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.

The Vow

Tags

2010's, Channing Tatum, Jessica Lange, Michael Sucsy, Rachel McAdams, Romance, Sam Neill, Scott Speedman, The Vow

Film Title

The Vow

Director

Michael Sucsy

Starring

• Rachel McAdams as Paige
• Channing Tatum as Leo
• Jessica Lange as Rita Thornton
• Sam Neill as Bill Thornton
• Scott Speedman as Jeremy

The Vow says that it’s inspired by true events, but any hope for something to invest your time in is destroyed by a sappy and schmaltzy approach that hinders just about everything in the film and makes it forgettable. There was a story here, but it just got lost under all of this corniness.

Young married couple Leo and Paige are madly in love and in a very good place where it appears nothing can touch either of them. They are crazy about the other and both are doing well job wise; Leo has recently opened a record studio and Paige, an art student, is currently crafting a sculpture for an important part of her course. But everything takes a sharp turn when they are both injured in a car accident. Leo comes out with only a few bruises, but Paige suffers damage to her brain that she has to be put in a coma. When she does wake up, she can’t remember anything of her time with Leo. It is as if the last five years of her life have been erased and she still believes that she is living in the past. Leo is understandably devastated by this, but being so devoted to Paige he makes it his mission to woo her again. He hopes that this will help her regain her memories and despite the protests from her estranged parents who come back on the scene, he resolves to do whatever he can to get the woman he loves back. This going to be a lot more difficult than he imagined as Paige seems to gravitate more to how she used to be, which includes the reappearance of her ex boyfriend Jeremy. Yet can Leo really win Paige back with his attempts before it is too late for them anymore? Or is any attempt futile for Paige as she is torn between everything she had and what she could have, due to the gaps in her memory?

Michael Sucsy is I’m sure a good director, but his hand isn’t that assured with The Vow. Though having said that, I think most directors would struggle to make this have an ounce of credence. Although inspired by true events, which I’m sure where a lot more dramatic and heartfelt than what was depicted here, The Vow just simply ambles along the rote formula of romance that isn’t the slightest bit credible. If the film makers had kept the film grounded in some feeling of sincere emotion, then The Vow could have been passable. I get that this is a Hollywood version of the story and some of it is bound to be embellished, but I would have preferred a bit more soul to the whole enterprise. Seriously as I’m writing this review, I am struggling to find something memorable in the film, which is proving a losing task as there is nothing really that redeemable. It moves from one cliché to the next within minutes, with barely anything ringing true in my mind. Sure the premise is one that is definitely emotional, but I wasn’t really touched that much by The Vow, only in fleeting moments that I can count on one hand. And it’s so shamelessly manipulative with what it wants you to feel, but even then, it doesn’t induce the misty eyes it strives to elicit. The visuals are bright and glossy which is pleasing enough, but if more attention was given to the story than crass button-pushing, The Vow may have been at least bearable. I found myself wanting something more real and not as predictable as the end result, sticking to the basis of story and not just going for sudsy melodrama might have helped. And not even a sweet score and soundtrack went any way in making this film an easy pill to swallow.

The pairing of Rachel McAdams and Channing Tatum is a nice one, despite the fact the characters are like cardboard cutouts more than people. Both of them are too talented for this sort of film, but try to bring something else. Sadly, that doesn’t come out and even though the chemistry is fine, the writing of the characters undoes any of the attempts made by McAdams or Tatum to make this credible. The blame can’t be put at their door as they at least attempt to salvage the mess, yet the tide of mediocrity from The Vow as a whole is too much against both appealing stars. The same sadly goes for Jessica Lange and Sam Neill, who are both given roles that are one-note to say the least, (that note being nasty and manipulative as Paige’s parents.) Once again, both actors are commendable in their endeavors to save this boring film, but are relegated to underused and not at all given an inch to flex their known skills. I mean, if you are going to hire actors of renown at least give them something to do, that isn’t asking for much is it? Scott Speedman, who has been very good in other movies he’s been in, is also stranded with a role that has no scope, that being the asshole ex of Paige.

