Waiting to Exhale

Tags

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

Film Title

Waiting to Exhale

Director

Forest Whitaker

Starring

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

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

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

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

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

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

Priceless

Tags

2000's, Audrey Tautou, Comedy, Foreign Language Film, Gad Elmaleh, Marie-Christine Adam, Pierre Salvadori, Priceless, Romantic Comedy

Film Title

Priceless

Director

Pierre Salvadori

Starring

• Audrey Tautou as Irène
• Gad Elmaleh as Jean
• Marie-Christine Adam as Madeleine

A very satisfying romantic comedy about wealth and gold digging, Priceless is an amusing confection of sprightly energy and winning charm. Just like the main character, Priceless is deliciously naughty and amoral, but always immensely enjoyable.

The captivating Irène enjoys the high life, especially when a man of wealth is paying for it. With her abundance of charms and feminine wiles, she’s armed for digging for gold wherever she can find it. Frequenting the French Riviera with her latest conquest who is boring her, she encounters put upon bartender Jean one evening. The amusing thing is Irène assumes he is a rich man of the world by his appearance. Not telling her the truth, Jean and her share drinks and laughs. Later, things are taken to the bedroom. In the morning, Irène has left and Jean is left thinking of her. A year later, Irène returns to the hotel with her sugar daddy in tow, where she promptly seduces Jean once more. Only this time, Jean gets busted and the truth of his status is revealed. This coincides with Irène’s latest squeeze leaving her with nothing money wise and jilting her quickly. A shocked Irène high tails it to Nice, not realising how smitten Jean is with her. Instead of just forgetting her, Jean finds her and attempts to woo her. takes full advantage of this as her expensive tastes nearly bankrupt the far from affluent Jean. Panicking when his finances are tight, Jean is saved by wealthy widow Madeleine. She has been looking for a new toy boy and Jean fits that bill. Surprisingly, Jean finds he has a knack for gold digging too, with the main objective being to romance Irène in the end . Irène is quite impressed by this show of initiative and offers help in the business she is well acquainted with. Transformed from hapless bar tender to jet set smooth talker, he even begins rivaling her at the game of money. Seeing how successful he has got , Irène comes to see Jean in a new light, which puts her plans for finding another rich man in jeopardy as her personal feelings enter the picture.

Pierre Salvadori is in the director’s seat for this frothy and charming comedy. He knows the way to keep events bright and breezy, before colouring them with a bit more depth than most romantic comedies strive to reach for. His eye for humour and timing, most notably in Jean’s attempts to be seen as a prospect to the girl he loves is what really gets the most laughs. The scenario of the film is hardly what one would call groundbreaking, but enjoyment is the name of the game and Priceless rises to the occasion admirably. Depending on your tolerance level, you’ll find Priceless irresistible or too arch. For me, I fell into the former camp by miles. It’s the old-fashioned vibe and nods to romantic comedies of yesteryear that Priceless excels at emulating, and giving it a bit more than the average modern Hollywood rom coms that we are witness too. What you get here is riotous fun that also stops to consider why Irène would go on the path of a gold digger in the first place. A nice depth arises from that strand of story that definitely caught my attention.  As a movie that deals with the rich and well-heeled, Priceless looks gorgeous, supplying us with picturesque and chic views of the French Riviera. Trust me, you may be considering holiday plans after watching Priceless. The extravagance on show and just the overall seductive view of the rich life is swoon worthy. A sparkling and amusingly jaunty score accompanies the film with effusive energy and playful rhythm.

The talented Audrey Tautou supplies slyness, allure and even a bit of desperation as the material girl everything revolves around. Irène is someone who clearly has a plan to snare someone rich and enjoy the high life at the same time. Tautou makes Irène a minx but not one that is completely unlikable. Sure she goes after men’s wallets more than their hearts and practically obliterates most of Jean’s income in the beginning, but with Audrey Tautou the beguiling persona and glimpses of someone not wanting to fall by the wayside are felt by the audience. Gad Elmaleh is blessed with a sad-eyed expression and certain lugubrious charm to make the part of Jean work. Jean is something of an unlikely gigolo, which is a strength Gad Elmaleh and his lanky appear de play to masterfully. Elmaleh like he’s having fun as the love struck man pursuing the woman who captured his heart and trying to play her at her own game. The enjoyment factor from both him and Tautou transfers to the audience, paying great dividends. Marie-Christine Adam appears as the glamorous widow attracted to Jean, and though the role is more than a tad underwritten, she possesses the elegance and worldly appeal of a successful older woman.

It’s not the most sparkling brand new formula for a romantic comedy, yet the very nature of romantic comedy is to recycle, preferably with style. Which is what Priceless does, with witty aplomb and hilarious high jinks between two potential lovers on the make. With Audrey Tautou and Gad Elmaleh making a fun couple, you can’t really ask for more enjoyment because it’s a frothy and sweet movie that will make you laugh and smile.

