Steel Magnolias

Tags

1980's, Daryl Hannah, Dolly Parton, Drama, Dylan McDermott, Herbert Ross, Julia Roberts, Olympia Dukakis, Sally Field, Sam Shepard, Shirley MacLaine, Steel Magnolias, Tom Skerritt

Laughter, tears, joy and tragedy befall a group of Southern women in Steel Magnolias; a satisfyingly involving story of strength of friendship and celebration of women. Sporting a splendid cast of leading ladies and drama that’s peppered with comedy, Steel Magnolias has you laughing one minute and crying the next( and that’s what is so great about it.) Opened up from it’s stage setting, you have one beautiful movie.

In the Louisiana town of Chinquapin Parish; a group of women go through life’s ups and downs together, often in the local beauty salon. The women are no-nonsense mother M’Lynn Eatenton( Sally Field) , her spirited, type one diabetic daughter Shelby(Julia Roberts), beauty salon owner Truvy Jones( Dolly Parton), elegant widow Clairee Belcher(Olympia Dukakis), embittered and acidic grouch Ouiser Boudreaux (Shirley MacLaine) and new in town wallflower Annelle Dupuy( Daryl Hannah) . The film begins on the wedding of Shelby to lawyer Jackson( Dylan McDermott). Despite Shelby experiencing a hyperglycaemic shock in the morning, she is helped by her mother and friends and the wedding goes wonderfully. Meanwhile, Clairee and Ouiser spar constantly even though deep down they are close friends. Annelle goes through numerous changes, first from shy, woman child to more confident and sassy then overly zealous. Truvy has to contend with her husband Spud(Sam Shepard) being out of work and not showing her much in the way of affection. The big news is that Shelby decides to have a baby, despite the difficulties it could have on her body. M’Lynn is worried about her daughter’s health and isn’t exactly thrilled when Shelby announces her pregnancy. Shelby’s father Drum(Tom Skerritt) is happy for her and to an extend M’Lynn is, though the maternal terror she feels is still nagging at her as she comes around to the idea of it. Shelby gives birth to a baby boy, but tragedy may lie ahead for this wilful young lady. Through the tribulations of life, the Southern Belles band together with support, wisdom and a shoulder to cry on as they live up to the title of being as beautiful as flowers but tough and resilient when the occasion calls for it. 

Herbert Ross is on hand for sensitive direction and a feeling of genuine care for the source material, that opens out the original play setting effectively. He shows great affinity for fleshing out these fascinating women and all that they go through. These are the kinds of characters it’s easy to warm to as you can more often than not, see something of yourself in each of them. Yes you can argue that the film knows to manipulate emotions and does have sentiment, but since when is that actually a bad thing? Steel Magnolias earns the laughs and tears because of its excellence in terms of characters and feelings. I don’t mind things being weepy or sentimental, as long as they do it with style and are well executed( which this movie definitely is.) I think it’s unfair to just refer to it as a chick flick, as it has a lot more going for it than just that label. For one, it’s a celebration of women’s strength and unity in times of crisis that truly knows how to move the audience. And the humour, which is plentiful, goes alongside the more serious stuff nicely. Both compliment the other and know how to really impress the audience in this drama about how friendship can get you through the tough times and sometimes laughter and tears do mix. It’s pretty impossible not to get swept into the dramas and events of Steel Magnolias; it’s an emotional but rewarding ride that is peppered with nice humour and it’s heart being firmly in the right place. Seriously, if you don’t shed not one tear during this movie, your tear ducts have clearly been removed or you’ve got a swinging brick where your heart and compassion should be. A gentle yet well suited score really benefits Steel Magnolias and goes along efficiently with the big occasions the film covers, from wedding to Christmas and then Easter. 

One of the finest assets in Steel Magnolia’s arsenal is the sublime cast of mainly women. Here’s a group of actresses clearly relishing these relatable and well drawn characters that they breathe great life into. Heading things is the ever impressive Sally  Field who truly shines in her dependable way and gets to display the full gamut of feelings. She’s got the varying emotions of her character just right from deep love for her daughter to grave seriousness, immense strength and tenderness in the face of tragedy. Field has always been great at playing motherly characters and she doesn’t disappoint here with a performance that ranks up there as one of her finest, particularly in a late devastating scene that will move even the hardest of hearts. Seriously, Field truly gives it her all as an opinionated yet caring mother terrified of what might happen to her frail daughter. Julia Roberts, who was a year away from super stardom and following memorable work in Mystic Pizza, is beautifully vibrant, genuine and vulnerable as the frail Shelby, who doesn’t want to let her medical condition rule her life and takes drastic action despite warnings of what it could do. The character could have been too much of a martyr, but Roberts wonderfully avoids that with a wilful, delicate and passionate performance that showcases her undeniable star charisma and ability. A lot of the humour is derived from an on form Shirley MacLaine, who spits out bitchy one liners with relish and feeling. You’ll definitely have fun watching her as the town’s meanie who is actually a lot more caring than she cares to let on. Backing her up in sassy fashion is Olympia Dukakis, who is a hoot as the classy but not above fun Clairee. MacLaine and Dukakis obviously enjoy working together as their characters clash often but then make up in often humorous ways. Dolly Parton adds pearls of wisdom and an infectious exuberance and optimism that only she can provide. It’s a treat seeing the multi talented Parton here. Daryl Hannah, decked out in gawky glasses and coltish demeanour, provides laughs and a certain homespun set of foibles. Her character is always changing but her heart is always there and Hannah plays that splendidly. As the women are so indomitable and cover most of the film with their stories, the men are relegated to the sidelines. Though saying that, Tom Skerritt gets quite a number of fine moments to shine in naughty fashion, while Sam Shepard has a fine scene opposite Dolly that’s truly touching. Dylan McDermott is unfortunately saddled with a part that really doesn’t ask for much except being a handsome suitor to Shelby. 

Heartfelt, bittersweet and brilliantly acted and scripted, Steel Magnolias is a sensational production that makes you feel so many different things. I wish you all a great time with this gem of a movie that truly touches you, makes you laugh and is enjoyable. 

The Blue Lagoon

Tags

1980's, Adventure, Brooke Shields, Christopher Atkins, Drama, Leo McKern, Randal Kleiser, Romance, The Blue Lagoon

A romantic drama that is more remembered for the skin shown and hidden from young Brooke Shields and Christopher Atkins, The Blue Lagoon is hardly what you’d call intelligent viewing. It gained negative reviews on release but was a big money maker at the box office. The cinematography and music are the big highlights here, but The Blue Lagoon is the kind of movie you’d call something of a guilty pleasure though the flaws shown are noticeable.

