The Key

Tags

1950's, Bernard Lee, Carol Reed, Drama, Romance, Sophia Loren, The Key, Trevor Howard, War, William Holden

I was recently asked to take part in a blogathon set up by the trio of Virginie, Michaela and Emily. To honour the star that was William Holden, I decided to review war romance-drama The Key.

Film Title

The Key

Director

Carol Reed

Starring

• William Holden as David Ross
• Sophia Loren as Stella
• Trevor Howard as Chris Ford
• Bernard Lee as Wadlow

A wartime drama with romance and something of a gloomy aura, The Key at least holds the attention thanks to the stars and direction. No masterpiece, but compelling enough and filled with good parts.

It’s the Second World War and Canadian tug boat captain David Ross arrives in Plymouth, England. He is assigned to salvage missions that entail picking up ships that have been attacked in conflict with the enemy. It’s an extremely dangerous job as the tug boats are ill-equipped to combat any form of onslaught, leaving them open to death every time they venture out. David meets with old friend Chris Ford who is a captain. Later after a number of missions, Chris takes David back to his lodgings, drawing particular attention to the key. It is here that David meets the beautiful Stella; an Italian-Swiss woman who rarely leaves the apartment. We learn that the key to the apartment is seen as an omen as many men have lived there and perished at sea. This has left Stella lonely(especially since the death of her first love), even though she constantly has company. With the life expectancy of these men low, Chris gives David the key to the apartment in case anything should happen to him. When Chris dies, David moves into the flat. At first, he and Stella are distant with each other as he is skeptical about the seemingly cursed nature of the key. But over time, the two fall in love. But the overreaching feeling of darkness from David’s job and Stella’s past experience with men threatens to ruin what is growing between them.

Carol Reed’s direction manages to balance drama and the scenes of war very well. It’s not Oscar-winning direction but it is passable and generates interest in what will happen next. A certain ghostly quality hangs over The Key. Something quite haunting and melancholy is in the air, especially when it comes to Stella who occupies a haunting presence throughout the story. The black and white cinematography aids the dark areas of the story and the possible love that may happen. The Key is good but far from high calibre movie making, marred by the long running time and occasional dreariness that undoes many of the fine things the movie does. At least it still retains attention thanks to the evolving relationship between Stella and David. The second section raises the film up as more momentum is introduced into the narrative. We see Stella emerge from her gloom and discover that love could be on the cards for her and David become less resistant to the idea that their union could be cursed. A highly dramatic score, with a certain haunting aura heard in many instances.

William Holden excellently conveys the tired and uncertainty of a man who has experience in battle, but is still secretly terrified of the prospect. Blended with movie star charm that is never far from view, Holden is endlessly watchable in his part. Sophia Loren is quietly melancholy and haunted as the woman at the centre of things. There’s real sadness and pathos to her work that comes through in her face, which craves love and companionship but knows of the bleak realities of life that have befallen her. Loren plays this lonely character who just wants some form of togetherness with real clarity and acting opposite the great William Holden is wonderfully convincing. They share a tentative chemistry that matures along with the movie. Trevor Howard makes the most of his role with a scene stealing turn as David’s friend and the one who sets in motion the relationship with Stella. He works well with both Holden and Loren when he appears. Also watch out for Bernard Lee in a supporting part of the head of the salvage unit.

Far from flawless but filled with something unusual and with a great cast, The Key is an entertaining way to spend your time.

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To Catch a Thief

Tags

1950's, Alfred Hitchcock, Cary Grant, Grace Kelly, Jessie Royce Landis, John Williams, Romance, Thriller, To Catch a Thief

Film Title

To Catch a Thief

Director

Alfred Hitchcock

Starring

• Cary Grant as John Robie
• Grace Kelly as Frances Stevens
• Jessie Royce Landis as Jessie Stevens
• John Williams as Hughson

A witty, scintillating romantic thriller from the iconic Alfred Hitchcock, To Catch a Thief finds the master at his most playful and arch. This lush gem of a movie is super gorgeous to look at and soars to greatness thanks to the star pairing of Cary Grant and Grace Kelly.

John Robie is a retired jewel thief who lives in a villa just off the French Riviera. Once dubbed ‘The Cat’ and the best in the field of burglary, he has now turned his back on his old stomping ground. But he’s about to be dragged into it again thanks to a spate of high-profile thefts along the coast. All the cases involved the gorgeous and very expensive jewelry of the rich and well-known. Wanted by the police and with only a handful of old contacts trusting him, he attempts to evade capture and arrest for something he hasn’t done. Thanks to an insurance man Hughson, who has the knowledge of who owns the best gems, he comes into contact with the very beautiful Frances Stevens and her flouncy mother Jessie. Frances is a seemingly icy girl with boredom to contend with, but John discovers she lusts after something thrilling and even dangerous. Both begin a flirtation that ignites her curiosity over who he really is and what to do about it. Meanwhile, John sees the opportunity to bait the real thief with jewels belonging to the wealthy widow Jessie. But it’s not as easy to prove his innocence as thief is gearing up again and the dalliance with Frances is growing deeper.

