Stardust

Tags

2000's, Adventure, Charlie Cox, Claire Danes, Fantasy, Ian McKellen, Jason Flemyng, Mark Heap, Mark Strong, Matthew Vaughn, Michelle Pfeiffer, Peter O’Toole, Ricky Gervais, Robert De Niro, Sienna Miller, Stardust

Based on the novel by Neil Gaiman, Stardust is a lavish fantasy of tongue in cheek humour, surprising darkness and a feeling of adventure that can’t be denied. Boasting a game cast and some dazzling scenery/visuals, it’s hard not to be swept up in this movie. 

A rural England town known as Wall is bordered by a giant wall that divides it from the magical kingdom of Stormhold. No one is supposed to go through the portal in the wall and it’s guarded by a man who refuses entry, though one man did and met a beautiful woman who he had a passionate romance with. Nine months later, his son is brought to his doorstep with no sign of the mother. The boy grows up into Tristan Thorn(Charlie Cox), a good-hearted but clumsy man who has a big crush on local beauty Victoria( Sienna Miller). The problem is his love for her is unrequited and Victoria is a selfish and vain woman who enjoys stringing others along. Tristan remains undaunted in his attempts to woo her and this is where things get interesting. In the Kingdom of Stormhold, the old King( Peter O’Toole) is dying and he hasn’t appointed a successor out of his sons. Usually, it’s the last man standing who takes the crown but the King decides to freshen things up a bit. He decrees that the first of his three remaining sons who retrieves his ruby will be crowned. The King throws it into the sky where it hits a falling star. The star is seen by Tristan and Victoria, and the capricious Victoria asks Tristan to retrieve the star to prove his devotion before a deadline. If he succeeds in retrieving the star, Victoria will accept his hand in marriage. Bowled over by her, Tristan naturally accepts the challenge. Little does Tristan realise how far reaching and eventful his quest will be. The biggest surpise is once he passes The Wall, he discovers that the star has taken the form of Yvaine( Claire Danes). She might be a radiant beauty but her personality is feisty and she immediately clashes with Tristan. Both begin to warm up to the other as forces of greed and desperation chase them. The remaining and power hungry princes Septimus( Mark Strong), Tertius( Mark Heap) and Primus( Jason Flemyng)are in hot pursuit, followed by an amusing Greek chorus of deceased siblings. Most evil and menacing of all are witch Lamia(Michelle Pfeiffer) and her siblings, who are fixated on gaining eternal youth of which the star can provide. Lamia in particular is a ruthless being of great power and cunning, who is not to be tricked with once she sets her sights on something. Tristan is thrust into a dangerous adventure to save and get back to The Wall before Victoria’s deadline. But in between dodging death and mischief, Tristan starts to see that maybe Victoria isn’t the girl for him as he develops feelings for Yvaine along the way. 

Matthew Vaughn is on hand for entertaining and dazzling direction, with oodles of style and adventure. He’s a director who knows how to keep a story spinning and very exciting, most evidenced once the breathtaking fantasy elements begin. The script is very successful at placing us in the fantasy adventure of the piece while retaining a certain sense of off the wall sheen. Stardust boats a sense of infectious craziness and off kilter magic that marks it out as something different in the fantasy genre. For while it’s very amusing and playfully silly, these are balanced with some rather creepy and sinister moments that are not quite what you expect but add to the overall appeal of Stardust. It is for my money, a film that will appeal across the generations of viewers that see it. With its humour, romance, darkness and thrills, it’s a true delight of a film that transports you into a zany world for two hours. Oh the humour scale, there are a lot of knowing winks to the audience and some fairly naughty jokes that grown ups watching can appreciate. The locations are breathtaking with mountains, hills and that romantic feeling of a hero’s journey on full display for the viewer. The magic is rendered with fun and panache in the effects department, ensuring a film that’s lovely to look and have a good time with. The only flaw I can find is that there is often so much going on that you can lose focus on the events happening. I mean I like when there are various parts to a story, but there are moments when Stardust overdoes it a bit. I’m grateful however that this is the only niggle I have because the rest of this fantasy make up for it. When the three stories gel, Stardust really hits great heights of intrigue and fantastical fun. The score from Ilan Eshkeri matches the heart, romance and adventure of the film and is pretty beautiful/magical in parts too. And Take That provide the irresistibly catchy “Rule the World” to Stardust, which is hard to get out of your head once your eyes have heard it.