 

The Devil Wears Prada

Tags

2000's, Adrian Grenier, Anne Hathaway, Comedy, David Frankel, Drama, Emily Blunt, Meryl Streep, Simon Baker, Stanley Tucci, The Devil Wears Prada

Film Title

The Devil Wears Prada

Director

David Frankel

Starring

• Meryl Streep as Miranda Priestly
• Anne Hathaway as Andy Sachs
• Emily Blunt as Emily Charlton
• Stanley Tucci as Nigel
• Adrian Grenier as Nate
• Simon Baker as Christian Thompson

An amusing comedy drama about a young woman’s journey in the world of fashion under the boss from hell, The Devil Wears Prada gets laughs and some surprising dramatic weight. As formulaic as some of it is, it is still a very funny satire on the fashion industry, benefiting from a talented cast.

Andy Sachs is a fresh-faced college graduate who wants to be a journalist and is just out of university. An opportunity comes knocking in a strange way, after not having much luck in finding work. She is in turn recommended a job working at  Runway, a New York fashion magazine headed by the notorious and commanding editor in chief Miranda Priestly. She is to be the junior assistant to her, which is a job so many people would give their lives for. Although she has no interest in fashion or the whole scene that she views as shallow, she gets the job unexpectedly. Yet Andy is totally unprepared for what she’ll have to deal with while being assistant to the very high-powered Miranda. What she finds is that Miranda is no walk in the park, but an extremely demanding and at times vicious boss. Having to complete the various, seemingly impossible tasks that Miranda sets her proves to be a severe challenge to someone as wide-eyed as Andy. Andy doesn’t fit in with anyone particularly, not least the snippy senior assistant Emily. Yet with the help of art director Nigel( which includes a glamorous makeover) and adopting of a different attitude towards the industry, Andy starts to succeed and surprisingly get ahead at work. She believes that lasting a year working under the dominating Miranda will be good for references and open doors to her dream. Yet as Andy gets further sucked into the world that she initially disdained, she is forced to confront the fact that her integrity is slipping and that she is rapidly changing into something she never thought she would. Her love life with chef boyfriend Nate begins to sour and she begins to alienate herself from her closest friends, as a result of being at Miranda’s beck and call. But is survival working for Miranda worth sacrificing all for?

David Frankel has a stylish approach to the material, imbued with the right amount of humour and character. I wouldn’t say his direction in The Devil Wears Prada is anything awe-inspiring, but it gets the job done efficiently and with care. Interest does lag within a few scenes that go on for too long( and the main men in Andy’s life don’t particularly give much to the plot of the film). The catty one liners and frequently hilarious events make up for that however, getting your interest as we glimpse a behind the scenes look at a glamorous yet dog eat dog world. Seriously some of the dialogue is priceless in how it skewers the fashion industry and culture, while allowing the relatable but difficult journey for Andy that threatens to overtake her, to feature added depth to the largely funny flick. The look at how easily one can lose themselves in something and feel they have no choice but to oblige is rendered well; owing to the way the script gives measured nuance and surprising insight. Sometimes the film only scratches the surface of what wants to get to in the odd slip, but the satirical edge and stylish glitz are more than sufficient at keeping things in a way that feels fresh for us to enjoy. And like any movie dealing with clothing and image, The Devil Wears Prada is a super stylish and glossy film. From montages to bright colours, it has magazine ready finish from the get go. And while some will say it is just a chick flick, The Devil Wears Prada can equally be enjoyed by men. It’s an all round fun time to be had here in a high glamour world that’s as funny as it is stinging. I mean the while boss from hell plot is a definitely amusing one that I’m sure many people can recall similar situations in their own lives, with less outrageousness I’m sure but you know what I mean. A fashionable soundtrack briskly keeps the film on its course with some great songs to groove to.

Meryl Streep completely steals the show as the demanding and commanding Miranda. Possessing a glacial demeanor and a certain regal poise, she creates a character who may be a tyrannical, but is still quite unexpectedly human despite her frostiness. Miranda both inspires fear and awe within the film and the audience, with Meryl Streep steering her away from just being a wicked caricature. What we get instead of a one-dimensional part is one that is frequently ruthless yet not above revealing a hidden vulnerability, in a nuanced way that Streep effortlessly portrays. Miranda doesn’t need to raise her voice to make a point; a simple purse of the lips, look up and down or a cutting, deadpan remark is enough to reduce anyone to a pile of quivering nerves. A scary, fascinating, darkly funny and fabulous character is brought to life with measured shading and conviction by the always excellent Meryl Streep. Anne Hathaway delightfully portrays the inexperience and uncertainty of Andy, tempered with an intelligence and feeling of doubt over what she can achieve. Hathaway has an inborn sensitivity and vulnerability that I’ve noticed in many of her performances, that is used excellently to make Andy a conflicted yet relatable heroine the audience wants to help. I mean how can you not have sympathy for this girl, going through the motions and figuring out just what she wants to do? Her sheer awkwardness and coltish appearance is rendered nicely by Hathaway, who refuses to make the character a brainless girl.  Emily Blunt gets a whole of laughs in her role of minion to Miranda, whose neurotic and desperation to please provide hysterical desperation and scintillating, bitchy sassiness. Splendid and side-splitting support comes from Stanley Tucci as the confidante, who instructs Andy in how best to approach her job and how Miranda is not above rewarding loyalty, in her own roundabout way of course. Tucci though is the only guy in the film who is actually given something good to do. Adrian Grenier and Simon Baker are left stumbling and with little in the way of material to work with.

