Clash of the Titans

Tags

1980's, Adventure, Burgess Meredith, Claire Bloom, Clash of the Titans, Desmond Davis, Fantasy, Harry Hamlin, Judi Bowker, Laurence Olivier, Maggie Smith, Ray Harryhausen, Ursula Andress

Taking basis from Greek mythology and past fantasy/swords and sandals, Clash of the Titans is one entertaining film. Not without flaws, but glowing with a sense of adventure that can’t be denied or not enjoyed.

In Ancient Greece, King Acrisius is angered when he discovers that his daughter Danaë  had a child that was fathered by the all powerful God Zeus(Laurence Olivier). he imprisons his daughter and her son Perseus in a box and has them thrown into the sea to die . The powerful God Zeus is infuriated by this and orders the destruction of the King’s realm. Danaë and Perseus are spared and wash up on another island. Years later, Perseus( now played by Harry Hamlin) is an athletic young man who is good at horse riding and adventure. And it’s adventure that awaits him as the unpredictability of those on Mount Olympus transports him to the city of Joppa . This is done by Thetis(Maggie Smith) who is angered by the fact that Zeus has persecuted her rebellious som Calibos. Her offspring destroyed the group of legendary flying horses (leaving only the iconic Pegasus) and for his wickedness was transformed into a hideous beast. Calibos was betrothed to the beautiful Princess Andromeda(Judi Bowker) but now has fled to the swamp. Andromeda is under a curse that makes her unable to marry unless her suitor solves a magical riddle. Into this melee comes Perseus, who immediately falls in love with Andromeda. After figuring the riddle out and subduing, Perseus asks for Andromeda’s hand in marriage. In retaliation for the treatment of her now deformed son and also stinging with anger when Andromeda’s mother dares speak ill of her , Thetis decrees that Andromeda shall die at the hands of the beastly Kraken in thirty days. Realising the severity of what is happening, Perseus sets out to discover a way to save his beloved from an untimely death. Aided by some of the Gods, an elderly but comic sidekick Ammon(Burgess Meredith) , winged horse Pegasus and a golden replica of the Owl Bubo , it’s a whole new adventure for Perseus. This entails encounters with wicked, vicious two-headed dogs, the Gorgon Medusa and the legendary Kraken. It’s one hell of an adventure for Perseus as he does battle with this assortment of creatures to fulfil his destiny and save Andromeda.

Desmond Davis is on directors duties and does a commendable job of laying on the challenges for Perseus and letting it flow. Some missteps are there it has be said , but it’s definitely very watchable as a fantasy film . Events looks amazing as do the sets that transport you to Ancient Greece in all its glory. A shot of pace might have benefited the middle section that does honestly drag things out a bit. But Clash of the Titans recovers in the finale as a glorious throwback to the old school adventure movies that where popular in decades gone by. And I frankly love it for that. Clash of the Titans is an imperfect film, but the nostalgia and feeling of adventure truly sweeps me as well as the audience along. Clash of the Titans is all about the work from special effects and stop motion wizard Ray Harryhausen. This was to be his last hurrah before retirement and he doesn’t disappoint with the array of creatures he crafts for the big screen for Perseus to face . The best among these are Medusa and the Kraken . The scaly and slithering Medusa is a terrifying creation that is part of one of the finest sequences here. Suspense abounds as Perseus attempts to slay Medusa while avoiding being turned to stone by the beast. And the last part with the Kraken is high on adventure and tension as Perseus swoops into the rescue. Both creatures on display make the movie that something special. It’s Harryhausen who is running the show here and whenever his touch is felt, it’s something to behold .The pace may get leaden in areas and the story is not exactly what you’d call the most cohesive, but as sheer entertainment it scores very high points. And the rousing score is another excellent addition to this action packed movie. 

Clash of the Titans isn’t exactly what you’d call an actors movie, but the cast is pretty good. Harry Hamlin is hardly the most expressive star out there, but he is nonetheless suitable and physically impressive in the part of the heroic Perseus. Judi Bowker is also hardly winning any awards but her stunning beauty makes it convincing that a man would risk life and limb for her. Burgess Meredith clearly has fun as the loyal best friend of our main hero, with a mischievous glint in his eyes. Laurence Olivier, with his Shakespearean training and sense of indomitable majesty is ideally cast as Zeus. Intimidating yet charismatic, it’s a blast seeing Olivier bring his theatrical talents to the screen in this fantasy yarn. The always excellent Maggie Smith has a ball as the vengeance seeking and silver tongued Thetis, whose meddling sets in motion a lot of events. Smith brings with her a sense of commanding power and playfulness, which she lends well to the film at hand. Sadly, Claire Bloom and Ursula Andress as goddesses are relegated to the sidelines as and don’t particularly register as a result. 

