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.

 

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My Dream Movie Cast

Tags

Al Pacino, Judi Dench, Kevin Bacon, Monica Bellucci, My Dream Movie Cast, Natalie Portman

I was recently asked about who my dream cast for a movie would be and it really got me thinking. So for today’s post I’m going to list 5 actors and actresses who I would put in a movie if I could. Hope you all enjoy.

Al Pacino:

He has been one of my cinematic idols for years and is super talented. He may have not been in much recently, but his work still stands up so well. To have an actor like him on a set really raises the bar in terms of performances.

Judi Dench:

A national treasure of talent and wit, Judi Dench is a force to be reckoned with. With her iconic voice giving life to the words she speaks and a glint in her eye, Dench never fails to amaze me.

Kevin Bacon:

This man literally lights up the screen with his presence and versatility. From affable and charming to frightening and chilling, Bacon is an actor I hugely admire and would be happy to have in a cast.

Monica Bellucci:

The beautiful and talented Monica Bellucci has that ability to say so much without words and it really grips from the movies I’ve seen her in. None of her work ever feels forced or histrionic, it’s very calm but speaks volumes about the characters in the most expressive way.

Natalie Portman:

An intelligent performer of depth, Natalie Portman exudes a sense of confidence and maturity that is hard to resist. She takes risks in her work and is able to burrow into the character’s head with acute observations. It would be an honor to have Miss Portman in a movie.

So what does everyone think of my dream movie cast?

 

 

Quantum of Solace

Tags

007, 2000's, Daniel Craig, Gemma Arterton, Giancarlo Giannini, James Bond, Jeffrey Wright, Jesper Christensen, Judi Dench, Marc Forster, Mathieu Amalric, Olga Kurylenko, Quantum of Solace, Spy

Film Title

Quantum of Solace

Director

Marc Forster

Starring

• Daniel Craig as James Bond
• Olga Kurylenko as Camille Montes
• Mathieu Amalric as Dominic Greene
• Giancarlo Giannini as René Mathis
• Gemma Arterton as Agent Fields
• Judi Dench as M
• Jeffrey Wright as Felix Leiter
• Jesper Christensen as Mr White

Coming after the revamped success of Casino Royale, Quantum feels like a step down or two. I think that any film to follow a predecessor as good as Casino Royale would struggle, but whereas that film brought something new and exciting to the series, Quantum tries too hard to change parts of the formula that should be left alone.

With the death of Vesper and the full extent of her betrayal now known to Bond, he is a broken man, out purely for revenge at the death of her. The film opens with Bond, with Mr White in the boot of his car, being chased by the enemy along a mountain range of Italy. After successfully fending off the potential assassins, Bond brings the nefarious Mr White into custody, where M is waiting for him. White sneers at Bond and the secret service as he informs them that the organisation that he works for has people everywhere. Unfortunately, M’s bodyguard is actually a double agent and frees Mr White, before Bond chases him to his death. Enraged by the lack of knowledge of this organisation and at the end of her tether with Bond and his personal vendetta, M doesn’t know what to do to rectify this dangerous situation. Bond has different ideas and after hearing of a link to the organisation and motivated by revenge, he travels to Haiti. It is here that he meets Dominic Greene, a leading member of the Quantum organisation and environmentalist with evil ideas of power. Also in toe is Camille Montes, a vengeful young woman infiltrating Greene’s inner circle to come into contact with a corrupt Bolivian general. Camille wants revenge for her family’s murder and when she meets Bond, the two both realize that they are both on the same mission to avenge loved ones. The two of them travel from Austria to Bolivia in an attempt to bring Greene’s plan to seize the water supply of Bolivia to a stop. But with distrust at every corner and revenge on his mind, can Bond really get it together to pull through and stop the plan before it is too late?

What immediately gives Quantum of Solace an underwhelming quality is the kind of editing used. With quick cuts and shaky cam a plenty, it’s like the director thought that they should try to emulate the Bourne series. I’m all for some of the frenetic editing, but it truly becomes a drag on the film and detracts from many effective scenes. Marc Forster tries to bring more grit to this movie, but instead makes it uncomfortable and way too bleak. I get that the revenge arc is in play here, but it takes a backseat as the film jumps from place to place without any real certainty to speak of. The whole scheme of Greene stealing the water supply is supposed to bring in a sense of growing paranoia but quickly becomes a bore. And the locations of the Bond film are usually a highlight but because of the drab nature of the film, there is no glamour or stunning locales to admire. Thankfully, David Arnold brings a touch of the old style to the musical score and gives Quantum of Solace a much-needed sense of purpose and panache. The same can’t be said of the main song, ‘Another Way To Die’ sung by Jack White and Alicia Keys. Putting the two musically opposite stars together seemed like a good idea at the time, but the end result is a forgettable song that doesn’t impress at all.

Daniel Craig brings intensity and darkness to Bond, showcasing the breaking of his heart and the severing of his morals. It’s a shame the overall film isn’t that memorable, as Craig puts in a great second performance as this bruised 007. Olga Kurylenko gives wounded strength and deep vulnerability to the role of Camille, who sees Bond as something of a kindred spirit as they are both out for revenge. What is refreshing in Quantum of Solace and a rare bonus is that there isn’t a romantic tie between the two that gets in the way of their personal mission; they are both clearly on the same track down the path of vendetta to rid themselves of the emotional ghosts haunting them. Mathieu Amalric definitely hits the right notes with the slimy and reptilian nature he brings to Dominic Greene, but as a villain he isn’t really that great and his scheme isn’t one that will linger in the memory. Giancarlo Giannini reappears as old contact Mathis but is criminally underused, which in turn undermines his tragic fate in this movie. Gemma Arterton gives appropriately terse and businesslike assurance to her role as a consulate agent tasked with returning the avenging Bond to England who plays by the rules of her job description but is persuaded otherwise by Bond. Judi Dench brings stern authority and power to the part of M, who this time worries that Bond is purely motivated by revenge, and not thinking straight in his mission. Jeffrey Wright once again plays Felix Leiter, who this time helps Bond but is cynical about the business he is mixed up in. Jesper Christensen, although only seen sparingly, brings that sense of intelligent menace to his role as the sneaky Mr White.

