Paddington

Tags

2010's, Adventure, Ben Whishaw, Comedy, Hugh Bonneville, Imelda Staunton, Jim Broadbent, Julie Walters, Madeleine Harris, Michael Gambon, Nicole Kidman, Paddington, Paul King, Peter Capaldi, Sally Hawkins, Samuel Joslin

Film Title

Paddington

Director

Paul King

Starring

• Ben Whishaw as Paddington Bear
• Hugh Bonneville as Henry Brown
• Sally Hawkins as Mary Brown
• Julie Walters as Mrs. Bird
• Nicole Kidman as Millicent
• Madeleine Harris as Judy Brown
• Samuel Joslin as Jonathan Brown
• Peter Capaldi as Mr. Curry
• Jim Broadbent as Mr. Gruber
• Michael Gambon as Uncle Pastuzo
• Imelda Staunton as Aunt Lucy

A sprightly, adventure-filled and heartwarming take on the classic stories of Michael Bond’s marmalade loving, eponymous bear, Paddington is one of those movies that it’s hard to find fault with. Primarily, this stems from the fact it’s so much fun and an utter delight of comedy, heart and wonder.

We begin in the jungles of Darkest Peru, where we discover an English explorer happening upon two very intelligent bears with a love of marmalade. In time, he teaches them about modern life and even gets them to talk. Before heading back to civilisation he promises them a home in London if they should ever need it. The two bears, named Pastuzo and Lucy, have a nephew with them many years later; a curious and fun-loving bear who shares their taste for marmalade. But their harmony is shattered when an earthquake hits and kills Uncle Pastuzo. Aunt Lucy is getting older and can’t take care of Paddington as she once could. she remembers the explorer’s words of promise about there always being a home in London. Stowing her nephew into a cargo ship, she bids him farewell in the hope he will find a happy, new home. Upon arrival in London, he is met with hostility and all hope for a lovely, caring family to take care of him seems lost. That is until he encounters the Brown Family at Paddington Station. The mother, Mary, gives him the name Paddington and being a kind, considerate person, she offers to house him in her home. Her fussy and killjoy husband Henry, who is obsessed with keeping things risk-free, is completely against the idea of Paddington living with them. The children Judy and Jonathan, are thrilled to have Paddington with them, despite their father’s trepidation. Paddington is most curious to know more about the professor who visited Darkest Peru all those years ago and roping the family into things, he gets them into a whirl of unintentional mischief and laughs. But there is an evil taxidermist by the name of Millicent who has discovered Paddington and will stop at nothing to make him part of her sinister collection, now on his tail. Cue much mayhem, thrills and adventure for the bear and the Brown Family.

Paul King directs with an enormous amount of heart, humour and deeply felt love that explodes from almost every frame. It will take someone with a real damp view of life to not smile or have fun with a movie such as this. King just pushes all the right buttons of raucous humour, heartfelt sentiment and just plain adventure in a way that is spellbinding and an utter delight throughout. sense of magic and feel good factor it has going for it. It’s adventure of the highest level that proves totally sprightly and accessible to all ages. The blending of CGI in the title character and the real-life surroundings, that are continuously colourful, is seamlessly done. On a visual level, Paddington scores major points. The bright as a button colour scheme and adventurous ways of showcasing this zany fable are here in a glorious pot of love. And speaking of love, the film truly gets across the message of accepting people and loving one another beautifully and with clarity. The humour covers a wide spectrum from the mischievous and playful(Paddington accidentally flooding the Brown’s bathroom for starters) to nods and winks to older members of the audience, without missing a beat or getting overstuffed. It’s rare to come across a film such as Paddington that can be a ball for everyone watching. It has a style and care to it that many movies that aim for every age can sometimes miss in the long run. The high-reaching and upbeat score are on full duty; bringing out the simply amazing story and film that it accompanies. Put quite simply, you couldn’t ask for a more enchanting movie than Paddington.

