Master and Commander: The Far Side of the World

Tags

2000's, Adventure, James D’Arcy, Lee Ingleby, Master and Commander: The Far Side of the World, Max Pirkis, Paul Bettany, Peter Weir, Russell Crowe

A sensational adventure drama with a great attention to detail, fine direction and two sterling central performances, Master and Commander: The Far Side of the World is hugely entertaining while still holding inside a depth that you wouldn’t expect.

It’s 1805 and the Napoleonic Wars are in full swing. The experienced and charming Jack Aubrey( Russell Crowe)is captain of the HMS Surprise. At the orders of the British Admiralty he is taking his ship off the North coast of Brazil to intercept a French ship by the name of the Acheron. It’s feared that if the Acheron continues its journey , the wars will spread further and last longer . Aubrey and his crew are surprised when fog rolls in and the Acheron ambushes them, severely damaging the Surprise. It’s a much bigger ship that is more heavily armed and stronger than the Surprise. The crew have to fix the ship while at sea, which poses a challenge for them. For Aubrey, the mission becomes personal as he begins to push the crew harder and starts to display questionable tactics and a foolhardy attitude while in pursuit of the Acheron . He has the crew attempt to track the much bigger and elusive ship against the seemingly insurmountable odds. This puts him at sixes and sevens with everyone, most prominently the ship’s surgeon/ naturalist and confidante Stephen Maturin( Paul Bettany) who argues that his good friend is risking the lives of the crew and not following the code of conduct by which he usually governs by. The journey around South America and the Pacific Ocean to find the continues as much in the way of bad luck befalls those present aboard the and Aubrey’s single mindedness elevates. Once the Acheron comes into view again, but with the crew paranoid and the Captain’s ways beginning to challenge those in his care, it’s not going to be plain sailing for anyone involved

The talented Peter Weir is on fine fettle directing this adventure on the high seas thats both thrilling and engaging. He combines the epic scope of an adventure film with the sense of intimacy you think of with drama. While the whole exercise is beautifully mounted, it’s the little moments that really matter here. And we do bear witness to a compelling literal and figurative journey of morality and leadership, beautifully brought to life by Peter Weir. Master and Commander was filmed on two replica shops, one that was actually used on the sea while filming. Both add a further authenticity to events and truly place us at the heart of this journey. Plus, they truly convince as a living vessel of cramped conditions, doubts and thundering action. Once again, Weir and his exceptional crew of production designers really went for painstakingly true to the time period details that are sublimely realised . There’s a revealing side that displays the frictions, rivalries and bloodshed( though most of it is discreetly shot). As most of the film takes place in the ship, it becomes alive with all the emotions running through it from the characters. When one thinks of Master and Commander, there are two main action sequences in it, which might surprise many. But the sequences are stunningly orchestrated and full of danger, while not sugarcoating the often brutal reality of war and how damn unpredictable it can be. The opening out of the blue attack hits hard and unexpectedly while the ingenious final battle is a full on thrusting sequence of action and tactical one upmanship.A few parts in the middle sag but is largely a very involving movie, particularly pertaining to the characters and visuals . The sound editing which is thunderous and immersive and the cinematography that gets across the conditions aboard a ship and the natural beauty of the sea both received deserved Oscar wins. The sound design in particular is truly marvellous; every crack and shot of a canon rings with energy and fire The scenes in the are breathtakingly beautiful and a feast for the eyes so all lovers of stunning imagery should take note during these sequences, and the cinematography from Russell Boyd is gorgeous. The score from Iva Davies, Christopher Gordon and Richard Tognetti is an adventurous one that really suits the story and has the same amount of energy and drama that is depicted on screen.

Russel Crowe heads the cast of the seafaring adventure with an absolutely entertaining performance. The dashing leadership, cheeky grin and then the realisation and sense of shock that comes with making big, life threatening decisions are all there and embodied by Crowe. It’s a full blooded portrayal of a rash but dedicated man serving his country and running into a questionable quagmire of which some is his own making. A delightfully subdued, dependable and cynical performance from Paul Bettany as the surgeon/naturalist Stephen is also of note for how effectively he slips into the part. Maturin is the more practical, rational one of the two but also boasts a deep sense of questioning curiosity that can’t be harnessed. Bettany brilliantly conveys all of these parts and really makes the character his own. It helps that Crowe and Bettany work so well together and boast a great chalk and cheese chemistry that lends an extra string to its bow. The friendship between the characters is one of the best parts of Master and Commander it has to be said. James D’Arcy makes for a stalwart supporting character playing the loyal first lieutenant, while Lee Ingleby is sensational as the tragic Midshipman who is unliked by the rest for his lack of nerve and suffers deeply because of his treatment. Young and spirited Max Pirkis stands out as the pint sized midshipman who loses an arm early on, but has enough tenacity to overcome this obstacle. Pirkis has a maturity that belies his young years and he more than holds his own against most experienced costars. The overall cast of the film is of a good standard, but it’s Crowe and Bettany that you’ll remember the most.