Underwhelming and not really involving, Quantum of Solace is a Bond film in desperate need of that extra something to bring it to life.

Casino Royale

Tags

007, 2000's, Casino Royale, Caterina Murino, Daniel Craig, Eva Green, Giancarlo Giannini, James Bond, Jeffrey Wright, Jesper Christensen, Judi Dench, Mads Mikkelsen, Martin Campbell, Spy

Film Title

Casino Royale

Director

Martin Campbell

Starring

• Daniel Craig as James Bond
• Eva Green as Vesper Lynd
• Mads Mikkelsen as Le Chiffre
• Judi Dench as M
• Jeffrey Wright as Felix Leiter
• Giancarlo Giannini as René Mathis
• Caterina Murino as Solange
• Jesper Christensen as Mr White

With Pierce Brosnan retiring from the role of 007 in the disappointing Die Another Day, the Bond producers had to recast the role for Casino Royale, which served as something of a reboot to the series. Daniel Craig was chosen to play the part and he brought to it a gritty and more vulnerable quality for his debut as Bond. Casino Royale presents a return to classic espionage and intrigue, which makes it one of my favourite films in the 007 franchise.

For the first time in the series, Bond is shown before he acquires 00 status. This makes him more of an interesting character who can be hurt and does suffer from certain weaknesses. After quickly receiving his 00 status by killing two targets, Bond is assigned his first mission by his boss M. Travelling from the sweltering humidity of Madagascar to Miami, Bond is on the tail of an unseen terrorist organisation. The key to the organisation is one Le Chiffre, a financier who supplies them with what they need. Le Chiffre is merely the middle man, who is just as much under pressure as Bond is to discover the plan. Having thwarted a bomb attack on a Miami airport, Bond begins to unearth the nefarious scheme. The aversion of the attack has caused Le Chiffre to lose a lot of money and his superiors have him marked for death if he can’t recover the money. Desperate, Le Chiffre sets up a high stakes poker game at Casino Royale in Montenegro. Bond is assigned to watch him and play the game. Aiding him is Vesper Lynd, a British Treasury Agent with a tough exterior, the rogue informer René Mathis and CIA agent Felix Leiter . As the games go on and the limit is raised, loyalties begin to shift and the concept of trust begins to wither. Despite trying to keep a professional distance, Bond falls deeply in love with the beautiful Vesper, but with his dangerous job and distrust all around him, Bond learns that in this world no one can be trusted, not even those who you are closest to.

Casino Royale immediately grabs you with the classic feel to it, as the atmosphere of exotic mystery and deception take a hold of the characters. Having helped usher in Pierce Brosnan as Bond in GoldenEye, Martin Campbell successfully completes this with his stunning direction that breathes new life into the franchise and establishes Daniel Craig as a more brutal but damaged Bond. It is refreshing to see Bond as not invincible and how despite his strength, still has issues with trust and pain. There is a definite emotional undercurrent to Casino Royale, which is highlighted by the love between Bond and Vesper. We can see that Bond genuinely cares for this woman and would do anything for her, but how this is the relationship that breaks Bond and changes him into the character we know today. Suspense is kept in tact, especially during the poker sequences in which Bond and Le Chiffre lock horns and try to call each others bluff. While there is very much a dramatic and sensitive undercurrent to this Bond film, Casino Royale doesn’t shortchange the audience on action. From Bond chasing a skilled free runner enemy to a brutal staircase battle, Casino Royale delivers a harsher and bleaker sense of violence that had been missing from some of the predecessors and not seen since Timothy Dalton’s dark turn in Licence to Kill. David Arnold delivers some of his best work with a doom-laden, thrilling yet also tenderly romantic score that epitomizes the film down to the ground. Chris Cornell’s song “You Know My Name” is a successful revamping of a Bond title song, with rocking guitars and slashing strings adding both a classy and hard-edged sound.

Stepping into the shoes of Bond and putting his own stamp on the character, Daniel Craig certainly delivers. He brings a brooding, taciturn side to the character as well as a sense of deep vulnerability and wounded ego. Whatever questions people had about Craig in the role before, he proved them all wrong with his stellar performance. The gorgeous Eva Green makes a deep impression as Vesper Lynd, one of the best Bond girls in my opinion. Green gives passion, sadness and mystery to this ever-changing changing character and invests her with outer strength and inner pain. She truly stands out as an intelligent match for Bond and one of the only women to really get close to the more vulnerable side of Bond. Mads Mikkelsen gives slimy, cornered fear and withering menace to the character of Le Chiffre. Unusually for a villain, there are times when we feel for him as he is stuck in the middle of a dangerous situation and trying to break out. Judi Dench once again gives authoritative command and hardened strength to the role of M, who is often exasperated by Bond’s unorthodox methods but can’t hide the fact she trusts him with what he is doing. Jeffrey Wright makes for an opportunistic and charming new Felix Leiter, while Giancarlo Giannini is superb as the informer with shifting loyalties. Caterina Murino is suitably sexy but doomed as one of the ladies who gives Bond information but pays the price with her life. Jesper Christensen brings a creeping sense of danger as a man in the shadows on Le Chiffre’s track.