So I must say The Vow just wasn’t the film for me. I found myself really disconnecting from it as it walked down the trite road to slush fest.  The story had definite potential, but it never went anywhere for me.

Message in a Bottle

Tags

1990's, Drama, Illeana Douglas, Kevin Costner, Luis Mandoki, Message in a Bottle, Nicholas Sparks, Paul Newman, Robbie Coltrane, Robin Wright Penn, Romance

Film Title

Message in a Bottle

Director

Luis Mandoki

Starring

• Robin Wright Penn as Theresa Osborne
• Kevin Costner as Garret Blake
• Paul Newman as Dodge Blake
• Illeana Douglas as Lina
• Robbie Coltrane as Charlie

A totally trite, over familiar and plodding romance, Message in a Bottle only holds the attention for the cast and some lush scenery. Other than that, this film is one to avoid as it is predictable with a capital P and not even enjoyably predictable.

Theresa Osborne is a researcher who works for the Chicago Tribune. One day while on the beach after finishing a story in Cape Cod, Theresa unearths a message in a bottle washed up on shore. Inside, she finds a heartfelt love letter to a woman called Catherine, signed with the initial G. Theresa is moved and curious about the letter and decides to discover just who wrote it and where it came from. Her research, thanks to help from work and friends that reveals more letters, leads her to the Outer Banks of North Carolina and to a man identified as Garret Blake. She travels to the area and approaches Garret, not telling him about the letters she discovered. Garret is an emotionally shut off man who furnishes boats and largely keeps to himself. This arose from his wife( the Catherine of the letter), and her death in childbirth two years before. Gradually, Theresa begins to warm to Garret and he in turn slowly lightens in her presence, planting the seeds of undeniable attraction. Though while Garret has still not gotten over his wife’s death and nurses his feelings quietly, his wise, irascible father Dodge prods him to take a chance with Theresa. Sure enough, love slowly blossoms for them. Yet Theresa can’t help but fight internally with the knowledge that she hasn’t told Garret of how she came into contact with him, which would no doubt change the burgeoning love between them.

Luis Mandoki has shown real greatness as a movie maker, but his outing in this venture is sadly one of his lesser achievements. It isn’t that he doesn’t direct well, he is just unable to bring anything really excellent to a film that is wholly unrealistic. Believe me, no amount of embellishment could make this a winning movie. This film is based on a book by Nicholas Sparks, which really should have been a forewarning of the quality presented. But as usual, I thought to myself I may as well try it and see if it confounds my expectations. Sadly, the film left me begging for the shore as it was so stranded in unrealistic and schmaltzy moments, that failed to resonate with me. Now I’m no cynic and I like a good romance as much as the next person( even sometimes ones that are predictable), but I didn’t find much to praise or be entertained by in Message in a Bottle. Instead the hallmarks of the Sparks factory where on full parade; rain-soaked confrontations, overlapping scenes of letter reading and just cringe-inducing sweetness. Even when the film reaches the stages of being tear jerking, it just doesn’t have the required impact because the whole script and story has been so utterly clunky and it doesn’t take a rocket scientist to figure out how Message in a Bottle will conclude. Contrary to my disdain for the overall movie, it did have its virtues. One is the lovely cinematography that feels so idyllic and luscious among the many instances of water, that you can’t help but marvel at the lighting and palette it has going for it. And to be honest, the score wasn’t to bad either. The problem is that the sappy soundtrack got more play time in Message in a Bottle, which made it sugary as a sweet shop.

Hope is found however in the work from the main cast, who are well above this material and add some of their abilities to make this not a flat-out failure. The glowing Robin Wright Penn manages to ring emotion and vibrancy out of her character; with a smile that lights up the screen and a soulful, unaffected delivery. Kevin Costner’s strong and stoic type is not much of a stretch in terms of the acting muscles, but it is the actor’s strong suit and one that he mines pretty well here. Stealing the show however are the bright eyes and undying charisma of Paul Newman, playing Costner’s salty but helpful father. Newman is a real hoot and at times a very owlish presence and with him being an old pro, he brings a hell of a lot more to the part than I’m sure was intended. The film picks up whenever Newman is around and sinks back into boredom once he isn’t there, because his mere aura is one of fine acting and spirit. Illeana Douglas and Robbie Coltrane pop up in supporting roles, but neither is given an opportunity to do anything of note.