A surprisingly human adventure with questions of morality and order in at as well as spectacle, Master and Commander: The Far Side of the World is a fine achievement in filmmaking.

Les Misérables

Tags

2010's, Aaron Tveit, Amanda Seyfried, Anne Hathaway, Colm Wilkinson, Daniel Huttlestone, Eddie Redmayne, Helena Bonham Carter, Hugh Jackman, Isabelle Allen, Les Misérables, Musical, Russell Crowe, Sacha Baron Cohen, Samantha Barks, Tom Hooper

Film Title

Les Misérables

Director

Tom Hooper

Starring

• Hugh Jackman as Jean Valjean
• Russell Crowe as Javert
• Anne Hathaway as Fantine
• Amanda Seyfried as Cosette
• Eddie Redmayne as Marius
• Helena Bonham Carter as Madame Thénardier
• Sacha Baron Cohen as Thénardier
• Samantha Barks as Éponine
• Aaron Tveit as Enjolras
• Isabelle Allen as Young Cosette
• Daniel Huttlestone as Gavroche
• Colm Wilkinson as Bishop Myriel

Based on the well-known musical, which in turn was inspired by Victor Hugo’s epic novel, Les Misérables is a sprawling tale of love, sadness and revolution. Directed by Tom Hooper and boasting a stellar cast, it is a film that won’t disappoint lovers of the musical. It isn’t a film for everyone, but has many positives to talk about, mainly the songs and the strong performances of the cast in this epic story.

The film starts in 1815.  Jean Valjean is a convict who has been serving a 19 year sentence for stealing a loaf of bread for his starving relatives. Jean is granted parole by Javert, a captain who tells him to honor what the parole agreement says or he will be found out sooner or later. Unable to find employment, he takes refuge in a church ran by the kindly Bishop Myriel. In the night, Jean steals his silver but is late reprimanded. Instead of turning him in, the bishop saves Jean and urges him to do something good in his life. Jean Valjean taking this into consideration, decides to break his parole and begin his life again. Eight years later, under a new identity, he is the respected mayor of a French town who also owns a factory. Although seemingly happy with his new existence, he is still haunted by the memory of the obsessive Javert. His fear comes true when Javert arrives in town as the new chief of police. Another thread in Valjean’s story is the tale of a young grisette named Fantine. She is fired from her job in one of his factories after it emerges that she has an illegitimate child named Cosette, who she regularly sends money to as the girl is living with the swindling Thénardiers . Penniless and desperate, the tragic Fantine sells her hair, teeth and eventually her body in order to provide for her daughter. Valjean finds Fantine in the gutter, slowly succumbing to illness. On her deathbed, he promises her he will take care of Cosette. After paying the innkeepers in charge of Cosette, Jean is discovered by the determined Javert. Taking Cosette he narrowly flees from Javert. Nine years later, poverty is rising and rebellion is in the air in Paris.  A now grown up Cosette catches the eye of a young firebrand named Marius, who immediately falls for her. His close friend Éponine, secretly pines for Marius but it is all in vain as he falls for Cosette and revolution starts to grow around them. Heartbreak, emotion-filled songs and an epic sweep all abound as Les Misérables makes the transition from stage to screen with positive results.

The first thing to notice about Les Misérables is the fact that the actors sing live, rather than mime along to a pre-recorded track. In many cases this technique works as it captures the raw emotion of the character’s feelings. The use of close-ups in these songs will put off many, but for me it showed the passion of the actor singing the songs. Sweeping camera angles and an excellent colour scheme add to the visual impact, especially in the opening scene when Jean along with multiple prisoners is pulling a large boat and the violent waves add to their struggle. The visuals of the drab streets and dark corners helps back up the almost mournful landscape that the characters populate. The many splashes of colour in the later half of the film add to the rebellion as violence and anger erupts.