A sensational cast is on hand and all up for a fantastic time. In the lead, Charlie Cox is ideally suited for the main hero thrust into the biggest adventure his life has experienced. Cox is fresh faced, personable and full of charm which goes a long way in playing the hero of our narrative and endearing him to us. Claire Danes has an ethereal glow that aids her in playing the personified star Yvaine, while infusing her with a temperamental personality that softens beautifully once her and Tristan get to know each other . Yvaine be the character everyone is after but she is dar from a simpering victim which is fully embodied by a radiant and bristling Danes. The pair have a very entertaining chemistry that sizzles and enthrals. Standing out and having an obvious ball is Michelle Pfeiffer, who longtime readers know is one of my favourite actresses. She’s relishing playing the lead witch hellbent on getting her youth back and doing it in despicably, delicious fashion. Pfeiffer hits the evil and seductive notes wonderfully, while embracing an eye rolling layer of comedy. It’s a great performance from Michelle Pfeiffer who proves to be a dastardly adversary for our hero but one who’s having a full on blast and savouring this opportunity to play bad to the bone. Robert De Niro has some great comic moments as a space pirate, which finds him playing against his usual image of macho and forceful tough guy. Jason Flemyng and Mark Heap are two of the greedy brothers after the star, though it’s the reliable Mark Strong, on sneering form, who stands out the most as the ruthless brother desperate to be king. I’m not the biggest fan of Ricky Gervais but he’s passable enough as a wheeler dealer. Sienna Miller is effective in her small role as the girl who knows the power of her looks and how to use them to her advantage, which inevitable sets the story in focus. Peter O’Toole contributes an entertaining cameo as the king who sets in motion the quest everyone ends up on before he dies. And on narration duties is Ian McKellen, whose iconic and distinctive voice is richly used. 

So while it is occasionally overstuffed with too many ideas and story, Stardust remains a delightfully different fantasy film with quite a bit going for it. 

Mother!

Tags

2010's, Brian Gleeson, Darren Aronofsky, Domhnall Gleeson, Drama, Ed Harris, Horror, Javier Bardem, Jennifer Lawrence, Kristen Wiig, Michelle Pfeiffer, Mother!

Film Title

Mother!

Director

Darren Aronofsky

Starring

• Jennifer Lawrence as Mother
• Javier Bardem as Him
• Michelle Pfeiffer as Woman
• Ed Harris as Man
• Domhnall Gleeson as Oldest Son
• Brian Gleeson as Younger Brother
• Kristen Wiig as Herald

A delirious and disturbing horror/drama movie that both enthralls and annoys, Darren Aronofsky’s Mother! is the definition of a divisive movie. I remember hearing all the buzz about the movie being one of the riskiest studio releases in a long time, and I won’t argue there. But the film squarely falls into a mixed category as to its value and what it is trying to say to us.

An unnamed couple( referred to in the credits as Mother and Him) live in a large, isolated house somewhere in the country. Mother is a domestic goddess who is refurbishing the home, as we learn there was once a fire many years before that ruined the place. She is supportive of her much older husband, a poet with a severe case of writer’s block, but a lot of the time the love seems one-sided. She seems to always praise him and be there, while he isn’t the most forthcoming in approval or thanks to his wife. Their relatively tranquil existence is disturbed by a late-night knock at the door. There is an ageing doctor who says he has mistaken their house for a bed and breakfast. Mother is against letting him stay as he is a stranger, but Him is adamant that they cater to the man. The next day his wife appears and almost immediately begins to stir trouble for Mother. However, Him seems to revel in the company of these intruders, much to the annoyance and pain suffered by Mother. Gradually, everything begins spinning out of control for Mother as yet more people descend on the house and all manner of shocking events take hold, completed by Him basking in a new batch of inspiration.

Darren Aronofsky is the man behind the camera and script. He’s always been a director who knows how to shock and disturb cinema goers with his content, from Requiem for a Dream to Black Swan. I will say that Aronofsky builds up tension rather nicely with Mother! before unleashing an abundance of sheer craziness that will have you considering what you just saw. Credit where it’s due, Aronofsky crafts something extremely polarizing and material that is bound to get people talking. But there are certain areas that don’t quite add up and make the film feel bloated as a result. Aronofsky is clearly trying to say a lot of things, but at its heart, Mother! gets extremely esoteric. That’s not to say that any thematic material is gone( there is clear biblical parallels in the story and notions on inspiration), but it feels like an overload and that he is biting off more than he can chew in a good few ways. Plus, you can’t help but feel that Aronofsky is trying to be too clever and too self-indulgent with this movie. Mother! is a film that is hard to forget for sure, especially in the latter half. With the house being bombarded by intruders, everything including the kitchen sink is thrown at the viewer as all manner of hellish act is realised and put on us. Adding to this is the burnt gold of the cinematography and frequent closeness of the camera to Lawrence, exuding a claustrophobic air to everything. There is a distinct lack of a musical score here; Mother! utilises sound effects and unusual noises to bring out the eeriness of the piece in a rather successful manner.

One part of Mother! that cannot be faulted is the acting from the relatively small cast. Jennifer Lawrence ideally plays the lead, whose existence and sanity come under severe threat as the movie progresses. Starting out quiet, subtle and demure, before her mind unravels and she goes into alarming intensity and harrowing confusion, Lawrence gives the part her all and succeeds greatly with what she brings to the screen. On screen in almost every frame, Jennifer Lawrence sells the intense nature of Mother! brilliantly. Javier Bardem at his most lupine is effectively creepy and selfish as the husband whose inspiration seems to arise from the chaos surrounding him and his young wife. Michelle Pfeiffer is a wicked delight in a keen supporting part. Playing the intrusive, forthright and ever so feline woman who begins making her presence felt in Mother’s life, she’s devilishly toxic and strangely seductive to watch. Her and Ed Harris( whose enigmatic and equally as good) don’t have a lot of time on screen, but boy do they make the most of what they have! The same can be said of the Gleeson brothers who star as brawling siblings whose violence leads us into the second act of the movie. And appearing in a startling but entertaining cameo is Kristen Wiig.

