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.

Emma

Tags

1990's, Alan Cumming, Comedy, Douglas McGrath, Emma, Ewan McGregor, Greta Scacchi, Gwyneth Paltrow, Jane Austen, Jeremy Northam, Juliet Stevenson, Period Drama, Polly Walker, Romance, Sophie Thompson, Toni Collette

Film Title

Emma

Director

Douglas McGrath

Starring

• Gwyneth Paltrow as Emma Woodhouse
• Jeremy Northam as Mr. Knightley
• Toni Collette as Harriet Smith
• Ewan McGregor as Frank Churchill
• Alan Cumming as Mr Elton
• Polly Walker as Jane Fairfax
• Juliet Stevenson as Mrs Elton
• Greta Scacchi as Miss Taylor
• Sophie Thompson as Miss Bates

A ravishing and witty rendering of Jane Austen’s classic novel, Emma is a fine comedy romance about the errors and misinterpretation when it comes to matters involving the heart. With a delightful performance by Gwyneth Paltrow at the heart of it and an equally compelling cast surrounding her, Emma is one of those films that is almost impossible not to enjoy.

In the English countryside of the early-19th-century, a young woman by the name of Emma Woodhouse lives. A vivacious and charming woman, Emma likes to think of herself as being all-knowing when it comes to setting people up in romantic connections. This notion started after she helped introduce her now former governess Miss Taylor to the man who is now her husband. From then on Emma has made it her goal to unite others, all of it comes from a genuine place but little by little the results get complicated. Her meddling in the affairs of others begins to become a lot more complex when Emma decides to fix her shy best friend Harriet Smith up with the local minister Mr Elton. Though Harriet likes someone else, she is a little naive and instead takes Emma’s advice to pursue Mr Elton. Observing Emma’s meddling ways is family friend Mr. Knightley, who is the one person who understands what Emma is like and warns her not to get involved in other people’s love lives. Emma though is stubborn and genuinely believes she is aiding everyone with her services as Cupid, which she extends to almost everyone she meets. The amusing part of all of it is that while she’s so busy plotting to bring others together, she doesn’t see that love could be in front of her from many men; including the wise Mr. Knightley and the dashing Frank Churchill. Eventually, through all of Emma’s schemes that have been meant to be helpful for her social circle, disastrous results and odd pairings emerge through confusion and Emma’s belief that she is always right when it comes to love. But what of her own experience with love?  Can she truly begin to see that love may be something for her if she’s so busy matching others up? And what of all the matches(or should that be mismatches) that she’s orchestrated from a good place that has gone awry?

Director Douglas McGrath mounts this comic tale with skill and a disarming wit, much in keeping with the Austen source material. He makes scenes flow into the next with a glee that is most delightful, as it captures how much of an impact Emma’s plans have on everyone’s romances and decisions. He also writes the script and delightfully covers the ways of old society and how Emma crucially misinterprets certain bits of information and runs with them, not realizing that something else was meant by the remark. With is direction and screenplay, McGrath makes Emma a class act from start to finish. The device of us hearing Emma’s innermost thoughts is a funny one too, especially when what she’s thinking goes opposite to her facial expressions. I must give a lot of credit to the cinematography of this movie as it contributes a playful and vivacious tone to the piece, much in the same way the eponymous character does in her own mischievous way. An elegant set design is beautifully rendered and compliments the absolutely stunning costumes worn by the characters, in particular the women involved in the story. And particularly of note and worthy of praise is the lush and romantic score from Rachel Portman, that won her a well-earned Oscar.

