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.

Henry and June

Tags

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

Film Title

Henry and June

Director

Philip Kaufman

Starring

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

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

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

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

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

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

The Golden Bowl

Tags

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

Film Title

The Golden Bowl

Director

James Ivory

Starring

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

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

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

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

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

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

Final Analysis

Tags

1990's, Eric Roberts, Final Analysis, Kim Basinger, Neo Noir, Paul Guilfoyle, Phil Joanou, Richard Gere, Thriller, Uma Thurman

Film Title

Final Analysis

Director

Phil Joanou

Starring

• Richard Gere as Isaac Barr
• Kim Basinger as Heather Evans
• Uma Thurman as Diana Baylor
• Eric Roberts as Jimmy Evans
• Paul Guilfoyle as Mike O’Brien

A twisting neo-noir that alludes to the works of Hitchcock, Final Analysis is a good enough thriller that although derivative and more than a little flawed manages to keep the attention with glossy style and cast.

Isaac Barr is a dedicated psychiatrist in San Francisco who is treating a strange patient by the name of Diana Baylor. The unusual young woman is plagued by traumatic dreams that seem to stem from her childhood, but every time Isaac gets close to getting to the bottom of it, Diana somehow switches off and refuses to talk. Wanting to get to the root of Diana’s case, Isaac contacts her older sister Heather in the hopes of possibly discovering something. What Isaac gets is something he least expected. The gorgeous Heather captures his attention immediately and he feels for her because she is locked in a loveless marriage with Jimmy Evans, a hotheaded gangster who controls her every moved and exercises complete domination over her. Soon enough, Isaac and Heather have entered into a steamy affair after the stunning Heather secures him, despite the implications of him going against medical ethics. Yet while their affair is dangerous, there is also the matter of a strange condition that Heather suffers from. If she consumes even a tiny bit of alcohol, she flies into a violent and uncontrollable rage after which she can’t recall any of her actions. Events for the unsuspecting Isaac get more complicated when the vicious Jimmy is killed by Heather during what appears to be one of her violent episodes. Put on trial for murder, Isaac acts as a help to her because of his desire for her and tries to aid her in getting off through his friendship with her defence attorney Mike O’Brien. Yet as the case begins to open, several things begin to test Isaac’s faith in Heather as he starts to suspect she may not be the vulnerable and abused woman she appears to be. Mystery and deception meet as Isaac digs into the twisting case that is not what it seems on the surface.

As aforementioned, Final Analysis owes a lot to the movies of the masterful Alfred Hitchcock. And while it can be neat counting the references to his work, especially Vertigo, it can grow a bit bothersome as it is a film that is never going to be put in the same category as his work. Regardless of that, director Phil Joanou keeps things very stylish and moving along nicely, and it’s not hard to see that he knows how to frame an enticing shot for this neo noir. Good examples of these skills are the opening credits that provide vignettes of what is to come being illuminated by a searching fog light, a tight close up of the haunted Diana recounting her dream and later a stormy climax at a rickety lighthouse. Derivative as Final Analysis may be, it still is sure as hell an entertaining mystery. The writing is good for the most part, yet while it builds a sense of unease in the beginning, it starts to squander it in the middle by revealing a bit too much information and throwing in some very incomprehensible twists. Thankfully, the tense climax makes up for the floundering middle half with panache and thrills. A string heavy score delightfully recalls the work of Hitchcock regular Bernard Herrmann with its romantic undertones and sense of passionate danger.

Richard Gere is very good as the unsuspecting Isaac, whose confidence in his beliefs and love for Heather are sorely tested as the case opens up. Gere successfully makes Isaac a character who finds himself caught in a web and tries to navigate his way out, only to uncover more deception. The beautiful and talented Kim Basinger sizzles as the mysterious Heather, who is by turns sad, beguiling and extremely seductive. Basinger brings energy to the part as we like Isaac, begin to witness how the afraid surface she projects may in fact hide something a lot more deadly. A young Uma Thurman projects a haunted and almost ghostly quality to the role of the traumatised Diana, who may know more than she is letting on as the web of deceit intensifies. Eric Roberts may only be on screen for a short amount of time, but when he’s there he exudes an animalistic intensity and thuggish demeanor as Heather’s ultimately ill-fated husband. Paul Guilfoyle is very amusing as Isaac’s best friend and lawyer who showcases humour during the trial.

