Ghost

Tags

1990's, Demi Moore, Drama, Fantasy, Ghost, Jerry Zucker, Patrick Swayze, Romance, Tony Goldwyn, Whoopi Goldberg

Film Title

Ghost

Director

Jerry Zucker

Starring

• Patrick Swayze as Sam Wheat
• Demi Moore as Molly Jensen
• Whoopi Goldberg as Oda Mae Brown
• Tony Goldwyn as Carl Bruner

A hybrid of romance, supernatural and thriller, Ghost still entrances audiences with its emotional heart. And while it would be easy to write it off as just another generic weepy, its heartfelt impact can’t be denied, as can’t find work from the cast, including an Oscar-winning Whoopi Goldberg.

Sam Wheat and Molly Jensen are a couple are madly in love with each other and living in Manhattan. Life is good for them as Sam is a successful banker and Molly enjoys her work as an artist. That is until their bliss is shattered one night. Coming home from a play , they are accosted by a thug and Sam is fatally shot. Yet while dead, his spirit doesn’t move on to the afterlife. Unfortunately, though he attempts to communicate with Molly, he can’t. Molly retreats into grief following his death and shuts herself away. After much shock has settled in, Sam slowly finding his footing as a spirit and how he can impact on Molly’s life and clutch tight their bond. Sam also discovers that his death was not just some random mugging gone wrong but part of a dodgy scheme that he’d inadvertently stumbled into earlier in the film. It was organised by Carl Bruner, who he considered a friend but is revealed to be a contemptible weasel. Realising that Molly is now in danger, Sam frets about how he can help his beloved. His possible answer comes in the surprising form of Oda Mae Brown, a fake physic who ironically can hear him. Oda Mae is reluctant and startled by her gift, which she never actually realised was there as she’s faked being a psychic for money. Yet after much persistence, she agrees to help him reach Molly. The trouble is proving to the grieving young woman that Sam’s spirit is still there. Time is soon ticking for Sam as he attempts to warn the devastated Molly of her impending danger and to finally move onto the next life knowing that she is safe.

On directing duties is Jerry Zucker, who brings considerable skill to Ghost. He really finds so many angles and different genre elements to contend with and he largely gets it right. Ghost at its heart is a romance with immense spiritual overtones to it. Yet it also boasts many moments of fine humour and even has thriller elements that are surprisingly strong and boast some unexpected tension, complete with some detours into the spooky realm. It’s a credit to Zucker that most of the hoops keep spinning in sync with each other, only occasionally stumbling in steps that can be easily forgotten given the rest of the picture. Overall, Ghost is definitely a memorably moving movie that knows the ways to get you deeply involved with the immensely heartfelt story at play. And it’s impossible to forget the justifiably famous scene of Molly and Sam at the pottery wheel that develops into a sensual encounter. It is so sexy and romantic, along with changing the way audiences would see pottery forever. Though it’s been parodied to death, the original scene still holds a special place in cinema as a most sexy and tender scene of two people genuinely in love with each other. Sure Ghost works on your emotions, but it gets right to the heart of the theme of love transcending all that it’s hard to really fault as it sucks you in. If you’re not flowing with tears by the end, you mustn’t  have a sensitive bone in your body. For Ghost beautifully and often poignantly highlights that love is in fact eternal and that the feeling of a loved one never leaves, whether they be alive or dead. And I for one bought into it, along with the various melding of genres that I mentioned earlier. Ghost may run a little too long, but that can be papered over given the investment and impact of the movie in general. Maurice Jarre is the man behind the sincere, romantic and frequently atmospheric score of Ghost, that goes a long way to accentuating the themes of love overcoming all and still burning.

Patrick Swayze has the right physicality and decency for the part of the Sam, whose desire and love for Molly is what keeps his spirit alive after he is killed. The part could easily have been bland or boring, but Swayze raises it up to a respectable level and adds his own spin on it that ensures we buy into his mission to save his beloved. Demi Moore, who has never looked more beautiful than she does here, also sells the desolation and passion of her character. And man is she damn effective in the emotional scenes, her tears cause you to shed them too. Standing out the most in proceedings is the scene-stealing Whoopi Goldberg, in an Oscar-winning performance. It is her who injects a lot of humour into the film and gives it yet another dimension. Acting as Sam’s often hilarious and sassy voice piece, Goldberg creates a character of high energy and care. It will be impossible not to laugh at just how funny she is here, being the memorable comic relief yet also finding some soulful honesty too. Rounding out things is Tony Goldwyn; appropriately nasty and sly as the backstabbing man whose actions lead to Sam’s murder. It’s a credit to Goldwyn that you really wish his character the worst and hope he gets exactly what’s coming to him.

A memorable romance that combines other genres like fantasy and sometimes tense thriller into the mix to a largely pleasing and arresting effect, Ghost will both warm and break your heart. So grab some chocolate, get the tissues at the ready and watch this romance that retains a sensitive and soulful presence today.

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Matilda

Tags

1990's, Danny DeVito, Embeth Davidtz, Fantasy, Mara Wilson, Matilda, Pam Ferris, Rhea Perlman, Roald Dahl

Film Title

Matilda

Director

Danny DeVito

Starring

• Mara Wilson as Matilda Wormwood
• Danny DeVito as Harry Wormwood
• Rhea Perlman as Zinnia Wormwood
• Embeth Davidtz as Miss Honey
• Pam Ferris as Miss Trunchbull

A glorious fantasy of a young girl discovering her talent for turning the tables on the unfair grown-ups in life, Matilda gets the right amount of dark humour and inspiring fun of kids taking control that Roald Dahl had in his book. This review will most likely be biased as I adored this movie growing up, but that’s why it’s perfect to review.