In the Victorian era, young cousins Emmeline and Richard are on a boat. They are journeying across the ocean but a fire onboard soon interrupts it. The children are separated from Richard’s father and end up in a rescue boat with boozy cook Paddy( Leo McKern) . After days of drifting, they come across a desert island. Exploring, it appears they aren’t alone and that a tribe resides on the other side of the island. Paddy forbids both children to visit there, while teaching them survival skills in the process. They are left to fend for themselves after Paddy has a drunken binge and drowns. Years later, the two have grown into athletic, attractive teenagers( and are now played by Brooke Shields and Christopher Atkins). They’ve learned to be self-sufficient and have fashioned a hut to live in. Richard spends most of his days hunting fish for food and exploring, while Emmeline admires the beauty of her surroundings. With both not having much education and having been marooned from civilisation for a long duration, they often don’t understand what they are feeling in any shape or form. This is most prominent in terms of attraction to each other, as they don’t know how to deal with their raging hormones and changes in their bodies. Puberty is hitting for Emmeline and Richard, though they are not really aware of what entirely it is. Yet as their feelings grow into love and they discover the joys of sex, they aren’t prepared for pregnancy or even a chance of survival from the outside world.

Randal Kleiser, of Grease fame, is the director of The Blue Lagoon. He does a decent job, though his overall approach is uneven and choppy. I feel like big parts of the story have been cut out and that the adventure which was promised in pasts wasn’t there. The main point everyone mentions is the sexual content between Brooke Shields and Christopher Atkins. Shields was 14 at the time of filming and Atkins was 18. Atkins did his own nude scenes, while Shields had a body double and had her hair stuck to her chest to cover her modesty. While the sexualisation of the two is questionable and would certainly not be allowed today, it’s the fact that film wants to be a showing of natural love but is clearly peek a boo stuff involving young people that stands out. Sex in itself is something natural but The Blue Lagoon treats it in a way that’s on a pedestal yet attempting to seem to be classy . In actuality, The Blue Lagoon is not classy because of the film not having much in the way of realism or sense and is obviously wanting box office returns with the promise of revealing content. I don’t understand how it expected to be one thing when it’s actually the other, marketing might be to blame. The Blue Lagoon wants to be sexy and somehow chases and discovers it can’t be. It’s not difficult to see why the film raised eyebrows on release and is still spoken about now. I must say while there is nudity on show, large parts of it are obscured and films nowadays definitely display more than what is shown in The Blue Lagoon. But I can understand the stir of this film back in 1980, I doubt something like this would be made today.

The script is pretty risible, trying to almost be a sexier Swiss Family Robinson while promoting itself as being a natural and free expression of burgeoning desire. It leaves the stars uttering lines that raise laughter rather than sweetness or sexiness. Plus, certain plot points like the tribe that are on the other side of the island are practically all but forgotten and blink and you’ll miss it. It’s as if someone just cut out that part and thought it would help( in reality, it doesn’t). The best things in The Blue Lagoon are the cinematography and music, which actually provide some feeling of atmosphere. Néstor Almendros is the cinematographer and his use of natural lighting is inspired at capturing the romanticism of paradise and supplying us with an array of breathtaking vistas. He breathes life into the film and shows the set location of Fiji to beautiful effect. Aiding the cinematography and the film itself is the lush music that is simply gorgeous. It has such a sweeping and intoxicating aura to it that is better than the film it belongs too. That can be said of both aspects as you do have to admire them, but obviously wish the film had more to involve us.

The acting from Brooke Shields and Christopher Atkins was lambasted on release. Yet while neither is perfect or especially earth shattering, they aren’t horrendous and have some moments to shine. It’s the writing that doesn’t give them a lot to do, often making the characters sound unconvincing. I know they are supposed to be uneducated and unaware of things, but they come off as dim witted. Thankfully, Shields especially has enough charm and presence to compensate this. Not amazing by most standards, Shields, with her prominent eyebrows and dazzling eyes, at least suggests her character’s changing mindset and unsure feelings with some semblance of conviction, As I’ve said, Shields is hardly delivering Oscar worthy work here, but is decent enough and her face is made for the camera. Christopher Atkins comes off less well, mainly seeming overly petulant or over the top . I think both where cast for their attractiveness that is hard to deny, but they are stranded with a story that doesn’t allow much for them to work with. At least they are both watchable (Shields in particular) , considering the main focus of The Blue Lagoon is on them and they are mainly required to be attractive and lounge about in tropical surroundings. Both became stars, with Shields becoming a face of the 80’s and teen idol in the process. Leo McKern, in the time he’s seen in the film, has bluster and fear but most importantly he does move the often slow movie forward.

So thanks to delightfully arresting cinematography, gorgeous music and wonderful setting, The Blue Lagoon has at least three things going for it. Despite its dopey logic and wanting to have its cake and eat it, the film is at least watchable and has the handsome pairing of Brooke Shields and Christopher Atkins.

Little Women(2019)

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2010's, Bob Odenkirk, Chris Cooper, Coming-of-Age, Drama, Eliza Scanlen, Emma Watson, Florence Pugh, Greta Gerwig, James Norton, Laura Dern, Little Women, Meryl Streep, Saoirse Ronan, Timothée Chalamet, Tracy Letts

Greta Gerwig brings the classic novel of Louisa May Alcott to life with her interpretation of Little Women. It emerges as a charming, moving and lively portrait of young womanhood and family, complete with an inventively structured narrative and simply stellar performances. You have to see this film it’s as simple as that.

In Concord, Massachusetts, the four March sisters; rule abiding beauty Meg( Emma Watson), boisterous aspiring writer Jo( Saoirse Ronan), painfully shy music lover Beth( Eliza Scanlen) and spoiled, petulant madam Amy( Florence Pugh), grow up with their caring Marmee( Laura Dern) while their father( Bob Odenkirk) is away fighting in the American Civil War. Times are tough and the family are forced to make do without luxuries, but with their closeness and spirit they get through it as best as they can with their warm-hearted and rational mother. Life before them doesn’t really offer many opportunities for women, but feisty Jo is willing to smash those limitations with her writing. Though she’s met with skepticism and even doubts herself, her spirited self won’t rest. She befriends along with her sisters Laurie( Timothée Chalamet); a boy who lives nearby and wants adventure. He in turn likes the feeling of family that the March household has as he finds his Grandfather stern and his life dull. He begins to romantically like Jo, but finds it isn’t always easy in love. Meg is concerned with being a demure lady and has her heart set on a husband and family, preferably with money. She discovers that money isn’t everything when she meets a tutor by the name of John Brooke( James Norton) who doesn’t have a penny. While Meg looks on as other ladies grow in wealth, she only occasionally chafes at it when she realises how good her situation is. Awkward but thoroughly kind-hearted Beth is largely confined to the house as she is shy and prefers to busy herself by playing the piano. Mr Laurence( Chris Cooper) sees this and offers the use of his piano, to the delight of the young girl. Amy, who is often vain and belligerent, aspires to be an artist though she either wants to be “great or nothing”.  The girls endure hardship, sickness in the case of Beth’s bout with Scarlet Fever and their eyes being opened to the world, under the eyes of Marmee and traditional maven Aunt March( Meryl Streep), who enjoys lecturing the family she considers disobedient. The narrative weaves back and forward in time to the American Civil War and the years after it, exploring events in the form of recollection and memory.

