Spencer

Tags

2020’s, Jack Farthing, Kristen Stewart, Pablo Larraín, Psychological Drama, Sally Hawkins, Sean Harris, Spencer, Timothy Spall

A piercing movie about the iconic Princess Diana as her marriage truly unravels and the scrutiny begins to take a toll, the unexpected and enthralling Spencer is aided by up close direction and a sensational portrayal destined for awards notice by Kristen Stewart.

The film takes place over the Christmas Holidays at Sandringham Estate where the Royal Family gathers. Princess Diana(Kristen Stewart) is late to the proceedings , which is noted by everyone else as something scandalous and controversial. Diana is obviously estranged from her husband Prince Charles(Jack Farthing) and is feeling the emotional strain of feeling on the outside of everything as her marriage continues to crumble . The main things that are keeping her reasonably steady are her two young sons , Prince William and Prince Harry, and her loyal personal dresser Maggie(Sally Hawkins) . We also have Equerry Major Alistair Gregory( Timothy Spall) and Royal Head Chef Darren McGrady(Sean Harris) are trying to in their own way to get through to her, but coming up against some resistance as they are members of the very machine Diana is up against. But it’s not going to easy for the rebel in Diana as mounting tension within  and her mental state beginning to collapse take hold of her. Diana attempts to navigate dangerous terrain as she flouts tradition and must eventually decide on the course of action for her precarious future. The days at prove crucial in her quest for freedom and identity.

Pablo Larraín seems to have a real fascination with and his gifts for cutting through the mystique are very much on show here in Spencer. We never quite know whether any of this actually transpired in the way shown, but it’s intriguing and startling nonetheless. One can see similarities with  Larraín’s other film of Jackie; where they diverge is in how unusual and how disturbingly heightened Spencer is overall, whereas Jackie was largely rooted in a sense of reality. But both movies are equally effective at deconstructing what we think we know about two famous women and are great companion pieces. Spencer is quite different from what you usually think of when something takes influence from a true story. While it does cover some familiar beats, it also deviates in its execution. For example, there are moments in this film that are truly horrifying and veer into psychological torment . In one instance, Diana hallucinates ripping a necklace of pearls that are around her neck and eating them rapidly with her soup. With the camerawork constantly keeping her in tight almost suffocating close up, we are witness to the horrors of a woman trapped in a cage and striving to escape as hallucinations and possibilities arise for Diana. Symbolism is ever present with mentions and allusions to entrapment and a desire to escape to a better time. Also watch for a tense scene between Charles and Diana around a pool table, it’s most certainly memorable as things begin to boil over. A striking and often very haunting score from Jonny Greenwood matches the heightened psychological and visual take on this story . It’s truly a fine weapon in this movie’s artillery and not easily forgettable with its prominent glides up and down in tempo and sense of gloom.

At the heart of Spencer is the sublime work from Kristen Stewart as Princess Diana. Stewart nails the famous mannerisms( tilting of the head, breathy voice and demure grace) while diving deeply into the river of sorrow of a woman clearly on the edge and starting to rebel. An inner fire, of sarcasm and also candour comes through as her mental state begins to worsen in paranoid fashion and Stewart unearths strength and a painfully human vulnerability that alternate almost simultaneously. I really think that Kristen Stewart should be expecting many an award nomination come the season for it and she thoroughly deserves it for her finest performance to date. The main other people who stand out are Timothy Spall, Sean Harris and Sally Hawkins . The ever impressive has a certain mystery about him as the who it at first appears is not in favour of Diana, but who it transpires has some sage advice for the rebel royal. Spall as always is a class act and is wonderfully cast. Sean Harris, who is always a welcome presence on screen, effectively plays the role of the cook who has sympathy for Diana and genuinely tries to advise her on things , even though he can’t really do much in terms of power or authority. Then we have Sally Hawkins who has an immensely reassuring aura as the royal dresser adept at playing the game and is sometimes quite unexpected in her actions as the film goes on. Jack Farthing his moments but is not really the crucial focus here as effective as he is in only a handful of scenes. The main cast is really good and pretty well assembled, but Spencer is truly a film where Kristen Stewart is the true MVP and what you won’t forget once the credits role. It’s truly her show and she delivers exceptionally. 

Brutally intimate, uncompromisingly heightened and daring, Spencer is another triumph from Pablo Larraín and has a simply stellar performance from Kristen Stewart at the heart of it

Lizzie

Tags

2010's, Chloë Sevigny, Craig William Macneill, Denis O'Hare, Fiona Shaw, Jamey Sheridan, Kim Dickens, Kristen Stewart, Lizzie, Psychological Drama

Inspired by the real life story of Lizzie Borden, who was accused and then acquitted of the murders of her father and stepmother, Lizzie is a tense psychological drama that puts its own spin on what drives someone to commit murder and it’s own turn on whether or not it believes Lizzie was innocent or guilty.

