Suffragette

Tags

2010's, Anne-Marie Duff, Ben Whishaw, Brendan Gleeson, Carey Mulligan, Drama, Helena Bonham Carter, Meryl Streep, Sarah Gavron, Suffragette

To celebrate 100 years of women getting the right to the vote in the UK, I decided to review the drama Suffragette.

Film Title

Suffragette

Director

Sarah Gavron

Starring

• Carey Mulligan as Maud Watts
• Helena Bonham Carter as Edith Ellyn
• Anne-Marie Duff as Violet Miller
• Brendan Gleeson as Steed
• Ben Whishaw as Sonny Watts
• Meryl Streep as Emmeline Pankhurst

A deftly done movie that blends fiction and truth, Suffragette charts the rise of the foot soldiers in the fight for women to receive the vote. Well acted and personal, it’s a movie that really strikes to the heart of the cause and what it meant for future generations.

The story begins in 1912, London. Women have for some time peacefully campaigned for the right to vote but their voices have gone unheard. We meet a working class laundress named Maud Watts. She’s had a tough life of abuse and turmoil from men , though she has some comfort at home with her husband Sonny and son George. One day, she is caught up in a demonstration by suffragettes who break all the windows in the West End. Although she doesn’t know it yet, this event and further ones will have a big impact on her. For more demonstrations and talk of women getting the vote takes place, also featuring brutality from the police and the authorities. Having been so downtrodden in her life, Maud gradually aligns herself with the local firebrand Edith Ellyn. After hearing a speech by Suffragette leader Emmeline Pankhurst, Maud is now fully involved with the cause. This in turn earns the scorn of those closest to her and her husband refuses to let her see their son, but these sacrifices stiffen Maud’s spine and further her desire to fight for the vote. For Maud and the women she marches with are determined to gain equality, no matter what the cost.

There’s a real urgency and immediacy to the direction of Sarah Gavron. She excellently showcases the shared strength of women and employs a camera that always seems to be moving. It captures the whirl of events and the gathering storm of demonstrations that the suffragettes take part in, from smashing windows to hunger strikes and blowing up postboxes. Abi Morgan’s script finely dramatizes the struggles of women at the time and how through actions, they were gearing up to have the same rights as men. The main story is fact-based here and is inspiring as well as important in what it depicts. Suffragette features fictional characters interspersed with real life figures in the movement, such as Emmeline Pankhurst and. The biggest message of Suffragette is how far these brave women were willing to go in order to get the vote and eventually equality. These were women from all walks of life who were united by a common goal and were prepared to go the extra mile to have their voices heard. What they went through was extraordinary and often brutal. We see women beaten, humiliated, force-fed and in the course of Suffragette. It’s not easy to watch, but that’s the idea. Women fighting for the right to vote went through a lot and this movie is a testament to them. This is an important story that needs to be told and in this very way. Alexandre Desplat is the person providing the building score that gains in momentum as events take flight and the fight begins to increase in steam and volume.

Carey Mulligan is the lead in Suffragette and boy does she deliver. She has this ability to be totally unaffected and filled with conviction without resorting to histrionics. Her face, that speaks so many volumes, is a marvel at depicting Maud’s shift from bystander to fighter and makes us feel every beat. Helena Bonham Carter shines as a leading member of the group and one of experience, while Anne-Marie Duff is fine as the forceful and agitator of the suffragettes. Then we have Brendan Gleeson as a police inspector caught in between sympathizing with the women and enforcing the law. Ben Whishaw, finding some depth and unpredictability than some parts he is given, displays both a caring attitude to his wife and then a deep coldness when he feels she has shamed him. It’s something I’m not used to seeing by Whishaw, but damn if he doesn’t do it well. Though I expected to see more of Meryl Streep as Emmeline Pankhurst, her cameo is satisfying and provides a rallying cry to Maud and a whole host of women.

An unflinching and inspiring movie that never sugar coats the brutality and resistance that was met by women campaigning for the right to vote, Suffragette has much to recommend in its reels.