Intriguing and emotionally gripping, Casino Royale brings the Bond series back to life with a defiant and effective kick that restores the gold-plated status of the series.

And as I’m feeling generous today and I know that many ladies follow my blog, here’s a picture of Daniel Craig in those famous trunks. Please don’t fight over Daniel ladies as he is needed for the new movie in one piece.

Die Another Day

Tags

007, 2000's, Colin Salmon, Die Another Day, Halle Berry, James Bond, John Cleese, Judi Dench, Lee Tamahori, Pierce Brosnan, Rick Yune, Rosamund Pike, Samantha Bond, Spy, Toby Stephens

Film Title

Die Another Day

Director

Lee Tamahori

Starring

• Pierce Brosnan as James Bond
• Halle Berry as Jinx
• Toby Stephens as Gustav Graves
• Rosamund Pike as Miranda Frost
• Rick Yune as Zao
• Judi Dench as M
• John Cleese as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Just like Roger Moore did in A View to a Kill, Pierce Brosnan signed off as 007 in a film that wasn’t his best. That film is Die Another Day, which ranks as my least favourite Bond film. It is a shame that Brosnan should sign off in such a bad way, especially after the brilliance of GoldenEye and his other ventures as Bond. People may say that Tomorrow Never Dies and The World Is Not Enough are nothing special, but in comparison to the barely tolerable Die Another Day, they’re masterpieces. Anyway, back to my eventful review.

We start out with Bond in North Korea, infiltrating a military base run by the renegade Colonel Moon and his loyal friend Zao, who has been trading mass arms for conflict diamonds. Unfortunately for Bond, his cover is blown by someone in the West and he has to engage in an explosive battle with Colonel Moon, which presumably leads to his death. Bond is then captured and tortured for fourteen months. After his time in captivity, Bond is eventually swapped in a prison exchange for Zao. Bond knows that someone within his government betrayed him and is determined to find out. M, on the other hand, revokes his licence to kill for fear of political ramifications and that Bond has cracked and given away potentially dangerous information. 007 has different ideas and escapes from MI6 custody on a mission to track down the enemy and Zao, who has also escaped his imprisonment. Travelling to Cuba, he meets the seductive Jinx, an American agent who can ably handle herself and is also after the escaped Zao. Their trail leads to a nefarious gene therapy clinic, that can alter a person’s entire DNA. Bond surmises that Colonel Moon is in fact not dead and has taken on a new identity. That identity is one Gustav Graves, a playboy, entrepreneur and philanthropist. Supposedly a respectable businessman, his real plans are far from good as Bond soon discovers. Always with Graves is his aloof publicist Miranda Frost, who is an undercover British agent. From sunny Cuba to the cold of Iceland, Bond uncovers the full extent of Graves and his plan. With a specially designed satellite, he will cut through the border between North and South Korea, so that the North can invade. Yet Graves isn’t alone in his plan as the mysterious Miranda is in fact on his side and double-crossing Bond at every turn. With the sultry Jinx in toe, Bond must derail this plan before full on war erupts.

Now the main problem with Die Another Day is that it is far too focused on the action and not enough on the story. The opening is promising, but the rest of the film descends into mindless chaos and shoot them up action that is really out-of-place within the Bond formula. Yes, some of the action is good, with a fencing duel that soon turns nasty quite thrilling, but non-stop becomes too much and just not that enjoyable in the end. Lee Tamahori in the directing seat doesn’t help as he can’t bring anything new to the film and give the story anything of worth. He relies on too much slow motion and rapid cuts that start out as alright, but become monotonous in the long run. There is not sense of balance to the story and no amount of endless action can make up for that. Also, I don’t mind it when Bond films have references to the older films of the series, but Die Another Day goes overboard with this tactic and the end result is needless. There are some positives, albeit only some that give Die Another Day some value. The locations are pretty spectacular, with the Ice Palace owned by Graves a particular highlight of production design. David Arnold once again provides a classy score that gives Die Another Day some sophistication, interspersed with the non-stop action and some dodgy CGI( need I mention that wretched invisible car)? The less said about Madonna’s title song the better. Anyone who follows this blog will know I’m a fan of Madonna, but her contribution the series is one of the worst. It detracts from the brutal title sequence of fire and ice girls inter cut with Bond’s torture in North Korea and for that alone it is unforgivable.

It is such a shame that Pierce Brosnan signed off from the franchise with Die Another Day as his swan song. He really brought something good to the role and managed to balance the physical challenge and the wit. His performance here may not be his best, but we still buy him as Bond and still watch as he attempts to save the world again during his mission. Halle Berry is sexy and feisty as fellow agent Jinx, who is nifty in a fight and more than a match for Bond in terms of the innuendo stakes. She has great chemistry with Brosnan and their passionate as well as thrillingly dangerous encounters are well-executed to say the least. Toby Stephens may nail the smarmy and power-crazed personality of Gustav Graves, but as a villain he just isn’t that interesting to watch and he doesn’t join the gallery of iconic foes for 007. Thankfully the talented and stunning Rosamund Pike is on hand to give the role of the icy Miranda some dimension, as we watch her play Bond effortlessly because of her glacial beauty, icy demeanor and taciturn deception. Rick Yune is not used well enough as henchman Zao, who has diamonds embedded in his face after the opening encounter with Bond. He may have an interesting look as Zao, but he just doesn’t cut it because of the poor development of his character. At least we have Judi Dench who magnificently portrays M with authority, grave knowledge and a hint of pride for her top agent. John Cleese on the other hand is not that convincing as gadget master Q. No one was ever going to replicate the success of the late Desmond Llewelyn, but I just can’t take Cleese seriously in the role of Q. Samantha Bond and Colin Salmon are seen too infrequently to really register this time around as Moneypenny and Robinson.