Embodying the title role with poise, personality and a convincing English accent is Gwyneth Paltrow, in one of her best performances. Showcasing Emma’s misguided belief that she is helping others when in fact a lot of what she does goes wrong, Paltrow finds humour within Emma as well as a core of naughtiness. Although Emma is a meddler and schemer, she does it out of kindness and Paltrow is adept at showing how she wants the best intentions for others, but how even she can’t hold sway over the heart and isn’t as skilled at matchmaking as she likes to think. It’s a stunning performance from a radiant Gwyneth Paltrow. The actors and actresses that surround Paltrow are of excellent calibre and ability. The handsome Jeremy Northam excels portraying the smart and very observant Mr. Knightley, who knows what Emma’s up to and warns her of the repercussions. A gentle and sweet performance from Toni Collette as Emma’s friend Harriet is another great part that is well suited to the talents of the very versatile actress. Then we have Ewan McGregor; delightfully charming but slightly uncouth as Frank Churchill, who could be a romantic contender for Emma’s heart. Alan Cumming is rather funny as the local minister who becomes unwittingly part of Emma’s matchmaking and Polly Walker is lovely to behold as the rather shy Jane Fairfax. Snobbery and bitchy lines come courtesy of Julie Stevenson, who is a hoot as the opinionated and stuck up woman who becomes Mr. Elton’s wife and knows how to rub Emma up the wrong way from the get go. Greta Scacchi and Sophie Thompson in small roles are both very appealing in different ways and put real stamps on the characters.

Capturing the observant nature and muddled romantic couplings of Austen’s novel as a result of the title character, Emma emerges as a hugely entertaining and lively period comedy that is topped off with a winning performance from Gwyneth Paltrow.

The Go-Between

Tags

1970's, Alan Bates, Dominic Guard, Drama, Edward Fox, Joseph Losey, Julie Christie, Margaret Leighton, Michael Gough, Michael Redgrave, Period Drama, The Go-Between

Film Title

The Go-Between

Director

Joseph Losey

Starring

• Dominic Guard as Leo Colston
• Julie Christie as Marian Maudsley
• Alan Bates as Ted Burgess
• Margaret Leighton as Mrs. Maudsley
• Edward Fox as Hugh Trimingham
• Michael Gough as Mr. Maudsley
• Michael Redgrave as Older Leo

A precise and thought-provoking drama directed by Joseph Losey and scripted by Harold Pinter, The Go-Between is an intelligent examination of class, manipulation and the impact events from childhood can have. It won’t be for all tastes as some will find the visual and technical features of it self-indulgent, but The Go-Between is more than about these factors, it stands as a haunting account of the impact of memory and the archaic plans of society.

It is the summer at the turn of the century in England and young boy Leo Colston, goes to stay at his school friend house Marcus Maudsley’s country house in Norfolk. Marcus is a lot more well off than Leo and while his family are nice enough to Leo, you can’t help but feel that they have a mix of pity and snobbery when he’s around. While at the large house, Leo begins to develop feelings for Marcus’ beautiful sister Marian, who out of everyone in the house, takes an interest in him and appears to be fond of his company. Leo also meets the farmer Ted Burgess while out walking one day and he too becomes friendly with him as he lives nearby. Although there mainly because of Marcus, Leo finds himself with not much to do once Marcus is confined to bed with measles. He continues to talk with Marian, who he has become entranced with and visits Ted on occasion. It is through being close to both of these people that Leo is used for something. You see while Marian’s parents want her to marry the wealthy Hugh Trimingham, who is a viscount, she is in fact engaging in an affair with Ted. As the relationship would never be allowed due to the class difference, the two lovers have to meet in secret. With Leo now in the picture, he soon becomes their private postman, delivering their clandestine messages without asking any questions. He does this mainly because he is spellbound by Marian and friendly with Ted, and due to the naivety of youth. But as the summer wears on, Leo starts to get more curious about what’s going between the two, despite his closeness to them both. As he becomes more aware of what is going on and his young eyes are opened to the adult world, it’s only a matter if time before tragedy will occur.