With Lady Bird, Greta Gerwig announced herself as a talented director. With Little Women, she makes good on her promise to deliver a timeless story with newfound verve and appeal. As previously stated, the choice to shoot the film in a non-linear fashion is an inspired one. Kudos to Gerwig for using it to create an immediacy with the women at the heart of the story. For instance, we are introduced to the sisters separately rather than the traditional all together round the fireplace that’s shown in more traditional versions. I liked seeing them later on and grown up, before cutting back to their childhoods. It creates a vivid contrast, effortlessly displaying the changes in characters and circumstances through being brightly coloured in cinematography for the portions of childhood and more subdued in the adult sections. It’s a gorgeous visual approach that also supplies us with humour, growth and metaphor. It’s a stroke of intelligence and risk to tell such a well known story in this way, but Greta Gerwig clearly understands what she is doing and the results speak successfully for themselves. You’ll laugh, you’ll cry and you’ll love being in the company of these four memorable ladies. 

Her script is natural and free flowing, with the girl often talking over each other in the cosy home sequences which creates a believable bond as sisters. That’s not to say all the dialogue is like this, in fact it’s very pertinent and acute, but I enjoyed the feeling of sisters having their say in their own way. There is a hustle and bustle to their home life, which marks it in contrast to many a film set in another era that usually feel a bit mannered or overly polite. Little Women has gusto and charm as the sisters fight, rub along together and generally form a feeling go camaraderie the age won’t intrude on. It’s become clear that Gerwig is a fan of exploring young womanhood and family, which was seen in Lady Bird and now in Little Women. And how she examines that even though times have changed, there are still in some places limitations placed on women who want to burst through the glass ceiling. Little Women gets that across with zest and a certain modernity, which thankfully doesn’t put the original story in jeopardy but actually adds to the experience. Alexandre Desplat is a masterful choice for composer as is evidenced by his gorgeous score. Making spirited use of piano along with well timed strings, there is a vibrancy to his music that fits the story perfectly. Seriously, the score should definitely be getting awards notice come that season and I sincerely hope it does.

Saoirse Ronan leads the way with another sterling performance. She gets the unkempt energy, boundless enthusiasm and creeping self-doubt vulnerability just right for Jo. Ronan shows that Jo is often at the mercy of herself and her spirited nature, but how she’s trying to find her own place in the world in a time that isn’t exactly keen on it. Ronan is truly alive here and makes the part of Jo her own, which is saying something as it’s a role that’s been played so many times and can be hard to put your own spin on. Thankfully, Saoirse Ronan is up to the task and splendidly pulls it off much to my delight. Florence Pugh, who is having a banner year so far, closes it off with yet another believable and confident performance. She brings out the bratty and vindictive parts of Amy as a child and her shrewd understanding as an adult. The gifted Pugh gets both ages spot on, charting the rise of a girl whose snooty attitude melts as she learns how to survive in society and play the game better than anyone. I enjoyed how fleshed out Amy was in this version, too often she’s relegated to just being the spoiled one. Yet thankfully, with the script and the luminous Florence Pugh injecting smarts, Amy is given a new lease of life. These two actresses are the main standouts and should both expect award notices, but the rest of the cast is not to be sniffed at either as they fill out the cast of characters with care and skill. Emma Watson has the grace and heart of Meg just right, as she occasionally fails against society but finds that happiness is where romance is at. Some say Meg is the passive part and most traditional of the sisters, but I think that with Watson she emerges with some agency. Eliza Scanlen has the sweet face and  sense of humanity about her that suits Beth and doesn’t make her just a saintly figure. She’s one of the driving forces, particularly in her bond with Jo and Scanlen plays to that with great nuance.

Timothée Chalamet, of floppy hair and eyes that express a lot and most effectively sadness, is ideally cast as Laurie, who comes to be like another member of the March family but who is completely love struck by Jo. He’s spirited and gangly, always moving about and his kinetic behaviour and wearing of emotion on his sleeve ensures Chalamet and Ronan once again prove how effective their chemistry is whenever they are together. Mind you, he has great chemistry with all the women, but in particular Ronan and eventually Pugh. Laura Dern has just the right amount of grit and maternal love as one of the guiding forces for the girl, while Chris Cooper is crusty but mellowed as the neighbour who grows to become close to the March family. Stealing her scenes is the always dependable Meryl Streep, who you can tell had a blast playing the opinionated and cutting Aunt March. She’s a lot of fun to watch as this matron who always has to make a point of something, even if it’s insulting. If there’s a tiny flaw, it’s in that both Bob Odenkirk and James Norton are not given a lot to do. Both are accomplished actors so it would have been nice to have seen them show off some of their talent. But aside from that, I don’t have many quibbles with this movie. Tracy Letts is entertaining in his small but memorable role of publisher who is initially dismissive of Jo, but grows quite fond of her as time goes by.

With Greta Gerwig at the helm, Little Women comes to sparkling life and proves that certain stories can still be fresh no matter how many times it’s been adapted. A winning coming of age story that captures the imagination and heart without resorting to sentimentality, I can’t recommend this version of Little Women highly enough for its energy and splendid cast.

Lady Bird

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2010's, Beanie Feldstein, Comedy, Coming-of-Age, Drama, Greta Gerwig, Lady Bird, Laurie Metcalf, Lucas Hedges, Saoirse Ronan, Timothée Chalamet, Tracy Letts

Greta Gerwig makes her solo directing debut with Lady Bird; a funny, sometimes painfully honest but incredibly personal story of a teenage girl coming of age in her senior year of school. Her vision is aided by two sensational performances by Saoirse Ronan and Laurie Metcalf as the mother and daughter at the heart of a tumultuous relationship.