Matilda Wormwood somewhat stands out from her unappreciative and neglectful parents. Being a very bright girl with knowledge far beyond her tender six years, she craves learning and understanding. Unfortunately, she is cursed by a family of barbarians who don’t care about her; crooked father Harry, shallow mother Zinnia and utterly bratty brother Michael. They are addicted to television and their own selfishness to not notice the precocious daughter they have, leaving her to find company in books and knowledge from around the age of two. Out of anything, Matilda definitely wants to go to school. Yet upon finally attending school, she realises the unfairness of those older doesn’t just end at home. The principal Miss Trunchbull, is a monstrous bully who brutally keeps children in check with force, abuse and terror. Thankfully for bright Matilda, she meets the inspiring and lovely teacher Miss Honey, who understands her and treats her fairly unlike every other adult Matilda has encountered thus far. With Miss Honey in her corner and becoming something of a surrogate mother, Matilda blossoms. Yet Miss Trunchbull is having none of her spirited nature and takes it upon herself to especially humiliate Matilda. But lately, the wise and precocious girl has discovered that she possesses certain supernatural abilities that come into practice when she’s belittled or challenged by nasty adults. Soon, she finds a way to harness these powers to turn the tables on Trunchbull and her parents once and for all.

Danny DeVito utilities a sprightly and darkly mesmerising touch to the film, having a wide range of unusual angles place us in the position of children. Everything is rendered intimidating and strange by DeVito, which ties in with the story as it reaches magic levels of Matilda finally standing up for herself. this fun for kids to see a young person growing and getting her own back on those that have mistreated her and equally as entertaining for grown-ups to observe the gleefully dark and not sugar-coated content, which is faithful to the spirited imagination of Roald Dahl. While it deals with the feeling from children that adults don’t understand or respect them, Matilda fantastically exaggerates this(in keeping with the twisted fable from Dahl) which is satisfying and fits into a story of self-worth and having the power to manage some control and decision. I mean who wouldn’t want to get revenge on a bullying headmistress whose hobbies include throwing children over the garden fence for wearing pigtails, forcing them to gorge on an impossible cake or locking them in a nail filled cupboard known as The Chokey?. It’s the very oddball essence of Matilda that makes it such a good film; it often goes in different directions than you’d think for a film aimed at children and is very mature in passages. Matilda has humour, some frightening moments(make that all that involve the harridan of Trunchbull) and heart, best envisaged by the sparky and gifted protagonist whose powers lead to amusing and revenge filled mischief of the best kind. As I previously referenced, I had a big love if this movie as a kid. Visiting it as someone older, it still retained the kooky charm which I fondly remembered. A spirited score is just the ticket for the madcap content of Matilda, with unpredictable rhythms and puckish movements.

Mara Wilson is sublime as the special title character, whose vast intellect and power cause her to emerge as a likable lead and mature presence. Despite her tentative years, Wilson beautifully gets across Matilda’s love of learning, the wanting for someone understand her and her helpful and plucky personality that comes into play in nice fashion. I really can’t think of another person except Mara Wilson playing the role of Matilda so well and with such spirit. Danny DeVito also stars as Matilda’s low life father, with oily charm and rat like sneakiness. Complimenting him is his real life wife Rhea Perlman who is fabulously trashy as the bingo obsessed mother. Embeth Davidtz successfully makes Miss Honey a beacon of hope, yet never slips into overly saintly, due to a feeling of buried strength and having experienced the hardships of life. Yet the best performance in Matilda is the one given by Pam Ferris as the nasty Trunchbull. Ferris sinks her teeth into the part and brings it to furious and villainous life; making for a terrifying antagonist that everyone would fear if they were in her presence. There is a gleeful horror to Miss Trunchbull that Ferris plays to perfectly, ensuring that you really hate this woman and hope she gets some form of poetic justice at the hands of Matilda and her growing magical powers.

A fun and enjoyable not afraid to be dark and unusual, Matilda is a magical movie about how we can all be special and find a power within ourselves in life.

Brotherhood of the Wolf

Tags

2000's, Action, Émilie Dequenne, Brotherhood of the Wolf, Christophe Gans, Fantasy, Foreign Language Film, Horror, Jérémie Renier, Mark Dacascos, Monica Bellucci, Samuel Le Bihan, Vincent Cassel

Film Title

Brotherhood of the Wolf

Director

Christophe Gans

Starring

• Samuel Le Bihan as Grégoire de Fronsac
• Mark Dacascos as Mani
• Jérémie Renier as Marquis Thomas d’Apcher
• Émilie Dequenne as Marianne de Morangias
• Vincent Cassel as Jean-François de Morangias
• Monica Bellucci as Sylvia

An audacious melding of more genres that you can shake a stick at and Taking basis from tales of an alleged beast in the of France, Brotherhood of the Wolf is enthralling and unusual in the best sense of the word.