On the directing front, Joseph Losey brings his own personal stamp to the story, by employing his dazzling array of visual flourishes and acute eye for the deceptive and rigid conventions of old society. From the camera, that utilizes both expansive shots of the Norfolk landscape and tight close-ups to convey emotions that must be kept under wraps, Losey wastes no time in displaying his deft hand and brings The Go-Between to life, in all it’s cruel and melancholy glory. One of the greatest assets of The Go-Between is the piercing screenplay that immerses us both in a time when it was supposedly polite society and draws us into Leo’s plight as his innocence is slowly eroded away by all the machinations that surround him. Pinter knows the meaning of the words nuance and subtlety and both are out to good use here. The pace employed is one of a deliberate and measured nature, to reflect how Leo is ultimately changed by his experience as the postman for the illicit letters of Marian and Ted. The pace can drag sometimes, but the overall impact is one of quiet devastation and realisation as the mores of society and forbidden love, coupled with the innocence of childhood, meet head on and shape Leo for the rest of his life.

One word for everyone who decides to watch The Go-Between, it’s what you might call a memory film done in an unorthodox but clever way. The whole framework of the film which slowly unravels is in the memories of a now grown up Leo, who is still haunted by the time from so long ago. Where it differs from other films is in the fact that it never goes in your face about the story being in the present and revisiting the past. I believe Losey thought that the audience would understand this technique and not feel the need to spell it out. With this knowledge, the various scenes that people may scratch their heads for reasons why they are there make sense more as the narrative progresses without shouting it in your face.In my opinion a film like The Go-Between is one of that benefits from many viewings and your deep concentration. Not that it is a criticism, if anything the very nature of the story and how it plays out is testament to how well put together it is. A deceptively light colour scheme pervades the film and the gorgeous Norfolk locations, clearly in an attempt to show how lovely society looked at the time but underneath how cruel and unforgiving it was beneath the veil of manners. And a swirling score filled with waves of emotion acts as the expression of feelings far below the surface of what was acceptability in the early 1900’s.

The young Dominic Guard is utterly remarkable portraying the impressionable Leo, who is forever altered after the eventful summer and what he sees. We as the audience feel genuine sympathy for Leo as he doesn’t realise how much he is being used by the grown ups and a lot of this sympathy is generated through Guard’s performance, that shows no sign of nerves especially considering he’s acting alongside some of the best in the business. Julie Christie is one of those actresses that captures your attention from the moment you see her due to both her beauty and talent, and that is definitely the case in her role here as Marian. Using a subtle array of expressions to give life to the character, Christie makes Marian caring and radiantly kind, but also cruel and manipulative in her taking advantage of young Leo to deliver her letters. What is most impressive about her performance is the fact she refuses to make Marian either likable or detestable, she is a flawed character throughout and that is brought out to a haunting degree by the talents of Julie Christie. Then there is Alan Bates who is no less impressive as the uncouth farmer Ted, who is amiable enough but still as calculating as Marian in the use of Leo as the eponymous go-between in their affairs.An imperious Margaret Leighton essays the part of Marian’s strict mother, who at first seems to be always on the sidelines, but is actually integral to the story with her withering glances and well spoken put downs wrapped in niceness. It’s the definition of a good supporting character realised by an excellent actress. Edward Fox as the intended suitor for Marian and Michael Gough as her father are well cast in their respective supporting roles. Seen in the flash forwards is an effective Michael Redgrave as the emotionally scarred Leo, who can never forget the events of his youth and is still piecing it all together.

So while it isn’t a film for everyone, the effective direction, writing and cast contribute to The Go-Between, making it much more than just another run of the mill period dramas. In fact, it’s probably one of the most atypical period dramas out there and for those who have the attention for it, a rewarding watch.

The Wings of the Dove

Tags

1990's, Alison Elliott, Charlotte Rampling, Elizabeth McGovern, Helena Bonham Carter, Iain Softley, Linus Roache, Michael Gambon, Period Drama, Romance, The Wings of the Dove

Film Title

The Wings of the Dove

Director

Iain Softley

Starring

• Helena Bonham Carter as Kate Croy
• Alison Elliott as Milly Theale
• Linus Roache as Merton Densher
• Elizabeth McGovern as Susan
• Charlotte Rampling as Aunt Maude
• Michael Gambon as Lionel Croy

A passionate yet dark-hearted film about social status, friendship and a nefarious scheme, The Wings of the Dove successfully transports the novel of Henry James to a complex motion picture that is lovely to look at in terms of cinematography and engaging in a subtle way because of the characters in it and the convincing work from the cast in embodying them.

