Frida (2002 film)

Based on the biography Frida: A Biography of Frida Kahlo by Hayden Herrera, Frida is a story about life of the surrealist Mexican painter and her relationship with the painter Diego Rivera that would span for many years through ups and downs. Directed by Julie Taymor and screenplay by Clancy Sigal, Diane Lake, Gregory Nava, and Anna Thomas, the film is an unconventional take on Kahlo’s life from the accident she suffered at the 18 that would plague her for the rest of her life to the people she would meet in her lifetime. Playing Kahlo is Salma Hayek while Alfred Molina would play her husband in Diego Rivera. Also starring Geoffrey Rush, Valeria Golino, Ashley Judd, Mia Maestro, Roger Rees, Diego Luna, Edward Norton, and Antonio Banderas. Frida is a lavish yet extraordinary film from Julie Taymor.

The film is an offbeat and surrealistic telling of the life of Frida Kahlo from the year she would be severely injured from a bus accident in 1922 that would plague her for the rest of her life to her final year of her life in 1954. During this time, she would meet the mural artist Diego Rivera whom she would be married to in 1929 and later remarry in 1940 after a one-year divorce where their marriage was a dysfunctional one due to his flings with other women and her bisexuality. It’s a film that plays more into the art of Kahlo and the events of her life that would drive her art as she would be appreciated as well as reviled for her art as well as views on politics due to her affiliation with Marxism as she would meet and have an affair with Leon Trotsky (Geoffrey Rush).

Since Kahlo’s life was never a conventional one, a straight-forward bio-pic on the artist wouldn’t work as there’s so much to cover as the film’s screenplay sort of deviates from that schematics to play into moments of her life and relationship with Rivera. The first act of the story plays into the accident and Kahlo’s meeting with Rivera whom he would take Kahlo as a protégé only to become his new lover and wife in 1929. Yet, their relationship is a complicated one since Kahlo knows that Rivera likes to sleep with other women which Kahlo does begrudgingly accept since she is also promiscuous. Still, it would eventually cause trouble along with their own political affiliation with Marxism is put to the test in the film’s second act when Rivera is asked by Nelson Rockefeller (Edward Norton) to paint a mural at the Rockefeller Center which would get destroyed due to Rivera’s anti-capitalist views. A move that would leave Rivera returning to Mexico with his pride and ego wounded as his actions would cause a schism between him and Kahlo.

Despite all of the trials and tribulations that Kahlo and Rivera has, the latter is still loyal to the former despite his actions as he would support her from afar just as she would gain fame of her own. It plays into what Kahlo wants as an artist but all of the trappings of fame becomes fleeting where she later gets in trouble over her encounters with Trotsky which would prompt Rivera to come back to her life. Especially as her health would decline in the film’s third act where Rivera is willing to do whatever to get her back and be there for her.

Julie Taymor’s direction definitely plays to much of the surrealistic images that Kahlo creates in her paintings where it is filled with a sense of style as well as an extravagance that is off the wall. Especially as Taymor is playing to a sense of style which feels true to the world that Khalo lives in as she would shoot the film on location in Mexico in order to make the country as a character in the film that would influence Kahlo’s own work. Some of the paintings in the film that are Kahlo’s or re-creation of Kahlo’s work help tell the story into the events that would shape her life including own injury and her marriage as it’s expressed through her own art. Most notably the sequence of the bus accident that would be the cause of Kahlo’s life-suffering injury as it’s presented with an air of style from where the camera is at and the impact of its crash where it mirrors the painting that Kahlo would make later on in her life.

The direction also includes some unique elements of surrealism and humor such as a sequences where Kahlo and Rivera would each play into their own vices as well as the former’s interpretation of the latter’s taste for fame which includes a scene where she imagines Rivera as King Kong. Much of the direction includes some unique compositions in the simple and intimate moments where Taymor knows where to frame Kahlo as if she is recreating one of Kahlo’s paintings where its usage of close-ups and medium shots add to that sense of style. Even the use of wide shots in the scenes at Tenochtitlan at the pyramids where Kahlo shows Trotsky the sites as it displays Mexico at its most beautiful. Even in how Kahlo would view the country as her home which is exactly who she is no matter all of the riches and acclaim she would receive everywhere else. Overall, Taymor creates a very majestic and rapturous film about the life of one of the greatest painters in the 20th Century.

Cinematographer Rodrigo Prieto does amazing work with the film‘s dazzling and colorful cinematography for many of the film‘s exterior settings in the day while using some unique dark shadings and lighting schemes for some of the film‘s daytime and nighttime interior scenes. Editor Francoise Bonnot does fantastic work with the editing as it‘s very stylish with its usage of jump-cuts, montages, and dissolves as it plays into the frenetic energy of Kahlo‘s art as well as in some of the dramatic moments in the film. Production designer Felipe Fernandez del Paso, with set decorator Hania Robledo and art director Bernardo Trujillo, does brilliant work with the look of the Kahlo family home where Frida lived with her family as well as the Rivera studio and other places in Mexico as well as the look of the New York City apartment where Rivera and Kahlo lived during Rivera‘s period working for Rockefeller.