Ben Whishaw beautifully voices the title bear with a childlike adventure and sense of mischief. His relaxing tones and enthusiasm can be heard so well that it’s really difficult to imagine another person voicing Paddington with the same skill as Whishaw has. Hugh Bonneville and Sally Hawkins play well off one another as total opposite mum and dad. Bonneville is staid, careful and unwilling to entertain fancy notions, Hawkins is imaginative, lovely and slightly zany. Both consummate actors invest a lot into their respective roles(which also goes for pretty much the entire cast, who are finely assembled). The ever-dependable Julie Walters has a whole bundle of fun as the elderly relative of the Brown’s, whose quick wit and precision with cleaning ensures things are up to her tidy standards. Nicole Kidman is a dark delight as the villain of the piece; a Cruella like woman who wants to add Paddington to her collection. Kidman is both menacing and tongue in cheek funny, while also embodying something seductively devious too. It’s obvious that she had a really fun time playing this type of character just from the looks on her face. Child actors Madeleine Harris and Samuel Joslin are ideal for the roles of the Brown children who take the bear under their wing. Peter Capaldi is very amusing and slimy as the local nosy neighbour getting in trouble with the evil taxidermist, while Jim Broadbent provides sage as a man who helps point Paddington in the direction of what he seeks. Briefly found voicing Paddington’s relatives in Darkest Peru are Michael Gambon and Imelda Staunton, whose pathos and warmth are felt from the get go, despite only being on the screen for a short duration.

Hilarious, riotously entertaining and aimed at all ages, Paddington takes its place as a firm favourite that will pull you in with its message of family and its massive beating centre that is the lovable bear.

Enchanted April

Tags

1990's, Alfred Molina, Drama, Enchanted April, Jim Broadbent, Joan Plowright, Josie Lawrence, Michael Kitchen, Mike Newell, Miranda Richardson, Period Drama, Polly Walker

Film Title

Enchanted April

Director

Mike Newell

Starring

• Josie Lawrence as Lottie Wilkins
• Miranda Richardson as Rose Arbuthnot
• Joan Plowright as Mrs. Fisher
• Polly Walker as Lady Caroline Dester
• Alfred Molina as Mellersh Wilkins
• Jim Broadbent as Frederick Arbuthnot
• Michael Kitchen as George Briggs

A thoroughly captivating period drama, in which a dream vacation for four ladies has each person is changed by the experience, Enchanted April is aptly named and filled with a real feel good factor that is hard to resist.

It is 1920’s London and grey skies and constant rain fill the days. Downtrodden housewife Lottie Wilkins desires a change of scenery for a while as she is married to solicitor Mellersh, who rarely pays her any attention and London depresses her. She meets a neighbour, Rose Arbuthnot, to whom she has never spoken and sees that she also is in a not to different situation. Yet Rose is a woman who has become so used to being subservient to her husband that the idea of a holiday appears to be just a dream. Yet she is soon won over by Lottie’s insistence and good nature, and soon the women grow friendly and plan a getaway. The location is an Italian castle on the shores of the Mediterranean for the month of April. The two jump into this as a way to escape the dreary lives they lead and take the chance. In order to split the expenses, Lottie and Rose put out an advertisement for two others to join their impromptu adventure. The two people they take on are the haughty and disapproving Mrs. Fisher and beautiful but restless socialite Lady Caroline Dester, who wants to get away from her social circles. Once at the exotic castle, the four of them set apart attempting to relax and unwind, though it isn’t always that simple. The ladies are at first at odds with each other, yet over time they grow closer to each other. A change happens for each of the women over the course of April as the fresh air and surroundings weave a magic spell on all of them. Lottie discovers her own sense of worth, Rose emerges from her insular shell to become a vivacious and confident lady, Mrs Fisher’s waspish attitude is minimalised as she lightens up and Caroline gets a sense of contentment from the castle. It appears that the place has some unusual ability to transform those there and generally for the best in this luscious movie.