Flawed but still very entertaining, Final Analysis has enough visual flourishes and contributions from a game cast to make it watchable. It may not be going down as the best thriller out there, but it is still well done and effectively directed by Phil Joanou.

Kill Bill Vol 2

Tags

2000's, Action, Daryl Hannah, David Carradine, Kill Bill Vol 2, Martial Arts, Michael Madsen, Quentin Tarantino, Revenge Drama, Uma Thurman

Film Title

Kill Bill Vol 2

Director

Quentin Tarantino

Starring

• Uma Thurman as The Bride/Beatrix Kiddo
• David Carradine as Bill
• Daryl Hannah as Elle Driver
• Michael Madsen as Budd
• Gordon Liu as Pai Mei

Following on from the events of Vol 1, Kill Bill Vol 2 makes for cool, stylish viewing. Whereas the first volume was focused more on action, this volume zeroes in on the dramatic and emotional undercurrent of The Bride’s journey to avenge her near death experience. It all proves for a satisfying conclusion to this revenge saga.

Having battled her way through old adversaries who turned her wedding day into a massacre, The Bride now has three people left on her kill list. These consist of Budd, Elle Driver and last but not least Bill. Along the way, she encounters someone she never thought she would see again that could change the course of her revenge filled journey. But in Tarantino’s trademark non-linear way of telling us the story, we are given bits of knowledge about some unanswered questions. We see The Bride attempting to live another life by marrying someone only to have it snatched from her, her tutelage under the cruel but rewarding Martial Arts expert Pai Mei and finally find out her real name, Beatrix Kiddo. Through flashbacks, visual references to a multitude of genres and some searing performances, Tarantino keeps us entertained whilst delivering some drama to the tale, which he pulls off very well indeed.

I’ve heard many say that Vol 1 is the better of the two and I am inclined to agree. But I still enjoyed Vol 2 because of the way Tarantino injects some poignancy into The Bride’s journey and glimpses her relentless pursuit for those who betrayed her. It may not have as much action as the first installment, but Vol 2 is equally as thrilling and absorbing as its predecessor. There still is some amazing action sequences, including a fierce duel with the one-eyed Elle in a desert trailer, that make for great viewing, especially in regards to the choreography of the fight. Other highlights are The Bride’s eventual emergence as a warrior under the teaching of Pai Mei and how it benefits her and a black and white flashback that reveals the strange relationship between The Bride and Bill. As with most of Tarantino’s movies,the kinetic and flashy editing is marvellous and complemented by another genre busting soundtrack.

The cast fill out Tarantino’s eclectic characters with impressive results. Returning as the revenge seeking Bride, Uma Thurman delivers another intense performance as we watch her relentless search for payback. Thurman also manages to deliver poignant work in the way she shows how much The Bride has lost in the past and how all of her pain has now transformed into uncontrollable rage that can’t be measured. Whether clawing her way through dirt after being buried alive or dueling with her enemies with a lethal Samurai sword, The Bride is one woman who will never give up and will kill anyone in her path. David Carradine is great as the eponymous Bill, whose betrayal has set in motion this chain of blood soaked carnage. His scenes with Thurman are extremely impressive, their showdown of wills and confessions makes for dramatic viewing to say the least. Daryl Hannah is on villainous form as the vindictive assassin Elle, her duel with The Bride provides an action filled highlight to the picture. Michael Madsen plays another of The Bride’s targets Budd, who is more than prepared for her arrival and finds an interesting way of trying to kill her.

By giving us an emotional undercurrent to the story, Tarantino succeeds in balancing brutal violence and revelations with aplomb. Vol 2 proves dramatic, startling and compulsive viewing.

