Crimson Peak

Tags

2010's, Charlie Hunnam, Crimson Peak, Guillermo del Toro, Horror, Jessica Chastain, Jim Beaver, Mia Wasikowska, Tom Hiddleston

Guillermo del Toro indulges his love of old Gothic chillers and ghost stories with the visually sumptuous Crimson Peak. It’s not one of his finest movies, but is still one that has a level of pizzaz and a well appointed cast.

In the late 19th Century in New York, young Edith Cushing(Mia Wasikowska) lives with her businessman father Carter(Jim Beaver). She has been tormented by ghosts since childhood, the first being a spectral visit from her deceased mother warning her “Beware of Crimson Peak” . Edith is a forward thinking woman when we rejoin her as a grown up and about to experience great changes in her life. The primary one is her meeting with Thomas Sharpe(Tom Hiddleston); an English baronet visiting America with his piano playing, all seeing sister Lucille(Jessica Chastain). Though Edith is a woman who chides at society’s placing of woman as just objects to be married off, she can’t help but be intrigued by the dark, handsome yet immensely charming Thomas, who we learn has a title but who has not much in the way of money. Her father disapproves of this match and has a detective do some digging. He learns something sinister, but the audience doesn’t know what. Brutality intervenes when Carter is gruesomely murdered, leaving Edith the heiress to his fortune. At this point, she decides to impulsively enter a whirlwind romance with Thomas . This results in marriage, which crushes the hopes of local doctor and family friend Alan McMichael(Charlie Hunnam). He has been in love with Edith as long as he can remember and was close with her father, so he’s naturally left feeling despondent by Edith’s rejection. Thomas brings Edith over to his large house in the English countryside. Although a grand house, it is dilapidated with a hole in the main roof that. The fact that the house is built atop a clay mine, which causes the substance to appear red against the wintery surroundings and often it leaks through the walls. The foreboding and decaying house also houses Lucille, who is regularly icy towards Edith and warns her not to wander around the house as there are areas deemed ‘unsafe’. With the house being so mysterious and a certain uneasy tension in the air with regards to the relationship between Thomas and Lucille, it’s not long before Edith begins seeing ghosts throughout the house. She’s understandably terrified, yet determined to figure out why they are haunting her new residence. Upon learning that the house is often referred to as Crimson Peak , she begins her journey even as she seems to be suffering in terms of physical health and emotional instability not helped by Lucille’s cryptic nature and how enigmatic Thomas is. Soon the history and secrets of the eerie house begins to surface gruesomely and things get more unbalanced for everyone involved, especially the increasingly tormented Edith. But what will the old house known as Crimson Peak reveal?

Guillermo del Toro is in the directors and writers seat and his style is evident from the get go. Even though it’s not one of his finest films and doesn’t quite have the power we usually expect from his output, del Toro still has a cinematic touch that can’t be denied. Crimson Peak isn’t exactly an out and out horror movie( as del Toro has stated numerous times in interviews), though it involves ghosts and much in the way of grisly and thrilling events. It owes quite a lot to Gothic romance and atmosphere of old school chillers of which del Toro is evidently a fan. And that isn’t to say, it just isn’t creepy in parts( it delivers on crafting something eerily lurid and unsettling). From the opening of Edith being tormented, there’s something unusual and on edge about it. Crimson Peak just isn’t your standard horror film in the conventional sense of the word even though it seems it is. It is in the horror genre and that is evident from its influences, yet its more of a ghost story with horror elements and dashes of twisted romance vibe going for it that’s very del Toro. There’s a level of almost fairy tale darkness and dramatic feeling to parts of it, mixed with Wuthering Heights and Jane Eyre esque ambience with the house becoming a looming and haunting presence throughout. This is something del Toro is known for, as well as splicing both beauty and brutality side by side. Both shock and ravishing visuals are present in Crimson Peak, with production design and simply bewitching cinematography that takes us into this creepy world of darkness and ghostly happenings. The special effects are used amazingly to craft the ghosts; often red and with what’s left of tissue flowing away like leaves in the wind. There’s a disquieting nature to the spectres and they sure are very spooky to behold. Plus when you’ve got the mind of del Toro working, you know you’re in for something unusual and lavishly baroque. If Crimson Peak was judged purely on its visual content, it’d be heralded as a Fantasia and cinema at its best. Sadly, there is more to a film than just what we see. It’s just a shame that sometimes the elements don’t mingle together as well as they could and some parts are left very vague. I think the sometimes predictable parts and how it can get long winded are what stops Crimson Peak being in the illustrious company of del Toro’s impactful masterworks. It just falls short of reaching those heights, but the score is one of cool atmosphere and melancholy refrains that suits the tone of the movie. 