The year is 1910 and in London, Kate Croy is a woman with a tenuous foothold in society. As the daughter of a now deceased mother, who was socially prominent but threw it away to be with Kate’s opium addicted father, Kate now has to rely on her unsmiling and severe Aunt Maude. Maude is a stern women who wants Kate to marry well and thus secure her return to the riches of society. But Kate is in fact in love with Merton Densher, a penniless journalist. Their love is forbidden and not deemed acceptable because if Kate were to marry him she would lose her inheritance and her chance of returning to high society. This is a fact Maude reminds spirited Kate of when she threatens to stop her inheritance if she doesn’t break off the relationship with Merton. Kate, under duress breaks off the relationship for a while as she attempts to find ways to ensure her survival. The arrival of beautiful and amiable American heiress Milly starts a friendship between Kate and her, as both women scoff at the machinations of society and how everyone is caught up in them. After overhearing someone discuss that the seemingly vivacious Milly is in fact dying, the wheels in Kate’s head start spinning as a plan begins to formulate in her mind. If she were to push Merton onto the beatific Milly, as it is obvious that the American heiress has feelings for him, she could very well leave her large fortune to him. If this were to happen, then Merton would have enough money to marry Kate and she could once more have the social status she so desires, without the stipulations and watchful eye of her spiteful Aunt Maude. Merton is shocked by Kate’s plan, but goes along as he doesn’t want to be without her. The intelligent Kate sets the plan in motion once she, Millie and Merton go on holiday to Venice, despite her own doubts which she keeps hidden of ripping apart the friendship with Milly and ruining her lover in Merton. Yet the plan was never going to go smoothly and that is exactly the course that it runs. The whole scheme involving Milly is ultimately fatally compromised by the genuine attraction and love that Merton begins to feel for her, that Kate begins to see and becomes jealous of as it wasn’t part of the scheme of hers. What she believed was a well thought out plan to ensure she would retain love and money becomes dangerous and highly personal, the likes of which none of them will come out unscathed.

Iain Softley excellently mounts this film by refusing to give into the demand for over the top drama. He immerses us in the world of the 1910’s that James clearly held more than a little disdain for, where everything was beneath the surface, money seemed to be everything and what is most shocking is hinted at rather than shown. I really liked the way Softley used this technique of having a deeper sense of ambiguity about the characters as it got me to think more about them and it didn’t render them just cardboard cut out characters you would expect to see in a period drama/romance. These characters become interesting and engaging throughout, with added complexity added by an intelligently structured and observant screenplay from Hossein Amini. Both Softley’s direction and Amini’s screenplay are in no rush to tell The Wings of the Dove’s story, but that gives it even more depth as we gradually see the changing events involving the trio of main characters and don’t feel shortchanged that parts seemed lacking. The characters in themselves are wholly intriguing, especially Kate who manages to be at once cold-blooded in her desire to have the man she wants and the money, yet also be strangely heartbreaking in the levels she goes to ensure this, which include manipulating a friend she has come to hold dear. Some may scoff at the deliberate pace employed during the piece; but in my book it lends The Wings of the Dove a welcome change from in your face theatrics and instead sheds light on the subtle machinations and plots going on that are gradually revealed. And on the visual front, The Wings of the Dove is a spellbinding watch, thanks to the sensual yet moody cinematography of Eduardo Serra, that lenses London and most successfully Venice. As the story moves on the colour palette darkens and subdued blues and purples fill the screen, functioning as a metaphor for the sadness and tragedy that will arise due to Kate’s plan. I can’t think of the last time I saw Venice look so spectacular on film. And combined with a sweeping score, that captures the inevitable melancholy the scheme will bring, on a visual and sonic level ( as well as acted and written), The Wings of the Dove practically soars.