Costume designer Julie Weiss does excellent work with the costumes to play into the look of the times as well as the clothes that Rivera wore as well as the dresses and suits that Kahlo would wear. Makeup artist Judy Chin and hairstylist Beatrice De Alba, with prosthetic makeup designer John E. Jackson, do incredible work with the makeup from the look of the unibrow of Kahlo‘s face as well as into the aging makeup of the characters throughout the years. Visual effects supervisors Jeremy Dawson and Dan Schrecker do superb work with the visual effects to play into the surreal look of Kahlo‘s paintings as they would come to life along with some strange sequences including a hospital scene that is full of macabre animation by Stephen and Timothy Quay. Sound designer Blake Leyh does terrific work with the film‘s sound to play into the atmosphere of some of the locations including the very chilling moment in the bus accident scene. The film’s music by Elliot Goldenthal is wonderful for its mixture of lush orchestral music with traditional Mexican music to play into the drama of the film while music supervisors Sarah Botstein and Kathy Nelson bring in a soundtrack filled with jazz and traditional Mexican music of those times.

The film’s marvelous cast includes some notable small appearances from Saffron Burrows as a British woman Kahlo seduces in New York City, Lila Downs as a tango singer at a party, Omar Rodriguez-Lopez as the surrealist Andre Breton, Diego Luna as a schoolmate of the young Kahlo in Alex, Patricia Reyes Spindola as Kahlo’s mother, and Valeria Golino as Rivera’s second wife Lupe Marin whom Kahlo would befriend and paint a portrait of her. Antonio Banderas is terrific in a small role as the artist David Alfaro Siqueiros whom Rivera would argue with over politics while Ashley Judd is wonderful as the Italian photographer/artist Tina Modotti. Roger Rees is superb as Kahlo’s father Guillermo is also an artist as he copes with the injury that his daughter suffered while encouraging her to become an artist. Mia Maestro is excellent as Kahlo’s loyal sister Cristina who would later become Rivera’s assistant as it would later cause trouble.

Edward Norton is fantastic as Nelson Rockefeller who asks Rivera to make a mural at the Rockefeller Center until he sees whom Rivera would put in the mural. Geoffrey Rush is brilliant as Leon Trotsky as the Marxist revolutionary who is granted political asylum in Mexico as he befriends Rivera and Kahlo while having an affair with Kahlo. Alfred Molina is amazing as Diego Rivera as this mural painter who is large both in look and in personality as he’s an artist that is big on ideas while displaying Marxist ideals to help the people yet is a total contradiction since he also likes to party with the rich and famous as Molina showcases a man that is flawed yet full of charm and humility. Finally, there’s Salma Hayek in an incredible performance as the titular character as she displays not just charm but also a person that is willing to make a name for herself on her own terms while displaying a sense of individuality as it’s definitely Hayek at her most lively in terms of humor and drama.

Frida is a phenomenal film from Julie Taymor that features a remarkable performance from Salma Hayek in the titular role. Along with a very strong supporting performance from Alfred Molina as well as a great look and an offbeat yet engaging script. It’s a film that doesn’t just tell the story of a great artist but also a person who deals with all of the trappings of fame as she is willing to not make compromises on who she is or where she came from. In the end, Frida is a dazzling film from Julie Taymor.

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

© thevoid99 2015

Elizabeth (1998 film)

Originally Written and Posted at Epinions.com on 7/16/07 w/ Additional Edits & Revisions.

Directed by Shekhar Kapur and written by Michael Hirst, Elizabeth tells the story of Elizabeth's early life before she became Queen until she was accused of making murder attempts towards her half-sister Mary. When Elizabeth becomes Queen, she is surrounded by advisors, suitors, and everyone wanting her until she takes control. The film is an exploration as well as a dramatization of Queen Elizabeth's early life before she would assume the persona of being the Virgin Queen as she is played by Cate Blanchett. Also starring Geoffrey Rush, Joseph Fiennes, Christopher Eccleston, Richard Attenborough, Fanny Ardant, Emily Mortimer, Kelly MacDonald, Eric Cantona, Daniel Craig, Vincent Cassel, and in his final film role, Sir John Gielgud. Elizabeth is a powerful, mesmerizing bio-pic.

With England in a state of chaos over religious arguments between Catholics and Protestants, Queen Mary (Kathy Burke) falls ill while giving birth to a child that unfortunately dies as her husband also dies.  With Mary's half-sister Elizabeth set to replace her, Norfolk (Christopher Eccleston) is keen to arrest Elizabeth in his belief that she's part of the Protestant revolt whom she has no part of as she lives a quaint life with her love her Robert Dudley (Joseph Fiennes) and two ladies-in-waiting in Kat (Emily Mortimer) and Isabel (Kelly MacDonald).  After taken to prison with her ladies-in-waiting, Elizabeth is eventually freed when she is summoned to meet her dying sister where Elizabeth is to become the new Queen of England.  With Sir William Cecil (Richard Attenborough) aiding Elizabeth in the deal once Queen Mary dies in 1558, Elizabeth takes the throne as she gets the exiled Francis Walsingham as her advisor.

Still, the state of England is in chaos as they're facing the threat of the Scotland, that is run by Mary of Guise (Fanny Ardant) from France while many try to have the Queen get married to a king for political reasons as she continues to have her time with Dudley.  After a battle against the Scots that goes wrong, Elizabeth has to deal with other lords where she offers them a plan that guarantees her loyalty.  Still, Elizabeth faces assassination attempts as French ambassador Monsieur de Foix (Eric Cantona) suggests that Elizabeth should marry the comical Duke of Anjou (Vincent Cassel).  Instead, the meeting becomes a disaster though Cecil tries to ensure that the Queen must marry to ensure England's security.  After another failed assassination attempt, things get worse when the Pope (John Gielgud) gets involved as he hires the priest John Ballard (Daniel Craig) to assassinate the Queen.