Mother! as a movie is an extremely shocking experience, that is both hard to tear yourself away from and equally as repellent. I seem to fall into the middle ground of the consensus on this movie. While I will say that the direction is stylish and provocative and the acting is of a high standard, I must also bring forward that it’s a movie that often has too much going on, leading it to be hollow in the grand scheme of things. A movie that splits opinion is the best way to describe what Mother! is.

The Fabulous Baker Boys

Tags

1980's, Beau Bridges, Comedy, Drama, Jeff Bridges, Michelle Pfeiffer, Steve Kloves, The Fabulous Baker Boys

Film Title

The Fabulous Baker Boys

Director

Steve Kloves

Starring

• Michelle Pfeiffer as Susie Diamond
• Jeff Bridges as Jack Baker
• Beau Bridges as Frank Baker

An enchanting comedy-drama of music, family and dreams, The Fabulous Baker Boys provides laughs and pathos with a fine trio of central performances by Jeff and Beau Bridges, and especially the lovely Michelle Pfeiffer.

Jack and Frank Baker are the eponymous, travelling musical duo; piano playing brothers who perform regularly and are opposites in almost every way. While older brother Frank is the responsible sibling who is always organised, Jack is a sometimes sullen man who has grown tired of their long running act despite being the more talented one. With business slipping and them having to perform in less than glamorous lounges as a second-rate act, both are feeling the strain of what their careers have become. Frank enjoys his music and does it to support his family, while Jacks feels the emptiness of it all. They have the idea to audition a female singer, to breathe some life into their act and hopefully drum up some business. The first few ladies they get are all pretty bad and it looks like the guys will just have to continue their act just the way it is. That is until former escort Susie Diamond walks in to audition, even though she’s an hour age a half late. Gorgeous, witty and with a take no bull honesty, she wins Jack and Frank over when she starts to sing. Now feeling a bit more rejuvenated, the group begins experiencing success with Susie as the star attraction. But with the success comes doubt and frustration, as Frank becomes concerned that Jack is romantically pursuing Susie. He worries that this will jeopardize all of them if everything gets too personal, and sure enough it does. This throws a spanner in the works and as both of them having to deal with dormant feelings of being failures and still trying to go on. While on the road touring, the dynamics of the brothers change as both, along with Susie, have to contend with disillusionment and the wanting for something more in their lives.

Steve Kloves both writes and directs this beguiling and elegant piece of film. And considering it was the first movie he directed, his inexperience doesn’t show. In fact, the easy confidence and attention to character are spectacularly done, displaying his gift for letting his actors do their thing and not being overly flashy with overt style. Kloves sprinkles an Old Hollywood feeling to the work, that’s mixed with a contemporary sensibility and nuanced depth. Comedic moments abound, with the crackling screenplay firing zingers throughout, while balancing the character’s shaky relationships and desires. Laughs and sadness seem to go hand in hand in The Fabulous Baker Boys, making it a whole experience. The occasional meandering moment can be ignored because of how well-defined and invested the characters are, plus the fact that we do like watching their wishes and dashed dreams unfold. As music is a big part of it, The Fabulous Baker Boys doesn’t disappoint on that score.  And what beautiful music it is! Silky smooth jazz grooves and slinky torch songs, lend both a sexiness and melancholy to the overall picture. And speaking of sexiness, I can’t review The Fabulous Baker Boys and not mention it’s most famous scene. In it, Susie, clad in a figure hugging, red dress, lounges across the piano and sings ‘Makin Whoopee’. Backed by the impressively warm and sultry cinematography that hovers over everything, it’s a sizzling high point of a fantastic movie.

While it is The Fabulous Baker Boys who have the title, the film really is a show for the talents of Michelle Pfeiffer. As the effervescent Susie, she displays a whole multitude of sides and angles that are natural and convincing( plus showcasing some gorgeous vocals). She’s tough yet vulnerable, hardened but dreamy and both nervous and seductive. Pfeiffer completely owns the role with a deft assurance. It’s a plum role for any actress, but Pfeiffer makes it so you can’t imagine anyone else playing it except her. For my money, this is one of the finest hour’s from one of my favourite actresses. Ably complimenting Pfeiffer’s excellence are the eponymous duo, envisioned by real life siblings Jeff and Beau Bridges. The chalk and cheese nature of the characters is nicely observed through the work of them both; Jeff’s charm and quietly seething demeanor as Jack counteracted by the more savvy but fussy personality displayed by Beau as Frank . I really got into their bond that they shared, which while shaky and volatile, still had a depth of heart ever-present. Being real life brothers obviously lends itself excellently to the often volatile relationship of the duo. The chemistry is natural and when the deeper feelings emerge, it’s intriguing to ponder whether it is just acting or something much more personal. Whatever the view, the Bridges Brothers bounce off one another effortlessly, while highlighting a certain weariness and quiet rivalry.

A slice of life drama and comedy, that has sparkling dialogue and an undercurrent of wistfulness, The Fabulous Baker Boys is sublime entertainment, well performed and nicely crafted.