It is 1892 in Fall River, Massachusetts and Lizzie Borden( Chloë Sevigny) is a woman living under the tyrannical eye of her penny pinching father Andrew( Jamey Sheridan). She’s an independent woman who is different from the subservient kind of lady that was expected at the time and one who in subdued but defiant fashion, scoffs at the system around her. Lizzie also experiences violent seizures, which her father believes is a form of attention seeking. She’s not helped by her stepmother Abby( Fiona Shaw), and her sister is Emma( Kim Dickens) sweet but unable to stand up to. Lizzie is locked in a constant war with her father, with the threat of being sent away to an institution always hanging over her. Into the gloomy household comes the innocent Irish maid Bridget( Kristen Stewart). She’s a bit naive, illiterate and just trying to get along in life with what she’s got. takes a sickening liking to her and starts to visit her room nightly so he can sexually abuse her. Bridget is too terrified of losing her job that she doesn’t tell anyone, but Lizzie finds out. She also discovers that her father has been scheming with her nasty uncle John(Denis O’Hare) something dishonest and underhand about inheritance. Both things infuriate Lizzie and her independence in life and further cause tension with her horrible father. Growing closer to Bridget, the two women form a romantic relationship. It proves to be a solace from the grimness of their lives, but soon discovers it.Soon things reach a head for everyone which results in gruesome death and a trial that involves all.

Craig William Macneill ably directs this film with a keen sense for atmosphere and content. His concentration is largely on the accused Lizzie Borden and her fiery independence in the face of restrictive times that were governed by the patriarchy. His. keeps events very on edge, making the slightest of changes or events matter in the grand scheme of things. Macneill employs an almost unbearable level of tension within the confines of a household; eliciting a claustrophobic aura that transfers to the viewer. Unlike other movies about murders that are still debated and explored, Lizzie takes the side of the allegedly murderous Borden and unravels what might have drove her to commit the crimes she was charged with and then acquitted of. It sets off the dark family angle; all stifled emotions and the overarching tyrant of a father desperate to exert control over the largely female household. Lighting is a key element of Lizzie; either blindingly bright in a beautiful manner(for when Lizzie and Bridget find passionate escape from life) or for the most part shadowy and within the confines of an austere home where emotions struggle to stay under wraps. An up close camera that often lingers on faces and events, while occasionally becoming unrestrained, is employed to capture the burning desire to break free that Lizzie has and how both she and are hemmed in by a society that believes it’s already chosen their destiny. There’s nary a wasted shot in the film and that’s down to the and the cinematography of Noah Greenberg, who are very in sync with what they want from this project. The music, with its high peaks of near horror influenced strings and pulses, keeps things on a knife edge as the day of blood beckons.

Chloë Sevigny is a force of nature as the eponymous Lizzie. She bristles with stoic anger and has an unblinking quality that sets the screen alight. Sevigny has long been an actress I’ve admired and she once more provides compelling viewing with a forceful portrayal of a woman trapped in a time that doesn’t fit and slowly taking devastating action against it. In short, Sevigny is magnetic as Lizzie; discovering a smart woman whose bullied and abused but not above fighting back against it, ultimately in brutal fashion. The ever watchable Kristen Stewart, who for me has matured a lot as an actress over the last few years, is equally as compelling as her eventual lover. There’s a quietness to Stewart here that’s none the less intense and waiting to be unleashed, as her green outlook is changed and she finds strength within herself thanks to Lizzie. Both ladies have a palpable chemistry that provides the centre of the narrative and truly the main respite for these two women. Kudos to both Sevigny and Stewart for creating such a believable bond. Jamey Sheridan is ideally cast as the powerful, grasping and completely wretched father, who seems to delight in exerting his male dominance over others. It’s a credit to Sheridan that you feel the revulsion shared by Lizzie and Bridget for this man, as he’s just that get at getting under your skin as a completely snake and fraud. And Denis O’Hare, who is one of the most underrated actors out there, sinks his teeth into the part of the poisonous uncle with malice in every fibre of his being. Fiona Shaw manages to be both seemingly vindictive and alternately switched on to events around her; with just a look, we know exactly what she’s thinking.Kim Dickens isn’t really given much to work with but is pleasant enough in her small role.

A chilling yet eye opening drama with an emphasis on the psychological and fine acting, Lizzie is a fresh spin on the infamous murders that finds its fascination with events behind the scenes and their devastating impact.

