Husbands and Wives

Tags

1990's, Drama, Husbands and Wives, Judy Davis, Juliette Lewis, Liam Neeson, Mia Farrow, Sydney Pollack, Woody Allen

Film Title

Husbands and Wives

Director

Woody Allen

Starring

• Woody Allen as Gabe Roth
• Mia Farrow as Judy Roth
• Sydney Pollack as Jack
• Judy Davis as Sally
• Juliette Lewis as Rain
• Liam Neeson as Michael

One of Woody Allen’s most lacerating and stark movies, which centres on the dissolving of marriages and infidelity, Husbands and Wives is far from his standard stuff. If you are used to seeing Woody Allen’s movies as light-hearted and sweet, then prepare for something at the other end of the spectrum with this unforgettable entry into his canon.

Gabe and Judy Roth are a seemingly solid couple who have been married for ten years. Gabe is a writer and professor while Judy works at a publisher’s. The main crux of the film begins when the close friends of the couple, Jack and Sally come around to their house on a night when they are all supposed to go out for dinner. They announce that they are separating from each other and both seem none too fussed, later we will see that both are putting on a brave face. The announcement of their separation bemuses Gabe, who is cynical to say the least but has a more lasting impact of shock on Judy. The news seems to hit a nerve with her and after this she too begins questioning how ideal her marriage is and what flaws may very well lie in it. Meanwhile, Jack(who has a history of philandering with women he finds less demanding than the tightly wound Sally) has moved in with an attractive but none too bright aerobics teacher, while Sally tentatively begins to see nice editor Michael, who she is introduced to via Judy. Judy though harbours secret feelings for Michael that she tries to suppress, yet having been put in a tailspin, she is now questioning her own marriage. Gabe as well has begun to be infatuated by one of his writing the students, the effervescent Rain who has a thing for older men. Throughout the film, scenes of each character are interspersed talking to an unseen interviewer, baring their secrets and emotions on love and the state of affairs each has encountered. With all the upheaval of emotions, which unions can be saved and which will ultimately drift apart?

Woody Allen paints a dark and unrelenting picture of marital disharmony, that shows that his movies can be as unromantic as they are sweepingly romantic. You can’t help but feel ounces of cynicism and bitterness towards the institution of marriage and it really bleeds into the film. And those expecting a lot of humour will be in for a shock, because even when there is moments of humour it is on the brooding and subdued end of the spectrum. Also of note is the fact that Husbands and Wives strangely parallels the real life drama of Allen and Mia Farrow’s breakdown in relationship and scandal that engulfed it. Because of this, there is something of a realistic tone that comes close being almost autobiographical throughout the movie that can’t be ignored, whether it was intentional or not. The hand-held camerawork of the piece is just splendid in projecting the fragile relationships on display and the instability of love in general. I’m not usually a big lover of hand-held camerawork, but when employed successfully here by Woody Allen and filled with expressive and almost intrusive close-ups, it throws us straight into the maelstrom of emotional fallout and questions regarding marriage. The interviews with the characters that forms part of the movie may put some off, but for me it was a real gamble that payed off. We gain a genuine insight into these character’s thoughts and feelings on themselves and each other that at many times they won’t share face to face with each other. A subdued colour scheme further highlights the uncertainty of all the romantic parties involved with mauve and dark browns acting as the primary components.

Woody Allen as an actor seems to be on familiar ground with the befuddled character of Gabe, but he injects the role with a deep cynicism that marks an edge to the character and makes him somewhat different from what he could have been. Mia Farrow is extremely evocative as the fragile and shaken Judy, who comes to question her own marriage in the shock of seeing Jack and Sally’s end. Farrow has that ability to portray a large amount of melancholy and it is ideally suited to the part here. Though with everything that occurred off-screen, it does make me wonder how much of Farrow’s performance is acting and how much could be the real thing. Either way, it’s an excellent performance surrounded by sadness and desolation. Sydney Pollack, best known for being a director, makes his mark as the philandering jerk Jack who says he wants a change but can’t let go of the past. The two main standout performances to be found in Husbands and Wives belong to Judy Davis and Juliette Lewis. Judy Davis is exceptional as the difficult and neurotic Sally, who can spit venom when needed and find flaws in just about anything you put in front of her. Davis burrows into the character finding sadness, humour and unusual tics that the character possesses and how despite her separation, she can’t live without her husband. It is a truly dazzling performance from a hugely talented actress, who clearly understands the role of Sally as a bubbling cauldron of anger that is going to boil over. Juliette Lewis has a deep vibrancy, strange sort of sensuality and opinionated tendency that she adds to the role of Rain, who has a real passion for writing and a tendency to attract older men. Liam Neeson provides some excellent support as the editor taken with Sally, yet secretly suspecting that Judy has feelings for him too.

Bruising, dark and more than a little bitter on the subject of marriage, Husbands and Wives gains power and wounding impact due to the choice to shoot events with an up close and personal camera style, excellent writing and smashing performances from the cast.

