Ever After

Tags

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

Film Title

Ever After

Director

Andy Tennant

Starring

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

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

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

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

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

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

Lost in Translation

Tags

2000's, Bill Murray, Drama, Giovanni Ribisi, Lost in Translation, Scarlett Johansson, Sofia Coppola

Film Title

Lost in Translation

Director

Sofia Coppola

Starring

• Bill Murray as Bob Harris
• Scarlett Johansson as Charlotte
• Giovanni Ribisi as John

A bittersweet and moving drama, etched with comedy and pathos from Sofia Coppola, Lost in Translation makes for a beautifully crafted and thought-provoking movie of alienation and connection. Featuring two beautifully subtle and captivating performances from Bill Murray and Scarlett Johansson, Lost in Translation is a movie to treasure for its quiet and engaging impact.

Bob Harris is a middle-aged, washed-up actor who has journeyed to Tokyo, Japan to shoot a whiskey commercial. Completely alienated as he doesn’t understand the language and blue because of his directionless existence( that includes estrangement from his wife and kids), Bob is lost in a sea of uncertainty and slowly drowning. Meanwhile, a young woman named Charlotte, fresh out of Yale and newly married, is also in Tokyo and the same hotel. She too feels ignored and questioning of herself, as her inattentive photographer husband John seems to care more about his career than her. Charlotte is left to her own devices, yet can’t shake the instability and indecision of her life. Both jet lagged and struggling with insomnia, Bob and Charlotte meet one night in the hotel bar. Despite them being different in more ways than one, they begin to forge a friendship that opens their eyes to something more positive and worthwhile. Through their encounters, both of the humorous and heartfelt variety, and the deep bond that they form, Bob and Charlotte are able to face the challenges of life and consider that it actually be something wonderful if they look closer.

Sofia Coppola strikingly yet subtly directs and writes this wonderful movie, capturing an honesty and heartfelt story of two unlikely soul mates finding solace in each other’s company. Her rendering of their existences as troubled and searching is nicely complimented by a good dose of humour. It straddles the line between comedy and drama, without sacrificing any of the poignant or bittersweet angles of the tale. Coppola displays a quiet confidence and her measured approach with both her directing and script is notably transfixing. Loneliness and a feeling of not belonging are heightened by the culture shock of the Japanese setting and the visuals of large buildings that dwarf Bob and Charlotte. And talking of visuals, they are simply sublime and have real substance in framing the central duo as isolated and fish out of water. The lighting scheme, gold hues and often a certain blue, highlights both the melancholia of their situations and the often nighttime confessions that each shares along the way of their bond. A certain shimmer is found in the cinematography too, hinting at their may be a chance of hope for both the listless souls in Lost in Translation. And the way that Japan is used is gorgeous, utilizing the beauty and scope of the country to its advantage. Crucially and one of the instruments that really made me appreciate Lost in Translation, was that although an emotional feeling is generated between Bob and Charlotte, it doesn’t lead to a love affair. So many Hollywood films go for the obvious and expected when you have a film about two people unintentionally connecting, thankfully Lost in Translation doesn’t fall into that trap. An atmospheric and ambient soundtrack is the ideal companion to the film, soaking it in a layer of hope, escape and pathos.

The acting in Lost in Translation is a definite high point of an already impressive movie. Bill Murray turns in a restrained yet subtly expressive portrayal of tired loneliness and the want to experience something. Moving from deadpan comedy to sensitive depth, Murray is at some of his best as the sympathetic Bob, searching for something hopeful to come along. All it takes is just the slightest movement of his eyes and face, and you know all there is to know about the character, down to the fact that Murray plays him so stunningly. Equally as good is Scarlett Johansson, who despite only being 17 at the time of filming, contributed a mature and exquisitely subtle performance. Finding nuance, humour and melancholy in Charlotte, Johansson holds her own and is mesmerising to watch. What makes their portrayals so beautiful is the little moments of quietly suggesting thoughts and dreams, achieved with the most simple yet meaningful ways. The two boast a believable rapport with each other, discovering a platonic yet still caring need for the companionship to combat the alienation of their respective lives. Giovanni Ribisi, who previously narrated The Virgin Suicides, appears as Charlotte’s busy husband, whose hipster attitude and blatant lack of concern have you seeing why she wants to find something close to connection.

Evocative, soulful and charming, Lost in Translation is a triumph for both Sofia Coppola and main actors, Bill Murray and Scarlett Johansson. Together, they create a touching film about unexpectedly finding someone to relate too and escaping from the pressures of life while facing up to some of them.

The Fabulous Baker Boys

Tags

1980's, Beau Bridges, Comedy, Drama, Jeff Bridges, Michelle Pfeiffer, Steve Kloves, The Fabulous Baker Boys

Film Title

The Fabulous Baker Boys

Director

Steve Kloves

Starring

• Michelle Pfeiffer as Susie Diamond
• Jeff Bridges as Jack Baker
• Beau Bridges as Frank Baker

An enchanting comedy-drama of music, family and dreams, The Fabulous Baker Boys provides laughs and pathos with a fine trio of central performances by Jeff and Beau Bridges, and especially the lovely Michelle Pfeiffer.