A Midsummer Night’s Dream

Tags

1990's, A Midsummer Night's Dream, Anna Friel, Bernard Hill, Calista Flockhart, Christian Bale, Comedy, David Strathairn, Dominic West, Fantasy, Kevin Kline, Michael Hoffman, Michelle Pfeiffer, Romance, Rupert Everett, Sam Rockwell, Sophie Marceau, Stanley Tucci, William Shakespeare

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

• Kevin Kline as Nick Bottom
• Michelle Pfeiffer as Titania
• Rupert Everett as Oberon
• Calista Flockhart as Helena
• Anna Friel as Hermia
• Dominic West as Lysander
• Christian Bale as Demetrius
• Stanley Tucci as Puck
• David Strathairn as Theseus
• Sophie Marceau as Hippolyta
• Bernard Hill as Egeus
• Sam Rockwell as Francis Flute

A well cast and amusing adaptation of the classic Shakespeare comedy, A Midsummer Night’s Dream gets points for direction, writing and acting. Yes it isn’t the best Shakespeare adaptation there is and there are a few flaws, but by and large it’s a success of love’s complications, romantic entanglements and mischievous magic.

The setting is Italy near the beginning of the twentieth century( in the play the setting is Greece). The Duke Theseus is preparing for his upcoming marriage to Hippolyta. He is a respected man and is asked near the beginning to help Egeus with his problem. The problem in question is his daughter Hermia, who he has betrothed to Demetrius. Hermia is actually enamored with Lysander, but their love is forbidden. With Hermia being forced to marry Demetrius, the young lady and her lover Lysander secretly plan to elope. Meanwhile, Hermia’s friend Helena pines for the moody Demetrius, but to no avail as he loves Hermia. The downtrodden Helena seizes the opportunity to make an impression on Demetrius by informing him of Hermia and Lysander’s plans to run away one night through the nearby forest. Demetrius follows the two star-crossed lovers deep into the forest, with the desperate Helena behind him. Yet what none of the four realise is that the forest is inhabited by fairies, and most importantly the fairy King Oberon and his wife Queen Titania. The couple is going through trouble and their differences begin to hold sway on the fates of the four young lovers in the forest. The scheming Oberon, to get back at Titania, devises an amusing plan and enlists the help of loyal but mischief-loving sprite Puck to help. By obtaining a magical flower and applying the nectar of it to the eyelids of Titania, when she awakens she will fall in love with the first person she sees. Into this game unintentionally comes the talkative actor Nick Bottom and his company, who are rehearsing a play to perform at the upcoming wedding. Using the flower on Titania and then turning the unsuspecting Bottom into a donkey, a funny beginning of events flourishes as Titania becomes smitten with the transformed Bottom, much to the actor’s surprise and delight. Oberon also asks Puck to help out Helena so that Demetrius falls in love with her. But naughty Puck accidentally mistakes Lysander for Demetrius and soon enough chaos ensues as the romances interlink and much squabbling occurs thanks to Puck’s devilish intervention.

Michael Hoffman successfully translates the enjoyable and funny qualities of the play to the screen with both imagination and inventiveness. He updates the setting to pre-twentieth century and it actually works very well, though I’m sure purists may quibble and take issue with it. The update allows for some beautiful scenery and gorgeous cinematography that is marvellous. A few parts of his direction are flawed, such as letting some scenes in the middle to lumber on longer than necessary, yet his overall control and skill is evidence throughout as he retains the riotous humour of the piece. Hoffman also is adept at being scriptwriter, bringing the fantasy and romantic switch ups into full fruition with humour and style and sticking to Shakespeare’s poetic verve. A vibe of sexiness is ever-present through this film; found in the double entendres and the presence of Cupid gone awry, causing humorous and unexpected matches. A modernity also pervades many parts of this adaptation, with the literal mud-slinging style catfight between Hermia and Helena a highlight. Set design, particularly in the enchanted forest and Titania’s otherworldly domain, has a definite theatrical quality that feels right for something like A Midsummer Night’s Dream, yet is embellished by the beauty of cinematic eyes and the gorgeousness that celluloid can provide. A light and twinkling score, also infused with some grand operatic arias, sets the pace of the film and what will follow with playful glee.

A handsomely star-studded cast fleshes out the roles of this romantic comic fantasy and are skilled with speaking Shakespeare’s words. The biggest standout is Kevin Kline, who is in his element as the buffoonish but strangely touching Bottom. By balancing the two aspects of comedy and pathos, Kline rules the roost and gives his all to the comic yet poignant character whose garrulous ways and thespian dreams are turned on their head by the adventure in the forest. An effervescent Michelle Pfeiffer is ideally cast as Titania; radiating imperious mannerisms and sweet love especially when funnily bewitched by a transformed Bottom. Not only does Pfeiffer look the part, she plays it extremely well and with ethereal poise. Rupert Everett, with his smooth voice and rakish demeanor, makes for an appropriately louche Oberon, whose schemes are both amusingly wicked and benevolent yet flawed. Calista Flockhart is an inspired choice for the part of Helena, emerging both as earnestly passionate but unlucky and wittily sharp. Flockhart’s performance which takes on a tragicomic nature is up there with Kline as one of the standouts within A Midsummer Night’s Dream. An appealing performance of spirit and vivacity is given by the gorgeous Anna Friel, who gets some very good lines as the star-crossed Hermia. Both Dominic West and Christian Bale have fun as Lysander and Demetrius, who more often than not are sparring partners battling for the affections of Helena and Hermia thanks to the magical mix up. Lending impish relish, sprightly naughtiness and hilarious moments is the ever reliable Stanley Tucci portraying Puck, whose attempts at bringing lovers together go rather awry. Now in supporting roles we have David Strathairn, Sophie Marceau, Bernard Hill and Sam Rockwell, who are all actors I very much admire. The trouble is they aren’t utilized  well enough here and the film could have benefited from showing them a bit more.