In the complex lead role of passionate yet calculating Kate Croy, who sets the events of the story in motion, Helena Bonham Carter gives one of her best performances. It’s a performance of excellent subtlety and layers; Bonham Carter makes Kate have a desperation and that leads to her manipulative nature coming into full force to successfully execute her plot to gain both the love of her life and financial security, along with continued status. Helena Bonham Carter knows better than to give into the temptation to make Kate truly despicable and effectively sidesteps this path by imbuing her with depth, doubt, a sense of lingering guilt and jealousy to Kate as her plan comes crashing down around her. I can’t imagine anyone else playing the part of Kate quite as well because Helena Bonham Carter gives her all to the part and emerges with a multi-dimensional portrayal. As the radiant but ailing Milly, Alison Elliott portrays her as a woman determined to live while she still can and is filled with deep love. Rather than a saintly victim, Elliott wonderfully shows that Milly is no naive woman but one that wants to see the good in things until her pain becomes unbearable. In the role of Kate’s lover Merton, Linus Roache exerts a cynical viewpoint that slowly becomes haunted and changed once he falls in love with the dying Milly. Roache makes up the third part of the compromised love triangle of the story and more than holds his own against Bonham Carter and Elliott. On the supporting front, Elizabeth McGovern gives an elegance to Milly’s companion Susan who could have been a forgettable character but remains memorable here. An imperious Charlotte Rampling has the right authority and nastiness to portray Aunt Maude, whose cruelty and deceptions is what leads Kate to follow in a similar suit. The only real actor wasted in this film is Michael Gambon who is given the thankless role of Kate’s opium fiend father that doesn’t require him to do a lot.

An excellently crafted rendering of the Henry James novel that makes the characters all complex and the events have a sense of slowly unfurling tragedy, The Wings of the Dove is intelligent and sophisticated film making that favours subtlety and implication rather than over the top and unrealistic histrionics. And if nothing else, The Wings of the Dove deserves showers of praise for the trio of central performances, particularly the one from Helena Bonham Carter.

The Golden Bowl

Tags

2000's, Anjelica Huston, James Fox, James Ivory, Jeremy Northam, Kate Beckinsale, Merchant Ivory, Nick Nolte, Period Drama, The Golden Bowl, Uma Thurman

Film Title

The Golden Bowl

Director

James Ivory

Starring

• Uma Thurman as Charlotte Stant
• Jeremy Northam as Prince Amerigo
• Kate Beckinsale as Maggie Verver
• Nick Nolte as Adam Verver
• Anjelica Huston as Fanny Assingham
• James Fox as Colonel Bob Assingham

An adaptation of the Henry James novel brought to the screen by Merchant Ivory, The Golden Bowl is an elegantly mounted story of betrayal, adultery and love that is finely acted by a star-studded cast and filled with the right period touches you’d expect from a literary production like this.

It’s the turn of the century and Prince Amerigo is a charming but impoverished Italian prince, from a once noble family. Thankfully, he is engaged to the pretty Maggie Verver; an American heiress whose doting father Adam is a billionaire business tycoon whose work largely relates to the world of art. Yet into the pretty picture once the couple are married and have a baby son is Charlotte Stant, who is a friend of Maggie’s from school, but also the former lover of Amerigo. The couple, as we find out, had to part with one another due to both being poor, but the passionate Charlotte is still very much in love with Amerigo. None of this is known to Maggie, who is a sweet and green girl who thinks the best of everyone. Amerigo panics with Charlotte back in the frame and tries to dissuade her, but he himself can’t deny the fire that still burns intensely within him for her. The two resume their affair, while the driven Charlotte, in an attempt to be closer to him and also secure a comfortable lifestyle, marries the much older Adam. The pair believes that due to Maggie being extremely close to her father that their indiscretions will go unnoticed, which id not the case. Watching from the sidelines is society maven and matchmaker Fanny, who knows the secrets of all parties involved due to her eagle-eyed ways. But as betrayal rises and passions spill over, so do suspicions from Maggie and Adam that something is going on with their spouses. What consequences will emerge due to the intertwined relationships?

