Letters to Juliet

Tags

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

Film Title

Letters to Juliet

Director

Gary Winick

Starring

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

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

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

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

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

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

A Month by the Lake

Tags

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

Film Title

A Month by the Lake

Director

John Irvin

Starring

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

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

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

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

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

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

Blow-Up

Tags

1960's, Blow-Up, David Hemmings, Drama, Jane Birkin, Michelangelo Antonioni, Mystery, Sarah Miles, Vanessa Redgrave

Film Title

Blow-Up

Director

Michelangelo Antonioni

Starring

• David Hemmings as Thomas
• Vanessa Redgrave as Jane
• Sarah Miles as Patricia
• Jane Birkin as The Blonde

An adroit movie that really gets the brain working with its examination of images and a different picture of Swinging London, Blow-Up is a confounding puzzle that registers on many levels and calls for attention. This is largely down to the sense of mystery and intelligent probing that is present, especially from the masterful camera of Michelangelo Antonioni.

Thomas is a dismayed, cool and bored fashion photographer whose view of Swinging London is coloured with nihilism and gloominess. He wishes to find something full of life to shoot, instead of the blank-faced and dead-eyed models he photographs on a daily basis. While his life is one of seeming glamour and everything you could ask for, the void of emptiness is becoming prominent and larger. Between fashion shoots, he photographs more realistic situations, such as men in the mines for a book he plans on publishing eventually. One day while in the park, searching for an image to complete his book, he happens across an intimate moment between an older man and a young, attractive girl. He snaps a few shots of them, before being harangued by the woman named Jane, who desperately wants the photos he has taken. When she comes to visit later on, he gives her the wrong film after she attempts to seduce him nervously as a way to acquire the photos. When he enlarges the photos he took in the park, upon closer inspection it appears that there is a man holding a gun and also a dead body in the background. Slowly, he becomes obsessed with what he may have captured on film and strangely comes to life again. The biggest question is has Thomas really discovered a murder? Or is it that he just wants something arresting to photograph and has fabricated this?

Michelangelo Antonioni is the master behind the camera who casts a deep spell on you with this ambiguous and provocative film. His depiction of life in the Swinging 60’s is anything but fun and games, instead heading in the direction of disillusionment and isolation. This is that sort of movie that will send your brain in multiple directions, thanks to the thematic value and layers of possibility that lie housed in it. The very essence of imagery and how accountable our eyes can be is fascinatingly brought to vivid life, leaving a good amount of room for uncertainty. The whole impact of Blow-Up takes in photography and vision well and also has something of an existential undercurrent that is evinced gradually. The ennui of Thomas’s life presents many interpretations regarding whether what he sees in the images is actually there or someone a thing he has projected himself. Yet like all the best film makers, Michelangelo Antonioni skilfully plays his cards close to his chest and leaves it up to the audience to question what is actually occurring. Anybody searching for clear answers and big reveals will not find them as Blow-Up is purposefully maddening and ambiguous, which is the biggest strength of the picture overall. The very fact that you can’t be quite sure if what Thomas captures is real or illusory is exciting yet deeply insightful at presenting an outsider’s perspective of the 60’s and how for some it wasn’t the bright time often depicted in media. Although it has colour aplenty scattered in various frames and the iconic fashions of the era( as well as liberated sexuality), Blow-Up is more concerned with showing the dissatisfaction with the world, especially in a time of change. Alienation seeps into Blow-Up, and it becomes understandable why Thomas would want something of life to photograph, which ironically comes when he thinks he’s uncovered a murder. There are so many parts to Blow-Up that really engage the mind and I am sure will be fascinating and provide more insight on other viewings. To some modern viewers, Blow-Up will seem meandering, but it’s deliberate pacing is in fact key to the film in capturing the boredom that the not always likable Thomas feels and how he springs to life when he believes he has discovered something. In the end, the whole mystery aspect of Blow-Up takes on a different tone with the feeling of not being able to trust what you see playing heavily on the uneasiness. The mod soundtrack strikes the counterbalance of action and liveliness with the feeling of being listless and something darker being under everything that is seen as fantastic at the time.

As the alienated and uncomfortable Thomas, David Hemmings is fantastic casting. He possesses a certain hollow-eyed melancholy and is sometimes hard to gauge, which figures in well as to whether or not the character is simply projecting his thoughts into reality. The character isn’t always the nicest or easiest person to relate to, but Hemmings grabs the attention with the listless angst becoming something bordering on possible madness as the movie progresses. A young Vanessa Redgrave makes a mark in only a couple of scenes; portraying the attractive woman in the photographs. There is an awkwardness and fretfulness to her, mixed with a strange sexuality that only heightens the picture’s idea of reality and perception. Sarah Miles appears as the neighbour of Thomas, who he obviously likes but never acts upon it. Jane Birkin features in a small but memorable part of a giggling girl who with a friend has an interesting photo shoot with Thomas.