The cast adds strength to the uneven film, with the three principal stars all excellent. In the lead, Mia Wasikowska , with her arresting face and air of strength blended with vulnerability, is ideal casting as the young lady finding herself haunted by her surroundings. Yet Wasikowska wisely makes Edith not a shrill victim, in fact although she’s put through the emotional wringer, the character is determined and has agency despite the confusion surrounding her. Tom Hiddleston is all moody yet troubled soulfulness and Byronic charm as the husband who is clearly involved in something, we just aren’t sure how on board he is with it which adds to the ambiguity. 
However it’s Jessica Chastain that provides the true acting standout in Crimson Peak. Alternating between icy, knowing and ultimately unbalanced, Chastain navigates this terrain with verve and really gets into the part. It’s through Jessica Chastain that Crimson Peak kicks into high gear in the layer stages as she’s so amazing to watch as her character goes off the deep end and then some. It’s obvious that she’s enjoying playing such a layered and unbalanced character and she truly delivers. As the noble and honest doctor pining after Edith, there is Charlie Hunnam. He probably has the least developed part but he does what he can with such scant material in the way of growth. An entertaining appearance comes courtesy of Jim Beaver, exuding wisdom and fatherly concern. 

A ravishingly beautiful Gothic horror film influenced by the genre of old school horror, Crimson Peak has that going for it as it does have del Toro at the helm and a fine cast. I just felt that it did get a tad predictable and long winded for me and that stopped it from being in league of del Toro’s other films. Saying that, there is much to enjoy here I’ll give it that.

The Help

Tags

2010's, Allison Janney, Bryce Dallas Howard, Drama, Emma Stone, Jessica Chastain, Octavia Spencer, Sissy Spacek, Tate Taylor, The Help, Viola Davis

Film Title

The Help

Director

Tate Taylor

Starring

• Emma Stone as Eugenia “Skeeter” Phelan
• Viola Davis as Aibileen Clark
• Octavia Spencer as Minny Jackson
• Bryce Dallas Howard as Hilly Holbrook
• Jessica Chastain as Celia Foote
• Allison Janney as Charlotte Phelan
• Sissy Spacek as Mrs. Walters

A big-hearted and stirring movie that tackles racism and the efforts of someone to expose it, The Help provides a poignant and affecting film, aided by a superb cast of talented actresses.