So while not quite up there in the echelon of fantasy films of yesteryear, Clash of the Titans is very close and boasts an immense amount of charm and nostalgia. Plus it’s a fine showcase for the Ray Harryhausen and a great final flourish for him. 

Murder by Death

Tags

1970's, Alec Guinness, Comedy, David Niven, Eileen Brennan, Elsa Lanchester, Estelle Winwood, James Coco, James Cromwell, Maggie Smith, Murder by Death, Murder Mystery, Mystery, Nancy Walker, Neil Simon, Peter Falk, Peter Sellers, Richard Narita, Robert Moore, Truman Capote

A hilarious spoof of the murder mystery genre that lampoons nearly every cliche there is, Murder by Death benefits from a sensational ensemble cast and a real feeling of delightful mischief shot through its veins. 

The eccentric millionaire Lionel Twain( Truman Capote) is hosting a weekend at his secluded house. Assembled are Chinese Inspector Sidney Wang( Peter Sellers) accompanied by his adopted son Willie(Richard Narita), who he always informs people is Japanese. High society detective duo and husband and wife Dick(David Niven) and Dora(Maggie Smith) Charleston are there, as is prancing Belgian detective Milo Perrier(James Coco)and his much abused chauffeur Marcel(James Cromwell). Also in attendance is hard boiled gumshoe Sam Diamond(Peter Falk) and his loyal but overlooked secretary Tess Skeffington( Eileen Brennan), followed lastly by jolly English sleuth Jessica Marbles(Elsa Lanchester)and her Nurse(Estelle Winwood), who ironically is in need of more care than her patient. After the guests have gathered and met dry-witted blind butler Bensonmum(Alec Guinness) and deaf-mute cook Yetta(Nancy Walker) , the events begin to take form. Twain believes he is the best on the subject of solving crimes and has gathered this group to pose a challenge. He informs his guests that at midnight a murder will occur. Whoever solves this crime will receive $1 million dollars, if no one does their reputations will be in tatters and Twain will have his vain satisfaction. To ensure no one leaves, Twain seals the house off  Sure enough, a murder occurs and thinks get more complex as the hours continue. A discovery that the house has revolving rooms and that the servants are far from what they seem to be adds another layer of mystery. The worried yet mightily curious group resolve to get to the bottom of this. But the case proves to be very twisty for these detectives in their search for the answer, complete with a house that is most unusual and plenty of clues hanging in the air.

Murder by Death has Robert Moore in the directors seat and his  direction is unobtrusive yet very satisfying, allowing the funny moments to really flow and be seen. Penned by the talented Neil Simon, Murder by Death hits the right spot of spoofing the mystery genre and having a ball in revelling in the many cliches that abound. The main group of characters are all fashioned after famous literary and cinematic detectives of whom humour is derived from spoofing their well known personalities. I had a ball seeing the similarities and allusions to the great detective characters of fiction infused with comedic overtones.  The film is undoubtedly silly and yet that is partly the point and Simon definitely seems to enjoy this fact, while layering on red herrings and confounding suspense as to what is transpiring and what is truly real. The dialogue comes quick and fast, like delightful bullets of energy and tongue in cheek humour in the best way that Simon can. Plus you’ll be laughing so much at the film you can overlook parts that are dated and wouldn’t be acceptable now( most prominently the use of yellow face for Mr. Wang.) There’s an argument  that the character is actually supposed to subvert the trope but it’s still problematic in my eyes and will no doubt be a bone of contention for many. Set design is in need of much praise; showing the big country house as akin to a funhouse with rooms that move on their own accord and things ready to jump out. The music score as provided by Dave Grusin has an unending sense of fun too it as if topping its musical hat in a jaunty manner that suits the film down to the ground. 