Jack and Frank Baker are the eponymous, travelling musical duo; piano playing brothers who perform regularly and are opposites in almost every way. While older brother Frank is the responsible sibling who is always organised, Jack is a sometimes sullen man who has grown tired of their long running act despite being the more talented one. With business slipping and them having to perform in less than glamorous lounges as a second-rate act, both are feeling the strain of what their careers have become. Frank enjoys his music and does it to support his family, while Jacks feels the emptiness of it all. They have the idea to audition a female singer, to breathe some life into their act and hopefully drum up some business. The first few ladies they get are all pretty bad and it looks like the guys will just have to continue their act just the way it is. That is until former escort Susie Diamond walks in to audition, even though she’s an hour age a half late. Gorgeous, witty and with a take no bull honesty, she wins Jack and Frank over when she starts to sing. Now feeling a bit more rejuvenated, the group begins experiencing success with Susie as the star attraction. But with the success comes doubt and frustration, as Frank becomes concerned that Jack is romantically pursuing Susie. He worries that this will jeopardize all of them if everything gets too personal, and sure enough it does. This throws a spanner in the works and as both of them having to deal with dormant feelings of being failures and still trying to go on. While on the road touring, the dynamics of the brothers change as both, along with Susie, have to contend with disillusionment and the wanting for something more in their lives.

Steve Kloves both writes and directs this beguiling and elegant piece of film. And considering it was the first movie he directed, his inexperience doesn’t show. In fact, the easy confidence and attention to character are spectacularly done, displaying his gift for letting his actors do their thing and not being overly flashy with overt style. Kloves sprinkles an Old Hollywood feeling to the work, that’s mixed with a contemporary sensibility and nuanced depth. Comedic moments abound, with the crackling screenplay firing zingers throughout, while balancing the character’s shaky relationships and desires. Laughs and sadness seem to go hand in hand in The Fabulous Baker Boys, making it a whole experience. The occasional meandering moment can be ignored because of how well-defined and invested the characters are, plus the fact that we do like watching their wishes and dashed dreams unfold. As music is a big part of it, The Fabulous Baker Boys doesn’t disappoint on that score.  And what beautiful music it is! Silky smooth jazz grooves and slinky torch songs, lend both a sexiness and melancholy to the overall picture. And speaking of sexiness, I can’t review The Fabulous Baker Boys and not mention it’s most famous scene. In it, Susie, clad in a figure hugging, red dress, lounges across the piano and sings ‘Makin Whoopee’. Backed by the impressively warm and sultry cinematography that hovers over everything, it’s a sizzling high point of a fantastic movie.

While it is The Fabulous Baker Boys who have the title, the film really is a show for the talents of Michelle Pfeiffer. As the effervescent Susie, she displays a whole multitude of sides and angles that are natural and convincing( plus showcasing some gorgeous vocals). She’s tough yet vulnerable, hardened but dreamy and both nervous and seductive. Pfeiffer completely owns the role with a deft assurance. It’s a plum role for any actress, but Pfeiffer makes it so you can’t imagine anyone else playing it except her. For my money, this is one of the finest hour’s from one of my favourite actresses. Ably complimenting Pfeiffer’s excellence are the eponymous duo, envisioned by real life siblings Jeff and Beau Bridges. The chalk and cheese nature of the characters is nicely observed through the work of them both; Jeff’s charm and quietly seething demeanor as Jack counteracted by the more savvy but fussy personality displayed by Beau as Frank . I really got into their bond that they shared, which while shaky and volatile, still had a depth of heart ever-present. Being real life brothers obviously lends itself excellently to the often volatile relationship of the duo. The chemistry is natural and when the deeper feelings emerge, it’s intriguing to ponder whether it is just acting or something much more personal. Whatever the view, the Bridges Brothers bounce off one another effortlessly, while highlighting a certain weariness and quiet rivalry.

A slice of life drama and comedy, that has sparkling dialogue and an undercurrent of wistfulness, The Fabulous Baker Boys is sublime entertainment, well performed and nicely crafted.

Guncrazy

Tags

1990's, Billy Drago, Crime, Drama, Drew Barrymore, Guncrazy, Ione Skye, James LeGros, Joe Dallesandro, Michael Ironside, Tamra Davis

Film Title

Guncrazy

Director

Tamra Davis

Starring

• Drew Barrymore as Anita Minteer
• James LeGros as Howard Hickok
• Billy Drago as Hank Fulton
• Michael Ironside as Kincaid
• Joe Dallesandro as Rooney
• Ione Skye as Joy

A crime drama of two abused souls and lovers gaining what they consider power through automatic weapons in an unfair world, Guncrazy is pretty compelling in how it establishes the doomed love between the two misfits and the tragic consequences of it all. With effective performances from Drew Barrymore and James LeGros, plus some eye-catching direction from Tamra Davis in her debut, Guncrazy is a film worthy of attention.

