Requiem for a Dream

Tags

2000's, Darren Aronofsky, Drama, Ellen Burstyn, Jared Leto, Jennifer Connelly, Marlon Wayans, Psychological Drama, Requiem for a Dream

Film Title

Requiem for a Dream

Director

Darren Aronofsky

Starring

• Ellen Burstyn as Sara Goldfarb
• Jared Leto as Harry Goldfarb
• Jennifer Connelly as Marion Silver
• Marlon Wayans as Tyrone Love

The hopelessness and destructiveness of drug addiction and shattered dreams is brought to chilling and startling life in Requiem for a Dream. Darren Aronofsky directs this harrowing movie that is never easy to watch, but totally hypnotic and devastating in his it captures the lows of drug abuse and addiction in general.

The film concerns four characters in Brighton Beach, New York and in the shadow of Coney Island. Sara Goldfarb is a kind, middle-aged widow who is hooked on television shows and sweet foods. Though she has friends, she is lonely and her only real visitor is her son Harry. The trouble is Harry, while at heart a good young man, is hooked on heroin and other drugs, which prompts him to regularly pawn her television to feed his drug habit. He and his best friend Tyrone, who also takes drugs, want to make some money from dealing so they can make it big and not have any worries at all. At the start, their drug business goes pretty well, yet goes sour as darkness sets in. Also present in their lives is Harry’s rebellious girlfriend Marion, who has a flair for fashion designing and wishes to open her own store. She is from a privileged background, but has distanced herself from it and hangs frequently with Harry. Marion regularly starts to consume heroin and other drugs as much as Harry and the once artistic and loving girl resorts to prostituting and degrading herself to get the next fix. This really becomes prominent as Harry and Tyrone’s plans implode and they are all left scrambling for the drugs they crave so much. Meanwhile, Sara receives a call that she has been selected to appear on television. Thrilled by the prospect as it has become a sanctuary for her, she sets about cleaning up her blowzy image. Yet she become extremely fixated on her appearance for television and in particular getting into a red dress from her younger days. Now older and having put a bit of weight on, she attempts to diet but can’t help her hankering for sweet foods. Finally, she goes to a sleazy and corrupt doctor who prescribes a collection of diet pills. Sara begins taking them and while the weight falls off, her increasing dependence on them results in a horrifying mental breakdown. Quickly, the drug addictions worsen and the lives of the quartet are irrevocably altered into darkness and desolation.

Darren Aronofsky masterfully crafts this shocking and hard-hitting movie, unearthing a desolate wealth of broken emotion in the desperate situations of the characters and how their dreams are ultimately crushed by addiction. His restless camera and variety of techniques, such as time-lapse, exaggerated sounds and split screens that throw us into the dangers of addiction and the brief moment the characters feel any hope are mesmerising as well as horrifying. He truly makes the movie a painful but necessary experience that leaves your stomach churning and your head spinning. While Aronofsky is chiefly a visual director of the highest order, he can also expose the sadness of individuals grasping for something just beyond their reach. His screenplay, co-written with Hubert Selby Jr., the author of the book from which the film is based, discovers the lost hopes and pipe dreams of the four people and how they go about it the wrong way in the end. One stand out example is the revealing and very tragic monologue from Sara to her son, as she speaks of how her pills have helped her be someone again( when in reality, the sad irony is that her mind has been broken and she continues to slip). The manic sincerity and deluded belief with which she speaks of how she feels like she matters again is just so devastating to watch and heartbreaking in the extreme. Cinematography and editing immediately out you in the mindset of these tragic characters looking for the next gig, spinning and often in extreme close up so there’s no room to hide. What most stands out is the scenes of drugs being consumed as they offer escape, high or buzz that everyone craves. The high is temporary and fleeting, but enough for the characters to get by for that moment, while it erodes away their self-respect and sense of reality. It’s all illusory in the end as their cravings grow and their lives are destroyed by their habits. Routine and repetition feature heavily throughout the psychological drama, almost another form of addiction in itself for everyone involved. There’s no big happy ending to Requiem for a Dream, and neither should there have been because it would have cheapened it. What we are left with is a shattered and bleak picture of just how far these four people have fallen in chasing what they thought would be the answer to their prayers, but became a nightmare. As a movie, Requiem for a Dream leaves you shaken and floored with just intensely it depicts addictions of every kind and the dark, grim outcome of them. I mean, the last half and hour is a visceral descent into personal hell for the characters and we are pulled in too and forced to witness the degradation of it all. And of course, there is the iconic and memorable score for Requiem for a Dream that lingers in the mind. Composed by Clint Mansell and performed by the Kronos Quartet, the throbbing, humming pulse, haunting strings and electronic design of the music provides hypnotic listening and deep horror in equal measure.