So for all the contrivances in the film and how it can seem predictable, The Devil Wears Prada boasts a high entertaining factor, finding humour and pathos from a cast headed by an imperious Meryl Streep and how the whole fashion world is a place of survival. A biting yet somehow sweet engaging and humorous film is what The Devil Wears Prada emerges is, which brings out big enjoyable laughs for the viewer.

Charlie’s Angels: Full Throttle

Tags

2000's, Action, Bernie Mac, Cameron Diaz, Charlie's Angels: Full Throttle, Comedy, Crispin Glover, Demi Moore, Drew Barrymore, John Cleese, Justin Theroux, Lucy Liu, Luke Wilson, Matt LeBlanc, McG

Film Title

Charlie’s Angels: Full Throttle

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bernie Mac as Bosley
• Demi Moore as Madison Lee
• Justin Theroux as Seamus O’Grady
• Crispin Glover as The Thin Man
• John Cleese as Mr. Munday
• Matt LeBlanc as Jason
• Luke Wilson as Pete

More sassy attitude, kicking ass and sex appeal adorns Full Throttle, the sequel to the entertaining first film. Like its predecessor, it’s completely brainless and illogical but so watchable due to that very fact, it’s difficult to not enjoy it.

The Angels( Natalie, Dylan and Alex) return to fight crime and go undercover to thwart dastardly plans. We pick up with the girls as they rescue a US Marshall from captivity in Mongolia. Returning to America, the girls are informed of what their latest mission will entail. This time the unseen Charlie sends them to recover a pair of titanium rings. Encoded in these rings are the names and real identities of everyone in the Witness Protection Program. It appears that someone wants to sell the rings to the highest bidder; which just so happens to be any of the major crime outfits in the world. Gearing up for action with an array of costumes and skills, the girls encounter former Angel Madison Lee, who has clearly turned her back on the side of good and definitely has something to do with the plot. Added to the mix is Irish mobster Seamus O’Grady, who happens to be Dylan’s former boyfriend who she put away in prison years ago before changing her identity. This revelation hits Dylan hard as she fought so hard to escape her past, only for it to now resurface. From fast car chases to martial arts fighting, The Angels are back doing what they do best; stopping bad and shaking things up.

McG is back making things bigger and employing his music video skills for the montage heavy and frankly ridiculous movie. Once again, it’s a movie that doesn’t take itself seriously and on more than one occasion, rips itself off. The plot is essentially a riff on the first movie yet is a little tighter( I say little because it’s still pretty all over the show but still highly fun). The plot is the least of anyone’s concerns when the action and innuendo filled lines hit override. That’s where the fun begins as the gorgeous girls go from a dirt biking race to performing in strip club, all in the name of stopping crime. Various sub-plots of their love lives are superfluous and don’t go anywhere, the colourful fights and array of disguises is where the film is at. Like the title says, Full Throttle is what it gives in terms of silliness and amusing sequences that are pure ludicrous and candy coloured from head to toe. The film can best described as the equivalent of a sugar rush. You know you shouldn’t enjoy it, but the sweetness is difficult to resist. And even though it is a major rehash of the first film, is anyone actually paying that close attention? The soundtrack is lively and pumping, granted there is nary a second music isn’t playing.

Cameron Diaz, with her mega watt smile and perky energy, is delightfully goofy and animated in the best possible way. Drew Barrymore stands out the most as tough chick Dylan, who has to deal with the ghosts of the past. The film is hardly deep at all but the little bits of drama that reveal more of her( whenever the chance is given) are played remarkably well by Barrymore. Lucy Liu provides many laughs and feistiness as the brainbox of the troika, who can really deliver Once again, the three share a good rapport and have sparkling levels of energy. Some actually effective laughs come courtesy of Bernie Mac playing Bosley; his loud and frequently hysterical outbursts are just what the doctor ordered in this fizzy cocktail of a movie. Demi Moore, looking gorgeous and acting diva like, has fun as the vampy former Angel now on the side of evil and taking no prisoners. She seriously has a good time as the villain of the bunch and suits the over the top nature of the film. Justin Theroux, though underused, is pretty menacing as Dylan’s psychopathic ex who wants revenge on her for turning him in. Crispin Glover returns as the inherently creepy Thin Man, unfortunately he is ill-served by the film that doesn’t make the most of his unusual appearance and mannerisms. In support, John Cleese gets a few good moments Alex’s oblivious father. Once again, Matt LeBlanc and Luke Wilson are not really necessary or well used in the film and their parts could have easily been trimmed.

 

Virtually a variation on the first film with more explosions and killer stunts thrown in, Charlie’s Angels: Full Throttle is guilty pleasure viewing of the highest echelon. You wouldn’t tell a friend you like this movie, but you’d secretly bask in its sheer dumbness when you needed a popcorn movie.

Charlie’s Angels

Tags

2000's, Action, Bill Murray, Cameron Diaz, Charlie's Angels, Comedy, Crispin Glover, Drew Barrymore, Kelly Lynch, Lucy Liu, Luke Wilson, Matt LeBlanc, McG, Sam Rockwell, Tim Curry

Film Title

Charlie’s Angels

Director

McG

Starring

• Cameron Diaz as Natalie
• Drew Barrymore as Dylan
• Lucy Liu as Alex
• Bill Murray as Bosley
• Sam Rockwell as Eric Knox
• Kelly Lynch as Vivian Wood
• Tim Curry as Roger Corwin
• Crispin Glover as The Thin Man
• Matt LeBlanc as Jason
• Luke Wilson as Pete

Based on the hit 70’s show of the same name, Charlie’s Angels is not the kind of movie you go to watch for deep, introspective lessons. It’s all about the action, silliness and sexiness of which it provides a slick and entertaining package.