Purists may balk at the change of setting and it must be said that a few parts of the film could have been trimmed, yet A Midsummer Night’s Dream is a warmly funny and sexy interpretation of the play from the Bard.

The Prince of Egypt

Tags

1990's, Animated, Biblical, Danny Glover, Helen Mirren, Jeff Goldblum, Martin Short, Michelle Pfeiffer, Patrick Stewart, Ralph Fiennes, Sandra Bullock, Steve Martin, The Prince of Egypt, Val Kilmer

Film Title

The Prince of Egypt

Directors

Simon Wells, Brenda Chapman and Steve Hickner

Voice Cast

• Val Kilmer as Moses
• Ralph Fiennes as Rameses
• Michelle Pfeiffer as Tzipporah
• Sandra Bullock as Miriam
• Jeff Goldblum as Aaron
• Danny Glover as Jethro
• Patrick Stewart as Pharaoh Seti
• Helen Mirren as Queen Tuya
• Steve Martin as Hotep
• Martin Short as Huy

DreamWorks take on the biblical story of Moses is a stunningly animated and powerfully constructed film. From the stirring music to the talented voice cast, The Prince of Egypt is a powerful achievement in animation as Moses discovers his destiny to lead the Israelites out of Egypt.

In Ancient Egypt, a female slave, in order to save her baby son from a cull of Hebrew children, sends him down the river in a basket in the hopes that he will be able to live free. The baby is discovered by the Queen, who adopts him and gives him the name Moses. Years later, Moses is grown up and has a friendly rivalry with his older brother Rameses, who will one day become Pharaoh. Moses is unaware of his mother’s sacrifice all those years ago or the fact that he is a Hebrew by birth. That is until he meets Miriam, his biological sister and a slave who informs him of the truth. Confused and shocked by this, he begins to see that everything he’s ever known has been a lie. Now aware of his past, he can’t just stand and watch as the Hebrews are enslaved by the Egyptians. Fleeing into the desert after accidentally killing a slave driver beating an elderly slave, Moses is visited by God in the form of a burning bush. Moses now begins to understand his destiny but his views are at odds with the newly crowned Rameses. Their differing beliefs will forever change the close relationship of the two. Evocative, well executed and filled with images of great wonder and beauty, The Prince of Egypt is a staggeringly staged marvel of animation that will engage you regardless of whether you’re religious or not.

The first thing to praise is the grand and beautiful animation that captures the interest from the first frame. Scenes live long in the memory from the slaves praying through their arduous work to Moses being sent down the river, visual splendour abounds. Special attention must go to the sequences of the Plagues of Egypt; as frogs emerge from the river, livestock perishes and the last plague of the death of the first-born occur. These scenes are carefully constructed and detailed to the highest degree as well as dealing with some deep themes such as faith and religion. The music of the film is stirring and very memorable. The two songs that stand out the most are ‘Deliver Us’, sung by the slaves as they ask God for mercy and the Oscar-winning ‘When You Believe’, a stunning song about the eventual reward of patience and the joy that comes from undying faith.

The voice cast assembled are an exceptionally talented bunch that invest their characters with both heart and emotion. Val Kilmer strongly voices Moses and shows us the gradual bravery after initial uncertainty that Moses gets as he realises his destiny. The commanding voice of Ralph Fiennes portrays Rameses who struggles with his brother’s calling and won’t back down as he sees it as a sign of weakness. Michelle Pfeiffer combines feisty determination with loving warmth as Tzipporah, the eventual wife of Moses who he helped escape from Egypt after being kidnapped. Sandra Bullock is earnest and passionate as Miriam, the sister of Moses who is the first person to show him the truth about his destiny. Fleshing out the other skilled voices are Jeff Goldblum, Danny Glover, Patrick Stewart and Helen Mirren, who all contribute emotional depth to this tale. Steve Martin and Martin Short voice the court magicians who add the comic relief.

Stunningly animated and sonically beautiful, The Prince of Egypt is a marvellous film. Some may say it is religious propaganda, but one can’t deny the amount of talented work at play here in bringing this story to the screen.

Frankie and Johnny

Tags

1990's, Al Pacino, Comedy, Drama, Frankie and Johnny, Garry Marshall, Hector Elizondo, Kate Nelligan, Michelle Pfeiffer, Nathan Lane, Romance

Film Title

Frankie and Johnny

Director

Garry Marshall

Cast

• Al Pacino as Johnny
• Michelle Pfeiffer as Frankie
• Hector Elizondo as Nick
• Nathan Lane as Tim
• Kate Nelligan as Cora
• Jane Morris as Nedda

A funny and often touching tale of two people falling hesitantly in love, Frankie and Johnny is a romantic comedy drama boasting great performances and a poignant screenplay that pierces to the heart of the meaning of love for different people.

