2018 Cannes Marathon: The Lobster

(Winner of the Palm Dog Jury Prize to Bob the Dog, Queer Palm Special Mention, and the Jury Prize at the 2015 Cannes Film Festival)

Directed by Yorgos Lanthimos and written by Lanthimos and Efthimis Filippou, The Lobster is the story of a man who arrives at a compound where he’s given forty-five days to find a new partner or else he turns into an animal. It’s a film that explores isolation and the need to find someone in a world that is almost dystopian where human beings are desperate to connect or else they get themselves into serious trouble. Starring Colin Farrell, Rachel Weisz, John C. Reilly, Ben Whishaw, Lea Seydoux, Jessica Barden, Olivia Colman, Ashley Jensen, Ariane Labed, Angeliki Papoulia, and Michael Smiley. The Lobster is a whimsical and rapturous film from Yorgos Lanthimos.

Set in a futuristic dystopian world where a person has to have a partner as loneliness is forbidden, the film revolves around a man whose wife has left him for another man where he goes to a compound to find a new partner in 45 days or else he’s turned into an animal where he gets another chance to find a companion as that animal. It’s a film that plays into this absurdist dystopian world about the need to not be lonely as everyone has to be with someone and with a family in order for society to thrive or else they become animals or outcasts at worst. The film’s screenplay by Yorgos Lanthimos and Efthimis Filippou is largely told from the perspective of an outsider who narrates the film as her identity isn’t revealed until the film’s second half as she tells the story of David (Colin Farrell) who would enter this idyllic compound that is like a resort of sorts for lonely people to get their chance to find a partner. In this hotel, he would befriend a man with a lisp named Robert (John C. Reilly) and a man with a limp named John (Ben Whishaw) who are also trying to seek partners in this offbeat hotel resort.

Among their activities in order to prolong their time search in finding a partner include hunting loners who refuse to play by society’s rules and if they manage to hunt these loners, they would be given additional days to find a partner. When one finds a partner, they’re moved into a different part of the hotel where they would get to know each other and would be given a child in case there’s an argument or something. Then they’re moved to a yacht to continue the courtship until they’re moved to the city to spend the rest of their lives. Yet, there is something off as masturbation is forbidden as sexual stimulation from a staff member is mandatory though clothes are kept on. For David, it’s something he has to accept as much of the action takes place in the first half until he tries to partner up with a cold-hearted woman (Angeliki Papoulia) that goes horribly wrong. The film’s second half is set in the forest where David becomes a loner and meets up with a loner faction that forbids romance from happening yet David ends up falling for a short-sighted woman (Rachel Weisz). Their relationship is kept secret yet it becomes harder when their leader (Lea Seydoux) becomes suspicious as David would realize that both the loner faction and those wanting to people to be partnered up have their flaws in their methods.

Lanthimos’ direction is intoxicating for not just capturing this element of dystopia as it is set in a modern world but also creating something that does feel offbeat and strange. Shot largely in Ireland with the city shot on location in Dublin, the film does play into this clash of ideals in two worlds where the city is where society thrives on couples being together to maintain this idyllic society. Lanthimos would use wide shots to capture the look of the city where it does look futuristic in some areas yet maintains something that does feel like it’s near the present while he would also shoot in these locations such as the fields, mountains, and lakes. The hotel/compound where David would stay nearby these natural surroundings do give the film this look that is like a paradise of sorts but there’s also something off in Lanthimos’ direction from the fact that those without partners live in modest though posh-like rooms while the couples would live in a more spacious room that has more perks.

Lanthimos’ approach to close-ups and medium shots play into how characters interact with one another in which there’s a sequence where John tries to win over the nosebleed woman (Jessica Barden) by claiming he also gets frequent nosebleeds. It’s among some of the film’s comical events along with the scene of the loners dancing to music on their headphones which goes to show both the world of the couples and the world of the loners are. Still, there is that element of how repressed this world can be in a scene where David, short-sighted woman, the loner leader, and an associate walk to the city as they pretend to be couples as everyone has to have papers to prove they’re a couple or else they get sent to the compound. Lanthimos showcase a world where both sides is cruel as David’s infatuation with the short-sighted women is out of pure love but that’s not what the loners want nor does the people at the hotel want as they care about survival of the fittest rather than living. Overall, Lanthimos crafts a riveting yet abstract film about an absurd dystopian world where humans must find a mate or else become an animal.

Cinematographer Thimios Bakatakis does brilliant work with the film’s cinematography with its usage of low-key lighting and slightly-yellow color for some of the interiors set at night to a somewhat greyish look for the daytime exterior scenes in the forest and at the city. Editor Yorgos Mavropsaridis does excellent work with the editing as it is straightforward in terms of its lack of style with some slow-motion sequences such as a few of the hunting scenes. Production designer Jacqueline Abrahams does amazing work with the look of the hotel in its rooms and various outside activities including its spa as well as the home of the loner leader’s parents. Costume designer Sarah Blenkinsop does fantastic work with the costumes from the clothes the people at the compound have to wear to the raincoats that the loners wear at the forests.

Hair designer Eileen Buggy and makeup designer Sharon Doyle do terrific work with the look of the characters as much of it is straightforward to play into the look of conformity to a more ragged look for the loners when they’re in the forest. Visual effects supervisors Pierre Buffin and Olivier Cauwet do wonderful work with some of the film’s minimal visual effects as it relates to some of the animals that lurk around the forest and lakes. Sound designer/music composer Johnnie Burn does incredible work with the sound work in capturing the atmosphere of the locations and what goes on inside the hotels and cities while much of the music he creates is largely a low-key ambient score for a few scenes in the forest while music supervisor Amy Ashworth provides a music soundtrack that is a mixture of classical and contemporary music with contributions from Ludwig Van Beethoven, Igor Stravinsky, Richard Strauss, Benjamin Britten, Danai, and Nick Cave and the Bad Seeds with Kylie Minogue.

The casting by Jina Jay is tremendous as it features some notable small roles from Roger Ashton-Griffiths as an eye doctor for the short-sighted woman, Anthony Dougall as the 70-year old waiter at the hotel, Roland Ferrandi and Imelda Nagle Ryan as the loner leader’s parents, EmmaEdel O’Shea as the nosebleed woman’s best friend, Michael Smiley as the loner leader’s associate, Ashley Jensen as a woman who often carry biscuits at the compound, Ewen MacIntosh as a hotel guard, and Olivia Colman in a terrific performance as the hotel manager who spouts propaganda ideas of partnership yet forbids any idea of true happiness. Jessica Barden is fantastic as a young woman who has frequent nosebleeds as she tries to find a partner who would be her equal as well as handle her nosebleeds. Angeliki Papoulia is excellent as the heartless woman as someone who is a real cold-hearted bitch that doesn’t care if anyone gets hurt as well as being an able hunter who likes to hunt loners so she can extend her search for her equal.

Ariane Labed is brilliant as the hotel maid whose job is to dry-hump David as well as be someone to cater to everyone at the hotel yet also carries a secret about her role as it’s a great mixture of humor and restraint. Lea Seydoux is amazing as the loner leader as a woman who leads a faction of loners who believes that love only leads to trouble and that loneliness is the only way people can live despite her attachments to her parents whom she visits occasionally. John C. Reilly and Ben Whishaw are great in their respective roles as Robert and John with the former suffering from a lisp as he has trouble connecting with the women and the latter having a limp as he would find a way to get the woman with the nosebleeds. Rachel Weisz is incredible as the short-sighted woman who is part of the loner faction as she falls for David as she realizes that everything that the loners stand for is false as she and David try to keep their relationship a secret. Finally, there’s Colin Farrell in a sensational performance as David as a man whose wife has left him as he joins the hotel compound to find a new partner as he’s accompanied by his dog Bob as he copes with the need to find a partner only for things to go wrong as it’s an offbeat performance from Farrell who provides a sense of restraint but also an sweet awkwardness to his performance.

The Lobster is a phenomenal film from Yorgos Lanthimos. Featuring a great ensemble cast, an offbeat premise, gorgeous visuals, and a hypnotic soundtrack. It’s a film that plays into the absurdity of people needing to connect without the chance to find themselves or someone that they can spend their life with as it is filled with humor and drama as it’s told in a very abstract and hilarious style. In the end, The Lobster is a tremendous film from Yorgos Lanthimos.