A big draw is the talented cast that Hooper has assembled to flesh out this tale. Hugh Jackman gives a towering performance as Jean Valjean, capturing the way he rises from destitution to honorable man, navigating his way through a cruel world. His vocals are very impressive to, adding to the overall powerful portrayal that anchors the movie. Russell Crowe, although not quite as vocally adept, manages to be quite convincing as the obsessed Javert, whilst showing an occasional soft side.  It isn’t one of Crowe’s best performances, but it isn’t one of his worst either. Anne Hathaway turns in an Oscar-winning performance as the tragic Fantine, and although she’s only on the screen for around 20 minutes, manages to make an indelible mark. Her triumph is her rendition of “I Dreamed a dream”, which is one of the most emotional and heartbreaking moments I’ve seen in a film for a long time. Captured in one continuous shot, Fantine, her hair cropped, her clothes torn and her spirit broken, sings of a longing for a better day whilst breaking the audience’s hearts along the way. Hathaway’s performance is one that lingers long in the memory because of its emotional impact. Amanda Seyfried is suitably wistful as Cosette, although I would have liked for her character’s arc to have been expanded a little. Eddie Redmayne certainly delivers as the passionate Marius who falls for her. Redmayne infuses “Empty chairs at empty tables”, a hymn for the fallen, with a sincerity and sadness that is quite remarkable. Providing comic relief are Helena Bonham Carter and Sacha Baron Cohen as unscrupulous swindlers. Another person who certainly impresses is Samantha Barks as the lovelorn third wheel of Marius and Cosette’s love, Éponine. She imbues her with a sweetness and deep sadness that is luminous to witness. Her bruised performance of “On my own”, which she sings whilst in the rain, is a stunningly heartfelt moment. Other supporting members include Aaron Tveit as revolutionary Enjolras, a sweet Isabelle Allen as the young Cosette, Daniel Huttlestone as the funny and endearing Gavroche and Colm Wilkinson as the Bishop who helps Jean in his journey.

As I’ve mentioned earlier, Les Misérables  will not be a film for everyone as the live singing and use of close-up’s may cause a few to roll their eyes. But if you want a musical with a sweeping score, some excellent acting and historical setting, it may just be for you.

L.A. Confidential

Tags

1990's, Crime, Curtis Hanson, Danny DeVito, Drama, Film Noir, Guy Pearce, James Cromwell, James Ellroy, Kevin Spacey, Kim Basinger, L.A. Confidential, Neo Noir, Russell Crowe

Film Title

L.A. Confidential

Director

Curtis Hanson

Cast

• Kevin Spacey as Det. Sgt. Jack Vincennes
• Russell Crowe as Officer Wendell “Bud ” White
• Guy Pearce as Det. Lt. Edmund “Ed” Exley
• James Cromwell as Capt. Dudley Smith
• Kim Basinger as Lynn Bracken
• Danny DeVito as Sid Hudgens

Based on the novel by James Ellroy and boasting an excellent ensemble cast, L.A. Confidential takes the viewer on an intricate journey into the 50’s, exposing corruption and murder beneath the veneer of glamour and bright lights along the way. Director Curtis Hanson has fashioned an elegant, brutal and thoroughly convincing neo noir that grips you with its labyrinthine plot, excellent jazz score and perfect feel for the time.

The main focus of the film is three members of the Los Angeles Police Department; suave and confident Jack Vincennes who enjoys the limelight in Hollywood, Bud White, whose violent and hot-headed antics often clash with others and intelligent upstart Ed Exley, who does everything by the book and longs to be just as good as his late father. The paths of the three men first cross at a Christmas Party, in which prisoners and police begin brawling in the cells and the paparazzi have a field day with the story, dubbing it “Bloody Christmas”. After a massacre at a restaurant named the Nite Owl, in which one of the men’s fellow officers is killed, the men are drawn together again in order to solve the case.This case leads them through many twists and turns involving corruption within the police force, the scandal loving magazine “Hush Hush”, a prostitution ring in which the women are made to resemble movie stars, drug dealing and long-buried secrets.

The pacing of the film is magnificent, slowly revealing and concealing things to keep the viewer guessing what will happen next. The cast assembled add immeasurable impact to the story as it gradually unravels before us. Spacey is excellent as the limelight loving Jack, adding humour and impact in his scenes. Guy Pearce is well-suited to his part of the determined Exley, who is driven to succeed whilst being ostracized by his peers. Russell Crowe makes an indelible mark as the violent and troubled Bud, getting under the skin of him and revealing a rarely shown sensitive side to his character. As a prostitute who is the spitting image of Veronica Lake and caught up in the ongoing investigation, Oscar-winning Kim Basinger adds both glamour and poignancy, especially as she and Bud begin to develop feeling for each other whilst he is working on the dangerous case.

Aided by stunning cinematography and an evocative jazz score, Los Angeles almost becomes another character within the film.It becomes  a hot bed of Hollywood high glamour, scandal loving people and deception round every corner. The humorous and barbed opening narration by Danny DeVito’s dirt loving tabloid journalist, in which footage from old movies and grainy paper headlines about drugs and illegal activities is shown while he speaks, clearly sums up this dichotomy of the place.

If you’re looking for a crime film with a noir sensibility and more twists than a winding serpent, then look no further than L.A. Confidential. Trust me you can’t go wrong with this excellent film.