Too much action and not enough plot scupper Die Another Day and this makes it one of the worst movies in the Bond series, my least favourite as well as a poor final outing for Pierce Brosnan after the potential of his previous movies.

 

 

The World Is Not Enough

Tags

007, 1990's, Colin Salmon, Denise Richards, Desmond Llewelyn, James Bond, Judi Dench, Michael Apted, Pierce Brosnan, Robbie Coltrane, Robert Carlyle, Samantha Bond, Sophie Marceau, Spy, The World Is Not Enough

Film Title

The World Is Not Enough

Director

Michael Apted

Starring

• Pierce Brosnan as James Bond
• Sophie Marceau as Elektra King
• Robert Carlyle as Renard
• Denise Richards as Christmas Jones
• Robbie Coltrane as Valentin Zukovsky
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

Pierce Brosnan’s third outing as 007 after previously playing the spy in GoldenEye and Tomorrow Never Dies comes in the form of The World Is Not Enough. Occasionally muddled and a little uneven, it does boast some great sequences, serious drama and interesting characters to keep the interest of the audience for its run time and have some fun with. I mean it’s definitely better than the movie that followed.

In the beginning of the film, Bond manages to retrieve money stolen from Sir Robert King, an oil tycoon and old friend of his superior M. Upon returning the money to MI6 headquarters, disaster strikes as King is killed by money that has been dipped in an explosive. Bond then gives chase along the Thames after a sexy assassin who tries to kill him and then proceeds to commit suicide rather than inform Bond of who her boss is. The attack is traced to Renard, a prominent terrorist and former KGB agent who had previously kidnapped King’s daughter Elektra. Renard has a bullet lodged in his skull, that will eventually kill him but has now rendered him unable to feel physical pain and will allow him to grow stronger until his life expires. Bond believes that with the death of King that Elektra will be the next target for the terrorist. Worried about this and for Elektra, M reveals that she advised King not to pay his daughter’s ransom for fear of negotiating with a terrorist. Feeling a sense of guilt, she sends her best man to watch over the oil heiress who is overseeing the building of an oil pipeline in Azerbaijan. Bond feels immediately protective over Elektra, who appears to be traumatized and vulnerable by her kidnapping ordeal. Yet while investigating Renard and his activities, Bond’s suspicions are aroused by Elektra, as he senses she is concealing something sinister behind her vulnerable appearance. His suspicions are proved right as Elektra is indeed in league with Renard and plans on creating a nuclear disaster in the waters of Istanbul by exploding a stolen nuclear bomb which will benefit her oil supplies and business personally and powerfully. Crisscrossing from Baku to Kazakhstan and eventually Turkey, and with the help of buxom nuclear scientist Christmas Jones and former mob boss turned valuable ally Valentin Zukovsky must battle his way through danger to stop Elektra and Renard’s revenge.

The first thing to notice about The World Is Not Enough is an emphasis on drama that hasn’t really been seen in the Bond movies before. There is something developed about many of the characters and it is interesting to see them as two-dimensional people in a dangerous world. Admittedly, some of the drama does come off as more than a little muddled and underdeveloped. But director Michael Apted manages to bring a fresh dynamic to the series and stamps his own style on the movies with assurance. Apted also brings in his typical fashion the powerful and layered women to the forefront of the story, especially in the form of Elektra and an expanded role for M. Even though the mix of drama and action in The World Is Not Enough can be a little jarring, when both camps score, they score very highly to create some excellent Bond worthy moments. The boat chase on the Thames blasts the film into exciting motion and really stands as a definite action highlight, alongside a thrilling ski chase and a dangerous encounter with a bomb speeding along a pipeline. Having the bullet in Renard’s head slowly kill of his pain receptors but increase his strength is an intriguing idea but to be honest it doesn’t really add as much to the plot as it thinks it does and comes off as a rather wasted opportunity. The locations used are sublime with the heat of Kazakhstan and the nighttime glamour of Istanbul exceptionally realized. David Arnold returns for his second Bond score and delivers a stunning piece of work that accentuates the themes of distrust and betrayal. Alternative rock band Garbage provide the eerie yet sensual title track that is an exemplary sonic accompaniment to the languid title sequence of lovelies formed from slithering oil and fields of pumping oil derricks.