To Catch a Thief has Alfred Hitchcock in relaxed and bubbly mode; teasing the audience in just who the real thief could be and whether John and France’s will become a couple. Hitchcock is having a whale of a time with the sexy interplay and mystery of the piece; utilising his bag of exceptional tricks to marvellously entertaining effect amid gorgeous scenery and attractive stars. His elegant hands are all over To Catch a Thief and it’s all the better for us that we have the master movie maker delivering the goods with customary high quality. Some may dismiss it as lightweight Hitchcock, but even if that is the case, it’s darn entertaining. I might not put it up there as one of Hitchcock’s classics, but any Hitchcock is better than most and that is something I stand by cinematically. A cracker of a script blends elements of caper, humour, seductiveness and thriller into a pretty and polished product that presents a lighter side to Hitch. And it’s amazing how much innuendo To Catch a Thief manages to pack into its frames. From Frances asking John whether he’d like a (chicken) breast or a leg to the memorable deduction that is inter cut with fireworks wildly exploding to signify passion, this movie is definitely not short on suggested naughtiness. This cheeky approach greatly benefits the movie and is impressive, especially considering how movies back when this was released where often at the mercy of the censors. Lush cinematography that deservedly garnered an Oscar and splendidly detailed costumes are a cherry on top of a finely made cake. And of course, the sweeping and romantic music is a big plus throughout To Catch a Thief’s running time.

Cary Grant, the King of suave, is on solid and fine ground as the former jewel thief trying to clear his name. His lightness of touch and twinkle in his eyes is just right for this movie and showcase him at his most charismatic. Complimenting Grant is the gorgeous Grace Kelly, who never looked more lovely or sensual as she did here. She spars nicely and seductively with Grant, by exhibiting a kittenish and sly demeanor that is very becoming as she plays with his feelings in a bid for thrills. And you can’t miss the sizzling chemistry shared between both stars that practically radiates whenever they’re in proximity of each other. It’s the kind of sexual tension you’d want to bottle up it’s that impressively shown. Jessie Royce Landis and John Williams both lend some fine support to proceedings too.

A gorgeous romance and thriller with oodles of style and sexy moments, To Catch a Thief presents Hitchcock at his most cheeky and in the mood to entertain. A breezy quality is very apparent, plus his numerous directorial stamps blending with sublime sights of the French Riviera.

Letters to Juliet

Tags

2010's, Amanda Seyfried, Christopher Egan, Drama, Gael García Bernal, Gary Winick, Letters to Juliet, Romance, Vanessa Redgrave

Film Title

Letters to Juliet

Director

Gary Winick

Starring

• Amanda Seyfried as Sophie
• Vanessa Redgrave as Claire
• Christopher Egan as Charlie
• Gael García Bernal as Victor

A gorgeously scenic and romantic movie, Letters to Juliet is a somewhat slight but nonetheless lovely film about a second chance of love and the adventure of it.

Sophie is a fact checker who wants to become a serious writer, but has always put it off due to one reason or another. She has a romantic getaway before her wedding planned for her and her husband to be Victor. He is a chef whose main priority is making time for his new business venture, leaving little in the way of time spent with Sophie. They go to Verona, where Victor is overly busy with things for his restaurant. This means that Sophie explores the romantic and historical place alone. On one such day, she encounters the Secretaries of Juliet; women who answer the lovelorn letters left at the fictional heroine’s house. Helping the ladies with their tasks in an attempt to inspire her own writing, Sophie discovers a hidden letter in a crack in the wall where many leave their questions. The letter is over fifty years old and was written by Englishwoman Claire, who poured her heart out about having to leave her beloved Lorenzo behind. She believes she must right back and does so, little suspecting anything will happen as a result. Which is why she gets the shock of her life when Claire, who is now older and widowed, turns up in Verona following Sophie’s advice. Her foppish and snobby grandson Charlie is also there and immediately berates Sophie for what he says as foolish actions. Claire on the other hand is a lot more understanding and grateful to Sophie and wishes to find her Lorenzo, all of these years later. She is hoping for a second chance with her soul mate, having left her romance with him in the back of her mind. Charlie is completely reluctant to do so, but is strong-armed into it by his Grandmother and begrudgingly, Sophie. In the course of all this searching in Italy, Claire’s journey causes Sophie to examine her own relationship with her soon to be husband and how it may not be quite what she expected. Potential romance may come in the form of Charlie , but it’s chalk and cheese at first for the mismatched pair.

Gary Winick’s direction is bright and bubbly, wrapping us in a whirl of rose-tinted romance and soul-searching. He does a commendable job and plays to the audiences expectations in a way that’s reassuring as we are fully aware of the outcome. The Italian surroundings and setting are simply put magnificent. With an old-fashioned golden sheen that is irresistible to the eye, faith in love and adventure set in ideally. You can’t help but feel romantic when watching Letters to Juliet. Don’t expect big surprises from Letters to Juliet as it’s doubtful you’ll find any. But that almost adds to the virtue of the film; it doesn’t make any pretence about what it is. It’s a gorgeous, almost fairy tale like story of romance and unlikely circumstance that will get even the most cynical to crack a grin. Plus, the feeling of familiarity is very comforting as you have a great idea of the luscious content of the movie. It’s the last half of Letters to Juliet that really drags on, though the parts before it are agreeable and make up for the overly long areas. The score is acceptable enough while being nothing too mind-blowing or original, which is to say it does the job in the expected way of romantic movies.

Amanda Seyfried heads the cast with plenty of winsome appeal and loveliness. Her fresh face and sincerity can’t be faulted as they are too inviting to resist. it’s not a stretch of a role, but one Seyfried plays well nonetheless. It is Vanessa Redgrave who truly comes alive and is one of the best things in Letters to Juliet. With her simply mesmerising voice and air of class, balanced by something fun-loving, it is a fine showcase from a special actress. With just a look, you can feel her desire, longing and quiet regret so beautifully. The film simply wouldn’t be the same without her clout and dignity. Christopher Egan has the handsomeness and posh demeanor that is right for the part of Charlie, whose snotty antics are subdued by Sophie in a gradual way, while Gael García Bernal is rightly self-absorbed as Sophie’s man whose interest in his own business seems to come before her.

While wholly predictable, the gorgeousness and the fact that it’s heart is in the right places ensures that Letters to Juliet is an enjoyable and light experience.

