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Tag Archives: Kirsten Dunst

The Beguiled (2017 Film)

14 Friday Jul 2017

Posted by vinnieh in Movie Reviews

≈ 79 Comments

Tags

2010's, Angourie Rice, Colin Farrell, Elle Fanning, Kirsten Dunst, Nicole Kidman, Oona Laurence, Psychological Drama, Sofia Coppola, The Beguiled

Film Title

The Beguiled

Director

Sofia Coppola

Starring

  • Colin Farrell as Corporal John McBurney
  • Nicole Kidman as Miss Martha Farnsworth
  • Kirsten Dunst as Edwina Morrow
  • Elle Fanning as Alicia
  • Oona Laurence as Amy
  • Angourie Rice as Jane

Previously filmed in 1971, The Beguiled gets a reworking courtesy of Sofia Coppola and its different approach makes it one memorable movie of mounting tension and burgeoning sensuality.

It is 1864, Virginia and the Civil War is in motion. A young girl by the name of Amy from a nearby school for young girls, is out gathering mushrooms for food. She comes across Corporal John McBurney, a badly wounded Union Soldier and deserter. Helping him, Amy brings the unconscious man to her school. Here we meet the stalwart headmistress Miss Martha Farnsworth, vulnerable and melancholy teacher Edwina Morrow, and a few students, including teasing and bored teenager Alicia. There is curiosity among the girls about the man; many thinking it treason to harbor the enemy, but also a pang of sexuality as there hasn’t been a man around the isolated place for a long time. All of the ladies at the school in one way or another find themselves attracted to and curious about the handsome man in their residence. For the protective Martha, he is something that is tempting but troubling to her position of power. To shy Edwina, he is a decent man who seems to treat her with compassion. And to the precocious Alicia, he is something to project her kittenish desires on to. With the other younger girls, particularly Amy, John is something of a mysterious but friendly stranger. McBurney, while convalescing, does nothing to stop fanning the flames he has stoked and proceeds to flirt with the women. Largely, he manages to ingratiate himself into the hearts of the surrounding women, hoping to remain at the school and not return to the battlefield. Yet his trifling with their emotions in such a confined setting, will not be tolerated once fevered feelings finally get aired. The women themselves, particularly Martha, Edwina and Alicia, find themselves vying for his attentions and wrestling with romantic and lustful feelings. Soon events become complex for all the ladies, as the attraction and jealousies give way to irrevocable circumstances that tear the school to pieces in the wake of deception and anguish.

Sofia Coppola is at the helm of this steamy tale of repression and revenge, and goes about it with a finely tuned subtlety that is its chief asset. In comparison with the Don Siegel version that was more lurid and in your face(effectively so too), Coppola’s interpretation is more on the side of suggestion and nuance. Stifled desires and flurries of jealousy are glimpsed in actions and facial expressions, finding an unspoken way to project the inevitable chaos that will ring out soon enough. The tale, under the direction of Sofia Coppola, takes shape from a woman’s point of view, featuring the female gaze as opposed to the male one that so many films favour. John is repeatedly observed and lusted after in a variety of ways, most memorably when Martha sponge baths him and has to stop as her stifled desire is beginning to surface above her ladylike visage. A surprisingly sly wit also courses through the movie’s veins, which is unexpected but most welcome in the end. Themes of isolation and female identity have been explored through Coppola’s filmography already, but The Beguiled finds it in a darker setting. The choice by Coppola to have The Beguiled focus on the women primarily is a beneficial one, that allows expansion of character but also levels of surprising ambiguity. Plus, we aren’t told what to think about these people, rather it lets us make our minds up over their actions and consequences as they slowly become unsheathed. Who is really being beguiled in the film? Both John and the group of ladies exhibit signs of it, but the grey areas are what makes it so much more compelling to watch. Sofia Coppola has focused on isolation and female loneliness in her filmography successfully, here in The Beguiled, it lends itself excellently to this darker story that displays her command over suspense. While The Beguiled is definitely a psychological drama, a thriller element as the temperature rises, emerges under Coppola’s command. She shows she’s got a dab hand at creating tension; starting in the most subtle of ways before layering it with more prominent menace as John’s stay pulls apart the fabric of the female dominated house but comes around to find him in the process. Some of it can feel a tiny bit too gentle for such a tense story, but this is a minor quibble because the overall subtlety and open to interpretation approach lends The Beguiled an immensely watchable and tightly compact air. The evocative cinematography, based on shadowy bronze and occasional smattering of natural light, heightens the intensely claustrophobic cage that is the school, both for the women and John. A lot of it takes place within the aura of candlelight and closed curtains, further reinforcing the Southern Gothic entrapment of John and the tightly wound wheels of passion that are just fit to burst. There is an element of a very dark fairy tale present in the visuals, with the shafts of light through trees both coming off as beautiful and strange. And look out for the final shot of this movie, trust me it’s one that really speaks volumes and is strikingly executed. A sparse but effective score gathers momentum as darkness creeps into the tale.