Yorgos Lanthimos Films: (My Best Friend (2001 film)) – (Kinetta) – Dogtooth - (Alps (2011 film)) – (The Killing of a Sacred Deer) – The Favourite

© thevoid99 2018

Suffragette

Directed by Sarah Gavron and written by Abi Morgan, Suffragette is the story of a laundress who takes part of the Suffragette movement in the 1910s in the hopes that she and other women would have the right to vote. The film is a historical drama set in the real-life period of women’s suffrage in Great Britain before World War I. Starring Carey Mulligan, Helena Bonham Carter, Anne-Marie Duff, Brendan Gleeson, Natalie Press, Ben Whishaw, Romola Garai, and Meryl Streep. Suffragette is a compelling yet evocative film from Sarah Gavron.

Set in 1912 Britain after many attempts to get the right for women to vote, the film is about a young laundress who finds herself being part of the Suffragettes movement where she eventually becomes an active member. It’s a film that follows a woman who is lured into a movement she is reluctant to be part of yet is unable to ignore the treatment that she has endured working in the laundry factor as she notices the teenage daughter of a Suffragette activist is being sexually harassed by her boss. Even as she also realizes that she doesn’t have the legal right to determine the future of her own son which prompts her to not only take part full-on but also learn what it means to stand up for herself and other women. Abi Morgan’s screenplay doesn’t just follow the journey of this young woman in Maud Watts (Carey Mulligan) but also the women she would meet as she takes part in this movement.

While she would get herself into some trouble as well as risk losing her son who is forced to be cared by his father Sonny (Ben Whishaw), Maud would find a purpose about what to do as she thinks about the women in the future. Still, she and the other Suffragettes would face numerous challenges and obstacles as they’re seen by those in the government including authority figures such as Inspector Steed (Brendan Gleeson) who is this unconventional antagonist of sorts. Notably as he actually cares about the women yet is aware of the job he has to do while he becomes disgusted with the tactics of those he works for. One aspect of the script that is underwhelming is the appearance of Suffragette leader Emmeline Pankhurst (Meryl Streep) as she is this mysterious figure who makes her appearance in the second act for a big speech and then she is gone as her character would disappear.

Sarah Gavron’s direction is quite simple in terms of the compositions that are created as it also has some ambition for the fact that it is shot on location in London and in studios to recreate some of the old buildings. The usage of the wide and medium shots play into the locations as well as the tense and grimy atmosphere of the factories where Maud and Sonny work at as it feels repressive and hard. By the time the film hit the streets, Gavron’s direction definitely becomes richer where it does play into this sense of time where protests are happening as well as a very intimate scene where Maud testifies to the government about her own experience as it would lead to a key moment in her development. There are these moments of violence in how the women are beaten by police as well as do small guerilla-style warfare by blowing up mailboxes. Gavron’s usage of close-ups are definitely entrancing as it play into the anguish that Maud endures as well as what she would have to sacrifice. Notably in the climax as it would play into a real-life key moment that would be the catalyst for the Suffragette movement as it would end with images of a real-life event of the movement. Overall, Gavron creates a fascinating and riveting drama about a young woman joining the Suffragettes movement in their right to have a say in the world.

Cinematographer Eduard Grau does excellent work with the film‘s cinematography from the usage of low-key lights for the interior scenes at the factory as well as what London looked like at night including a key scene involving the bombing of a Parliament member‘s home. Editor Barney Pilling does nice work with the editing as it is largely straightforward with some rhythmic cutting to play into some of the intense moments in the film. Production designer Alice Normington, with art directors Jonathan Houlding and Choi Ho Man and set decorator Barbara Herman-Skelding, does amazing work with the look of the factory as well as the buildings that were prevalent in those times as well as a church where Maud would stay during her time as a Suffragette. Costume designer Jane Petrie does brilliant work with the costumes from the fancy dresses in those times as well as the ragged look of the women during that period of protest and activism.

Hair/makeup designer Sian Grigg does fantastic work with the look of the women in the hairstyles they had as well as some of the burns and scars in Maud‘s skin from years working as a laundress. Visual effects supervisor Simon Hughes does terrific work with the visual effects as it is mostly set-dressing to help create that look of 1912 London in its exterior setting. Sound editors Stephen Griffiths and Andy Shelley do superb work with the sound as it play into the frenzy of the crowd and the protests as well as in the sparse yet eerie moments at the prisons where some of the women would go for their actions. The film’s music by Alexandre Desplat is wonderful for its orchestral-based score with its lush string arrangements that play into the drama as well as some of the intense moments in the film while music supervisor Karen Elliot create a soundtrack that play into the music of the times.

The casting by Fiona Weir is remarkable as it feature some notable small roles from Adam Michael Dodd as Maud and Sonny‘s son George, Grace Stottor as Violet‘s teenage daughter Maggie, Finbar Lynch as Edith‘s loyal husband Hugh, Geoff Bell as the factory foreman Taylor whom Maud dislikes, Samuel West as a government official, and Adrian Schiller as Parliament minister David Lloyd George. Ben Whishaw is terrific as Maud’s husband Sonny as a man that is trying to maintain his role as a man while struggling to take care of his son when Maud isn’t around. Natalie Press is superb as Emily Davidson as a passionate activist who does a lot to herself for the cause as well as be the one person who would make a major sacrifice towards its climax. Romola Garai is fantastic as Alice Haughton as the wife of a government official who is trying to support the Suffragettes any way she can as well as get them to meet with the government. Meryl Streep is excellent in her brief role as Suffragette leader Emmeline Pankhurst as she does have this great presence about her though it’s a role that is just merely a cameo that doesn’t do enough to establish the character.

Brendan Gleeson is amazing as Inspector Steed as a law enforcer whose job is to watch out for the Suffragettes as he is trying to do his job yet is someone that is sympathetic into what these women do as he tries to get them to do less time and such while becoming disgusted with the tactics of his government. Anne-Marie Duff is brilliant as Violet Miller as a woman who had just worked at the laundry factory as she is also quite committed to her work as a Suffragette inviting Maud into the action until she would deal with things beyond her control forcing her to take a step back. Helena Bonham Carter is great as Edith Ellyn as a pharmacist who is one of the organizers of the movement as she is also someone who gives Maud some perspective about what happens if women don‘t get a say about matters into the world. Carey Mulligan is incredible as Maud Watts as this young laundress who is trying to do her role as she is sucked into the world of the Suffragettes where she realizes what it means to her as it‘s performance filled with determination and anguish as it‘s one of Mulligan‘s finest performances to date.

Suffragette is a remarkable film from Sarah Gavron. Featuring a great cast, gorgeous visuals, and some strong themes about women’s right to vote and say something about the world. It is a film that captures a moment in time that shows what women can do in a world that is afraid of change. In the end, Suffragette is a marvelous film from Sarah Gavron.

Sarah Gavron Films: (This Little Life) - (Brick Lane)

© thevoid99 2016

007 James Bond: SPECTRE

Based on the novels of Ian Fleming, SPECTRE is the story of James Bond trying to uncover a criminal organization that is threatening the world just as the MI6 is under threat of shutting down. Directed by Sam Mendes and screenplay by John Logan, Neal Purvis, Robert Wade, and Jez Butterworth from a story by Logan, Purvis, and Wade, the film has Bond encounter the organization that puts the world into chaos as Daniel Craig plays Agent 007 for the fourth time. Also starring Christoph Waltz, Lea Seydoux, Monica Bellucci, Dave Bautista, Ben Whishaw, Naomie Harris, Jesper Christensen, Andrew Scott, and Ralph Fiennes as M. SPECTRE is a thrilling yet exciting film from Sam Mendes.

The film plays into not just the recent events James Bond had encountered with mysterious organization known as Quantum but it all finally ties together when he not only uncovers what Quantum is part of but who is running this secret organization. Even as it relates to not just Bond’s past but also the emergence of a new world order as MI6 is being shut down by a new organization that wants to put the entire world under total surveillance. For Bond, this new criminal threat as well as the possibility of MI6 being shut down not only prompts him to go at it alone against the advice of M but also lead him to clues as it relates to a man named Franz Oberhauser (Christoph Waltz) whom Bond had known as a child and thought had died.