The year is 1764 and in the province of Gévaudan, a spate of brutal killings of young girls and children is attributed to an unseen predator known as The Beast. As time passes, the killings rise rapidly in and other parts of the land, leading to much upheaval and panic as to whether the creature is something of this Earth. In response, The King of France sends two men to make some sense of what is happening. These two men are Grégoire de Fronsac, a naturalist and talented sketch artist and his blood brother companion, Iroquois Mani. They find lodging at the house of a respectable family of high-ranking, becoming friendly with the young Marquis Thomas d’Apcher, who has a big imagination and a lot of heart. The dashing Fronsac is skeptical of the Beast’s authenticity or that it is something demonic, yet must investigate this thing that is baffling and devastating the land. He along with Mani is frequently tested by things that don’t add up regarding the alleged monster. Many describe it as a giant wolf, but others who survived it claim it was a supernatural being. The authorities keep a lot close to their chest, which hinders the search for The Beast and leads to more questions of just what the purpose and reality of the Beast truly are. Meanwhile, Fronsac finds himself attracted to noblewoman Marianne de Morangias, much to the chagrin and jealousy of her one-armed brother Jean-François, who has inappropriate yearnings for his sister. Something of a libertine, he also has his head turned by the tarot reading courtesan Sylvia, who lures him into her twisted web. The attacks of The Beast continue to alarm everyone, and the intelligent Fronsac, along with the sensory perceptions of Mani, believes he is getting nearer to discovery. For what lies at the centre of the Beast’s mystery is something way beyond what either man expected it to be

Gans is an adventurous film maker it must be said and that puckish quality is put to phenomenal use in this bricolage film, that always has a kinetic feel to it. There is no shortage of drama or eventfulness in Brotherhood of the Wolf that ranks it very high on the excitement and swashbuckling action. From the standpoint of visuals, the movie is so alive and a lot of careful craftsmanship has gone into the sets, costumes and overall atmosphere. The editing conjures up a sweeping and adventurous spell, complete with clever dissolves and overlapping imagery for maximum impact. While it could be accused of over egging the pudding with the sheer amount of genres at work, Brotherhood of the Wolf is nothing short of high entertainment and the very fact that it is so unusual is what makes it strong. Half of the fun in the movie is trying to see what will happen next or what tone it will adopt, which is exemplary in my book. I mean you just look over how many elements the film juggles and your mind is blown. You’ve got the feelings of fantasy and horror through the bloodshed and peculiar nature of the beast( which for a long time is effectively shrouded in shadows before revealing itself). Action is frequently shot like that of a spinning martial arts movie, specially prevalent whenever is around. And obviously there is something historical in the film from the fact that the material of The Beast of Gévaudan is still something of a strange mystery. For many, Brotherhood of the Wolf may confound with the sheer amount of things going on in it. But wouldn’t you rather have a film that  is filled to the rafters with content instead of a movie where noting of much value unfolds? The music bursts with unbridled energy from the very first frame. You couldn’t have asked for a better score to match the devilishly blended cavalcade of events going on.

Samuel Le Bihan is a good fit for the thinking and slightly rakish Fronsac, who knows something is very amiss in this affair. He gets across the funny and intellectual side that slowly paves the way for a personal streak of vengeance and fury, as the mission grows to be something personal. The morphing from thinker to full on fighter is handsomely handled by Le Bihan. The mainly silent but intense Mark Dacascos lends a spiritual and physical grace to Mani, from his movements to his mannerisms that are largely quiet but when needed pronounced. Dacascos possesses an unearthly poise and athleticism that make the role of Mani one of action as well as soulfulness. Young Jérémie Renier is suitably as the youth who becomes enraptured and curious in helping the two men in their discovery. It helps that has a charm and impressionable wide-eyed expression that is appealing and endearing. The three main guys of the picture work well with each other, obviously bouncing off the difference in personalities and attitudes that are brought together. A demure Émilie Dequenne handles the part of a stifled lady of prominence, who silently chafes at what is expected of her and is more than just an obedient observer when the occasion calls for it. Vincent Cassel nails the sneering arrogance of the warped nobleman whose desire for his sister causes a lot of creepy conflict, especially with Fronsac. Monica Bellucci seductively steams the screen up as the most mysterious lady of the night, who may very well have more answers than she gives out. Sly and capricious spring to mind when talking of her character and the stunning Bellucci plays that to the hilt.

A hugely exhilarating motion picture with deep imagination and a clear love of pulling things that shouldn’t really go together into something spectacular, Brotherhood of the Wolf is one of the most unconventional movies you’re likely to see, but that is what causes it to be so arresting.

It’s a Wonderful Life

Tags

1940's, Christmas, Donna Reed, Drama, Fantasy, Frank Capra, Henry Travers, It's a Wonderful Life, James Stewart, Lionel Barrymore, Thomas Mitchell

Film Title

It’s a Wonderful Life

Director

Frank Capra

Starring

• James Stewart as George Bailey
• Donna Reed as Mary Hatch Bailey
• Lionel Barrymore as Henry Potter
• Thomas Mitchell as Uncle Billy
• Henry Travers as Clarence

A movie that practically defines the term life affirming, It’s a Wonderful Life is a beautiful hymn to the spirit of community and the difference of one person on so many others. A perennial Christmas movie, it earns all of that adulation through the story, moving direction of Frank Capra and the lead performance from the iconic James Stewart.

