Love & Friendship

Tags

2010's, Chloë Sevigny, Emma Greenwell, James Fleet, Jane Austen, Jemma Redgrave, Justin Edwards, Kate Beckinsale, Love & Friendship, Morfydd Clark, Period Comedy, Stephen Fry, Tom Bennett, Whit Stillman, Xavier Samuel

Film Title

Love & Friendship

Director

Whit Stillman

Starring

• Kate Beckinsale as Lady Susan Vernon
• Chloë Sevigny as Alicia Johnson
• Xavier Samuel as Reginald DeCourcy
• Morfydd Clark as Frederica Vernon
• Emma Greenwell as Catherine Vernon
• Justin Edwards as Charles Vernon
• Tom Bennett as Sir James Martin
• James Fleet as Sir Reginald DeCourcy
• Jemma Redgrave as Lady DeCourcy
• Stephen Fry as Mr. Johnson

An impressively witty period comedy that takes a largely underrated Jane Austen tale and showcases a naughtiness that is something different from her usual stories, Love & Friendship weaves a cunning and thoroughly amusing tale of one woman’s plot to maintain her position in society, no matter what the cost. Trust me, this is one of the funniest films I’ve seen in a while.

The setting is England in the 1790’s and Lady Susan Vernon is a widow. Occupying a precarious position in the class system since her late husband’s death and known for being a flirt with a bad reputation, we open with Susan leaving one home in which she has created chaos. She invites herself to stay at her in-laws; her brother-in-law Charles who is more than happy to oblige, his wife Catherine, who cottons onto Susan’s ways and her brother the dashing and much younger Reginald. Susan, though trying to lay low as rumours spread of her indiscretions, is armed with a cunning plan while at the country home to ensnare a husband for her daughter and naturally herself. She finds that young Reginald, despite his initial reservations about her, has become enamoured with her which opens up an avenue of success. For her daughter, Susan has a candidate in the shape of Sir James Martin, who has a large fortune but little intellect. Her schemes begin to take effect, aided in no small part by her trusted confidante Alicia Johnson, who helps her best friend despite knowing that she could be reprimanded and sent back to America by her husband if she doesn’t sever ties with Susan. Yet when Frederica, who is significantly nicer and more shy than her mother, runs away from school and arrives at the country house, Susan’s plans begin to go pear-shaped as her shy daughter has no inkling to marry and is instead smitten with Reginald. It seems all the spinning of webs by the crafty Lady Susan is about to get a lot more complex than intended.

Love & Friendship takes its basis from a Jane Austen novella that was published posthumously, but thought to have been written well before her more famous later work, the likes of which have been adapted countless times for movies and television. Whit Stillman effortlessly brings the not so well-known story to the screen with aplomb and vigour. His direction is unfussy yet immersive; focusing mainly on the schemes and plots of the tale rather than being overrun by period splendour and pomposity. Saying that, costume design and set decoration is stupendously done and is worthy of all the praise it should get. Thankfully, both elements of direction and decoration are supported on equally good footing, never letting one override the other and bringing out the period setting while reveling in a certain modernity to be found. One of these modern touches that was very funny was intertitles that introduced the characters and highlighted their motives, such a simple touch added a whole lot to the overall product. The ace in the pack of Love & Friendship is the script, that is as sharp as a rapier and unearths a sauciness rarely glimpsed in anything based on Austen’s material. Who knew something from the pen of Jane Austen could be so tart, cunning and cutting in the most delicious way? Well I for one loved seeing this different side to it and Stillman’s script captures the biting humour to a very excellent degree. A classical score that appears light and almost cosy acts as an ironic counterpart to Susan’s navigation and plots for those around her.

Where Love & Friendship really scores high points is in the casting and the respective performances. In the lead role of the cunning yet seriously charming Lady Susan, Kate Beckinsale shines in what is her best performance to date. Beckinsale just has such zeal and devilish delight in the part that it’s hard to resist. The character of Lady Susan has no really redeeming features as she schemes away and has no moral compass; but there is something so likable about her that we fall under the spell of her, much like every other character does. Delivering pithy put downs, breaking hearts or explaining away any blame put on her, Kate Beckinsale fits the part of the manipulative Susan like a glove with her kittenish glee and delightful sauciness. Chloë Sevigny plays excellently against Beckinsale as her confidante who bored with her life is more than willing to listen into her scandalous plans for others and the danger of it all. Possessing both the good looks and the curious temperament, Xavier Samuel is very well cast as Reginald, who falls for Lady Susan’s feminine wiles despite his better judgement. Morfydd Clark contributes a gentle and sweet demeanor to the part of Frederica, who has no intention of following her mother’s manipulations in getting a husband. As the bemused in-laws of Lady Susan, Emma Greenwell as the suspicious wife and Justin Edwards as her husband that lets everything run its course are suitably great in their parts. Stealing the scene whenever he is present is Tom Bennett as the rich James Martin, whose financial wealth is not matched by his simple outlook and lack of knowledge. He gets to say so many hysterical lines that you can’t help but laugh yet feel a bit of sympathy for the character, due in no small part because of Bennett’s winning comic timing. James Fleet and Jemma Redgrave in the supporting roles of Reginald and Catherine’s parents have a ball with what they are given and there is a funny cameo from Stephen Fry as Alicia’s older, disapproving husband.