The film’s script doesn’t just play with Bond coping with aspects of his past and the new threats he is dealing with. He also is forced to go alone as MI6 are unable to be directly involved as M, Q (Ben Whishaw), Moneypenny (Naomie Harris), and Bill Tanner (Rory Kinnear) are all under surveillance from this new organization that is to replace MI6 where M had to fight to keep MI6 going. While Bond would create things that would put MI6 under further scrutiny such as the film’s opening sequence in Mexico City which has him trying to go after an assassin that is related to this secret criminal organization under the orders of the previous M. He would also turn to an old nemesis in Mr. White (Jesper Christensen) who would reveal not just what Quantum had become but asked Bond to protect his daughter in Dr. Madeline Swann (Lea Seydoux) who knows some things about what her father did as she would help Bond.

The script would also play into the growing sense that the world is changing as it makes Bond and M uneasy where the latter has to deal with Max Denbigh aka C (Andrew Scott) who wants to get rid of MI6 for a joint security organization as he believes surveillance on everyone is good for the future. It plays into this conflict of the old ways vs. the new ways where Bond is a representation of the old ways as he is about trying to figure out what is going on and make the decision to pull the trigger if necessary. While M and Bond do agree that their old tactics do have faults, they at least produce results which does prompt the latter to go deeper into what he is trying to uncover and why Oberhauser is alive. Even as it becomes clear about what is trying to do and why he is targeting Bond of all people.

Sam Mendes’ direction is definitely thrilling from the film’s cold open which begins with this intricate and gripping tracking shot where Bond is at the Day of the Dead ceremony in Mexico City as he is watching out for an assassin. It definitely opens the film with a bang while it establishes what Bond is going after and what it will lead him to. Shot in several locations such as Mexico City, Rome, London, Tangiers, and the Austrian Alps, the film does play into the emergence of a new world order emerging where there are several things happening while Bond would travel by himself as he is aware that he’s being watched under the new rules forcing his associates to cover for him. While it is largely a suspense film with lots of action and extravagant set pieces, Mendes does know where to slow things down as well as play into the formula that is often expected with Bond films. There are elements of humor in the film which definitely gives a nice balance to the action as it often comes from Q and Moneypenny while infusing bits of drama and character development into the story.

Notably the relationship between Bond and Dr. Swann as the latter is hesitant to trust Bond but realizes what he is doing while being the one person that could bring some redemption for her father. Mendes’ approach to compositions with its usage of medium shots and close-ups do help build up the drama while the wide shots allow Bond to be wherever he’s at to cope with what he’s facing When the film’s third act takes place in Tangiers where Bond and Dr. Swann with Oberhauser, it is clear that something is up but also there is a lot more that is being revealed. Especially in what he is up to where some of it isn’t surprising but it does have this payoff that Bond is up for a challenge with so much at stake. Overall, Mendes crafts an enthralling and entertaining film about a spy saving the world from an evil criminal organization bent on creating a new world order.

Cinematographer Hoyte Van Hoytema does brilliant work with the film‘s cinematography from the usage of the exterior lights for scenes set in Rome and London as well as playing up to some of the cold atmosphere of the scenes in the Alps as well as some crafty interior lighting for scenes in Tangiers. Editor Lee Smith does excellent work with the editing as it is straightforward while knowing when not to cut while creating some unique rhythms and jump-cuts for some of the action sequences. Production designer Dennis Gassner, with set decorator Anna Pinnock and supervising art director Chris Lowe, does amazing work with the design of places where Oberhauser conducts his business and meetings as well as Bond‘s home apartment and other rooms such as Q‘s workshop.

Costume designer Jany Temime does nice work with the costumes from the dresses that Dr. Swann and the other women wear to the Tom Ford suits that Bond wears. Hair designer Zoe Tahir and makeup designer Naomi Donne, with prosthetics makeup designer Mark Coulier, do terrific work with look of the characters in terms of the hair and such as well as the look of a character late in the film. Special effects supervisor Chris Corbould, along with visual effects supervisors Steven Begg and Mark Curtis, does fantastic work with the special effects as it relates to some of the action sequences along with some of the hacking devices from Q.

Sound designers Christopher Assells, Ann Scibelli, and Peter Staubi, along with sound editors Karen Baker Landers and Per Hallberg, do superb work with the sound to play into the many sound effects that occur in the action sequences as well as in some of the film‘s quieter moments to build up its suspenseful moments. The film’s music by Thomas Newman is wonderful for its bombastic orchestral score that play into the action and suspense while knowing when to be low-key for its drama while creating some variations of the franchise’s theme music. The film’s song Writing’s on the Wall by Sam Smith is an OK song that has its moments but Smith’s singing is just terrible.

The casting by Debbie McWilliams and Nicole Schmied is great as it features some notable appearances from Stephanie Sigman as Bond’s date in Mexico and Alessandro Cremona as the assassin Bond goes after in Mexico. Monica Bellucci is wonderful as the assassin’s widow Lucia who would give Bond some crucial information about Oberhauser while Jesper Christensen is terrific in his role as former Quantum figure Mr. White who would also reveal Bond some information as well as urging Bond to protect his daughter. Andrew Scott is fantastic as Max Denbigh aka C as a government official who wants to get rid of MI6 for a new security organization as he brings a smugness that is just fun to hate. Dave Bautista is superb as Oberhauser’s henchman Mr. Jinx as a henchman that doesn’t say anything but uses his actions and power to do the talking as he’s a fun henchman to watch.

Rory Kinnear is excellent as MI6 chief of staff member Bill Tanner who aids M in trying to keep MI6 from being shutdown while Naomie Harris is brilliant as Moneypenny as M’s secretary who helps Bond uncover some information that would relate to the secret organization. Ben Whishaw is amazing as Q as Bond’s quartermaster who provides him with some inventions and stuff while providing some witty banter that is essential to the series. Ralph Fiennes is incredible as M as Bond’s boss who copes with not just Bond’s tactics but also MI6 being shut down where he tries to deal with C and maintain his idea of the old ways.

Lea Seydoux is remarkable as Dr. Madeline Swann as Mr. White’s daughter who joins Bond in uncovering the secrets of this organization while being someone who is very smart and not afraid to throw down where Seydoux brings some depth to the character. Christoph Waltz is phenomenal as Franz Oberhauser as this mysterious man who knows Bond very well as he is the mastermind of this organization where Waltz brings a lot of charm and personality to a villain that could be Bond’s greatest opponent yet while bearing many attributes that is typical of the old ways but reinvent for a new world order. Finally, there’s Daniel Craig in a sensational performance as Agent 007 James Bond as this spy who is trying to save the world from evil where he copes with not just elements of his past but also in maintaining the role that only he knows as it’s changing for an uncertain future. It’s a performance that his Craig not only be the badass and be serious but also display some humor which shows he’s having fun as it’s definitely Craig at his best.

SPECTRE is a marvelous film from Sam Mendes that features Daniel Craig in another winning performance as Agent 007. Along with a great supporting cast that include standout performances from Christoph Waltz, Lea Seydoux, and Ralph Fiennes as well as thrilling action sequences and sprawling technical work from its crew. The film definitely stands as one of the finest films of the James Bond franchise in terms of its entertainment value as well as provide enough intrigue for audiences to be captivated by. In the end, SPECTRE is a riveting and exciting film from Sam Mendes.

James Bond Files: The EON Films: Dr. No - From Russia With Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale - Quantum of Solace - Skyfall

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls are Forever - True Bond - Everything or Nothing: The Untold Story of 007

Sam Mendes Films: (American Beauty) - (Road to Perdition) - (Jarhead) - (Revolutionary Road) - (Away We Go)

© thevoid99 2015

The Tempest (2010 film)

Based on the play by William Shakespeare, The Tempest is the story of a duchess who has been exiled to a remote island with her daughter as she seeks revenge through magic as well as uncover the conspiracy by those who betrayed her. Written for the screen and directed by Julie Taymor, the film is a different take of the Shakespeare play where the Prospero character is changed from a man to a woman as she is played by Helen Mirren. Also starring Russell Brand, Felicity Jones, Djimon Hounsou, Ben Whishaw, Reeve Carney, Tom Conti, Chris Cooper, Alan Cumming, David Strathairn, and Alfred Molina. The Tempest is a grand and stylish film from Julie Taymor.