So in the end, Message in a Bottle is a film that has moments of goodness but nothing in the way of exceptional quality, except the work of the main cast. Put simply, Message in a Bottle is a film totally lost at sea.

Falling in Love

Tags

1980's, David Clennon, Dianne Wiest, Drama, Falling in Love, Harvey Keitel, Jane Kaczmarek, Meryl Streep, Robert De Niro, Romance, Ulu Grosbard

Film Title

Falling in Love

Director

Ulu Grosbard

Starring

• Robert De Niro as Frank Raftis
• Meryl Streep as Molly Gilmore
• Jane Kaczmarek as Ann Raftis
• David Clennon as Brian Gilmore
• Harvey Keitel as Ed
• Dianne Wiest as Isabelle

A gentle and subtle romantic drama, Falling in Love scores points for the pairing of Robert De Niro and Meryl Streep. Yet it is often achingly slow and some of the dialogue is particularly trite. Goodness can be gleaned from the tentative story and some of it is darn effective in the emotional stakes, but I did expect a bit more from this film than it offered up.

While out shopping for Christmas presents for the respective families, New Yorkers Frank Raftis and Molly Gilmore meet accidentally and a result, their presents get switched. Both don’t think much of this first meeting as they are both happily married, so they continue with their work and families; Frank is an architect, while Molly is a graphic designer. On the train a few months after, they encounter each other again and strike up a conversation. They soon find that they have fun together, and from this point on they meet for friendly talks, often on the train or in a cosy bookshop. What neither Frank nor Molly intended or expected was that this friendship would soon evolve into feelings of love for the other. Even when they are apart, they can’t stop thinking of the other and their feelings only become more difficult to ignore. Although their relationship remains chaste, they have fallen deeply in love with each other unintentionally, which causes all matter of problems as both don’t know how best to deal with these pangs of romance without hurting anyone.

Director Ulu Grosbard manages to ring quite a bit of romance and bittersweet feeling from the largely predictable story, yet it can become a tad heavy-handed at times. He works best when setting up both Molly and Frank, having scenes mirror each other and give growing voice to the quickly growing infatuation. Which brings me on to the topic of the film’s execution, which is mainly one of subtle ruminations and underplayed pacing, that eventually drags in the attempts to be serious. I mean I am all for subtlety in movies, heck anyone who follows my blog will know that I am rather fond of subdued execution and natural delivery. But in Falling in Love, despite the fact that I really felt for both characters and their internal dilemmas, it was just a bit too subtle for its own good. For me, it needed something to pep it up a little and give it more power, instead of settling for the underplayed approach that became too slow. What Falling in Love does get right is a gentle emotion of uncertainty and trepidation for the main lovers, they are shown as ordinary people with complicated feelings, just like everyone else. Though the dialogue varied into clunky territory, the star power of De Niro and Streep helped make it somehow relatable and sincere. And the fact that their relationship remains one of deep love that can’t quite be fulfilled and is far from overly sexual was a bit of a refreshing break from the norm. While the slow and unraveling approach feels appropriate at first, it becomes laborious and then the film starts to feel hackneyed by clichés. The music provided was pleasing at first, but it felt just way to sweet and corny in moments that were supposed to be serious and romantic. I think I was just wanting a bit more from a film like this overall than what the full product emerged as, despite my liking of some of it.

If there is something that makes Falling in Love at least a film that registers on some level, it has to be the lovely performances from Robert De Niro and Meryl Streep. They both convince as everyday people, who are taken aback and more than a little surprised by an unexplainable attraction that could spell bad things for their lives. Robert De Niro dials it down to play Frank as a decent man with a sense of humour and quiet depth that is most befitting of the character. Meryl Streep matches him with a sincere charm, flashes of humour and undercurrent of disbelief in what transpires between the two. They truly work beautifully together; hinting at the feelings between the two that for the most part can’t be acted upon, but are palpable. And their chemistry more than makes up for the slight script, breathing pathos into the dialogue with their respective skills and acting abilities. If there is a redeeming quality to Falling in Love, it lies within the work of these immensely talented actors. Jane Kaczmarek is well served with the role of Frank’s wife, who senses that something is going on, though David Clennon is a might too bland as Molly’s husband. Harvey Keitel and Dianne Wiest do what they can with their supporting roles, though the main thing you’ll remember from Falling in Love is De Niro and Streep.