Anita is a lonely teenager who is constantly bullied and harassed by schoolboys and sexually abused by her absentee mother’s boyfriend Rooney, who she lives with in his trailer. She retains something of a hopeful demeanor, though her way of sleeping with any guy, even if they treat her horribly, makes her an outcast and bad news to many in her desolate town. Her dire existence takes a turn when her geography teacher assigns a project of finding pen pals to converse with. While others write to people from around the world, Anita finds correspondence with Howard Hickok, a convict who is serving term for a manslaughter charge. As soon as she begins receiving his letters, Anita is madly in love as Howard talks to her with a sincerity and kindness that she’s never known. Adopting Howard’s love of guns, Anita gets slimy Rooney to teach her how to shoot. When he sexually abuses her again, she uses her newfound prowess to kill him. Howard becomes available for parole and Anita manages to persuade slightly zany local preacher and part-time mechanic Hank Fulton to give him a job within both capacities and vouch for him. Upon Howard’s arrival, him and Anita completely give themselves to the other. Howard is far from a hardened criminal; instead seeming vulnerable and tragic, and only using a gun when he can’t think of another way to get out of a situation. He feels a gun is making up for the fact that he is impotent, but Anita is actually happy that for once a man doesn’t want to take advantage of her. Meanwhile, stern local parole officer Kincaid doesn’t like the look of Howard and makes this feeling known to him, saying he believes he should never have been let out of jail. The two become besotted with each other, eventually marrying after Hank catches them together and as both of them have used the church to help themselves, but largely because they are infatuated with the presence of the other. Yet while attempting to get through the unfair and cruel life each has experienced, the gun lust that influences both takes over and things spiral. As they stumble into accidental killing that mounts to a body count and forces them to flee, the spectre of tragedy hangs over runaways Anita and Howard, getting closer by the second.

Considering it was her directing debut, Tamra Davis did a commendable job with the material and invested it with quite a bit of emotion. She never condones the actions of the protagonists, rather presenting them as two list people getting some feeling of illusory power with something dangerous. Davis doesn’t glamorize gun use, but more examines the reasons why Anita and Howard would become so enamoured with them. The run down and festering setting for a large chunk of Guncrazy points to the isolation and holed up feeling, envisioned by Tamra Davis through an attention to detail that is markedly unvarnished. Guncrazy features quite a lot foreshadowing through various visual imagery and some of the dialogue from Hank, which hints at darkness and turmoil even when someone is trying to gain salvation. Anita and Howard are basically doomed from the get go; stemming from the society around them and the mistreatment by others. By using firearms, they believe they have some control over their lives for once. Howard mainly obsesses over them as he sees them as the solution to problems and probably a symbol of manhood that he feels he lacks. While Anita adopts his love as it gives her what she considers strength to finally stand up for herself, starting with Rooney who pays the price for all the horror he has put Anita through. Some of it over stretches into melodrama and occasionally float into slow-moving, though there are enough touches to make Guncrazy still watchable and different in an offbeat way. A little bit longer on the running time might have benefited it, but the main story and characters invest you in it and paper over this flaw. It might not be Bonnie and Clyde or Badlands, but Guncrazy does a commendable job at delving into the turmoil of the two main characters and their tragic companionship. The largely electronic and rock influenced soundtrack suits the overall mood and angst of the piece.

Drew Barrymore turns in a stellar performance as the girl from the wrong side of the tracks who needs a feeling of belonging and care. The part of Anita is someone who is a misunderstood and mistreated girl, finally discovering at least for a while, a feeling of power and respect in the arms of the only man who has treated her right. Drew Barrymore burrows into Anita’s naivety and sunny, adorable need for love that ultimately is heartbreaking to watch. Anita just wants some acceptance in her bleak and unfortunate life, which Drew Barrymore plays naturally and with skill, ensuring that even when Anita is shooting others and on the run from the law, we feel a sense of sorrow for her. It’s a fascinating portrayal from Drew Barrymore, that really stands out. Equally as good is James LeGros, playing the gun obsessed Howard in a way that is different from what you’d expect. He has a quiet charm, sadness and even polite demeanor, that makes it hard to believe at first that he has ever committed a crime. Yet once a gun is put in his view, his boiling anger comes out with dangerous results and unpredictable outcomes. Both main actors work great together, finding an intense yet reflective understanding of each other, even if they are doomed throughout the whole thing. Billy Drago has always boasted for me a slightly off-kilter and strange vibe, which makes him perfect as the snake-handling preacher who is slightly crazy. His flair for the unusual is ideally utilised in this chief supporting role. Then there is Michael Ironside, who is gruff and disapproving as they come when acting as the skeptical parole officer. Joe Dallesandro is all sweaty and slobbering brutality after Anita, eventually getting what he deserves for his sadistic actions and abhorrent behaviour. Ione Skye is the only real weak link in the cast, partly because she is given hardly anything to do within the whole story.

A largely excellent film that strikingly gets across the alienation and desperation of two youths and their penchant for weaponry, Guncrazy is a memorable crime drama, highlighted by the work of Drew Barrymore in the lead. If you ever had any doubt about her versatility, check this out to see her sterling performance, surrounding by an array of interesting supporting players.