Colin Farrell has the dashing good looks but also the talent to play the catalyst of The Beguiled. He is definitely someone who is manipulative and insincere in his promises, but an added depth comes out. Farrell brings with him a vulnerability that ultimately brings about his conniving behaviour, effectively he is brought down by his own plans. While Farrell is impressive in his part, the main focus of The Beguiled is the women. And they deliver brilliant work along the way. Nicole Kidman is both steely and motherly as the headmistress, who is not immune to feelings of passion that are stirred by John’s arrival. Through her watchful yet conflicted eyes, Kidman splendidly discovers a tough will and domineering hold over all who she sees; she is both protector and something of a jailer at the same time. For me, Kirsten Dunst, who has long been one of my favourite actresses, is the standout when starring as the wounded and easily lead Edwina. Her face presents a palpable sadness and a sincere hope of something that will take her away from the life she leads, a hope she thinks John will assist in. But Dunst also manages to inhabit something unpredictable in Edwina once betrayed, that rises with the jealousy of the characters around her. It’s an understated but very memorable performance. Elle Fanning, all pouting lips and come hither glances, nicely plays the teasing seductive student whose interest in John is far from wholesome. Young Oona Laurence makes a mark with a wide-eyed portrayal of children’s innocence, while Angourie Rice also stands out as one of the students growing attracted to the man in the school.

A decidedly Gothic and arresting drama of psychological desire and it’s consequences, The Beguiled finds Sofia Coppola stepping our of her comfort zone a little and fashioning something very haunting. Strikingly composed and executed, plus boasting some fine acting from a largely female cast, The Beguiled is very worthy of the praise it has been receiving.

Mona Lisa Smile

07 Wednesday Oct 2015

Posted by vinnieh in Movie Reviews

≈ 25 Comments

Tags

2000's, Dominic West, Ginnifer Goodwin, Julia Roberts, Julia Stiles, Juliet Stevenson, Kirsten Dunst, Maggie Gyllenhaal, Marcia Gay Harden, Mike Newell, Mona Lisa Smile, Period Drama

Film Title

Mona Lisa Smile

Director

Mike Newell

Starring

  • Julia Roberts as Katherine Watson
  • Kirsten Dunst as Betty Warren
  • Julia Stiles as Joan Brandwyn
  • Maggie Gyllenhaal as Giselle Levy
  • Ginnifer Goodwin as Connie Baker
  • Dominic West as Bill Dunbar
  • Marcia Gay Harden as Nancy Abbey
  • Juliet Stevenson as Amanda Armstrong

It may not offer much in the way of originality in the inspiring teacher style of films and is occasionally meandering ,but Mona Lisa Smile more than makes up for these flaws with its warm-hearted nature, stunning look and excellent work of the predominately female cast, headed by Julia Roberts.

It is the 1950’s and Katherine Watson is a free-thinking art history teacher hired by Wellesley college for young woman for a year. Mona Lisa Smile ActressesThe college is a rigidly formal one that is base on tradition, something which poses a problem for Katherine and her progressive ideas. The girls she teaches are clearly bright and have futures ahead of them, but they have all been brought up and taught that once they finish college and even while they are in it to find a husband and settle down as a housewife. The bohemian Katherine is annoyed by this as she sees clear potential within the young ladies of her class, such as Joan Brandwyn, who has a talent for law, bashful Connie Baker and the vampy Giselle Levy, who relates the most to the way Katherine thinks. And instead of just following the planned syllabus of her class that details she must follow, she goes against this by getting the girls to discuss the nature of art and what the merits of it are.Betty WarrenComing up against opposition, mainly from the opinionated and bitchy Betty Warren who has been spoon fed the idea of being a dutiful wife and being subservient, Katherine continues to instruct the girls of what they could do with their lives and how they could go on to better things than just marriage. Bucking the trend and going against the system, she slowly gains their admiration and respect.

As aforementioned, Mona Lisa Smile is not exactly a groundbreaking movie but neither is it trying to be. Mike Newell brings finesse to the film with his directing, that lets us glimpse a woman inspiring the girls around her to break free from the chains of tradition and see beyond the horizons. Mona Lisa Smile CastDespite the odd mawkish moment and the movie sometimes needed an injection of pace, Mona Lisa Smile remains an engaging film because of the characters and the way it pokes fun at the ridiculously rigid 1950’s and what a woman was expected to do. I liked how although Katherine wants the girls to open up to the idea of going against the norm, she doesn’t force it on them. Instead, through little steps and her lessons, she shows them that they are destined for greatness and not just to become what everyone else tells them they should be. The film to look at it stunning in a rose-tinted way that also serves the purpose of exposing the unhappiness behind the seemingly perfect lifestyles of being a married woman was like. Costume design and scenery is beautifully constructed and a marvel to see. A lilting score from Rachel Portman stunningly compliments the journey of the girls as their minds are opened to the possibility of change from the status quo.