The two main actors in Falling in Love are the biggest reasons for watching it, as well as the feelings it emits, but the whole production just lacks that extra bit of power to raise it higher. At least, Robert De Niro and Meryl Streep work beautifully together and ensure you feel for them.

Hope Floats

Tags

1990's, Drama, Forest Whitaker, Gena Rowlands, Harry Connick Jr, Hope Floats, Mae Whitman, Michael Paré, Romance, Sandra Bullock

Film Title

Hope Floats

Director

Forest Whitaker

Starring

• Sandra Bullock as Birdie Pruitt
• Harry Connick Jr as Justin Matisse
• Gena Rowlands as Ramona Calvert
• Mae Whitman as Bernice Pruitt
• Michael Paré as Bill Pruitt

Its predictable and not much in the way of a surprise happens in it, but within its framework of a romantic drama, Hope Floats gains points for sturdy direction from Forest Whitaker and a moving performance from Sandra Bullock.

Birdie Pruitt thought she had a great life with her husband Bill. That was until she discovered that he had been having an affair with her best friend. To make matters even worse, this surreptitious relationship is revealed on a television show where Birdie thought she was going for a free makeover. Reeling from her husband’s betrayal and humiliated beyond belief, Birdie packs up her car and moves back to her Texas hometown with her young daughter Bernice. She doesn’t particularly want to go back home, but it appears to be the only place she can get as her eccentric mother Ramona is still there. Her mother is a get up and go lady who tries to help her daughter, though this is a big hurdle at first. Young Bernice is also miserable because she loves both of her parents, but being a child doesn’t quite understand the complexity of the situation and to top that off, she doesn’t fit in at her school. Birdie was once the popular girl in town who was elected Prom Queen and made the cheerleading squad, which made her the envy of a lot of girls. Now that she’s back in town and going through a rough time, her enemies and old acquaintances seem more than happy to see her on her knees. Potential support and a lift out of the doldrums takes the shape of old friend Justin Matisse, a good-hearted and handsome man who always had his eye on her in younger days. Slowly and with help, Birdie begins to take stock of her life and emerge from her hurting shell to experience life again through new eyes.

Forest Whitaker is in the directing chair and his vision is quite promising and colourful, even if the script is basically ticking off all the things you expect from this kind of movie. Whitaker’s direction is quite simple and allows the emotions to flow freely, giving the actors chance to do their thing. To summarise, Whitaker has a gentle and amiable touch to the film that while not anything revolutionary, provides you with something to smile about in the long run. What Hope Floats does that sets it apart from others if only by a small margin, is the way that it gets you to connect with the characters. There are moments of genuine poignant feeling in it that I will admit stirred my heart and soul. Yes I know it is schmaltzy and not a film that is going to get my brain working, but the sentiment of confronting life and rebuilding yourself worked its magic on me. Hope Floats isn’t afraid to show the difficult things in life that we go through, which makes the uplifting pervading tone as it goes on all the more arresting, albeit in an unoriginal though nonetheless pleasing way. The romance between Birdie and Justin in Hope Floats is a tentative yet nicely played one; it yields funny and affable results after much deliberation from Birdie after she begins to rebuild her life after licking her wounds. The easy visuals of sun dappled rivers and hued fields backs this up exceedingly well and you really can slow feeling Birdie warming up to Justin, apprehensively yet slowly letting that barrier come down. The biggest stumbling block in Hope Floats is that it sometimes stays too long on one situation, when it needs do get to the next point and could do it quite easily. That being said, the building charm and healing story more than compensate for that. A gentle selection of songs has a soothing edge that is just right for that stirring feeling Hope Floats is going for.