The Angels of the title are goofy Natalie, sarcastic Dylan and knowledgeable Alex; three beautiful and strong women who work as private investigators for the unseen Charlie. He communicates with them via voice messages and agency handler Bosley. Getting out of scrapes and risking life and limb is what they’re good at, as well as doing it with some serious style and kick ass moves. Their latest case involves rescuing electronics millionaire Eric Knox, then finding his valuable software. The software is state of the art voice recognition that uses phones as its main communications base. If it were to fall into the wrong hands, it could be used to end basic privacy through the usage of satellites and put tens of thousands in mortal danger. The main suspect appears to be a rival businessman by the name of Roger Corwin, whose known to be very ruthless when it comes to getting his hands on the much moneymaking thing. Cue much action, chases and sexy outfits and it’s another day at the races for the Angels. But something more sinister may in fact be right under their noses and ready to strike.

From the get go, director McG, who used to be a prominent stylist of music videos, lets us know that this film is one to just sit back and bask in with his brash use of colour and tongue in cheek humour. He isn’t trying to be intellectual in the slightest and that very approach makes Charlie’s Angels a big guilty pleasure. It’s a pastiche and ode to glamour of the past( the original theme tune and voice of Charlie remains the same) and modern technology that bathes in its own craziness. I mean how can any of the film be taken seriously when you have these ladies defying gravity with their karate moves and changing clothing at lightning speed, in between disposing of bad guys? And yet, that is where the fun lies, in the sheer implausibility and fantasy of it all. None of this is rooted in the real world and doesn’t try to be; it just wants you to have a blast on the action score and comedy and not aspire for anything else. With colourful splashes of quick editing and slow motion for sensual purposes, the film whizzes along at such a rapid rate that you don’t have to think about a single thing, just being thrilled and excited is the response that will most likely garner. Watching the sexy trio move from one outrageous situation to the next is fun enough in itself as they kick serious ass and showcase bountiful sex appeal. Laughs and naughtiness go hand in hand( watch as Alex dresses up dominatrix style to infiltrate a corporate facility and causes every male worker to be her slave.) High energy and a prominent soundtrack ensure that Charlie’s Angels is a kinetic ride that doesn’t require brain power, yet wants you to just surrender to its frequently goofy content.

The gorgeous trio of Cameron Diaz, Drew Barrymore and Lucy Liu contribute significant fun and sexy prowess to match. It helps that they look like they’re having a really fun time playing the glamorous crime fighters, who get to raid the dress up box frequently and dispatch sassy one liners. That enthusiasm( from Diaz’s ditsy but sometimes very resourceful Natalie, Barrymore’s sassy, attitude heavy Dylan and Liu’s sophisticated and poised brainiac Alex ) is the key to the enjoyment of Charlie’s Angels as they sell the silliness all the way. Bill Murray is hilarious as the occasionally bumbling and sardonic Bosley, with his knack for humour in high supply and an utter delight to watch. Sam Rockwell is pretty eye-catching as the man supposedly in trouble, who might be quite different from the geeky persona he projects. Kelly Lynch is much the same as his partner who just know is dodgy from the moment she appears. Tim Curry does what he can with his ludicrous material and is quite amusing, while Crispin Glover is ideally unusual and freaky as an assassin known as The Thin Man. Matt LeBlanc and Luke Wilson on the other hand, come off as rather superfluous when playing two unsuspecting boyfriends of two of the Angels. Considering the cheesy script, the cast is mostly competent, particularly the sexy Angels.

It’s scattershot at best and virtually devoid of any real plot, but Charlie’s Angels delivers the fun and sassy goods, bolstered by the energy of the three women at the front of it. Defiantly ridiculous and outrageous, it’s best enjoyed as cheesy fodder and sexy fun.

The Big Chill

Tags

1980's, Comedy, Drama, Glenn Close, Jeff Goldblum, JoBeth Williams, Kevin Kline, Lawrence Kasdan, Mary Kay Place, Meg Tilly, The Big Chill, Tom Berenger, William Hurt

Film Title

The Big Chill

Director

Lawrence Kasdan

Starring

• Kevin Kline as Harold Cooper
• Glenn Close as Sarah Cooper
• Jeff Goldblum as Michael
• Tom Berenger as Sam Weber
• William Hurt as Nick
• Mary Kay Place as Meg
• JoBeth Williams as Karen
• Meg Tilly as Chloe

A seriocomic drama about reflection on the past, the difference in generations and loss, The Big Chill is a highly resonant and extremely well written film from Lawrence Kasdan. He is aided by a fine cast that do wonderful work in this look at how times change and we can feel adrift in the world that doesn’t hold the promise it did when you were younger.

