Four Weddings and a Funeral

Tags

1990's, Andie MacDowell, Charlotte Coleman, David Bower, Four Weddings and a Funeral, Hugh Grant, James Fleet, John Hannah, Kristin Scott Thomas, Mike Newell, Richard Curtis, Romantic Comedy, Rowan Atkinson, Simon Callow

Director

Mike Newell

Starring

• Hugh Grant
• Andie MacDowell
• Kristin Scott Thomas
• Simon Callow
• John Hannah
• James Fleet
• Charlotte Coleman
• David Bower
• Rowan Atkinson

A most beguiling and funny romance that helped launch the career of Hugh Grant, Four Weddings and a Funeral has lost none of its witty edge, eccentric characters and unexpected pathos.

Charles(Hugh Grant) is someone who can’t seem to keep a relationship. He’s a perennial bachelor, never the groom. With a rag-tag group of friends- cynical Fiona(Kristin Scott Thomas), her not too bright brother Tom(James Fleet), partners Gareth and Matthew(Simon Callow and John Hannah), sassy flat mate Scarlett(Charlotte Coleman) and his deaf brother David(David Bower)- he’s always attending weddings. In most cases, he is late due to clumsiness. Although he’s never seemingly considered marriage or a serious relationship, he finds his world changed when he meets Carrie(Andie MacDowell). She’s an American wedding guest who he meets at the first nuptials. They hit it off and  spend the night together. But timing isn’t on their side and Carrie leaves for the States. The next time they meet(at another wedding) Carrie is engaged to someone else. For the first time in his life, Charles actually falls in love with someone deeply. But even though it’s clear that Carrie has some feeling for Charles, can anything come of the attraction seeing as though their timing is nearly always off?

Director Mike Newell brings polish and pace to proceedings with direction that allows the events to have amusing and fun atmosphere throughout, coupled with moments of sadness and reflection. As the events centre around the what the title says, we know to expect eventfulness, but it’s surprising how well crafted this romantic comedy is. Although it seems we may know where events are going, a few little twists and unexpected moments raise it from just another comedy romance. The Oscar-nominated screenplay from Richard Curtis is a big success at fleshing out the characters as they navigate the sea of love. The script makes us enjoy the company of these people and we grow to love them. They all have wit, charm and purpose in the story and you enjoy feeling like you know them as they encounter all manner of awkwardness at functions. From being seated at a table of exes to improvising when forgetting wedding rings, they all occur in hilarious fashion. Between the skill of Newell and the fun of Curtis, Four Weddings and a Funeral is a good-hearted success. Laughs flow like great wine and the entertainment factor is high.

But Four Weddings and a Funeral also has a bittersweet undercurrent to offset any worries of overly sentimental treacle. I mean if you aren’t crying at the funeral scene where ‘Funeral Blues’ is delivered, you’ve clearly not got much of a heart. This movie can deliver on the serious stuff and isn’t afraid to either. This balances with the buoyant feeling of the overall film that has a laugh at love’s complexities and bad sense of timing. Four Weddings and a Funeral is heartwarming stuff with that added something extra, that lands it in the pantheon of excellent romantic comedies. A lovely and tentative score backs up blossoming romance and all the feelings love brings out in people. And one can’t forget the use of ‘ Love Is All Around ‘by Wet, Wet, Wet to close out the film.

Heading the cast is the irrepressibly charismatic Hugh Grant. Though he’s visited the persona of bumbling and foppish leading man many times in his career, this was where it started and is one of his best. Grant just boasts this lovable rogue and awkward vibe to him that really makes a mark in the film as he finally discovers love may in fact be on the cards for him. Endearing is the perfect word for Hugh Grant’s star making presence here. People occasionally rag on Andie MacDowell by saying she’s not the most expressive actress and sometimes it’s true ,but I think she is quite well cast as the potential love interest. She’s got radiance, vitality and a certain mystery that I love and displays they under good direction MacDowell is really something.  Plus her burgeoning chemistry with Grant is delightful. Kristin Scott Thomas is reliable as ever, turning the role of the sarcastic Fiona into something more by revealing that her behaviour stems from unrequited love. Simon Callow and John Hannah are wonderful scene stealers playing the only happy couple among their group of friends. Callow is brash and full of life, Hannah is more subdued but wise. Both compliment the other in an inspired way that is convincing and involving. James Fleet is a hoot as is Charlotte Coleman as the most off the wall member of the gang and David Bower as Charles’ brother, who comes in handy in a crisis. An amusing small part is filled with great humour by Rowan Atkinson as a completely inept vicar.

A winning romantic comedy with heart and laughs, Four Weddings and a Funeral is hard to resist.

Enchanted April

Tags

1990's, Alfred Molina, Drama, Enchanted April, Jim Broadbent, Joan Plowright, Josie Lawrence, Michael Kitchen, Mike Newell, Miranda Richardson, Period Drama, Polly Walker

Film Title

Enchanted April

Director

Mike Newell

Starring

• Josie Lawrence as Lottie Wilkins
• Miranda Richardson as Rose Arbuthnot
• Joan Plowright as Mrs. Fisher
• Polly Walker as Lady Caroline Dester
• Alfred Molina as Mellersh Wilkins
• Jim Broadbent as Frederick Arbuthnot
• Michael Kitchen as George Briggs

A thoroughly captivating period drama, in which a dream vacation for four ladies has each person is changed by the experience, Enchanted April is aptly named and filled with a real feel good factor that is hard to resist.