With her relationship with Dudley strained following the assassination attempt as he turns to Spanish ambassador Alvaro de la Quadra (James Frain) for help.  The Queen turns to Walsingham for advice as he would make moves to help ensure England's safety after learning about another assassination attempt involving Ballard, Norfolk, Quadra, Earl of Sussex (Jamie Foreman), and Dudley.  After Walsingham informs Elizabeth, she would make plans that would set the wave for her powerful reign.

While the film is mostly accurate on some parts including the assassination attempts by Norfolk and Mary of Guise. Like many bio-pics before and since, they tend to have serious flaws in terms of dramatic interpretations. Some characters are created fictionally in order to serve as a drama. Yet, screenwriter Michael Hirst does make a fine effort in being true to history as well as basing things on legends. Though some parts tend to be overdramatized including the relationship between Elizabeth and Dudley. Still, the film's direction by Shekhar Kapur is wonderfully observant to show what was going on in England as well as the stories behind the throne.

Notably the scenes of Elizabeth in the aftermath of everything as she becomes the Virgin Queen. The film has a great ending where it was intended to just end with her taking on in this role. Even in a scenario that was similar to the ending of The Godfather. In many ways, this film is more about Elizabeth in an early stage of her life as she becomes Queen. The stuff about her reign however, is another story.

Cinematographer Remi Adefarasin who creates some wonderful lighting schemes from some of the dark, lighting set-ups in the film's earlier sequences to more colorful, spacious sequences in the film's party sequences. Editor Jill Bilcock does some excellent work in the film's editing, notably a scene of Elizabeth rehearsing on what she has to say with the use of jump-cuts to create a bit of humor. Production designer John Myhre and art director Lucy Richardson create wonderfully elaborate set designs for the film's party settings as well as the wonderful use of locations for the castles inside. Costume designer Alexandra Byrne does amazing work with the dresses and suits that looks wonderfully lavish to the period the film is set in. Sound editor Mark Auguste creates tense moments of the film's sound to convey the terror that is coming.

Music composer David Hirschfelder creates an exotic film score ranging from dramatic, orchestral pieces to convey the film's suspense. The film also includes period music ranging from folk music ranging from the use of mandolins, flutes, and such to revel in the period. It's an excellent score that plays to the film's drama.

The cast is wonderfully remarkable with some small parts in roles like Amanda Ryan as Norfolk's lover, Terence Rigby as the treacherous Bishop Gardiner, Edward Hardwicke as the sympathetic Earl of Arundel in an early scene of her arrest, Jamie Foreman as the Earl of Sussex, future British pop singer Lily Allen as a young lady-in-waiting, and two small yet memorable performances from current British favorites Emily Mortimer and Kelly MacDonald as two of Elizabeth's loyal ladies-in-waiting. Daniel Craig is great in an early role as a brutal assassin. James Frain is also good as the corruptive ambassador Quadra who tries to win over the mind of Dudley. Eric Cantona is good as the French ambassador Monsieur de Foix while Kathy Burke is excellent as the hateful Queen Mary I.

In his final film role, Sir John Gielgud is brilliant as a hateful Pope who sees the Queen as a threat. Vincent Cassel is very funny and over-the-top as the Duke of Anjou with his knack to be comical and wear dresses. Fanny Ardant is great as Mary of Guise who tries to take control of Elizabeth while having some charm and wit in her role as she meets Walsingham. Christopher Eccleston is great as the conniving, secretive Norfolk who tries to get rid of the Queen in an attempt to become ruler. Joseph Fiennes is excellent as Robert Dudley, the Queen's lover who tries to deal with the new changes of her life that would ultimately led to his own downfall.

Richard Attenborough is great as Sir Cecil, an old advisor who tries to do what is best for the Queen as only sees his failure despite the Queen's gratitude. The film's best supporting performance easily goes to Geoffrey Rush as the mysterious Walsingham who becomes the Queen's right-hand man as he plans assassinations and such. Rush is just great in playing a dark character who can display charm while being cold at the same time.

Finally, there's Cate Blanchett in what has to be one of her greatest performances. Blanchett brings a wonderfully complex performance as a young, carefree, innocent woman who is aware of her possible role. Displaying the kind of insecurities and flaws that is to come from any woman who is about to rule, Blanchett brings those flaws with a grace that isn't seen much in acting. When she becomes Queen, we see a sense of anger and later, coldness as she develops into a strong woman who is trying to help a country in chaos become strong again. It is indeed a majestic performance from the actress.

Elizabeth is an extraordinary period film from Shekhar Kapur that features a towering performance from Cate Blanchett. Along with great production value and a superb ensemble cast that includes Joseph Fiennes, John Gielgud, Fanny Ardant, Christopher Eccleston, and Geoffrey Rush. It's a film that plays up the grandeur of who Queen Elizabeth was in her early years as well as the people who try to bring her down. In the end, Elizabeth is a marvelous film from Shekhar Kapur.