The work of Henry James is renowned for at times being difficult to transfer to the screen, but with the talents of James Ivory, Ismail Merchant and Ruth Prawer Jhabvala on board, The Golden Bowl makes for a dazzling film. James Ivory as director loses none of the scathing indictments that Henry James so often focused on, instead bringing out the deceit and treachery with subtle touches and foreshadowing. The symbolism of the eponymous bowl is a great metaphor for the seemingly ideal but cracked underneath unions as the bowl looks so splendid, but has  a flaw when one looks closely upon it. Another excellently written script from Ruth Prawer Jhabvala contributes to the intelligence of the story and the ways that little phrases of dialogue and exchanges can have an extremely big impact on the overall events swirling. Threats and observations from characters are made but hidden behind a veneer of polite society as manipulations begin to figure heavily. Social standing and fortune do come into the story, but The Golden Bowl is much more concerned with the complexities of the heart and the cruel side of human nature when desire comes into play, which it explores magnificently and with assurance. There are a few times when the pace falters during the running time, but that flaw can easily be forgiven due to the engaging and intelligent work on display. A visual style of opulence is employed and contains some stunning pieces, particularly a dance recital of Arabian Nights that also doubles as an expression of the passion and secrets being guarded by everyone. A grand score imbues the film with a passionate core while highlighting the dangerous and manipulative treachery carried out by many of the characters in the name love and station.

One of the biggest draws from The Golden Bowl is the utterly splendid and distinguished cast it has. Making a huge impact is Uma Thurman as the driven and willful Charlotte, whose desire to be with Amerigo and her emotional slips that threatens to bring down the tidy house of cards he has built with Maggie. Any other actress would probably have made Charlotte very villainous, but Uma Thurman wisely plays her as definitely manipulative and sly, yet still with a deep sense of desolation and obsession that can’t be stopped. Jeremy Northam in the part of the impoverished but charming Amerigo shines too; revealing a man caught right in the middle of two women and unable to resist the temptation of the temperamental Charlotte, despite his conscience. Kate Beckinsale is equally as good portraying the initially naive and almost childlike Maggie. Yet once Maggie gets an inkling of something untoward going on, Beckinsale magnificently charts her emergence from the innocent victim to steely and quietly ruthless survivor with conviction. It was good to see Nick Nolte in this film making his character of the gentlemanly Adam appealing, yet laced with the feeling that you wouldn’t want to cross the man with your life. Clearly having an absolute ball in The Golden Bowl is a delightful Anjelica Huston who stars as the meddling matchmaker Fanny, who knows exactly where to put her loyalties and when to play her cards right. Fanny is one of the supporting characters, but Anjelica Huston’s work brings memorability to the character. James Fox is quite amusing as Fanny’s husband, who is a jolly man who leaves matters of the heart and intrigue to his wife, but is still protective to save any bother for her.

With eloquence and subtlety, The Golden Bowl emerges as an underrated film from Merchant Ivory, that more than deserves to be better known due to its compelling story, visual splendour and first-rate performances.

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.

 

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.

Pride & Prejudice

Tags

2000's, Brenda Blethyn, Carey Mulligan, Donald Sutherland, Jane Austen, Jena Malone, Joe Wright, Judi Dench, Keira Knightley, Kelly Reilly, Matthew Macfadyen, Period Drama, Pride & Prejudice, Romance, Rosamund Pike, Simon Woods, Talulah Riley, Tom Hollander

Film Title

Pride & Prejudice

Director

Joe Wright

Starring

• Keira Knightley as Elizabeth Bennet
• Matthew Macfadyen as Mr Darcy
• Brenda Blethyn as Mrs Bennet
• Donald Sutherland as Mr Bennet
• Rosamund Pike as Jane Bennet
• Carey Mulligan as Kitty Bennet
• Jena Malone as Lydia Bennet
• Tom Hollander as Mr Collins
• Simon Woods as Mr Bingley
• Judi Dench as Lady Catherine de Bourgh
• Kelly Reilly as Caroline Bingley
• Talulah Riley as Mary Bennet

Based on the classic novel by Jane Austen, Pride & Prejudice is a vibrant and witty version of the source material that brings the themes of misconceptions, social standing and matchmaking into a context that modern viewers can enjoy, but purists can appreciate as well.