Julia Roberts makes for a sympathetic and coltish lead portraying the inspiring Katherine. Katherine WatsonThe fact that Roberts is largely associated with contemporary movies stands her in good stead here as Katherine is supposed to be a character who stands out against the restrictions of the time. Roberts brings her charm and warmth to the part, along with the desire for change that makes for a great performance. Kirsten Dunst makes an impression as the bitchy but underneath it all blinkered Betty, who constantly berates those around her for trying to be different from what they’ve been told to do. As bitchy and spiteful as the character is, Dunst brings forth the sadness of Betty and how her delusions of a wonderful married life are proved wrong. Her scenes with Roberts are fantastic as the two schools of ideas clash. Julia Stiles has a luminosity that she equips Joan with that makes her relatable as she is caught in the middle ground of following her dreams and sticking to tradition. Giselle LevyMaggie Gyllenhaal gets all the best lines as the sexy and rebellious Giselle, who brazenly has affairs, drinks a lot and just doesn’t give a damn about it or what anyone thinks. Gyllenhaal has such a vibrancy about her in this film that is very endearing and mischievous. Ginnifer Goodwin is suitably sweet as the hopelessly romantic Connie, but Dominic West is hopelessly wasted as a potential love interest for Katherine that really doesn’t go anywhere. In supporting roles, Marcia Gay Harden as a buttoned-up elocution teacher and Juliet Stevenson as the disapproving college nurse give class to an already stellar cast.

So while it brings nothing new to the table as such, Mona Lisa Smile is still filled with enough talent and story to make you connect with it.

Ladies in Leather

17 Tuesday Mar 2015

Posted by vinnieh in Movie opinions and thoughts

≈ 90 Comments

Tags

Chris Hemsworth, Chris Pine, Colin Farrell, Kirsten Dunst, Ladies in Leather, Marion Cotillard, Sarah Michelle Gellar, Sienna Miller

Once again, it’s another ladies post. This time it’s a bevy of stunning actresses rocking leather. Leather has so many connotations, ranging from sexual dominance to elegant sophistication and that’s why it’s such an interesting choice of clothing. But don’t worry all the ladies out there, there’ll be two guys for you to look at near the end of the post, also clad in leather. And once more I’d like to extend my thanks to Zoe, for giving me the inspiration for these posts.

Sarah Michelle GellarThe gorgeous Sarah Michelle Gellar brings a rock chick sensibility to this sexy get up.

Kirsten Dunst

The delightful Kirsten Dunst encompasses the role of a playful vixen in this shot.

Sienna MillerThe sensual Sienna Miller displays athletic prowess in this racy photo.

Marion Cotillard

The stunning Marion Cotillard exudes a Gothic sophistication in this sombre outfit.

And now for the guys, who also sport leather. Today for all my blogging sisters out there we have Chris Hemsworth, Chris Pine and Colin Farrell. Chris Hemsworth is at the request of Table 9 Mutant.

Chris Hemsworth

Chris Pine

Colin Farrell

Happy Birthday Kirsten Dunst

30 Wednesday Apr 2014

Posted by vinnieh in Birthdays and Tributes

≈ 23 Comments

Tags

Birthday, Bring it On, Happy Birthday, Interview with the Vampire, Kirsten Dunst, Little Women, Marie Antoinette, Melancholia, Mona Lisa Smile, Spiderman, The Virgin Suicides

Today is the 32nd birthday of Kirsten Dunst, who ranks as one of my favourite actresses. Emerging as a precocious child star, she has successfully made the transition to adult stardom because of her versatility, emotional range and depth which she imbues in her roles. This post is a tribute to the remarkable talents of this woman.

She has too many great roles to list entirely but here are some of the highlights from her career:

As Claudia, a former plague victim turned into a the vampire who is forever stuck in the body of a doll-like little girl, a young Dunst made a huge impact in Interview With the Vampire.

Claudia Kirsten Dunst

 

 

 

 

 

 

As Amy March, the playful youngest of four sisters growing up during the Civil War in Little Women.

Kirsten Dunst as Amy

 

 

 

 

 

As the sexually precocious but increasingly isolated Lux Lisbon in The Virgin Suicides.

Kirsten Dunst as Lux

 

 

 

 

 

Sassy and competitive as a cheerleader in the comedy Bring it On.

Kirsten Dunst Bring it on

 

 

 

 

 

 

As Mary Jane, the object of the main hero’s affections in Spiderman.