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The Wings of the Dove

Tags

1990's, Alison Elliott, Charlotte Rampling, Elizabeth McGovern, Helena Bonham Carter, Iain Softley, Linus Roache, Michael Gambon, Period Drama, Romance, The Wings of the Dove

Film Title

The Wings of the Dove

Director

Iain Softley

Starring

• Helena Bonham Carter as Kate Croy
• Alison Elliott as Milly Theale
• Linus Roache as Merton Densher
• Elizabeth McGovern as Susan
• Charlotte Rampling as Aunt Maude
• Michael Gambon as Lionel Croy

A passionate yet dark-hearted film about social status, friendship and a nefarious scheme, The Wings of the Dove successfully transports the novel of Henry James to a complex motion picture that is lovely to look at in terms of cinematography and engaging in a subtle way because of the characters in it and the convincing work from the cast in embodying them.

The year is 1910 and in London, Kate Croy is a woman with a tenuous foothold in society. As the daughter of a now deceased mother, who was socially prominent but threw it away to be with Kate’s opium addicted father, Kate now has to rely on her unsmiling and severe Aunt Maude. Maude is a stern women who wants Kate to marry well and thus secure her return to the riches of society. But Kate is in fact in love with Merton Densher, a penniless journalist. Their love is forbidden and not deemed acceptable because if Kate were to marry him she would lose her inheritance and her chance of returning to high society. This is a fact Maude reminds spirited Kate of when she threatens to stop her inheritance if she doesn’t break off the relationship with Merton. Kate, under duress breaks off the relationship for a while as she attempts to find ways to ensure her survival. The arrival of beautiful and amiable American heiress Milly starts a friendship between Kate and her, as both women scoff at the machinations of society and how everyone is caught up in them. After overhearing someone discuss that the seemingly vivacious Milly is in fact dying, the wheels in Kate’s head start spinning as a plan begins to formulate in her mind. If she were to push Merton onto the beatific Milly, as it is obvious that the American heiress has feelings for him, she could very well leave her large fortune to him. If this were to happen, then Merton would have enough money to marry Kate and she could once more have the social status she so desires, without the stipulations and watchful eye of her spiteful Aunt Maude. Merton is shocked by Kate’s plan, but goes along as he doesn’t want to be without her. The intelligent Kate sets the plan in motion once she, Millie and Merton go on holiday to Venice, despite her own doubts which she keeps hidden of ripping apart the friendship with Milly and ruining her lover in Merton. Yet the plan was never going to go smoothly and that is exactly the course that it runs. The whole scheme involving Milly is ultimately fatally compromised by the genuine attraction and love that Merton begins to feel for her, that Kate begins to see and becomes jealous of as it wasn’t part of the scheme of hers. What she believed was a well thought out plan to ensure she would retain love and money becomes dangerous and highly personal, the likes of which none of them will come out unscathed.

Iain Softley excellently mounts this film by refusing to give into the demand for over the top drama. He immerses us in the world of the 1910’s that James clearly held more than a little disdain for, where everything was beneath the surface, money seemed to be everything and what is most shocking is hinted at rather than shown. I really liked the way Softley used this technique of having a deeper sense of ambiguity about the characters as it got me to think more about them and it didn’t render them just cardboard cut out characters you would expect to see in a period drama/romance. These characters become interesting and engaging throughout, with added complexity added by an intelligently structured and observant screenplay from Hossein Amini. Both Softley’s direction and Amini’s screenplay are in no rush to tell The Wings of the Dove’s story, but that gives it even more depth as we gradually see the changing events involving the trio of main characters and don’t feel shortchanged that parts seemed lacking. The characters in themselves are wholly intriguing, especially Kate who manages to be at once cold-blooded in her desire to have the man she wants and the money, yet also be strangely heartbreaking in the levels she goes to ensure this, which include manipulating a friend she has come to hold dear. Some may scoff at the deliberate pace employed during the piece; but in my book it lends The Wings of the Dove a welcome change from in your face theatrics and instead sheds light on the subtle machinations and plots going on that are gradually revealed. And on the visual front, The Wings of the Dove is a spellbinding watch, thanks to the sensual yet moody cinematography of Eduardo Serra, that lenses London and most successfully Venice. As the story moves on the colour palette darkens and subdued blues and purples fill the screen, functioning as a metaphor for the sadness and tragedy that will arise due to Kate’s plan. I can’t think of the last time I saw Venice look so spectacular on film. And combined with a sweeping score, that captures the inevitable melancholy the scheme will bring, on a visual and sonic level ( as well as acted and written), The Wings of the Dove practically soars.