A Month by the Lake

Tags

1990's, A Month by the Lake, Alessandro Gassman, Drama, Edward Fox, John Irvin, Period Drama, Romance, Uma Thurman, Vanessa Redgrave

Film Title

A Month by the Lake

Director

John Irvin

Starring

• Vanessa Redgrave as Miss Bentley
• Edward Fox as Major Wilshaw
• Uma Thurman as Miss Beaumont
• Alessandro Gassman as Vittorio Balsari

A lush, beautifully charming romantic drama set in 1930’s Italy, A Month by the Lake is a perfectly agreeable movie that allows you to spend time with a starry cast in gorgeous locations.

Miss Bentley is a lively spinster who has visited Lake Como every year for sixteen years. It is 1937 and talk of war is in the air, plus she is there without her father who has passed away. The place has changed, she observes and her loneliness is felt. Thankfully a distraction comes in the shape of the proud and stuffy bachelor Major Wilshaw, who at first is distant because of how assertive and spirited she is. But he is won over by her enthusiasm for life and lightening up, begins to enjoy his stay. This looks like the makings of romance for two people who haven’t has the best of luck when it comes to relationships of the heart. Yet the bratty and unsettled young nanny for a nearby family Miss Beaumont begins to stir things through a cavalier gesture that has the Major believing she genuinely cares for him. Miss Bentley notices this and is perturbed at Miss Beaumont’s conduct, as she deeply feels for the Major. But while Miss Beaumont enjoys her little games and teasing, Miss Bentley proves just as good at playing games of her own. At the same time, a younger Italian man takes a romantic interest in Miss Bentley, which plays right into her hands. All of this ultimately leads to more seriousness for all involved in the romantic entanglement.

John Irvin is behind the camera here and his observant direction is simple and flowing. He doesn’t bring any tricks to the table, but then again A Month by the Lake is not a tale that requires extensive stylistic choices to tell its story. This is a film with a light and airy charm, yet still revealing a slyness and somewhat more serious side to the tale. Humour has a place here, with dry and wry occurrences arising from misunderstanding and the great way that the characters are in a spinning roundabout of actions centred on desires of the heart. In the second half of the picture, the romantic tug of war becomes a lot more serious and dramatic, as the true extent of feelings finally become known. This change is handled admirably by the script and direction, exuding a little bit more emotion than was to be expected from such a film. Although breezy is a word that comes to mind, A Month by the Lake contains some genuine gravitas and melancholy that are pretty hard to miss within the framework of everything. The gorgeousness of Lake Como is visible in almost every frame; creating a heavenly setting for loves to blossom and for life to flourish in the days leading up to the Second World War. It’s like an elegant chocolate box of visual pleasures for the eyes as the setting is perfectly brought to life. Things can get muddled within the story and more than a few times a little bit of laziness creeps in, but the main buoyancy of A Month by the Lake is enough of a distraction from those particular flaws. The score is gentle and earnest; complimenting the feeling of having fun while there is still time for those lazy days in the sun to treasure in the memory.

Heading proceedings is the willowy and immensely radiant Vanessa Redgrave. Full of vitality, spirit and heart, her Miss Bentley is a character who sweeps you up in her outgoing and vivacious lust for life. Redgrave fully captures everything about this woman with her gift for suggestion and expressive face both tools in conveying the need for love this woman yearns for after the loss of her father. As usual, Redgrave provides a beautiful air of energy and charisma to her role that truly makes it something beautiful. Edward Fox has the right amount of dignity, cockiness and sadness for the part of Major. There is a real elegance and contrasting humour and pathos in Fox’s work that simply put is something special. Uma Thurman provides a counterbalance to Redgrave’s elegance and subtlety with a strong performance as petulant and callous Miss Beaumont. Knowing how pretty she is, she thinks nothing of toying with affection, largely stemming from boredom and a stifled upbringing. Thurman brings out the vixen in the part and how immature Miss Beaumont is, a brave thing to do as she isn’t afraid to be unlikable in the role. Alessandro Gassman is the handsome man whose romantic longings for Miss Bentley allow her to level the playing field.

A breezy gem of a movie that can also conjure up pathos, A Month by the Lake is a pleasant enough way to spend an hour or two of your time. With humour, romance and sublime scenery(plus an elegant cast), its easy-going but engaging which is often just what the doctor ordered.

Mogambo

Tags

1950's, Adventure, Ava Gardner, Clark Gable, Donald Sinden, Grace Kelly, John Ford, Mogambo, Romance

The effervescent Virginie asked me to join her blogathon on classic star Grace Kelly. With Kelly being an iconic movie star and a real life princess, how could I ever refuse? To honour the beauty and splendour of Grace Kelly, I decided to review the romantic adventure Mogambo.

Film Title

Mogambo

Director

John Ford

Starring

• Clark Gable as Victor Marswell
• Ava Gardner as Eloise ‘Honey Bear’ Kelly
• Grace Kelly as Linda Nordley
• Donald Sinden as Donald Nordley

A gorgeously photographed romance/adventure, Mogambo provides good entertainment and classic Hollywood stars to be dazzled by . And while it isn’t major league work from John Ford, its star quality and passion is still very much exciting to view.