Set in a remote island, the film plays into an exiled duchess who is seeking revenge through magic against those who usurped her as she hopes to reclaim what is hers as well as what her daughter is supposed to have. Much of it plays to Prospera’s thirst for vengeance as she had been wronged by many that includes the King of Naples Alonso (David Strathairn) and her own brother Antonio (Chris Cooper) as the latter was the mastermind for her exile. For 12 years, Prospera and her daughter Miranda (Felicity Jones) remain on this island as Prospera learns that Alonso’s ship is on route towards the island with his party as she sees this as an opportunity to exact her revenge. While she gets help from her spirit Ariel (Ben Whishaw), she deals with circumstances that are beyond her control once Miranda encounters Alonso’s son Ferdinand (Reeve Carney).

The film’s screenplay does retain much of the dialogue that Shakespeare wrote while Julie Taymor does create new interpretations in order to play into this drama about betrayal, conspiracies, and redemption. Even as Prospera is dealing with the betrayal from her brother as she was supposed to be in power as well as Miranda. Through a shipwreck that Prospera would cause from her magical powers, the survivors in Alonso, Antonio, Alonso’s brother Sebastian (Alan Cumming), and Alonso’s counselor Gonzalo (Tom Conti) go on a journey to find Ferdinand who was shipwrecked on another part of the island. There’s also another subplot involving a disgruntled slave of Prospera in Caliban (Djimon Hounsou) who would conspire with two of Alonso’s servants in Stephano (Alfred Molina) and Trinculo) into overthrowing Prospera. It all plays into people trying to get something while underestimating this duchess who finds herself dealing with not just her thirst for revenge but also for the future of her own daughter.

Taymor’s direction is definitely ambitious in terms of its visual scale while she would shoot the film entirely on islands in Hawaii and Lanai to play into its rugged look as well as its different settings such as woods and blacks sands. While Taymor’s use of wide shots are very prevalent, she does maintain a sense of intimacy in terms of the presentation of the performances. Notably in the use of close-ups and medium shots along with some inspiring usage of low-angles to play into the location where the actors use it as a stage and more. Taymor’s approach to directing actors doesn’t just have them recite Shakespeare but also in allowing the actors to create their own interpretations to those roles where there’s a looseness in the direction that is quite engaging to watch. Overall, Taymor creates a very thrilling and evocative film about a duchess seeking revenge from those who betrayed her.

Cinematographer Stuart Dryburgh does excellent work with the film‘s cinematography from the usage of lights for some of the interiors along with some of the nighttime exteriors as well as some colorful scenes set in the forests. Editor Francoise Bonnot does brilliant work with the editing with its usage of fast-cuts, dissolves, and other elements of style to play into the looseness of the film and its offbeat rhythm. Production designer Mark Friedberg and set decorator Alyssa Winter do amazing work with the look of Prospera‘s home and her workshop where she would create her own spells. Costume designer Sandy Powell does fantastic work with the costumes from the white dress that Miranda wears to the lavish cape and dress that Prospera wears.

Prosthetics makeup designer Mike Marino does superb work with the look of Caliban in his rugged look to play into his personality as well as the look of Ariel. Visual effects supervisor Mike Cooper does wonderful work with the visual effects as it plays into the world of mysticism and magic that surrounds Prospera. Sound designer Blake Leyh does nice work with the sound to convey the atmosphere of the locations as well as the sound effects from the spells that Prospera would make. The film’s music by Elliot Goldenthal is terrific for its mixture of bombastic orchestral music with elements of rock as it plays into its extravagance and some of its humor.

The film’s marvelous cast features some notable comic performances from Alfred Molina and Russell Brand in their respective roles as Stephano and Trinculo as two men who are eager to gain the riches of their employers while conspiring with Caliban in overtaking Prospera. Ben Whishaw is terrific as the spirit Ariel as he brings some humor as a figure who helps Prospera while Djimon Hounsou is excellent as the disgruntled slave Caliban who feels unappreciated by Prospera as he hopes to get rid of her. Tom Conti is superb as Alonso’s counselor Gonzalo who was a mentor of Prospera as he tries to make sense of the situation. Alan Cumming is wonderful as Alonso’s brother Sebastian who is a conspirator of Prospera’s exile as he is coerced into trying to do the same to his own brother.

David Strathairn is amazing as King Alonso of Naples as a king who is concerned with finding his son while dealing with some issues in the past as it relates to Prospera. Chris Cooper is brilliant as the devious Antonio who masterminded the exile on his sister as he tries to maintain some power for himself in the hopes that he can be important. Reeve Carney is fantastic as Ferdinand as Alonso’s son who meets Miranda and Prospera as he tries to win over the latter as he reveals to be a good person and a worthy match for Miranda. Felicity Jones is an absolute delight as Miranda as this young woman who falls for Ferdinand while trying to aid her mother in the plans as she knows the role that she is destined to play. Finally, there’s Helen Mirren in an incredible performance as Prospera as Mirren is just so commanding in everything she does while bringing a lot of gravitas to a woman betrayed and seeking vengeance while displaying some sensitivity as it relates to her daughter as Mirren is the star of the film.

The Tempest is a marvelous film from Julie Taymor that features a phenomenal performance from Helen Mirren. The film isn’t just a unique and stylish take on the William Shakespeare play but also a dazzling interpretation that manages to be funny and dramatic. In the end, The Tempest is a rapturous film from Julie Taymor.

Julie Taymor Films: Titus (1999 film) - Frida - Actross the Universe - The Auteurs #42: Julie Taymor

© thevoid99 2014

The Zero Theorem

Directed by Terry Gilliam and written by Pat Rushin, The Zero Theorem is the story of a reclusive computer genius who tries to see if there’s any meaning to life through a formula where he endures a series of surreal misadventures. The film is a dystopian film of sorts set in the future as it recalls many of Gilliam’s films from the past while going into a man dealing with his own identity and his place in the world. Starring Christoph Waltz, Melanie Thierry, Lucas Hedges, Tilda Swinton, David Thewlis, and Matt Damon as the Management. The Zero Theorem is a dazzling yet whimsical film from Terry Gilliam.

Set in a futuristic world, the film explores the troubled life of an eccentric computer programmer whose job is to find the meaning of life through a theory as he ponders about his own existence where he encounters a series of oddball characters during his journey. Yet, it all plays into this programmer who is also very reclusive as he await a phone call that he thinks could have some meaning. During his time in his home where he works continuously to find answers, Qohen Leth (Christoph Waltz) deals with his own loneliness as he often refers to himself as “we” where he starts to fall for a young woman in Bainsley (Melanie Thierry) as well as gain the aid of his boss’ son Bob (Lucas Hedges) where they would get him to showcase a world outside of his work and obsession to find answers.

Pat Rushin’s screenplay does create some unique ideas about existentialism as well as faith where Qohen is a man who seeks answers that are beyond the world he works for as he often crunch numbers to see if there are any answers. Qohen is a man that often dreams about being sucked into a black hole in his feeling that there’s nothing in the world as he is asked by the mysterious known as Management to find these impossible answers. Qohen takes the job because he has nothing to live for where his meetings with Management would be very strange. While he spends a year working to prove this theory in his home, he rarely has human contacts where the odd visits he receives from Bob, Bainsley, and his supervisor Joby (David Thewlis) would be very strange. Even as he learns what Bainsley does as it would complicate things as she would be the one person who shows him that there’s more to life than nothingness.

Terry Gilliam’s direction is quite extravagant in some ways in not just the world that Qohen lives but also the idea of dystopia where it’s more offbeat rather than oppressive. Yet, it does have some satirical comedy about the way technology drives the world such as a party scene where everyone is holding tablets rather than communicate with words. Gilliam’s direction has him utilizing not just close-ups and medium shots but these intricate crane shots to play into Qohen’s sense of loneliness. Especially as he rarely goes outside as he prefers to stay home to await a phone call where there’s an intimacy that Gilliam creates. The artificial world that Qohen would encounter would display his own lack of humanity and struggles along with the idea of what it could be once the fear is gone. Overall, Gilliam creates a very sensational yet compelling film about a man seeking answers in a very troubled world.

Cinematographer Nicola Pecorini does excellent work with the many of the film‘s stylized interior lighting schemes for the party scenes and the main base of where Qohen works at plus an offbeat look to some of the film‘s exterior settings. Editor Mick Audsley does fantastic work with the editing with its rhythmic approach to play into the film‘s humor as well as in some of the dramatic moments. Production designer David Warren, with art director Adrian Curelea and set decorators Jille Azis and Gina Stancu, does amazing work with the set design from the home that Qohen lives in to the look of the city and the place where Qohen works at. Costume designer Carlo Poggioli does brilliant work with the stylized costumes that includes some of the camouflage suits that Management wears in his surroundings as well as the clothes that Bainsley wears.