Ellen Burstyn heads the cast with the best performance in the movie. The rest of the small cast are extremely fantastic, but Burstyn is the real glue of it all. She is simply heartbreaking and mightily powerful in her portrayal of the sweet, widowed and obsessed mother whose life spirals into oblivion once she gets the call to say her biggest dream will come true(eventually at the expense of her mind). It’s a completely vanity free performance as Burstyn throws her body and soul into Sara; hauntingly displaying insecurity, deluded dreams and a quivering vulnerability that continues to unravel as pills ravage her. An impressive Jaded Leto, sporting a gaunt face and withered physique, finds a deep desperation within Harry, who is inherently a good person making the wrong choice. He’s a dreamer at heart, much like his best friend, but one whose life continues to crash as his habit worsens that Leto plays splendidly and convincingly. Jennifer Connelly contributes a fearless sense of debasement and drowning as the initially rebellious and crazy in love Marion, who gets more hooked on heroin than her boyfriend and resorts to desperate measures for it. A surprisingly effective and largely serious performance from the usually funny Marlon Wayans is what rounds out the tragic quartet of characters. At first he is jocular and filled with wonder, but over time his dreams go up in smoke and Wayans subtly embodies that feeling of loss and sadness. What is admirable about all the performances is how far they are willing to go to depict the hardships and horror of addiction, which they all do to a massively skilled and shocking degree.

Grim and unrelenting, but intentionally so, Requiem for a Dream is a haunting film in every sense of the word as envisioned by the highly skilled Aronofsky. Bolstered by a wholly committed cast, in particular a heart wrenching Ellen Burstyn, Requiem for a Dream is challenging and horrifying, but you’ll never forget it once you’ve seen it.

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Weekend

Tags

2010's, Andrew Haigh, Chris New, Drama, Romance, Tom Cullen, Weekend

Film Title

Weekend

Director

Andrew Haigh

Starring

• Tom Cullen as Russell
• Chris New as Glen

A deeply arresting and genuine movie by writer/director Andrew Haigh about a chance encounter that segues into an unprepared, romantic connection between two men, Weekend is an intimate experience that reveals a personal and poignant story of finding what could be love in a short space of time.

In Nottingham, Russell is a relatively shy gay man who works as a lifeguard. While out of the closet, you get the feeling he’s not too comfortable with expressing his sexuality or embracing it. After a few drinks with his straight friends one Friday evening, he heads to a gay bar. Here he picks up Glen, who he takes back to his flat and they have sex. The next morning is when we learn more about both men. Glen is outgoing, assertive in his sexual preference and often defensive, whereas Russell has trouble really opening up and letting his guard down. Glen is doing an art project and recording the experiences he has with other men. At first, Russell feels very awkward at doing this but as talkative and commitment phobic Glen wins him over, the dynamic between them changes. What was expected to just be a bit of fun and mainly a one-night stand transforms into something very different for both of them over the weekend. Russell and Glen get more acquainted with each other as they meet up, do drugs, have sex and most importantly, forge something meaningful and not at all what either planned. Russell begins to remove the barriers he put up, while Glen struggles to come to terms with his longing for Russell that put at risk his phobia of commitment. As the connection grows and they both get more comfortable with each other, they have to contend with where this unexpected, romantic bond will go for both of them and what the future may hold as Glen will soon be leaving to live in America.

