lessons where never as interesting and original as this.