Pierce Brosnan brings his charm and smarts to this outing as 007, and he is allowed to show a lot more seriousness than before which proves highly effective given the drama in the story. We manage to see the more ruthless side to Bond in this adventure which is always interesting to watch. Sophie Marceau is on fine form as the duplicitous Elektra and fully embodies the capricious nature of the character. Elektra can be vulnerable and weak one minute and then ruthless and crazed the next, all of this is down to the successful performance of the intriguing Marceau. Because the character of Elektra is so well written, the part of the other villain Renard suffers. Robert Carlyle does bring an intensity to the part that is most befitting, but the underwritten nature of the character sadly short changes him. Denise Richards may be one gorgeous woman but her acting in The World Is Not Enough as a Bond girl is poor. She plays Christmas Jones, a nuclear scientist who helps Bond after Renard steals a nuclear bomb. But to be perfectly honest about her, the character is just so ridiculous and superfluous. I mean she looks curvaceous, athletic and sexy as hell in her Tomb Raider style get up of revealing tank top and hot pants, but when she starts talking about the dangers of nuclear weapons and scientific properties, it is really hard to take her seriously at all. Returning after his role in GoldenEye, Robbie Coltrane brings humour and assurance to the role of Valentin Zukovsky, who has supposedly become a legit businessman but still occasionally dabbles with crime. Judi Dench gets a more expanded role as M this time around and gives the extended part deep emotion and heart as she wrestles with a sense of personal guilt over her handling of Elektra’s kidnapping ordeal. Desmond Llewelyn appears for the final time as beloved gadget master Q. In a sad footnote, Llewelyn died after the premiere of this film and although his last scene with Bond wasn’t planned, when he says goodbye to Bond it is filled with a very deep poignancy that is hard to shake off. Llewelyn was truly part of the Bond fabric and his contribution to the series is a testament to his excellent talent. Samantha Bond and Colin Salmon are once again on hand for the parts of Moneypenny and fellow agent Robinson.

Muddled and sometimes jarring, The World Is Not Enough may not be perfect. But with cool action, beautiful locations and many of the actors performing excellently, it is a pulse-pounding spy yarn to say the very least.

 

Tomorrow Never Dies

Tags

007, 1990's, Colin Salmon, Desmond Llewelyn, Gotz Otto, James Bond, Joe Don Baker, Jonathan Pryce, Judi Dench, Michelle Yeoh, Pierce Brosnan, Ricky Jay, Roger Spottiswoode, Samantha Bond, Spy, Teri Hatcher, Tomorrow Never Dies, Vincent Schiavelli

Film Title

Tomorrow Never Dies

Director

Roger Spottiswoode

Starring

• Pierce Brosnan as James Bond
• Jonathan Pryce as Elliot Carver
• Michelle Yeoh as Wai Lin
• Teri Hatcher as Paris Carver
• Gotz Otto as Stamper
• Ricky Jay as Henry Gupta
• Joe Don Baker as Jack Wade
• Vincent Schiavelli as Dr Kaufman
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny
• Colin Salmon as Robinson

After the huge success of GoldenEye, Pierce Brosnan had his second outing as James Bond in Tomorrow Never Dies. It may not be as strong as its predecessor, but it does the job efficiently and has some interesting flourishes to add to the iconic series of 007 movies.

In the thrilling opening, Bond stealthily makes his way through an arms bazaar in order to recover missiles. After an explosive battle, Bond just manages to escape with the missiles in tact. After this, the main focus of the film appears. Elliot Carver is a prominent media baron, with his finger in every form of the media pie that his eyes can see. Because he has been refused broadcasting rights in China, he decides to cause chaos. He has his team of specialists on a stealth boat destroy a British Navy ship in Chinese Waters, giving him the story he needs and helping set in motion a potential conflict between the nations as he believes the British will blame the Chinese for the attack on them. Carver plans to cause a war between England and China so that he can have the monopoly on the media and satisfy his desire for ultimate power. Worried about the possibility of a full-scale war, M sends Bond to investigate the barbaric and potentially devastating plan of Carver. His mission takes him to Hamburg, where Bond is reunited with a former flame, Paris Carver, now the wife of the corrupt Elliot. Bond and Paris had an eventful relationship, but his loyalty to the job got in the way. Bond’s previous relationship with her comes with tragic consequences and Bond soon realizes the extent of Elliot’s plan for media supremacy. With the help of skilled Chinese agent Wai Lin, Bond tails Carver from Saigon to the South China Sea in an attempt to avert an impending war.

Incorporating themes of media manipulation, digital technology and the fact that what lies beneath the surface is very sinister, Tomorrow Never Dies does have an interesting story. But at times it does veer into unpredictability and to be honest Carver’s plan is a little over exaggerated to say the least. Yet director Roger Spottiswoode manages to keep Tomorrow Never Dies on track and gives this Bond offering action, wit and excitement a plenty. There is a feeling that the movie brings nothing new to the table in terms of originality but this can be forgiven as Tomorrow remains exciting and well-paced throughout. With the theme of digital technology in place, it should be noted the effectiveness of the gadgets supplied by Q. A car that you can drive by using a mock keypad, a bomb triggering watch and a finger print manipulator are all examples of the modernism apparent in this film. Action is adrenaline packed and a standout has to be a chase on motorbike through the crowded streets of Saigon with Bond and Wai Lin handcuffed and forced to rely on one another for direction. David Arnold is on hand to provide an electrifying score of orchestral movements and hints of electronic, to highlight the meeting of the modern and old. Sheryl Crow sings the title song which is a little dull but has a certain slow-burning effect that aids the bizarrely enthralling title sequence of curvaceous girls formed from media circuits and seas of communication data.