Sandra Bullock heads the film with a sensitive performance, gradually revealing a woman pulling her life back together after suffering immense embarrassment. Slowly, the effervescence we all love about Bullock comes out, but seeing her unaffected delivery and touching appeal in a lot of Hope Floats compliments the film very well and shows her twin talent of beings charming and convincing. It’s a quality performance that sells the sentimental nature of the film and rings pathos from it through an understated delivery that builds to a lovable unearthing from the luminous Bullock. Harry Connick, Jr is pretty impressive as the confident cowboy style guy who little by little breaks down Birdie’s blocks. The part is mainly there to be the dreamboat hunk, but Connick Jr is darn good at being amusing too. Gena Rowlands is an utter delight when playing the wildly dressed, pull yourself up by your bootstraps mother who attempts to help her daughter, in something of a roundabout and unusual way. Rowlands is thoroughly divine in the film and almost steals the show with her no cares what anyone thinks persona and amusing timing. As the young daughter of Birdie, Mae Whitman is marvellously mature and engaging, not coming off as just another child actor. Instead, she holds her own against her more experienced co-stars and positively shines as the little girl trying to understand what is going on. Michael Paré is there to play the jerk who cheated on Birdie, yet has scant little else to contribute.

Not exactly the most deep or challenging movie, but nor is it trying to be. Hope Floats goes straight for the heart and scores highly on that rating, bolstered also by a touching emotion to it. Clichéd as it is, I couldn’t help but be emotionally engaged with Hope Floats.

Dangerous Beauty

Tags

1990's, Based on a true story, Catherine McCormack, Dangerous Beauty, Drama, Fred Ward, Jacqueline Bisset, Marshall Herskovitz, Moira Kelly, Naomi Watts, Oliver Platt, Romance, Rufus Sewell

Film Title

Dangerous Beauty

Director

Marshall Herskovitz

Starring

• Catherine McCormack as Veronica Franco
• Rufus Sewell as Marco Venier
• Oliver Platt as Maffio Venier
• Jacqueline Bisset as Paolo Franco
• Fred Ward as Domenico Venier
• Moira Kelly as Beatrice Venier
• Naomi Watts as Giulia De Lezze

Taking basis from the true story of 16th Century courtesan and poet Veronica Franco, Dangerous Beauty is an underrated movie that finds a somewhat inspiring and passionate tale in the journey of a trailblazer who gained both respect and scorn.

16th Century Venice: women are seen as property and marriage has nothing to do with love, more for the sake of duty and money. Veronica Franco is a beautiful young girl with a passion for verse and desire for learning. She is of lowly birth, yet has a kittenish disposition that covers this. Young and passionate Veronica is in love with Senator’s son Marco Venier, and he returns that love. Yet due to the fact that she is of inferior birth and that her family can’t provide a dowry, the two can never marry. Devastated by this knowledge, she is consoled by her mother Paolo. Her mother then gives Veronica a talk on a path to that could liberate her to a comfortable existence. The profession in question is being a courtesan. Hearing this surprising advice from her mother, Veronica recoils at first at the idea of selling her body for profit. But once she hears that courtesans can have a sense of influence and rights to an education, she takes note. Forsaking her love for Marco, Veronica transforms due to her burgeoning intelligence and drive into a courtesan of which she becomes greatly renowned. Veronica finds her fortunes changing and her reputation growing, both for better and for worse in some quarters. She gains respect from a lot of people higher up the social ladder, yet earns the hate of ladies who see that their husbands could very well be Veronica’s clients. Her poetry flourishes and though the world that she inhabits is male-dominated, through her intellect and passion she gets a foothold in society. Yet Veronica, while gaining independence, craves the love of Marco secretly yet understands the precariousness of standing. Fate has other plans however as war brews, plague arrives and the Inquisition takes residence in Venice. Veronica is forced to testify in court about her life, to which she shows her mettle and takes aim at the hypocrisy of society in unconventional style.

