Their Finest

Tags

2010's, Bill Nighy, Drama, Gemma Arterton, Helen McCrory, Jack Huston, Jake Lacy, Jeremy Irons, Lone Scherfig, Paul Ritter, Rachael Stirling, Richard E. Grant, Sam Claflin, Their Finest, World War II

Film Title

Their Finest

Director

Lone Scherfig

Starring

• Gemma Arterton as Catrin Cole
• Sam Claflin as Tom Buckley
• Bill Nighy as Ambrose Hilliard
• Jack Huston as Ellis Cole
• Paul Ritter as Raymond Parfitt
• Jake Lacy as Carl Lundbeck
• Richard E. Grant as Roger Swain
• Rachael Stirling as Phyl Moore
• Helen McCrory as Sophie Smith
• Jeremy Irons as Secretary of War

A splendidly engaging and unexpected ode to cinema, women and doing what needs to be done in World War II, Their Finest captures your attention and heart with the story it has to tell. A crowd pleaser with a most knowing touch is an apt way to describe the delightful Their Finest.

It is 1940, London, and the Blitz is at its height. Catrin Cole is a Welsh girl, living in an apartment with her artist husband Ellis, whose more than a bit moody and not exactly a supportive presence. A copywriter, she is called specifically the film division. Her knack for good dialogue is realised, even though it is said that she will be writing what many call the slop( women’s dialogue). She is hired for work on movies and partnered with snide and cynical Tom Buckley and older, more understanding Raymond Parfitt in the screenwriting process. Though paid less than the men and frequently questioned about her capabilities, Catrin emerges as a talented addition to the team. Being one of only a few women in a male dominated game, the odds are stacked against Catrin. But she is no wilting flower and can gradually in the story, easily handle herself against sexism and attitudes towards her doing a profession such as hers. With the War raging on, cinema provides an escape for those at home. The Ministry of Information is hoping that a new propaganda film will blend both authenticity and optimism into one, enabling audiences to feel comforted and with a rousing feeling. The film takes its basis from a newspaper article of two twin sisters using their father’s boat to rescue men from Dunkirk. Upon researching it further, Catrin discovers that the story has been exaggerated a lot. Though knowing this, she helps form a scenario around the events that will boost morale. And being that it is a propaganda film, the embellishment of facts is inevitable anyway. Catrin shows how indispensable she is with her flair for writing and her emerging determination to be taken seriously. Soon production is under way, yet various issues are present. The over the hill Ambrose Hilliard, who has a big opinion of himself, is perturbed that he is playing an old role. This is amusing because he is in his 60’s, yet can’t quite accept his glory days are far behind him. In order to appeal to American audiences and hoping to coax them into joining the war, the big wigs of production and Secretary of War employ former pilot Carl Lundbeck to be in the picture. The problem is, while handsome and projecting the right image, he is a hopeless actor. Most of all, it’s nearly a battle itself between Buckley and Catrin Through it all, Catrin manages to let her voice be heard and earn the respect and love of the initially standoffish Buckley as the unpredictable war continues. With luck, they hope their movie can be a rousing success and ignite the public imagination to a feeling of hope in a time of darkness.

Lone Scherfig, who previously demonstrated her greatness at tapping into the past in An Education, showcases that again with Their Finest. She finely discovers humour, pathos and inspiration in the story and knows exactly when to incorporate seriousness into the largely amiable proceedings. It’s a tightrope walk that could have gone wrong, but humour and maturity go hand in hand here, and highly benefits the overall product. Plus, Scherfig’s greatest asset is shooting a movie concerning World War II from a female perspective. I personally feel that there are not enough movies about World War II focus on the women who played a part, thankfully Their Finest corrects that in style and a displays a fervent female overcoming the obstacles to gain respect. The film itself is blessed with a sincere and funny screenplay, that has humour in the making of the propaganda film and the emotional undertones of the terror that war brings. It also has a great usage of wordplay, particularly between Catrin and Buckley, whose growing attraction becomes more obvious, despite the constant sniping and disagreements. You may be forgiven for thinking that Their Finest is simply cosy whimsy, but while it is charming and full of vitality, it never skirts around the tragedies or hardships of the war. And while at first you may be inclined to believe you know the outcome of the film, it throws in a surprising curve ball that changes a lot. Believe me, I never saw it coming at all, which is a credit to how the movie knows when to blind side you and show its dramatic muscle. This very instance of shock brings with it a heft of moving moments that add another string to the movie’s bow. Very much like the movie being made in the story, Their Finest knows how to please the crowd, being rousing yet never forgetting the devastation of World War II. You can’t get be wrapped up in the inspiring story, both of Catrin asserting herself more and the behind the scenes look at the propaganda movie. Comedy ensues in the brightest way in the beginning the scenes stretches, with various techniques and mishaps proving how the experience of a film is trying but usually worth it. A lovingly flowing score from Rachel Portman highlights the optimism and change of the time with deft assurance and emotional touches.