George Bailey is a dreaming young man who has always wanted to travel and explore. Unfortunately, fate has had different plans for him which leaves him forever in his hometown of Bedford Falls. As he is a kind-hearted man, over the years he has had to make multiple sacrifices to help others. The biggest one was foregoing an education after his father’s death,  so he could take over the building and loan business. This is largely due to him not wanting the sly and crafty banker Henry Potter to take advantage of the small town, as he is known for trampling all over anyone who gets in his way. George gets some respite from his troubles thanks to his lovely wife Mary and their young children, but even then George starts to feel like he hasn’t achieved anything and has constantly put his life on hold. Events come to a head on Christmas Eve when his Uncle Billy, who works with his nephew, loses a large sum of business money that secretly falls into the hands of the wicked Potter. Terrified of the potential scandal on his business and how it will affect all of those closest to him, George is beset by suicidal thoughts. While George is contemplating killing himself, prayers from many have reached the heavens and a bumbling angel by the name of Clarence appears to George. Clarence is there to persuade George that he should continue with life(in return he will receive his wings), even though George dismisses his ideas. Seeing no other option and throw his powers, Clarence shows George what life would have been like if he hadn’t existed, hoping it will bring him back from the brink and notice how valuable he is.

Frank Capra’s direction is one that touches the soul deeply and never rings false with any of the emotion displayed. With gentle humour and careful insight, he conjures up the importance of being there for others and while life can be unfair to us, we can be rewarded for our good deeds with the respect of others. While It’s a Wonderful Life is known for its sentiments and uplifting story, it also manages to temper this with the possibility of what if, as a despairing George comes to see how much he has influenced everyone and the deeply felt love they have for him. Even when there are melancholy moments, the glimpses of hope are never very far and this film balances both joy and bittersweetness in peerless fashion. It’s a Wonderful Life splendidly poses the notions that even when it is a dark time, there is always something out there to pull you back up again. I particularly love the framing device used in the film. We begin with two angels(represented by flickering lights in the sky) explaining about George and what he plans to do. Clarence joins and is given his task to help poor George see that life is worth living and then we get the vignettes from George’s life to explain just why he is contemplating ending it all. In the second half of the picture, the narrative catches up with the present and the mystical and divine intervention takes the film to soaring heights of finely felt emotion and morality. I don’t know why the structure of the film appealed to me, but I think it had something to do with how it fleshed out George as a character and made us all see the doubt that was creeping into him. A suitably twinkling score, laced with the festive cheers bubbling underneath it, evocatively brings forth the observation of how one person can have a big impact in the grand design of things, without actually realising just how cared for they are. Simply stated, you can’t help but be pulled into this lovely film in all its moving and specially magic glory.

James Stewart is what truly makes It’s a Wonderful Life such a favourite of many. His intrinsic ordinariness and relatability are ideally found in the part of George Bailey, along with the nagging self-doubt that plagues him. Stewart excels at making the part one of humility and altruism, yet never falls into soapy melodrama because of how grounded he makes the role. We can all relate to someone like George, who has worked hard and had to sacrifice to help others, and Stewart’s heartfelt delivery is the winning key to it. Donna Reed stunningly supports him as the caring and giving wife, who sticks with him through thick and thin. For this kind of story of the individual making the difference against something, you need a good villain and Lionel Barrymore more than fits that bill. His part of Potter is a nasty piece of work in the boo/hiss variety and the presence of Barrymore infuses him with the villainy needed. Thomas Mitchell and Henry Travers practically light up the supporting characters; Travers in particular is ideally cast as the guiding angel sent to help George in his time of need.

A film that will warm the heart and soul, as well as make you laugh, cry and be happy, It’s a Wonderful Life encompasses such a range of feelings and messages that it can’t be forgotten because of its care and deep soul. And who doesn’t love breaking this movie out for Christmas time?

Just Like Heaven

Tags

2000's, Dina Spybey, Donal Logue, Fantasy, Jon Heder, Just Like Heaven, Mark Ruffalo, Mark Waters, Reese Witherspoon, Romantic Comedy

Film Title

Just Like Heaven

Director

Mark Waters

Starring

• Reese Witherspoon as Dr. Elizabeth Masterson
• Mark Ruffalo as David Abbott
• Jon Heder as Darryl
• Donal Logue as Jack
• Dina Spybey as Abby

As predictable as some of it gets, Just Like Heaven at least distinguishes itself from other romantic comedies by having a fantasy element and being able to earn our sympathies as a metaphysical relationship is sweetly but movingly played out.

Elizabeth Masterson is a supremely dedicated and caring San Francisco physician, who as events open is completing a marathon twenty-six hour shift. The hospital is Elizabeth’s whole life and she has little time for anything else. Her superiors tell her to go home and rest and after much resistance she does. Though on the way home where she is to go on a blind date set up by her sister, Elizabeth’s car collides with another in an accident. Three months later through happenstance, David Abbott; a landscape architect still grieving for the death of his wife two years prior moves into Elizabeth’s apartment. What he gets is a real surprise when Elizabeth appears and begins telling him that he is trespassing in her apartment. Bewildered and shocked by the fastidious woman telling him that the apartment isn’t his, David is in for even more of a surprise as he comes to see that Elizabeth is in fact a spirit who only he can see and seemingly communicate with. The pair is then at each other’s throats about this as confusion takes centre stage and David remains puzzled on how this apparently supernatural turn of events unfolds. On the other hand, fussy Elizabeth is convinced she is not a spirit of someone recently deceased even though there is a lot of evidence to suggest this( she can walk through walls and appear and disappear at will). She also has gaps in her memory and call only recall her name. David enlists the knowledge of Darryl, a young bookshop worker who has an unexpected gift of being able to sense cosmic and spiritual energy. Over time, Elizabeth and David’s animosity thaws as they grow closer and Elizabeth manages to get David to open his heart once more after keeping it guarded for so long following his wife’s death. Yet as they begin to warm up to one another romantically and assemble some of the fragmented pieces of why she is a spirit and only David can see her, unexpected circumstances threaten them. Can the growing love between them conquer an uncertain future for the unusual union?