Kirsten Dunst Mary Jane Watson

 

 

 

 

 

 

 

Bitchy yet vulnerable as a college girl brought up to be the ideal housewife in Mona Lisa Smile.

Kirsten Dunst Mona Lisa Smile

 

 

 

 

 

Luminously portraying the eponymous and infamous monarch in Marie Antoinette.

Kirsten Dunst Marie Antoinette

 

 

 

 

 

 

Emotionally raw and strikingly powerful as a bride swamped by depression as a planet is heading towards the Earth in Melancholia.

Kirsten Dunst Melancholia

 

 

 

 

Many more roles could be listed, but I would need a lot more pages. So thanks for reading this birthday tribute to Kirsten Dunst and please leave comments. What is your favourite performance by Dunst? Why do you like her as an actress? Whatever your opinion, please give it.

Little Women(1994)

17 Monday Feb 2014

Posted by vinnieh in Movie Reviews

≈ 15 Comments

Tags

1990's, Christian Bale, Claire Danes, Coming-of-Age, Gabriel Byrne, Gillian Armstrong, Kirsten Dunst, Little Women, Mary Wickes, Period Drama, Samantha Mathis, Susan Sarandon, Trini Alvarado, Winona Ryder

Film Title

Little Women

Director

Gillian Armstrong

Starring

  • Winona Ryder as Jo March
  • Trini Alvarado as Meg March
  • Claire Danes as Beth March
  • Kirsten Dunst as Young Amy March
  • Susan Sarandon as Marmee March
  • Christian Bale as Laurie
  • Mary Wickes as Aunt March
  • Samantha Mathis as Adult Amy March
  • Gabriel Byrne as Friedrich Bhaer

Adapted from the much-loved novel of Louisa May Alcott, Little Women is a heart-warming, movingly told gem of a coming of age movie about the importance of family and sisterhood. Boasting strong performances, beautiful cinematography and emotive music, Little Women is a joy for everyone to watch.

Little Women 1994 March SistersThe focus of the story is on the women of the March family in the years of the Civil War and the time after in Concord, Massachusetts . Meg is the beautiful, gracious but slightly vain eldest, Jo is an expressive tomboy with a passion for writing, Beth is sensitive and earnest,  Amy is the romantically winsome and spoilt youngest. Their mother, affectionately known as Marmee, guides them through their lives with loving care but makes sure the girls manage to stay true to themselves no matter what whilst their father is fighting in the war that to them seems to be never ending. The sisters come across love, hardship and kindness as they grow up and experience the vicissitudes of life. The sisters befriend Laurie; the lonely boy next door who becomes almost like a part of the family and yet he develops feelings for Jo along the way. The film follows the March sister’s various ups and downs, personal pain and happiness and the strong, unbreakable bond between the girls that is eternal. Crafted by Gillian Armstrong, Little Women is sensitively told and beautiful without falling into the trap of being overly sentimental in its story of these four special girls.

Gillian Armstrong brings to the forefront the feminist undertones of the story, embodied by Marmee’s wish that her four daughters develop their intellect as well as blossoming beauty. Some purists may take issue with this and feel that it is bashing people on the head with the message, but it does the opposite by subtly adding an interesting dimension to the story and gives us an array of strong female characters that live long in the memory. Armstrong obviously feels a connection to the story and as her past output often features strong female characters, it’s not difficult to see why such a talented film maker would adapt this classic, intimate story for the screen. As the story spans many years in the lives of these girls, the expressive cinematography captures the changing of time to stunning effect by showcasing the beauty of the seasons. The evocative score by Thomas Newman highlights the deep themes of family importance and the various differing personalities of the March sisters as they make their journey through life and all that it entails. It was rightly nominated for an Oscar and it isn’t difficult to see why. As an audience, we glimpse the various troubles and joys that make up the lives of these characters. Many of the scenes stay strong in the memory such as Jo’s feisty independence beginning to emerge, Amy’s near death experience when she slips through the winter ice, the sisters reading a letter from their father around the fire and the sensitive Beth’s battle with Scarlet Fever. It really makes for heart-warming viewing as these girls go through the various stages of life and experience the many changes that it brings.