A beautifully judged performance from Gemma Arterton is one of the main joys of Their Finest. A nicely employed subtlety is evident in her keen and plucky portrayal, finding emotion and growing feistiness in the role of Catrin that is a great showcase for the actress.  Lovely, genuine and boasting a backbone of steel that comes in handy when asserting her talents, Arterton makes Catrin an arresting heroine who you immediately warm too and want to watch succeed. For my money, this is one of the best parts Gemma Arterton has had in a movie and goof for her I say, as I’ve always been a fan of hers. Sam Claflin, behind small glasses and a moustache, has the stinging sarcasm and attitudes for a man of the time; while delving into the inferiority complex he has and why he acts like a jerk. He shares a nice chemistry with Arterton, that starts flinty and evolves into a mutual understanding that is lovely. Being the scene stealer that he is, Bill Nighy sinks his teeth into the part of has-been actor who still thinks of himself as the biggest star in the world. It’s a funny, self-mocking part, that also makes time for Nighy to display a caring and inspiring side to what at first appears to be a very difficult. Nighy is the one who gets most of the laughs in Their Finest. Jack Huston is left with the least engaging part of Catrin’s inattentive husband, while Paul Ritter quietly thumps away at the typewriter as the mediator in the screenwriting process. Also getting laughs is Jake Lacy, whose all American appeal and square-jawed features are handsomely used to play a charming but not very talented star thrown into the propaganda film. Richard E. Grant, Rachael Stirling and Helen McCrory provides great support, as does a cameo from Jeremy Irons as the Secretary of War.

Charming, spirited yet grounded in seriousness when it needs to be, Their Finest is wonderful movie making that celebrates the powers of cinema and inspiring women.

Henry and June

Tags

1990's, Biographical Drama, Erotic Drama, Fred Ward, Henry and June, Kevin Spacey, Maria de Medeiros, Philip Kaufman, Richard E. Grant, Uma Thurman

Film Title

Henry and June

Director

Philip Kaufman

Starring

• Maria de Medeiros as Anaïs Nin
• Fred Ward as Henry Miller
• Uma Thurman as June Miller
• Richard E. Grant as Hugo
• Kevin Spacey as Osborn

Inspired by the diaries of Anaïs Nin, who documented in them her strange and intriguing relationships with author Henry Miller and his wife June, Henry and June’s casts a haunting spell and details the intense sexual encounters and impact all three had on each other.

Paris, in 1931. Anaïs Nin is an aspiring writer looking for something else. She is married to the good but somewhat dull and unenthusiastic Hugo, Anaïs craves excitement and adventure. These come knocking at her door in the form of writer Henry Miller, who is in Paris working on what would later become his first novel. Anaïs is intrigued by Henry and relates to his discussions of literacy and art. She begins to develop feelings for the boorish Henry and soon enough passion is ablaze. Also introduced into this is Henry’s bisexual wife June; a most alluring woman who begins to entrance Anaïs as well, despite her mercurial tendencies. Anaïs witnesses the temperamental relationship between the two and while she still loves her husband, the promise of a bohemian lifestyle with Henry and June is too tempting to resist. Her eyes are opened to sexual experience and her longings become very erotic as a result, culminating in an unusual love triangle with Henry and June. When the capricious June returns to America, she gives permission for the sexually blooming Anaïs to continue an affair with Henry. Anaïs continues to evolve and becomes immersed in a world of bohemian and sexual abandon with Henry, as she becomes one of the inspirations for his book(the other being June) and Anaïs does something similar with her writings. But Anaïs and Henry often disagree as the mix of sexual adventure and they critique each other’s work; much  in a similar way to how June used to criticise Henry’s work and how one of the characters is an unflattering portrait of her. Yet when June returns to Paris in typically difficult style, passions boil over as Anaïs and Henry must both contend with the fact that she forms the last point of the sexual triangle that could easily break due to the desires and passions everyone has that become complex.