A film like Dangerous Beauty had the potential to be overly sleazy and trashy, so it’s good that it steers clear of both by way of confident and understanding direction. Marshall Herskovitz has this innate ability to sympathise with the characters, mainly in the case of Veronica. He doesn’t pass judgement on her despite the profession she embarks on, portraying her more as a girl who takes the initiative in order to prosper in a world that is obsessed with social standing and class. A script filled with drama, romance and wittiness, stands Dangerous Beauty in good stead as it busts apart the hypocritical attitudes of the time and especially the burdens on women in general. The parts of humour, provided mostly by Veronica and her excellent way with words, moves the story along with a brisk pace that doesn’t scrimp on the deeper parts of the story either. Now with Dangerous Beauty being a film about a courtesan, there is a sexual tone to the movie. Yet as sensuality is presented, it is done in a way that isn’t just about naked bodies and sweating. Sex is a power play in a sort of way in Dangerous Beauty, exposing how women were looked at in the time but how Veronica switched it up with her untamed personality. There are some areas where the film can be a little uneven, but Dangerous Beauty is not harmed by this thankfully as its story and execution remain intact. Beauty is glimpsed through the vast array of colour that features heavily, the visual department really knock it out the park recreating 16th Century Venice. An expressive score encompasses the humour, drama and passion on display with beautiful shifts in emotional levels.

Catherine McCormack delivers a splendid performance here as the soul of the film. Imbuing Veronica with a keen intention to learn, seductiveness and later outspoken feeling, she truly is a marvel. Boasting a beauty yet a heart and desire, you can’t quite take your eyes off her. Plus, her interpretation of the often witty and poetic words Veronica speaks are both fun and refreshing. McCormack is simply like a breath of fresh air, boasting the right temperament and conviction for the part of a woman who refused to be compromised by chains and retained dignity. The character of Veronica Franco is supposed to stand out and man does Catherine McCormack do just that. Rufus Sewell exhibits a sensitivity and sense of conflict within nobleman Marco, who knows that he loves Veronica but is obliged by duty to marry someone else. We witness the stiffening of his backbone as Dangerous Beauty commences and he begins to change. One of the biggest stand outs after McCormack is Oliver Platt. He essays the role of Marco’s cousin who isn’t as well off as he and whose jealousy burns that Veronica’s poetry flourishes with a chance of money while his dwindles. Although the character is a wastrel, there are many notes of tragedy to him. Jacqueline Bisset is simply terrific as the extremely wise mother who instructs her daughter into the ways of a courtesan under her watchful eye. She boasts a delightfully observant cynicism that has been shaped through her years as a young woman in a male-dominated world and the way in which she can educate her daughter in how to gain something. Then we have Fred Ward who clearly has a ball with the role of Marco’s uncle, playing him with a wily understanding of his nephew’s needs and a genuine respect for Veronica, where others scorn her. Though largely in the background for a lot of Dangerous Beauty, Moira Kelly comes into her own later on with a scathing attack on the unfair treatment of women in society. And look out for an early role from Naomi Watts as the timid and dutiful wife chosen for Marco.

A satisfying and beautifully rendered drama of one woman and her integrity, Dangerous Beauty is sumptuous, fresh and at times quite funny. I greatly advise people to see this film as it is a pretty underappreciated one in my eyes.

Breakfast at Tiffany’s

Tags

1960's, Audrey Hepburn, Blake Edwards, Breakfast at Tiffany's, Buddy Ebsen, Drama, George Peppard, Martin Balsam, Mickey Rooney, Patricia Neal, Romance

Film Title

Breakfast at Tiffany’s

Director

Blake Edwards

Starring

• Audrey Hepburn as Holly Golightly
• George Peppard as Paul Varjak
• Patricia Neal as 2-E
• Buddy Ebsen as Doc
• Martin Balsam as O.J. Berman
• Mickey Rooney as Mr Yunioshi

An iconic romantic drama that boasts many memorable images that have burned themselves into pop culture forever, Breakfast at Tiffany’s is simply gorgeous and delightfully made.

The film centres around the beautiful Holly Golightly, a New York City party girl who enjoys the gifts from the many men in her circle. She is something of a kooky young lady with strange mannerisms, that are nonetheless charming. One day in her apartment block, struggling writer Paul Varjak moves in and by chance bumps into the wild Holly. He soon becomes entranced yet bewildered by the young lady who lives below. She throws huge parties that are pouring with energy and drink, yet underneath Holly appears to be a very different person. She puts across that she is an independent girl who desires to be free from constraints, but at the same time you can tell that she is really searching for something more. The money she gets from men is something to help her with her life, but she would love someday to discover her true self. Paul observes Holly from a distance, as he is something of a kept men of an older women he nicknames 2-E. Slowly, he falls for Holly though she is often at odds with how he is feeling. Will Holly ever let the mask slide and discover happiness that doesn’t come from money?