Andrew Haigh, who would later go on to direct the equally impressive 45 Years, really contributes a personal feeling to the film. As director and writer, his dialogue is so authentic and realistic that you often find yourself remembering that it is a film and not just watching two real people go through this. That’s the power of the film, you really get that intimacy and sincerity of real life through the journey of both men, figuring out what is next on the cards for them. Haigh discovers humour, pathos and romance in the gradual attraction of Russell and Glen, rounding out events with a real slice of life quality. The usage of natural lighting grounds everything in a realistic fashion, not needing any fancy edits or oodles of style to get to the point. Everything has a feeling of being a fly on the wall, which adds to the growing intimacy of the two men and the audience. Situations that are familiar to all of us; the first meaningful conversation, uneasy coming clean with buried angst and the connection of physical pleasure are all here in observant and clear-eyed fashion. Even the two main sex scenes, which while revealing and holding nothing back, have a depth as they showcase the changing dynamic of the relationship. In them, you can see these two people gaining acceptance and converging in a physical and mental way and finding solace and perhaps something else in each other’s arms . There are no big, melodramatic declarations of true love, overt tragedy or sappy ending to be found in Weekend, it is too perceptive and honest for that sort of thing. Instead, a sensitive bond that may be uncertain and unsteady yet loaded with unexpected connection forms between Russell and Glen, and is beautiful to observe. Now there are many that might label Weekend just a gay movie that only has limited appeal in terms of audience, but that does it a major disservice as it has things that will appeal to all walks of life. Topics of conversation may include aspects of defining homosexuality and prejudice, but the story itself has a far-reaching thematic value that is complimented by these insights. To be honest, the fear of getting close, awkwardness of realising attraction and confronting fears are the biggest points of the film that are observed with nuance and . I believe that anyone, no matter what your sexual orientation, will find something relatable and truthful in Weekend. It simply has a really intimate way of expressing itself through meaningful situations that seem real( as opposed to Hollywood gloss) and having a refreshing maturity and sincerity to them. And it doesn’t become pat or obvious in the long run either. As the title suggests, the film takes place within a short period of time. But that doesn’t mean that weekend is at all rushed. It favours the progressing approach that truly fleshes out both men and allows for souls to be bared and contemplate their feelings. Now if that sounds like the same old story that’s been done before, nothing could be further from the truth in Weekend. Sure are opposites who are attracted to each other, but it’s the almost documentary like execution of the piece that feels almost like a chamber work that lends a beautiful openness and emotional heft to it.

At the centre of it all are two marvellously engaging and natural performances from Tom Cullen and Chris New. Cullen possesses an affable but introverted manner that is perfectly used for Russell, who is often the more quiet of the two and not quite comfortable in his skin just yet. Complimenting this awkwardness is the bravado of Chris New, who lets us glimpse his characters reasoning for not wanting a relationship and how his show of brash attitude is something of a mask. Both performances are nuanced and organic, aiding the realistic tone of the movie and presenting two well-rounded individuals questioning things they never thought they’d have too. Plus, the burgeoning chemistry between the two is gradual and completely honest in every way. These two are simply sublime in a film that touches the soul and highlights how sometimes its easier to open up to a stranger than someone close.

A sensitive, heartfelt movie that boasts a naturalistic dialogue and unaffected, organic performances from the two leads, Weekend is a touching, perceptive and engaging film of two people finding an unexpected bond that will resonate with everyone for its universal messages and truths.

The Theory of Everything

Tags

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

Film Title

The Theory of Everything

Director

James Marsh

Starring

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

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

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

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

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

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

Their Finest

Tags

2010's, Bill Nighy, Drama, Gemma Arterton, Helen McCrory, Jack Huston, Jake Lacy, Jeremy Irons, Lone Scherfig, Paul Ritter, Rachael Stirling, Richard E. Grant, Sam Claflin, Their Finest, World War II

Film Title

Their Finest

Director

Lone Scherfig

Starring

• Gemma Arterton as Catrin Cole
• Sam Claflin as Tom Buckley
• Bill Nighy as Ambrose Hilliard
• Jack Huston as Ellis Cole
• Paul Ritter as Raymond Parfitt
• Jake Lacy as Carl Lundbeck
• Richard E. Grant as Roger Swain
• Rachael Stirling as Phyl Moore
• Helen McCrory as Sophie Smith
• Jeremy Irons as Secretary of War

A splendidly engaging and unexpected ode to cinema, women and doing what needs to be done in World War II, Their Finest captures your attention and heart with the story it has to tell. A crowd pleaser with a most knowing touch is an apt way to describe the delightful Their Finest.