The Purple Rose of Cairo

Tags

1980's, Comedy, Danny Aiello, Fantasy, Jeff Daniels, Mia Farrow, Romance, The Purple Rose of Cairo, Woody Allen

Film Title

The Purple Rose of Cairo

Director

Woody Allen

Starring

• Mia Farrow as Cecilia
• Jeff Daniels as Tom Baxter/ Gil Shepherd
• Danny Aiello as Monk

A comical, bittersweet movie about the magic of cinema and the line between reality and illusion, Woody Allen’s The Purple Rose of Cairo is tinted with a heartwarming yet poignant charm and own sort of magic that makes it a lovely film.

It is the Great Depression and in New Jersey the poor, put upon waitress Cecilia is trying make ends meet as best as she can. She is trapped in a loveless marriage to the abusive and lazy Monk, who is unemployed but has no intention of getting a job as he is too busy drinking and gambling. To escape her humdrum and miserable life, Cecilia takes refuge in going to the cinema and becoming lost in the movies she watches. Her latest favourite movie is entitled The Purple Rose of Cairo and she has developed a liking of the explorer character Tom. While watching the movie for yet another time, something truly remarkable happens. Tom breaks the fourth wall and literally leaps off-screen, desperate to know the meek Cecilia. Astonished by this, she finds herself swept off her feet by the good-hearted Tom and finds herself growing attached to him, despite the fact that he is a fictional character who has entered reality. The actions of Tom leaving the film sends a wave of pandemonium through the cinema as Tom’s co-stars have no idea what to do without him in the scene, audience members become disgruntled that the movie is changed and even the studio producing the movie begins to panic about what will happen in the fall out. Meanwhile, Cecilia experiences adventures and love with the heroic Tom, who begins to realise that real life is a whole lot different from the glitz of movies. However, another surprise is on the way for Cecilia. The studio behind the movie has contacted Gil Shepherd, the actor who essayed the role of Tom and have sent him to New Jersey to see if he can repair any damage done. In contrast to the gentle and brave Tom, the man behind it is obsessed with keeping his career up and a little full of himself. But upon arrival, he begins to become enchanted with Cecilia too. Now it is up to Cecilia to decide whether to choose either the charming Tom or slightly arrogant Gil or return to the doldrums of her life.

Woody Allen displays masterful direction and writing throughout this bittersweet gem. He lovingly delves into the way that cinema has an impact on people and how it can provide literal and emotional escape from life’s troubles. He peppers events with humour, but it is underpinned by a poignancy that makes The Purple Rose of Cairo very moving. The film is full of delightful highlights from the sight of the movie stars on the screen bickering with discontented customers who want their money back to Tom and Gil confronting each other in amusing fashion, it is hard to fault The Purple Rose of Cairo in terms of ambition and clarity. Allen clearly knows that the audience can each view themselves like Cecilia, and with his beautiful direction and criss cross between comedy, drama and touching romantic fantasy, the results will definitely move you. The cinematography crafts the atmosphere outside as grim and troubled but employs brighter shades when Tom burst off-screen and lights up Cecilia’s life that has been in darkness for too long. A very good jazz score underlines the developing romance of the movie and brings both joy and sadness to the proceedings.

Mia Farrow turns in a beautifully touching performance as the downtrodden Cecilia. We immediately feel sympathy for her and her circumstances and we’d all love to just reach through the screen and comfort her. Farrow’s performance is so nuanced and filled with little things that make it work; the way her face lights up when viewing the eponymous movie, her silent tears as she realises her position in the world and the giddy sense of delight she feels as Tom courts her. All of this and more is found in a lovely performance from Mia Farrow. Jeff Daniels adroitly portrays two very different characters and delineates their opposing personalities and characteristics. Tom on one hand is the ideal guy with affable charm, whereas Gil is a cynical man more concerned with having nothing ruin his career. Daniels, who I always think can be underrated by many as an actor, shows exceptional talent here by embodying the two characters very well and helping form the emotional core of the movie, along with Mia Farrow. As Cecilia’s boorish husband who berates her at every turn, Danny Aiello is well cast.

Beautifully written, directed and acted, with true depth to the story as well as humour, The Purple Rose of Cairo is a purely magical film making from Woody Allen that delivers warmth and pathos to the story of escaping life with the powers of celluloid.

Rosemary’s Baby

Tags

1960's, Horror, John Cassavetes, Maurice Evans, Mia Farrow, Psychological Horror, Ralph Bellamy, Roman Polanski, Rosemary's Baby, Ruth Gordon, Sidney Blackmer

Film Title

Rosemary’s Baby

Director

Roman Polanski

Starring

• Mia Farrow as Rosemary Woodhouse
• John Cassavetes as Guy Woodhouse
• Ruth Gordon as Minnie Castevet
• Sidney Blackmer as Roman Castevet
• Maurice Evans as Hutch
• Ralph Bellamy as Dr. Sapirstein

Unraveling at a deliberate pace and bristling with macabre intent, Rosemary’s Baby is a psychological horror, that under the talented hands of Roman Polanski really gets your mind working and leaves a haunting impact with ambience, excellent work from the cast and creepy atmosphere.