A star-studded cast is the cherry on top of an already impressive cake. It’s a thrill when an ensemble cast is used and nearly everyone is given something to do. Front and centre, and giving one heck of a performance is Peter Falk. Channeling Humphrey Bogart, Falk plays the tough-talking, rough and tumble detective who says it like it is and doesn’t give a damn what you think. The part is injected with wise-cracking humour at which Peter Falk is mightily skilled at. If you can overlook the problematic yellow face make up sported by Peter Sellers , his performance is quite good and he comes out with some comic one liners of the highest order. As aforementioned some think his portrayal is in fact lampooning the ridiculous cliched nature of the character, but its still something that is up for the viewer to decide. Truman Capote, best known for his writing, is well employed as the mastermind behind the most unusual events going on. With his slightly sneering and camp mannerisms, he is certainly memorable as the instigator of mystery. David Niven and Maggie Smith play off each other wonderfully as the high society couple with exquisite, upper crust manners and dry, cynical humour. Both professionals are a joy in this film and I very much enjoyed whenever they were on screen as they are such a hoot. Eileen Brennan, of raspy voice and good comic yet sympathetic timing, is well cast as the downtrodden, overlooked secretary who clearly has the hots for Diamond but can never seem to catch a break with him, despite her many attempts to instigate something. James Coco has a ball as the arrogant, know it all who is vain beyond belief and argumentative to the last, while Alec Guinness contributes a deep vein of droll humour as the blind butler who might be more than he seems. Nancy Walker does what she can with a small role, she definitely gets a big laugh once murder is committed. Elsa Lanchester and Estelle Winwood are an inspired and ironic duo, with the former summoning up all her gusto and the latter slowly revealing a witty side, despite everyone thinking her character is simply senile. Keep an eye out for a very young James Cromwell as the put upon chauffeur of Perrier, he really shows comedic chops in this movie. Richard Narita is sadly left to flounder with not much in the way of a part, though he manages some moments of humour. 

So if you’re in the mood for a good comedy spoof of the mystery genre, Murder by Death is a glorious and hilarious place to start because of its rapid fire wit and quality laden cast of great stars. 

Nothing Like a Dame

Tags

2010's, Documentary, Eileen Atkins, Joan Plowright, Judi Dench, Maggie Smith, Roger Michell

This review that follows will be a first for me on this site. It will be the first review of a documentary and what a great one to start with. It’s Nothing Like a Dame, which has us in the company of the great women of stage and screen.

In the English countryside, we meet with icons Judi Dench, Maggie Smith, Joan Plowright and Eileen Atkins. All of them Dames and acting greats. They are conversing and reminiscing at the country house of Plowright, that she owned with her late husband Laurence Olivier. And boy is it entertaining to see them all together and in fine form. With careers spanning decades, there is no shortage of conversation here. It’s such a simple idea of watching these four wonderful ladies reflecting on life and their careers, which are extremely eventful.

Director Roger Michell keeps things low key and lets the ladies do their thing. This in turn brings out wonderfully natural results as Michell doesn’t feel the need to be flashy to be seen as good. He knows that the strength of these four dames is all he needs for this compelling documentary. I seriously want to see this quartet in another movie together. It would be a complete riot and so enjoyable. You can feel their friendship and years of experience are strong and full of energy and wisdom. They are by turns funny, irreverent, classy and humorous, with plenty of time for deep reflection on life and family. Hearing them speak about family has a certain poignancy to it. You can see the humanity of their situations and even though they are famous, they are still very much down to Earth in the grand scope of things. They’ve all seen a lot and experienced a lot too and it definitly shows their resilience. And Maggie Smith is on point with her acerbic wit, that is matched by Judi Dench( just check out her reaction to a medical worker treating her like just another old biddy). The other ladies round out this luminous quartet with grace, honesty and good humour. No one is more important than the other, it’s a celebration of them all. Whether together or apart, I could watch these ladies do anything. The quartet is marvellous; serenely bouncing off one another with memories and wisecracks. You just have to bathe in their anecdotes that run the gamut from happy to sad. Many areas are bound to bring some feelings of tears, mainly the fact that Plowright’s vision is failing and she occasionally looses track of conversation. But she still remains as strong as an ox and dispenses kindly wisdom to all. As all the ladies say, age is just a number.

I wholeheartedly recommend this documentary to anyone who enjoys watching actors reflect and fans of these amazing women.

The First Wives Club

Tags

1990's, Bette Midler, Comedy, Dan Hedaya, Diane Keaton, Goldie Hawn, Hugh Wilson, Maggie Smith, Sarah Jessica Parker, Stephen Collins, The First Wives Club, Victor Garber

Film Title

The First Wives Club

Director

Hugh Wilson

Starring

• Goldie Hawn as Elise Elliot
• Bette Midler as Brenda Morelli
• Diane Keaton as Annie MacDuggan
• Sarah Jessica Parker as Shelly
• Maggie Smith as Gunilla Garson Goldberg
• Dan Hedaya as Morty
• Victor Garber as Bill
• Stephen Collins as Aaron

An utterly devilish and fun comedy that follows three women getting back at their menfolk in mischievous ways, The First Wives knows how to be terrific entertainment and a sparkling showcase for Goldie Hawn, Bette Midler and Diane Keaton.