It is 1940, London, and the Blitz is at its height. Catrin Cole is a Welsh girl, living in an apartment with her artist husband Ellis, whose more than a bit moody and not exactly a supportive presence. A copywriter, she is called specifically the film division. Her knack for good dialogue is realised, even though it is said that she will be writing what many call the slop( women’s dialogue). She is hired for work on movies and partnered with snide and cynical Tom Buckley and older, more understanding Raymond Parfitt in the screenwriting process. Though paid less than the men and frequently questioned about her capabilities, Catrin emerges as a talented addition to the team. Being one of only a few women in a male dominated game, the odds are stacked against Catrin. But she is no wilting flower and can gradually in the story, easily handle herself against sexism and attitudes towards her doing a profession such as hers. With the War raging on, cinema provides an escape for those at home. The Ministry of Information is hoping that a new propaganda film will blend both authenticity and optimism into one, enabling audiences to feel comforted and with a rousing feeling. The film takes its basis from a newspaper article of two twin sisters using their father’s boat to rescue men from Dunkirk. Upon researching it further, Catrin discovers that the story has been exaggerated a lot. Though knowing this, she helps form a scenario around the events that will boost morale. And being that it is a propaganda film, the embellishment of facts is inevitable anyway. Catrin shows how indispensable she is with her flair for writing and her emerging determination to be taken seriously. Soon production is under way, yet various issues are present. The over the hill Ambrose Hilliard, who has a big opinion of himself, is perturbed that he is playing an old role. This is amusing because he is in his 60’s, yet can’t quite accept his glory days are far behind him. In order to appeal to American audiences and hoping to coax them into joining the war, the big wigs of production and Secretary of War employ former pilot Carl Lundbeck to be in the picture. The problem is, while handsome and projecting the right image, he is a hopeless actor. Most of all, it’s nearly a battle itself between Buckley and Catrin Through it all, Catrin manages to let her voice be heard and earn the respect and love of the initially standoffish Buckley as the unpredictable war continues. With luck, they hope their movie can be a rousing success and ignite the public imagination to a feeling of hope in a time of darkness.

Lone Scherfig, who previously demonstrated her greatness at tapping into the past in An Education, showcases that again with Their Finest. She finely discovers humour, pathos and inspiration in the story and knows exactly when to incorporate seriousness into the largely amiable proceedings. It’s a tightrope walk that could have gone wrong, but humour and maturity go hand in hand here, and highly benefits the overall product. Plus, Scherfig’s greatest asset is shooting a movie concerning World War II from a female perspective. I personally feel that there are not enough movies about World War II focus on the women who played a part, thankfully Their Finest corrects that in style and a displays a fervent female overcoming the obstacles to gain respect. The film itself is blessed with a sincere and funny screenplay, that has humour in the making of the propaganda film and the emotional undertones of the terror that war brings. It also has a great usage of wordplay, particularly between Catrin and Buckley, whose growing attraction becomes more obvious, despite the constant sniping and disagreements. You may be forgiven for thinking that Their Finest is simply cosy whimsy, but while it is charming and full of vitality, it never skirts around the tragedies or hardships of the war. And while at first you may be inclined to believe you know the outcome of the film, it throws in a surprising curve ball that changes a lot. Believe me, I never saw it coming at all, which is a credit to how the movie knows when to blind side you and show its dramatic muscle. This very instance of shock brings with it a heft of moving moments that add another string to the movie’s bow. Very much like the movie being made in the story, Their Finest knows how to please the crowd, being rousing yet never forgetting the devastation of World War II. You can’t get be wrapped up in the inspiring story, both of Catrin asserting herself more and the behind the scenes look at the propaganda movie. Comedy ensues in the brightest way in the beginning the scenes stretches, with various techniques and mishaps proving how the experience of a film is trying but usually worth it. A lovingly flowing score from Rachel Portman highlights the optimism and change of the time with deft assurance and emotional touches.