(C) thevoid99 2012

Green Lantern

Based on the DC comics by John Broome and Gil Kane, Green Lantern is the story of a young fighter pilot who meets a wounded alien that gives a powerful ring as he would become part of an elite group of intergalactic fighters protecting the world against evil. Directed by Martin Campbell with a script by Greg Berlanti, Michael Green, Marc Guggenheim, and Michael Goldenberg from a story concept by Berlanti, Green, and Guggenheim. The film is an origin story of how Hal Jordan became part of the Green Lantern Corps as he would battle the dark force of fear known as Parallax. Starring Ryan Reynolds, Blake Lively, Peter Sarsgaard, Mark Strong, Tim Robbins, Angela Bassett, Jay O. Sanders, Taika Waititi, Temuera Morrison, and the voices of Michael Clarke Duncan, Clancy Brown, and Geoffrey Rush. Green Lantern is a very typical and uninspiring superhero origin story.

When the evil force known as Parallax (Clancy Brown) has broken out of his prison in a lost planet, he goes after the Green Lantern fighter Abin Sur (Temuera Morrison) of Sector 2814. Sur escapes Parallax’s wrath but is wounded as he makes his nearest destination towards Earth. Meanwhile, a test fighter pilot named Hal Jordan (Ryan Reynolds) has caused more trouble for his longtime friend Carol Ferris (Blake Lively) during a test where he would cost several jobs. Later that night, Hal is summoned by a mysterious green light where he would meet the ailing Sur who gives him a green ring and a small lantern as he chooses Jordan to be the new Green Lantern. Sur’s body is later retrieved by the government as they call upon Hector Hammond (Peter Sarsgaard) to examine the body as he becomes exposed by a mysterious yellow substance.

After learning about the Green Lantern’s powers, Hal is transported to the planet of Oa where he would meet several Green Lanterns as he learns about the role of the Green Lanterns. Befriending Tomar-Re (Geoffrey Rush) and Kilowag (Michael Clarke Duncan), the latter of which trains him, while Hal also deals with one of the Green Lanterns’ leaders in Sinestro (Mark Strong) who feels that Hal is too weak to become part of the Green Lantern Corps. Hal returns home to Earth unsure about his role until a party celebrating Carol’s success in nabbing a contract where Hector is at the party with his father Senator Hammond (Tim Robbins) who is happy about the contract. Yet, Hector’s exposure to the yellow substance has him reading minds as he decides to take his anger out on his father by trying to crash the helicopter until Hal as a Green Lantern saves the day.

After a battle to fight Parallax fails, Sinestro goes to the Guardians to help create something that will fight Parallax while Hal learns about what is happening to Hector who has become more powerful where the two learn that Parallax is coming. With Hector already realizing what he needs to do to fight Hal, Hal goes back Oa to reveal the Guardians where Parallax is going as he asks for help. Though the Guardians and Sinestro become impressed by Hal’s will to fight, they let him return to Earth to fight alone as Hal would face Hector and the dark force that is Parallax.

The film is essentially an origin story of how a guy becomes a superhero and saves the day. It’s a story that is often told again and again in a lot of origin stories about superheroes. The big question is that does the story of the Green Lantern standout from all of the others? Not exactly. The stories about the Green Lanterns, the origin of Parallax, and how Hal Jordan became a Green Lantern are the most interesting parts of the story. It’s just that everything else including Jordan’s own issues about the death of his father (Jon Tenney), his relationship with Carol Ferris, and theme of fear vs. will isn’t that interesting. Notably the latter which is told in a very heavy-handed manner that requires a lot of exposition that overdoes itself.

The film’s screenplay is definitely the weakest aspect of the film not just in terms of following a formula but not doing enough to make the film’s central characters to be very interesting. While the Hector Hammond character doesn’t start out as a villain because he’s just a small-time college professor who feels slighted by his dad. He becomes a very cartoonish character that ends up being a patsy for Parallax who is just nothing more than a big head surrounded by dark clouds that just sucks the life of scared people and creatures. Since the film is also meant to try and appeal more than just a comic book audience, the screenwriters try to inject some humor that will appeal to much younger audience that doesn’t really work either as it tries too hard to be a lot of things for a superhero action-blockbuster.

Martin Campbell’s direction has moments that does keep the audience be engaged and into the story. There’s some interesting scenes that is well shot such as the tension between Hector and his father, Hal dealing with his own family, and some of moments in Oa where Hal is introduced to this strange world. Everything else however feels quite pedestrian of what is expected in the genre. There’s wide shots of a city that’s about to be attacked as well as very big visual effects pieces that includes the climatic battle between Hal and Parallax. None of it is boring but it doesn’t bring anything new to the superhero genre. A lot of the compositions and directing actors to do this doesn’t have anything exciting while Campbell’s approach to the humor feels very forced. The overall work is pretty mediocre as Martin Campbell ends up creating another superhero film that doesn’t do much to stand out on its own.

Cinematographer Dion Bebe does a pretty good job with the cinematography such as some of the nighttime exteriors and interiors to help set a mood though there isn’t a lot of it is very interesting. Editor Stuart Baird does decent work with the editing to play up the intensity of the action though it‘s mostly typical of what is expected in a film like this. Production designer Grant Major, along with set decorator Anne Kuljian and art director Francois Audouy, does some fine work with the set pieces created such as the contract party and offices along with the look for the sets of Oa. Costume designer Ngila Dickson does some OK work with the costumes which is notable for the look of the Green Lantern uniforms as well as the fashionable dresses of Carol.