Kill Bill Vol 1

Tags

2000's, Action, Daryl Hannah, David Carradine, Kill Bill Vol 1, Lucy Liu, Martial Arts, Michael Madsen, Quentin Tarantino, Revenge Drama, Uma Thurman, Vivica A. Fox

Film Title

Kill Bill Vol 1

Director

Quentin Tarantino

Starring

• Uma Thurman as The Bride/Black Mamba
• David Carradine as Bill
• Lucy Liu as O-Ren Ishii/Cottonmouth
• Daryl Hannah as Elle Driver/ California Mountain Snake
• Vivica A. Fox as Vernita Green/ Copperhead
• Michael Madsen as Budd/Sidewinder

Quentin Tarantino’s fourth movie is an action packed, blood soaked revenge tale told with stylish panache and various references to other genres. From samurai movies to anime and western, Tarantino fashions all of these into this wildly entertaining action with a breakneck pace and a seriously kick ass heroine.

Left for dead on her wedding day, a woman, known only as “The Bride” eventually awakens from a four-year coma after a mosquito bites her. In non-linear fashion, we are informed of her origins and what led to her near death experience. She was once a member of The Deadly Viper Assassination Squad, an elite group of skilled assassins under the charge of the eponymous Bill. She went by the codename Black Mamba whilst working for the squad. The Bride, who was also pregnant was attacked by the other members on her wedding day and Bill put a bullet in her head. After waking from her coma and realising her baby is now gone, The Bride’s rage begins to manifest and she swears a brutal revenge. Escaping hospital, she quickly makes a list of the members of the assassination squad who she intends to kill one by one for their part in her brutal attack. Vol 1 deals with The Bride tracking down two of the members on the list, the fierce Vernita Green and the powerful O-Ren Ishii. And so begins a wildly entertaining revenge saga that is daring, über stylish and full of bloody violence and action. As the proverb at the beginning of the film states “Revenge is a dish best served cold”. Or in Tarantino’s case, cold and covered with lashings of blood.

Tarantino should be praised for the way he manages to incorporate so many disparate influences into a seriously entertaining though brutal film. From utilising music from classic westerns and featuring a startling anime sequence, he definitely knows how to keep you watching. The kinetic editing is superb in capturing The Bride’s one-woman mission to annihilate those who have caused her great pain. Special notice must go to the fighting choreography which really is something to behold. The biggest highlight is The Bride’s blood soaked duel with the Crazy 88, hitmen for O-Ren. Cutting between colour and black and white gives the scene a thrilling and daring quality that is hard to not appreciate. Some may complain that the film is an example of style over substance, but if that is the case you have to admit that the style is certainly entertaining nonetheless. As is the case with most of Tarantino’s movies, the soundtrack is an eclectic listen, this time featuring music from Spaghetti Westerns, old samurai movies and thrillers.

The cast of the Kill Bill Vol 1 all deliver memorable work. Heading the cast with a searing performance is Uma Thurman as The Bride. She encompasses the pain that gives way to unleashing her inner rage and physical strength on those who betrayed her with fearless ability. The Bride is one seriously kick ass character who you really don’t want to mess with. Although his face isn’t seen, David Carradine manages to make Bill a menacing character just with the sound of his voice. He is cloaked in enigmas as the story unfolds and The Bride makes it her priority to kill everyone before reaching the traitorous Bill. Out of the other members of the assassination team, which includes Vivica A. Fox and Michael Madsen, Lucy Liu and Daryl Hannah make the biggest impacts. Lucy Liu embodies the fierce violence within O-Ren which stems for a childhood in which she witnessed her family’s murder. Her duel with The Bride is a visually spectacular highlight as they fight with katanas in the snow. Daryl Hannah makes quite an entrance as the one-eyed Elle Driver. Strutting into hospital dressed in white while whistling a chilling song and planning The Bride’s death, she is most certainly an interesting creation from Tarantino.

Ultra violent, daring and stylish, Kill Bill Vol 1 isn’t for the faint of heart. But it will appeal to those who get the various genre references and who want to witness the excellent and hypnotic work from Quentin Tarantino.