A beautifully judged performance from Gemma Arterton is one of the main joys of Their Finest. A nicely employed subtlety is evident in her keen and plucky portrayal, finding emotion and growing feistiness in the role of Catrin that is a great showcase for the actress.  Lovely, genuine and boasting a backbone of steel that comes in handy when asserting her talents, Arterton makes Catrin an arresting heroine who you immediately warm too and want to watch succeed. For my money, this is one of the best parts Gemma Arterton has had in a movie and goof for her I say, as I’ve always been a fan of hers. Sam Claflin, behind small glasses and a moustache, has the stinging sarcasm and attitudes for a man of the time; while delving into the inferiority complex he has and why he acts like a jerk. He shares a nice chemistry with Arterton, that starts flinty and evolves into a mutual understanding that is lovely. Being the scene stealer that he is, Bill Nighy sinks his teeth into the part of has-been actor who still thinks of himself as the biggest star in the world. It’s a funny, self-mocking part, that also makes time for Nighy to display a caring and inspiring side to what at first appears to be a very difficult. Nighy is the one who gets most of the laughs in Their Finest. Jack Huston is left with the least engaging part of Catrin’s inattentive husband, while Paul Ritter quietly thumps away at the typewriter as the mediator in the screenwriting process. Also getting laughs is Jake Lacy, whose all American appeal and square-jawed features are handsomely used to play a charming but not very talented star thrown into the propaganda film. Richard E. Grant, Rachael Stirling and Helen McCrory provides great support, as does a cameo from Jeremy Irons as the Secretary of War.

Charming, spirited yet grounded in seriousness when it needs to be, Their Finest is wonderful movie making that celebrates the powers of cinema and inspiring women.

Funny Girl

Tags

1960's, Barbra Streisand, Drama, Funny Girl, Kay Medford, Musical, Omar Sharif, Walter Pidgeon, William Wyler

Film Title

Funny Girl

Director

William Wyler

Starring

• Barbra Streisand as Fanny Brice
• Omar Sharif as Nick Arnstein
• Kay Medford as Rose Brice
• Walter Pidgeon as Florenz Ziegfeld

A colourful and well mounted movie version of the hit play, itself loosely based on the life of comedienne Fanny Brice, Funny Girl launched Barbra Streisand to movie stardom in her debut role( which garnered her an Oscar.) It’s a wonderful showcase for her and despite a lengthy running time, has more than enough virtues, wonderful music and moments of excellence to entrance.

It is the early part of the 20th Century and in New York, Fanny Brice is Jewish girl of modest means but massive dreams to be a star. No matter who tells her that her nose is too big or her legs are too skinny, Fanny strives to attain life on stage with all she’s got. Initially she starts as a bit player on the vaudeville stage, where her lack of classical beauty and awkward movements stand out a lot, but her determination perseveres. Thankfully, during one particular show, her coltish mien and clumsy mannerisms actually endear her to the audience, and she is a resounding hit. Around this time, she also encounters the dashing gambler and businessman Nick Arnstein, who will play an important role in her life in the years to come. With her act growing more popular, she is shocked and excited when she is hired by the legendary Impresario Florenz Ziegfeld. Fanny can’t believe her luck at being given the opportunity to become a big star as a Ziegfeld girl. Yet with her comedic timing and need to be funny, she at first rubs Ziegfeld up the wrong way. Later, she takes to stage and re-invents a number in her own cheeky way. Ziegfeld is perturbed but seeing how talented she is, encourages her comedienne act. The attention then turns back to Fanny’s relationship with Nick Arnstein, who sweeps her off her feet after years of brief encounters, resulting in marriage. Passionately in love with Nick, Fanny leaves the Follies to concentrate on her love. Yet the ensuing years reveal cracks in their union as Nick becomes resentful of his run of bad luck and Fanny’s continued success. Getting back into performing yet slowly growing unhappy with events, Fanny sees that life is not always as funny as her act.