The Nun’s Story

Tags

1950's, Audrey Hepburn, Beatrice Straight, Colleen Dewhurst, Dean Jagger, Drama, Edith Evans, Fred Zinnemann, Mildred Dunnock, Peggy Ashcroft, Peter Finch, The Nun's Story

Film Title

The Nun’s Story

Director

Fred Zinnemann

Starring

• Audrey Hepburn as Gabrielle van der Mal / Sister Luke
• Peter Finch as Dr. Fortunati
• Edith Evans as Reverend Mother Emmanuel
• Peggy Ashcroft as Mother Mathilde
• Mildred Dunnock as Sister Margharita
• Beatrice Straight as Mother Christophe
• Dean Jagger as Dr. van der Mal
• Colleen Dewhurst as Archangel Gabriel

A beautifully restrained yet quietly revealing look at the struggles of one nun and the personal battle with her spirited nature, The Nun’s Story is impressively moving and evocative in what it accomplishes. It holds your interest in how it delves into the life of a nun and owing to thoughtful direction from Fred Zinnemann and a simply luminous performance from Audrey Hepburn.

Gabrielle van der Mal is a vivacious young Belgian woman from a middle class family in the 1930’s. Her father is a prominent surgeon and Gabrielle hopes to one day be serving in the Congo. We meet her as she enters a Catholic Convent to become a nun. We witness the various facets of extensive training to be a nun over a couple of months, with each challenging Gabrielle more and more with her personal feelings. Eventually, she is made a nun and given the name Sister Luke. Yet she faces disappointments and disillusionment in many duties, and yearns to fulfill her dream of helping in the Congo. Although she distinguishes herself in the medical field, she is not allowed to feel pride for doing so as it is considered selfish rather than selfless. Despite this and spiritual as well as personal conflict, Sister Luke perseveres. She is briefly assigned to assist in a mental hospital, where she is nearly killed by a violently schizophrenic patient. Eventually she is rewarded with an assignment in the Congo, yet finds that she is treating the European patients rather than the natives. She assists the no-nonsense and atheist Dr. Fortunati in surgery, and they develop an at first strained but eventually respectful friendship. Fortunati can see that she is struggling with her religious turmoil and that he believes she is more cut out to be a nurse, rather than a nun. Yet desperate to prove herself, she excels but works herself too hard, contracting tuberculosis in the process. After getting better, she still has many questions about what her true calling is. But as her internal tribulation escalates and World War II nears, Sister Luke must ultimately decide whether she is really cut our to be a nun or whether she should leave.

Fred Zinnemann subtly yet with observant eyes directs this take of the complexities of oneself and the question of religion. His direction isn’t overly flashy but in keeping with the story, beautifully elegant and probing. That isn’t to say that the film isn’t beautifully shot( in fact, the juxtaposition between the cold confines of the convent and the supposed freedom of the Congo are gorgeously envisioned), but the main focus is on the human soul. It’s a drama but not one of overt and histrionic heights; more one of elegantly composed dilemmas and poignant questions. The Nun’s Story is endlessly fascinating in how it explores a world that is unseen by many and only really hinted at in other material. You feel like a fly on the wall watching as Sister Luke undergoes the tests that prove difficult in order to becoming a nun, with all the rituals and ceremonial acts ( the cutting of ones hair, the long periods of silence and shedding of the past) displayed in great detail for us to view. Many films are centred on nuns, but The Nun’s Story, with clear-eyed and objective execution, really finds both a strangeness and uniqueness in how these women dedicate their whole lives to religious servitude. It functions into how it might prove extremely trying for someone spirited and uncertain, like the major dilemma that Sister Luke finds herself in as she attempts to do good, but is ironically halted by her vows. Some movie fans may just believe that a film like this would be boring of just religious propaganda, but nothing could be further from the truth. If anything, The Nun’s Story offers up much food for thought on issues of personal freedom, obedience and the many factions of religion. It doesn’t take sides and favour one thing over the other, resulting in a rewarding and challenging film. And for a film that runs for two and a half hours, it is largely enthralling to watch. A few minor lulls can be forgotten due to the impactful power and grace of The Nun’s Story. Franz Waxman composes a beautiful score that is driven by emotion and soulfulness, that fits with both the revealing personal side of the film and the spiritual context.

One of the best things that The Nuns Story boasts is a touching performance by Audrey Hepburn. With a passion and desire to do well, we understand why Sister Luke would want to be a nun. But on the flip side, we witness her intense battle with adhering to obedience and the rigid vows she must live by, that is imbued with poise and expressive turmoil by Hepburn. Her performance is often one of quiet and thoughtful moments; but one where you can observe all the hardship, longing and fight of a woman attempting to fathom her way in what she wants to be her calling. Such luminous and subtle emotion come through powerfully from Audrey Hepburn in a moving performance that stands as one of her best. While everyone else is ideally cast in their parts, it is Audrey Hepburn you will remember the most for her emotion and clarity. Peter Finch excellently portrays the talented doctor in the Congo, who lends his thoughts to Sister Luke while gaining a new level of respect for her, despite their wide differences. Fleshing out the main supporting cast are a fine group of actresses as nuns of different authorities and temperaments that Sister Luke encounters. There is Edith Evans as the stern Reverend Mother who isn’t above feelings of care, Peggy Ashcroft as the largely content and experienced guide, Mildred Dunnock as one of the nuns who acts as the first teacher and Beatrice Straight as the kindest and most understanding of religious women. All of these actresses, regardless of how long they are on screen for, contribute nicely nuanced work, showing the different aspects of religious faith and devotion. The same excellence is also present with Dean Jagger as the devastated father who wants his daughter to succeed, but knows that she will find the life of a nun turbulent. And not forgetting Colleen Dewhurst, the embodiment of menace when playing a schizophrenic patient at the sanitarium.