Pierce Brosnan gives a great performance as Bond, capturing the suave essence of the spy, the intellect of the man and the physical capabilities in a fight. He also has fun with some very snappy one-liners provided by the witty script. Jonathan Pryce provides an unusual quality to the power mad Elliot Carver, the character may not be the best villain but Pryce certainly makes him watchable. Michelle Yeoh is excellent as Wai Lin, the Chinese agent who reluctantly teams with Bond to take down Carver. Yeoh showcases her intelligent independence, calm and collected demeanor and athletic prowess in a role that shows she is very much an equal for Bond. It’s great to get a female character who isn’t easily won over by the smooth charm of Bond almost immediately after meeting him and Yeoh gives the part a fiercely independent streak that won’t be easily tamed. Teri Hatcher handles the brief role of Paris well, showing us an unhappy woman still yearning for James who will ultimately pay the price for her desire. Gotz Otto brings physical menace to the role of psychopathic henchman Stamper and Ricky Jay embodies the slimy personality of techno wizard Gupta. Joe Don Baker returns as the fun-loving Jack Wade but isn’t used well enough to be memorable. Vincent Schiavelli makes a brief but highly menacing and unusual cameo as a doctor of death, whose efficiency in his line of work can’t be questioned. Judi Dench is back as M, and this time she definitely means business as we watch her attempt to avert world crisis with her sense of judgement and action. Samantha Bond gets some amusing lines as Moneypenny, while there is an amusing performance from Desmond Llewelyn as loyal Q, who is still asking for his gadgets back in one piece but never seeing this happen. Colin Salmon is good as a fellow agent who helps Bond in the beginning of the film.

It may not be the best of the Bond movies, but Tomorrow Never Dies more than does the job and remains an entertaining spy yarn to enjoy.

GoldenEye

Tags

007, 1990's, Alan Cumming, Desmond Llewelyn, Famke Janssen, GoldenEye, Gottfried John, Izabella Scorupco, James Bond, Joe Don Baker, Judi Dench, Martin Campbell, Pierce Brosnan, Robbie Coltrane, Samantha Bond, Sean Bean, Spy

Film Title

GoldenEye

Director

Martin Campbell

Starring

• Pierce Brosnan as James Bond
• Sean Bean as Alec Trevelyan
• Izabella Scorupco as Natalya Simonova
• Famke Janssen as Xenia Onatopp
• Joe Don Baker as Jack Wade
• Gottfried John as General Ourumov
• Alan Cumming as Boris Grishenko
• Robbie Coltrane as Valentin Zukovsky
• Judi Dench as M
• Desmond Llewelyn as Q
• Samantha Bond as Moneypenny

After Licence to Kill, the Bond series and producers had many legalities to sort out and these protracted battles extended for years. In 1995, the Bond franchise finally returned after years in the cinematic wilderness with a new man as 007, Pierce Brosnan. The film was GoldenEye and what a return for Bond it was to be. With pulse-pounding action, an interesting plot, eclectic characters and just about everything coming together amazingly, GoldenEye announced that the Bond series was here to stay.

The film begins in 1986 with 007 and Alec Trevelyan (006) infiltrating an illegal Soviet nuclear weapons facility. As they plant explosives, Alec is captured and killed by the corrupt General Ourumov, Bond in typically exciting fashion manages to escape before the place is blown up. Nine years later, Bond is in Monte Carlo investigating a link to the Janus group, a major underground crime syndicate. His first contact with the nefarious group is the sultry but sadistic Xenia Onatopp, a former Soviet fighter pilot and femme fatale who derives sexual pleasure from murdering people with her strong thighs. Onatopp manages to hijack a prominent helicopter and flies it to a Russian bunker called Severnaya, which doubles as a computer station and weapons division. With Bond’s old nemesis General Ourumov, she massacres the staff and arms a device known as the GoldenEye, a satellite with the power of EMP which destroys the bunker. Unbeknownst to them, someone did survive the blast, Natalya Simonova, a talented computer programmer who manages to flee as her name is marked and her life is in danger. There was another survivor in the form of the arrogant computer geek Boris Grishenko, but he is in league with the Janus group and left before the devastation took place. Meanwhile, having been informed of the destruction of Severnaya, the new M sends Bond on the trail of the Janus syndicate and instructs him to discover what they plan to do with the GoldenEye. Travelling to Russia, Bond teams with Natalya, who comes in very handy in matters of computers and technology. After being put in touch with an old adversary Valentin Zukovsky, he is lead to the head of the Janus syndicate. To Bond’s dismay, the head is revealed to be his old friend Alec Trevelyan, who faked his death all those years ago and now wants revenge against the United Kingdom for an incident involving his parents years ago. Pitted against a former friend and globe-trotting from the snows of Russia to the heat of Cuba, Bond must do battle with him and his other associates in order to avert financial and economic destruction to the United Kingdom of the highest order.

Bringing the series back to life is the talented Martin Campbell. He balances the espionage thrills with superb action and allows the script to incorporate some interesting themes. The main one is the subject of change, since Bond last had an outing the world around him has changed. The film highlights this by the using the fall of the Soviet Union as a backdrop( one scene takes place in a graveyard of broken down monuments of Soviet times) and casting the role of M as a woman. The question of whether or not Bond is relevant in a modern era is also brought up in a very interesting fashion ( although of course we know the answer is a resounding yes). Pitting Bond against an old friend who has turned is another successful attribute of GoldenEye’s arsenal of goods, as we watch the friendship disintegrate into hate and hurt as Bond and Alec come to violent blows. Explosive action abounds with the highlights being a chase through the streets of St. Petersburg in which Bond uses an army tank, a flame engulfed train ride and a brutal fight between Bond and his treacherous old friend. Eric Serra provides the often discussed score to GoldenEye, which has divided opinion on its merit since the release of it. I stand in the middle ground, I believe that there are some excellent pieces of music here and that some are wholly out-of-place in the world of 007. The theme sung by Tina Turner is a highlight of the music, with her soulful and sultry vocals belting out the song with gusto. It provides the perfect complement to the title sequence which features women clad in revealing lingerie dancing and destroying Soviet statues.