Mike Newell has a sensitive edge to his direction that brings the characters and settings to life admirably. The whole strangers going on holiday and changing genre has been done a million times, but Enchanted April is one of the better films of its kind thanks to the script and aforementioned direction from the great Newell. There is subtlety at work in Enchanted April that suits the slow, sunny days in which the quartet evolve as people due to the change in location and free from the pressures of life. Some people may say that not a great deal happens, when quite a lot occurs just in a mature and measured way as opposed to something majorly overt. I like this approach in a movie, especially something like this that allows for depth and nuance.  A good touch is having some of the thoughts of the women play out as monologues when they’re alone and left to contemplate the impact of change on them. The locations are gorgeous to look at and the visual changes pave the way for memorable viewing. From the dour London scenes to the brightly coloured setting of Italy, Enchanted April knows how to twin the colours with the emotions the characters and audience experience. You can take away a warm and fuzzy feeling from this film, that at least feels genuine and not mawkish or filled schmaltz. Gentle music stunningly underscores the growth of each person as the paradise quietly but noticeably changes them.

Enchanted April gains huge points of greatness from the splendid cast. It’s the ladies who are the most memorable within the film. As the lady who comes up with the idea of the holiday, Josie Lawrence has enough energy and optimism she could practically burst. Playing Lottie as a woman who is bruised but has an effervescent spirit and perceptive ability. Lawrence succeeds as it is impossible not to be won over by her. Miranda Richardson is simply sublime in her part of the saddened and put upon Rose, who discovers a new purpose and love for life once in the Italian surroundings. Richardson is one of those performers who can say so much with her face than most can with heaps of dialogue. She is a moving and luminous presence in this film and not one that is easily forgotten. Stealing all of her scenes is Joan Plowright; essaying the role of a cantankerous old lady who is really quite lonely and regretful behind the entitled surface. She gets all the best lines and her old-fashioned and snobby attitude is a funny thing to view. Yet Plowright knows exactly when to reel in the disapproving glances and acidic remarks to reveal a woman at odds with the world, as it is totally different from the one she grew up in and her morals are now outdated in changing society. As the last part of the female quartet, Polly Walker’s work is stunning and full of kittenish behaviour. At first glance,the part of Caroline could be seen as merely a glamorous one that probably wouldn’t require much in the way of acting. But Polly Walker digs beneath that and thanks to the writing, emerges with a very good performance that opens up the character who just wants to be loved by someone for not just her beauty or money.

Though while the ladies hold a lot of the interest, the men do pretty well too. Alfred Molina and Jim Broadbent excel as two of the husbands who are inattentive to the yet once they visit the paradise are changed significantly. The always reliable Alfred Molina in particular is a highlight as the initially priggish Mellersh, who appears more interested in his job than anything else. Later he is seen displaying a deft humour and surprising sensitivity once his character glimpses how important his wife is to him in the scheme of things. Michael Kitchen has a good part as the owner of the castle who is never seen far from a thick pair of glasses due to having short sight.

A lovely film of gorgeous scenery, subtle drama and nice performances, Enchanted April is just the ticket for a rainy day as you will feel refreshed by it.

Moulin Rouge

Tags

2000's, Baz Luhrmann, Ewan McGregor, Jim Broadbent, John Leguizamo, Moulin Rouge, Musical, Nicole Kidman, Richard Roxburgh, Romance

Film Title

Moulin Rouge

Director

Baz Luhrmann

Starring

• Ewan McGregor as Christian
• Nicole Kidman as Satine
• Jim Broadbent as Harold Zidler
• Richard Roxburgh as The Duke
• John Leguizamo as  Henri de Toulouse-Lautrec

An utterly fantastical, spectacular musical romance, Moulin Rouge is a marvel to behold. With artistic flair and daring panache, Baz Luhrmann crafts an ambitious and boldly mounted extravaganza combining humour, passion and music.