It’s 2002 in Sacramento, California. Here we meet Christine McPherson( Saoirse Ronan), a teenager in her senior year of school. She attends a strict Catholic school, despite the fact her parents are struggling financially. She also goes by the name Lady Bird in an effort to stand out from what she sees as a boring place of no culture or event of note. Her opposition frequently clashes with her hardworking mother Marian( Laurie Metcalf), which results in bust ups throughout the year. Marion is a nurse who works doubles to support the family as her genial husband Larry( Tracy Letts) has been laid off and often tells Lady Bird that she is aspiring for too much. Both are at loggerheads and then fine, followed by more arguing that ebbs and flows. Meanwhile, Lady Bird, who knows she is distinctly average at a lot of things but isn’t short on ambition, has to find her way through the last year of school. which includes taking part in the school play, falling for two different guys in the form of Danny (Lucas Hedges) and sardonic, cool guy Kyle ( Timothée Chalamet), finding trouble with her best friend Julie( Beanie Feldstein) and generally feeling like everyone is somehow against her dreams . At the centre of it all, her relationship with her mother takes twists and turns as they attempt some form of understanding.

While Lady Bird does observe conventions of standard coming of age movies( boys, falling out with friends and rebellion), but there is something in the way that the story is told that makes it feel fresh. The personal undertone that the passionate Gerwig has infused the film with really stands out and captures that awkward time in someone’s life where everything feels like life or death. So while it isn’t an original or full on groundbreaking film, the approach taken and blend of comedy and drama is to be applauded for pulling us in and how it has us laughing one minute and emotional the next. Many scenes illustrate this bit the opening of Lady Bird and her mother going from niceness to bickering in minutes, along with the former throwing herself out of the car so she doesn’t have to listen to disagreement, clearly sums up the kind of film this is. Also, the pink cast Lady Bird wears for most of the film is an apt bit of symbolism that clearly displays our heroine’s desire to be an individual at any cost.

Lady Bird manages to avoid the cloying nature that often saturates a coming of age story to the point of mawkishness and steers clear of being melodramatic. Sure quite a bit happens to the titular character over a year, but it’s shown in such an organic yet warm way that tempers events with seriousness and comedy. I’m a fan of coming of age stories when told with substance and style and Lady Bird owns both of those admirable qualities. There will still be those who will write of Lady Bird as just another teenage comedy drama and not give it a chance. But I think they are really missing out on an often hilarious yet deeply effective evocation of a young girl turning into a woman who wants something out of the world to happen to her. The gold hues of the cinematography, coupled with the use of montage and choice of music, are gorgeously used to create a definite feeling of looking back on memories.

Now on to the acting in this teenage comedy drama and it’s clear to see that it’s one of the best things in Lady Bird’s impressive arsenal. In the lead, the always talented and confident Saoirse Ronan excels stunningly. Those blue peepers and arresting face chart the varying contradictions of Lady Bird as she faces adolescence and how she views it as an existence sent to test her. She’s restless, petulant, dramatic, funny, whacky, caring and acerbic. I’m simply running out of adjectives to describe Ronan here, she is that good at imbuing they part with bite. Ronan makes for a memorably flawed but endearing heroine, even when she’s being unpleasant. It’s the definition of a complete performance that just ticks all the right boxes and Saoirse Ronan owns the role with every fibre of her being. For an actress still so young, I’ve a feeling that she’s becoming one of the finest actresses of her generation and that’s not an exaggeration. Laurie Metcalf superbly supports Ronan with her work portraying a no-nonsense mother who as someone else mentions is as loving as she is frightening. Metcalf supplies the story with a serious undertone but isn’t above humour. Simply stated, she’s remarkable as an opinionated, careworn woman trying to raise a daughter who insists on creating difficulty for her. Ronan and Metcalf are magnetic together; both characters won’t admit it but they do share similarities that they would much rather not. This sets the scene for much drama between them. Beanie Feldstein is an absolute delight as the best friend who is so endearing that you want to give her a hug. The way Feldstein plays her shows that she’s truly alive in her best friend’s company and it’s what gets her through her low self-worth. Tracy Letts is quietly and subtly convincing as the protagonist’s father who is the good cop to his wife’s bad cop. Letts infuses him with a warmth but a big level of sadness as this character is unfortunate but doesn’t make a fuss. He is very moving in his work and his scenes with Saoirse Ronan are a delight. Lucas Hedges and Timothée Chalamet play the two main boys in Lady Bird’s life with energy and awkwardness for the former and scowling but charming rock dude for the latter. I liked both parts from these actors as they had more to them than just the boys the heroine likes, particularly Hedges and his story though Chalamet is no slouch either, far from it in fact. 

Hilarious yet deep, stylish but buttressed by story, Lady Bird is a marvellous solo debut for Greta Gerwig that soars owing to its direction, script and two deservedly Oscar nominated performances at the centre of it.

The Addiction

Tags

1990's, Abel Ferrara, Annabella Sciorra, Christopher Walken, Drama, Edie Falco, Horror, Kathryn Erbe, Lili Taylor, The Addiction

A vampire horror movie with a difference, Abel Ferrara gives us The Addiction. An allegory for the evil within humanity seen through the prism of being a night walker, it’s an incredible, cerebral and stylish evocation of sin, redemption and darkness.

Kathleen Conklin( Lili Taylor) is a young university student in New York who is studying philosophy. She’s recently been examining the evil of the world and the roles people play in it. Little does she realise it will play a big part in her existence sooner than expected. One night after class, she is walking back to her apartment. A seductive woman who we learn in the credits is called Casanova( Annabella Sciorra) greets her and then violently pulls her into an alley. She then bites a terrified Kathleen’s neck and then as she’s walking off drops hints of something dark and sinister ahead for the student. After being treated for her wound, Kathleen starts to act strangely. She begins to develop an aversion to sunlight, grows increasingly aggressive and starts to crave human blood. She soon realises she is becoming a vampire and attempts to stop her bloodlust, but it proves difficult as her affliction grows more prevalent . She runs into experienced vampire Peina(Christopher Walken) who gives her a lecture on how he’s managed to stave off the hunger for as long as he can. But can his wise words persuade a rabid Kathleen to submit and seek redemption for the bloodshed she is causing?

Abel Ferrara crafts The Addiction as his own beast and refuses to compromise with expectations of what people necessarily want to see. The film is definitely a horror film but at its heart has a lot more to say. Horror and drama coalesce in this urban and existential study of  dependency and the very concept of evil, mostly driven home through the many instances of philosophy being discussed or heard throughout. Ferrara is clearly a maverick film maker who takes risks and plays by his own set of rules. In my book, it’s refreshing to see a director really bring their vision alive no matter how strange or startling the content. I mean, using black and white in a contemporary setting plus a hip hop soundtrack doesn’t sound like something you’d think of for a movie about vampires. But in my view, it works in modernising these creatures and placing them in a real world setting with real world topics being reckoned with. The Addiction argues that humans are in essence drawn to evil and resistance can be used, but can be futile if you’re not strong enough. This is glimpsed by Casanova’s speech to Kathleen about telling her to go away instead of biting her. Kathleen later uses this on her victims as a sort of reverse psychology and power base. Ferrara and his frequent screenwriter Nicholas St. John are more interested in reinterpreting the vampire lore we think we know( and less in constant gross out horror) and their efforts add depth and oddness by equating vampirism with drug addiction and even saying that evil sin is something we are all capable of. This is showcased in a number of scenes in which Kathleen’s lecture looks at the atrocities like the Holocaust and the My Lai Massacre. It’s startling for sure but it really encapsulates the notion of brutality and evil being all around us and having been there since the start of time.

