A Midsummer Night’s Dream

Tags

1990's, A Midsummer Night's Dream, Anna Friel, Bernard Hill, Calista Flockhart, Christian Bale, Comedy, David Strathairn, Dominic West, Fantasy, Kevin Kline, Michael Hoffman, Michelle Pfeiffer, Romance, Rupert Everett, Sam Rockwell, Sophie Marceau, Stanley Tucci, William Shakespeare

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

• Kevin Kline as Nick Bottom
• Michelle Pfeiffer as Titania
• Rupert Everett as Oberon
• Calista Flockhart as Helena
• Anna Friel as Hermia
• Dominic West as Lysander
• Christian Bale as Demetrius
• Stanley Tucci as Puck
• David Strathairn as Theseus
• Sophie Marceau as Hippolyta
• Bernard Hill as Egeus
• Sam Rockwell as Francis Flute

A well cast and amusing adaptation of the classic Shakespeare comedy, A Midsummer Night’s Dream gets points for direction, writing and acting. Yes it isn’t the best Shakespeare adaptation there is and there are a few flaws, but by and large it’s a success of love’s complications, romantic entanglements and mischievous magic.

The setting is Italy near the beginning of the twentieth century( in the play the setting is Greece). The Duke Theseus is preparing for his upcoming marriage to Hippolyta. He is a respected man and is asked near the beginning to help Egeus with his problem. The problem in question is his daughter Hermia, who he has betrothed to Demetrius. Hermia is actually enamored with Lysander, but their love is forbidden. With Hermia being forced to marry Demetrius, the young lady and her lover Lysander secretly plan to elope. Meanwhile, Hermia’s friend Helena pines for the moody Demetrius, but to no avail as he loves Hermia. The downtrodden Helena seizes the opportunity to make an impression on Demetrius by informing him of Hermia and Lysander’s plans to run away one night through the nearby forest. Demetrius follows the two star-crossed lovers deep into the forest, with the desperate Helena behind him. Yet what none of the four realise is that the forest is inhabited by fairies, and most importantly the fairy King Oberon and his wife Queen Titania. The couple is going through trouble and their differences begin to hold sway on the fates of the four young lovers in the forest. The scheming Oberon, to get back at Titania, devises an amusing plan and enlists the help of loyal but mischief-loving sprite Puck to help. By obtaining a magical flower and applying the nectar of it to the eyelids of Titania, when she awakens she will fall in love with the first person she sees. Into this game unintentionally comes the talkative actor Nick Bottom and his company, who are rehearsing a play to perform at the upcoming wedding. Using the flower on Titania and then turning the unsuspecting Bottom into a donkey, a funny beginning of events flourishes as Titania becomes smitten with the transformed Bottom, much to the actor’s surprise and delight. Oberon also asks Puck to help out Helena so that Demetrius falls in love with her. But naughty Puck accidentally mistakes Lysander for Demetrius and soon enough chaos ensues as the romances interlink and much squabbling occurs thanks to Puck’s devilish intervention.

Michael Hoffman successfully translates the enjoyable and funny qualities of the play to the screen with both imagination and inventiveness. He updates the setting to pre-twentieth century and it actually works very well, though I’m sure purists may quibble and take issue with it. The update allows for some beautiful scenery and gorgeous cinematography that is marvellous. A few parts of his direction are flawed, such as letting some scenes in the middle to lumber on longer than necessary, yet his overall control and skill is evidence throughout as he retains the riotous humour of the piece. Hoffman also is adept at being scriptwriter, bringing the fantasy and romantic switch ups into full fruition with humour and style and sticking to Shakespeare’s poetic verve. A vibe of sexiness is ever-present through this film; found in the double entendres and the presence of Cupid gone awry, causing humorous and unexpected matches. A modernity also pervades many parts of this adaptation, with the literal mud-slinging style catfight between Hermia and Helena a highlight. Set design, particularly in the enchanted forest and Titania’s otherworldly domain, has a definite theatrical quality that feels right for something like A Midsummer Night’s Dream, yet is embellished by the beauty of cinematic eyes and the gorgeousness that celluloid can provide. A light and twinkling score, also infused with some grand operatic arias, sets the pace of the film and what will follow with playful glee.