Stepping into the role of James Bond, Pierce Brosnan is fantastic in his first outing. Combing urbane charm with a streak of menace and ruthlessness, he really brings the character alive and ensures that Bond is a character that will stay in the minds of millions. Sean Bean makes for an interesting nemesis due to Alec’s history with Bond and he successfully plays him with understated skill. The dynamic between the two gives GoldenEye that extra feeling of danger as we watch the inner conflict Bond must face in knowing that he has to kill a former friend. Izabella Scorupco brings cynicism and determination to the role of resourceful Natalya Simonova, while letting the audience glimpse a touching vulnerability beneath the steely surface. Famke Janssen clearly has a blast playing the sadistic Xenia Onatopp, who is looking to put the literal squeeze on Bond for her own twisted and perverse satisfaction. Combing outrageous zeal, extreme sexual aggression and unnerving glee, she makes for a highly charged and unforgettable Bond girl gone bad. Joe Don Baker, returning to the world of Bond after his portrayal of Whitaker in The Living Daylights, is far more successful here as the amusing CIA contact Jack Wade, while Gottfried John gives physical presence and unusual menace to the role of the increasingly corrupt General Ourumov. Alan Cumming embodies the rat like tendencies of the geek Boris and Robbie Coltrane makes for a reluctant but very helpful ally for Bond in the guise of Valentin Zukovsky. In her first performance as M, Judi Dench is a marvel. Not only can she handle herself with great authority but she can put Bond in his place to( Case in point when she refers to him as a “Sexist, misogynist dinosaur”). Series stalwart Desmond Llewelyn is once again on hand for the usual banter in his gadgets lab, while Samantha Bond is great as the witty new Moneypenny, who can match Bond in terms of innuendos.

With a talented cast and excellent direction, GoldenEye proudly takes its place as one of my favourite Bond movies.

Pride & Prejudice

Tags

2000's, Brenda Blethyn, Carey Mulligan, Donald Sutherland, Jane Austen, Jena Malone, Joe Wright, Judi Dench, Keira Knightley, Kelly Reilly, Matthew Macfadyen, Period Drama, Pride & Prejudice, Romance, Rosamund Pike, Simon Woods, Talulah Riley, Tom Hollander

Film Title

Pride & Prejudice

Director

Joe Wright

Starring

• Keira Knightley as Elizabeth Bennet
• Matthew Macfadyen as Mr Darcy
• Brenda Blethyn as Mrs Bennet
• Donald Sutherland as Mr Bennet
• Rosamund Pike as Jane Bennet
• Carey Mulligan as Kitty Bennet
• Jena Malone as Lydia Bennet
• Tom Hollander as Mr Collins
• Simon Woods as Mr Bingley
• Judi Dench as Lady Catherine de Bourgh
• Kelly Reilly as Caroline Bingley
• Talulah Riley as Mary Bennet

Based on the classic novel by Jane Austen, Pride & Prejudice is a vibrant and witty version of the source material that brings the themes of misconceptions, social standing and matchmaking into a context that modern viewers can enjoy, but purists can appreciate as well.

In 18th Century England, the Bennet family are part of the Landed Gentry, who whilst not poor by any means are far off being rich. The family comprises of the nervous but determined Mrs Bennett, her eye-rolling and sagacious husband Mr Bennett and their five daughters; beautiful but modest Jane, stubborn and spirited Elizabeth, plain Mary, coquettish Lydia and childlike Kitty . As women can’t inherit property at this time, the house will pass to the nearest male relative, in this case it is a distant cousin Mr Collins. Mrs Bennett has her heart set on marrying her girls to secure their future, but the second eldest Elizabeth is headstrong and not fond of the idea of matrimony. When Mrs Bennet hears that a nearby hall is to be purchased by an eligible bachelor Mr Bingley, she’s sees the opening ball as a perfect way to find suitors for her daughters. It is here that Elizabeth meets the snobbish but broodingly handsome Mr Darcy, who she takes an immediate dislike to because of his proud nature. While Jane is obviously taken with the kindly Mr Bingley, the spark has been lit between Darcy and Elizabeth, and although neither will admit it, they soon begin to develop feelings for one another. But can a relationship survive because of Darcy’s sullen and proud attitude? And can the waspish Elizabeth truly love a man she has sworn to hate? Watch as this delightful version of the story unfolds with humour and vivacity as morality, romance and family form the backbone to the timeless tale.

Joe Wright directs Pride & Prejudice with a fluidity that gives the story a constant movement as romance changes between characters and misconceptions are rectified. Yet rather than focus on the quaint beauty that many a period drama centers on, he injects Pride & Prejudice with a modernity, while still retaining the acute social observations of etiquette and manners from Jane Austen’s source. Yes many of the locations used are beautiful, but they don’t overpower the story and this gives this take on the book a much more realistic tone than a romanticized one. A standout scene have to be the confrontation and later exclamation of love between Darcy and Elizabeth, whilst they shelter from the pouring rain. The chemistry between the two characters is most evident here, and they may quarrel with each other, but we can see that there is passion beneath the surface that is waiting to be released. Also, worth mentioning is the two would be lovers who can’t sleep taking a walk and meeting one another in the misty morning, just as the first rays of the sun emerge. The excellent script allows for humour and drama in a dynamic way that perfectly compliment one another. It also gives us a gallery of interesting characters, all caught up in the machinations of dating and social status. A gentle but urgent score is a beautiful thing to listen to as the gliding rhythms of the piano and strings give voice to the unspoken passions and initial indifference between Elizabeth and Mr Darcy.