Most of the joy that comes from the film is down to the cast. In the lead role as the idiosyncratic and hot-tempered Jo, Winona Ryder is a marvel at bringing both the tough side to her character to the forefront whilst showing us the emotional care she has for those around her. Ryder is delightful and makes the plum role of Jo her own, The beautiful Trini Alvarado is impressive as the manner obsessed Meg, who begins to understand the social standing isn’t everything in life. A young Claire Danes is suitably lovely and sensitive as the caring Beth, who seems to face even the toughest things life can throw at her with a sense of decency and a smile. Young Kirsten Dunst adds mischief and an amusing selfishness to her role as the hopelessly winsome Amy, who is a regular madam with her nose in the air. It must be said that the chemistry between the four young actresses is simply delightful and helps you buy into them as sisters. Susan Sarandon embodies the love but firm care of the girl’s mother, revealing a strong women intent on keeping her girls from becoming merely a decorative piece on a suitor’s arm. A young Christian Bale is impressive as Laurie, the boy next door who is first enchanted by the four March women and later befriended by them. Mary Wickes, with killer one liners and a withering eye, is a hoot as the rich Aunt March, who can’t seem to go a minute without finding something to bad mouth or look down upon. On the other hand, Samantha Mathis as the older Amy and Gabriel Byrne as a handsome professor involved with Jo, are underwritten and as a result don’t get much to do in terms of pushing the story ahead.

Touching, immensely enjoyable and crafted with beautiful care by Gillian Armstrong, Little Women is sensitive and loving viewing at its best.

Interview with the Vampire

08 Sunday Dec 2013

Posted by vinnieh in Movie Reviews

≈ 48 Comments

Tags

1990's, Anne Rice, Antonio Banderas, Brad Pitt, Christian Slater, Horror, Interview with the Vampire, Kirsten Dunst, Neil Jordan, Stephen Rea, Tom Cruise

Film Title

Interview with the Vampire

Director

Neil Jordan

Starring

  • Tom Cruise as Lestat de Lioncourt
  • Brad Pitt as Louis de Pointe du Lac
  • Kirsten Dunst as Claudia
  • Antonio Banderas as Armand
  • Christian Slater as Daniel Molloy
  • Stephen Rea as Santiago

Accorded a mixed reception upon its release, Interview with the Vampire is a mature, Gothic and well-mounted tale soaked in both sadness and blood from director Neil Jordan and scripted by Anne Rice, from her own novel. I personally have never really had a problem with the film and have felt it has been underrated over the years since its release. Anyway, back to my review of it.

Interview with the Vampire begins in modern-day San Francisco. Daniel Molloy is an eager reporter who documents people’s lives. His client this time is Louis de Pointe du Lac, yet Louis is no ordinary client. He is a 200-year-old vampire. Louis wants to tell Daniel the story of his life after he was “born into darkness”, fascinated Daniel begins to listen. The film flashes back to Louis’ life just before he was transformed into a creature of the night. He was an owner of a plantation just south of New Orleans in 1791, who fell into deep depression after his wife died in childbirth. Wanting to be freed from the pain and suffering, Louis was turned into a vampire by the cunning Lestat. Louis later comes to regret wanting death as Lestat has now condemned him to immortality. He finds it hard to live as a vampire because of his good nature and this impacts on the fact that he can’t bring himself to kill humans in order to survive. Lestat on the other hand shows no mercy and enjoys draining the life away from humans. Although commonly at each others throats, the two are bound because of their vampirism. One night the hunger inside Louis causes him to bite the neck of Claudia, a young plague victim. Lestat sees the little girl as an opportunity for company and something to make Louis stay as he knows the guilt Louis suffers from. He transforms Claudia into a vampire and they form a somewhat macabre ‘family’. As the years pass and the family move from place to place, Claudia forms a bond with both Louis and Lestat. Lestat teaches her to be a killer of which Claudia has no problem as she has a thirst for blood that challenges even the brutal Lestat’s, whereas Louis becomes almost a surrogate father to the child he never had. Claudia eventually becomes resentful of Lestat for turning her into a vampire, as she still retains the doll-like appearance of a young girl but has mentally grown up into a woman. Events soon come to a head between the three as power shifts between them and Louis attempts to search for answers regarding vampires. Stunning visuals, gorgeous set decoration and all round great performances populate this melancholy tale of the loneliness of being a vampire and the Gothic horror surrounding it .

Interview with a vampire LouisThe first thing to praise in Interview with the Vampire has to be Neil Jordan’s directing. We get a vampire movie with a sombre heart that is very adult and mature in theme and does not pander to a younger audience. Anne Rice writes the screenplay from her own novel and generally succeeds in being faithful to the source material. The visual design of the film should definitely be praised for the way it captures the various time zones and countries encompassed within the narrative, from Louisiana to Paris. Set decoration is particularly stunning in the scenes of an underground group of vampires that Louis and Claudia find, the various catacombs and chasms glimmering in candlelight with a Gothic splendour. Make-up and effects are also of the highest order in bringing to life the lives of these vampires. Standout scenes include Louis watching his last sunrise before his transformation, Claudia convulsing violently during her metamorphosis as her blonde hair morphs into red curls and a gruesome scene of vampires putting on a play involving the sacrifice of an innocent victim. The score provided makes for an eerie listen that highlights the themes of darkness and sorrow; the opening sound of a single choir boy’s voice singing a lullaby is enough to send chills down the spine. The presence of Louis’ mournful narration adds a certain pathos to the story, as we listen to his experiences and how he feels that being a vampire is a curse, and not a gift. Interview with the Vampire Lestat