Johnny is a middle-aged men who has just been released from prison. He has an exceptional talent for cooking and whilst searching for a job is hired by Nick, the Greek owner of a busy diner in Manhattan. It is here that Johnny first lays eyes upon Frankie, a plain waitress who tries to keep emotional attachments at arm’s length. He is immediately smitten and tries to woo the distant Frankie, finding it will be a hard task to convince her that love exists as she seems to turn him down every time he tries to express himself. Through his relentless pursuit of her, he gradually gets her to emerge from her shell and speak of why she doesn’t like attachment. Prepare for funny and soul-searching moments as they gradually see the good in each other in this warm, romantic comedy.

As the happy, hungry for life Johnny, Al Pacino shows a flair for comedy as we watch his various declarations of love met with a no. He has excellent chemistry with Michelle Pfeiffer, and provides their scenes with a dramatic and tender charm. At the time of the film’s release, much was made by critics of Michelle Pfeiffer being “too pretty” for the role of the lonely and forlorn Frankie. Yet I disagree, as she adeptly rises to the challenge and creates a beautifully touching performance, filled with a dejected melancholy and vulnerability that eventually gives way to hope. Standout’s from the supporting cast include Hector Elizondo as the manager of the diner, Nathan Lane as Frankie’s gay neighbour who wants the best for his close friend and Kate Nelligan as the sassy, gum-chewing waitress Cora, whose discussions with Frankie regarding men are hysterical to watch. Garry Marshall manages to sidestep some of the usual formula involved in romantic comedies to form a tender love story that will make you laugh but touch your heart deeply, sometimes at the same time. Adapting from his own play, Terrence McNally fills the film with comedic and equally insights into the ways the heart works when it comes to love. This is most evident in the way he writes the scenes in which Johnny tries to impress Frankie with his knowledge of Shakespeare and old music. When he mentions that they were made for each other because their names also are the title of a song, she replies “Didn’t they end up killing each other”? Johnny’s hilarious answer to this is “No she killed him, so I’ve got the edge there”. This is one of many witty and loving sparks of dialogue that appear throughout the film to give it a tender but never cloying examination of hesitant romance.

Witty, warm and tinged with subtle melancholy, Frankie and Johnny provides excellent roles for the cast, sparkling chemistry between Al Pacino and Michelle Pfeiffer and makes an emotional connection with the audience, making the material very relatable.

The Russia House

Tags

1990's, Drama, Fred Schepisi, James Fox, John Le Carre, Klaus Maria Brandauer, Michelle Pfeiffer, Roy Scheider, Sean Connery, Spy, The Russia House, Thriller

Film Title

The Russia House

Director

Fred Schepisi

Cast

• Sean Connery as Barley Blair
• Michelle Pfeiffer as Katya Orlova
• Roy Scheider as Russell
• James Fox as Ned
• Klaus Maria Brandauer as Dante

Based on the book by John Le Carre, The Russia House is a slow-burning spy film with danger, love and politics all coming to the forefront. Relying on old-school spy conventions such as secret meetings and the handling of touchy information rather than shoot-outs and car chases, The Russia House weaves excellent performances, lushly romantic music provided by Jerry Goldsmith and Cold War intrigue into a smooth and complex thriller, that boasts stunning and authentic locations of Russian cities and monuments.

Barley Blair is the hard-drinking and irascible head of a publishing firm who has a special interest in Russia. At one of his writer’s conventions in Moscow, he is spoken to by a mysterious stranger called Dante who listens to Barley talk of tension easing with the West. The meeting at first seems like nothing, but it sets in motion a series of dangerous events. A month later, a manuscript is brought to Barley, after being intercepted by the British Government. The manuscript was sent by a Russian book editor named Katya, who insisted it get to Barley immediately. It transpires that the manuscript contains sensitive and explosive information that could alter the course of power between various countries. Barley is then reluctantly hired by the Government in a co-operation with the CIA to track down Dante and find out if the work is genuine or a dubious political pawn. He arrives in Russia where he is met by Katya, a beautiful and sensitive mother of two who is the linchpin between Barley and Dante. But nothing is as it seems and the case gets more complicated, especially as Barley and Katya fall deeply in love in the process.

If it’s chase sequences, fights and fast cars, then The Russia House may not be for you. But if it’s a slow-burning and subtle spy film with a style reminiscent of old 60’s spy films, then The Russia House will most certainly appeal to you. The use of the beautiful sites of Moscow and St. Petersburg are stunningly shot. Jerry Goldsmith contributes an evocative and smooth jazz score that accentuates the growing attraction between the reluctant Barley and the guarded Katya. In the leading role, Sean Connery expertly shows us a man who has nothing to gain but ends up losing his heart in the process. He exudes a weariness and reluctance rarely seen in his performances. Matching him every step of the way is the excellent Michelle Pfeiffer, who radiates warmth, beauty but a certain guarded and moving quality. Her Russian accent is a supremely convincing asset to her talent. It is through Katya that Barley and Dante are linked, and we realise the life risking tasks she has undertaken to see Barley. The chemistry between the two crackles with excellent dialogue as we watch them slowly develop deep feelings for one another. Supporting them is Roy Scheider and James Fox as the heads of Government and the CIA, their scenes together show a humorous quality as they often debate the next move in the complex case. As Dante, Klaus Maria Brandauer presents a mysterious figures whose motives are never made entirely clear until the case begins to unwind.