The horror aspects are extremely well handled, being brutal and startling yet with a purpose to back it up rather than just for gratuitous violence and blood letting. It’s impressive how much Ferrara manages to pack into a film that’s little over 80 minutes, but he does it. It must be stated that The Addiction isn’t going to be a film for everyone. Some of it is undoubtedly confounding and many will see the allusions to philosophy as pretentious which isnt entirely wrong in some parts. But The Addiction weaves a certain spell on you of you let it and boy does it hey The black and white is an inspired stylistic choice from Ferrara and aided by the hypnotic cinematography of Ken Kelsch, New York becomes a dark, eerie but entrancing place of shadows and brutality. It’s almost another character in the film that’s how much of an aura we get here with a debt to noir being evident. The aforementioned hip hop/ rap music featured further establishes the urban atmosphere and impaired with a slithering score that rises and falls like the eponymous affliction. Both play a big part in keeping us watching and being engrossed in this horror drama with a lot more on its mind that just gruesomeness.

Lili Taylor, of petite stature and interesting eyes, is an unusual but spellbinding presence as the student turned bloodsucker. She plays Kathleen as someone who is idealistic and curious, but after her bite, turns quite cold, aggressive and dangerous. In between craving blood and completing her thesis, Taylor explorers the characters outlook on life through philosophy and how it morphs once she sees the world in a transformative way. Her frustration and desperation, coupled with an unsettling stare and rabid hunger are all accounted for and played wonderfully as Kathleen has to come to turns with what she has been changed into. Taylor has always been a reliable performer and she doesn’t disappoint here, in what is one of her best roles that requires her to really dig into the darkness and craving of someone hooked on the taste of blood. It’s quite a subtle performance in parts( Kathleen and Taylor herself look very innocent to the untrained eye), but that only enhances the dichotomy of her even more and adds layers to the later brutal acts she commits with full on force in order to feed her thirst for blood. Simply stated, Lili Taylor is the anchor of The Addiction and haunting in the best sense of the world as the victim turned bloodthirsty predator. Christopher Walken appears in what is essentially an extended cameo, but it’s well worth it and he makes the most of the time he’s on screen. His strange, sagacious demeanour, coupled with lashings of sarcasm at the state of his existence. He’s a vampire cutting down after all so he’s philosophical like a guru and sardonic in equal measure. It’s all in a way only the talented Walken could pull off. Annabella Sciorra, all slicked hair and dangerous appeal, wonderfully acts as the instigator of Kathleen’s transformation and though seen on in a handful of scenes near the beginning and end of the film, makes her mark felt. Watch out for early roles from Edie Falco and Kathryn Erbe as unsuspecting victims.

A very different take on vampires by a director with his own unique way of telling a story, The Addiction is well directed and acted horror/drama that won’t be to all tastes. But for those looking for a film that will make you think about it’s existential themes, it’s hard to go wrong with this most unusual film.

The Seventh Sign

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1980's, Carl Schultz, Demi Moore, Drama, Jürgen Prochnow, Manny Jacobs, Michael Biehn, Peter Friedman, Supernatural Thriller, The Seventh Sign

A mostly engrossing apocalyptic drama/ thriller with religious and mystical overtones, The Seventh Sign didn’t do good business on its original release. But while it is flawed, there is also plenty to praise in this imaginative film that has a gloomy yet hopeful tone and a convincing central performance from Demi Moore.

Around the world, strange phenomena is occurring. In Haiti, all marine life dies in the ocean. In Israel, a desert village that was seized by terrorists is found covered in ice. Meanwhile, in Venice, California, Abby Quinn(Demi Moore) is a young woman who is looking forward to giving birth in two months. She is supported by her decent and hard working husband Russell(Michael Biehn), but she can’t shift feelings of terror as result of an unsuccessful first pregnancy. She’s also been experiencing vivid dreams of ancient times in which a man is struck across the face and asked “Will you die for Him?” Abby and decide to rent out their garage apartment, while is currently on a court case defending a young man with Down’s Syndrome who killed his incestuous parents and claims it was the will of God. The lodger they find is named David(Jürgen Prochnow), a quiet man who seems to know things before they happen and things he couldn’t possibly know. The thing is he is the man who has been present at each of these disasters and is the instigator who breaks the seals that start them. It becomes apparent that the unusual events around the world are part of a biblical apocalypse. There are seven signs referenced in the holy book and David seems to be the bringer of them. His presence begins to unnerve Abby and with more unusual portents of the apocalypse swirling around, she becomes fearful for the life of her unborn baby. It transpires that everything is somehow linked and comes back to Abby and her baby. Around this time, a mysterious priest, Father Lucci(Peter Friedman) appears, having followed the signs and his means may not be that altruistic. Abby confides in Avi( Manny Jacobs) a Jewish student training to be a rabbi, who is familiar with religious texts and helps her to unearth more of the apocalyptic future. But can Abby figure it all out before chaos reigns and her baby is born? And just how does her and the baby she’s carrying slot into the end of the world?

Carl Schultz directs as efficiently as he can and fashions out a fascinating thriller, with deep religious overtones . Certain areas of it require work, but Schultz gives it his all with the material. Visually, the moody cinematography is sublime at bringing a level of gloom into proceedings and a strange mystical aura hovers over it. The Seventh Sign is overall a very creepy film that’s also surprisingly deep in regards to the Apocalypse. It grounds the fantastical events and signs in a real world setting that is truly well executed and not without thought. Biblical prophecy and some elements of Jewish religion and mythology are what keeps The Seventh Sign really going. The sequences of destruction are memorable and unnerving( the blood red moon and a climactic earthquake are highlights , while not going full on overboard with effects). Saying this, I would have preferred if the film had a bit longer on the running time as it may have fleshed out the story even more and elevated it to masterful. As it stands, The Seventh Sign is still a watchable mix of religious drama and supernatural thriller. Mystery is kept reasonably high as Abby attempts to decipher visions and omens in order to save her baby from something she thinks is sinister. The liberal helping of confusion and reason may be here, but The Seventh Sign still holds your attention, despite the logic sometimes lacking for my liking. The hopeful colouring to the film redeems a bit of it with a certain message of hope stirring emotions. I very much enjoyed the Gregorian chanting and synths of the score by Jack Nitzsche. He is skilled at really bringing out that unusual side to the movie through his music and I for, genuinely liked how effectively used it was.