Aibileen Clark is a black maid for a family in 1963 Jackson, Mississippi, who has endured great hardships but has largely kept her emotions under wraps as being maid is the only thing she knows and the only form of work she has. She finds company in her friend and fellow maid Minny Jackson, who is sassy and outspoken in comparison to her, but an excellent cook which is why she finds her employment. A friend of the family Aibileen works for, the young and fresh out of university Eugenia “Skeeter” Phelan returns home to pursue a career in writing. Yet in the social circle that Skeeter finds herself in, headed by the utterly vile and extremely racist Hilly Holbrook, she is something of an odd person, mainly due to the fact that she is more interested in writing than finding a boy to marry. After witnessing the prejudice that the black maids suffer on a daily basis from the white families that employ them, Skeeter finds a story to be discovered and written about. She wishes to write something that shows the feelings and opinions of ‘the help’ and expose what they go through. Determined as ever, she first asks Aibileen her thoughts on being a maid, of which Aibileen is apprehensive as she doesn’t want to lose her job for speaking out of turn. Good-natured Skeeter eventually wins Aibileen around with her persuasive tactics as she genuinely cares about what happens and wishes to make some sort of difference to the shocking treatment of black people. But in the climate of racism and prejudice, they must be careful that no one catches on to their plans, especially Hilly. They also recruit Minny, who has a few stories to tell in typically impudent fashion. Their writing and conversations soon lay the ground work for the book, as they skilfully avoid being caught by meeting in secret and quietly getting the opinions of other maids, who were first skeptical about speaking out. As the writing continues, Skeeter’s resolve strengthens until she won’t stop and with growing confidence and support from both Aibileen and Minny, the book is put in successful motion.

Tate Taylor’s direction is well-appointed and rendered with just the right amount of poignancy, that allows the characters to shine brightly and come alive. He does get a bit sidetracked with trying to sometimes be too light, but his direction is handsomely done all the same. There a few times when The Help misses an opportunity to really present the themes it has with more honesty and they get a bit lost in the whole thing, but by and large, it does a pretty commendable job with at least bringing most of it to the attention of viewers. I would have liked a bit more seriousness at various parts in the film, but the largely touching and inspiring story at least made up for that mishap. The Help certainly makes for moving and poignant viewing, as we really feel get to know the characters of Aibileen and Minny and are horrified at the treatment they endure by others, simply because of their skin colour. It is pretty staggering that it wasn’t actually that long ago that things like this happened when you think about it, and even today there is still prejudice in places. Some will say that the film is too glossy to have dramatic impact when it does have significantly moving material that sheds a light on determination to overcome racism. If anything, the bright colours throughout The Help, enable it to be a bit ironic as everything on the surface is nice, but the ugly truth of matters is far from it. The music in The Help is quite a contemplative part of it, with a growing emotion and feeling slowly emerging from the quiet.

Emma Stone is extremely appealing as the heroine and thrust of the narrative. Her Skeeter is a girl of understanding and doggedness, who gradually with gumption takes risks in ensuring that the story is told and recognized as a portrait of the hardships the maids have to deal with. Her bright eyes and quick mouth are also put to good use, with Stone getting some feisty one-liners to dispense to the circle of women she knows and all follow Hilly like loyal sheep. If Stone represents the spirit of the piece, Viola Davis is the beating heart of The Help. Her dignity, integrity and emotions are all projected with such beauty, poise and humanity that you can’t help but be moved and sympathise with. Her face registers so many feelings that dialogue isn’t needed to understand the hardships she has endured and how she has stoically battled away with grace and hope. Davis is a soulful and powerful performer and her work here is nothing short of amazing from start to finish. On scene-stealing form is an Oscar-winning Octavia Spencer, who is delightfully sassy and direct to the point. Her Minny is a character to root for and Spencer’s wit and depth is given fine voice and freedom as Spencer completely owns a lot of the show with her work. Bryce Dallas Howard savours the role of queen bitch Hilly and plays it to the hilt, becoming one nasty piece of work that you just want her to get exactly what she deserves. She reminds one of a cross between a Stepford Wife and a queen bee from high school, all packaged into a horribly vindictive package and realised well by the talented Howard. Jessica Chastain showcases her immense versatility by playing the ditzy but very personable Celia; an ostracized lady who hires Minny and treats her like any normal person would, in a respectful and kind way that isn’t based on prejudice or fear. Chastain imbues the role with a real naive sweetness, along with a complimentary wealth of sadness that makes you want to hug her. Celia is bullied by the disgusting Hilly who sees her as trashy and immature, when in reality she is a lot more likable, open-minded and mature in outlook than anyone thinks. Good support is provided by Allison Janney as Skeeter’s bossy but ill mother and especially Sissy Spacek as the dotty but amusing mother of Hilly.