Filled with fine acting, quick pacing and amusing exchanges, Love & Friendship is a film that is impossible to not be charmed and won over by. I genuinely cannot remember having so much fun watching a film in the cinema of late like I did when watching the witty Love & Friendship.

The Golden Bowl

Tags

2000's, Anjelica Huston, James Fox, James Ivory, Jeremy Northam, Kate Beckinsale, Merchant Ivory, Nick Nolte, Period Drama, The Golden Bowl, Uma Thurman

Film Title

The Golden Bowl

Director

James Ivory

Starring

• Uma Thurman as Charlotte Stant
• Jeremy Northam as Prince Amerigo
• Kate Beckinsale as Maggie Verver
• Nick Nolte as Adam Verver
• Anjelica Huston as Fanny Assingham
• James Fox as Colonel Bob Assingham

An adaptation of the Henry James novel brought to the screen by Merchant Ivory, The Golden Bowl is an elegantly mounted story of betrayal, adultery and love that is finely acted by a star-studded cast and filled with the right period touches you’d expect from a literary production like this.

It’s the turn of the century and Prince Amerigo is a charming but impoverished Italian prince, from a once noble family. Thankfully, he is engaged to the pretty Maggie Verver; an American heiress whose doting father Adam is a billionaire business tycoon whose work largely relates to the world of art. Yet into the pretty picture once the couple are married and have a baby son is Charlotte Stant, who is a friend of Maggie’s from school, but also the former lover of Amerigo. The couple, as we find out, had to part with one another due to both being poor, but the passionate Charlotte is still very much in love with Amerigo. None of this is known to Maggie, who is a sweet and green girl who thinks the best of everyone. Amerigo panics with Charlotte back in the frame and tries to dissuade her, but he himself can’t deny the fire that still burns intensely within him for her. The two resume their affair, while the driven Charlotte, in an attempt to be closer to him and also secure a comfortable lifestyle, marries the much older Adam. The pair believes that due to Maggie being extremely close to her father that their indiscretions will go unnoticed, which id not the case. Watching from the sidelines is society maven and matchmaker Fanny, who knows the secrets of all parties involved due to her eagle-eyed ways. But as betrayal rises and passions spill over, so do suspicions from Maggie and Adam that something is going on with their spouses. What consequences will emerge due to the intertwined relationships?

The work of Henry James is renowned for at times being difficult to transfer to the screen, but with the talents of James Ivory, Ismail Merchant and Ruth Prawer Jhabvala on board, The Golden Bowl makes for a dazzling film. James Ivory as director loses none of the scathing indictments that Henry James so often focused on, instead bringing out the deceit and treachery with subtle touches and foreshadowing. The symbolism of the eponymous bowl is a great metaphor for the seemingly ideal but cracked underneath unions as the bowl looks so splendid, but has  a flaw when one looks closely upon it. Another excellently written script from Ruth Prawer Jhabvala contributes to the intelligence of the story and the ways that little phrases of dialogue and exchanges can have an extremely big impact on the overall events swirling. Threats and observations from characters are made but hidden behind a veneer of polite society as manipulations begin to figure heavily. Social standing and fortune do come into the story, but The Golden Bowl is much more concerned with the complexities of the heart and the cruel side of human nature when desire comes into play, which it explores magnificently and with assurance. There are a few times when the pace falters during the running time, but that flaw can easily be forgiven due to the engaging and intelligent work on display. A visual style of opulence is employed and contains some stunning pieces, particularly a dance recital of Arabian Nights that also doubles as an expression of the passion and secrets being guarded by everyone. A grand score imbues the film with a passionate core while highlighting the dangerous and manipulative treachery carried out by many of the characters in the name love and station.

One of the biggest draws from The Golden Bowl is the utterly splendid and distinguished cast it has. Making a huge impact is Uma Thurman as the driven and willful Charlotte, whose desire to be with Amerigo and her emotional slips that threatens to bring down the tidy house of cards he has built with Maggie. Any other actress would probably have made Charlotte very villainous, but Uma Thurman wisely plays her as definitely manipulative and sly, yet still with a deep sense of desolation and obsession that can’t be stopped. Jeremy Northam in the part of the impoverished but charming Amerigo shines too; revealing a man caught right in the middle of two women and unable to resist the temptation of the temperamental Charlotte, despite his conscience. Kate Beckinsale is equally as good portraying the initially naive and almost childlike Maggie. Yet once Maggie gets an inkling of something untoward going on, Beckinsale magnificently charts her emergence from the innocent victim to steely and quietly ruthless survivor with conviction. It was good to see Nick Nolte in this film making his character of the gentlemanly Adam appealing, yet laced with the feeling that you wouldn’t want to cross the man with your life. Clearly having an absolute ball in The Golden Bowl is a delightful Anjelica Huston who stars as the meddling matchmaker Fanny, who knows exactly where to put her loyalties and when to play her cards right. Fanny is one of the supporting characters, but Anjelica Huston’s work brings memorability to the character. James Fox is quite amusing as Fanny’s husband, who is a jolly man who leaves matters of the heart and intrigue to his wife, but is still protective to save any bother for her.