It is 1920’s London and grey skies and constant rain fill the days. Downtrodden housewife Lottie Wilkins desires a change of scenery for a while as she is married to solicitor Mellersh, who rarely pays her any attention and London depresses her. She meets a neighbour, Rose Arbuthnot, to whom she has never spoken and sees that she also is in a not to different situation. Yet Rose is a woman who has become so used to being subservient to her husband that the idea of a holiday appears to be just a dream. Yet she is soon won over by Lottie’s insistence and good nature, and soon the women grow friendly and plan a getaway. The location is an Italian castle on the shores of the Mediterranean for the month of April. The two jump into this as a way to escape the dreary lives they lead and take the chance. In order to split the expenses, Lottie and Rose put out an advertisement for two others to join their impromptu adventure. The two people they take on are the haughty and disapproving Mrs. Fisher and beautiful but restless socialite Lady Caroline Dester, who wants to get away from her social circles. Once at the exotic castle, the four of them set apart attempting to relax and unwind, though it isn’t always that simple. The ladies are at first at odds with each other, yet over time they grow closer to each other. A change happens for each of the women over the course of April as the fresh air and surroundings weave a magic spell on all of them. Lottie discovers her own sense of worth, Rose emerges from her insular shell to become a vivacious and confident lady, Mrs Fisher’s waspish attitude is minimalised as she lightens up and Caroline gets a sense of contentment from the castle. It appears that the place has some unusual ability to transform those there and generally for the best in this luscious movie.

Mike Newell has a sensitive edge to his direction that brings the characters and settings to life admirably. The whole strangers going on holiday and changing genre has been done a million times, but Enchanted April is one of the better films of its kind thanks to the script and aforementioned direction from the great Newell. There is subtlety at work in Enchanted April that suits the slow, sunny days in which the quartet evolve as people due to the change in location and free from the pressures of life. Some people may say that not a great deal happens, when quite a lot occurs just in a mature and measured way as opposed to something majorly overt. I like this approach in a movie, especially something like this that allows for depth and nuance.  A good touch is having some of the thoughts of the women play out as monologues when they’re alone and left to contemplate the impact of change on them. The locations are gorgeous to look at and the visual changes pave the way for memorable viewing. From the dour London scenes to the brightly coloured setting of Italy, Enchanted April knows how to twin the colours with the emotions the characters and audience experience. You can take away a warm and fuzzy feeling from this film, that at least feels genuine and not mawkish or filled schmaltz. Gentle music stunningly underscores the growth of each person as the paradise quietly but noticeably changes them.

Enchanted April gains huge points of greatness from the splendid cast. It’s the ladies who are the most memorable within the film. As the lady who comes up with the idea of the holiday, Josie Lawrence has enough energy and optimism she could practically burst. Playing Lottie as a woman who is bruised but has an effervescent spirit and perceptive ability. Lawrence succeeds as it is impossible not to be won over by her. Miranda Richardson is simply sublime in her part of the saddened and put upon Rose, who discovers a new purpose and love for life once in the Italian surroundings. Richardson is one of those performers who can say so much with her face than most can with heaps of dialogue. She is a moving and luminous presence in this film and not one that is easily forgotten. Stealing all of her scenes is Joan Plowright; essaying the role of a cantankerous old lady who is really quite lonely and regretful behind the entitled surface. She gets all the best lines and her old-fashioned and snobby attitude is a funny thing to view. Yet Plowright knows exactly when to reel in the disapproving glances and acidic remarks to reveal a woman at odds with the world, as it is totally different from the one she grew up in and her morals are now outdated in changing society. As the last part of the female quartet, Polly Walker’s work is stunning and full of kittenish behaviour. At first glance,the part of Caroline could be seen as merely a glamorous one that probably wouldn’t require much in the way of acting. But Polly Walker digs beneath that and thanks to the writing, emerges with a very good performance that opens up the character who just wants to be loved by someone for not just her beauty or money.

Though while the ladies hold a lot of the interest, the men do pretty well too. Alfred Molina and Jim Broadbent excel as two of the husbands who are inattentive to the yet once they visit the paradise are changed significantly. The always reliable Alfred Molina in particular is a highlight as the initially priggish Mellersh, who appears more interested in his job than anything else. Later he is seen displaying a deft humour and surprising sensitivity once his character glimpses how important his wife is to him in the scheme of things. Michael Kitchen has a good part as the owner of the castle who is never seen far from a thick pair of glasses due to having short sight.

A lovely film of gorgeous scenery, subtle drama and nice performances, Enchanted April is just the ticket for a rainy day as you will feel refreshed by it.

Mona Lisa Smile

Tags

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

Film Title

Mona Lisa Smile

Director

Mike Newell

Starring

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

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

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

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

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

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