The time is 1900 and young dreamy poet Christian moves to Montmartre, Paris to be among the burgeoning Bohemian writing movement. It isn’t long until Christian comes into contact with the eccentric Henri de Toulouse-Lautrec and his artistic circle. After seeing Christian’s deep talent for words, Toulouse and his friends persuade him to help them finish writing their new show that they want to sell. They take Christian to the decadent dance hall Moulin Rouge, were the dancing is frantic, the atmosphere charged and the sexuality is through the roof as it also doubles as a bordello. It is a place where the rich folk of Paris mingles with the underworld in gaudy business, boozy antics and seedy dealings. The plan is to sell the play to the garrulous owner and impresario Harold Zidler. The star of the Moulin Rouge is a beautiful courtesan named Satine who is a talented singer and wants to be an actress. Upon meeting her after a series of mishaps when she believes he is someone else, Christian is instantly in love and his way with poetry and genuine emotion soon makes these feelings reciprocated by the stunning Satine. The hitch to their flourishing romance is when Harold gets an investor for the play in the form of the unscrupulous Duke, who wants to be bound to Satine and slowly comes to see that Satine has feelings for someone else which causes his anger to considerably rise. As Christian and Satine conduct a concealed affair, there is also the secret matter that Satine is tragically dying of consumption. As the day of the show nears, love, jealousy and tragedy collide in spectacular fashion as the show must go on.

As soon as the movie starts with something akin to a fanfare, you just know that Moulin Rouge is going to be something special. Baz Luhrmann launches us into an intoxicating world of artistic flourishes and grand passions that benefits from and soars because of stunning set design, costumes and visuals. The way he shoots the scenes within the title dance hall are fantastic with quick cuts and a kinetic pace mixing as colourful skirts are lifted in the can can, decadent joy comes alive and a promise of love emerges for Christian in an exotic atmosphere. Moulin Rouge is nothing short of a feast for the senses and ears and Luhrmann knows how to engross us in a spellbinding fable with a tragic heart at the centre of it all. I especially love how the musical numbers are songs that are modern and transported into the old-fashioned setting with cheeky panache and chutzpah. I can’t explain why but I really get a kick out of hearing these contemporary numbers being performed in an archaic environment. Now there are those that will argue that Moulin Rouge is nothing more than grandiose style over substance. I can see where people may be coming from with that accusation, but I for one was too swept up in the movie and found that while the style was overwhelming in parts, there was still interesting characters and a love story in it that left me moved. The romance between Christian and Satine has a feeling of magic to it, they are really meant to be together but ultimately fate my have other plans for these designs and won’t let it be an easy ride for either.

Ewan McGregor is ideally cast as the naive poet Christian, who believes with all his being that love is essential to life. McGregor has a really genuine and earnest way about him here that we sympathise with Christian as his love for Satine is threatened by other forces. One should also note his excellent vocal skills that are mightily impressive to hear. The same can be said of Nicole Kidman, whose singing voice can be described as heavenly. She exudes such a vibrancy, joy and ultimately desperate sadness as the showgirl Satine slowly dying but finding her one true love. Kidman gives her all to the part and shows a flair for seductive comic scenes as well as deep emotional ones that show her incredible range. The ever-reliable Jim Broadbent steals every scene he’s in with his gusto, sense of humour and outrageous look as the showman Harold, who watches over his stars of the show but in particular Satine. Richard Roxburgh has a snake-like quality that he cloaks his character of The Duke in that makes him a very nasty piece of work indeed. John Leguizamo is an utter delight as the impish Toulouse who brings Christian into his circle of artists and writers.

Bold, breathtaking and impressively splendid, Moulin Rouge is simply put a wonderful musical brimming with life.

What are your thoughts on the Cloud Atlas trailer?

Tags

Cloud Atlas, Halle Berry, Jim Broadbent, Susan Sarandon, Tom Hanks

The other day I watched the trailer for the upcoming, all-star movie Cloud Atlas. From what I know about the movie, it is about six different time zones and character’s actions connecting them. The cast includes Tom Hanks, Halle Berry, Jim Broadbent and Susan Sarandon, amongst others.  Since my first viewing of the trailer , a lot of people have been talking about it, and the opinion seems firmly divided. So I want to know, what are your initial thoughts of the trailer? Do you think that the film will be bold or extremely confusing? Whatever your answer or view, please give it.