Dangerous Liaisons

Tags

1980's, Dangerous Liaisons, Glenn Close, John Malkovich, Keanu Reeves, Michelle Pfeiffer, Period Drama, Romance, Stephen Frears, Uma Thurman

Film Title

Dangerous Liaisons

Director

Stephen Frears

Cast

• Glenn Close as Marquise de Merteuil
• John Malkovich as Vicomte de Valmont
• Michelle Pfeiffer as Madame de Tourvel
• Swoosie Kurtz as Madame de Volanges
• Keanu Reeves as Le Chevalier Raphael Dancerny
• Mildred Natwick as Madame de Rosemonde
• Uma Thurman as Cecile de Volanges

A lavish and enthralling look at lust, betrayal and revenge, Dangerous Liaisons is brought to the screen with an acerbic wit and a dramatic power by director Stephen Frears and an outstanding screenplay by Christopher Hampton. The film succeeds in that it is splendid and breathtaking to look at, but at the same time compelling because of its decadent ,dramatic story and excellent central performances that dominate the proceedings.

The central plot revolves around Marquise de Mertueil, an aristocratic woman in 18th Century France. To the rest of society she is an intelligent and kind woman, but beneath the mask that she wears so well for the outside world is a cunning, vicious woman who delights in the suffering of others for her own personal enjoyment. Her conspirator is the seductive and cynical Viscomte de Valmont who revels in the plans she concocts up. Their latest scheme involves the ruining of an innocent and virginal young girl named Cecile who is soon to be married to one of the Marquise’s former lovers. If Valmont succeeds in this plan, the Marquise will offer him a personal reward. Valmont has other ideas as he has set himself the more difficult task of seducing the virtuous, convent-bred Madame de Tourvel. Things don’t go to plan however when Valmont unintentionally falls for the unsuspecting Madame.

Despite the film being a period piece, its classic themes of power and love still resonate in the present day. The theme of  differences between men and women in society and in general is carefully examined with an acute and critical eye. A strangely sinister tone lingers over the film as a result of the deceit and mendacity displayed on screen.The costumes and sets are second to none and create a clear and  beautiful evocation of pre-revolution France. Frears takes the audience on an enthralling trip through the various hypocrisies of the upper-class and exposing the evil and deceit beneath the facade.But above all, it is the script and acting that lingers longest in the memory after the credits have finished.

As the Marquise, Glenn Close is delightfully conniving and poisonous. Close oozes with a sinister and tart charm, allowing a sharp intellect and viciousness to be shown. It’s a plum role for an actress who never lets me down and Glenn Close is on fire with an imposing and imperious portrayal that ranks among her best. The chemistry between her and Malkovich is electrifying as well as the numerous quick-witted remarks that fly between them. Malkovich brings a slimy and reptilian quality to the suave Valmont and has one of the most sinister smiles on the screen. Yet vulnerability is there with Malkovich as he grows a spine and experiences love for perhaps the first time, leaving his previous plotting in tatters. But in my opinion, the real standout in the film is Michelle Pfeiffer as the victim in the twisted game and embodiment of grace and purity. Playing a character that could have been uninteresting, Pfeiffer turns this round to create a poignant portrayal of a virtuous and god-fearing woman who’s calm and peaceful resolve is shattered forever with the arrival of Valmont into her life. Her face is used for so many important moments in the film and in each she has an emotional intensity that grips like a powerful vice. Throughout the film each character changes somewhat, but the greatest change is Pfeiffer as Madame De Tourvel who has the biggest challenge of whether to stick to her morals or throw caution to the wind. In an early role, a young Uma Thurman portrays the virginal Cecile, another unwitting pawn in the deceitful game who is ruined by Valmont but becomes very carnal as a result of it. Keanu Reeves appears as another pawn in the deceptive game and is unfortunately not really given a lot to do it must be said .

The best scenes in the movie are the ones in which Merteuil and Valmont devise their deliciously,devious plans. The brittle and caustic dialogue seems to just come natural to each as they carefully decide what pain they will inflict on their chosen victim. The two make for a memorably villainous double act who see life as an arena in which their manipulative psychological games are the main entertainment.

A period piece with a surprisingly contemporary and sexy edge to it, Dangerous Liaisons is a splendor for the eyes in terms of visual design, but a handsomely mounted drama and love story that makes you think.