We begin in the late 60’s when four young women; Elise, Brenda, Annie and Cynthia are graduating college and promising to be in touch regularly no matter what. Decades later and the ladies have hardly been in contact with each other, through a variety of reasons despite the fact they all live in New York. Elise is an actress, who at one point had popularity but is trying to be younger as there is more demand for it in Hollywood and has turned to booze. She has also split from her producer husband Bill after he was caught fooling about with a younger actress and is now asking for alimony. Brenda has a young son and is now separated from her husband Morty;who also played away from home with a younger lady, in this case the bimbo social climber Shelley(even though Brenda was the one who helped him set up his business.) Annie is still technically married to louse Aaron though they are trying a temporary separation. It is through Cynthia that everyone is brought together, as she commits suicide following her husband leaving her and marrying someone else. Elise, Brenda and Annie meet at the funeral and spill their own problems to each other. Although both Elise and Brenda feel anguished, Annie thinks she is getting her marriage back on track, due to her ability to see the good and not confront decisions. That however goes out the window when she learns that he is actually leaving her for her therapist. Getting closer again after so many years apart, the trio decides that they aren’t just going to take this treatment and slowly they band together to formulate a plan. Three heads are better than one as they plot an amusing series of revenge schemes directed at the men in their lives. Much hilarity ensures along the way, showing that revenge can be quite fun and extremely sweet when you know what to do.

Hugh Wilson’s energetic direction moves events with a kinetic drive and humour, yet never sacrifices any of the sympathy or seriousness that The First Wives Club has to offer. There are those that will accuse this movie of man bashing from the start, but I find that to think that is missing some of the point. Sure the men depicted are not dactyl model citizens but the main focus is on the ladies getting perceived justice after being wronged. Everything is mainly done with a sprightly and at times acidic humour that makes the film very funny and not just one that ridicules men. After all it is just a film and I do t think the intention is to alienate men at all, I didn’t feel slighted by the film at all. I had an absolute ball with its mix of comedy and drama, that really got you to feel for these ladies and then take pleasure as they took back control over their lives. And talking of what made the film great, the script of arch one liners and a bundle of hilarious scenes is sufficient enough to pique anyone’s interest. Take for instance, when the ladies sneak into Morty’s apartment to search for papers that prove he’s a crook and must exit when he returns, using a window cleaner lift. If you’re not laughing by the end of that outrageous scene, you clearly have no humour. And that late rendition of ‘You Don’t Own Me’ is a showstopper if ever there was one. The music score provided is one of lively intent and dynamic jumps in tempo, which suits the film down to the ground.

The three main ladies of this comedy are sensational and their chemistry is a highlight. Goldie Hawn is side-splittingly hilarious as the vain and shallow Elise, who is desperately trying to be young through cosmetic surgery and is at times very highly strung. The energy of Hawn is superbly suited to the often manic but creative character, who emerges as quite decisive in the plans to ruin the man who wronged her. Really capturing the attention is Bette Midler; the most vindictively amusing and loud of the club. You can’t fault Midler and her knack for comedic zingers, which are dispensed with vigorous style and attitude. Diane Keaton completes the triangle of great ladies by playing the repressed Annie as a bottle of jangled nerves, waiting to explode. Keaton is a dab hand at humour but also gets the right notes of sympathy for the character too as her strength slowly reveals itself. As aforementioned, these three ladies work beautifully together and it is clear as day that they had a good time making this comedy. Sarah Jessica Parker elicits plenty of laughs playing the trashy girlfriend of Morty with an eye on getting to the top, while an amusingly tart Maggie Smith rocks it as the much widowed society lady with significant tricks up her sleeve and resources to burn. Dan Hedaya, Victor Garber and Stephen Collins are the men of the film who find out just how much revenge can hurt. Hedaya is the clear standout of the guys with his constant attempts to explain away his actions quite funny.

Funny yet knowing when to be serious, The First Wives Club is great viewing as a comedy and to watch three great actresses working together with gusto.

Happy Birthday Maggie Smith

Tags

Birthday, Happy Birthday, Maggie Smith

After so many famous deaths this year, I need something to cheer me up. Thankfully, today is the 82nd birthday of the amazing Maggie Smith. The iconic dame has been in the movie business for over 60 years and is still going strong. She is the definition of a scene stealer, owning the screen whenever she graces it. At least she is still with us and her talents are still being put to good use. Happy Birthday Maggie Smith, you are a true treasure.