So while it could have dug deeper into the issues it presents, The Help still ends up being a pleasing and moving drama about taking a chance and growing with courage in letting your voice be heard.

Coriolanus

Tags

2010's, Brian Cox, Coriolanus, Gerard Butler, James Nesbitt, Jessica Chastain, Paul Jesson, Ralph Fiennes, Tragedy, Vanessa Redgrave, William Shakespeare

Film Title

Coriolanus

Director

Ralph Fiennes

Starring

• Ralph Fiennes as Caius Martius Coriolanus
• Gerard Butler as Tullus Aufidius
• Vanessa Redgrave as Volumnia
• Brian Cox as Menenius
• Jessica Chastain as Virgilia
• James Nesbitt as Sicinius
• Paul Jesson as Brutus

A visceral, blood-soaked modern-day adaptation of the William Shakespeare tragedy which marks the directorial debut of Ralph Fiennes, Coriolanus proves that Shakespeare is just as relevant today as he has ever been with themes of political manipulation and war.

In a battle ravaged version of Rome, riots are taking place on the streets due to a shortage of food and a brutal war is raging against the neighbouring Volscians. The brilliant Roman general Caius Martius is a vicious and brutal warrior  just returning from combat with his old enemy Tullus Aufidius. Upon arrival, he is bestowed with the powerful title of Coriolanus. His ambitious mother Volumnia and influential Senator Menenius persuade him to run for political office, but this doesn’t fair well with Coriolanus as he looks down at the common people and sees them as contemptible. He does however obey his mother and strive for power within the political sphere. Other members of the senate have different ideas about this and begin to incur the wrath of the people who detest his arrogance and slander towards them. This causes them to rise up against the general and he is subsequently banished from Rome as a traitor. Once banished, Coriolanus wanders through the war-torn countryside and comes across his sworn enemy Aufidius. Betrayed by his people and filled with deep rage, Coriolanus forms an unlikely alliance with his old opponent and they plan to take revenge on Rome.

With his directorial debut, Ralph Fiennes brings a gritty realism to the scenes of war and utilises close-ups and dizzying tracking shots to get to the heart of emotion. Updating Shakespeare into a modern context must have provided a challenge, but Fiennes pull it off admirably and shows that the Bard’s work can be applied to modern events just as it is classic events from centuries ago. Admittedly, at first hearing the classical dialogue of Shakespeare spoken in a modern setting can be hard to understand and get used to, but once you become attuned to the words and style the benefits of Coriolanus are deeply rewarding. The score is laced with a militant precision as Coriolanus begins his encroaching plans for revenge with the aid of his old enemy and the impending notion of tragedy.

What really gives Coriolanus its power is the astonishing cast assembled. In the title role, Ralph Fiennes is fierce, arrogant and raging as he changes from ‘man to dragon’ and declares vengeance on Rome. Fiennes gives the role his all and really gets to the heart of this complex character with his powerful delivery and barely contained intensity that radiates from his eyes. Gerard Butler is impressively tough and suspecting as his sworn enemy who becomes an ally. Vanessa Redgrave is brilliant as Volumnia, the autocratic mother of Coriolanus. Ambitious, influential and  overly supportive, Redgrave brings a whole range of emotions to the part of this matriarch and speaks her lines with authority and confidence. Her scenes are electrifying with Ralph Fiennes as she attempts to reason with him, whilst also issuing her powerful and domineering hold over her son. Brian Cox is effectively used as a powerful Senator who is firmly on the side of Coriolanus, whilst Jessica Chastain exudes vulnerability and tenderness as Virgilia, the wife of Coriolanus. James Nesbitt and Paul Jesson relish their roles as politicians who succeed in manipulating events so that Coriolanus is banished.

Dramatic, violent and gripping, Coriolanus is Shakespeare updated in visceral and powerful fashion, boasting fantastic performances and assured direction.