A group of former friends from college in the 60’s are reunited unexpectedly years later when one of them, the much talked about and promising Alex, commits suicide. The group is made up of married couple Harold and Sarah Cooper, disillusioned television star Sam Weber, unfulfilled attorney Meg, slightly lecherous journalist Michael, Vietnam Vet and pill-popping Nick and unhappy housewife Karen. They haven’t seen each other since their heady days in college and the funeral of Alex brings them back together under dark circumstances. The wake is held at Harold and Sarah’s vacation house in South Carolina. The main people of the group, who don’t know how to deal with the suicide of Alex, stay over the weekend along with Chloe, the much younger girlfriend of the deceased. During the course of the days, the one time close-knit faction are found to be laying bare their secrets, reminiscing on the past and attempting to fathom why Alex killed himself. The big thing that hovers over them all is that lingering sensation that the best years of their lives have passed them by and their vibrant dreams of youth have gone up in smoke. Various little dramas come to light again, like Meg wanting to desperately have a child as she feels her biological clock is ticking and Karen dealing with her unresolved feelings for Sam. Throughout the time together, thrashing out their differences and opening old wounds, they are left to ponder and work out just what to do with their lives, along with whether they can rectify what eludes them and unearth how much Alex’s death has impacted on them.

Lawrence Kasdan fashions a heartfelt yet perceptive evocation of people dealing with responsibilities and thinking back on how much they changed since college. The script that he wrote, along with Barbara Benedek, invests The Big Chill with a quick wit and revealing nature, that benefits the struggles and issues the group go through. They all feel at sea in the materialistic 80’s, when all they crave is the feeling of life and hope that the 60’s gave them being baby boomers. The plot largely revolves around the group discussing their problems, reminiscing of the good old days, smoking pot and wondering where the time has gone. Some may find that idea more than a little boring, but The Big Chill is the total opposite because of the amount of personal feeling injects do into it. You really get to relate to the characters and what they’re going through, even if they don’t know how best to deal with grief and a sense of something missing. It’s one of those things that is universal for everyone; the knowledge that life is different from how you expected and hasn’t taken the path you wanted. Thankfully as tinged with melancholy as The Big Chill is, there is a balance it strikes with quick humour long the way. The film, like the characters goes between laughs and tears, with an unexpected clarity and wisdom that shines through. Even if some of it feels a tad simplistic, the warmth and depth of the piece are always in evidence. The soundtrack is one of the best parts of the movie, recalling the youth of the characters with Motown hits and 60’s grooves. Music plays a very integral role for all of the group and also the audience, as music holds a special place undoubtedly for all of us with the wistful memories it can evoke. The opening sequence is a masterful example of combining music with telling a story. In it, each of the group receives the news and we catch glimpses of how they react, as the sound of Marvin Gaye’s ‘I Heard it Through the Grapevine’ plays in the background.

The Big Chill boasts a simply star-studded cast that are given a moving and frequently funny script to work with and deliver natural, unaffected performances in the process. This is a beautiful ensemble of acting that allows everyone a chance to shine. Kevin Kline is very good as the amiable joker Harold, who has his own deliberations to deal with along the way. Glenn Close beautifully supplies a nuanced turn as the earth mother and good listener, who attempts to keep everyone and herself together and not fall apart. The typically sardonic personality of Jeff Goldblum covers the seedy journalist character, while Tom Berenger sells the feeling of alienation that fame has brought him over the years. William Hurt is on lugubrious form as an overly cynical and morbid man whose life is like an empty shell and needs some lightness to brighten it. Mary Kay Place has the right amount of humour and pathos to bring Meg’s need for a child to life, complimented by some wily observations. Rounding out the main group of reunited friends is JoBeth Williams. She quietly but noticeably gets across the aching want for some love that her character finds has missed her, and there is a real tenderness to her pining for Sam. Meg Tilly, as the youngest member of the cast and most youthful character, has a boundless and quirky energy of a girl who doesn’t react to death the way you’d think. Her character is mainly a symbol of the exuberance and wistfulness of being young and idealistic, that the group is wrestling with the knowledge that they aren’t anymore. The whole cast works convincingly together, selling the fact that their friendship despite the years remains quite intact and there to be rediscovered over the weekend of rumination.

A nostalgic as well as very honest depiction of bittersweet grappling with all sorts of change and facing up to the different ways that life affects us, The Big Chill still has a large impact of being moving and amusing. This is largely thanks to the splendid direction, script and cast that make the experience really something.

The First Wives Club

Tags

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

Film Title

The First Wives Club

Director

Hugh Wilson

Starring

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

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

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

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

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

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

Working Girl

Tags

1980's, Alec Baldwin, Comedy, Harrison Ford, Joan Cusack, Kevin Spacey, Melanie Griffith, Mike Nichols, Oliver Platt, Sigourney Weaver, Working Girl

Film Title

Working Girl

Director

Mike Nichols

Starring

• Melanie Griffith as Tess McGill
• Harrison Ford as Jack Trainer
• Sigourney Weaver as Katharine Parker
• Joan Cusack as Cynthia
• Alec Baldwin as Mick
• Oliver Platt as David Lutz
• Kevin Spacey as Bob Speck

Working Girl is an effervescent and feel good comedy from Mike Nichols, that satirizes the corporate business world and conveys a woman grabbing the opportunity to make something of herself. Light and funny yet also intelligent, this combination, when aided by a very accomplished cast ensures Working Girl is a triumph.