In the complex lead role of passionate yet calculating Kate Croy, who sets the events of the story in motion, Helena Bonham Carter gives one of her best performances. It’s a performance of excellent subtlety and layers; Bonham Carter makes Kate have a desperation and that leads to her manipulative nature coming into full force to successfully execute her plot to gain both the love of her life and financial security, along with continued status. Helena Bonham Carter knows better than to give into the temptation to make Kate truly despicable and effectively sidesteps this path by imbuing her with depth, doubt, a sense of lingering guilt and jealousy to Kate as her plan comes crashing down around her. I can’t imagine anyone else playing the part of Kate quite as well because Helena Bonham Carter gives her all to the part and emerges with a multi-dimensional portrayal. As the radiant but ailing Milly, Alison Elliott portrays her as a woman determined to live while she still can and is filled with deep love. Rather than a saintly victim, Elliott wonderfully shows that Milly is no naive woman but one that wants to see the good in things until her pain becomes unbearable. In the role of Kate’s lover Merton, Linus Roache exerts a cynical viewpoint that slowly becomes haunted and changed once he falls in love with the dying Milly. Roache makes up the third part of the compromised love triangle of the story and more than holds his own against Bonham Carter and Elliott. On the supporting front, Elizabeth McGovern gives an elegance to Milly’s companion Susan who could have been a forgettable character but remains memorable here. An imperious Charlotte Rampling has the right authority and nastiness to portray Aunt Maude, whose cruelty and deceptions is what leads Kate to follow in a similar suit. The only real actor wasted in this film is Michael Gambon who is given the thankless role of Kate’s opium fiend father that doesn’t require him to do a lot.

An excellently crafted rendering of the Henry James novel that makes the characters all complex and the events have a sense of slowly unfurling tragedy, The Wings of the Dove is intelligent and sophisticated film making that favours subtlety and implication rather than over the top and unrealistic histrionics. And if nothing else, The Wings of the Dove deserves showers of praise for the trio of central performances, particularly the one from Helena Bonham Carter.

A Room with a View

Tags

1980's, A Room with a View, Daniel Day-Lewis, Denholm Elliott, Helena Bonham Carter, James Ivory, Judi Dench, Julian Sands, Maggie Smith, Merchant Ivory, Period Drama, Romance, Rupert Graves, Simon Callow

Film Title

A Room with a View

Director

James Ivory

Starring

• Helena Bonham Carter as Lucy Honeychurch
• Julian Sands as George Emerson
• Maggie Smith as Charlotte Bartlett
• Daniel Day-Lewis as Cecil Vyse
• Denholm Elliott as Mr. Emerson
• Simon Callow as The Reverend Mr. Beebe
• Judi Dench as Eleanor Lavish
• Rupert Graves as Freddy Honeychurch

The film that established Merchant Ivory as excellent purveyors of the period drama and brought them to international acclaim, A Room with a View is a marvellously witty, engaging and romantic story of a young girl’s awakening in a restrictive society. Based on the novel by E.M. Forster, A Room with a View is a romantic period drama at its best, complete with wonderful scenery, cracking script and committed work from the cast.

The setting is the Edwardian Era, which is restrictive and stifling. Young and pretty Lucy Honeychurch is on holiday in Florence with her much older cousin Charlotte Bartlett, who acts as a chaperon. Charlotte is a fussy women who believes in abiding by rules to a strict degree and so keeps Lucy on a tight leash. Lucy herself is a repressed young girl who doesn’t know a lot about the world and is quite impressionable. While in Florence, the two meet a whole host of different characters; most prominently the free-thinking Mr Emerson and his quiet, thoughtful son George. There is an immediate spark between George and Lucy, but because of the conventions of the time, Lucy puts these feelings off, due to her naivety and the buttoned-up nature of the society she has been brought up in. Eventually, George expresses his love to her by passionately kissing her while everyone is exploring the Italian countryside. Uptight Charlotte witnesses this act and whisks Lucy back to England as quickly as she can; warning her that she shouldn’t speak about her actions to anyone. But reluctant Lucy finds it hard to forget her encounter with George, as it has left a deep mark on her. Later, back in England, Lucy has put the memory of Florence to the back of her mind and is engaged to the snobbish and priggish Cecil Vyse, who views most things and people with contempt. Although not passionately in love with the disagreeable Cecil, Lucy is engaged as it is deemed a socially acceptable match.  Things appear to be going swimmingly, until it is revealed that the new tenants moving into nearby house are Mr. Emerson and George, who carries a torch for Lucy still from Florence. Lucy is put into a tailspin over what to do and must choose between her upbringing and her heart. But which will Lucy choose as she begins to awaken to the fact that rules and stifling society aren’t everything in life?