Mark Waters makes proceedings a mixture of humorous and emotional, letting the two main characters work through their differences which are anything but ordinary. A sensitivity is generated throughout the film which sets it apart from most romantic comedies that often have no real depth to them. And yes Just Like Heaven has its amount of sugary moments that you’d probably expect, but the soul of the film permeates through with effervescence. The brisk pace makes the movie sprightly and full of moments of comedy; most of the humour stemming from situations in which David talks to Elizabeth, who often disagrees with him and other people think he’s either crazy or hallucinating about something. San Francisco shines in sun dappled glory, pervading the film with a loving sense of magic that comes from the two principal characters. It must be said that Just Like Heaven is in my view a very underrated film that not enough people talk about. If it’s a romantic comedy with a supernatural twist, this movie is the ticket and provides something a little different from the ordinary. A tender score accentuates the growing attraction of the two main characters and the subject of fate which seems to play a part.

Reese Witherspoon is engaging, funny and moving as the dedicated Elizabeth, whose predicament of whether she’s alive or dead takes centre stage. Witherspoon positively glows in an ethereal way in a part that displays her deft comedic timing and soulful emotions. Equally as good is Mark Ruffalo in the part of the grieving David, at first shocked at the appearance of Elizabeth and then slowly given parts of his life back as he develops romantic inclinations for her. Mark Ruffalo really shows a different side to his acting here, showing a gift for physical comedy underneath a veneer of wounded seriousness. In an exceptionally hilarious performance as the chilled out psychic Darryl, Jon Heder makes a marked impact on the film whenever he graces the screen in this engaging supporting turn. The guy is just hysterical because as helpful as the character is, he’s often so laid back he could fall over. Donal Logue as David’s concerned friend and Dina Spybey as Elizabeth’s sister help complete what is already a lovely film.

A funny but very touching romantic comedy/fantasy, Just Like Heaven is a heartwarming film, given a gentle core and an amusing top, along with lovely work from the two leads that bring a touch of magic to the underrated film.

On a Clear Day You Can See Forever

Tags

1970's, Barbra Streisand, Fantasy, Jack Nicholson, Larry Blyden, Musical, On a Clear Day You Can See Forever, Romance, Vincente Minnelli, Yves Montand

Film Title

On a Clear Day You Can See Forever

Director

Vincente Minnelli

Starring

• Barbra Streisand as Daisy Gamble/ Lady Melinda Tentrees
• Yves Montand as Dr. Marc Chabot
• Larry Blyden as Warren
• Jack Nicholson as Tad

An unusual and visually opulent musical/ romantic fantasy, On a Clear Day You Can See Forever is an oddity, but a visually entrancing one that has a dream like effect and Barbra Streisand to boot.

Daisy Gamble is a scatterbrained, kooky New Yorker who seems to possess strange gifts. For example, she can tell when a phone is about to ring and can cause flowers to grow wildly. Though because she is more than a bit absent-minded, she puts these powers down to nothing and doesn’t give them much thought. While Daisy is slightly zany, she has a priggish fiancée named Warren who always wants to make an impression and chides Daisy for some of her behaviour, particularly her chain-smoking. He suggests she find someone to help curb her habit before an important party they must attend. One day she wanders into a lecture on hypnosis by Dr. Marc Chabot and is herself briefly put under it. Chabot grows curious about Daisy and is interested when she comes to him to help with her habit. He organizes to see Daisy but what he finds while she in under hypnosis is more than he bargained for. Daisy regresses back to what appears to be a past life of hers; Lady Melinda Tentrees, a coquette in 18th Century England who used her charms to climb the ladder and was later put on trial for her supposed misdeeds. At first, Marc thinks that these talks of a past life are fabricated, but soon begins to come around to the idea. Marc doesn’t tell her about what she has said and due to his skill with hypnosis makes sure she doesn’t know about her talks of this past life. Could Daisy genuinely be a reincarnation of Melinda? And what about the complicated feelings that both Marc and Daisy develop? These emotions are given added strangeness by the fact that has been bewitched by Melinda and Daisy becoming attracted to.

Vincente Minnelli exudes his customary and exceptional meticulousness in the director’s chair, particularly when it comes to the dreamlike fantasy aspects of this movie. He’s a director whose work comes alive with colourful plushness from every angle. Minnelli excels best in the regression sequences, accentuating colour with expressive camerawork and eye-catching movements. It’s impossible not to watch open-mouthed at the decorative splendour, embodied through luscious lighting and  beautiful costume design. One special costume deserves considerable mention; a lovely bejeweled gown with a matching headdress that is captured in splendid beauty by the cameras and direction. And the film is given a boost by the fact that Minnelli having had experience in musicals before, is a natural when it comes to the music numbers, which are done with pleasing panache. The standouts are the title song played over psychedelic visuals, the alluring ‘Love With all the Trimmings’ sung by Streisand in her marvellous voice and ‘Come Back to Me’ which Marc sings when he finds his worlds merging with Daisy’s and her past lives. On a Clear Day You Can See Forever has its fair share of flaws though. Some of the techniques used seriously date the film and become jarring as it progresses. The film could have been could a bit more coherent and sharper as the second half gets very bogged down with explanations, too much finery and needless scenes that fail to give a grasp to the blooming romances. Also, the sub plot of Marc’s talks with Daisy getting public notice and provoking controversy is a pretty needless avenue to go down. Despite these flaws, On a Clear Day has enough unusualness and style to appreciate it and forgive the sometimes wayward editing and choppy pacing that show the film’s age .