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.

 

Evil Under the Sun

Tags

1980's, Agatha Christie, Colin Blakely, Denis Quilley, Diana Rigg, Emily Hone, Evil Under the Sun, Guy Hamilton, James Mason, Jane Birkin, Maggie Smith, Murder Mystery, Nicholas Clay, Peter Ustinov, Roddy McDowall, Sylvia Miles

Film Title

Evil Under the Sun

Director

Guy Hamilton

Starring

• Peter Ustinov as Hercule Poirot
• Jane Birkin as Christine Redfern
• Nicholas Clay as Patrick Redfern
• Maggie Smith as Daphne Castle
• Roddy McDowall as Rex Brewster
• James Mason as Odell Gardener
• Sylvia Miles as Myra Gardener
• Denis Quilley as Kenneth Marshall
• Colin Blakely as Sir Horace Blatt
• Diana Rigg as Arlena Marshall
• Emily Hone as Linda Marshall

Based on the 1941 book by Agatha Christie, Evil Under the Sun may not be up there with Murder on the Orient Express and Death on the Nile as a spectacular rendering of a classic murder mystery, but it does have its charms along the way thanks to a game cast.

The world-renowned Belgian sleuth Hercule Poirot is contacted by one Sir Horace Blatt, an industrialist in need of his expertise. He concludes that a diamond in the man’s possession is in fact a fake, Blatt believes that his one time mistress Arlena has the real one that could be worth a huge fortune. Poirot agrees to look into the case and travels to an exclusive island resort in the Adriatic, owned by the acerbic Daphne Castle. Arlena is staying at the resort along with her new husband Kenneth and stepdaughter Linda, who she constantly belittles and berates. Also present is Patrick Redfern, a dashing young man with a roving eye, his meek and mousy wife Christine, bickering theatre managers Odell and Myra Gardener, gossip hound Rex Brewster and eventually Sir Horace Blatt himself. Arlena is a stage actress who has a habit of rubbing people up the wrong way with her bitchy behaviour and diva antics. Although married to Kenneth, she rather publicly begins an affair with the handsome Patrick. Everyone at the resort has some bone to pick with the obnoxious Arlena in one way or another. It is no surprise then to the very observant Poirot that the much hated diva eventually turns up strangled to death on one of the island’s beaches. With an array of suspects who by their own admissions had every reason to kill her, Poirot must deduce who the murderer is among them in order to solve the crime.

If Murder on the Orient Express was the classy and stately affair, and Death on the Nile was the exotic murder mystery, that makes Evil Under the Sun the lighter souffle of the bunch. Whereas the other two Poirot movies succeeded with intrigue, this one sadly falls a little flat in the thrilling mystery department. That isn’t to say it’s bad in any way, just not as memorable as the ones that came before it. Guy Hamilton has a decent go at directing this and the picture does benefit from a certain humorous edge, but after a while it becomes a bit repetitive. The island location is beautifully rendered and bathed in sun-kissed glory. The costume design is absolutely outrageous, with colours here, there and everywhere. The Cole Porter influenced score adds that dash of excitement, but other ventures in the musical department overdo the tropical setting.

What doesn’t falter in Evil Under the Sun is most of the talented cast assembled for it. Peter Ustinov, returning to the role, brings wise and eccentric charm to the part of Poirot. He is clearly having fun with the part, but brings an amount of gravity to it so it doesn’t slip into ridiculousness. Jane Birkin exudes scared vulnerability and weak-willed manners as the wronged wife Christine, who watches as her husband openly has an affair with the bitchy Arlena. Nicholas Clay is excellently virile as the muscled Adonis, most of the time seen in the most revealing pair of speedos known to man, whose dalliance with Arlena may have led to her death. Maggie Smith is an utter delight as the cynical hotel owner Daphne, whose sarcastic barbs and witty tongue make her a joy to watch. Roddy McDowall is a hoot as the gossip hungry journalist trying to unearth scandal, while James Mason and Sylvia Miles are wonderful as the constantly arguing couple. Denis Quilley, while slightly underused on occasion, is good enough as Arlena’s put-upon husband. Meanwhile, Colin Blakely injects garrulous humour to the part of Sir Horace Blatt. As the diva who eventually turns up dead, Diana Rigg has an utter blast portraying the glamorous but shallow and cutting bitch. Emily Hone is suitably angry and increasingly resentful as her stepdaughter.

So all in all, Evil Under the Sun isn’t the best adaptation of an Agatha Christie novel to hit the screen. But it has its positives that make it good entertainment for a matinee screening.