At the heart of The Seventh Sign is Demi Moore with a moving portrayal. She’s got a certain relatability to her here that goes a long way in earning audience sympathy. We witness her frightened mind and burgeoning realisation at the dark situation at hand, with Moore beautifully getting across her desperation and confusion with aplomb. Moore ensures that we emotionally attach ourselves to Abby and her journey into the unknown as the End of Days rages at her door. Her eyes have a deep sadness and vulnerability to them that is often on display in gorgeous close up, but it’s a bubbling strength and bruised resilience that truly shines through for Demi Moore. Simply stated, Moore is the lynchpin and emotional core of The Seventh Sign that is what sticks in the mind after the credits. Michael Biehn is fine as the supportive but concerned husband. The role isn’t much of a stretch but Biehn plays it well. Jürgen Prochnow, of intense face and strong jaw, brilliantly plays the dichotomy of David. He’s both incredibly menacing yet never in your face, but then deceptively gentle and knowledgeable. It’s a fine balancing act that he pulls off admirably. Also on the talk of dichotomy, Peter Friedman, though he appears late, is also a good example of walking between welcoming and very creepy. Manny Jacobs is suitably knowledgable as the young student that Abby comes to rely upon. 

A flawed film that could have benefited from a bit more on the running time to really get to the nitty gritty of it, The Seventh Sign is nonetheless a very entertaining and unusually thoughtful film.

Hustlers

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2010's, Based on a true story, Cardi B, Constance Wu, Crime, Drama, Hustlers, Jennifer Lopez, Julia Stiles, Keke Palmer, Lili Reinhart, Lizzo, Lorene Scafaria, Mercedes Ruehl

Based on the true story of strip club workers scamming their clientele in efforts to make ends meet and sock it to the man, Hustlers is a colourful and surprisingly involving drama that makes time for comment on the strength of women and a sprinkling of humour. Also watch out for the talented cast, in particular a never better Jennifer Lopez.

It’s 2007 in New York, Dorothy(Constance Wu) is a young woman trying to make ends meet and help care for her ailing Grandmother. She’s working at a strip club, but not at all succeeding at making substantial money. Then she glimpses Ramona Vega( Jennifer Lopez), who is the resident queen bee that entices all with her sexy moves and charms. The two get talking and Ramona takes the inexperienced Dorothy under her wing and teaches her a thing or two. Dorothy soon goes by the name Destiny in the club and with Ramona’s guidance, starts to succeed. There’s a certain level of sisterhood between them that grows. Then the 2008 financial crash hits and things go south. Destiny discovers she’s pregnant and with business at the club running low and her boyfriend leaving her, she’s pretty desperate. The stripping business is not what it was and after meeting with Ramona( who she hasn’t seen in a long time), a plan begins to form. They will, along with other strippers that they know, make themselves available to men who are typically brokers or CEO’s on Wall Street , drug them and max out their credit cards. Although extremely dangerous, both women dive headfirst into this scam. Joining them are newbie strippers Mercedes and Annabelle( Keke Palmer and Lili Reinhart) who prove equally as adept at it. As the money rolls in things look good for the ladies, but soon greed begins to set in and events spin out of control for the merry band of women.

Lorene Scafaria is clearly a director who knows her craft and how to make a movie that entertains as well as invest you with its characters. Writing the script as well, she doesn’t condemn or condone what the women do and doesn’t exploit them endlessly in leering fashion either. Instead, Hustlers finds its footing presenting them as women pushed too far and hustling to survive in a cruel world that doesn’t reward the honest. Morality is a slippery slope after all and Hustlers presents that in fantastic fashion. In terms of highlights, watch out for Ramona’s sultry and commanding entrance which lets you know everything you need to about her without dialogue; it’s a standout sequence thats the definition of memorable. Scafaria references the work of the masterful Martin Scorsese in terms of bright visuals, montage and themes, with the good, flashy life of money and power slipping into chaos as things turn sour. places you right inside this world that the ladies are part of and pulls pulls you into their stories and reasons for taking part in a hustle. The world that they populate is best summed up by Ramona; who groups customers into ranks of how devious they are and how much money each is worth. Ramona is a pro at surveying people and a lot of the information we learn is through Destiny reiterating the words of this charismatic mentor. The framing device of Destiny/Dorothy revealing the details of the scams to a journalist played by Julia Stiles, who will write about it in the present, is cleverly employed and never too intrusive as to take us out of the film. A bit of repetition at the midway point can be pardoned for how the overall package is slick, thrilling and surprisingly evocative of the struggles women face and what happens when they take dangerous action. Mark my words, Lorene Scafaria is a director to watch out for in the future. While very much a drama, a liberal helping of humour abounds in Hustlers and is most welcome. Of particular note is the whip smart writing that allows for commentary on women taking control after being objectified and believably creating a camaraderie among the crew that feels very authentic. A killer soundtrack with some unexpected but fitting songs is a significant part of greatness in Hustlers and helps excel the narrative as it twists and turns.

Constance Wu heads the cast and is marvellous. Her curious face is our guide into Hustlers as she goes from downtrodden, vulnerable girl to successful woman, yet still retains a questioning backbone over her actions. She’s the audience surrogate but that is by no means a bad thing at all as Wu is simply stunning with both the humour and the drama. You truly feel for her too because of how convincing Wu is. What you’ve heard about Jennifer Lopez and her work in Hustlers is all true. Fierce, beguiling, bewitching and ruthless( but not without humility or compassion), Jennifer Lopez turns in career best work that reminds us what an actress she can be. Too often in the movies, she’s been in material that doesn’t show off her range( save for Selena and Out of Sight). Thankfully that’s been rewritten in Hustlers; she’s truly allowed to let her charisma and presence shine with alacrity, along with nuance and physicality. Trust me, Lopez is at the top of her game here and is worth every ounce of acclaim. She’s the main showstopper here and don’t forget it. Keke Palmer and Lili Reinhart both contribute plenty of energy and humour as the new girls on the block; both are given time to shine and develop their characters with humour and life. We have Julia Stiles as the journalist listening to the outrageous and audacious story and she displays a great amount of vacillating from feeling enthralled to being shocked at what she hears. She’s another pair of outsider eyes and ears in Hustlers and an effective pair too. Cameos from Cardi B and Lizzo are fun whenever they are present. I very much enjoyed the small but memorable role of Mercedes Ruehl. I found she injected great warmth and wisdom into her mother of the den part and I was entertained by her appearance here.