Although there was controversy surrounding the casting of Tom Cruise as the flamboyant and sadistic Lestat, Cruise handles the role in an effective enough way. It’s not one of his best performances but he still gives the role his best shot. Brad Pitt is very good as the tortured Louis, bringing sympathy to the role of a man living an endless life of regret and pain. It is Louis who forms the centre of the story as we witness his reluctance to harm in order to survive and his relationship with Claudia. The biggest impression made on the film has to be a very young Kirsten Dunst as Claudia. She plays her role with an astonishing amount of maturity whilst also showing a devilish side to this vampire. Claudia is the most tragic of the trio of main vampires; as an audience we Interview with the Vampire Claudiafeel her struggle at learning that although her mind has matured, her outward appearance will always be that of a young girl. In many scenes, Kirsten Dunst steals them from her more experienced co-stars with her mix of startling complexity, expressive eyes and sense of entrapment. Fleshing out the supporting players is a seductive and dangerously charming Antonio Banderas as the head of a secret sect of vampires, Christian Slater as the man listening to Louis’ extraordinary story and a menacing Stephen Rea as the deceptive Santiago.

For those who want a sumptuous, blood-soaked tale of regret, Interview with the Vampire is most certainly advised viewing. Bold, melancholy and mature, it is a vampire film that questions the effects of transformation and whether it is as great as it first appears.

Marie Antoinette

25 Tuesday Jun 2013

Posted by vinnieh in Movie Reviews

≈ 35 Comments

Tags

2000's, Asia Argento, Biopic, Historical Drama, Jason Schwartzman, Judy Davis, Kirsten Dunst, Marianne Faithfull, Marie Antoinette, Rip Torn, Rose Byrne, Sofia Coppola, Steve Coogan

Film Title

Marie Antoinette

Director

Sofia Coppola

Cast

  • Kirsten Dunst as Marie Antoinette
  • Jason Schwartzman as Louis XVI of France
  • Judy Davis as Comtesse Anne de Noailles
  • Steve Coogan as Florimond Claude
  • Rip Torn as Louis XV of France
  • Rose Byrne as Yolande de Polastron
  • Asia Argento as Madame du Barry
  • Marianne Faithfull as Empress Maria Theresa

Sofia Coppola’s third picture, loosely based on the life of the notorious French queen, is not the average historical drama/biopic we are used to seeing. If it’s cold hard facts you are looking for, turn away now as this takes liberties with history. But if you can accept the film as an MTV style, rock and roll story of a young girl stuck within the alienating boundaries of monarchy and pressure, then you may enjoy this sympathetic, visually sumptuous and ambitious account of the much debated Queen and her life.

Marie AntoinetteAt the beginning of the film the year being 1768, we are introduced to Marie Antoinette. She is the 14-year-old daughter of Empress Maria Theresa of Austria and is charming, beautiful and naive. She is selected by her mother to marry the Dauphin, who will later become King Louis XVI, in an attempt to form an alliance between Austria and France. The young girl travels to France and meets the current king, Louis XV. After her marriage to Louis the Dauphin, who is nervous and not at all intimate with her, she is encouraged by those around her to produce an heir. This proves hard for Marie as there is hardly any passion within her union to Louis.The naive Marie is further alienated by her courtiers for being Austrian and for the fact that she hasn’t produce an heir yet. This leads to her feeling trapped and lonely within the many rules and customs of Versailles that she frequently dismisses as ridiculous . To ease her loneliness, she begins to spend large sums of money on fashion, gambling and throwing lavish parties.  This or so we are led to believe is one of the many reasons that the French people revolted against the monarchy and ultimately led to her downfall.

The first thing to note when watching the film is the visual appeal, which can’t be faulted. Making stunning use of Versailles, we are shown the lavish and equally decadent side to Marie’s lifestyle. Versailles, in the hands of Coppola almost becomes a pre-revolution high school, complete with gossip around every corner and scandal at every door. Differing from the conventional classical music of period pieces, Coppola lets loose with a soundtrack of 70’s and 80’s anthems, the results of which are sometimes interesting and other times intrusive to the narrative. Sofia Coppola’s script paints an interesting portrait of the controversial Marie, this time showing us a misunderstood young girl trapped within her new lifestyle whose choices Jason Schwartzman Marie Antoinetteincurred the wrath of many. I personally found this account an interesting one, there also were a few times in which events could have been expanded, but on the whole it was a curious spectacle nonetheless. One thing that can’t be faulted is Kirsten Dunst’s expressive portrayal of the eponymous queen. She captures the skittish, carefree and naive side to her whilst revealing a melancholy uncertainty arising from her loneliness and alienation. Jason Schwartzman is a hoot as Louis XVI who doesn’t often see the attractiveness of his bride and is initially unable to feel intimacy with her. Judy Davis ably stars as the lady in waiting who scolds Marie for her carefree attitude when it coMarie Antoinette Kirsten Dunst and Rose Byrnemes to the traditions of the French court. Rose Byrne adds a comedic side to the film as the money spending best friend of Marie who is one of the few people who amuses her in her life. In a brief but memorable role, Marianne Faithfull is icily imperious as the Empress who knows exactly what she wants. Look out for Steve Coogan as a witty diplomat, a stately Rip Torn as the ailing Louis XV and Asia Argento, delightfully sultry as the dishonorable mistress of the king.