The combination of director James Ivory, producer Ismail Merchant and screenwriter Ruth Prawer Jhabvala is an inspired one that brings Forster’s tale of buried passions beginning to surface and the stiff upper lip of the Edwardian Era to life. The direction from James Ivory is paced with a deliberate but effective pace, that charts Lucy’s blossoming into a woman and the decision that only she can make. I admired how Ivory was not in a rush to tell the story and made it thoroughly engaging throughout. He also makes stunning use of both the English countryside and the beauty and freedom of Florence, which if anything act as ends of the spectrum in terms of emotion on display. In England, emotions are kept carefully under wraps by a society that prides itself on rigid conventions(embodied the most by Charlotte), while the scenes in Florence have emotions reaching a crescendo of passion and expression. Adapting the story from the source, Prawer Jhabvala’s witty and insightful script(which garnered an Oscar) splendidly pokes fun at the stuffiness of Edwardian times, while balancing the romance at the heart of it that provides the catalyst for Lucy to open up and feel passion instead of forceful rules. Operatic arias and wistful strings on the score provide A Room with a View with a blithely enjoyable, romantic and delightful quality. The costume design is simply beautiful and authentic in equal measure, down to the last hem and frill that deservedly collected an Oscar. Also winning an Oscar was the art direction, which is also a marvel to behold for the splendour of it.

Assembled and all well provided for by the source material, the cast is utterly splendid down to the smallest role. In her breakthrough role, Helena Bonham Carter is simply lovely and wonderful as Lucy. Imbuing her with a girlish temperament and slowly evolving passion that is awoken by George, Bonham Carter succeeds in bringing about Lucy’s subtle change to life and she does it with graceful aplomb. As she is the beating heart of the story the character of Lucy needed someone to make an indelible image and boy did Helena Bonham Carter deliver it and then some. Julian Sands is quiet yet full of soulful passion as George, who serves as the intrusion into Lucy’s restricted world and the one who challenges her. The always excellent and dependable Maggie Smith has fun with the part of Charlotte, who is obstinate in her belief of following the rules society had for everyone. Making a huge impression is the ever versatile Daniel Day-Lewis, who essays the role of contemptible Cecil. With a smarmy accent, dissatisfaction with everything and sneering glances, Day-Lewis crafts an effortless portrait of a privileged individual, stuck on his high horse and unable to get off. Denholm Elliott as the garrulous Mr. Emerson, as well as Simon Callow as a gossipy Reverend are fine additions to a distinguished cast. Also there is the reliable Judi Dench; exuding imagination and gleeful intelligence as the romance author in Florence and Rupert Graves, all puppy eyes and enthusiasm as Lucy’s playful brother Freddy.

Wonderfully rendered with a feeling for the time in which it is set and the examination of both cultures clashing, following ones heart and archaic society, A Room with a View is a thoroughly delightful film.

 

Hamlet(1990)

Tags

1990's, Alan Bates, Franco Zeffirelli, Glenn Close, Hamlet, Helena Bonham Carter, Ian Holm, Mel Gibson, Nathaniel Parker, Paul Scofield, Stephen Dillane, Tragedy, William Shakespeare

Film Title

Hamlet

Director

Franco Zeffirelli

Starring

• Mel Gibson as Prince Hamlet
• Glenn Close as Queen Gertrude
• Alan Bates as King Claudius
• Helena Bonham Carter as Ophelia
• Ian Holm as Polonius
• Paul Scofield as the ghost of King Hamlet
• Stephen Dillane as Horatio
• Nathaniel Parker as Laertes

In this adaptation of the classic William  Shakespeare tragedy, Franco Zeffirelli assembles an unexpected but engaging cast and directs with vigour and atmospheric skill in an attempt to show an individuality from other versions of the play. And he certainly does a good job of it.