Victor Marswell is a rugged, experienced big game hunter and safari businessman whose life is going smoothly in the wilds of Kenya. With his business booming, he can’t really ask for more. Events however take a turn with the arrival of Eloise ‘Honey Bear’ Kelly; a gorgeously outspoken and free-spirited showgirl who has been stood up by a suitor. Having to occupy the same space with Marswell until the next boat back to her planned journey, the two sparring individuals begin a sensual relationship. But Marswell is more concerned with his business and cools the relationship, much to Kelly’s consternation. Yet Kelly’s journey back is halted and run aground, meaning she has to return to Marswell. Around this time, anthropologist Donald Nordley and his posh wife Linda arrive, with wanting to observe the gorillas of the region for study. The prim Linda, who is all about manners and decorum, begins to take a liking to Marswell, seeing as her husband is more concerned with his studies. This of course arouses jealousy from Kelly, who takes it upon herself to stir things up for all involved. While Donald remains oblivious to his wife’s obvious attraction to the uncouth Marswell, a love triangle falls into place.The competition is on as both Kelly and Linda angle for the affections of Marswell amid the wild landscape.

John Ford takes us on safari with his gift for using visuals and settings to capture the attention and contribute beauty. Ford has often done this in his classic Westerns and here is no different. Mogambo may not be a masterpiece, but there’s no denying the sumptuous visual direction of the great John Ford and his keen way of making locations come to life. Animals and wide, vast sights are glimpsed in nearly every frame of this torrid take, accentuated by alive cinematography and luscious colour. Mogambo is very much a melodrama and one of feverish emotions as wild as the surroundings. This approach is well utilised for the torrid feelings that attempt to be kept under wraps, but spill over with delicious passion and fruitful events. Only later on foes the drama get a little too overwrought for its own good, thankfully the stars and scenery can make up for those cracks. Mogambo is also a very saucy movie, Granted, the sexual sizzle is mainly confined to innuendo given the time period the movie was in, Mogambo still steams things up in its own naughty way. It’s the verbal sparring of the three that brings fire and vibrancy to a sometimes sleepy film; one-liners and veiled seduction are checked off the list and explored frequently against picturesque backdrops.

The stars are the thing and you couldn’t have asked for three more glamorous people than Clark Gable, Ava Gardner and Grace Kelly. Clark Gable, now in the later years of his career, still has the charm and panache to pull of his part. He is world-weary but immensely jaunty, especially in that grin that he employs. He wasn’t known as the King of Hollywood for no reason. The ravishing Ava Gardner is relaxed and appropriately sassy, cracking one liners with ease and wit. Her devilish appeal and devastating good looks are matched by her subtle shading of the character who is tough, sexy and unexpected. Gardner is suitably fetching and confident in her acting; obviously relishing the sizzling role given to her. Grace Kelly rounds out the central trio and at the point of major stardom, beautifully plays the repressed Linda who is not quite as innocent or lily-white as we first see her. Kelley has the right amount of ice and fire for the part( which would later lend itself well to roles in Hitchcock movies) and looks simply gorgeous throughout. Starting off prim and almost childlike, her desire emerges and her reserve thaws to show a passionate woman. It’s a nice part for Grace Kelly that compliments the work of Gable and Gardner. Donald Sinden is not given a whole lot to do, besides remain largely ignorant of what is transpiring around him.

So while overlong as a movie and often sometimes plodding, Mogambo is redeemed by the great cast and passionate approach. A glamorous adventure that is simple in story, but pretty excellent in execution with the best in the business being and in front of the camera.

Ghost

Tags

1990's, Demi Moore, Drama, Fantasy, Ghost, Jerry Zucker, Patrick Swayze, Romance, Tony Goldwyn, Whoopi Goldberg

Film Title

Ghost

Director

Jerry Zucker

Starring

• Patrick Swayze as Sam Wheat
• Demi Moore as Molly Jensen
• Whoopi Goldberg as Oda Mae Brown
• Tony Goldwyn as Carl Bruner

A hybrid of romance, supernatural and thriller, Ghost still entrances audiences with its emotional heart. And while it would be easy to write it off as just another generic weepy, its heartfelt impact can’t be denied, as can’t find work from the cast, including an Oscar-winning Whoopi Goldberg.

Sam Wheat and Molly Jensen are a couple are madly in love with each other and living in Manhattan. Life is good for them as Sam is a successful banker and Molly enjoys her work as an artist. That is until their bliss is shattered one night. Coming home from a play , they are accosted by a thug and Sam is fatally shot. Yet while dead, his spirit doesn’t move on to the afterlife. Unfortunately, though he attempts to communicate with Molly, he can’t. Molly retreats into grief following his death and shuts herself away. After much shock has settled in, Sam slowly finding his footing as a spirit and how he can impact on Molly’s life and clutch tight their bond. Sam also discovers that his death was not just some random mugging gone wrong but part of a dodgy scheme that he’d inadvertently stumbled into earlier in the film. It was organised by Carl Bruner, who he considered a friend but is revealed to be a contemptible weasel. Realising that Molly is now in danger, Sam frets about how he can help his beloved. His possible answer comes in the surprising form of Oda Mae Brown, a fake physic who ironically can hear him. Oda Mae is reluctant and startled by her gift, which she never actually realised was there as she’s faked being a psychic for money. Yet after much persistence, she agrees to help him reach Molly. The trouble is proving to the grieving young woman that Sam’s spirit is still there. Time is soon ticking for Sam as he attempts to warn the devastated Molly of her impending danger and to finally move onto the next life knowing that she is safe.