With eloquence and subtlety, The Golden Bowl emerges as an underrated film from Merchant Ivory, that more than deserves to be better known due to its compelling story, visual splendour and first-rate performances.

Vacancy

Tags

2000's, Ethan Embry, Frank Whaley, Horror, Kate Beckinsale, Luke Wilson, Nimród Antal, Thriller, Vacancy

Film Title

Vacancy

Director

Nimród Antal

Starring

• Kate Beckinsale as Amy Fox
• Luke Wilson as David Fox
• Frank Whaley as Mason
• Ethan Embry as the Mechanic

A taut and well shot horror-thriller, Vacancy eschews over the top gore in favour of well-timed shocks and nail-biting suspense. It may not fully escape B movie origins but it’s definitely a step up from some of the horror movies due to the building of terror and the efficiency of its running time.

On the way back from a family get together, estranged couple Amy and James Fox take a short cut due to an accident in the way of their intended destination. The couple is on the cusp of divorce after the tragic death of their young son and the two of them being unable to repair the wound it left. As they continue driving in the night, their car breaks down as they find themselves completely lost. Journeying back on foot after seeing a motel earlier in their travels,  Amy and David check into the place for the night, despite their initial reservations about the unusual manager Mason. While attempting to rest and with David trying to get through to Amy, it looks as if it will be a long night for the both of them. Yet events become a whole lot more creepy and deeply perverse as knocks at the door and an alarming discovery is made. The dingy motel room that they are staying in is the ground for the making of snuff movies, filled with hidden cameras. The motel manager Mason is the ringleader of the sickening games and has a group of masked assailants who he sends to torment Amy and David. Utterly terrified by what is happening, Amy and David must put their personal problems on the back burner as they fight for survival against a disturbing band of psychopaths whose every thrill is the squirming of the couple. As the night goes on and the terrified couple battle with all they have against deadly and sickeningly planned designs, it’s down to the wire as to whether they can make it until morning without becoming the victims of the next snuff movie.

Nimród Antal successfully builds a sense of dread from the very first frame and then quickens the pace with unbearable tension once David and Amy discover the horrifying purpose of the motel. The running time is thankfully not long-winded and throws us into the terrifying night that the couple faces after checking in. Antal wisely sidesteps the temptation to overuse the sleazy premise that many other film makers would indulge in. Sure, Vacancy shows brief snippets of the perverse horror that the motel is used for and violence, but these moments largely occur off-screen, which in my view makes the film more  creepy because we are forced to imagine the brutal extent of what is happening. Antal crafts so many scenes of merciless suspense and tension; a clear highlight being David and Amy having to quickly crawl through a series of underground tunnels used by the killers to quickly make their way between rooms as they are pursued. Low lighting and moody cinematography create an ambience of squalor and desperation as the couple fights to live on within the confines of the scuzzy motel. Vacancy only slightly falters due to some laughable dialogue that feels a bit out-of-place in this kind of film. Yet this is the only real flaw as the script is largely successful in setting up the terror and crafting two believable and flawed protagonists who we get to know and want them to survive this utter depravity that has trapped them.  A nail-biting and extremely tense score keeps the economical running time of the movie going along with an electronic bass that from the very beginning lets us know that something ominous will soon occur.

In the roles of the protagonists who are dealing with their own stress and trauma even before the hellish night of horrors that awaits them occurs, Kate Beckinsale and Luke Wilson are very good. They put across the feeling of these two wounded people trying to navigate grief in their own way, but being forced to forget about it and fight with every fibre of their being they have to survive. The two conjure the emotions of normal people pushed to their limits under emotional distress and doing whatever it takes to live on very effectively and with palpable skill. As the mastermind behind the snuff film plot, Frank Whaley has all the necessary sleaziness and creepy tics needed to make the character a despicable psychopath delighting in the suffering of others. In another villainous role that is somewhat brief, Ethan Embry plays a mechanic who supposedly helps the couple, but is in fact in on the sickening scheme.

Tight, taut and well paced, Vacancy is an effective blend of horror and thriller that is disquieting in a way that isn’t gratuitous or in your face, instead emerging as more of a creepy and suspenseful chiller.