A strange and abstract film that is one that will imprint many images on the mind and call for many watches, Blow-Up is a provocative and unusual film which deconstructs many ideas and gets you to question the validity of what you see.

Coriolanus

Tags

2010's, Brian Cox, Coriolanus, Gerard Butler, James Nesbitt, Jessica Chastain, Paul Jesson, Ralph Fiennes, Tragedy, Vanessa Redgrave, William Shakespeare

Film Title

Coriolanus

Director

Ralph Fiennes

Starring

• Ralph Fiennes as Caius Martius Coriolanus
• Gerard Butler as Tullus Aufidius
• Vanessa Redgrave as Volumnia
• Brian Cox as Menenius
• Jessica Chastain as Virgilia
• James Nesbitt as Sicinius
• Paul Jesson as Brutus

A visceral, blood-soaked modern-day adaptation of the William Shakespeare tragedy which marks the directorial debut of Ralph Fiennes, Coriolanus proves that Shakespeare is just as relevant today as he has ever been with themes of political manipulation and war.

In a battle ravaged version of Rome, riots are taking place on the streets due to a shortage of food and a brutal war is raging against the neighbouring Volscians. The brilliant Roman general Caius Martius is a vicious and brutal warrior  just returning from combat with his old enemy Tullus Aufidius. Upon arrival, he is bestowed with the powerful title of Coriolanus. His ambitious mother Volumnia and influential Senator Menenius persuade him to run for political office, but this doesn’t fair well with Coriolanus as he looks down at the common people and sees them as contemptible. He does however obey his mother and strive for power within the political sphere. Other members of the senate have different ideas about this and begin to incur the wrath of the people who detest his arrogance and slander towards them. This causes them to rise up against the general and he is subsequently banished from Rome as a traitor. Once banished, Coriolanus wanders through the war-torn countryside and comes across his sworn enemy Aufidius. Betrayed by his people and filled with deep rage, Coriolanus forms an unlikely alliance with his old opponent and they plan to take revenge on Rome.

With his directorial debut, Ralph Fiennes brings a gritty realism to the scenes of war and utilises close-ups and dizzying tracking shots to get to the heart of emotion. Updating Shakespeare into a modern context must have provided a challenge, but Fiennes pull it off admirably and shows that the Bard’s work can be applied to modern events just as it is classic events from centuries ago. Admittedly, at first hearing the classical dialogue of Shakespeare spoken in a modern setting can be hard to understand and get used to, but once you become attuned to the words and style the benefits of Coriolanus are deeply rewarding. The score is laced with a militant precision as Coriolanus begins his encroaching plans for revenge with the aid of his old enemy and the impending notion of tragedy.

What really gives Coriolanus its power is the astonishing cast assembled. In the title role, Ralph Fiennes is fierce, arrogant and raging as he changes from ‘man to dragon’ and declares vengeance on Rome. Fiennes gives the role his all and really gets to the heart of this complex character with his powerful delivery and barely contained intensity that radiates from his eyes. Gerard Butler is impressively tough and suspecting as his sworn enemy who becomes an ally. Vanessa Redgrave is brilliant as Volumnia, the autocratic mother of Coriolanus. Ambitious, influential and  overly supportive, Redgrave brings a whole range of emotions to the part of this matriarch and speaks her lines with authority and confidence. Her scenes are electrifying with Ralph Fiennes as she attempts to reason with him, whilst also issuing her powerful and domineering hold over her son. Brian Cox is effectively used as a powerful Senator who is firmly on the side of Coriolanus, whilst Jessica Chastain exudes vulnerability and tenderness as Virgilia, the wife of Coriolanus. James Nesbitt and Paul Jesson relish their roles as politicians who succeed in manipulating events so that Coriolanus is banished.

Dramatic, violent and gripping, Coriolanus is Shakespeare updated in visceral and powerful fashion, boasting fantastic performances and assured direction.

Murder on the Orient Express

Tags

1970's, Agatha Christie, Albert Finney, Anthony Perkins, Colin Blakely, Denis Quilley, Ingrid Bergman, Jacqueline Bisset, Jean-Pierre Cassel, John Gielgud, Lauren Bacall, Martin Balsam, Michael York, Murder Mystery, Murder on the Orient Express, Rachel Roberts, Richard Widmark, Sean Connery, Sidney Lumet, Vanessa Redgrave, Wendy Hiller

Film Title

Murder on the Orient Express

Director

Sidney Lumet

Cast

• Albert Finney as Hercule Poirot
• Lauren Bacall as Mrs. Hubbard
• Martin Balsam as Bianchi
• Ingrid Bergman as Greta Ohlsson
• Jacqueline Bisset as Countess Andrenyi
• Michael York as Count Andrenyi
• Jean-Pierre Cassel as Pierre Michel
• Sean Connery as Colonel Arbuthnott
• John Gielgud as Beddoes
• Wendy Hiller as Princess Dragomiroff
• Anthony Perkins as Hector McQueen
• Vanessa Redgrave as Mary Debenham
• Rachel Roberts as Hildegarde Schmidt
• Richard Widmark as Ratchett
• Denis Quilley as Antonio Foscarelli
• Colin Blakely as Hardman