On directing duties is Jerry Zucker, who brings considerable skill to Ghost. He really finds so many angles and different genre elements to contend with and he largely gets it right. Ghost at its heart is a romance with immense spiritual overtones to it. Yet it also boasts many moments of fine humour and even has thriller elements that are surprisingly strong and boast some unexpected tension, complete with some detours into the spooky realm. It’s a credit to Zucker that most of the hoops keep spinning in sync with each other, only occasionally stumbling in steps that can be easily forgotten given the rest of the picture. Overall, Ghost is definitely a memorably moving movie that knows the ways to get you deeply involved with the immensely heartfelt story at play. And it’s impossible to forget the justifiably famous scene of Molly and Sam at the pottery wheel that develops into a sensual encounter. It is so sexy and romantic, along with changing the way audiences would see pottery forever. Though it’s been parodied to death, the original scene still holds a special place in cinema as a most sexy and tender scene of two people genuinely in love with each other. Sure Ghost works on your emotions, but it gets right to the heart of the theme of love transcending all that it’s hard to really fault as it sucks you in. If you’re not flowing with tears by the end, you mustn’t  have a sensitive bone in your body. For Ghost beautifully and often poignantly highlights that love is in fact eternal and that the feeling of a loved one never leaves, whether they be alive or dead. And I for one bought into it, along with the various melding of genres that I mentioned earlier. Ghost may run a little too long, but that can be papered over given the investment and impact of the movie in general. Maurice Jarre is the man behind the sincere, romantic and frequently atmospheric score of Ghost, that goes a long way to accentuating the themes of love overcoming all and still burning.

Patrick Swayze has the right physicality and decency for the part of the Sam, whose desire and love for Molly is what keeps his spirit alive after he is killed. The part could easily have been bland or boring, but Swayze raises it up to a respectable level and adds his own spin on it that ensures we buy into his mission to save his beloved. Demi Moore, who has never looked more beautiful than she does here, also sells the desolation and passion of her character. And man is she damn effective in the emotional scenes, her tears cause you to shed them too. Standing out the most in proceedings is the scene-stealing Whoopi Goldberg, in an Oscar-winning performance. It is her who injects a lot of humour into the film and gives it yet another dimension. Acting as Sam’s often hilarious and sassy voice piece, Goldberg creates a character of high energy and care. It will be impossible not to laugh at just how funny she is here, being the memorable comic relief yet also finding some soulful honesty too. Rounding out things is Tony Goldwyn; appropriately nasty and sly as the backstabbing man whose actions lead to Sam’s murder. It’s a credit to Goldwyn that you really wish his character the worst and hope he gets exactly what’s coming to him.

A memorable romance that combines other genres like fantasy and sometimes tense thriller into the mix to a largely pleasing and arresting effect, Ghost will both warm and break your heart. So grab some chocolate, get the tissues at the ready and watch this romance that retains a sensitive and soulful presence today.

Weekend

Tags

2010's, Andrew Haigh, Chris New, Drama, Romance, Tom Cullen, Weekend

Film Title

Weekend

Director

Andrew Haigh

Starring

• Tom Cullen as Russell
• Chris New as Glen

A deeply arresting and genuine movie by writer/director Andrew Haigh about a chance encounter that segues into an unprepared, romantic connection between two men, Weekend is an intimate experience that reveals a personal and poignant story of finding what could be love in a short space of time.

In Nottingham, Russell is a relatively shy gay man who works as a lifeguard. While out of the closet, you get the feeling he’s not too comfortable with expressing his sexuality or embracing it. After a few drinks with his straight friends one Friday evening, he heads to a gay bar. Here he picks up Glen, who he takes back to his flat and they have sex. The next morning is when we learn more about both men. Glen is outgoing, assertive in his sexual preference and often defensive, whereas Russell has trouble really opening up and letting his guard down. Glen is doing an art project and recording the experiences he has with other men. At first, Russell feels very awkward at doing this but as talkative and commitment phobic Glen wins him over, the dynamic between them changes. What was expected to just be a bit of fun and mainly a one-night stand transforms into something very different for both of them over the weekend. Russell and Glen get more acquainted with each other as they meet up, do drugs, have sex and most importantly, forge something meaningful and not at all what either planned. Russell begins to remove the barriers he put up, while Glen struggles to come to terms with his longing for Russell that put at risk his phobia of commitment. As the connection grows and they both get more comfortable with each other, they have to contend with where this unexpected, romantic bond will go for both of them and what the future may hold as Glen will soon be leaving to live in America.

Andrew Haigh, who would later go on to direct the equally impressive 45 Years, really contributes a personal feeling to the film. As director and writer, his dialogue is so authentic and realistic that you often find yourself remembering that it is a film and not just watching two real people go through this. That’s the power of the film, you really get that intimacy and sincerity of real life through the journey of both men, figuring out what is next on the cards for them. Haigh discovers humour, pathos and romance in the gradual attraction of Russell and Glen, rounding out events with a real slice of life quality. The usage of natural lighting grounds everything in a realistic fashion, not needing any fancy edits or oodles of style to get to the point. Everything has a feeling of being a fly on the wall, which adds to the growing intimacy of the two men and the audience. Situations that are familiar to all of us; the first meaningful conversation, uneasy coming clean with buried angst and the connection of physical pleasure are all here in observant and clear-eyed fashion. Even the two main sex scenes, which while revealing and holding nothing back, have a depth as they showcase the changing dynamic of the relationship. In them, you can see these two people gaining acceptance and converging in a physical and mental way and finding solace and perhaps something else in each other’s arms . There are no big, melodramatic declarations of true love, overt tragedy or sappy ending to be found in Weekend, it is too perceptive and honest for that sort of thing. Instead, a sensitive bond that may be uncertain and unsteady yet loaded with unexpected connection forms between Russell and Glen, and is beautiful to observe. Now there are many that might label Weekend just a gay movie that only has limited appeal in terms of audience, but that does it a major disservice as it has things that will appeal to all walks of life. Topics of conversation may include aspects of defining homosexuality and prejudice, but the story itself has a far-reaching thematic value that is complimented by these insights. To be honest, the fear of getting close, awkwardness of realising attraction and confronting fears are the biggest points of the film that are observed with nuance and . I believe that anyone, no matter what your sexual orientation, will find something relatable and truthful in Weekend. It simply has a really intimate way of expressing itself through meaningful situations that seem real( as opposed to Hollywood gloss) and having a refreshing maturity and sincerity to them. And it doesn’t become pat or obvious in the long run either. As the title suggests, the film takes place within a short period of time. But that doesn’t mean that weekend is at all rushed. It favours the progressing approach that truly fleshes out both men and allows for souls to be bared and contemplate their feelings. Now if that sounds like the same old story that’s been done before, nothing could be further from the truth in Weekend. Sure are opposites who are attracted to each other, but it’s the almost documentary like execution of the piece that feels almost like a chamber work that lends a beautiful openness and emotional heft to it.