As he is very much an iconoclastic director, Philip Kaufman is right at home directing something provocative and controversial like Henry and June. Kaufman clearly enjoys showcasing these complex characters and wastes no time in getting this across through expressionistic close-ups and silent era fade outs to signify the longings each of the three characters bears. While his direction is intelligent and well done, a minor flaw emerges when it comes to pace that can get grindingly slow. But with this being the only thing I can nitpick at, it’s more than safe to say that Henry and June is a success in its presentation of a dark and intense love triangle between three intriguing people. From doing research about the movie, it appears to have a big impact on the ratings system upon release as it became the first film to be certified NC-17. The rating signified that the film would have sexual content for adults only but was not given an X certificate that could have damaged people flocking to see it in theatres. And I can’t review Henry and June without talking about the sexual scenes as they are what makes up the core of the film. The scenes of a sexual nature are explicit to be sure, but they are not the stuff of skin flicks. Rather, these scenes are artfully shot and because they take basis from Anaïs’ diaries and expressions, have an intellectual, serious and observant quality to them that helps them stand out from mainstream sex scenes. I can see why they invented a new rating for this kind of film as it does deal heavily with sex, but is an artistic exploration of the three-way relationship, rather than a titillating one.By far one of the biggest draws that can be taken from Henry and June is the splendidly evocative cinematography. Bathing scenes in a sensual glow and tinged with a moody and melancholy feeling, it’s a truly marvellous visual style that really brings the passionate and most unusual story to stylish life. Coupled with the cinematography is the marvellous editing and jazz soundtrack, that helps the film gain something of a dreamlike and hypnotic impact that presses itself into the memory.

With her round eyes and elfin features that suggest a girlish innocence, Maria de Medeiros is extremely good at playing Anaïs Nin, who emerges as a passionate adventurer in all things erotic thanks to Henry and June. Maria de Medeiros is one of those people that the camera loves, but can also emote with a depth and subtlety, crafting Anaïs into a complex woman who has a core of observational passion and curiosity that consumes her little by little. I can’t picture anyone else playing Anaïs quite like de Medeiros, as she is simply marvellous in the role. Essaying the part of the controversial Henry Miller, Fred Ward plays him like a bear, full of vigour and unmissable shows of anger. Walking and talking like an old-fashioned gangster minus the Tommy gun, Ward invests Henry with a lust for life and an inability to sever himself from inevitable trouble, as it is too good to walk away from. Yet it is Uma Thurman who makes possibly the biggest and most memorable contribution to the film as one half of the titular couple. Playing so many different sides to June, from sensual and engaging, angry and bitter, tragic and unforgiving, Thurman doesn’t miss a beat and it says a lot when you miss her when she isn’t on screen. That’s a lot of clout to have and Uma Thurman makes her presence felt throughout, with her haunting presence and accent employed. Although he has probably the most thankless role of the film, Richard E. Grant does his best as the husband of Anaïs, who is safe and pleasing yet can’t quite provide the excitement that Anaïs craves. Also viewers should watch out for Kevin Spacey in a supporting role as the louche man who introduces Anaïs to Miller.

Visually splendid, well acted and benefiting from the intelligent direction of Philip Kaufman, as well as more than overcoming the sometimes overly languid pace, Henry and June is daringly adult cinema that knows how to be provocative and artistic in equal measures.