Visual effects supervisor Karen E. Goulekas, Kent Houston, and Gregory L. McMurry do some effects work that isn‘t very good at all. A lot of it doesn’t really do any effort to make it feel more realistic while the overall presentation of the look of outer space and the planet Oa isn’t impressive as the whole look of it feels too artificial. Sound editors Karen M. Baker and Per Hallberg do some nice work with the sound effects whether it‘s the sound of jet engines and gunfire along with some of the things Hal does to fight Hector and Parallax. The film’s score by James Newton Howard is all right as it‘s just a typical score filled with bombastic orchestral arrangements with bits of guitars to add more heaviness to the music. Additional music by Joints Jumpin’ is played in the background in the film’s party scene to add a bit of jazzy entertainment to the music.

The casting by Pam Dixon is stellar for the ensemble that is created though none of them really get a chance to stand out or do anything that is memorable. Among those making appearances include Jon Tenney as Hal’s father, Gattlin Griffith as the young Hal, Jay O. Sanders as Carol’s father, and Taika Waititi as Hal’s comic relief friend Thomas Kalmaku. The voice performances by Michael Clarke Duncan and Geoffrey Rush in their respective roles as the tough trainer Kilowag and the kinder Tomar-Re are really good with Duncan providing humor and Rush being the wise one. Clancy Brown’s voice work as Parallax isn’t good as all he does is talk in a gruff voice and act all threatening. Angela Bassett in the role of Senator Hammond’s scientist aide Dr. Amanda Waller is an unremarkable one as she just plays a lackey of his where Bassett looks like she’s sleepwalking throughout the film.

Tim Robbins is OK as the ambitious Senator Hammond who feels disappointed by Hector until he is threatened by Hector’s new powers while Temuera Morrison is really good as the fearless warrior Abin Sur who gives Hal the ring. Mark Strong is excellent in the role of Green Lanterns leader Sinestro who tries to deal with Hal’s presence as well as the dark force of Parallax. Peter Sarsgaard is decent as Hector Hammond who starts off as this curious scientist only to devolve into a crazed antagonist that doesn’t really work due to the bad makeup job and Sarsgaard screaming like a girl throughout the film. Blake Lively gives a serviceable but uninspired performance as Carol Ferris where all she does is look good, act frustrated at Hal, and all sorts of things were she’s hampered by the script’s weakness but also her own performance where she doesn’t really show much range in a very typical part.

Finally, there’s Ryan Reynolds as the film’s protagonist Hal Jordan. While it’s a role that allows Reynolds to carry a film where he would display his witty charm. It’s a very disappointing performance as Reynolds doesn’t really get a chance to stretch out as he is also hampered by the film’s weak script and lackluster direction. While the Jordan character is a guy who is unsure about himself and Reynolds does allow the character to be engaging. The stuff where he has to try and emote in a very serious manner or to be a badass doesn’t really work.

Green Lantern is a very bloated film that emphasizes more on creating a visually-exciting superhero blockbuster rather than something that will allow itself to standout. Despite the efforts of Ryan Reynolds and Mark Strong, it’s a film that wants to be a lot of things to its audience. It may be watchable and at times, fun but the overall work is just unimpressive as Martin Campbell just creates something that doesn’t really do more than what the genre wants. In the end, Green Lantern is a truly terrible and uninspiring film that doesn’t do enough to entertain its audience.

Martin Campbell Films: (The Sex Thief) - (Eskimo Nell) - (Three for All) - (Criminal Law) - (Defenseless) - (Cast a Deadly Spell) - (No Escape) - (GoldenEye) - (The Mask of Zorro) - (Vertical Limit) - (Beyond Borders) - (The Legend of Zorro) - (Casino Royale (2006 film)) - (Edge of Darkness)

© thevoid99 2012

Intolerable Cruelty

Based on an original story by Robert Ramsay, Matthew Stone, and John Romano, Intolerable Cruelty is the story of a divorce lawyer who goes after a gold digger who is marrying men for their money as he suddenly falls for her. Directed by Joel and Ethan Coen with a script by Robert Ramsay and Matthew Stone that was later re-written by the Coen Brothers. The film is an exploration of a dim-witted man who tries to play a game of wits with a woman who is more than capable of beating him. Starring George Clooney, Catherine Zeta-Jones, Cedric the Entertainer, Richard Jenkins, Edward Herrmann, Geoffrey Rush, and Billy Bob Thornton. Intolerable Cruelty is a raucous comedy from the Coen Brothers.

Miles Massey (George Clooney) is a top divorce attorney who is notorious for creating pre-nups that allow his clients with everything while the other with nothing. Such as with the case TV soap opera producer Donovan Donaly (Geoffrey Rush) and wife Bonnie (Stacey Travis) where Massey represents the latter. When a millionaire named Rex Rexroth (Edward Herrmann) has been caught with another woman by private investigator Gus Petch (Cedric the Entertainer). Rexroth hires Massey as his attorney as Massey meets and falls for Rexroth’s wife Marylin (Catherine Zeta-Jones) who brought in Massey’s rival Freddy Bender (Richard Jenkins). Wanting to find as much dirt on Marylin before the case, Massey hires Gus to sneak into the home. At the trial, Massey brings a surprise in a flamboyant concierge (Jonathan Hadary) to shake things up.