In 18th Century England, the Bennet family are part of the Landed Gentry, who whilst not poor by any means are far off being rich. The family comprises of the nervous but determined Mrs Bennett, her eye-rolling and sagacious husband Mr Bennett and their five daughters; beautiful but modest Jane, stubborn and spirited Elizabeth, plain Mary, coquettish Lydia and childlike Kitty . As women can’t inherit property at this time, the house will pass to the nearest male relative, in this case it is a distant cousin Mr Collins. Mrs Bennett has her heart set on marrying her girls to secure their future, but the second eldest Elizabeth is headstrong and not fond of the idea of matrimony. When Mrs Bennet hears that a nearby hall is to be purchased by an eligible bachelor Mr Bingley, she’s sees the opening ball as a perfect way to find suitors for her daughters. It is here that Elizabeth meets the snobbish but broodingly handsome Mr Darcy, who she takes an immediate dislike to because of his proud nature. While Jane is obviously taken with the kindly Mr Bingley, the spark has been lit between Darcy and Elizabeth, and although neither will admit it, they soon begin to develop feelings for one another. But can a relationship survive because of Darcy’s sullen and proud attitude? And can the waspish Elizabeth truly love a man she has sworn to hate? Watch as this delightful version of the story unfolds with humour and vivacity as morality, romance and family form the backbone to the timeless tale.

Joe Wright directs Pride & Prejudice with a fluidity that gives the story a constant movement as romance changes between characters and misconceptions are rectified. Yet rather than focus on the quaint beauty that many a period drama centers on, he injects Pride & Prejudice with a modernity, while still retaining the acute social observations of etiquette and manners from Jane Austen’s source. Yes many of the locations used are beautiful, but they don’t overpower the story and this gives this take on the book a much more realistic tone than a romanticized one. A standout scene have to be the confrontation and later exclamation of love between Darcy and Elizabeth, whilst they shelter from the pouring rain. The chemistry between the two characters is most evident here, and they may quarrel with each other, but we can see that there is passion beneath the surface that is waiting to be released. Also, worth mentioning is the two would be lovers who can’t sleep taking a walk and meeting one another in the misty morning, just as the first rays of the sun emerge. The excellent script allows for humour and drama in a dynamic way that perfectly compliment one another. It also gives us a gallery of interesting characters, all caught up in the machinations of dating and social status. A gentle but urgent score is a beautiful thing to listen to as the gliding rhythms of the piano and strings give voice to the unspoken passions and initial indifference between Elizabeth and Mr Darcy.

Keira Knightley makes for an excellent Elizabeth Bennet, giving her an independence, stubbornness and charm that is a joy to watch. Knightley makes the role her own with her expressive face, witty tongue and glint of playfulness in her eyes. She has great chemistry with Matthew Macfadyen as the two characters lock horns with a mixture of intellect and barbed observations. Macfadyen plays Darcy as a snobbish and sullen bachelor. He gives Darcy an insolence but also a kindness, as we witness his proud state of mind altered and forever changed by the spirited Elizabeth. Brenda Blethyn is a hoot as the caring but highly strung mother who wants all her daughters married, while Donald Sutherland contributes a firm but warm performance as her observant husband. Rosamund Pike makes for a radiant Jane. Carey Mulligan and Jena Malone are funny as two of the younger sisters who flirt and giggle, usually at the most inappropriate times. Tom Hollander is simpering and nervous as a possible suitor and the man who stands to inherit the house, while Simon Woods is charming and polite as Jane’s suitor Mr Bingley. Only appearing briefly but making a scene-stealing impression is Judi Dench as the haughty lady with many opinions on those she deems beneath her. Kelly Reilly is suitably bitchy as Caroline Bingley, who does not approve of the family but Talulah Riley isn’t given enough to do as the plain sister Mary.