Having just turned 30, Staten Island raised secretary for a stockbroker Tess McGill wishes for something more and wants a job of an executive nature. Sadly, no matter how hard she strives, nothing much seems to come of her diligence. And after a run in with her boss, she is reassigned to a financial firm. She is to be the secretary for Katharine Parker; a seemingly affable and powerful woman who appears to take Tess under her wing and encourages her to pitch ideas. Tess comes up with a pretty neat idea for a lucrative merger that she passes by Katharine, but nothing seems to come of it. Then Katharine is injured during a skiing trip in Europe, which enables Tess to look after business while she recovers. It is here that Tess discovers that Katharine was about to go forward with her idea, without giving her any credit. But two can play at that game and Tess decides that is she wants to make her name for herself, she must take action. And action is what she takes, by styling herself into the persona of a higher executive. Though a risky move, her smarts and innate mind for business make up her artillery as she mounts her idea to a potential merger. Along the way, she enlists the help of the handsome executive Jack Trainer, who could be very handy in aiding her business plans. The thing is Jack believes that Tess is someone higher up in the job than what she is because she is so convincing with the ins and outs of making deals, and Tess manages to keep her proper status this under wraps though. Along the way, Tess and Jack develop romantic feelings for the other. Tess finds herself on the cusp of closing this deal and winning Jack, but a spanner is put in the works with the return of conniving Katharine.

Mike Nichols has always been a director who I admire, mainly for his perceptive probing of people and his approach to the characters. He infuses Working Girl with a funny surface that chimes well with the personable elements of the story, but like always, he cuts a bit deeper and has a ball dissecting big business in New York and the often ruthless tactics employed in it. Nichols work has a crisp and unobtrusive approach to it, knowing exactly when to use the camera for something different and when to just let things flow effortlessly. A stellar example of his craftsmanship is the opening that circles the Statue of Liberty while following Tess on her journey into the concrete jungle, the feeling of enormity and big dreams is very strong here. You get the best of both worlds with Mike Nichols in the director’s chair; on one hand there is the self-made Cinderella story with oodles of 80’s style and then a witty examination of someone striving to make it big in a cutthroat world of sharks. There are those who will view Working Girl with cynicism for its feel good overtones, mainly stemming from the idea that someone can succeed in this kind of world with simply pluck and intelligence( which I could understand, but don’t think it detracts from the enjoyment of it.) But to think of the film purely like that is to miss the rousing and inspiring nature of it, which will win over even the most dejected and grumpy person, as underdog Tess takes destiny and shapes it for herself. You seriously will find it hard not to laugh, due to the sparkling dialogue from Kevin Wade and screwball tropes that are updated to a world of shoulder pads and big hair, befitting of the 80’s colour and atmosphere. And the romance in the film is thankfully something that doesn’t descend into ridiculousness that could have seriously dragged the film down. In actual fact, it extended the enjoyable factor watching Tess and Jack put their heads together and slowly fall for the other, in a dazzling mix of business and pleasure. Add in parts of significant tension, that can be found as the identity of Tess is frequently nearly revealed, Working Girl is a pleasing winner. Only that it is a tad overlong is an extremely minor blemish on a delightfully mounted and performed comedy that nary puts a foot wrong. Lashings of 80’s glamour cover Working Girl and while it’s easy to scoff at some of the outfits, they actually make a good representation of how clothing makes the person which is something Tess knows all about once her Pygmalion style transformation starts. And no discussion of the film would be worth reading without mentioning the music. Largely based around the rousing Carly Simon song ‘Let the River Run’, the music sweeps you up and brings the feel good to the film in large quantities.

Melanie Griffith is inspired casting for Tess; her airy voice and expressive eyes used perfectly to imbue the part with a strength and occasional vulnerability. Griffith triumphs at making Tess a go-getter who isn’t going to just fall by the wayside and takes events, with a little subterfuge, into her hands and puts her business acumen to good use. You root for the character in her search for something worthwhile and you feel her plucky personality emerge through Griffith’s subtle yet endearing interpretation of the part. And seriously, everyone has to agree that Melanie Griffith looks adorable in this film, right? Harrison Ford contributes an affable and low-key performance as the often bewildered but honest executive, who unwittingly becomes the object of affection for both of the main ladies. Ford is a natural with light comedy and his facial expressions and awkwardness induce many laughs, plus his chemistry with both women is excellent. A tremendous supporting turn from Sigourney Weaver is also worthy of note. Playing the high-powered bitch, Weaver imbues the part with a sly charisma that sucks others in and belies her larcenous and greedy tendencies. Fabulous is the best word to describe Sigourney Weaver here, and even though she is wicked, she makes it looks so devilishly fun through her entertaining portrayal of a grinning shark in a corporate capacity with the shoulder pads to match. Joan Cusack provides countless laughs and wisecracks as the wildly dressed best friend, with nowhere near as much ambition as Tess but a supportive enough outlook for advice and salt of the Earth friendship. Alec Baldwin is here as the ne’er-do-well boyfriend who may be a hunk initially in the eyes of Tess( I mean, does this guy actually own a shirt?) but is a philanderer to put it lightly. In small appearances early in their careers, Oliver Platt and Kevin Spacey catch the eye as a pair of downright sleazy guys.