A handsomely star-studded cast fleshes out the roles of this romantic comic fantasy and are skilled with speaking Shakespeare’s words. The biggest standout is Kevin Kline, who is in his element as the buffoonish but strangely touching Bottom. By balancing the two aspects of comedy and pathos, Kline rules the roost and gives his all to the comic yet poignant character whose garrulous ways and thespian dreams are turned on their head by the adventure in the forest. An effervescent Michelle Pfeiffer is ideally cast as Titania; radiating imperious mannerisms and sweet love especially when funnily bewitched by a transformed Bottom. Not only does Pfeiffer look the part, she plays it extremely well and with ethereal poise. Rupert Everett, with his smooth voice and rakish demeanor, makes for an appropriately louche Oberon, whose schemes are both amusingly wicked and benevolent yet flawed. Calista Flockhart is an inspired choice for the part of Helena, emerging both as earnestly passionate but unlucky and wittily sharp. Flockhart’s performance which takes on a tragicomic nature is up there with Kline as one of the standouts within A Midsummer Night’s Dream. An appealing performance of spirit and vivacity is given by the gorgeous Anna Friel, who gets some very good lines as the star-crossed Hermia. Both Dominic West and Christian Bale have fun as Lysander and Demetrius, who more often than not are sparring partners battling for the affections of Helena and Hermia thanks to the magical mix up. Lending impish relish, sprightly naughtiness and hilarious moments is the ever reliable Stanley Tucci portraying Puck, whose attempts at bringing lovers together go rather awry. Now in supporting roles we have David Strathairn, Sophie Marceau, Bernard Hill and Sam Rockwell, who are all actors I very much admire. The trouble is they aren’t utilized  well enough here and the film could have benefited from showing them a bit more.

Purists may balk at the change of setting and it must be said that a few parts of the film could have been trimmed, yet A Midsummer Night’s Dream is a warmly funny and sexy interpretation of the play from the Bard.

My Blueberry Nights

Tags

2000's, David Strathairn, Drama, Jude Law, My Blueberry Nights, Natalie Portman, Norah Jones, Rachel Weisz, Road Movie, Romance, Wong Kar-Wai

Film Title

My Blueberry Nights

Director

Wong Kar-Wai

Starring

• Norah Jones as Elizabeth
• Jude Law as Jeremy
• David Strathairn as Arnie
• Rachel Weisz as Sue Lynne
• Natalie Portman as Leslie

A soul-searching journey across America forms the basis of the romantic and strikingly shot My Blueberry Nights, the first film in the English language from Hong Kong film maker Wong Kar-Wai. There may be some flaws, but they can be put aside as you soak up this road movie of a young woman questioning love and herself.

As the movie opens in New York, a young and forlorn woman named Elizabeth has broken up with her boyfriend after discovering he was cheating on her. Stumbling into a local cafe at night, she finds the Mancunian owner Jeremy, who offers a sympathetic shoulder to cry on. After many of these late-night discussions and consuming of blueberry pie, in which Jeremy falls in love with Elizabeth, she leaves on an unexpected journey, but still keeps into touch via postcards. She wants to find something through her travels across America, mainly love and what she should do. Along the way, she encounters many offbeat characters whose own lives are very troubled and filled with drama. In Memphis, where she works a waitress to get the money to continue travelling, she witnesses the ravages of broken love in the case of alcoholic cop Arnie and his estranged wife Sue Lynne, who flaunts the fact she no longer cares for him. Events in this disharmony soon take a tragic turn. Moving onto Nevada, she meets brazen gambler Leslie, who has underlying pain of her own, and makes her a proposition. If Elizabeth stakes Leslie in a poker game which could be top draw, depending on the outcome Elizabeth could have a prized Jaguar to continue her travels and search for herself.

With the talent of Wong Kar-Wai behind the camera, My Blueberry Nights was bound to be a visually stunning movie. And though there are some shortcomings with the script, this is a movie that is all about mood. He uses the human face as a canvas of emotion and this repeats with Elizabeth’s winsome gaze and Jeremy’s longing eyes forming many beautifully constructed parts. As such, America is shown from an outsiders perspective throughout this film because of the director’s influence. The use of obstructing views such as lights, windows and blinds helps compliment the theme of wanting to understand something but not being able to fathom it. Eye popping colour abounds and creates a neon drenched atmosphere of unabashed romanticism and soul-searching among a host of cross-country events and searches. And I can’t think of a film in recent memory that made food look so passionate. As lashings of cream smother a blueberry pie, you can’t help but be sucked in by the romantic dreaminess at play. Occasionally, the languid pace can be a bit tiresome but it can be forgiven for that because of the sheer intoxicating dreamlike effect of My Blueberry Nights. The hypnotic soundtrack of clandestine jazz and soul grooves is an excellent addition to the atmosphere, tinting it with melancholy and the sense that hope could be near.