William Wyler, a most experienced and versatile director, ably and admirably directs Funny Girl; finely judging the funny and light first half and the later bittersweet and dramatic stages. Wyler finds both happiness and sadness in the tale of Fanny Brice, while allowing the production and acting take the biggest chunk of the pie. Superb production design and simply gorgeous costumes are featured, with all the gloss of an Old Hollywood production. One can see that Funny Girl was definitely a prestige project, owing to its luscious photography, dazzling choreography and of course the music. Though the story can feel like standard rise to the top stuff that’s been done dozens of times, the fact that some of it has basis in reality adds and it carries an emotional undercurrent throughout. Now Funny Girl is by no means flawless, as the midsection drags and starts to strain in comparison with the rest of the story. A tad of editing and trimming may have benefited this half of the movie. Luckily, there are many elements that compensate for those niggles and keep you watching the largely engrossing movie. Chief among these are the delightful musical numbers, performed with gusto and depth largely by Barbra Streisand. She gets into the songs so much, fully living them to the highest degree. From an amusing roller skate sequence to the moving ‘People’ and defiantly show stopping ‘Don’t Rain On My Parade’, the musical sections are gorgeous and filled with vitality.

What really makes Funny Girl that something special is the outstanding Barbra Streisand. It’s hard to believe that this was her movie debut because of the confidence and ease with which she plays Fanny Brice. Sure she had played the part on stage and was a legit music star, but cinema is a totally different ball game that Streisand rose to, with Oscar-winning results. Embodying a cheeky, gauche charm that later morphs into sadness and disillusionment as her marriage falls apart and it becomes more difficult to put on a smiley face, Streisand’s commitment and exuberant talent announces itself loud and clear. Expertly funny, unwaveringly purposeful, heartbreaking and with a gorgeously soulful voice, Barbra Streisand earned her Oscar with this stunning performance. Omar Sharif has the required smoothness and ultimate desperation for Nick Arnstein, whose serious gambling problem causes his anger at the way things have turned out. Streisand and Sharif share a very good chemistry, going from charmed and loving to torn apart with conviction. Kay Medford is observant and wise as Fanny’s movie, while the role of Ziegfeld is acted with proper aristocratic ability by Walter Pidgeon. The supporting players do well in their parts, but the film belongs to Barbra Streisand.

A splendidly told musical full of glamour, heart and pangs of sadness, Funny Girl is a bravura film that announces the talents of a legend. It can get long-winded, but the overall dedication of those involved makes Funny Girl a sublime film to enjoy.

Alice Doesn’t Live Here Anymore

Tags

1970's, Alfred Lutter, Alice Doesn't Live Here Anymore, Diane Ladd, Drama, Ellen Burstyn, Harvey Keitel, Jodie Foster, Kris Kristofferson, Martin Scorsese

Film Title

Alice Doesn’t Live Here Anymore

Director

Martin Scorsese

Starring

• Ellen Burstyn as Alice Hyatt
• Alfred Lutter as Tommy Hyatt
• Kris Kristofferson as David
• Diane Ladd as Flo
• Harvey Keitel as Ben
• Jodie Foster as Audrey

A change of pace for Martin Scorsese, Alice Doesn’t Live Here Anymore provides great evidence of his directorial skill and versatility. Focusing on the odyssey of a woman attempting to discover herself and hoping to fulfill long forgotten dreams, it’s a moving, at times funny and heartfelt film, beautifully lead by an Oscar-winning Ellen Burstyn.