Stirring and subtly powerful, The Nun’s Story is a film to treasure for how it deals with the dilemma of ones calling and for what is to me, one of Audrey Hepburn’s greatest performances.

Poison Ivy

Tags

1990's, Cheryl Ladd, Drama, Drew Barrymore, Erotic Thriller, Katt Shea, Poison Ivy, Sara Gilbert, Tom Skerritt

Film Title

Poison Ivy

Director

Katt Shea

Starring

• Drew Barrymore as Ivy
• Sara Gilbert as Sylvie Cooper
• Tom Skerritt as Darryl Cooper
• Cheryl Ladd as Georgie Cooper

A steamy and sinister erotic-thriller/drama, Poison Ivy is not the best of its kind, but is raised up a few notches by the presence of a seductive Drew Barrymore and a better than expected story. It can’t quite escape the B-movie trappings, but has enough things to bring it to a level of credit, no matter how flawed.

Sylvie Cooper is a wise cracking loner, who has a fractured relationship with both her parents and finds any way to push the boundaries with them. She most wants someone to spend time with who understands her personality. Her wish is seemingly granted when she meets Ivy; an entrancing blonde with a wild way about her. The alluring Ivy is at the school on a scholarship and hasn’t come from the happiest background. Both somewhat loners, Sylvie and Ivy bond and form a friendship. Sylvie invites Ivy to stay over in her large house, which becomes something of a permanent thing. Ivy loves spending time at Sylvie’s house and the security she believes it has. Ironically, Sylvie enjoys Ivy’s company because she is different and wild. Sylvie’s mother Georgie is dying of emphysema, while her dad Darryl is a worn out television presenter whose seen better days. Both parents take a liking to the vivacious Ivy; Georgie sees something of herself in the young, rebellious girl, while Darryl begins to develop salacious feelings for her, brought on by Ivy’s come hither wiles. Yet just being with family is not enough for Ivy, she wants to actually be a part of it. And through manipulative ways such as impressively seducing Darryl and charming Georgie, she sets her sights on her goal and raises her dark campaign insidiously. Sylvie grows suspicious of Ivy and her motives, but as she’s probably the only friend she has, clings to the only person she’s ever really related to in life. Soon Ivy’s plan gathers momentum and threatens to destroy Sylvie and her mother, in the hopes of gaining the family she never had and being in control.

Katt Shea has a stylish approach to the often lurid source material, yet finds other areas of character attention that are unexpected. There is a definitely a thriller element to Poison Ivy, similar to other films of the time that involved a home being engulfed by the pernicious influence of an outsider. While that is there, a drama is mainly prevalent in quite a lot of the movie, raising it up a few bars on the level of appreciation. A gorgeous lighting scheme contributes greatly to the mood at hand, one of darkness and sexuality in hues of moody blue and slithering gold. If there is anything you can’t deny about Poison Ivy( even though it is far from amazing) it’s that it turns up the heat without quite becoming x-rated. I mean just take the scene where Ivy seduces Darryl on the hood of his car as rain pours down. It’s sexy stuff that feels steamy yet not overly tawdry. As risible and melodramatic as some of the script gets, it is compensated for by the aura and attention its two protagonists. Both Sylvie and Ivy have their own issues and feelings of alienation to different degrees, which makes both relatable, even when Ivy’s darkness reveals itself. They are both mixed up so it isn’t really a surprise that they find some common ground, until obsession and a desire to usurp corrupts everything. I could have done with Poison Ivy being a bit longer than it’s relatively short running time. It did feel more than a tad rushed at various instances, with events lunging out rather than unfolding. Expansion may have been necessary to the film, yet for what it is, it does it with some style. A generously sinister music score of strings and saxophone is sultry and mysterious, much like the eponymous bad girl who takes centre stage.

The biggest asset to Poison Ivy is Drew Barrymore in the title role. At the time of the film, Barrymore was returning to acting after a much publicized battle with drugs and alcohol . Still aged only 17 and now clean, she managed to rebound thanks to this film and others that followed, paving the way for the bankable star we have today. Drew Barrymore really plays the seductive but not entirely unsympathetic Ivy excellently well; displaying an agreeable charm, hidden menace and touches of yearning. You genuinely buy the seemingly good girl/disturbed vixen act that Ivy has as it is so convincing, yet as played by Barrymore, the Lolita sex appeal comes out and a feeling of being mixed up and abandoned is ever-present. Ivy may be sinister and extremely manipulative in her actions, but she isn’t quite a one-dimensional monster. This is down to Barrymore, whose contradictions of allure, amiability and childlike craving are ideal for this part. Sara Gilbert is also solid in conveying awkwardness, snarky cynicism and a pang of alienation. Her playing of Sylvie as wanting to belong is another part of the film that keeps it from being just another trashy erotic film, mainly because it feels very natural and unaffected. Tom Skerritt and Cheryl Ladd are cast in the supporting parts of Sylvie’s unsuspecting parents, whose lives are wrecked by the consequences of Ivy’s actions . While neither role requires much of a dramatic stretch, both stars bring their game to the roles of philandering husband and dying, embittered mother.