The Secret Garden

Tags

1990's, Agnieszka Holland, Andrew Knott, Heydon Prowse, John Lynch, Kate Maberly, Laura Crossley, Maggie Smith, Period Drama, The Secret Garden

Film Title

The Secret Garden

Director

Agnieszka Holland

Starring

• Kate Maberly as Mary Lennox
• Heydon Prowse as Colin Craven
• Andrew Knott as Dickon Sowerby
• Maggie Smith as Mrs Medlock
• John Lynch as Lord Craven
• Laura Crossley as Martha Sowerby

Imaginatively rendered, moving and magical, The Secret Garden is a classic tale of growth, change and awakening. Under the skilful direction of the talented Agnieszka Holland, it becomes a movie that will be enjoyed both by children and adults alike.

In Colonial India, Mary Lennox is the unloved daughter of a general and his wife. Sour and resentful, Mary is left an orphan after her parents are killed in a violent earthquake. Send to England, she is placed under the guardianship of her uncle, the Lord Craven. He lives in Misselthwaite Manor, a large gloomy house on the Yorkshire moors. Mary immediately clashes with the stern housekeeper Mrs Medlock, who tells her not to go wandering around the house and to not make a nuisance of herself. Her uncle is never around and barely ever returns to the manor, owing to the fact that his wife died years before. Life seems dull for lonely Mary, until she finds a mysterious key whilst searching the house one day. The key opens the door to a garden that has been locked away ever since the lady of the house fell off the swing in it and died, casting a melancholy spell over the place. Mary opens the garden and sets about secretly converting it back to life, in the process she changes personally from a resentful little girl to a kind and thoughtful person as the garden blooms around her. Also discovered is her cousin Colin, who is hidden away because everyone believes he is ill. There is in fact nothing wrong with the boy, but everyone surrounding him believes that because of the master’s misfortunes, they will soon be transferred to Colin. Aiding her with the garden is Dickon, a young boy and brother of Mary’s kindly maid Martha, who is constantly surrounded by animals and adept with the knowledge of nature. As the garden blooms and Mary realises that there is hope in a world that always seemed to be against her, prepare to be moved by this lovingly created adaptation of the classic novel as it weaves its heartwarming spell around you.

Agnieszka Holland imbues the film with a heart and maturity that deals with difficult themes of death and neglect, but also on the hope and healing process that can occur in dire situations. In Holland’s skilful hands, The Secret Garden becomes a moving experience that brings a sensitivity to the classic story. The thoughtful screenplay by Caroline Thompson shows us the gradual rebirth of Mary into a sensitive girl after her initial soreness at being neglected by her parents and always feeling alone. The stunning cinematography exudes the dark shadows of the Manor with its gloomy halls and many staircases, that soon give way to brighter surroundings once Mary sets about bringing the garden back to life. An evocative score gives The Secret Garden a beautiful centre with lush strings and heavenly voices capturing the themes of personal growth and the many life lessons that are present in the film.

Kate Maberly is marvellous as Mary, encompassing her sadness of her but also the kind heart that has long been buried underneath her sour and gloomy demeanor. It is through Mary that the story takes focus and we are genuinely moved as she comes to see that she is indeed cared for by many, unlike she originally thought. Heydon Prowse is appropriately anguished and timid as Colin, who has morbid fascination with death owing to the constant worries of those around him. Andrew Knott is sensitive and adventurous as the animal-loving Dickon, whilst Maggie Smith steals all of her scenes as the beastly housekeeper who is constantly in a fuss and clashes with Mary on regular occasions. John Lynch exudes a weary gloom as the Lord of the house and Laura Crossley is likeable as Mary’s servant Martha.

Touching, heartwarming and filled with a human heart, The Secret Garden is a loving adaptation of the book that keeps the spirit of it and gives it a poignant retelling.

Death on the Nile

Tags

1970's, Agatha Christie, Angela Lansbury, Bette Davis, David Niven, Death on the Nile, George Kennedy, Jack Warden, Jane Birkin, John Guillermin, Jon Finch, Lois Chiles, Maggie Smith, Mia Farrow, Murder Mystery, Olivia Hussey, Peter Ustinov, Simon MacCorkindale