After another successful win, Massey is smitten with Marylin as she makes a surprise appearance announcing she’s found a new man in oil baron Howard D. Doyle (Billy Bob Thornton). The two ask for Massey’s notorious pre-nup agreement leaving Massey confused as the wedding goes on as planned until Doyle destroys the pre-nup at the reception. Some months later when Massey and his associate Wrigley (Paul Adelstein) attend a convention in Las Vegas, Marylin reveals that she divorced Doyle as she feels lonely. Massey and Marylin then did something to express their feelings for another only for Massey to discover something horrible. Dealing with his ailing boss Herb Myerson (Tom Aldredge), Massey realizes what he must do to save his reputation.

The film is about a top divorce attorney who is notorious for winning numerous cases leaving his client with everything and the other with nothing while protecting richer clients with a pre-nup. When he falls for a woman whose husband he’s representing, he starts to question his motives as she starts to hire him where the two also deal with their own attraction. While the film is largely a black comedy of sorts that opens with a TV producer catching his wife cheating on him. It’s a comedy that involves a lot of people doing despicable things while there are those who feel duped about what happen to them. The screenplay features a lot of the Coen Brothers quirks and hi-jinks that is synonymous with their comedies. Yet, the characters aren’t as totally fleshed out as there’s not much development in many of them with the exception of Miles Massey who ends up becoming a buffoon for his actions.

The direction of the Coen Brothers is pretty straightforward in terms of its compositions as there aren’t a lot of moments that really stand out in terms of framing. Yet, they do create some amazing comedic moments such as the film’s opening scene, the court room scene, and anything involving Howard D. Doyle. In many ways, the film is Coen Brothers-light where they restrain the over-the-top zaniness of their humor to complement the romantic-comedy genre. While the script does have plot formulas that is expected, the Coen Brothers don’t really do enough to subvert it. Despite the shortcomings of the script and not enough emphasis to make it more daring. The Coen Brothers still provide a very solid and entertaining romantic comedy.

Cinematographer Roger Deakins does an excellent job with the film‘s very sunny and lush photography that is awash with lots of yellow lights to compliment the locations in Los Angeles and Las Vegas along with more stylized lighting schemes for some of the nighttime interior scenes. Under the Roderick Jaynes alias, Joel & Ethan Coen do some nice work in the editing in utilizing rhythmic cuts for the film’s opening scene as well as stylized transitions to help smooth things out while maintaining a tightened pace for the film. Production designer Leslie McDonald, along with set decorator Nancy Haigh and art director Tony Fanning, does some fantastic work with the set pieces such as the lavish mansion of some of Massey’s clients as well as the extravagant hotel room that Massey and Marylin stay at in Las Vegas.

Costume designer Mary Zophres does a fantastic job with the costumes in creating the stylish and posh dresses that Marylin wears including her denim-laced clothes she wears when she introduces Howard to Massey. Sound editor Skip Lievsay does a terrific job with the sound work from the intimate setting of the meetings to the convention center where Massey is the key speaker. Music composer Carter Burwell creates a wonderful score that is filled with lots of playful folk music and flourishing orchestral pieces to play up the humor and tense moments of the film. Music supervisor David Diliberto creates a very fun soundtrack that includes music by Elvis Presley, Tom Jones, Simon & Garfunkel, Edith Piaf, Chuck Mangione, Melissa Manchester, and many others to bring a pop element to the film.

The casting by Ellen Chenoweth is brilliant for the ensemble that is created as it includes a cameo appearance from Bruce Campbell as well as small roles from Julia Duffy as a rich friend of Marylin, Blake Clark as a convention secretary, Irwin Keyes as a sickly hitman, Jonathan Hadary as a flamboyant baron/concierge, Stacey Travis as Donovan’s cheating wife whom Miles takes a client, and Tom Aldredge as Miles’ ailing yet intimidating boss. Richard Jenkins is really good as Marylin’s underachieving lawyer Freddy Bender while Paul Adelstein is really funny as Miles’ associate Wrigley. Edward Herrmann is very good as Marylin’s duped husband Rex Rexroth who has a fondness for trains while Geoffrey Rush has a fabulous small appearance as scorned TV producer in the film’s opening scene. Cedric the Entertainer is very funny as a private investigator who always get what he wants while sporting a great one-liner in “nailin’ yo ass”.

Billy Bob Thornton gives a very hilarious performance as a possibly dim-witted oil baron named Howard D. Doyle who is hopelessly in love with Marylin who would do anything to prove his love for her as it’s Thornton at his best. Catherine Zeta-Jones is pretty good as Marylin, a gold-digger who proves to be a match for Massey as she tries to charm him as it’s Zeta-Jones proving that she can be funny in a light-hearted way. Finally, there’s George Clooney in a superb performance as Miles Massey as Clooney brings his swagger to the role of a devious lawyer who then becomes a total buffoon over what he’s done. He and Zeta-Jones have some good chemistry in the film’s romantic moments though Clooney does act a bit cartoonish at times late in the film as it’s still a notable performance in his career.

Intolerable Cruelty is a funny and heartwarming film from the Coen Brothers that features stellar performances from George Clooney, Catherine Zeta-Jones, and Billy Bob Thornton. While it’s a film what will appeal to audiences that enjoy romantic comedies that features a bit of quirks. It’s a film that does try a bit hard to be a lot of things despite its emphasis to entertain. For fans of the Coen Brothers, the film is definitely one of their weakest but it’s still better than a lot of other films that try to be a quirky romantic-comedy. In the end, Intolerable Cruelty is an enjoyable romantic comedy from the Coen Brothers.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn't There - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - No Country for Old Men - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012

The King's Speech

Directed by Tom Hooper and written by David Seilder, The King’s Speech tells the story of how King George VI overcame his stammer with the help of an eccentric speech therapist.  The film is an historical drama about the time when King George VI, who was then known as Prince Albert, Duke of York where he gave a speech in 1925 that was a big ordeal to the moment he gave his big speech to his country as they were to enter World War II.  Playing the role of King George VI is Colin Firth while Geoffrey Rush plays the role of Lionel Logue, the eccentric speech therapist.  Also starring Helena Bohnam Carter, Jennifer Ehle, Michael Gambon, Timothy Spall, Derek Jacobi, Eve Best, and Guy Pearce.  The King’s Speech is a remarkable, inspiring historical drama from Tom Hooper.