Stylish, highly entertaining but also insightful and filled with an array of talented actresses and director, Hustlers is one excellent and very surprising movie.

Fire in the Sky

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1990's, Based on a true story, Bradley Gregg, Craig Sheffer, D. B. Sweeney, Drama, Fire in the Sky, Henry Thomas, James Garner, Mystery, Peter Berg, Robert Lieberman, Robert Patrick, Science Fiction

Inspired by the alleged alien abduction of Travis Walton, Fire in the Sky paints a mysterious yet very deep story of the impact of truth and whether people believe what is deemed extraordinary. Whether you believe the story or not, this film is bound to have an effect on you.

It is 1975 in Snowflake, Arizona and happy go lucky logger Travis Walton( D.B. Sweeney) has just started working on a job in the White Mountains. He is on the team headed by his more serious friend and future brother in law Mike Rogers, who is the kind of man who tries to keep everything running smoothly in life. Then there is the rest of the group; hot-headed troublemaker Allan Dallis( Craig Sheffer) , trustworthy and religious David Whitlock( Peter Berg) and jokers, Greg Hayes(Henry Thomas) and Bobby Cogdill( Bradley Gregg) . On the night of November 5th, they are travelling in their truck back home when they see a brilliant red light in the distance. Curious, they go to look at it and here is where events get sinister. They come across what looks like an alien spaceship, though they can’t be sure. Travis gets out to examine it and is struck by a light. Fearing him dead as he doesn’t move, the team in terror leaves. Later on, Mike returns to look for Travis but there is no sign of him. Returning to their town, they relay what they saw to the local police officer. The arrival of seasoned detective Lt. Frank Watters( James Garner) coincides with the investigation as he digs into the story. At first he doesn’t believe their tale and believes there has been foul play involved. The townsfolk get wind of events and most people are highly skeptical of what transpired. Yet when after five days, Travis turns up, disorientated and traumatised, it leaves things wide open for interpretation. Especially when he ‘remembers’ what happened to him, much to the shock of others.

Robert Lieberman is at the helm of this film and he effortlessly infuses it with a sense of time and place. He contributes a very human touch to what many will say is fiction by not going overboard with the alien aspects, keeping a certain sense of realism to things that many may sniff at. Fire in the Sky lets you make your mind up on whether the extraterrestrial encounter took place or not. It edges towards believing Walton’s claims, yet leaves a welcome ambiguity and mystery to it. What’s most impressive about Fire in the Sky is how it doesn’t go for an over sensationalised angle and instead concentrates on the pain of losing a friend and how it sends shockwaves through an uneventful small town. The film is pretty character driven, particularly by and is all the more human for it. Naturally, it has filmic elements to add to the story( which I’ll speak about later that are effectively used), and that’s what makes Fire in the Sky a strange beast. It’s a film about s science fiction subject that’s played entirely straight. Now it’s not flawless by any means( I find some parts of it don’t add up and the denouement could have been stronger), but for my money, Fire in the Sky is a very underrated movie that’s worth your time.

And when it gets to the scenes of what what happened to Travis, horrifying is taken up several notches as we witness the torture and dehumanisation of this man. Shot like a chilling horror movie, it’s a scene that genuinely makes you uncomfortable and disturbed. Many will claim that these sequences embrace science fiction too much, but I think it’s just following the story as Walton told it with an obvious bit of elaboration for the movie to chill you. And that’s not a criticism, I mean don’t all movies based on real life take some different avenues in the name of entertainment? If anything, it’s one of the best scenes in the film in terms of what it presents and just how scary it makes it. Up until that point, there has been definitely strange but these sequences that come later on in Fire in the Sky really go for the jugular. The music by Mark Isham, strikes the right chords of emotion, fear and when needed terror, to create something that plays along to the movie’s strength.

The cast assembled here is a very good one that add a lot to the film. D. B. Sweeney, with his likeable face and jovial manner is ideal for the part of the dreamer whose suddenly taken. It’s impressive because his appearance in the film is mainly in the first quarter and then the last parts, the rest of the time focuses on the other characters related to him. Sweeney manages to make Walton a full character in the time he’s on screen with just the right amount of sympathy and belief, especially after his traumatic experience which is where Sweeney really shines. Robert Patrick is given the most material and boy does he act his socks off. Embodying determination, a head full of guilt and being the boss in life, Patrick explores excellently by giving him layers and making him very relatable. It’s stellar acting from Patrick as the heart of the story. Craig Sheffer, Peter Berg, Henry Thomas and Bradley Gregg flesh out the other members of the team, with particularly good skill from Sheffer as the belligerent member and Berg as the one who tries to smooth everything into a positive. James Garner is a huge plus to the cast and he’s obviously relishing the role of old school lieutenant. Still bearing that twinkle in his eye and wit that balances with notes of grim seriousness, Garner is superb.

Involving, emotional and by turns very creepy, Fire in the Sky is an intriguing film that I think deserves a bigger audience, especially for its acting and aforementioned revelations. I think many will enjoy the mystery and very human drama within Fire in the Sky.

Yesterday

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2010's, Comedy, Danny Boyle, Drama, Ed Sheeran, Himesh Patel, Joel Fry, Kate McKinnon, Lily James, Music, Richard Curtis, Romance, Yesterday

Danny Boyle directs this warmly engaging tribute to the Beatles and the journey of love in a film that’s inviting without being cloying. Yesterday is the definition of a feel good movie.

Jack Malik(Himesh Patel) is a struggling young man whose passion is singing but whose never had success. He’s beginning to see that it might be the end of the road in Lowestoft as he’s not amounted to much. His best friend and manager Ellie( Lily James) attempts to sway him into not forgoing his dreams as she believes in him. This is coupled with the fact that she is desperately in love with him, though Jack has never noticed it. He is on the verge of giving up when something unusual happens. He’s riding home on his bike one night when a global power cut ensues and coincides with him being hit by a bus. Thankfully, he lives and though injured will recover. But once he comes around, Jack notices one strange fact about the world around him: no one remembers The Beatles. At first, Jack things it’s a bit of a joke but a few searches online reveal that all knowledge of them has been wiped. This in turn has led to other things not being remembered but the big one is the iconic Beatles. Jack starts to sing their music as if it’s his own to bring it the attention it deserves. This backfires as people assume he has written these classic songs and he starts to become successful. Even Ed Sheeran is impressed and his manager Debra(Kate McKinnon), who worships at the altar of greed and business, snaps Jack up. Soon he’s famous for singing these songs, but struggling with his own feelings of guilt that started off  as him trying to be good. Yet just how much longer  can Jack live a lie? And what of his relationship with Ellie, who obviously loves him?