Sparkling, romantic and amusing, the executive suite comedy of Working Girl makes it a ticket to success and enjoyment from the fantastic Mike Nichols and his cast.

Crazy, Stupid, Love

Tags

2010's, Analeigh Tipton, Comedy, Crazy Stupid Love, Drama, Emma Stone, Glenn Ficarra, John Requa, Jonah Bobo, Julianne Moore, Kevin Bacon, Marisa Tomei, Romantic Comedy, Ryan Gosling, Steve Carell

Film Title

Crazy, Stupid, Love

Directors

Glenn Ficarra and John Requa

Starring

• Steve Carell as Cal Weaver
• Ryan Gosling as Jacob Palmer
• Julianne Moore as Emily Weaver
• Emma Stone as Hannah
• Kevin Bacon as David Lindhagen
• Marisa Tomei as Kate
• Jonah Bobo as Robbie Weaver
• Analeigh Tipton as Jessica

A very disarming romantic comedy, that brings in touching drama effectively, Crazy, Stupid, Love guarantees laughs and sympathy with a big heart and fabulous cast. This is for my money, one of the better romantic comedies in years.

Middle-aged Cal Weaver’s life looks like it’s going swimmingly; he’s long time been married to high school sweetheart, has two children and a good job. But this is about to take a sever nosedive as Emily reveals that she has cheated on him and now wants a divorce. Dejected and shocked, he drowns his sorrows at the bar. While there, resident Lothario Jacob Palmer takes sympathy on depressed Cal and offers to help him turn his life around. Cal accepts and smooth-talking Jacob soon has him growing more confident with a makeover and tips regarding the dating scene. Cal finds that after getting awkwardly to grips with dating, he can be quite a guy and a real charmer with the ladies. Yet while gaining confidence and his mojo back, Cal can’t help but feel that something is missing and that he may have to confront the feelings he still has for Emily. Meanwhile, Jacob finds himself falling for law student Hannah, who initially rebuffed him but wants some excitement in her life after feeling that her steady but dull boyfriend is not what she was looking for. Because he has always been the player, Jacob doesn’t know how to approach the possibility of love. Also feeling the pangs of love is Cal’s son Robbie, who has a hopeless crush on his pretty 17-year-old babysitter Jessica( who it transpires has feelings for Cal herself). Much hilarity and unexpected results abound as a result of love.

Directors Glenn Ficarra and John Requa really know what they’re doing with this kind of project and ensure that the laughs flow just as much as the drama of it all. By far the largest and best thing Crazy, Stupid, Love has in its artillery is a snappy script. There is a devilish and side-splitting back and forth there;particularly in regards to the Cal and Jacob parts of the movie( the makeover of Cal is a very hysterical part), as well as a good few cynical jabs at pop culture’s idea of romance. What set apart from many other film of the crowd, was that it let the characters be flawed yet likable. With too many comedies, it becomes a case of us always having to like the characters all the time. Crazy, Stupid, Love does things differently by equally making time for the humorous aspects of the players and blending with the touching insights we get to them, expressing their insecurities and desires. The movie never ceases to be hysterically funny and irreverent, but the added parts of drama give it a lot more impact and made it a better movie that what I expected it to be. And rather than be overly predictable, there are some extremely well-timed surprises along the way, bolstered by a genuine heart and sympathy. Love and relationships are depicted as funny, complex and unexplainable, but always there no matter what. A gentle and amiable score perfectly matches the events on screen in a very accomplished way that doesn’t overstate things. The only niggle I found was that the film was a tad too long, but honestly that was the only thing in a very funny and satisfying movie.

A winning cast is the proverbial cherry on top. Steve Carell is inspired casting as the hapless Cal, who doesn’t know what to do with his life after discovering the infidelity of his wife. The required awkwardness, every man quality and emotion is glimpsed, but Carell succeeds the most at displaying his sense of humour once Cal gets a new lease of life. Some of his facial expressions are just so funny and equally touching, often in quick succession and it is hard not to want to reach through the screen and tell this guy that things will work out for him. Ryan Gosling plays remarkably well off the straight-laced and sympathetic Carell with his matinee idol image of a stud put to great use. Yet while his good looks and charisma are all there, he also gets the opportunity to reveal a bit more than just the standard role of the playboy wing man. Both men take up a lot of the story and have a blast doing so. The rapport between them is one of those winning combinations that benefits the other and ensures that the laughs and good nature of Crazy, Stupid, Love come percolating through. The distinctively emotional and expressive delivery of Julianne Moore is very well suited to the part of conflicted Emily. We witness how she begins to rue her decision to ask for divorce, despite being involved with someone else. As usual, Moore is terrific. Emma Stone is a vibrant flash of energy and has some sparkling chemistry with Ryan Gosling, alongside humour to burn. Laughs are also guaranteed courtesy of Marisa Tomei, playing the schoolteacher who sleeps with Cal and then becomes neurotic over him not bothering with her because of his new lifestyle. Her scenes are a real hoot and though the part is small, it’s well-played and memorable. Kevin Bacon has probably the least developed part of the man Emily cheated on Cal with, but has fun with it anyway in the way that he knows how. Jonah Bobo, despite his young years, comes off incredibly confident and mature when playing the young boy mooning over his babysitter crush, while also dispensing advice about love to grown ups. The lovely Analeigh Tipton sweetly portrays the longings of a girl near womanhood and the confusion of it all, very perceptively and honestly.