Director Blake Edwards hits all the right notes of comedy, romance and drama here. He stylishly crafts the slightly unusual tale with a deep heart that is wistful as it is observant of the two principal characters. It is a gorgeous love letter to New York City, which makes the place positively sparkle from beginning to end. The film is loosely based on a novel by Truman Capote and from what I’ve heard toned down from the source material. Now I haven’t read the book so I can’t really judge, but I found Breakfast at Tiffany’s a lovely film. Due to censorship of the time, various parts of the story were glossed over. The biggest one is what Holly does for a living( of which I’m told in the book she is a call girl). As shown in the film, she seems to be a girl who enjoys the company of men and having a good time. Yet watching through modern eyes, there are areas where sometimes it gives an insight into Holly’s professional life. The same goes for Paul, who appears to be something of a gigolo himself. I found these parts of the movie interesting as while it is toned down and done subtly, you can get parts of the film that reference these things quietly and not in your face. The movie neatly balances romance and laughs throughout it. Yet many may be surprised by the percolating tone of melancholy that runs through it, mostly in the shape of the conflicted Holly. And if you’re talking about a film of iconic moments, Breakfast at Tiffany’s is practically overflowing with them. There is the opening where Holly observes Tiffany’s from outside in a beautiful black dress and sunglasses, that still influences fashion today no doubt. Then we have Holly crooning ‘Moon River’ on her fire escape as a bewitched Paul watches. And I can’t forget that lovely rain-soaked kiss that occurs and is romance at its most glorious. One of the most successful parts of the film is the score from Henry Mancini, that hits the notes of romanticism and wistful sadness perfectly, including the aforementioned ‘Moon River’. All of these elements fuse together to craft an entertaining and magical experience that has remained evergreen.

This film ultimately belongs to Audrey Hepburn, who is enchanting as the wild and kooky Holly. She displays the zest for life of an extrovert perfectly, showing a disarming and amusing young lady. But the biggest achievement of Hepburn’s performance is how well she shades the character. Holly is a somewhat complex character of contradictions and Hepburn marvellously gets all the sides across. She’s funny, witty yet underneath it melancholy and searching for meaning. It’s a wonderfully constructed performance from a luminous Audrey Hepburn, who never looked lovelier than she did here. George Peppard sensitively plays the curious Paul, who is enchanted by Holly yet frustrated by her outlook on life and men in general. The two share a somewhat unusual chemistry that begins as friendly and then moves into love as Paul discovers the extent of his feelings for the kooky Holly. In supporting roles, Patricia Neal is cynical and sexy as Paul’s benefactor and Buddy Ebsen has the required sadness for playing someone from Holly’s past. And Martin Balsam is a smooth and perceptive presence as Holly’s agent, who sums her up perfectly with the line “She’s a phony, but she’s a real phony”. The only flaw that can be found in Breakfast at Tiffany’s is Mickey Rooney portraying Holly’s Japanese landlord. Not only is the role racist and very offensive by today’s standards, it is supposed to be funny in the film but is cringe inducing and grotesque to watch.

Directed with style, laced with humour and pathos, as well as a superbly radiant Audrey Hepburn, Breakfast at Tiffany’s is a classic for a reason. They simply don’t make them like they used to and this is one of those films that retains a magical glamour.

On a Clear Day You Can See Forever

Tags

1970's, Barbra Streisand, Fantasy, Jack Nicholson, Larry Blyden, Musical, On a Clear Day You Can See Forever, Romance, Vincente Minnelli, Yves Montand

Film Title

On a Clear Day You Can See Forever

Director

Vincente Minnelli

Starring

• Barbra Streisand as Daisy Gamble/ Lady Melinda Tentrees
• Yves Montand as Dr. Marc Chabot
• Larry Blyden as Warren
• Jack Nicholson as Tad

An unusual and visually opulent musical/ romantic fantasy, On a Clear Day You Can See Forever is an oddity, but a visually entrancing one that has a dream like effect and Barbra Streisand to boot.