It’s 1925 at the British Empire Exhibition in Wembley Stadium as Prince Albert Frederick Arthur George, Duke of York is to give a speech.  Accompanied by his wife Lady Elizabeth (Helena Bohnam Carter), Albert gives his speech where the whole British Empire listened as he stammered through his speech as it became a horrific ordeal.  Nine years later with no success to overcome his stammer and through various speech therapists, Albert has given up trying to deal with therapists as Elizabeth wants to find someone who can help.  After learning about Lionel Logue through a league of speech therapists, Elizabeth meets with the eccentric Logue who offers to help out though under his rules.

Albert reluctantly takes Logue’s ideas but after one day where Logue has him read some work while he listens to music.  Albert leaves upset only to realize that after listening to the recording that Logue’s methods were working.  More sessions with Logue managed to help Albert as he became more confident with public speaking.  Even as Logue tries not to tell his wife Myrtle (Jennifer Ehle) and his sons about the fact that he’s treating the Duke of York.  Following the death of Albert’s father King George V (Michael Gambon), Albert’s older brother Edward (Guy Pearce) becomes the king in early 1936.  Yet, Edward is more concerned about his new love Wallis Simpson (Eve Best) who he wants to marry. 

Albert turns to Logue about his own issues about his father and brother as he is already content with being a Duke as well as a father for his young daughters Elizabeth (Freya Wilson) and Margaret (Ramona Marquez).  Yet, when it becomes clear that Edward’s infatuation with Simpson was more important than is duties.  Parliament member Winston Churchill (Timothy Spall) realizes that Edward’s involvement with Simpson is a bad idea as he reveals to Albert about what is happening in Nazi Germany as its clear that Albert might have to become king.  With Edward deciding to abdicate the throne to marry Simpson, Albert turns to Logue who tries to assure Albert about what to do.

With Edward no longer deciding to be king and Albert to become King George VI, it becomes clear that he’s got entire United Kingdom and its empire all over his shoulders with Elizabeth aware of how overwhelmed he is.  Turning once again to Logue for help for the upcoming ceremony to be king.  Though some including the Archbishop of Canterbury (Derek Jacobi) question about Logue’s credentials.  Albert wants Logue there to help as they rehearsed his ceremony which becomes a success.  With Churchill’s warnings about Nazi Germany becoming true and the resignation of Prime Minister Stanley Baldwin (Anthony Andrews).  Albert needed Logue’s help once again following Germany’s invasion of Poland to give the speech of his lifetime as his country are to enter World War II.

While the story of how King George VI was able to overcome his stammer and be the voice of an empire fighting against Nazi Germany is an inspirational one.  Yet, the film is really about George’s friendship with Lionel Logue as well as the love and support of Queen Elizabeth.  While historical dramas and bio-pics do get to play around history and put scenes where not everything is exactly right or accurate to serious history buffs.  The film doesn’t take the historical contexts of the film seriously at all but rather explore the individuals involved with the story.  Notably about King George VI who is a man who knows his duties and place in the world while is content with being a husband and father.  Still, having to speak publicly is a nightmare while audiences get to have an idea of what could’ve caused his stammer.

David Seidler’s screenplay does a fascinating job in exploring Albert’s vulnerability as well as the fact that he’s got a bad temper and a smoking habit.  Yet, there’s also a side of Albert where he is a wonderful father who loves his daughters very much.  When his father had died and his brother abdicating the throne for love, all of the weight of the United Kingdom and its empire is so much for Albert to handle as he has to be the voice of an entire group of people.  There’s two people that he would go to for help in both Lionel Logue and Queen Elizabeth.  Logue is an eccentric, humorous man who isn’t a licensed therapist but his experience from World War I and helping traumatized soldiers is something that Albert discovers as he also knows about speech problems.

Logue’s unorthodox methods do add some humor to the film where there’s a scene where Albert gets to say some profanity in a comical manner.  In some ways, the scenes with Albert and Logue have the elements of a buddy film where the two become equals as Logue helps bring confidence to Albert.  Then there’s Queen Elizabeth as she is portrayed as a loving woman who is willing to help Albert and be by his side when he has to do his duties.  Yet, she is revealed to be a woman who was already content in being a wife and mother as well as the Lady of York.  When Edward abdicates the throne, she too is reluctant in being queen but is more concerned for her husband as there is great monologue to Albert about why she married him.

Seidler’s screenplay definitely plays well to the characters as well as the film’s historical context with an actual idea of when some of these events took place along with locations.  Yet, it’s Tom Hooper’s direction that really brings the movie together.  Hooper definitely recreates the look of early 20th Century England with little visual effects and little production design in the exteriors as mostly creates an intimate yet stylish approach to the film.  Even as he finds way to tell the story about the friendship between King George VI and Lionel Logue where there’s a great scene of Albert and Logue talking with not many edits while Albert is putting glue for a model plane.  There’s moments where Albert is trying to talk by singing where it could be comical but Hooper presents the scene in such a subtle manner.  Hooper’s direction is truly spectacular where he knows what the film is needed while not overplaying it or underplaying as he gets the audience to explore the man that is King George VI.