Hair/makeup designer Kristin Chalmers does terrific work with the hairstyle that Qohen would wear in his fantasy as well as the wig that Bainsley wears in one of her visits. Visual effects supervisors Felix Lepadatu, Jonah Loop, and Fredrik Nord do superb work with the visual effects where it is minimal in some respects from the fantasy world that Qohen and Bainsley live in to the image of the black hole. Sound designer Andre Jacquemin does nice work with the sound work from the sound effects of the cameras that are watching Qohen to the scenes that occur that play into Qohen‘s troubled state of mind. The film’s music by George Fenton is wonderful for its mixture of eerie orchestral music with some offbeat electronic music with the soundtrack featuring electronic dance music and a jazz cover of Radiohead’s Creep.

The casting by Irene Lamb is incredible as it features an array of offbeat cameos from Gwendoline Christie, Ray Cooper, Lily Cole, and Rupert Friend as people seen on commercials, Sanjeev Bhaskar, Peter Stormare, and Ben Whishaw as a trio of oddball doctors, and Robin Williams in an un-credited appearance as televangelist. Other notable small roles include Emil Hostana and Pavlic Nemes as a couple of clones, Dana Rogoz as a sexy pizza girl, and Tilda Swinton in a very hilarious performance as Dr. Shrink-Rom as an artificial shrink who can bust some mad rhymes. Matt Damon is excellent in a small but very memorable performance as the boss known as Management as he appears in the oddest circumstances as it’s Damon playing it very straight.

David Thewlis is amazing as the supervisor Joby who tries to get Qohen to be more outgoing while also being a friend of sorts as he tries to prepare Qohen for what he will endure. Lucas Hedges is fantastic as Bob as this whiz-kid who helps Qohen in uncovering the theory as well as dealing with Qohen’s reclusive behavior. Melanie Thierry is brilliant as Bainsley as this mysterious young woman who meets Qohen at a party as she is intrigued by his personality while getting him to be more open as she would fall for him. Finally, there’s Christoph Waltz in a remarkable performance as Qohen Leth as this very reclusive man who deals with his own existence as well as faith as he tries to uncover a mystery as it’s a performance that features Waltz at his most vulnerable as well as his restrained approach to humor.

The Zero Theorem is an extraordinarily fun and exhilarating film from Terry Gilliam. Armed with a great cast led by Christoph Waltz as well as some amazing technical work and some compelling themes on faith and existentialism. The film is definitely one of Gilliam’s finest works as it proves that he still has a few tricks up his sleeve. In the end, The Zero Theorem is a marvelous film from Terry Gilliam.

Terry Gilliam Films: Jabberwocky - Time Bandits - Brazil - The Adventures of Baron Munchausen - The Fisher King - 12 Monkeys - Fear & Loathing in Las Vegas - The Brothers Grimm - Tideland - The Imaginarium of Dr. Parnassus

The Auteurs #38: Terry Gilliam

© thevoid99 2014

007 James Bond Marathon: Skyfall

Based on the character by Ian Fleming, Skyfall is the story in which James Bond goes on a secret mission to find out who leaked out the identity of various undercover MI6 agents while his boss M is under scrutiny from the British government as they deal with an old nemesis of theirs. Directed by Sam Mendes and screenplay by John Logan, Neal Purvis, and Robert Wade with contributions by Peter Morgan, the film explores Bond dealing with his loyalty to M as he faces new challenges as well as dangerous villain. With Daniel Craig playing James Bond for the third time, the film also stars Javier Bardem, Naomie Harris, Berenice Marlohe, Ralph Fiennes, Helen McCrory, Ben Whishaw, Rory Kinnear, Albert Finney, and Judi Dench as M. Skyfall is a thrilling and visually-entrancing film from Sam Mendes.

When a hard drive that features a list of the identities of various undercover NATO agents, James Bond and an agent named Eve (Naomie Harris) tries to retrieve it from its thief Patrice (Ola Rapace). During the chase leading to a fight on a train, M orders Eve to take the shot only for Eve to accidentally shoot Bond as he is presumed dead. Following the incident in Istanbul, M meets with Intelligence and Security Committee chairman Gareth Mallory (Ralph Fiennes) who feels that M should retire. With the hard drive missing and M is under target from both the government and a mysterious enemy who had hacked into her office computer and blow up her office at the MI6 building. When news of the explosion happens, Bond returns from hiding to find out who is after M and why. Bond travels to Shanghai to track down Patrice where he finds Patrice assassinating a target only for Bond to stop him as he asks him who he works for.

Thanks to a gambling chip from Patrice’s briefcase, Bond goes to a casino in Macau with Eve where Bond meets a woman named Severine (Berenice Marlohe) who warns him about what is going on. After Bond seduces Severine on her boat, they’re taken to a mysterious island where Bond meets a man named Raoul Silva (Javier Bardem) who was a former MI6 agent that is responsible for the hackings and leaks of undercover NATO agents. After Bond gets Silva captured and taken back to London, Q (Ben Whishaw) tries to decode Silva’s computer only to realize that it’s a trap. With M facing an inquiry from the government, Bond goes after Silva who is planning to kill M forcing Bond to hide M at an old place with the help of a man named Kincade (Albert Finney). With Bond aware that Silva is going to come after M, Bond prepares for what would be a standoff between himself and Silva.

Throughout the 50 years of James Bond franchise, there’s always been the question about Bond’s place in the world as times have often changed. In this film, Bond faces a new enemy that is far more menacing than anything he and the MI6 had to face. It’s an enemy that lurks in the shadow and when it attacks, problems emerge forcing the British government to question whether to count on Bond to stop this menace. What makes it more interesting is that this enemy is going after M who has a very deep connection with this very mysterious villain as he wants her dead. Bond has to do whatever it takes to save M but also realize that not everything about his superior had been good as he starts to question about her past. Notably as they both are dealing with the fact that they’re considered irrelevant by some as many claims the old ways are out. What Bond would try to prove that sometimes, the old ways work.

The screenplay that is created by Neal Purvis, Robert Wade, and John Logan definitely shows a lot of complexities into the roles of the characters that are involved in the story. Particularly as Bond is presented as a man that is very flawed and a real liability as he’s still dealing with a painful physical wound. There’s also questions into whether Bond is able to get the job done as he’s not just a physical wreck but a mental one due to the fact that he is willing to harm himself. Bond’s flaws gives a lot of advantages to the film’s antagonist in Raoul Silva who is definitely a villain that is psychotic, intelligent, and very determined to reek chaos for the MI6 and destroy M anyway he can. There’s also a very demented side to Silva as he also has a lot of history with M about his work with the MI6 and why he turned against the MI6. For Bond, it does have him asking questions but also makes him realize that he still has a duty to do as a 00 agent.

Sam Mendes’ direction is definitely a marvel to watch from the opening sequence in Istanbul that includes a great chase scene involving motorcycles and trains to some amazing second unit shots of locations in Shanghai, Macau, London, and Scotland. Mendes is definitely aware that he’s making a Bond film but also infuses it with very direct and entrancing compositions that really establishes what is going on and what Bond is trying to do. Mendes also manages to take his time to build up the suspense where he wisely reveals Silva in the film’s second act. That approach to maintain an air of mystery in the first act has Mendes utilizing lots of intimate compositions and moments to help set up the plot and introduce a few key characters.

The action definitely comes back around the second act that includes this amazing fight scene between Bond and Patrice with this beautiful backdrop that shows a true sense of style that Mendes wants to bring. Even in the shot of Bond’s arrival to the Macau casino that is followed by amazing steadicam shots of Bond and Eve walking around the casino in separate directions. Things definitely intensify in the third act when it involves a brilliant chase scene through the London subways. Even in the climatic showdown in Scotland where Mendes definitely takes advantage to utilize the location for a wide canvas. While the film features a lot of amazing visuals and suspense, Mendes is aware that a James Bond film shouldn’t be taken too seriously as he also infuses some small moments of humor along with nods to Bond films from the past. Overall, Mendes crafts a truly engaging and exciting film that bears a lot of hallmarks of past Bond films as well as elements that keeps it fresh.