Film Title

Death on the Nile

Director

John Guillermin

Cast

• Peter Ustinov as Hercule Poirot
• Simon MacCorkindale as Simon Doyle
• Mia Farrow as Jacqueline De Bellefort
• Lois Chiles as Linnet Ridgeway Doyle
• Bette Davis as Mrs. Van Schuyler
• Maggie Smith as Miss Bowers
• Angela Lansbury as Salome Otterbourne
• David Niven as Colonel Johnny Race
• Jane Birkin as Louise Bourget
• Olivia Hussey as Rosalie Otterbourne
• George Kennedy as Andrew Pennington
• Jon Finch as James Ferguson
• Jack Warden as Dr. Bessner

Although it may not meet the lofty standards set by Murder on the Orient Express, Death on the Nile proves to be a star-studded and stunningly filmed mystery from the novel by Agatha Christie. Featuring Peter Ustinov in the first of his many outings as the eccentric Belgian sleuth Hercule Poirot, Death on the Nile is not to be missed for Christie fans and murder mystery hounds alike.

The setting is the glamorous 30’s. Linnet Ridgeway is the spoilt heiress who has everything she could ask for. Her best friend Jacqueline on the other hand is broke and in need of money. Her fiancée Simon is proposed a job working at Linnet’s English estate, it is here that he immediately falls for the beautiful Linnet. We later learn that he broke of his engagement to Jacqueline and married Linnet. This has incurred the wrath of Jacqueline who has stalked the couple on their honeymoon. The newlyweds eventually take a cruise down the Nile, not realising that the wounded Jacqueline is onboard. Also onboard is the famed Belgian sleuth Hercule Poirot, who is enjoying a vacation along with his good friend, Colonel Johnny Race. The rest of the people onboard the ship down the Nile are an eclectic bunch consisting of;Mrs Van Schuyler, a crusty old widow with a habit of stealing; her resentful nurse and companion Miss Bowers; Salome Otterbourne, a flamboyant writer of romantic novels; her unhappy but devoted daughter,Rosalie; Linnet’s melancholy lady in waiting, Louise; Linnet’s American lawyer Andrew Pennington, who is embezzling money from her; Jim Ferguson, a so-called citizen of the world who despises the rich and the odious Dr.Bessner.

Jacqueline’s persecution of the couple comes to a head one night in the saloon of the boat. She angrily confronts Simon and produces a pistol from her bag, before shooting Simon in the leg. This commotion is stopped when Simon is taken to Dr. Bessner for treatment and Jacqueline is given a short of morphine from Miss Bowers, in order to calm her manic state of mind. The next morning, Linnet is found dead in her cabin, her cause of death a gunshot wound to the head. It is then up to the intelligent Poirot to distinguish who out of the many guests would kill the heiress. It turns out that everyone on the boat either had a motive or grudge against her, but who actually went through with bumping her off? Prepare for a sumptuous and twisting web of secrets, deceit and revenge as the scrupulous Poirot tries to get to the heart of the increasingly difficult investigation.

The first thing that strikes you the most about Death on the Nile is the attention to detail. The authentic costumes deservedly won an Oscar and the set decoration is richly adorned to a high visual standard. The film also makes stunning use of many landmarks in Egypt, such as the temples of Abu Simbel and Karnak. The score is excellently composed, and captures the beauty of the Nile and then eventually the suspense and secrecy as Poirot attempts to find the murderer. Perhaps the biggest draw of the film is the cast, loaded with star power. As with most Christie adaptations, we have many eccentric characters, some more interesting than others in various cases. In his first performance as Poirot, Peter Ustinov combines eccentric mannerisms with a humour and intellect that make him a great interpretation of the iconic character. His scenes with David Niven, who is ideally cast as the archetypal British gentleman, have a fun edge to them but a serious understanding as they each work their way through the murky case in hand. Simon MacCorkindale makes an impression as the simple man whose relationships with two women seem to have caused fatal consequences. Mia Farrow embodies anger, jealousy and dejection as the vengeful Jacqueline, who won’t let go of the man she has always loved. In the small but pivotal part of the wealthy Linnet, the beautiful Lois Chiles creates a character who is both an arrogant, home-wrecking bitch and a persecuted woman. It is because of her actions that the whole story is set in motion and culminates in her death.

The great Bette Davis is a hoot as the scolding old widow, she is matched by Maggie Smith as her put upon nurse. The two actresses have a great energy in their scenes, bickering and exchanging bitchy lines with great zeal. There is also a delightfully eccentric performance from Angela Lansbury, as the scandal loving author who embarrasses herself a lot, especially in front of her daughter. In a brief part, Jane Birkin exudes a sad and tired quality as Linnet’s lady in waiting, who secretly wants a dowry in order for her to marry. As well as these stars, there are others but their roles are not fleshed out well enough to make them really interesting. Olivia Hussey works as best she can with her part, but isn’t given enough material to make her character memorable. George Kennedy and Jon Finch both suffer from the fact that their supposed motives for killing Linnet are not that convincing. And Jack Warden, who does have his funny moments, is most certainly underused. These are the only quibbles that I have with the film, as for the most part it is an exciting and gripping mystery with talent and locations surrounding it.