At the centre of it all are two marvellously engaging and natural performances from Tom Cullen and Chris New. Cullen possesses an affable but introverted manner that is perfectly used for Russell, who is often the more quiet of the two and not quite comfortable in his skin just yet. Complimenting this awkwardness is the bravado of Chris New, who lets us glimpse his characters reasoning for not wanting a relationship and how his show of brash attitude is something of a mask. Both performances are nuanced and organic, aiding the realistic tone of the movie and presenting two well-rounded individuals questioning things they never thought they’d have too. Plus, the burgeoning chemistry between the two is gradual and completely honest in every way. These two are simply sublime in a film that touches the soul and highlights how sometimes its easier to open up to a stranger than someone close.

A sensitive, heartfelt movie that boasts a naturalistic dialogue and unaffected, organic performances from the two leads, Weekend is a touching, perceptive and engaging film of two people finding an unexpected bond that will resonate with everyone for its universal messages and truths.

Ever After

Tags

1990's, Andy Tennant, Anjelica Huston, Dougray Scott, Drama, Drew Barrymore, Ever After, Historical Drama, Jeanne Moreau, Judy Parfitt, Megan Dodds, Melanie Lynskey, Patrick Godfrey, Romance, Timothy West

Film Title

Ever After

Director

Andy Tennant

Starring

• Drew Barrymore as Danielle de Barbarac
• Anjelica Huston as Baroness Rodmilla de Ghent
• Dougray Scott as Prince Henry
• Megan Dodds as Marguerite
• Melanie Lynskey as Jacqueline
• Timothy West as King Francis
• Judy Parfitt as Queen Marie
• Patrick Godfrey as Leonardo da Vinci
• Jeanne Moreau as Grand Dame

The Cinderella story is given a lively and entertaining retelling, with a fresh historical fiction slant and modern view of the heroine. Ever After boasts heart and good humour, along with some unexpected touches that give the often told story a new coat of shiny paint.

In Renaissance France, little Danielle de Barbarac lives with her caring father. She never knew her late mother and has been raised with kindness by her father on his farming estate. Her father marries the Baroness Rodmilla de Ghent, who comes with her two daughters Marguerite and Jacqueline. Tragedy strikes when Danielle’s father dies following a heart attack and the nastiness of the Baroness really emerges. Years later, Danielle has grown into a beautiful young woman who has been reduced to a life of servitude under her stepmother. Jacqueline is nice to Danielle, but often stays quiet as she is frightened of her mother. The estate has fallen into ruin, while most of the servants have been cruelly sold and Rodmilla frequently spends money she hasn’t got trying to afford a life of luxury she thinks she’s entitled too. Though frequently mistreated by her stepmother and spiteful Marguerite , her spirited demeanor and feisty personality provide her with the right temperament to not simply be a doormat for others. Danielle is no ones fool and is a girl who will speak her mind when she’s pushed too far. One day, she encounters a must unexpected visitor; the dashing Prince Henry. He is attempting to evade his Royal protocol of an arranged marriage and tussles with Danielle when he tries to steal her father’s horse. He offers her payment if she remains silent about seeing him. This fleeting meeting doesn’t mean much to either at first, but it sets up that they will soon meet under more different circumstances. Shortly after, using the money he gave her, Danielle attempts to buy back a servant that her stepmother sold. Dressing up in her mother’s prized dress, Danielle once again meets Henry, who slowly becomes more curious about her. Her passionate manner stirs something within Henry and Danielle too develops feelings, even though he believes she is a member of nobility. Meanwhile, Rodmilla is plotting a way back into court and hearing that Prince Henry is expected to find a wife, sees snotty Marguerite as her ticket to prominence again. As Henry and Danielle fall further into love and she wears down his snobby attitude, complications arise with Danielle feeling guilty about having to hide her true identity. Add to this the presence of wise Leonardo da Vinci, who acts as something of a guardian angel, and it’s about to get fun and adventurous.

When doing an adaptation of a well-known story, things can go either way. You can be overly traditional or go down a fresh path. Ever After takes the latter road, though it manages to still reference the original source material. Andy Tennant strikes a nice, sprightly balance with the two throughout Ever After. The magical fantasy of other versions is stripped away to focus on the budding romance and spirit of the heroine. There are still touches of tradition to be found( the masked ball and the glass slipper) but everything else discovers a fresh and vibrant take on the material and is all the better for it. framing device employed here. In it, we witness an old duchess telling the ‘real story’ of Cinderella to The Brothers Grimm. Through this usage, we get an old storybook feeling but one that is more fun and modern than a lot of other versions. The fact that it presents the story as being a legend is also a cause to like Ever After, further placing it as one of the most interesting interpretations of the tale. The romance is heightened in Ever After, finding time to develop Danielle and Henry as gradual lovers with distinct personalities. Their encounters have a charm that reminded me of an old screwball comedy, with them running into one another and not quite knowing what to make of the other in the confusion. Danielle is especially well written and defined, coming across as resourceful, kind and full of spirit. Her primary goal isn’t to discover a prince( though romance obviously does figure into things) but to help those closest to her. It is definitely the most independent and tomboyish version of Cinderella there is and for that, one of my favourites. There are languors in the pacing in patches, but the irreverent and playful events in the film more than compensate in their effectiveness. The visual style is breathtaking; largely consisting of a gilded sheen that ties in with the setting and the content on display. The location work is as sumptuous as the elegant costume design on show. And of course, the film wouldn’t be the same without its wistful and lively score to keep things generously fun and engaging.