A flawed movie but one with sufficient good areas( notably Barrymore and Gilbert), Poison Ivy is a cut above some erotic movies

Panic

Tags

2000's, Crime, Donald Sutherland, Drama, Henry Bromell, John Ritter, Neve Campbell, Panic, Tracey Ullman, William H. Macy

Film Title

Panic

Director

Henry Bromell

Starring

• William H. Macy as Alex
• Donald Sutherland as Michael
• Neve Campbell as Sarah
• John Ritter as Dr. Josh Parks
• Tracey Ullman as Martha

A crime drama with roots in themes of twisted family manipulations and the want to change, Panic is one of those movies that really takes you by surprise in my instances. Panic is an unexpected and extremely underrated gem of a film with a feeling of inexorable tragedy slowly coming out in its story of a man in midlife crisis of a most unusual kind.

Alex is a sad-eyed, middle-aged man who goes to see a psychotherapist named Josh Parks to get his life in order. Once there, he surprisingly reveals that he is actually a hit man who has been trained by his sly and corrupting father Michael since he has young. Dr. Parks listens in shock and dismay, but wants to know more if anything to possibly help a desperate Alex. Though Alex is a hit man, he doesn’t want to be one anymore. Yet as he is so scared of his imposing father and knows that it won’t be easy to just discard that part of his life, that he is currently undergoing a severe crisis of conscience. He keeps his deadly profession hidden from his wife Martha and young son to protect them, even though his relationship with his wife is on shaky ground as it is. Around this trying time for poor Alex, he encounters Sarah; a sprightly, sexually adventurous young woman who is completely forward and ever so neurotic. He finds himself drawn and infatuated with this kooky girl and this is one of the things that makes him want to quit. Yet just as he wants to tell his domineering father that he can’t do it anymore, the man gives him his next assignment. The man he is expected to kill is Dr. Parks, which throws everything out of control and puts more strain on the already pressured Alex. Alex is put through the wringer as he deliberates what he is going to do about the issues and dangerous circumstances surrounding him.

Henry Bromell adroitly directs this drama that involves crime, but is largely focused on the conscience of a man wanting to escape it all. Although the title suggests overt drama, it’s the internal struggle and scruples of the main character that elicit the most power and turbulence. Panic is a dark and engrossing study of warped family loyalty and pressure disguised by parental superiority. Everyone has a feeling when they are younger of being a good child and looking up to your parents, but what if your parents aren’t what you thought? That’s the main thing going on in Panic; Alex is smothered by his father’s dominance that he’s slyly held over him and employed in such a way that his son knows no different and is now suffering. We frequently get shots of important moments in a non-linear fashion that highlight the history of the characters, in particular how Alex was trained by his father in a scene where he has his young son shoot a squirrel as his first kill. Scenes like this are shocking( but not because they are bloody, no violence is explicitly seen) but for how it frames the father as a corrupting and malevolent presence over his son’s life that simply won’t let go of him in adulthood. There’s an exceptional back and forth between the past and present, filmed without the need for intertitles, as it respects the audience and can frequently be audacious. From what I’ve read about the movie, it was praised on release but never quite connected with audiences. This is a shame because Panic has much to offer movie fans, in how it mixes genres and has a certain haunting quality about it that stays with you. A peppering of black and ironic humour is sprinkled into Panic, particularly in how Michael discusses the business of killing people in a way that is so blasé yet menacing to his son and how the therapist listens with both a dumbfounded shock and yet inquisitive ear to Alex’s mournful confessions. Occasionally, the tone gets muddled but this is few and far between in an accomplished and atypical story that has a real poignancy. A lot of the success is down to the script written by director Henry Bromell, that fleshes out the dilemma of Alex and his predicament in a seemingly impossible situation. A moody and pulsing score is simply exemplary throughout Panic, hinting at the spiral of one man attempting to break out of his chains.

William H. Macy cuts a mournful and tired figure playing Alex; who wants out of the family business, but is buckling under the weight of everything on him. The ever so talented Macy wonderfully and subtly brings the nervousness and sadness of this man at tipping point out for the audience to see, which makes it a stellar performance of buried anguish and stifling anger. You couldn’t have asked for a better person for the role, as William H. Macy invests it with a real soulful melancholy. On hand to play the manipulative and quite horrid father is the always excellent Donald Sutherland. Like Macy, Sutherland’s approach to the character is a measured one that allows differing sides to emerge; from the seemingly genial and hospitable man to the ruthless and bullying father whose ingratiating manner starts to reveal his choke hold over his son. Neve Campbell stunningly stars as the catalyst for Alex’s need for change, exhibiting attitude, feistiness and that something else that is usually missing from other women roles in cinema. John Ritter excels as the shocked therapist whose curious about Alex and equally horrified, while Tracey Ullman gets across suspicion and a genuine feeling of being lost in her own life as her husband becomes distant from her for reasons she is ignorant of.