Although slightly slow in parts, Death on the Nile is still great fun as you try to work out who it was who killed Linnet. Mystery lovers this the film for you and for fans of starry casts, look no further than this excellent adaptation of Agatha Christie’s novel.

Also on another note, I’ve just realised this is my 100th post. I can’t beleive I have written this many.

Tea with Mussolini

Tags

1990's, Cher, Franco Zeffirelli, Italy, Joan Plowright, Judi Dench, Lily Tomlin, Maggie Smith, Period Comedy, Period Drama, Tea with Mussolini

Film Title

Tea with Mussolini

Director

Franco Zeffirelli

Cast

• Cher as Elsa Morganthal
• Joan Plowright as Mary Wallace
• Judi Dench as Arabella
• Maggie Smith as Lady Hester Random
• Lily Tomlin as Georgie Rockwell
• Baird Wallace as Teenage Luca
• Charlie Lucas as Young Luca

Franco Zeffirelli draws upon incidents from his own childhood for this semi-autobiographical, coming of age tale of a young boy whose life is influenced by many different women as Italy heads for political change and the impending knowledge of World War II. Funny, warm and boasting an array of fine performances from the talented cast, Tea with Mussolini is charming viewing from start to finish.

The film begins in 1935, Florence. Luca is a young illegitimate child whose mother has died and whose father shows little care for his upbringing. Luckily for him, his father’s secretary, the kind Mary Wallace decides to take the boy into her care. She is part of an expatriate sisterhood known as “The Scorpioni”, which consists of Englishwomen and two Americans. Populating the electic group are Arabella, the spirited art loving bohemian; Lady Hester, a rude and haughty matron who because of her late husbands political connections is a strong believer in Mussolini; Elsa, an outrageous American widow who loves to spend and Georgie, a witty and openly lesbian archaeologist. It is through this gaggle of women that Luca learns many valuable lessons about life as he grows up. But as the country heads for Italy’s involvement in the war and political uncertainty, the bond between him and the women remains strong despite the many attempts to break it. So sit back and enjoy this touching coming of age story of Luca as he grows from childhood to teenage years, instilled with the lessons of the inspirational women that surround him.

Although some of the events in the film feel a little over the top and episodic, this should not detract from the overall freshness of the story as performed by the exceptional cast. The screenplay excellently alternates between dry humour and moments of touching sincerity with deft skill. The use of authentic Italian locations is stunningly realised and shot almost like a Merchant-Ivory picture, capturing the lush beauty but also the eventual turmoil that will occur. Charlie Lucas and Baird Wallace shine as Luca at different ages, showing his emergence from wide-eyed boy to cultured young gentleman. Yet it the female cast that lights up Tea with Mussolini, creating a lively group of eccentric but caring ladies. In a role that seems tailor-made for her, Cher delivers an exciting, sensational and heartfelt performance as the extravagant Elsa, who loves to shake things up, but behind the glamour has a caring streak that becomes most apparent when it comes to Luca. Joan Plowright provides a warm but firm presence as Luca’s surrogate mother figure, her eyes filled with love and care for the boy. She also conveys a sagacious strength when situations get tough and has a quiet but disarming wit. Maggie Smith, that great dame, turns in a typically acerbic performance as the haughty and high-class Hester, blinded by her own naive tendencies. Smith has a hoot delivering the best lines consisting of withering insults and warm responses in equal abundance. That other grand dame of cinema Judi Dench adds eccentric mannerisms and bohemian freedom as the passionate Arabella, showing us her cultured sensibilities with her many recitals of classic poetry and literature. Rounding out this ensemble is Lily Tomlin who adds an arch humour and touching quality as the free-living Georgie, who isn’t afraid to voice her opinion. The film may be set during the war but don’t expect a history lesson, as the main focus is on the effects it has rather than the fighting. Franco Zeffirelli directs with a light comic air that also contains many moments of poignancy arising from Luca’s unbreakable connection with the gaggle of women who have changed his life.

Featuring a brilliant cast, stunning sets and excellent dialogue laced with humour and warmth to spare, Tea with Mussolini is simply a joy. Believe me, the cast enough is reason to see the semi-autobiographical delight from Franco Zeffirelli.