A spirited triumph filled with humour and romance, Pride & Prejudice is a handsomely produced period drama with a wide range of appeal, due to its excellent direction, witty screenplay and fine performances.

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.

Pollyanna

Tags

1960's, Adolphe Menjou, Agnes Moorehead, David Swift, Hayley Mills, Jane Wyman, Karl Malden, Kevin Corcoran, Nancy Olson, Period Drama, Pollyanna, Richard Egan

Film Title

Pollyanna

Director

David Swift

Starring

• Hayley Mills as Pollyanna
• Jane Wyman as Aunt Polly Harrington
• Karl Malden as Reverend Ford
• Richard Egan as Dr. Edmond Chiltern
• Nancy Olson as Nancy Furman
• Adolphe Menjou as Mr. Pendergast
• Agnes Moorehead as Mrs. Snow
• Kevin Corcoran as Jimmy Bean

Based on the timeless children’s book, Pollyanna is a beautifully realised portrait of the indomitable spirit of one person raising the dour spirits of those around her featuring stunning cinematography and winning performances. Sure it may be a little sentimental, but it doesn’t fall into full on schmaltz thanks to the talent on show.

Pollyanna is the sweet-faced orphan of the title who is sent to live with her rich Aunt Polly in a Vermont town named Harrington in the early 1900’s after the death of her parents. The town is a dour place of no fun because of Polly’s severe hold over the place and the way no one will question her. Pollyanna on the other hand is a cheerful young girl with an optimistic outlook on life no matter how grim it appears, even in this place where children should be seen and not heard. This stems from her late father’s ‘Glad Game’, which consists of finding happiness in the things around you and not taking for granted what you have. The young girl soon begins to change the town around her with her sunny disposition and acts of kindness that win over the occupants of the town, even the reclusive Mr. Pendergast and the hypochondriac Mrs. Snow . The other residents of the town who have been cheerless for years begin to see the goodness of life and how there is always something to be glad about because of the ray of light that comes with Pollyanna. Yet can Pollyanna’s infectious charm reach her Aunt just like it has everyone else?

Director and writer David Swift brings the story to life with engaging characters and adventures that will surely raise a smile from many audience members. Glorious Technicolor brings the town of Harrington to life, as the young Pollyanna brightens the lives of those around her. A prime example of this is the bazaar in which the town raises money for a new orphanage. Smiles, glorious lights and stunning camerawork give the scene a childlike sense of wonder and the innocence of life that will no doubt stir nostalgic feelings. The music score for Pollyanna captures the initial austerity of the town and later the thawing sadness in favour of joy. Yes, Pollyanna may get sugary at times and the pace may get a little uneven, but these are minor flaws in this beautiful fable about the joy of a child and the far-reaching effects of it.

The cast all contribute stunning work to this heartfelt and classic story. Hayley Mills is the perfect choice to play Pollyanna. With large expressive eyes and a smiley face, Mills imbues the title character with effervescent pluck, charm and love. The role could easily have become annoying and cloying, but thanks to Mills, Pollyanna remains a breath of fresh air in grim surroundings who can find the good in almost everything in around her. Jane Wyman is suitably stern as Aunt Polly, who can’t seem to tolerate happiness and rules over the town with a severity that clashes with Pollyanna’s optimism. Karl Malden is uptight as the local reverend whilst Richard Egan provides emotional honesty as a former lover of Aunt Polly’s. Nancy Olson is charming as the housemaid who is the first person to be won over by Pollyanna. Adolphe Menjou and Agnes Moorehead are crusty and no-nonsense as two of the town’s residents, whose defensive behaviour begins to thaw  as they rediscover the joy of life. And not forgetting Kevin Corcoran as Jimmy Bean, an orphan who befriends Pollyanna and often leads her into mischief.

Timeless, charming and emotionally satisfying, Pollyanna is a feel good film if ever there was one that the whole family can enjoy time and time again.