Daisy Gamble is a scatterbrained, kooky New Yorker who seems to possess strange gifts. For example, she can tell when a phone is about to ring and can cause flowers to grow wildly. Though because she is more than a bit absent-minded, she puts these powers down to nothing and doesn’t give them much thought. While Daisy is slightly zany, she has a priggish fiancée named Warren who always wants to make an impression and chides Daisy for some of her behaviour, particularly her chain-smoking. He suggests she find someone to help curb her habit before an important party they must attend. One day she wanders into a lecture on hypnosis by Dr. Marc Chabot and is herself briefly put under it. Chabot grows curious about Daisy and is interested when she comes to him to help with her habit. He organizes to see Daisy but what he finds while she in under hypnosis is more than he bargained for. Daisy regresses back to what appears to be a past life of hers; Lady Melinda Tentrees, a coquette in 18th Century England who used her charms to climb the ladder and was later put on trial for her supposed misdeeds. At first, Marc thinks that these talks of a past life are fabricated, but soon begins to come around to the idea. Marc doesn’t tell her about what she has said and due to his skill with hypnosis makes sure she doesn’t know about her talks of this past life. Could Daisy genuinely be a reincarnation of Melinda? And what about the complicated feelings that both Marc and Daisy develop? These emotions are given added strangeness by the fact that has been bewitched by Melinda and Daisy becoming attracted to.

Vincente Minnelli exudes his customary and exceptional meticulousness in the director’s chair, particularly when it comes to the dreamlike fantasy aspects of this movie. He’s a director whose work comes alive with colourful plushness from every angle. Minnelli excels best in the regression sequences, accentuating colour with expressive camerawork and eye-catching movements. It’s impossible not to watch open-mouthed at the decorative splendour, embodied through luscious lighting and  beautiful costume design. One special costume deserves considerable mention; a lovely bejeweled gown with a matching headdress that is captured in splendid beauty by the cameras and direction. And the film is given a boost by the fact that Minnelli having had experience in musicals before, is a natural when it comes to the music numbers, which are done with pleasing panache. The standouts are the title song played over psychedelic visuals, the alluring ‘Love With all the Trimmings’ sung by Streisand in her marvellous voice and ‘Come Back to Me’ which Marc sings when he finds his worlds merging with Daisy’s and her past lives. On a Clear Day You Can See Forever has its fair share of flaws though. Some of the techniques used seriously date the film and become jarring as it progresses. The film could have been could a bit more coherent and sharper as the second half gets very bogged down with explanations, too much finery and needless scenes that fail to give a grasp to the blooming romances. Also, the sub plot of Marc’s talks with Daisy getting public notice and provoking controversy is a pretty needless avenue to go down. Despite these flaws, On a Clear Day has enough unusualness and style to appreciate it and forgive the sometimes wayward editing and choppy pacing that show the film’s age .

Barbra Streisand showcases her talents for both singing and acting here, and boy does she know how to put a show on. In this film, she really displays her gifts for entertaining with a set of performances that are funny, charming and kooky. And the fact that Streisand plays two distinctly different characters( a free-spirited and strangely dressed young woman and an elegant, beguiling flirt who rose through English society) so well, is a big sign of her undeniable talents as a performer and actress. Streisand is one of On a Clear Day’s biggest attributes and she is hard to forget. Yves Montand has the necessary bewilderment and curiosity for his role as he finds his views on reincarnation altered drastically. Yet Larry Blyden is introduced to late as Daisy’s pushy fiancée to really make a mark on the story. Movie buffs should look out for a young Jack Nicholson as Daisy’s laid-back step brother. It’s a small role, but any Jack Nicholson is better than none.

Flaws aside regarding the pacing and slow second half, On a Clear Day You Can See Forever has plenty of flourishes from director Vincente Minnelli and delightful energy from the indomitable Barbra Streisand to make it a strange but intoxicating musical fantasy.