If you’re a fan of Le Carre adaptations and the pace of them, The Russia House is the film for you. A superb espionage thriller with a Cold War sensibility and believable romance, enlivened by two outstanding performances from Sean Connery and Michelle Pfeiffer.

The Age Of Innocence

Tags

1990's, Daniel Day-Lewis, Drama, Edith Wharton, Joanne Woodward, Martin Scorsese, Michelle Pfeiffer, Period Drama, Romance, The Age of Innocence, Winona Ryder

Film Title

The Age Of Innocence

Director

Martin Scorsese

Cast

• Daniel Day-Lewis as Newland Archer
• Michelle Pfeiffer as Countess Ellen Olenska
• Winona Ryder as May Welland
• Richard E. Grant as Larry Lefferts
• Miriam Margoyles as Mrs. Mingott
• Joanne Woodward as Narrator

Martin Scorsese once described his adaptation of Edith Wharton’s novel The Age of Innocence as the most violent film he has made. When I read about this and viewed the film, I was unsure of what he meant. But then I realised, he didn’t mean actual violence but internal violence arising from conflicting emotions. Bringing this to the period romance, Scorsese succeeds in showing the arcane machinations of higher class society, the rigorous attempts to uphold tradition and the consequences of trying to challenge it as the main love story is played out. Sumptuous, acute and scathing in equal measure, The Age of Innocence is a welcome departure for Scorsese that emphasises his versatility.

In 1870’s New York, Newland Archer is a respected lawyer.He is engaged to May Welland, the seemingly naive and innocent daughter of a prominent family. The marriage is socially acceptable as it joins two of the most prominent families in New York. Although he obeys the many rules of this close society, Newland secretly resents the pressure and many social standards that have to be obeyed.As there engagement is announced, May’s cousin Countess Ellen Olenska arrives from Europe. She is unconventional and independent for a woman of her time, and the society immediately takes a dislike towards her. Her reputation isn’t helped when it is announced that she is planning to divorce her husband after an unhappy courtship. Although shunned by many, Newland becomes enchanted by her as she lives by her own rules and doesn’t conform to the oppressive demands of society. The two eventually fall in love, but can this relationship last against the iron will of rules and regulations enforced upon them?

Firstly, the camerawork used in the film is absolutely marvellous in the way it shows the minute details of decor and finery, whilst emphasising the struggle to survive in a world of tradition. Costume design is stunning, really capturing the sumptuous and prosperous attitudes and styles of the 1870’s. The evocative screenplay delves deep into conflicted emotions and reflects on the state of affairs apparent. The use of Joanne Woodward as the narrator is a stroke of genius, her voice filled with reflection, humour and pathos as she tells the story of Newland and Ellen. The main reason for the movie’s success is the three central performances by Daniel Day-Lewis, Michelle Pfeiffer and Winona Ryder. As the confused and troubled Newland, Day-Lewis exudes a weariness and desire to escape from social standards and cantankerous rules imposed on him. Michelle Pfeiffer adds luminous poignancy as the scandalous Ellen, showing her unconventional behaviour as an act of defiance but subtly revealing the melancholy inflicted on her by her marriage. It is Ellen who drives the story along, awakening a hidden fire that burns within Newland, with the desire to escape and live free of controlling influences. Unlike many period romances that feature copious amounts of bodice-ripping, The Age of Innocence instead focuses on the passion between the two in an emotionally restrained and tender way. When Newland slowly removes Ellen’s glove and gently caresses her face, there is more passion in that moment than in any of the explicit bedroom antics of the usual period drama. Rounding out the excellent troika is Winona Ryder as Newland’s wife May Welland. At first glance she appears to be naive, clueless and unsuspecting, but as the story moves on and because of Ryder’s subtly expressive face, we begin to see a young woman who isn’t as lily-white and innocent as her outward exterior would have use believe. This in turn makes her an interesting character to observe as the film goes on.

The only gripe I can think of that may put off some audience members is the slow and reflective pace at which the film runs. But in actual fact, it is more effective as it satirically observes hypocrisy and the cloistered attempts to uphold tradition with a scathing eye. Whether viewing it as a scathing account of society or a romance doomed by conflicting attitudes, The Age of Innocence is excellent either way, filled with pathos, reflection and a unscrupulous melancholy that haunts the mind.