A compelling crime drama of morality and darkness, Panic makes its mark through the strong sense of purpose, direction and acting that give life to the unexpectedly melancholy rumination on family and crisis.

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.

How to Make an American Quilt

Tags

1990's, Alfre Woodard, Anne Bancroft, Dermot Mulroney, Drama, Ellen Burstyn, How to Make an American Quilt, Jean Simmons, Jocelyn Moorhouse, Johnathon Schaech, Kate Capshaw, Kate Nelligan, Lois Smith, Maya Angelou, Winona Ryder

Film Title

How to Make an American Quilt

Director

Jocelyn Moorhouse

Starring

• Winona Ryder as Finn Dodd
• Anne Bancroft as Glady Joe
• Ellen Burstyn as Hy
• Alfre Woodard as Marianna
• Maya Angelou as Anna
• Kate Nelligan as Constance
• Jean Simmons as Em
• Lois Smith as Sophia
• Kate Capshaw as Sally Dodd
• Dermot Mulroney as Sam
• Jonathon Schaech as Leon

A heartwarming tribute to female friendship and the shaping of life’s experiences, How to Make an American Quilt is a very sweet and enjoyable movie. It’s nothing revolutionary or startlingly original, but it’s story of looking to the past in order to unlock the future is beautifully directed and acted.

Finn Dodd is a 26-year-old graduate student, who is working on a thesis over the summer. She can’t quite settle on a topic and always changes her mind when she thinks she’s got the right parts. This confusion and inability to come to a decision extends to her boyfriend Sam, who has just proposed. Finn obviously cares about him, but is deeply unsure of whether marriage is a good idea for her. While mulling things over, she goes to visit her Great Aunt Glady Joe and Grandmother Hy, who themselves are sisters usually at each other’s throats. They are both part of a quilting group that includes wise leader Anna; her free-spirited daughter Marianna; stern Sophia; grieving Constance and quiet Em. They are currently in the process of making a wedding quilt for Finn and in their own ways, they each inspire her and give her support in her time of indecision. Over the summer, conflicted Finn is regaled with stories of love from their pasts; some tragic and some inspiring. We glimpse the lessons these older women have learned; from how Glady Joe and Hy became more than a little strained, why Sophia turned into such a battle-axe and in general how love is what you make of it. Also present is a hunky guy named Leon, who takes a shine to Finn and potentially throws a spanner in the works. It all comes down to whether she is ready to make a commitment or live her life in freedom.

Jocelyn Moorhouse beautifully conjures up the loving and touching lessons of life in a straightforward but effective way. We become like Finn, learning about the women who came before her and their experiences with love. Moorhouse aims for the emotions and heart with How to Make an American Quilt, and succeeds in getting you invested in the brief flashes of events that these women now speak of. As sentimental as some of it is, the gentleness and often low-key approach keeps the film on a pleasing level without slipping into overly histrionic content. the pleasures in are listening to the various experiences of these women and how young Finn reacts to them. From heartbreak and upheavals to the starts of companionship, all the stories have some weight on her and impact. Like with any film that weaves together an ensemble story line however, some of the arcs come off better than others that are patchy. This is only to be expected really as it would be impossible to craft something that gave every strand, without it turning into a marathon of a movie. The stories that make the most emotive impression are the ones of Hy and Glady Joe and the flashbacks to Sophia’s early life; where she had some promise but never got the chance to enjoy it due to the inevitability of timing. They are played out in organic and poignant fashion that knows how to get your care. The other stories all have currency, though more than a couple may have been better if expanded upon. If I was to compare this movie to something, the equivalent would be a quilt itself. It’s got some rough edges and is well-worn, but has that cosy and snug feeling that lifts your spirits. The luscious cinematography renders everything with a distinct glow. Thomas Newman’s stirring score is a big plus in this feel good movie.

If there is anyone who can play indecision and curiosity convincingly, it’s Winona Ryder. With her naturally inquisitive and youthful face, she’s excellent casting for Finn. All the confusion and searching questions are there, as she listens to the stories of the past in hopes of unlocking her future.  Anne Bancroft and Ellen Burstyn provide gentle humour, classy depth and consummate professionalism as the feuding sisters, whose grievances are plain to see but whose love for the other more than combats anything completely severing them. Alfre Woodard has the right bohemian air and fun for her role of effervescent Marianna. The wisdom and dignified grace of Maya Angelou stunningly embodies the passionate leader of the quilting group Anna. Angelou possesses a nuanced voice of experience and clarity that is impossible to ignore. I could listen to her voice all day it is that soothing and imbued with sage. Kate Nelligan and Jean Simmons are both moving as two of the women, realising they are linked through one of their husbands philandering. Lois Smith captures the well of sadness arising from someone whose ambitions were cut short, resulting in a hostility and bitterness of character. Kate Capshaw is a breath of fresh air in her small but important appearance as Finn’s flighty mother. She seems very irresponsible but what she ends up saying is quite beneficial and unexpected. Whether big or small in size of parts, all of the ladies here do good work. Dermot Mulroney does well with his limited part of Finn’s boyfriend, letting the female cast members take the lion’s share. Johnathon Schaech is largely there to provide the temptation for Finn, complete with the fact that he never seems to be wearing a shirt.

it isn’t going to win prizes for innovation, but the beating heart and gentleness of How to Make an American Quilt is effervescent that you won’t be able to resist its charms. Just cuddle up and enjoy this nice fable on life and sisterhood.