Cinematographer Danny Cohen does an excellent job with the film‘s colorful yet straightforward photography.  Notably on the exterior scenes with some foggy but lush shots of London that included a scene with a steadicam where Albert and Lionel were walking.  Editor Tariq Anwar does a great job with the film’s editing where he maintains a wonderful rhythm to the film’s comical and dramatic moments including the climatic scene for the king’s wartime speech while maintaining a leisurely pace for the film.

Production designer Eve Stewart, along with set decorator Judy Farr and art director Netty Chapman, does an amazing job with the film‘s art direction for many of the interiors in the palaces and sets  Notably Albert‘s coronation stage and Logue‘s office where he and Albert do all of their work.  The art direction of the film is really one the film’s technical highlights.  Costume designer Jenny Beavan does a fantastic job with the period costumes from the dresses that Helena Bohnam Carter wears as Elizabeth along with more tuxedos and suits that Colin Firth wears including a more casual suit for Geoffrey Rush‘s Logue character. 

Visual effects supervisors Derek Bird and Thomas M. Horton do a wonderful job with the minimal visual effects that is used for the film.  Notably the blimps that appear in the sky just before the climatic speech of King George VI.  Sound editor Lee Walpole does a very good job with the hollow sounds of the halls in the coronation rehearsal along with more intimate settings at Logue’s office.  Even in the scenes at the large homes including a raucous party scene where Albert is trying to talk to Edward about Simpson in a chaotic atmosphere as the sound is truly spectacular.

Alexandre Desplat’s score is marvelous with its array of chime-tingling arrangements, subtle melodies, and bombast for many of the film’s comic and dramatic scenes.  Desplat also brings soothing pieces to play to some of the film’s more heavy dramatic moments to convey the emotions of King George VI.  Other music in the film used are pieces from the 1930s as well as a few classical pieces.

The casting by Nina Gold is truly phenomenal as the film features some small but memorable performances from Anthony Andres as prime minister Stanley Baldwin, Roger Hammond as one of Albert’s early speech therapists, Jake Hathaway as one of Logue’s young patients, and Eve Best as the controversial Wallis Simpson.  Other notable small roles include Calum Gittins, Dominic Applewhite, and Ben Wimsett as the son of Lionel Logue, Claire Bloom as Queen Mary, Derek Jacobi as the Archbishop, Ramona Marquez as Princess Margaret, and Freya Wilson as Princess Elizabeth, who would later become Queen Elizabeth II.

Though they don’t appear very much in the film, Jennifer Ehle and Michael Gambon are very good in their respective roles as Myrtle Logue and King George V.  Ehle as the supportive wife who gets a big surprise about who her husband is treating while Gambon plays King George V with a great ferocity as someone who is often very controlling.  Guy Pearce is excellent as Edward, Albert’s older brother who is irresponsible and in love with American socialite as Pearce delivers his best scene when he gives his abdication speech.  Timothy Spall is in fine form as Winston Churchill though he doesn’t look or sound like the future prime minister.  Spall is able to convey the personality of the famed man who would help the UK win World War II.

Helena Bohnam Carter is radiant as Queen Elizabeth as a woman whose sensitivity and comical manner hits all the right notes needed to play this great personality.  Carter’s use of light comical dialogue along with great scene where she comforts Firth shows that she is definitely one of the great actresses to ever come out of the U.K.  Even in scenes where she and Firth have great chemistry whether its comical or dramatic along with some wonderful exchanges with Geoffrey Rush. Rush delivers an amazing performance as Lionel Logue as he brings the famed speech therapist to life with a lot of wit.  Even as he and Firth have great scenes where Rush plays the man who tries to get Firth’s character to relax and feel confident.  It’s definitely Geoffrey Rush at his finest.

Finally, there’s Colin Firth in what is definitely one of his greatest roles to date.  A great follow-up following the acclaimed he received in Tom Ford’s A Single Man as Firth embodies the bravery and vulnerability of King George VI.  Even when had to stammer and say “fuck” in order to get the words to come out of his mouth.  It’s a performance where he allows himself to be vulnerable and make Albert or “Bertie” become more human as he is struggling with his new role as a king.  The development of his character goes hand-in-hand with the way Firth makes Albert into a stronger figure while giving the character a lot of humor.  It’s definitely a performance that truly solidifies Colin Firth as one of cinema’s great actors.

The King’s Speech is a remarkable and uplifting film from Tom Hooper helmed by a magnificent performance by Colin Firth.  Along with some great supporting work from Geoffrey Rush and Helena Bohnam Carter, it’s a film that gives audience not just a great history lesson.  It’s also film that is inspiring without all of the trappings that are often drowned in sentimentality.  It’s a film that gives royal figures like King George VI a chance to feel equal with the average person who can overcome something like a stammer as he became the voice that helped the British Empire deal with the Axis in World War II.  In the end, The King’s Speech is a glorious film from Tom Hooper that gives its audience something to cheer about.

Tom Hooper Films: (Red Dust) - (The Damned United) - Les Miserables (2012 film)

© thevoid99 2010