Cinematographer Roger Deakins does incredible work with the film‘s photography to display an air of style from the lush coloring of the nighttime settings in Shanghai and Macau to more evocative shots of the locations in Scotland with its mist as Deakins‘ work is really a major technical highlight. Editor Stuart Baird does excellent work with the editing to maintain a sense of intrigue in its suspenseful moments with some methodical cuts along with more rhythmic cutting to capture the action without delving into swift, chaotic editing style. Production designer Dennis Gassner, along with set decorator Anna Pinnock and supervising art director Chris Lowe, does superb work with the set pieces from the look of the MI6 offices underground to the lavish look of the Macau casino as it establishes a world that only James Bond can go to.

Costume designer Jamy Temime does wonderful work with the costumes from the lavish dress that Severine wears at the casino as well as Eve‘s dress to the clothes that Silva wears while Tom Ford provides the suits that Bond wears. Makeup designer Naomi Donne and hair designer Zoe Tahir do terrific work with the look of Silva including a surprising feature that adds to Silva‘s dark persona. Special effects supervisor Chris Corbould and visual effects supervisor Steve Begg do amazing work with the visual effects to create something that is realistic in some parts along with some action-driven scenes without going overboard. Sound designers Christopher Assells and Peter Staubli, along with sound editors Karen M. Baker and Per Hallberg, do great work with the sound to capture the array of sounds in some of the raucous moments along with a chilling atmosphere in some intimate moments including Silva’s meeting with M.

The film’s music by Thomas Newman is brilliant for its mix of orchestral flourishes with rock and electronic music to maintain an air of suspense and momentum while finding ways to incorporate the famous Bond theme into the mix and knowing when to use it. The title song performed by Adele is definitely one of the best Bond theme songs in the catalog where Adele and co-writer Paul Epworth go back to old-school Bond themes with its orchestral flourishes and slow rhythms while Adele’s voice soars in what is truly a magical song. The soundtrack also features a cover of John Lee Hooker’s Boom Boom by the Animals and music from Charles Trenet, Jun Chen, and the Ensemble Huseyin Turkmenler.

The casting by Debbie McWilliams is outstanding for the ensemble that is created as it features some noteworthy small roles from Helen McCrory as a government official leading M’s inquiry and Albert Finney in a terrific performance as a gamekeeper named Kincade. Ola Rapace is very good in a small but memorable role as the mercenary Patrice who steals the hard drive for Silva while Berenice Marlohe is wonderful as the very sensual yet mysterious Severine. Rory Kinnear is superb as M’s longtime aide and MI6 chief of staff Bill Tanner while Ralph Fiennes is amazing as government official Gareth Mallory who tries to deal with what role M has left as well as Bond’s place in the MI6. Naomie Harris is excellent as the agent Eve who helps Bond out while ensuring that he does his job while Ben Whishaw is amazing as Q where he provides a low-key sense of humor as well as someone who helps Bond with more realistic gadgets.

Judi Dench is incredible as M where she deals with the mistakes from her past as well as the fact that she might be irrelevant as Dench puts a lot and more into this character as she definitely gives out her best performance in the role of M. Javier Bardem is phenomenal as Raoul Silva where Bardem displays a sense of wit to his role but also someone who is quite sick and cunning in his motivations where he even will do things that are very surprising as Bardem makes Silva one of the great Bond villains. Finally, there’s Daniel Craig in a remarkable performance as James Bond where Craig is able to display Bond’s humanity as a man wrecked by failure as he tries to pick himself up to do his duty. It is Craig showing new sides to Bond that is gritty but also smooth as he finally creates his own interpretation of Bond that is also a tribute to the Bonds of the past.

Skyfall is a magnificent James Bond film Sam Mendes that features marvelous performances from Daniel Craig, Javier Bardem, and Judi Dench. Armed with great technical work led by Roger Deakins, a sumptuous film soundtrack, and a wonderful supporting cast that includes Ralph Fiennes, Naomi Harris, and Ben Whishaw. It’s a film that proves that James Bond is still vital after being on the big screen for 50 years. It’s also a film provides all sorts of suspense, action, romance, and humor that bears all of the hallmarks of Bond while emphasizing that James Bond will always return. In the end, Skyfall is a triumphant film from Sam Mendes.

James Bond Files: The EON Films: Dr. No - From Russia With Love - Goldfinger - Thunderball - You Only Live Twice - On Her Majesty's Secret Service - Diamonds are Forever - Live and Let Die - The Man with the Golden Gun - The Spy Who Loved Me - Moonraker - For Your Eyes Only - Octopussy - A View to a Kill - The Living Daylights - Licence to Kill - GoldenEye - Tomorrow Never Dies - The World is Not Enough - Die Another Day - Casino Royale - Quantum of Solace - SPECTRE

Non-EON Films: Casino Royale (Climax! TV Episode) - Casino Royale (1967 film) - Never Say Never Again

Bond Documentaries: Bond Girls are Forever - True Bond - Everything or Nothing: The Untold Story of 007

Sam Mendes Films: (American Beauty) - (Road to Perdition) - (Jarhead) - (Revolutionary Road) - (Away We Go)

© thevoid99 2012

Cloud Atlas

Based on the novel by David Mitchell, Cloud Atlas is the story about human beings being connected to one another in various places in time from the past to the future as they all deal with their role in humanity. Written for the screen and directed by Lana and Andy Wachowski and Tom Tykwer, the film is an epic story that bends all sorts of genres. With an all-star cast playing multiple roles that includes Tom Hanks, Halle Berry, Hugh Grant, Hugo Weaving, Jim Sturgess, Ben Whishaw, Doona Bae, Susan Sarandon, Jim Broadbent, James D’Arcy, David Gyasi, Zhou Xun, David Gyasi, and Keith David. Cloud Atlas is a captivating yet exhilarating film from Tom Tykwer and the Wachowskis.

In the 1850s, a young notary named Adam Ewing (Jim Sturgess) travels to the Pacific Islands to discover a plantation run by Reverend Gilles Horrox (Hugh Grant) as it consists of slaves. Upon his return home to San Francisco, Ewing discovers a young slave named Autua (David Gyasi) who stows away on the ship as the ailing Ewing recalls his experience in a journal. In 1930s Belgium, a young musician named Robert Frobisher (Ben Whishaw) writes many letters to his lover Rufus Sixsmith (James D’Arcy) where he works as an amanuensis for the aging composer Vyvyan Ayrs (Jim Broadbent) where they collaborate on a musical piece together. In the 1970s, a San Franciscan journalist named Luisa Rey (Halle Berry) meets the aging Sixsmith where she discovers a chilling mystery about an oil magnate Lloyd Hooks(Hugh Grant) trying to manipulate the energy crisis as a hitman named Bill Smoke (Hugo Weaving) is after her.

In 2012 London, book publisher Timothy Cavendish (Jim Broadbent) is in big trouble over mounting debts to gangsters as he turns to his older brother Denholme (Hugh Grant) for help. Instead, Denholme tricks Timothy to live in a retirement home where Timothy has to deal with the cruel nurse Noakes (Hugo Weaving) as he fights for freedom. In the futuristic South Korea, a genetically-created clone named Sonmi-451 learns about her dystopian world as she meets a young rebel named Hae-Joo Chang (Jim Sturgess) where they decide to create rebellion. In a more distant future, a tribesman named Zachry takes a technologically-advanced woman named Meronym (Halle Berry) to an old palace to find meaning in their world so they can save humanity from an evil tribe and other dark forces.

The film is essentially a multi-layered, inter-weaving collection of stories of people making decisions that would change their own fates as well as the fate of others through six different periods of time. Through the recollection of one individual’s story, one character would discover that person’s story that would inspire something of their own that would eventually inspire another and so on. In these moments where they would discover these stories or pieces of work by a certain person, it would allow a character from different stories to be motivated to do something as it would eventually give them a chance to do something that would help humanity.

The screenplay by Tom Tykwer and the Wachowskis is truly dazzling for the way the narrative moves from one story to another in this inter-weaving style where it adds up to the dramatic momentum of the film. Even as they would provide moments that would play up the suspense of another story and so on. It’s part of the schematics that Tykwer and the Wachowskis wanted to create while slowing things down so that characters can find ways to connect with one another to feel something as if there’s a chance to really do something great. Yet, each protagonist in these six different stories would make decisions that could impact something that would become a key moment of their lives and would set the stage for another.