Drew Barrymore makes for a beautifully spirited and reliable heroine in the form of Danielle. Far removed from the sometimes passive and needing a man to save her incarnations of the Cinderella, Barrymore deftly translates a feisty toughness and genuine sympathy in the part. Danielle is very much a modern woman in an old-time, a strength that the luminous Barrymore plays to and delivers on with her likable charm and clever wits. Anjelica Huston is delightfully malicious and conniving as the stepmother, who dishes out biting remarks and executes underhand sneakiness like a pro. You really can see that Huston is having a ball being so wicked and even a little seductive to. Such diva like personality and slyness is ideal and splendidly conveyed by the fine Anjelica Huston. Dougray Scott is given more to do than most with the Prince Charming part. Scott plays the snobbish yet searching Henry with just the right amount of charm, restlessness and humour that causes him to spark with Danielle. And the gentle, bristling and growing chemistry between him and Barrymore is a lovely sight to witness. Megan Dodds is a bratty and selfish presence as the quite nasty stepsister, while Melanie Lynskey sweetly plays the kinder sibling. Humour and great support comes courtesy of Timothy West and Judy Parfitt, who star as the king and queen who can’t quite seem to work out their son. And special mention must go to Patrick Godfrey’s work as Leonardo da Vinci, whose inspiring speeches and pushes for romance helps Danielle and Henry get closer. The appearance of Jeanne Moreau as the narrator adds immense class and room to reflect, as her voice is so engaging and full of deep wisdom.

A lovingly rendered and fun take on a classic story, Ever After springs to life with both intelligence and care. It all contributes something strikingly modern film with a great protagonist who is anything but a damsel.

Last Chance Harvey

Tags

2000's, Drama, Dustin Hoffman, Eileen Atkins, Emma Thompson, James Brolin, Joel Hopkins, Kathy Baker, Last Chance Harvey, Romance

Film Title

Last Chance Harvey

Director

Joel Hopkins

Starring

• Dustin Hoffman as Harvey Shine
• Emma Thompson as Kate Walker
• Eileen Atkins as Maggie Walker
• James Brolin as Brian
• Kathy Baker as Jean

An undemanding but still mostly successful and at times moving romantic drama, Last Chance Harvey gets by on the lovely rapport shared between stars Dustin Hoffman and Emma Thompson who breathe a layer of maturity and emotion to the piece.

Harvey Shine is a jingle writer who has seen better days. Lately, his job has become numbing but he still slaves away as it is his way of income. Yet his output of late has caused his employment to hang by a thread and his boss warns him that he has only once chance left to prove himself. Travelling to London for the wedding of his daughter, Harvey feels further alienated when he finds out his daughter wants her stepfather to give her away. Granted, Harvey’s relationship with his daughter has been strained since his separation from her mother, but he still feels devastated by this information. Leaving the ceremony to avoid any further embarrassment, he rushes to the airport to catch a plane home. He misses the flight home and is subsequently informed that he has been fired from his job. He meets airport worker Kate while drowning his sorrows in the bar. She is a woman who has all but given up on love, and is unwilling to try it again. Kate pours her energies into supporting her elderly mother, who is paranoid and always pestering Kate over why she doesn’t have a man in her life. Bonding over their respective lives and what they want out of it, Harvey and Kate develop a mutual and unexpected attraction that they believed wouldn’t touch them at this time and can promise them another chance at companionship.

Joel Hopkins does a decent job directing, though he doesn’t quite have a real style or calling card to stamp his name. It’s in his screenplay that warmth and pathos come, despite the sidestep into mawkish territory on occasion. Often, Last Chance Harvey can lurch between humour and comedy without much of a pay off, which could have been rectified with more substance. And while that stuck out at times, there was a level of sincerity and honesty to the screenplay that compensated for the flaws. I think my biggest niggle with the film was that it could have had a lot more going for it story wise. I mean, I did enjoy the wistful and soul-searching parts of the friendship that blossomed into romance but I felt there should have been a little bit more drama to buttress things. I’m a guy who enjoys gentle and autumnal like the best of them, and I really found myself enjoying quite a bit of the chemistry between the great actors present. Just a tad more life and a bit of something else sprinkled on would have made the film really excellent. As it stands, Last Chance Harvey loses some points for flagging interest yet gains just as many by finding pathos in the ideas of two middle-aged people discovering a love they thought had left them long ago. It’s refreshing to see a movie deal with attraction between people in middle age, most romances seem to favour the youth formula. The depth of the film comes from the fact that these two characters are older and wiser, but still relatable and looking for something more. When the humour and drama hit, they hit very well and raise Last Chance Harvey to a better level that while still flawed, has its heart in the right place. The movie is the equivalent of an old blanket, it has its wrinkles and though this is the case, you find it reassuring and stirring.

Last Chance Harvey’s biggest impact comes courtesy of two stunning performances from Dustin Hoffman and Emma Thompson. As the worn out and awkward man who feels a deep void of loneliness, Dustin Hoffman is quietly nuanced and touching, while bringing some bumbling humour to it too. Emma Thompson gorgeously plays the woman who makes an impact on him unexpectedly, with a natural and lovingly observed sense of cautious longing and warmth. It’s pleasing to see them act opposite each other and bring out the respective best each has. These two professionals share a beautifully unaffected chemistry that overcomes any clichés the script offers up, and succeed at saying more with just a glance or a smile than most actors can with tons of dialogue. Eileen Atkins offers up some really good humour as the dotty mother, convinced that something fishy is going on around her when it’s actually quite the opposite. While Atkins has a good time in the supporting role, James Brolin and Kathy Baker are handed one-note characters who don’t particularly contribute to the story is any real way.