Alice Hyatt is a downtrodden housewife, living in Socorro, New Mexico, with her inattentive husband Donald and precocious 12-year-old son Tommy. She once had some success as a singer, but after marrying gave it up for her husband. Desperately unhappy with a man who she is always trying to please, Alice is starting to come apart. Then Donald is killed in a car accident and Alice is left with barely anything. Packing up Tommy with what little she has, she starts out on a journey back to her childhood home. Alice hopes she can rekindle her old singing job again, especially as it will probably be her only source of income. Because of a money shortage, the two have to stop off every now and then. The first stop is in Phoenix, Arizona, where Alice finds some work as a lounge act. While singing is her passion, her wages are menial and it is becoming a struggle to keep Tommy in line. Add to this volatile Ben, who quickly becomes violent towards her and Alice must leave and attempt to get by once more. Fleeing from Phoenix, Alice, along with spoiled Tommy, stop in Tuscon. It is here that Alice gets a job as a waitress, something she hates at first. But as she manages to get through her days and becomes friends with loud, sassy Flo, life looks like it could be going up. She also meets rancher David, who is a kind but firm man taking an interest in her. Alice, obviously considering her history with men, is apprehensive about pursuing any kind of relationship. Eventually, she lets some of the walls down and opens up to the idea of romance. Yet will Alice’s blooming attraction to make her reconsider her pursuit of her dreams?

While a very different sort of movie than one would expect from Martin Scorsese, his style and command over the camera ensure Alice Doesn’t Live Here Anymore is a fine movie. Scorsese really gets the tone of the movie right; with melancholy moments being followed by laughter, much in the way that life can get and best exemplified by the almost always moving camerawork. Some of the film’s passages get uneven, but Scorsese allows the acting and story to play out with a naturalness and warmth that can’t be mistaken. The feminist streak throughout the story was well attuned to the 70’s, yet still bears semblance today as it examines the growing independence and struggles of a woman trying to cope on her own. The character of Alice is wonderfully written and her situation is a universal one that strikes a chord with any viewer. The relatable nature comes through in the first frames of a dream-like memory that resembles an old musical; which is bluntly counteracted by the reveal of Alice’s miserable home life years later. That scene really plays into much of what unfolds, as Alice journeys to discover herself and what she should do, even if its elusive at first. Now as I mentioned earlier, the pacing of the film can sometimes get a little off. I did find that some areas could have been expanded on and a few moments get superfluous, but these quibbles don’t distract from a moving story, undercut by both a bittersweetness and hopefulness. The film really picks up once Alice begins working as a waitress; the gentle humour and drama are wonderfully brought to life through the supporting characters and situations. The almost improvisational approach to the dialogue is another high point, letting everyone have a good rapport with both each other and the audience. A wide collection of songs are featured on the soundtrack, which fit in pretty splendidly with the constant ups and downs of Alice’s life.

Ellen Burstyn is the biggest shining light of the film, winning a much deserved Oscar for her sensitive work as the title character. Blessed with a genuinely sympathetic and expressive face, Burstyn covers the whole gamut of her character’s journey. From despair and uncertainty to growing in confidence, Burstyn’s work is authentic and beautifully done. You feel warmth when she smiles and want to cradle her when the hardships get too much. The biggest compliment I can give her is that she truly makes the part of Alice seem like a real human being, and I think that’s a testament to her talents as an actress. Alfred Lutter is appropriately questioning and pestering as the spoiled Tommy, who drives his mother up the wall. While it is easy to say he’s annoying, the part calls for that the mother and son don’t share the smoothest dynamic with one another, but there is a genuine love that is always present even when they are at loggerheads. Props to both for really forging a believable bond that runs throughout the movie. In what could have been just a role that took advantage of his handsomeness, Kris Kristofferson brings a lot more verve and soul to his part of rancher, smitten by the eponymous Alice. Stealing any scene in which she appears in is Diane Ladd, bringing forth a big personality and brassy mouth to the proceedings. Ladd is fabulous as the tough-talking waitress at first distant from and later close to Alice. The scenes between Ladd and Burstyn are a real delight too. A brief but memorable appearance by Harvey Keitel as a possessive and violent man who becomes involved with Alice, makes the drama really hit hard in his segment. A young Jodie Foster has the spirited attitude and rebelliousness as the girl who befriends Tommy and while it is a pretty small role, its noticeable.

Directed by Martin Scorsese and illuminated by Ellen Burstyn, Alice Doesn’t Live Here Anymore may not be his finest film, but it’s a dramatic triumph of care and heart that retains an impact through its story and mix of drama and comedy.

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.