The direction of Tykwer and the Wachowskis is vast in terms of the presentation they wanted to create for this massive film. With Tykwer directing the two segments in the 20th Century and the 2012 segment while the Wachowskis helm the 19th Century story and the ones set in the future. The filmmakers give each story a chance to set out on their own as they each provide broad visuals to establish the world these characters live in. Notably as these segments also have moments of intimacy to help flesh the characters out even more in their development. Since the film is really a genre-bender that features elements of sci-fi, adventure, drama, comedy, romance, and suspense. It is still about people and the adventures they go into and how they deal with these opposing forces.

For the 20th Century and 2012 segments, Tykwer pretty much keep things straightforward in terms of the presentation though he does shoot scenes with elements of style. Even as he find ways to put every actor who plays multiple roles a chance to pop up every now and then. Tykwer also utilizes bits of humor in the stories as well as some truly jaw-dropping moments such as a scene where Frobisher and Sixsmith stand and freeze while china plates drop all over them. In the 19th Century and futuristic segments, the Wachowskis go all out in terms of the ambition where they create massive sceneries for their segments. Notably the future where it is awash with visual effects to showcase a world that is unique but also unsettling.

Particularly as it establishes the sense of chaos and mistakes humans made where it plays into the most furthest futuristic segment forcing one character to do something to bring some semblance of hope. Overall, Tywker and the Wachowskis create a truly grand yet engaging film about human connection and how they impact one another in different periods of time.

Cinematographers Frank Griebe and John Toll do amazing work with the film‘s photography from the naturalistic look of 19th Century and beyond future segments to the more stylish array of lighting schemes in the 20th Century scenes and the dystopian Seoul segment. Editor Alexander Berner does excellent work with the editing to create unique rhythms for the film‘s suspenseful and action moments as well as creating montages for certain scenes as well as intricate transitions to move from one story to another. Production designers Hugh Bateup and Uli Hanisch, along with set decorator Rebecca Alleway and Peter Walpole and supervising art directors Stepan O. Gessler, Kai Koch, and Charlie Revai, do spectacular work with the set pieces from the ship in the 19th Century, the homes in the 20th and 21st Century segment, and the futuristic places in the future-Seoul segment.

Costume designers Kym Barrett and Pierre-Yves Gayraud do wonderful work with the costumes to play up the very different periods of time that occur in each segment including the more stylish clothes in the dystopian Seoul segment. Makeup and hair designers Heike Merker and Daniela Skala do great work with the hair and makeup to have every actor look a different way in the various segments and play different races and nationalities in the course of the film. Visual effects supervisors Dan Glass and Stephane Ceretti do terrific work with the film‘s visual effects for segments involving Frobisher, the dystopian Seoul segment, and the beyond future scenes. Sound designer Markus Stemler and sound editor Alexander Buck do superb work in the sound to capture the different atmosphere of each location and world the characters inhabit.

The film’s music by Tom Tykwer, Reinhold Heil, and Johnny Klimek is brilliant for its low-key, orchestral-driven score to play out the very different worlds that take place in the film along with some touching piano-driven themes in scenes involving Frobisher and Ayrs. The soundtrack also includes an array of music that plays up in two segments such as the Luisa Rey segment and the Timothy Cavendish segments.

The casting by Lora Kennedy and Lucinda Syson is incredible for the large ensemble that is created where the actors get to play multiple roles. Notable small performances include Robert Fyfe as the old seadog and Mr. Meeks, Brody Nicholas Lee as Luisa’s neighbor Javier and Zachry’s nephew, Raevan Lee Hanan as Zachry’s child Catkin, and Martin Wuttke as Cavendish’s friend Mr. Boerhavve and a healer in Zachry’s tribe. Other noteworthy small parts include terrific performances from Keith David as Horrox’s servant/a friend of Luisa’s dad/a rebel leader/a futuristic chief, Zhou Xun as Zachry’s wife/a relative of Sixsmith/Sonmi-451’s friend, David Gyasi as the stowaway slave Autua/Luisa’s father/an associate of Meronym, and James D’Arcy as Rufus Sixsmith and a man who interrogates Sonmi-451.

Jim Sturgess is superb as the young notary Adam Ewing as well as in smaller roles as a father of Sixsmith’s relative, Zachry’s brother-in-law, a highlander, and the rebellious Hae-Joo Chang. Ben Whishaw is superb as the melancholic Robert Frobisher as well as other small roles as a seaman, a record shop owner, and Denholme’s wife. Jim Broadbent is great as a sea captain, the very selfish Vyvyan Ayrs, a lab professor, a futuristic leader, a Korean musician, and as the troubled Timothy Cavendish. Susan Sarandon is wonderful as Rev. Horrox’s wife, a tribal witch, and Cavendish’s lost love. Hugh Grant is stellar as Reverend Horrox, a hotel tenant, the slimy oilman Lloyd Hooks, Timothy’s prankster brother, a perverse drug addict, and an evil tribe chief. Hugo Weaving is brilliant as Ewing’s father-in-law, a music conductor, the evil hitman Bill Smoke, a big nurse, a dystopian leader, and a demon who haunts Zachry.

Doona Bae is amazing as the clone Sonmi-451 who becomes part of a rebellion to stop a dystopian Seoul as she also plays other small roles such as Ewing’s wife and a Mexican woman who helps Luisa. Halle Berry is marvelous as the determined journalist Luisa Rey as well as notable small roles as a native woman, Ayrs’ wife, an Indian woman at a party, a Korean doctor, and a woman of the future in Meronym. Tom Hanks is remarkable as the tribe warrior Zachry who deals with demons and his tribe’s future while he also plays small roles as the devious Dr. Goose, a hotel manager, a thuggish writer, and a scientist who falls for Luisa.

Cloud Atlas is a spectacular film from Tom Tykwer and the Wachowskis that explores the world of humanity and its many connections. While it’s not an easy film in terms of its ambition and big themes, it is still an engaging one for the way it explores these themes in such grand stories. It’s also a film that has something for everyone and isn’t afraid to take big risks while featuring an amazing collective of actors. In the end, Cloud Atlas is an extraordinary film from Tom Tykwer and the Wachowskis.

The Wachowskis Films: (Bound) - (The Matrix) - (The Matrix Reloaded) - (The Matrix Revolution) - Speed Racer

Tom Tykwer Films: (Deadly Maria) - (Winter Sleepers) - Run Lola Run - (The Princess and the Warrior) - (Heaven (2002 film)) - True (2004 short) - (Perfume: The Story of a Murderer) - (The International) - (Three (2010 film))

© thevoid99 2012

2011 Cannes Marathon: Bright Star

(Premiered at the 2009 Cannes Film Festival in Competition for the Palme D’or)

When The Piano came out in 1993 and co-won the Palme D’or w/ Chen Kaige’s Farewell, My Concubine. Jane Campion received international attention after helming two feature films as she also became the second woman to be nominated for an Academy Award for Best Director. Since then, Campion’s follow-up films to The Piano has divided audiences and critics that included an adaptation of Henry James’ Portrait of a Lady, the spiritual searching Holy Smoke!, and the 2003 erotic drama In the Cut. Campion took a break from feature-film making to do a couple of shorts for anthology films as she made her return in 2009 for a film about John Keats’ final years entitled Bright Star.

Written and directed by Jane Campion, Bright Star tells the story of John Keats’ final years as he finds a muse in a woman named Fanny Brawne. During these final years, Brawne would become more than his muse as the two would embark in a relationship that would shape Keats’ writing. Based on Andrew Morton’s biography on Keats, it’s a film that explores a man finding his muse in a woman who is different from many others. Starring Abbie Cornish, Ben Whishaw, Paul Schneider, Thomas Sangster, and Kerry Fox. Bright Star is a poignant yet mesmerizing romantic drama from Jane Campion.

It’s 1818 in London as Fanny Brawne (Abbie Cornish) is a woman who creates her own clothes and actually makes a living off of it. While she lives with her mother (Kerry Fox) and her two younger siblings in Samuel (Thomas Sangster) and Toots (Edie Martin). During a visit to meet Mrs. Dilke (Claudie Blakley), they meet a man who shares a house with Dilkes in Charles Brown (Paul Schneider). It is there that Fanny meets John Keats (Ben Whishaw) who is trying to write some new poems. Fanny is intrigued by Keats as Keats is amazed by Fanny’s sense of individuality and her ability to create her own clothes. While Fanny admits to not really understanding about poetry, Keats helps her as he decides to give her poetry lessons.