Barbra Streisand showcases her talents for both singing and acting here, and boy does she know how to put a show on. In this film, she really displays her gifts for entertaining with a set of performances that are funny, charming and kooky. And the fact that Streisand plays two distinctly different characters( a free-spirited and strangely dressed young woman and an elegant, beguiling flirt who rose through English society) so well, is a big sign of her undeniable talents as a performer and actress. Streisand is one of On a Clear Day’s biggest attributes and she is hard to forget. Yves Montand has the necessary bewilderment and curiosity for his role as he finds his views on reincarnation altered drastically. Yet Larry Blyden is introduced to late as Daisy’s pushy fiancée to really make a mark on the story. Movie buffs should look out for a young Jack Nicholson as Daisy’s laid-back step brother. It’s a small role, but any Jack Nicholson is better than none.

Flaws aside regarding the pacing and slow second half, On a Clear Day You Can See Forever has plenty of flourishes from director Vincente Minnelli and delightful energy from the indomitable Barbra Streisand to make it a strange but intoxicating musical fantasy.

Woman on Top

Tags

2000's, Fantasy, Fina Torres, Harold Perrineau, Mark Feuerstein, Murilo Benicio, Penélope Cruz, Romantic Comedy, Woman on Top

Film Title

Woman on Top

Director

Fina Torres

Starring

• Penélope Cruz as Isabella Oliveira
• Murilo Benicio as Toninho Oliveira
• Harold Perrineau as Monica Jones
• Mark Feuerstein as Cliff Lloyd

A curiously slight and immensely flawed romantic comedy that brings in an attempt for magic yet doesn’t really work as everything feels tired, Woman on Top is sadly lacking in the story department and suffers. Save for the beautiful incandescence and considerable charm of Cruz , Woman on Top is a rather tepid and uninteresting romantic comedy.

Isabella Oliveira is a beautiful woman from Brazil who has been cursed all her life with motion sickness. The only way for her to control it is to take the lead or be on top with most things. She is married to the macho restaurant owner Toninho, who serves out front while she acts as a chef. This is where Isabella’s gifts truly lie as her cooking has a hypnotic effect on people, but especially men as it weaves an unexplainable magic spell on the senses and the heart. The trouble is arrogant Toninho takes all the credit for everything while Isabella slaves away unnoticed. When Isabella discovers that Toninho has been cheating on her because he feels so emasculated by her always being on top, she flees to San Francisco devastated by his betrayal. She moves in with childhood friend Monica Jones, who is a transvestite and someone she deeply trusts. Trying to get her mojo back but constantly reminded of Toninho, she makes an offering to a Brazilian sea goddess that the village she once lived in worshiped to make her forget him. It appears that the prayer is answered as Isabella starts to get more confident and sexy. She sets about looking for a job as a chef, seeing as it is her deepest passion. Surely enough, her bewitching personality and magical gifts with cooking attract the attentions of struggling television producer Cliff Lloyd, who is bowled over by her. He persuades executives to give Isabella her own TV show, which emerges as a major success. Meanwhile, Toninho is remorseful and deducing where his wife is travels to San Francisco, followed by his loyal band of musicians. He tries to win Isabella back, but she isn’t interested thanks to her newfound personality and the intervention of magic. Much confusion rises as Isabella pursues Cliff but is hounded by Toninho, despite the fact that she turned to magic for help in forgetting her cheating spouse.

Fina Torres in the directors seat does have some stylish touches to add to the film, but can’t quite bring the elements together in good harmony. It’s as if she’s trying to throw in all these things, such as comedy, romance, the seductive art of cooking and mystical magic and expecting them to work. Unfortunately for Torres, the parts don’t gel at all well and Woman on Top falls flat rather than rising high. A film like Woman on Top promises to be sultry and sexy, yet not much of that transfers from the screen due to the stilted vision and the only thing contributing anything earthy is Cruz. Though it is supposed to be a comedy, there are nary any real laughs to be found in it which is a major disappointment(a running gag of Toninho serenading Isabella at every given chance becomes very numbing and tiresome) considering that it doesn’t deliver on what it was supposed to be. And any attempt to introduce conflict, such as Isabella’s dissatisfaction with the machinations of the network just emerge as hollow and hackneyed. Some pleasure can be heard and enjoyed in the smooth Bossa Nova soundtrack that is relaxing and injects some of the sensuality that Woman on Top sorely lacks in almost every area.