Musician Norah Jones makes her debut here and does quite a good job. She wisely gives Elizabeth that questioning winsome quality and soul that is required and despite her not being an experienced actress, she does very well in the part of the wanderer searching for meaning. Jude Law is his usual charming self as the affable and good-hearted Jeremy who falls deeply in love with Elizabeth. David Strathairn as the depressed and alcoholic cop Arnie who can’t let his wife go is very moving and you can’t help but feel sorry for the guy. Similarly, Rachel Weisz shows her emotive skills playing Sue Lynne, who parades around like she isn’t bothered but actually does. Both of these two bring emotional qualities to these characters. And rounding out this cast is the wonderful Natalie Portman. Portraying Leslie as a wildly dressed girl who lives for the thrill with bravado and charisma, Portman manages to tap into the deeper hurt behind the brassy shield the character puts up to those around her.

Flaws aside with the script and pace, My Blueberry Nights is still a magical film that is unabashedly romantic and lovely. This is really an underrated movie that I hope people will check out after reading my take on it.

Sneakers

Tags

1990's, Ben Kingsley, Caper, Crime, Dan Aykroyd, David Strathairn, Mary McDonnell, Phil Alden Robinson, River Phoenix, Robert Redford, Sidney Poitier, Sneakers

Film Title

Sneakers

Director

Phil Alden Robinson

Starring

• Robert Redford as Martin Bishop
• Dan Aykroyd as Mother
• Sidney Poitier as Donald Crease
• David Strathairn as Whistler
• Mary McDonnell as Liz
• River Phoenix as Carl Arbogast
• Ben Kingsley as Cosmo

An enjoyable and light-hearted caper movie, Sneakers boasts an all-star cast and a sparkling script as well as ratcheting up the tension at various times.

Martin Bishop runs a San Francisco team known collectively as ‘Sneakers’, their job is to break into security systems to check the effectiveness of them. The rag-tag team comprises of former CIA operative Donald Crease, Mother, an electronics technician and conspiracy theorist, Whistler, a blind man with exceptional hearing and enthusiastic whizz kid Carl Arbogast. Everything is going fine until the NSA contacts Martin. They have information regarding his past as a student radical that could have him imprisoned. The case will be dropped if Martin and his team can recover a black box from a prominent mathematician. Although reluctant to help, Martin sees that he has no choice if he wants to avoid his past coming back to bite him. Enlisting the help of his team and well as his old flame Liz, they manage to track down the box with their combination of technical skill and smarts. This is when the twists arrive and the mathematician is murdered. It seems this black box is a codebreaker that can used to break into even the most secure building ever. Martin and the rest of the team must decide what to do before it falls into the wrong hands and as they soon become embroiled in a web of crime and espionage with a face from Martin’s past coming back to haunt him.

A script brimming with comic interplay gives Sneakers a humorous edge and allows us to root for the characters and believe the long-standing camaraderie that they have with one another.Phil Alden Robinson directs with brisk assurance and verve, giving us the many dangerous incidents that the team find themselves in a warmth yet a deep seriousness and suspense. The various technological aspects of the case are presented in striking visuals, a standout scene being the team cracking an important anagram using the pieces from a Scrabble game and Whistler’s extraordinary hearing and computer skills. The scene features initially slow cuts between the two factions of the team that quicken in time with the score as the code is eventually cracked. This gives the film an enjoyable factor and makes it a cracking crime caper peppered with humour and an abundance of twists. Tension is also high in the scenes of the team sneaking into a secure building in order to retrieve the stolen box, and trying to avoid the hi-tech sensors employed to ensure no one can enter undetected. Some of the technical jargon may become confusing and the narrative may lull in various places, but for most of the duration Sneakers is a sparkling and fun crime caper. James Horner provides the lively score of trickling piano and unusual percussion to give the feelings of danger and a race against time for team.