The film begins with the funeral of Hamlet’s father, the King of Denmark. Hamlet’s mother Gertrude is saddened but seems a little too close to her late husband’s brother Claudius. Surely enough, the two marry soon after and Claudius becomes king. The young Prince Hamlet is puzzled by this courtship at first, but information regarding the sudden remarriage soon comes his way in eerie fashion. One night after hearing from his trusted friend Horatio that an apparition has been wandering around the castle at night, he is visited by the ghost of his father, who informs him that he was murdered by Claudius so he could take the throne. Hamlet swears revenge on his uncle and descends into madness as he attempts to complete the murderous task.

The first thing to note in Hamlet is the visual style. Dark and hushed shades of blue over the castle, which are juxtaposed with glaring images of sun capture the themes of life and death and the complementary nature of each. The camerawork is stunning as it glides around the surroundings and quite often nestles close to a character, this technique is especially useful and full of impact when Hamlet delivers monologues. Ennio Morricone provides the atmospheric and melancholy music, giving Hamlet a gloomy and suspenseful edge. What many purists will take issue with is the removal of certain parts of dialogue and the transference of certain pieces into different scenes. Yet, with this the film has a strong pace and in some ways makes it more accessible to those unfamiliar with the play. Only at certain times does the removal of parts of dialogue cause Hamlet to lose its way.

Heading the cast is Mel Gibson as Hamlet. At first I wasn’t sure that Gibson would fit the role of Hamlet, but surprisingly he makes the role his own. He contributes vigor, sadness and madness to the part as Hamlet becomes more vengeful and his delivery of dialogue is excellent. Unlike many who portray Hamlet as constantly brooding, Gibson has more fun with the role by adding intelligence and a playful smile which eventually gives way to sinister grins . Glenn Close is effectively cast as Gertrude who changes from grieving widow into a sexually liberated woman after marrying Claudius. The scenes between Close and Gibson are interesting to watch because of the ambiguous nature of their relationship. This unusual examination of mother-son relations adds dimension to the story and adds an edge to the classic piece by giving it more dramatic prominence. Alan Bates makes for a quietly villainous Claudius, whose scheming is masked by a courteous exterior. Helena Bonham Carter brings deep sadness to the role of the tragic Ophelia, whose treatment at the hands of Hamlet sends her spiralling out of control. The sight of her bare foot, chanting old love songs with wild eyes and mournful voice whilst wandering around the castle is a chilling sight to behold. Ian Holm makes for an intelligent Polonius, while Paul Scofield gives wisdom to the part of the King’s ghost. In supporting roles, Stephen Dillane and Nathaniel Parker are wonderfully effective in the parts of Horatio and Laertes.

Liberties taken with the text aside, Zeffirelli makes a vigorous movie of Hamlet that adds another spin to the classic tragedy.

Les Misérables

Tags

2010's, Aaron Tveit, Amanda Seyfried, Anne Hathaway, Colm Wilkinson, Daniel Huttlestone, Eddie Redmayne, Helena Bonham Carter, Hugh Jackman, Isabelle Allen, Les Misérables, Musical, Russell Crowe, Sacha Baron Cohen, Samantha Barks, Tom Hooper

Film Title

Les Misérables

Director

Tom Hooper

Starring

• Hugh Jackman as Jean Valjean
• Russell Crowe as Javert
• Anne Hathaway as Fantine
• Amanda Seyfried as Cosette
• Eddie Redmayne as Marius
• Helena Bonham Carter as Madame Thénardier
• Sacha Baron Cohen as Thénardier
• Samantha Barks as Éponine
• Aaron Tveit as Enjolras
• Isabelle Allen as Young Cosette
• Daniel Huttlestone as Gavroche
• Colm Wilkinson as Bishop Myriel

Based on the well-known musical, which in turn was inspired by Victor Hugo’s epic novel, Les Misérables is a sprawling tale of love, sadness and revolution. Directed by Tom Hooper and boasting a stellar cast, it is a film that won’t disappoint lovers of the musical. It isn’t a film for everyone, but has many positives to talk about, mainly the songs and the strong performances of the cast in this epic story.