The biggest asset of Woman on Top and bringing out a much-needed sexiness is a delightful Penélope Cruz, who is as engaging as ever. Cruz is clearly too talented for such slight material, but she manages to overcome all the flaws and display a dazzling array of sensuality, vulnerability and heart as the conflicted Isabella. She is clearly the main reason to continue watching Woman on Top even as it becomes over clichéd and something of a tired exercise. When you’ve finished this film, it will be the lovely Penélope Cruz that you will remember as her star appeal and talents emerge unscathed. Murilo Benicio, while possessing the overly macho personality of Toninho, is not given a role with enough scope to register which seriously doesn’t help the film considering he’s one of the romantic leads. Harold Perrineau is another excellent standout playing Monica with a heart and sassy humour that bounces off Cruz very well. Perrineau and Cruz make for a good team in this film so it’s something of a shame that they couldn’t have had a better movies worthy of their talents. Mark Feuerstein however charming and bumbling, just can’t bring the dull role of Cliff to life as it is so poorly written and just not at all interesting.

Woman on Top just becomes a forgettable movie that had some interest, partly due to the sensual presence of Cruz, but can’t recover from an overly recycled story and a strange lack of feeling to it all.

A Midsummer Night’s Dream

Tags

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

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

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

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

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

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

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

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

Bell, Book and Candle

Tags

1950's, Bell Book and Candle, Elsa Lanchester, Ernie Kovacs, Fantasy, Hermione Gingold, Jack Lemmon, James Stewart, Kim Novak, Richard Quine, Romantic Comedy

Film Title

Bell, Book and Candle

Director

Richard Quine

Starring

• Kim Novak as Gillian ‘Gil’ Holroyd
• James Stewart as Shep Henderson
• Jack Lemmon as Nicky Holroyd
• Ernie Kovacs as Sidney Redlitch
• Elsa Lanchester as Aunt Queenie Holroyd
• Hermione Gingold as Bianca De Pass

A delightful and funny romantic comedy with supernatural fantasy added to it, Bell, Book and Candle may be a trifle dated in the context of today, yet with a game cast, lovely lighting and magic it makes the most of a fluffy yet enchanting premise.

It’s Christmas time in Greenwich Village and we pick up with Gillian( mainly known to many as Gil) Holroyd, who works in a gallery of African art. Secretly, she is a witch, but keeps the information to herself and goes about her days, usually conversing with her dotty Aunt Queenie, who is also a witch and her rebellious brother Nicky, who is a warlock. Yet while she doesn’t mind working and for the most part being an independent free spirit, she has grown restless and wants someone to love. The trouble is love for a witch is something that will make them forfeit her powers if she were ever to truly feel genuine love for another. She takes a shine to publisher Shep Henderson, one of her neighbours who she meets for the first time on Christmas Eve. Knowing that love seems out of the question due to her magical ties, she politely talks with the nice Shep. Yet, it’s when she hears that he is about to marry a former college enemy of hers, that an idea formulates in her mind to have some fun. With her magical cat Pyewacket and her mystical powers, she casts a spell on the unsuspecting Shep that causes him to jilt his fiancée and fall in love with her, despite not knowing what has caused him to do so. Pleased with this, Gil revels in the fact that her powers could let her do something like this. Meanwhile, Gil’s brother Nicky, who is always up to some trouble, begins to help the author Sidney, who has written a book on alleged witchcraft and is curious to write another. This in turn could lead to the exposure of Gil and her Aunt, so more magic becomes involved and at play. Gil, after a while and even though she only did it to spite her rival, begins to sincerely fall in love with Shep which leads her to a conflict of interests. But can the free-spirited Gil really give up all of her magic for the love of Shep? And just how long will it be before Shep twigs that something supernatural is at work?

On the directing front, Richard Quine injects Bell, Book and Candle with a light air that creates amusement and romance in equal fashion. He may from time to time indulge in some scenes that go on for longer that needed, but for a lot of the film, he gives it a bit more substance than what is often found in most romantic comedies out there, even today. He excels at displaying touching undertones to it, best embodied by the decision that Gil must make regarding the loss of her powers for actual love. And the inclusion of the supernatural, with spells and potions ever-present, is a neat one that emphasizes the charm and imagination the film can bring to viewers. Now it must be said that as Bell, Book and Candle is a film that was made in the 1950’s, some of the attitudes are going to be of that time and will seem strange today. Chief among these is the similarities between Gil losing her powers if she loves and the fact that during the 50’s once a woman was engaged or married, she would have to stop working and be a housewife. One can definitely see the parallels throughout, but thankfully this doesn’t do too much to demerit the film’s quality and story it tells. And then again, what film from decades ago hasn’t aged in its attitudes and execution? The script is witty and full of hijinks as there is something funny to be found in Shep making all these big decisions and not quite realising that there is a magical reason for them. On the side of visuals, some inventive angles coupled with eye-popping colours are stunning to behold and contribute to the playful vibe of the film and the eccentric situations that the characters find themselves in due to magic and spell casting. The costumes in the film, especially the ones worn by Kim Novak, are exquisite and delightfully highlight her character’s individualism. A lively and twinkling score gives a breezy and likable quality to the film, while also providing some spooky moments that are always welcome for someone like me.