Turn the Key Softly

Tags

1950's, Drama, Jack Lee, Joan Collins, Kathleen Harrison, Terence Morgan, Turn the Key Softly, Yvonne Mitchell

Film Title

Turn the Key Softly

Director

Jack Lee

Starring

• Yvonne Mitchell as Monica Marsden
• Joan Collins as Stella Jarvis
• Kathleen Harrison as Mrs. Quilliam
• Terence Morgan as David

The first twenty-four hours of release from prison of three different women are dramatised in Turn the Key Softly. Although some of the social drama it strives for can get forced, it is largely an honest and sympathetic examination of the paths we may or may not take in life. Strong performances from the female leads help it be watchable.

On one morning, three women are released from Holloway Prison, London. Each woman is somewhat different from the other and slowly we piece together why each was imprisoned. Monica Marsden is a middle class lady who was seduced by crook David and coerced into helping him with his thieving activities. She was caught and David got away, leaving her to take the blame. Stella Jarvis is a pretty young thing who we are lead to believe fell into prostitution so she could afford the material things in life, despite having found seeming happiness with a kindly bus conductor. And lonely Mrs. Quilliam is very poor and has multiple offences of stealing food to provide for herself. Their returns back to society take different turns as they are forced to confront life once more and decide what is to be done, regarding personal feelings, circumstances and the nature of choice. Monica has to contend with oily David entering her life again, Stella must make a choice of whether material wealth outweighs potential happiness with her forgiving boyfriend and Mrs. Quilliam has to deal with being neglected by her daughter and only having her pet dog Johnny for support and companionship. The question is, just which path will each lady take now that they are back out in the world again?

Director Jack Lee does a commendable enough job at bringing out dramatic and emotional impact, though it can be said that some of the film and story is basic and could have done with more extension. After all, Turn the Key Softly only runs for under 80 minutes, which both has a weakness and goodness to it. I think the positive parts manage to raise the film up a lot, and while still flawed, when it hits the dramatic mark it is damn effective. Some of it comes off as more than a little superficial, in particular the rather sketchy way that Stella’s story is written. Her arc has watchable and sports interesting areas, but it doesn’t quite have the gripping power of the other two women’s experiences. Monica and Mrs. Quilliam have the more compelling stories; facing the grim realities of their situations, consisting of trying to not be drawn to a bad influence and crushing loneliness. When the focus is on these characters and their struggles, Turn the Key Softly gains points and a sense of drama. The use of black and white highlights the challenges ahead for the ladies and London in bustling but unforgiving fashion. The film was made in the 50’s and England was still suffering post war austerity, which is subtly referenced by the fact that there is no flash of razzmatazz to the editing of cinematography. It’s largely observant and the unvarnished style suits what Turn the Key Softly strives for. A jolt of tension and suspense keeps Turn the Key Softly good in the last half as Monica’s former flame puts in motion a job, which he drags her into under extreme duress. One of the best things Turn the Key Softly does is not sugarcoat the three main characters or condone what they have done. It presents them as humans, who have made mistakes and are attempting to get back on track once more. The music score is suitable enough when being understated, but there are times when it takes away from the story by going overboard with flourishes.

If there is anything that makes up for the occasionally flawed execution in the film, it’s the acting. Yvonne Mitchell brings dignity, demure grace and indecision to her part of the middle class Monica, who wrestles with her feelings for her slimy former boyfriend and tries to make a life for herself. She’s an intelligent woman but like all of us, not immune to the complex feelings of the heart. This is what Mitchell plays ideally; the desire to move on, but the constant lingering of the past that won’t loosen its grip. Joan Collins, although having the most limited role, is still very charming and brassy as the often vain Stella. She’s got an impudence, dreamy eyes and sassiness to her, tempered with a feeling of uncertainty over her future. The beautiful Joan Collins makes the part very watchable, owing to her naturalness and personality. The trio is rounded out by the weariness and sadness of Kathleen Harrison as the lonely old Mrs. Quilliam, who’s only company is her beloved dog Johnny. Here is a woman of desperation and desolation, who still attempts to keep a smile on her face despite her increasing adversity. You want to give this woman a hug and tell her that things are going to be OK, that’s how emotionally convincing and sympathetic Harrison is. Terence Morgan is the definition of a louse, and a nasty one at that when playing Monica’s crooked lover. Although he’s slick and smooth, you know exactly what he’s up to and really do want him to get what’s coming to him in be way or another.

So while it sometimes doesn’t get beneath the surface of stat it’s intending to display, Turn the Key Softly is still on the whole, a well acted and interesting film that paints a pointed and frequently realistic picture of three women experiencing life and it’s difficulties again after their release from prison.