I often thing that Marie Antoinette gets a lot of dissent because of its modern ideas and contemporary casting. But if you can handle a slightly revamped film that paints an original portrait of the monarch in question, Sofia Coppola’s ambitious Marie Antoinette may be the film you’re looking for. Yes it may have its flaws, but then again, history lessons where never as interesting and original as this.

The Virgin Suicides

01 Wednesday May 2013

Posted by vinnieh in Movie Reviews

≈ 45 Comments

Tags

1990's, Drama, James Woods, Josh Hartnett, Kathleen Turner, Kirsten Dunst, Sofia Coppola, The Virgin Suicides

Film Title

The Virgin Suicides

Director

Sofia Coppola

Cast

  • James Woods as Ronald Lisbon
  • Kathleen Turner as Sara Lisbon
  • Kirsten Dunst as Lux Lisbon
  • Josh Hartnett as Trip Fontaine
  • A.J. Cook as Mary Lisbon
  • Hanna R. Hall as Cecilia Lisbon
  • Leslie Hayman as Therese Lisbon
  • Chelse Swain as Bonnie Lisbon
  • Jonathan Tucker as Tim Winer
  • Noah Shebib as Parkie Denton
  • Anthony DeSimone as Chase Buell
  • Lee Kagan as David Barker
  • Giovanni Ribisi as Narrator

The Virgin SuicidThe Lisbon Sisterses marks the directorial debut of Sofia Coppola. Based on the acclaimed novel, it is a poignant, lyrical and mysterious tale of teenage awkwardness and the effects that mystery has on the mind for years. Featuring a haunting score by Air and evocative cinematography, it perfectly captures the conflicted feelings of blossoming sexual attraction and the alienation of teenage years.

Set in a 1970’s  Michigan suburb, the plot focuses on a group of boys who are entranced by the five beautiful Lisbon sisters; Cecilia, Lux, Bonnie, Therese and Mary . Although they don’t physically know any of them, the boys dream up fantasies about them because of the mystery surrounding them. Presided over by strict, suffocating parents, the girls are the intangible desire of the boys who can’t seem to fathom them. The film is narrated in flashback by one of the boys who is still plagued by memories of the sisters and still looking for answers as to why each of them took their own lives. After the youngest daughter, Cecilia finally succeeds in killing herself by impaling herself on the railings outside, the mother and father of the girls The-virgin-suicides boysbegin to shelter their daughters from the outside world, further enhancing the enigmatic air that hangs over them. Complications arise when the school heart-throb Trip Fontaine falls for the sexually precocious Lux and the girls are allowed to attend the usually forbidden homecoming dance. The actions of their over-protective parents leads the girls into isolation and desperation, yet they still are in the thoughts of the boys who the spell has been cast on.  What emerges is a bittersweet examination of girls growing up into women and the mystique surrounding the seemingly untouchable.

Sofia Coppola perfectly conjures up the mystical tale, showing how much the tragic, flaxen-haired beauties had an effect on the boys. As the narrator tells us, they are still looking for an answer after almost 20 years. Through the use of dream sequences, stunningly shot and evocatively scored, the sisters become ethereal beings presiding over the burgeoning attraction of these boys. Coppola’s script pierces to the heart of teenage angst with a reflective eye and also manages to examine the difficult theme of suicide in an effective way, rather than sugar-coating it. Music plays an integral part in the film, especially adding to the the-virgin-suicides Record sceneemotional impact is a stunning score by Air. The scene in which the isolated sisters communicate with the boys by playing records over the phone is moving in its look at the power of unspoken words and how music is an almost universal language. Out of the sisters, Lux is the most interesting, mainly because of Kirsten Dunst’s portrayal of a young sexually precocious girl who rebels against her overbearing parents, She excellently conveys the pained expression of a pressured girl approaching womanhood, yet trapped in a cage intent on preserving her innocence. Turner and Woods turn in great performances as the parents who take strict to a Trip Fontainewhole new level. Josh Hartnett also stars as the popular guy who in adulthood regrets his treatment of the beautiful Lux.