Though it isn’t the first film to come to mind when I think of Danny Boyle’s directing, Yesterday shows him in mellow but touching mood. His eye for detail is very much on show with canted angles to signify the world being upside down for Jack and some pretty groovy transitions. Thinking on it, of late the underdog story has featured in Boyle’s films, only this time there’s a lot more laughs that show the director having fun. It’s aided by a winning script by Richard Curtis that mixes sarcastic humour and life-affirming love. Curtis often features lovable losers in unusual circumstances or being tested and Jack is no exception. The observations of what might have been without The Beatles are both funny and reflective, particularly in the last third where things get somewhat poignant. There’s a what if angle to a lot of Yesterday that’s delightfully daffy yet retains an emotional impact. And there’s a neat little unexpected twist that is very intriguing not to mention surprising. But because I’m a good guy, I shall not spoil it. Yesterday is t perfect and some areas seem overly familiar, but from an overall viewpoint, it’s a very nice experience and one that will leave you smiling.  Hearing the music of The Beatles is always welcome to my ears and hearing them performed with zeal and resonance in Yesterday is splendid. And I can’t not mention the romance of this film, which is tentative at first but eventually blooms as Jack realises just how important and loyal Ellie is to him.

Himesh Patel, who is best known for starring in Eastenders, is superb in the lead role of sympathetic Jack. Though his actions get him in trouble, he’s a character who tries to do the best and Patel brings that out of the part with a combo of subtlety and comedy. I hope to see in more movies as he’s really got potential as an actor. And I can’t forget his singing, which is also worthy for praise. Alongside him is the luscious Lily James, who is steadily becoming a very reliable actress. Her quirky mannerisms, winning smile and downright adorable nature are on full display for a lovely performance. You can’t help but fall in love with Lily James here. Ed Sheeran shows he’s not afraid to parody himself with a tongue in cheek role as a version of himself. I must say he does elicit quite a few laughs. Speaking of laughs, Joel Fry contributes fine humour as Jack’s right hand man whose not the brightest person, but who’s goofy heart is very much in the right place. On the other scale of laughs is Kate McKinnon who is simultaneously a ruthless bitch after money and an unhinged hoot The balancing act is effectively walked by McKinnon who is obviously revelling in being devious.

Capitalising on a strange but impressive premise and directed with skill by Danny Boyle, Yesterday is a charming, thoroughly enjoyable film, enlivened by the music of the Beatles and work of Himesh Patel and Lily James.

Scandal

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1980's, Based on a true story, Bridget Fonda, Britt Ekland, Drama, Ian McKellen, Jeroen Krabbé, Joanne Whalley-Kilmer, John Hurt, Michael Caton-Jones, Scandal

A dramatisation of the Profumo Scandal of the early 60’s, Scandal is a stylish and well acted evocation of the time and excellently focuses on the nature of guilt and a powder keg situation and who suffers and rises as a result of it.

In 1959, society osteopath and charming man Stephen Ward( John Hurt) meets the beautiful young showgirl by the name of Christine Keeler(Joanne Whalley-Kilmer). Immediately entranced, he asks her to live with him and she accepts. Their relationship is mainly platonic as he schools her in the art of moving in higher circles to which he aspires. After a makeover, Christine is ready for the future as Ward introduces her to wealthy gentlemen who she can spend the night with. Joining her is the saucy and fun loving fellow showgirl Mandy Rice-Davies(Bridget Fonda), who goes along with the fun of the time and enjoys the attention. At first, the girls are in it for the fun and Stephen is their sponsor as they share the beds of powerful men and he hears details. Keeler in particular is between the sheets with most notably Minister of War, John Profumo( Ian McKellen) and alleged spy Eugene Ivanov( Jeroen Krabbé) . An inevitable fallout begins when Christine feels used by the whole situation and you can see that Ward is realising he is out of his depth. Scandal engulfs everyone when an angry and dejected Christine sells the story to the papers, setting off a tragic set of events that brings down the Conservative Government and embarrasses the Establishment in the early 1960’s.

Michael Caton-Jones has the right feel for the time where you can sense that times were for the changing and the Sexual Revolution was about to explode. We also get insights into the people behind the headlines and a bit of insight into this revealing affair that captured everyone. Parts of the film drag on occasion and can get a bit dull, but the dark second half more than makes up for any langurs. I would have liked to have seen some characters a little more such as Profumo and , but when they were on screen they were good to view. A tiny bit of expansion is what I wanted just a bit more of, though I understand that the story was mainly focused on Ward. Although it deals with affairs and sexual encounters, Scandal isn’t overtly sleazy. Yes there is nudity and some unusual activity going on, but it doesn’t feel cheap and exploitative because of this immensely watchable true story that was quite the event in its day and shook things up on a massive scale. Plus, I think it skewers the whole myth of those higher up in society being above others in terms of decency, when in fact they are just as bad as anyone else. And who can forget the allure of Christine and Mandy getting ready for a night out; eyeliner going on and stockings being applied, to the sound of ‘Apache’? On a visual level, the glamour and chance of new promise that started with the 60’s is rendered beautifully.

The ever excellent John Hurt turns in one of his most underrated performances as the eventual scapegoat in the spiralling situation. While Ward was no angel, he was used as whipping boy and discarded by the friends in high society who themselves were far from lily white. John Hurt masterfully plays to the flaws of this charming man, but finds sympathy to his eventual fate that befell Ward, who paid for his attempts to move in the right circles. It’s a hard act to pull off, but Hurt does it with considerable skill in finding the lonely heart of a man undone by his actions and given the lions share of blame. Joanne Whalley-Kilmer project a feeling of naive innocence to start and then progress to unearth a sexy and alluring confidence. Whalley-Kilmer is a sensual presence on screen with her dark hair and doe eyes shining. Her biggest triumph is the mystery she encapsulates when playing Keeler; sometimes you are unsure of what she is thinking or likely to do. Through subtle flashes, we view a young woman at the centre of controversy and reacting in all sorts of ways to it.

A wonderfully and impeccably cast Bridget Fonda is a high point; clearly savouring her role as the sexy Mandy with whom Christine finds herself friends with. She’s got the confidence, razor sharp wit and slinky glamour that is superbly put to great use. It’s her who gets the humour and good lines in Scandal and makes the most of them. Although I would have liked to have seen more of him, Ian McKellen is reliably good as Profumo, showing a man paying for his desires and jeopardising everything he’s worked for in return for the company of a beautiful young woman. The same can be said of Jeroen Krabbé, though it’s Mckellen who emerges as the most interesting of the two. A sexy supporting part is afforded to Britt Ekland, who is a stunning beauty and makes the most of her short time on screen.

A well directed and well cast look at The Profumo Affair, Scandal is intriguing and inviting in its exploration of culpability and Parliamentary ruin.