 

Snow White and the Huntsman

Tags

2010's, Bob Hoskins, Charlize Theron, Chris Hemsworth, Fantasy, Ian McShane, Kristen Stewart, Ray Winstone, Rupert Sanders, Sam Claflin, Sam Spruell, Snow White and the Huntsman, Toby Jones

Film Title

Snow White and the Huntsman

Director

Rupert Sanders

Starring

• Kristen Stewart as Snow White
• Chris Hemsworth as the Huntsman
• Charlize Theron as Queen Ravenna
• Sam Claflin as William
• Sam Spruell as Finn
• Ian McShane as Beith
• Bob Hoskins as Muir
• Toby Jones as Coll
• Ray Winstone as Gort

A dark and stormy twist on the Snow White tale, Snow White and the Huntsman brings the tale to life with style. Yet for all that, a sometimes dragging narrative and questionable casting stop it from becoming a complete success.

Once upon a time, a King and Queen live in a prosperous kingdom. The Queen gives birth to a princess who is named Snow White. Sadly, the Queen dies and the King is left in a web of grief. Invading forces attack and the King goes to battle, eventually destroying the mysterious army. Among the dead, he discovers a beautiful woman by the name of Ravenna. Besotted with her beauty, the King hastily marries her. But he doesn’t realise that Ravenna is in fact a twisted and vengeful sorceress. Ravenna murders the King and brings her dark forces to the kingdom, which causes everything to wither into darkness and hopelessness. Ravenna is obsessed with remaining young and beautiful and as a result locks Snow White away in a tower. She retains her youth by draining the life force of young girls and then consulting with her magic mirror. When the mirror tells her that Snow White is the fairest, Ravenna descends into rage and plots her death. Meanwhile, Snow White sees an opportunity to escape and manages to. The young princess finds herself in the Dark Forest, which is feared by everyone. Enraged, Ravenna summons a drunken Huntsman to track her down. The Huntsman has no interest in helping the evil queen at first, but when she promises to bring his deceased wife back to him, he agrees. Venturing into the woods, he tracks Snow White and when it is revealed that Ravenna has tricked him, joins forces with the princess. They find themselves tracked by the Queen’s forces and journey deeper into the ravaged land. There they come across a band of dwarfs who were loyal to her father and William, a young nobleman with whom Snow White was friends with as a child. As she is the King’s daughter, she must be the one to lead the rebellion against Ravenna and take back the kingdom for good once and for all.

Debuting director Rupert Sanders bring a whole lot of style and panache to this film. Instead of a quaint fairy tale that has been done a thousand times, he delves into the dark heart of the story and brings the Gothic nature of it into view. The set design is absolutely sublime, with The Dark Forest being the highlight of an impressive array of visual splendour with moody colour scheme and creepy effects. The costumes are fantastic, especially in the case of Ravenna, who dresses to kill both metaphorically and literally. It’s great to see a different take on Snow White as a character. Here she is an innocent girl who transforms into a Joan of Arc style warrior leading men into battle. This is a far cry from the winsome and fawning portrayals of the eponymous princess we have seen. And yet there lies part of the problem with Snow White and the Huntsman, it can’t quite makes its mind up of what it wants to be. On one hand we have the effective dark fantasy with a few tweaks here and there. But by altering some of the classic story, the passion is lost. There is supposed to be passion between Snow White and the Huntsman, and even something of a love triangle with William, yet it curiously falls flat. And a middle section that drags at a snail’s pace does the movie no favours. Thankfully, the thundering musical score conjures up some striking moments of drama and magic.

Kristen Stewart portrays Snow White and I must say, is not really that memorable or good in the part. She nails the gloomy stance in the beginning quite well, but seems incapable of escaping this open-mouthed stare and emotionless drudge. Stewart doesn’t convince either when it comes to the growth of the character throughout the narrative. I can’t help but feel that if someone else where in the part, I would have enjoyed it a lot more. Chris Hemsworth fares much better as the Huntsman, by carefully bringing a worn-out persona and lonely existence to this brutish man. Yet the real fireworks come from a superb Charlize Theron. Portraying Ravenna as a woman consumed by fear, hatred and no mercy, she is marvellous when she takes the floor and vents her fury. Possessing that imperial gaze and glint of eye, Theron makes what could have been a stock character very interesting and arresting by showing us her back story and why she is the way she is. Sam Claflin doesn’t register that well as Snow White’s friend from childhood, but Sam Spruell sends shivers down the spine as Ravenna’s too close for comfort brother. The acting talents of Ian McShane, Bob Hoskins, Toby Jones and Ray Winstone add dashes of humour to the proceedings as the dwarfs.

Snow White and The Huntsman may be stylish and a visual marvel, there’s just something missing because of the unevenness in tone and lack of passion to balance things out. Saying that, I enjoyed it a hell of a lot more than Mirror, Mirror.