It is not a film that has much in the way of fresh ideas or a clear-cut idea of where it’s going which is often too it’s detriment. But the moving and natural work from the main actors and a sometimes bittersweet look at people discovering possible love in middle age, Last Chance Harvey is gentle and has clout that makes it a sweet and heartfelt ride. See it for Hoffman and Thompson.

Someone to Watch Over Me

Tags

1980's, Andreas Katsulas, Jerry Orbach, Lorraine Bracco, Mimi Rogers, Ridley Scott, Romance, Someone to Watch Over Me, Thriller, Tom Berenger

Film Title

Someone to Watch Over Me

Director

Ridley Scott

Starring

• Tom Berenger as Mike Keegan
• Mimi Rogers as Claire Gregory
• Lorraine Bracco as Ellie Keegan
• Jerry Orbach as Lt. Garber
• Andreas Katsulas as Joey Venza

It isn’t the best movie from Ridley Scott, but Someone to Watch Over Me is shamelessly overlooked and underrated for its atmosphere and visual style. A romantic thriller that looks at differences in lifestyle and appearance, the thriller aspect lacks but the rest of the piece, namely the acting and direction, make it a watchable and at times intriguing movie.

Mike Keegan is a recently promoted police detective who lives with his wife Ellie and young son Tommy in Queens. His marriage is stable and he is largely good at his job, so everything is going quite swimmingly. Then he gets the call to come in after a murder is committed. A criminal by the name of Joey Venza killed a businessman who he thought squeezed him out of a deal before their partnership severed and it was witnessed by the beautiful Upper East Side socialite, Claire Gregory. Mike is assigned to protect Claire and provide round the clock support as she is clearly in danger. If any evidence is brought forward, Venza will most likely be charged. Claire’s testimony is what this cast stands on and Venza makes it his priority to silence her. At first, Mike and Claire aren’t exactly friendly; his tough demeanor is at odds with her aloofness and the obvious difference in backgrounds is pretty noticeable. Yet, as he continues to watch over her, he develops romantic inclinations for her that are reciprocated. He gets a glimpse into the high life of extravagance and she lets her icy guard down. This poses obvious problems for Mike as he does really love his wife Ellie deeply, yet is unable to deny the attraction he has for Claire. At the same time, Claire is menaced by Venza, who threatens to kill her if she talks anymore about what she saw him do. Add to this situation the fact that Ellie is growing very wary of Mike’s devotion to the case, and things look like they will be very complex for everyone here.

The film is directed with exceptional finesse by Ridley Scott, whose stamp of luscious and enviable imagery and depth of cinematic quality is in good supply. There is a real elegance to Scott’s direction that juxtaposes the glamour of the Upper East Side with the working class Queens to striking effect, while giving that sheen of sophistication you can always count on in something directed by Ridley Scott. He knows how to visually bring out the themes at hand, here it is someone from the outside looking in along with society and lifestyles, that are rendered with impressive results. Now while Someone to Watch Over Me is billed as a romantic thriller, the elements of thriller can sometimes be a bit lacking. That isn’t to say there isn’t any tension or suspense because there is, but the main focus is more the unlikely romance between Mike and Claire than just action. The film functions better as a study of two people who are almost opposite in every respect unusually finding a mutual attraction in possibly dangerous circumstances. That’s where the real force of the film lies, despite it being straightforward and displaying parts that are a bit implausible. If you concentrate more on the romance aspects and the look at people, Someone to Watch Over Me is frequently quite riveting and engaging. The main thing that marks the movie down in my estimation, despite it being still very watchable, is that is lacks the special something that Ridley Scott movies usually have. Despite this hiccup, the smoky atmosphere leaves a lot to be thankful for, helped in no small part due to the lovely jazz music that features heavily. The growing attraction between Claire and Mike is kept to a classy level which actually makes it more interesting because of the subtlety, you didn’t need overly sexual scenes to convey their sparks.

Tom Berenger fares well as the tough guy who unexpectedly finds himself straying from the marriage bed by someone who is completely out of his league. Berenger finds the right understated note to play Mike, that allows him to be cynical and hard-boiled on the job and more sensitive when the occasion calls. The beautiful Mimi Rogers has the class and poise for Claire, while underscoring that for all the glamour she has, houses a void of loneliness that is suggested through Rogers’ subtle face. She has become accustomed to this life of privilege and enjoys it, but with everything going on, she finds companionship of an unusual sort with Mike that allows her to open up. Her quiet and fearful demeanor are played extremely well by Rogers in a way that is understated and demure. But the best performance in Someone to Watch Over Me comes from Lorraine Bracco. As the dutiful but outspoken wife of Mike, she nails the suspicion and attitude of the woman, who knows that something is definitely not right and wants answers. Bracco has an unpretentious and open delivery which coalesces with the heart of Ellie to form a well-tuned piece of work, from what could have been a throwaway part of a wallflower. Jerry Orbach is fun to watch in a supporting role of grizzled police lieutenant who appoints the job of watching Claire to Mike, while Andreas Katsulas has a face made for a villain that is used very effectively as the criminal trying to eliminate any chance of a life sentence.

So while the story is quite simplistic and some of the thrills could have had a bit more punch, Someone to Watch Over Me should be more well-known and appreciated for the stylish way that Ridley Scott shoots it and brings it to life.