Surely one of the best adaptations of an Agatha Christie novel, Murder on the Orient Express is a splendid, stylish and sensational murder mystery boasting what has to be one of the most star-studded casts ever assembled on film. Elegantly directed by Sidney Lumet and with a sumptuous recreation of the elite of the 30’s in costume and decor, Murder on the Orient Express is not to be missed for fans of movies that are often referred to as ‘films they just don’t just make like this anymore’.

Hercule Poirot, the famous Belgian detective is travelling aboard the eponymous train from Istanbul to Paris, then he will travel to England to attend important business. The train is unusually crowded but the eccentric Poirot has managed to find a cabin by way of his friend Bianchi, who is also travelling on the same journey. Poirot is approached by a secretive businessman named Ratchett, who offers him a large sum of money if he can find out who has been sending him threatening letters. The detective has no interest in the case and turns it down. The next morning, Ratchett is found dead, stabbed a dozen times in his bed. It is then up to Poirot to investigate the case as the train has been caught in a snow drift somewhere in the Balkan Regions on the night of the murder. He is surrounded by a rich array of suspects including; the loquacious and obnoxious Mrs. Hubbard, the simple-minded Swedish missionary Greta Ohlsson, the icy and glamorous Count and Countess Andrenyi, the quiet conductor on the train Pierre Michel, Colonel Arbuthnott, an officer in the British Indian Army, the buttoned up valet of the deceased, Beddoes, the ageing Russian royal Princess Dragomiroff, Hildegarde Schmidt, her personal maid, Hector McQueen, the secretary to the deceased, Mary Debenham, a teacher and paramour of Colonel Arbuthnott, Foscarelli, an Italian-American car salesman and Hardman, a secretive agent for a detective service. As he investigates, Poirot deduces that Ratchett was really a gangster, who played his part in the notorious kidnapping and murder of Daisy Armstrong, a prominent aviator’s daughter, many years before. Through interrogation and the exercise of his ‘little grey cells’ Poirot tries to figure out this bizarre case filled with secrecy and enshrouded with shocks and red herrings. So sit back and enjoy as the detective makes his way through the case in which nothing is as it seems.

Sidney Lumet keeps the atmosphere of the time and gradual deducing of the crime through employing a brisk pace to the film and making exceptional use of the camera. Nowhere is this more apparent than in Poirot’s excellent denouement in which he paces up and down the carriage and recounts his findings. The way the camera captures the faces of the guests, filled with anxiety, astonishment and shock as they silently listen, is quite masterful as the complex case is laid bare in front of them. The opening sequence in which the history of the Armstrong Case is shown whilst intercut with newspapers clippings, is another highlight of lighting and atmosphere, getting the film off to a suspenseful and haunting start. The magnificent score exudes suspense and glamour and is a great attribute to the film.

The star-studded cast is almost certainly the biggest draw in the film, even if some actors are underused in the process.  Albert Finney is particularly eccentric and witty as Poirot, stealing the show as he delves into one of the most complex cases in his illustrious career. Lauren Bacall is acerbically funny as the chatty Mrs. Hubbard, her fussy outbursts masking her quiet intelligence. Martin Balsam has some great scenes with Albert Finney as the panicking Bianchi, who is the one who entrusts the case with Poirot. In a small but well-played part that won her an Oscar, Ingrid Bergman is luminous and touching as the missionary with poor command of English. Jacqueline Bisset and Michael York are icily impressive as the wealthy count and his beautiful bride. Jean-Pierre Cassel exudes a quiet intensity and shyness as the conductor Pierre, who is still a suspect despite helping out in the case. John Gielgud relishes the witty lines as the buttoned-up and knowledgable butler Beddoes. Wendy Hiller shines as the evasive member Russian royalty, along with Rachel Roberts as the terse German maid. Vanessa Redgrave glows in her role of the English teacher who doesn’t take kindly to Poirot’s questioning about her relationship with the colonel. In the brief but important role of Ratchett, Richard Widmark is sly and disagreeable even though he knows it’s only a matter of time before something happens to him. On the underused side, unfortunately is  Sean Connery who has nothing much to do in the film except vehemently disagree with Poirot. Anthony Perkins could have been used better, instead of him turning in another variation on Norman Bates. Denis Quilley and Colin Blakely are also not used to any real effect.

Despite the wasting of certain actors talents and the pace lulling at various points, Murder on the Orient is none the less a distinguished and thrilling adaptation of Agatha Christie’s murder mystery, presided over by the excellent direction of Sidney Lumet.