Heading the all-star cast is Robert Redford who sends himself up a little with his mix of charm and wit in the role of Martin, the leader of the ‘Sneakers’. Dan Aykroyd is a hoot as the conspiracy theorist who won’t take no for an answer. Sidney Poitier plays the role of the former CIA operative with ease and eye-rolling humour as he is the one who often disagrees with rash decisions by younger members of the team but finds himself going along with it, albeit under duress. David Strathairn steals all the scenes he is in as Whistler, the blind man with amazing hearing whose skills are invaluable to the gang in their times of need. As the main female in the movie, Mary McDonnell shows that it’s not just the men who can have fun with her sharp performance as Liz, the former girlfriend of Martin whose smarts and good looks come in very handy with this most complex case. In one of his last roles before his untimely death, River Phoenix gives a nervous exuberance to the role of computer whizz kid Carl, the youngest member of the team who is constantly on the lookout for an attractive woman in his life.  The weak link in the chain of excellent performances is surprisingly Ben Kingsley as a face from Martin’s past with villainous designs. We all know that Kingsley can play the villain in his sleep, but he isn’t given enough screen time to make him a compelling adversary for Martin and his team.

Bristling with light-hearted charm, excellent performances and caper shenanigans, Sneakers is if nothing else an enjoyable movie with style and humour.

 

 

Dolores Claiborne

Tags

1990's, Christopher Plummer, David Strathairn, Dolores Claiborne, Jennifer Jason Leigh, John C. Reilly, Judy Parfitt, Kathy Bates, Mystery, Stephen King, Taylor Hackford

Film Title

Dolores Claiborne

Director

Taylor Hackford

Cast

• Kathy Bates as Dolores Claiborne
• Jennifer Jason Leigh as Selena St. George
• Judy Parfitt as Vera Donovan
• Christopher Plummer as Detective John Mackey
• David Strathairn as Joe St. George
• John C.Reilly as Constable Frank Stamshaw

Based on the novel by Stephen King, Dolores Claiborne is a sombre and compelling mystery headlined by a superb performance by Kathy Bates. Evocatively scored by Danny Elfman and featuring an interesting flashback structure, Taylor Hackford has created a chiller that leaves you guessing till the very end.

On a coastal town in Maine, hard-working and tough-talking housekeeper, Dolores Claiborne is accused of murdering her elderly employer Vera Donovan. The chief detective, John Mackey, heads the investigation into the suspicious death and harbours a desire to imprison the woman as he believes she murdered her abusive husband Joe 20 years ago. Soon after, Dolores’s daughter Selena arrives to support her mother. Selena is a succesful writer struggling with a drink problem and suspicious of the events surrounding both Vera’s death and her father’s. Dolores hasn’t seen her daughter for years and attempts to get through to her, even though her daughter is unsure of her mother’s plea of innocence. Through the use of a flashback structure, subtle incidents in both of the women’s lives are revealed and we begin to understand more about them and their strained relationship with each other. Is Dolores innocent of the crime? Or is she in fact a double murderer? You’ll have to watch the film to find out.

Kathy Bates, starring in her second adaptation of a Stephen King novel after her Oscar-winning role in Misery, fixes the attention and steals the show as the title character. She at first appears to be a stony, bitchy woman, but as the mystery begins to unravel, she is shown to be something quite different. She is a tough woman, wounded by life but not beaten yet and Bates embodies the worn-down but still resilient spirit of the title character effortlessly. It truly is a testament to Bates’s ability that we are never sure if Dolores is well and truly innocent of the crime until the finale. Ably supporting her is Jennifer Jason Leigh as the suspicious and sullen Selena, who is never truly convinced of her mother’s innocence but forced to confront her own painful past in the process. Christopher Plummer savours his role as a resentful but motivated detective who will stop at nothing to make sure Claiborne is imprisoned. David Strathairn, seen in flashback as the abusive husband of Dolores , helps set the secondary conflict in motion because of his menacing presence. Also seen in glowing flashback is the excellent Judy Parfitt, as the overbearing rich woman who becomes an unlikely ally to Dolores before her mysterious death. John C. Reilly also appears in a small role as a sympathetic constable investigating the case.

Visually, Dolores Claiborne creates a chilling atmosphere, shading the Maine town in which Claiborne resides in blue and grey. This is counteracted by luminous flashbacks, bathed in an almost sepia tone, showing the ugliness that lies beneath a happy facade. Danny Elfman’s melancholy score accentuates most of the scenes with a sombre and evocative expression of suspicion and delving into the shocking past of the main character for answers.

Dramatic, enigmatic and enthralling, Dolores Claiborne is a mystery that grabs you from the opening frame and refuses to let go.