Rosemary Woodhouse, a sweet-faced young woman and her struggling actor husband Guy move into the Bramford apartment in New York. Though they are warned that the place has a very sinister history by good friend Hutch, they ignore it with Rosemary stating “Awful things happen in every apartment house” and move into the old building. The young couple intends on starting a family and set about settling into their new home. Soon enough, Minnie and Roman Castevet; two elderly neighbours who are very inquisitive and eccentric, introduce themselves into the lives of Rosemary and Guy. Guy finds the couple endearing and harmless, but Rosemary feels uneasy around them as they become increasingly nosy and overtly friendly. It’s around this point that strange events begin to occur to the innocent Rosemary. Guy becomes strangely distant when he acquires a plum role in a prestigious play after the lead actor who originally had the part goes blind. Rosemary begins to hear weird chanting from her neighbour’s apartment. Guy begins to spend an unusual amount of time with the Castevets. And finally, Rosemary discovers she is pregnant. Though happy about the news of her pregnancy, she is plagued by a recollection of a very vivid dream she experienced after eating something prepared by the oddball Minnie. In the harrowing dream, she was raped by a demonic presence. Rosemary soon becomes very isolated, frightened and convinced something is wrong as her symptoms of pregnancy don’t add up( she starts to look gaunt, has deeply severe pains in her abdomen, her new doctor prescribes bizarre remedies and she seems to be losing weight rather than gaining it) and her neighbours become more and more ingrained into her life. And with the unusual nature of her conception at the forefront of her mind, she begins to feel as though there is a dark, sinister plot against her and her child of the supernatural kind and that Guy knows something about it. Are Rosemary’s fearful behaviour and concerns for herself and her unborn child for a good reason? Or are they simply the alarming delusions of a naive mind?

Roman Polanski wonderfully writes and directs this creepy psychological horror that knows the meaning of slow burning terror. He builds paranoid tension by utilizing the setting of the apartment to craft a sense of isolation as Rosemary becomes more convinced that sinister designs are planned for her baby. Polanski knows exactly how to exploit audience fears by cranking up the ambiguity of the piece. Is Rosemary imagining it all? Or are her beliefs that something supernatural is a foot real? Polanski just brings so many possibilities to the piece but despite the overtones of something not of this world, he makes it all very realistic because of the seemingly normal setting. There’s little gore in Rosemary’s Baby, but this is the kind of horror film that is all about sinister suggestion and is all the more effective for not resorting to blood-soaked carnage. The camerawork is predatory in its movement, creating tension and unnerving suspense as it continues to follow the slowly terrified Rosemary. A devilishly crafted and often deceptive score of unwinding menace provides many chilling pieces of music, most prominently a lilting lullaby that repeats in creepy fashion, sung by star Mia Farrow.

Heading the impressive cast is Mia Farrow in a hugely convincing and harrowing performance. As Rosemary, Farrow imbues her with such a waifish innocence that it is hard not to sympathise with her and twinned with her elfin appearance of large, haunted eyes and iconic pixie cut, she is a character who you genuinely want to shield as the morbid plot unravels. And as the story goes on, Farrow essays the sheer amount of escalating panic and fraught emotion with deft skill, as we witness the tortured Rosemary slowly becoming more paranoid of events around her. I think it’s fair to say this is Mia Farrow’s best performance of her career. John Cassavetes has just the right amount of slimy arrogance to keep you guessing whether Guy is in on the plot that Rosemary believes is meant for her. In a well deserved Oscar-winning role, Ruth Gordon perfectly plays the dotty Minnie, who starts off as a nosy neighbour dressed in garish clothing and then evolves into something more devilishly sinister thanks to her morbid humour and kooky peculiarities. Sidney Blackmer excellently compliments Gordon as Minnie’s husband Roman, who for all his eccentricity, can be very creepy indeed. Maurice Evans in the supporting cast is great as Rosemary’s friend who becomes very concerned for her well-being, while Ralph Bellamy is unusual as the doctor who prescribes strange remedies for her and may know more than he is letting on.

Slow burning terror and psychological games make Rosemary’s Baby a masterpiece of mood and atmosphere that insidiously gets under your skin.

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.

What are your favourite performances in a horror film?

Tags

Catherine Deneuve, Horror, Jack Nicholson, Mia Farrow, Sissy Spacek

I often think that performances can get overlooked in a horror film as a result of the scares of it. But I do think there are some effective performances that manage to stand out. So, what is your favourite performance from a horror film, whatever your opinion is please comment.

The performances off the top of my head, that I consider memorable and effective in a horror film are;

• Jack Nicholson as a writer who starts to lose his mind in a sinister hotel in  The Shining

• Catherine Deneuve as a repressed manicurist who begins to mentally crumble when left alone in her London apartment in Repulsion

• Mia Farrow as a naive newlywed who becomes convinced her neighbours have evil designs for her unborn child in Rosemary’s baby

• Sissy Spacek as a victimized young girl who uses her telekinetic powers to gain revenge on her tormentors in  Carrie