Interestingly, we are never told the reason as to why the girls took their own lives, Coppola lets the audience decide this outcome. A reflective melancholy hangs over the film, heightened by the narrator’s voice that combines a wide-eyed youthful quality but a pensive and mature sadness. Because of these ambiguities, The Virgin Suicides makes for a starting but dreamlike watch as we watch the sister’s influence on the boys and how to the day they still haunt them like muses from myth.

Evocative, intense and profound, The Virgin Suicides is a true testament to Coppola’s sensitive direction that lets the audience follow the lives of these mysterious girls and the boys forever plagued by their memory with a childlike wonder but a certain amount of time for rumination.

Melancholia

18 Wednesday Jul 2012

Posted by vinnieh in Movie Reviews

≈ 29 Comments

Tags

2010's, Alexander Skarsgård, Charlotte Gainsbourg, Charlotte Rampling, Drama, John Hurt, Kiefer Sutherland, Kirsten Dunst, Lars Von Trier, Melancholia, Science Fiction, Stellan Skarsgård, Udo Kier

Movie Title

Melancholia

Director

Lars Von Trier

Cast

  • Kirsten Dunst as Justine
  • Charlotte Gainsbourg as Claire
  • Kiefer Sutherland as John
  • Alexander Skarsgård as Michael
  • Stellan Skarsgård as Jack
  • Charlotte Rampling as Gaby
  • John Hurt as Dexter
  • Udo Kier as Wedding Planner

The Melancholia of the title refers to two things; a rogue planet that has been hiding behind the sun and is heading towards the Earth and the frequent bouts of depression that Justine, one of the main characters suffers from as the movie progresses. As with most of Von Trier’s films, this one will polarize viewers. People seem to either think of him as an artistic genius or violent sadist, there never seems to be a middle ground when it comes to people’s opinions on the controversial director. Although the film’s pace maybe too slow for some viewers tp watch, I personally enjoyed the film for many reasons that I will go into further detail in this review.

The plot revolves around young bride Justine on her wedding night and the events that follow on from it. At her lavish wedding to groom Michael and the ensuring reception organised by her sister , various incidents begin to take a detrimental effect on Justine.  Her mother and father bicker during the speeches, her mother tells her  “Enjoy it while it lasts” words that take on a bigger meaning and resonance as the film unravels. During these scenes, the up close camera work clearly captures the characters off guard, especially Justine whose face reveals hurt and pain as she tries to smile.  It also helps create a sense of confusion and isolation within her character. Her relationship with her sister Claire is explored and reveals a distant feeling between the two of them.  With all the feelings of melancholy beginning to engulf her, the rogue planet of the title begins to emerge ominously and seems destined to strike the Earth.

Split into two parts named after the sisters, the film explores the frail relationship between the two and how they react the impending planet.  I thought that each half was remarkably different, the first half is more slow-moving whereas the second half gains momentum and becomes more dramatic as it goes on to reach its climax. If there is one thing that kept me engaged when watching the film it was the performances, especially from Dunst, who I believe gives one of the best performances in her career. She is a revelation as Justine, giving an emotionally raw and bruised portrayal of a woman close to breaking point. Even when she isn’t speaking her intensity is felt, as her eyes reveal the deep sadness and emotional bruises inside her. In other word she is the embodiment of melancholy. Also giving a great performance is Gainsbourg, who returns for her second venture in a Von Trier movie after her harrowing role in the highly controversial and much discussed Antichrist. Even though she scolds her sister for her despondency, she is equally troubled and becomes highly strung as the thought of Melancholia begins to get to her. Sutherland does well in his role as Claire’s amateur astronomer husband who tries to convince her that there is nothing to worry about but fails. Also the cameos of Charlotte Rampling and John Hurt add to the acting honours, as well as Von Trier regular Udo Kier as an impatient and extremely surly wedding planner.Stellan Skarsgård and his son Alexander Skarsgård appear as Justine’s boss and her new husband in the first part of the film.

Aside from the acting, the stunning visuals are amazing to behold. I don’t think I’ve ever seen an apocalypse look so strangely and hauntingly beautiful before. Especially, the aesthetically and visually outstanding opening sequence, filmed in extreme slow motion to the strains of an epic Wagner score. The movie itself is full of so many bold symbolism and imagery that you will find it hard to forget them long after the credits have began to roll, they are that haunting. Although the film seems to follow some of the conventions of the sci-fi and disaster movie genre, it is essentially a drama about the depths of loneliness within a person and how it can take a hold over you and your whole existence.

As I have mentioned earlier, this is a film that will definitely divide opinion sharply down the middle. But if you are looking for a visually enthralling and well-acted hybrid between disaster movie and intense drama, Melancholia is a film that I would vocally advise you to give a look and judge for yourself.

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