Despite having written a book of poems, Keats hasn’t been able to gain any financial success as Brown tries to help fund their lifestyle as they keep working. Keats and Fanny’s attraction increases though her mother isn’t so sure about this friendship until Brown writes a Valentine to Fanny as a joke. The joke upsets Keats as does Fanny as she ends their poetry lessons. When Fanny’s mother learns that the Dilkes are giving them the house they share with Brown as Fanny sees Keats again. The two renew their relationship as it blossoms into a romantic one until Keats had to leave with Brown to work in other places leaving Fanny upset. Though Keats and Fanny would write letters to each other, the longing for contact proves to be painful.

Keats eventually returns in the fall as he and Fanny renew their relationship once again as they decide to be secretly engaged. Keats suddenly becomes ill during the winter as friends try to help create funds for his new work and for his health. With suggestions for Keats to go to Italy for his health, Brown reveals that he couldn’t go because he needed to be with the Brawne’s new maid Abigail (Antonia Campbell-Hughes) whom he impregnated. Fanny wants to go to Italy to be with Keats as she helps him find a place to live. Instead, his illness worsens with Fanny taking care of him before he leaves for Italy as she hopes that they would marry upon his return.

While it is a love story about John Keats and his muse Fanny Brawne, it’s really about a relationship between two different artists and personalities that grows into something far more powerful. Brawne is a woman who is a bit flirtatious though is really an individual who finds her talents in creating her clothes with fashions that are quite ahead of its time. Yet, she has managed to make a living for herself while helping her mother and two siblings. Keats meanwhile, is a writer who has the talents but couldn’t gain any success as he tries to make a living while living off funds of others. He’s also a character that is a bit unaware of his surroundings while being a bit naïve at times.

When he and Fanny are together, there is a side to them that is innocent but also a bit chaotic due to their personalities. Even as there’s a few people wary about the relationship such as Mr. Brown and Fanny’s mother. Brown is someone who’s had a very testy relationship with Fanny whom he’s known for some time while often thinks he’s not good enough for a man as introspective as Keats. Fanny’s mother is more cautious as she sees how Fanny reacts to Keats even to the point where she is bewildered by Fanny’s attempt to kill herself because she hadn’t heard from Keats.

Jane Campion’s screenplay succeeds in studying the behaviors and personalities of its main characters while not delving into a lot of heavy drama that often hinders most films about famous figures. Yet, Campion isn’t interested in historical context or facts but rather explore the relationship between Keats and Brawne. Even as characters like Fanny’s mother and Mr. Brown get some development since they’re watching the relationship from afar. Campion’s script also uses Keats’ poems and letters to help emphasize the emotional longing for both Keats and Brawne. Notably the poem Bright Star that is recited in the film a couple of times. While the ending is obvious since it is about Keats’ final years, her approach is more about showing it from Brawne’s perspective.

Campion’s direction is truly mesmerizing in the way she tells the story by shooting largely on location near where Keats and Brawne spent their time together along with a small scene in Rome, Italy where Keats died. Campion creates compositions that allows the audience to see what Keats and Brawne are making in their respective trades. Notably in moments where she has the camera shooting close-ups on Fanny’s hands sewing or Keats’ writing. For a large portion of the Keats-Brawne scenes, it’s always about the dramatic elements yet it is approached with a sense of restraint with some anguish used. One notable scene that allows Campion to present humor is when Keats and Brawne are walking behind Brawne’s sister Toots as Toots looks back and they freeze.

The subtle moments such as that scene along with scenes where Fanny and Toots surrounded themselves in a room full of butterflies or a scene where Keats is just having a lovely time with the Brawne family. Part of Campion’s brilliance is a director is to just soak up the world that the characters live in as there are many scenes where the characters surround themselves with nature. There are some gorgeous compositions that include a shot of Keats lying on top of a tree. It’s shots like that along with its broad presentation that does give the film a poetic tone which isn’t surprising since the film is about a poet’s final years. Overall, this is Campion at her best as she creates a solid yet engaging romantic drama.

Cinematographer Grieg Fraser does a superb job with the cinematography from the naturalistic yet lush look of the scenes of trees and flowers in the spring/summer periods to the rainy/winter looks that play to the dreary mood of the characters. Fraser’s work for many of the exteriors along that the interiors of the home that Keats lived in with Brown and the Brawnes is truly exquisite for its intimacy and dark look against its wooden walls. Editor Alexandre de Franceschi does an excellent job with the editing as it’s mostly straightforward while using fade-to-black for many transitions. Particularly in creating a pace that, while slow, is methodical to build the burgeoning relationship between Keats and Brawne.

Production/costume designer Janet Patterson, along with set decorator Charlotte Watts and art director Christian Huband do a great job with the set decorations in the look of early 19th Century housing and objects while Patterson‘s costumes are the real technical highlight of the film. Particularly with the dresses made and worn by Fanny to reflect her personality. Sound editors John Dennison and Tony Vaccher do a wonderful job in capturing the broad world of 19th Century London with its horse trots and homes along with the sparse yet intimate world of the natural surroundings the characters encounter.

The film’s music by Mark Bradshaw is brilliant for its melancholic tone with an array of somber string orchestral pieces and dramatic flourishes to play to the love of Keats and Brawne. Bradshaw also helps create arrangements for a couple of pieces by Mozart including a vocal piece from Mozart that some of the actors sing in a party scene for the film.

The casting by Nina Gold is amazing for the ensemble that is assembled for the film. Notable small roles include Samuel Roukin as a critic in a party scene, Olly Alexander as John Keats’ ailing brother Tom, Gerard Monaco as Mr. Dilke, and Samuel Barnett is a friend of Keats who helps fund is trip to Italy. Other notable but memorable small supporting roles include Claudie Blakley as family friend Mrs. Dilke who wonders about Fanny’s relationship to Keats and Antonia Campbell-Hughes as the young maid Abigail whom Mr. Brown is smitten with. Edie Martin is very good as Fanny’s youngest sister Toots in whom brings her playful side while Thomas Sangster is also good as Fanny’s younger brother Samuel who enjoys the company of Keats.

Kerry Fox is excellent as Fanny’s mother who observes her daughter’s behavior while wanting her to be cautious about embarking on this relationship. Notably in scenes when she sees her daughter in despair while being very calm about what’s happening though does like Keats despite his aloof personality. Paul Schneider is brilliant as Mr. Brown, Keats’ longtime friend and colleague who tries to keep things going only to cause trouble about Keats’ relationship with Brawne. While Schneider gets to be funny in a few scenes, it’s a very surprising role for the North Carolina-based actor who proves to have a lot of range of a man who is good but does a lot of bad things while admitting his faults.

Ben Whishaw is superb as John Keats, a brilliant but introspective poet who is attracted to Fanny Brawne as he starts a relationship with her. Whishaw brings a calm yet chilling performance as a man who is very insecure while he finds inspiration in Fanny. It’s a remarkable performance for the actor as he also has a wonderful yet touching chemistry with his co-star Abbie Cornish. Abbie Cornish delivers what is definitely her most radiant performance to date as Fanny Brawne. Cornish delivers a performance that is full of grace of a woman who is definitely one-of-a-kind as she keeps things to herself while being a great artist of her own. In her scenes with Whishaw, Cornish brings a restraint to the way she reacts to him while showing anguish in her scenes of heartbreaking and longing. It’s definitely a stunning performance from the Australian actress.

Bright Star is a magnificent yet ethereal drama from Jane Campion featuring great performances from Abbie Cornish and Ben Whishaw. Fans of John Keats work will definitely see this as a great dramatic interpretation on his life as well as his relationship with Fanny Brawne. Fans of Jane Campion will no doubt see this as a return-to-form following the disappointing 2003 film In The Cut. It is a very poignant yet beautiful film about John Keats and Fanny Brawne as Bright Star is definitely an amazing film from Jane Campion.

Jane Campion Films: Sweetie - An Angel at My Table - The Piano - The Portrait of a Lady - Holy Smoke! - In the Cut - Top of the Lake (TV Miniseries) - The Auteurs #25: Jane Campion

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