The cast of Bell, Book and Candle all look like they are having a ball which adds to the audience’s enjoyment of this supernatural romance. Kim Novak excels at having an otherworldly quality that is ideal for the role of Gil, who is someone you wouldn’t miss in a crowd. Novak, while looking stunning and alluring in the role, convincingly showcases Gil’s meddling, playful nature akin to a cat and desire to be loved that she didn’t expect to have. With added moments of touching emotion, Novak’s work is a triumph that is funny and moving. James Stewart has the right touches of bewilderment and rationalism for his character, who amusingly becomes infatuated by the enchanting Gil without being aware that something out of the ordinary is going on. He shares a tentative and sparkling chemistry with Novak, that gives the film a big plus in the romance and humour department.A sparkly eyed Jack Lemmon is an utter hoot in the part of the mischievous Nicky, whose tricks and Hocus Pocus are never far behind him. Some of the facial expressions that he has and sense of fun he brings are hard to miss when he’s on screen. Playing well off him is Ernie Kovacs as the alcohol swigging author who is often disgraced due to his belief in witchcraft, even when its lying right in front of him and he’s aided by the troublesome warlock Nicky. Elsa Lanchester and Hermione Gingold are delightfully amusing and dotty as two older witches, though I would have liked to have seen more of them within the film. Still, both actresses light up the screen when they are present.

So while the odd slip here and there is present, and the dated attitudes can be a bit distracting, Bell, Book and Candle triumphs as a piece of imaginative and well acted romantic comedy, sprinkled with amusing and sometimes spooky sides of supernatural fantasy.

The Purple Rose of Cairo

Tags

1980's, Comedy, Danny Aiello, Fantasy, Jeff Daniels, Mia Farrow, Romance, The Purple Rose of Cairo, Woody Allen

Film Title

The Purple Rose of Cairo

Director

Woody Allen

Starring

• Mia Farrow as Cecilia
• Jeff Daniels as Tom Baxter/ Gil Shepherd
• Danny Aiello as Monk

A comical, bittersweet movie about the magic of cinema and the line between reality and illusion, Woody Allen’s The Purple Rose of Cairo is tinted with a heartwarming yet poignant charm and own sort of magic that makes it a lovely film.

It is the Great Depression and in New Jersey the poor, put upon waitress Cecilia is trying make ends meet as best as she can. She is trapped in a loveless marriage to the abusive and lazy Monk, who is unemployed but has no intention of getting a job as he is too busy drinking and gambling. To escape her humdrum and miserable life, Cecilia takes refuge in going to the cinema and becoming lost in the movies she watches. Her latest favourite movie is entitled The Purple Rose of Cairo and she has developed a liking of the explorer character Tom. While watching the movie for yet another time, something truly remarkable happens. Tom breaks the fourth wall and literally leaps off-screen, desperate to know the meek Cecilia. Astonished by this, she finds herself swept off her feet by the good-hearted Tom and finds herself growing attached to him, despite the fact that he is a fictional character who has entered reality. The actions of Tom leaving the film sends a wave of pandemonium through the cinema as Tom’s co-stars have no idea what to do without him in the scene, audience members become disgruntled that the movie is changed and even the studio producing the movie begins to panic about what will happen in the fall out. Meanwhile, Cecilia experiences adventures and love with the heroic Tom, who begins to realise that real life is a whole lot different from the glitz of movies. However, another surprise is on the way for Cecilia. The studio behind the movie has contacted Gil Shepherd, the actor who essayed the role of Tom and have sent him to New Jersey to see if he can repair any damage done. In contrast to the gentle and brave Tom, the man behind it is obsessed with keeping his career up and a little full of himself. But upon arrival, he begins to become enchanted with Cecilia too. Now it is up to Cecilia to decide whether to choose either the charming Tom or slightly arrogant Gil or return to the doldrums of her life.

Woody Allen displays masterful direction and writing throughout this bittersweet gem. He lovingly delves into the way that cinema has an impact on people and how it can provide literal and emotional escape from life’s troubles. He peppers events with humour, but it is underpinned by a poignancy that makes The Purple Rose of Cairo very moving. The film is full of delightful highlights from the sight of the movie stars on the screen bickering with discontented customers who want their money back to Tom and Gil confronting each other in amusing fashion, it is hard to fault The Purple Rose of Cairo in terms of ambition and clarity. Allen clearly knows that the audience can each view themselves like Cecilia, and with his beautiful direction and criss cross between comedy, drama and touching romantic fantasy, the results will definitely move you. The cinematography crafts the atmosphere outside as grim and troubled but employs brighter shades when Tom burst off-screen and lights up Cecilia’s life that has been in darkness for too long. A very good jazz score underlines the developing romance of the movie and brings both joy and sadness to the proceedings.

Mia Farrow turns in a beautifully touching performance as the downtrodden Cecilia. We immediately feel sympathy for her and her circumstances and we’d all love to just reach through the screen and comfort her. Farrow’s performance is so nuanced and filled with little things that make it work; the way her face lights up when viewing the eponymous movie, her silent tears as she realises her position in the world and the giddy sense of delight she feels as Tom courts her. All of this and more is found in a lovely performance from Mia Farrow. Jeff Daniels adroitly portrays two very different characters and delineates their opposing personalities and characteristics. Tom on one hand is the ideal guy with affable charm, whereas Gil is a cynical man more concerned with having nothing ruin his career. Daniels, who I always think can be underrated by many as an actor, shows exceptional talent here by embodying the two characters very well and helping form the emotional core of the movie, along with Mia Farrow. As Cecilia’s boorish husband who berates her at every turn, Danny Aiello is well cast.

Beautifully written, directed and acted, with true depth to the story as well as humour, The Purple Rose of Cairo is a purely magical film making from Woody Allen that delivers warmth and pathos to the story of escaping life with the powers of celluloid.