Happy Birthday Michelle Pfeiffer

Tags

Batman Returns, Birthday, Catwoman, Dangerous Liaisons, Happy Birthday, Michelle Pfeiffer, Scarface, The Age of Innocence, The Fabulous Baker Boys, The Witches of Eastwick, What Lies Beneath

Today marks the 55th birthday of Michelle Pfeiffer, one of my favourite actresses. Over the years, she has been a beautiful and versatile presence on movie screens. She can be funny, touching, slinky and poignant. Her filmography is a cavalcade of varied roles that show the many facets of her ability and constantly surprise us with her range. Her many roles are too many to name, but I have chosen some to specially mention as a tribute to this wonderful woman and her career. Here they are:

 

 

 

As the dejected and cocaine-addicted wife of a drugs baron in Scarface.

 

 

 

As Suki, one of the three loved-starved Witches of Eastwick.

 

 

As the virtuous and naive victim in a game of lust and deceit in the period romance Dangerous Liaisons.She received an Oscar nomination for her work in this film.

 

 

Iconic as the slinky and dangerous Catwoman in Batman Returns. There have been many incarnations of this character, but in my eyes Pfeiffer is the ultimate Catwoman.

 

 

Sizzling across the screen as a seductive lounge singer who comes between two musical brothers in The Fabulous Baker Boys. A second Oscar nomination came her way for her work in this comedy.

 

 

 

As the ostracized countess who falls for her cousin’s husband in The Age of Innocence.

 

 

 

As a woman who comes to believe her house is haunted in the horror film What Lies Beneath.

There are many more roles I could list but I would need a lot of pages. So whatever your opinion, please give it. What is your favourite performance by Pfeiffer? What in your eyes makes her a great actress? Hope you enjoy the post.

The Witches of Eastwick

Tags

1980's, Cher, Comedy, George Miller, Horror, Jack Nicholson, Michelle Pfeiffer, Susan Sarandon, The Witches of Eastwick, Veronica Cartwright

Film Title

The witches of Eastwick

Director

George Miller

Cast

• Jack Nicholson as Daryl Van Horne
• Cher as Alexandra Medford
• Susan Sarandon as Jane Spofford
• Michelle Pfeiffer as Sukie Ridgemont
• Veronica Cartwright as Felicia Alden

Battles of the sexes comedies don’t come much darker and sexier than The Witches of Eastwick. Based on John Updike’s novel of the same name, directed by George Miller of Mad Max fame and featuring an absolutely hysterical performance by Jack Nicholson, Eastwick is a wickedly and darkly comic  film that slightly goes overboard with the special effects in the later parts . Regardless of this minor quibble, the film is still a pleasure and joy to watch partly because of Jack Nicholson and the three main woman who dominate the story. The score composed by John Williams adds to the devilish and lively quality of the film.

The film revolves around three single best friends in the boring, uneventful and traditional New England town of Eastwick. Although different in terms of their personalities,each has the distinction of having a man leave them in some form or another. The dynamic trio of women comprises of strong-willed sculptress Alex, shy and matron like cellist and music teacher Jane and sexy writer for the local newspaper Sukie. To relieve their boredom and feelings of loneliness,they meet every Thursday night for drinks and food. The gatherings are spent discussing what they want in a man and wishing for one to arrive in town. Unbeknownst to the trio, they in fact possess powers that can make strange things happen. After one such gathering, the flamboyant and devilish Daryl Van Horne arrives and purchases a prominent old mansion on the outskirts of town. He immediately sends shock waves through the traditional eponymous town with his brazen, over the top and deliberately lecherous behaviour. Thinking they have conjured up the man of their dreams, the women all gradually fall under his seductive spell. After gossip spreads through the town,partly because of local busybody and eccentric Felicia and strange incidents occur, the women realize that Daryl may not be what he at first seems and that they have conjured up a literal devil.

As the witches of the title;Cher, Susan Sarandon and Michelle Pfeiffer are luminous and convincing as the love-starved and bored best friends who accidentally dabble in magic and get their fingers burnt as a result. The trio have a natural chemistry with each other that helps the audience believe in the friendship they share. But the acting honours go to Jack Nicholson who throws himself into the part and makes the film hysterically funny. Whether he is frantically playing the violin in order to seduce the shy Jane or dressed in a velvet robe when trying to make a move on the self-assured Alex, Nicholson is a hoot throughout. Special mention should also go to Veronica Cartwright for her supporting performance as the local gossip and Cassandra like prophet of the town who foresees the danger and debauchery that Daryl will bring to Eastwick.

Despite the sometimes overload of effects, sometimes they work within certain scenes in the movie. The funny scene that takes place in Daryl’s manor,when the girls play tennis and discover the extent of their magical abilities by using telekinesis to move the ball in their favour is well filmed and hilarious. The scene where after the women have cooled their relationship with him, he starts to bring their deepest fears to life is quite unsettling, particularly if you have a deep-seated fear of snakes. Revenge comes when the women devise an equally unsettling plan. Equally horrifying is Daryl’s revenge on Felicia, in which he causes her to continuously vomit cherry pips. If you are easily squeamish this scene may not be for you. One thing is definitely for sure, you will never look at cherries in the same way ever again.

Overall, the film is a horror comedy with elements of drama and fantasy thrown into the eclectic mix. The best way to enjoy the film is to accept it as it is and simply watch the trio of comic performances by  Cher, Sarandon and Pfeiffer and Jack Nicholson in a devilish and extremely memorable portrayal.