Keira Knightley makes for an excellent Elizabeth Bennet, giving her an independence, stubbornness and charm that is a joy to watch. Knightley makes the role her own with her expressive face, witty tongue and glint of playfulness in her eyes. She has great chemistry with Matthew Macfadyen as the two characters lock horns with a mixture of intellect and barbed observations. Macfadyen plays Darcy as a snobbish and sullen bachelor. He gives Darcy an insolence but also a kindness, as we witness his proud state of mind altered and forever changed by the spirited Elizabeth. Brenda Blethyn is a hoot as the caring but highly strung mother who wants all her daughters married, while Donald Sutherland contributes a firm but warm performance as her observant husband. Rosamund Pike makes for a radiant Jane. Carey Mulligan and Jena Malone are funny as two of the younger sisters who flirt and giggle, usually at the most inappropriate times. Tom Hollander is simpering and nervous as a possible suitor and the man who stands to inherit the house, while Simon Woods is charming and polite as Jane’s suitor Mr Bingley. Only appearing briefly but making a scene-stealing impression is Judi Dench as the haughty lady with many opinions on those she deems beneath her. Kelly Reilly is suitably bitchy as Caroline Bingley, who does not approve of the family but Talulah Riley isn’t given enough to do as the plain sister Mary.

A spirited triumph filled with humour and romance, Pride & Prejudice is a handsomely produced period drama with a wide range of appeal, due to its excellent direction, witty screenplay and fine performances.

Nine

Tags

2000's, Daniel Day-Lewis, Fergie, Judi Dench, Kate Hudson, Marion Cotillard, Musical, Nicole Kidman, Nine, Penélope Cruz, Rob Marshall, Sophia Loren

Film Title

Nine

Director

Rob Marshall

Starring

• Daniel Day-Lewis as Guido Contini
• Marion Cotillard as Luisa Contini
• Penélope Cruz as Carla Albanese
• Judi Dench as Lilli La Fleur
• Fergie as Saraghina
• Nicole Kidman as Claudia Jenssen
• Kate Hudson as Stephanie
• Sophia Loren as Mamma

Adapted from the musical play of the same name and inspired by Fellini’s 8 1/2, Nine is a visually lovely musical with some great sequences but the lack of emotional connection doesn’t involve. It is a flawed movie, but there are certain points to praise, even if it adds up to less than the sum of its parts.

In 1960’s Italy, Guido Contini is a well renowned  film director. As he approaches middle age, he is starting to develop writer’s block and his relationships with the women in his life further complicate the matter. With a script not written and producers hounding him to make a hit movie, he begins to struggle whilst juggling the many female influences on him and his own personal torment. The women include his neglected wife Luisa; his fiery yet unstable mistress Carla Albanese; his confidant and costume designer Lilli La Fleur; a prostitute who Guido met as a child named Saraghina; his muse and leading lady Claudia Jenssen; a Vogue reporter Stephanie and the memory of his Mamma. Through musical numbers that play out as fantasies in Guido’s head, we see the turmoil of both him and the many women who surround him, some of these numbers come off better than others.

The whole concept of the musical numbers being part of the tormented Guido’s imagination works in some cases, yet director Rob Marshall achieved this effect better in his last musical Chicago. The film should be praised visually for the way it conjures up the stylish 60’s in Italy in all its glory.  Special mention must go to the costumes which are ravishing to look and crafted with precision. Yet the script doesn’t have much of an emotional core and the results emerge as hollow.

The cast of the film is star-studded beyond belief but only three actors are given a chance to expand on their characters because of the flawed script. Daniel Day-Lewis is reliable as ever as the tormented director Guido, managing to imbue him with a melancholy the script sometimes overlooks. Penélope Cruz plays his feisty mistress Carla, who feels pushed away by Guido. Cruz has a very sexy song to perform “A Call from the Vatican” which she pulls off amazingly, it is a raunchy burlesque style number which will no doubt send pulses racing. Yet Cruz also manages to show the vulnerable side to Carla that is sometimes hidden by her passionate demeanor.  But the best performance of the bunch is Marion Cotillard. She beautifully and movingly plays Luisa, the neglected wife of Guido who is growing tired of his philandering and feeling the pain of his rejection. Cotillard has two numbers that are both stunning because of her. The first “My Husband makes Movies” an emotional ballad about her undying love for her husband is beautifully executed and her face expresses her emotions in a subtle yet stunning way. The second “Take it All” is her anguished and angry message to Guido that she won’t stand his treatment any longer. It is in this number that Cotillard really shines by combining sexy determination with a bruised anger whilst baring her body and soul.

Unfortunately for the rest of the cast, their roles are sketchily written. The delightful Judi Dench is not given enough time to be memorable as Guido’s costume designer and the one who gives him advice. Fergie, most famous as the girl from the Black Eyed Peas, does manage to have an excellent musical number in “Be Italian” despite her character of Saraghina, the beach dwelling prostitute who Guido meets as a child, not really calling for much in the way of acting. Nicole Kidman as Guido’s muse Claudia is a stunning actress to watch but the emotional connection with Guido is lacking and her character as a result is not very memorable. Like with Fergie, Kate Hudson has a strong musical number in “Cinema Italiano” which is stunningly cut between black and white with colour, but her character doesn’t really serve much of a purpose. Finally, the eternally beautiful and talented Sophia Loren portrays the lingering spirit of Guido’s mother but although she is moving in her delivery, the narrative doesn’t flesh out her character enough.

All in all, Nine is a very flawed picture that has a weak script and wastes the talents of some actors. But it is a visually arresting piece and it does have some brilliantly choreographed musical numbers.