In fact, it must be stated that Crazy, Stupid, Love features such great chemistry from each cast member, it’s positively infectious.

A simply wonderful and warm slice of romantic comedy-drama, Crazy, Stupid, Love is the kind of the film that will leave you with a massive grin on your face.

She Done Him Wrong

Tags

1930's, Cary Grant, Comedy, Crime, Gilbert Roland, Lowell Sherman, Mae West, Noah Beery, Owen Moore, Rafaela Ottiano, She Done Him Wrong

Film Title

She Done Him Wrong

Director

Lowell Sherman

Starring

• Mae West as Lady Lou
• Cary Grant as Captain Cummings
• Noah Beery as Gus Jordan
• Owen Moore as Chick Clarke
• Gilbert Roland as Serge
• Rafaela Ottiano as Rita

A big moneymaker in its day that saved Paramount from bankruptcy and announced Mae West as something of a sexual firebrand chafing at views of purity, She Done Him Wrong has quite a lot of historical value attached to it. Based on a Broadway play of West’s, the plot is a bit lacking, but the star vehicle for West is very entertaining due to her iconic personality and sense of impudent humour.

1890’s Bowery, New York; Lady Lou is a bejeweled and popular entertainer at a local saloon. She enjoys the company of many men, in particular those who can provide her with jewelry. The latest man in her life is the owner of the saloon Gus Jordan, who showers her with diamonds and luxuries as she is the star attraction. On the side however, along with two sleazy associates Serge and Rita, he is involved in seedy dealings in order to fund the flow of diamonds. Lou also catches the attentions of a young mission director named Captain Cummings, who she also takes a bit of a shine to( despite him having a secret agenda). While stringing men along, Lou must contend with her former flame Chick Clarke. He is currently in prison and is very possessive of the irrepressible Lou, and vows that if she strays he will make her sorry. Soon things start getting eventful around the saloon for all the men in Lou’s life and the woman herself, especially when Chick Clark escapes and heads straight to her. But as always, Lady Lou knows what to do in order to look after her own interests in typically sexy fashion.

Lowell Sherman’s direction is simple and straightforward, allowing the various events to play out in a quick and easy way. The plot in She Done Him Wrong is largely secondary to the sassy persona of West, though it has its moments of eventfulness as it includes crime and comedy. The biggest draw of the film is how it revels in a sense of naughtiness that caused a bit of a stir back in the day(hell the production code was introduced not long after this movie was released.) Some of it may appear take today, but the sheer amount of innuendo, ribald suggestion and rudeness is for all to witness, and for my money you can still see why this had tongues wagging and people a little shocked as parts of it still have a blue pizzazz. And we shouldn’t forget, Mae West had a writing credit for this film taken from her own play, which firmly established her as a shrewd and witty comedienne who did things her way and wouldn’t compromise. The script, especially the dialogue for the part of Lady Lou practically fizzes with saucy verve and sly wit( who can forget her classic line of ‘Why don’t you come up sometime and see me?’); making the film a brisk affair that you don’t have to deeply think about, but you can just sit back and appreciate the playful sexiness it has by the bucket load. You’re not going into the film expecting an intricate plot, you’re going in for the rollicking excitement and to view how the movie obviously caused scandal in a gleeful way upon initial release in the 30’s. One can get the feeling that too much is trying to be put into this short film and to some extent that is a little true, but this flaw is largely compensated for by the energy and bawdy humour that can cover that crack. A bit more coherence could have been put in, but one can overlook that with the help of West’s larger than life appearance and button pushing attitude. A jaunty score is the excellent thing to accompany this and includes a good few musical numbers performed by West herself.

Mae West for lack of better words, is the picture and the star attraction. Everything revolves around her outrageous attitude and forthright view on sex. And boy does Mae West know how to up the ante in what was her second film and the one that really announced her as a force of nature. The way she acts as Lady Lou is just so open and raunchy, with saucy dialogue coming from her mouth by the minute and the way she struts across the screen like a diva. It’s fun to see West sashay through the picture with a cheeky twinkle and supreme confidence in massive amounts. I must say from seeing her in this film, it isn’t difficult to see why she was so popular and controversial. Plus it has me interested to see more of her no cares in the world attitude in other movies. When you have someone as brash and scene stealing as Mae West on film, the rest of the cast somewhat pales in comparison, though some have their moments. It’s interesting to see a young Cary Grant as the slightly awkward mission captain who may not be as innocent as he appears. He displays quite a few glimpses of that debonair charisma that the world would come to love when he became a Hollywood King. Noah Beery is good enough as the benefactor, while Owen Moore is impressive as Lou’s imprisoned beau. Gilbert Roland and Rafaela Ottiano are also good enough touches to the film, if somewhat overly secondary. These roles are somewhat small as West is the real draw and driving force in She Done Him Wrong.

The plot is nothing really special, but the salty script, unmistakable Mae West and an early performance from one Cary Grant are the chief attractions in She Done Him Wrong. If you want a film to give you the essence of Mae West and her persona, She Done Him Wrong is a very good place to begin.