The film starts in 1815.  Jean Valjean is a convict who has been serving a 19 year sentence for stealing a loaf of bread for his starving relatives. Jean is granted parole by Javert, a captain who tells him to honor what the parole agreement says or he will be found out sooner or later. Unable to find employment, he takes refuge in a church ran by the kindly Bishop Myriel. In the night, Jean steals his silver but is late reprimanded. Instead of turning him in, the bishop saves Jean and urges him to do something good in his life. Jean Valjean taking this into consideration, decides to break his parole and begin his life again. Eight years later, under a new identity, he is the respected mayor of a French town who also owns a factory. Although seemingly happy with his new existence, he is still haunted by the memory of the obsessive Javert. His fear comes true when Javert arrives in town as the new chief of police. Another thread in Valjean’s story is the tale of a young grisette named Fantine. She is fired from her job in one of his factories after it emerges that she has an illegitimate child named Cosette, who she regularly sends money to as the girl is living with the swindling Thénardiers . Penniless and desperate, the tragic Fantine sells her hair, teeth and eventually her body in order to provide for her daughter. Valjean finds Fantine in the gutter, slowly succumbing to illness. On her deathbed, he promises her he will take care of Cosette. After paying the innkeepers in charge of Cosette, Jean is discovered by the determined Javert. Taking Cosette he narrowly flees from Javert. Nine years later, poverty is rising and rebellion is in the air in Paris.  A now grown up Cosette catches the eye of a young firebrand named Marius, who immediately falls for her. His close friend Éponine, secretly pines for Marius but it is all in vain as he falls for Cosette and revolution starts to grow around them. Heartbreak, emotion-filled songs and an epic sweep all abound as Les Misérables makes the transition from stage to screen with positive results.

The first thing to notice about Les Misérables is the fact that the actors sing live, rather than mime along to a pre-recorded track. In many cases this technique works as it captures the raw emotion of the character’s feelings. The use of close-ups in these songs will put off many, but for me it showed the passion of the actor singing the songs. Sweeping camera angles and an excellent colour scheme add to the visual impact, especially in the opening scene when Jean along with multiple prisoners is pulling a large boat and the violent waves add to their struggle. The visuals of the drab streets and dark corners helps back up the almost mournful landscape that the characters populate. The many splashes of colour in the later half of the film add to the rebellion as violence and anger erupts.

A big draw is the talented cast that Hooper has assembled to flesh out this tale. Hugh Jackman gives a towering performance as Jean Valjean, capturing the way he rises from destitution to honorable man, navigating his way through a cruel world. His vocals are very impressive to, adding to the overall powerful portrayal that anchors the movie. Russell Crowe, although not quite as vocally adept, manages to be quite convincing as the obsessed Javert, whilst showing an occasional soft side.  It isn’t one of Crowe’s best performances, but it isn’t one of his worst either. Anne Hathaway turns in an Oscar-winning performance as the tragic Fantine, and although she’s only on the screen for around 20 minutes, manages to make an indelible mark. Her triumph is her rendition of “I Dreamed a dream”, which is one of the most emotional and heartbreaking moments I’ve seen in a film for a long time. Captured in one continuous shot, Fantine, her hair cropped, her clothes torn and her spirit broken, sings of a longing for a better day whilst breaking the audience’s hearts along the way. Hathaway’s performance is one that lingers long in the memory because of its emotional impact. Amanda Seyfried is suitably wistful as Cosette, although I would have liked for her character’s arc to have been expanded a little. Eddie Redmayne certainly delivers as the passionate Marius who falls for her. Redmayne infuses “Empty chairs at empty tables”, a hymn for the fallen, with a sincerity and sadness that is quite remarkable. Providing comic relief are Helena Bonham Carter and Sacha Baron Cohen as unscrupulous swindlers. Another person who certainly impresses is Samantha Barks as the lovelorn third wheel of Marius and Cosette’s love, Éponine. She imbues her with a sweetness and deep sadness that is luminous to witness. Her bruised performance of “On my own”, which she sings whilst in the rain, is a stunningly heartfelt moment. Other supporting members include Aaron Tveit as revolutionary Enjolras, a sweet Isabelle Allen as the young Cosette, Daniel Huttlestone as the funny and endearing Gavroche and Colm Wilkinson as the Bishop who helps Jean in his journey.

As I’ve mentioned earlier, Les Misérables  will not be a film for everyone as the live singing and use of close-up’s may cause a few to roll their eyes. But if you want a musical with a sweeping score, some excellent acting and historical setting, it may just be for you.