The Weight of Water

Based on the novel by Anita Shreve, The Weight of Water is the story of a newspaper photographer doing research on the murder of two immigrant women in 1873 while on a boating trip with her husband, his brother, and his brother’s girlfriend. Directed by Kathryn Bigelow and screenplay by Alice Arlen and Christopher Kyle, the film is an exploration of women dealing with the relationships they’re in with men as a woman in the modern world tries to sort out the mystery of a murder that happened more than a century ago. Starring Sean Penn, Catherine McCormack, Josh Lucas, Elizabeth Hurley, Sarah Polley, Katrin Cartlidge, and Ciaran Hinds. The Weight of Water is a messy although interesting film from Kathryn Bigelow.

The film is about the mysterious murders of two women at the Isles of Shoals in 1873 where a German immigrant named Louis Wagner (Ciaran Hinds) is accused of the murders. The film is about this investigation set in modern times where a photojournalist goes to the Isles of Shoals with her novelist husband, his brother, and his brother’s new girlfriend during a vacation. There, Jean Janes (Catherine McCormack) wonders if Wagner really did kill those women while reading the memoirs and notes about the survivor of those attacks in Maren Hontvedt (Sarah Polley) who would be the one to claim that Wagner killed her sister and sister-in-law. While Janes reads about Hontvedt, she deals with her troubled marriage as she’s convinced her husband and her brother-in-law’s girlfriend might’ve had an affair that leads to jealousy and other things.

The film’s screenplay by Alice Arlen and Christopher Kyle does have an interesting premise but one that is very uneven. The stuff about Maren and the actual murders is the most interesting portion of the story where it plays into her life as a Norwegian immigrant who arrives to the Isle of Shoals in New Hampshire with her husband John (Ulrich Thomsen). Notably as it plays into the life that Maren lead and the eventual arrival of her brother Evan (Anders W. Berthelsen) and his new wife Anethe (Vinessa Shaw). A lot of it is told from Maren’s perspective as it’s read by Jean who is fascinated by her discovery yet is dealing with her marriage. The scenes involving Jean, her husband, and the boating vacation they’re having with her brother-in-law and his girlfriend isn’t as interesting. Notably as Jean’s husband Thomas (Sean Penn) spends much of the film drunk and ogling over his brother’s girlfriend Adaline (Elizabeth Hurley) as the dramatic tension that occurs feels flat.

Another problem with the film’s screenplay that would greatly affect the film as a whole would be is lack of suspense where it does lead to a major reveal about who really killed Anethe and Maren’s sister Karen (Katrin Cartlidge). Once Jean figures out who did kill them, it does affect the suspense where it does slowly reveal many of the motivations behind why the killer did those things. It would play into Jean’s jealousy over Thomas’ infatuation with Adaline but also the sense of loneliness that is prevalent about her.

Kathryn Bigelow’s direction definitely has a lot of interesting images that sort of does makeup for much of the script’s shortcomings. Yet, it’s narrative doesn’t allow Bigelow to keep things interesting for the scenes set in the present where not much really does happen with the exception of Jean’s investigation to try and uncover the story. Bigelow does infuse a lot of style into the visuals where her best work is in the scenes set in the 19th Century as the compositions are stylized but also very engaging in the way she presents the drama and such. The way the narrative moves back and forth doesn’t give Bigelow the chance to really find ways to make things cohesive where there’s two different movies being played out. One of them is very interesting and the other is pretty flat. Overall, Bigelow creates a film that does have moments that are interesting but the result is a very troubled and in cohesive film that doesn’t do much to create any major suspense.

Cinematographer Adrian Biddle does excellent work with the film‘s cinematography from the usage of black-and-white in some of Jean‘s photographs to the use of colors and lights for much of the exterior setting in New Hampshire and places nearby in the different period settings. Editor Howard E. Smith does nice work with the editing with the use of montages and slow-motion shots to play into some of the drama and suspense that occurs in the film. Production designer Karl Juliusson, with art director Mark Laing and set decorators Laura Cuthill and Patricia Larman, does amazing work with the set pieces from the look of the 1870s home that Maren lived in as well as the bits of the town and trial she had to be part of.

Costume designer Marit Allen does fantastic work with the period costumes for the scenes set in the 1870s that include the different dresses that Maren wears. Sound mixer Mike Smith and sound editor Anne Slack do superb work with the film‘s sound from the calm atmosphere of the scenes in the sea to some of the chilling moments for the film‘s climax. The film’s music by David Hirschfelder is wonderful for its jazz-like score that mixes somber string arrangements with bits of piano and saxophones to play into the film’s lingering mood.

The casting by Mali Finn is brilliant for the ensemble that is created for the film as it includes some noteworthy performances from Ulrich Thomsen as Maren’s husband John and Anders W. Berthelsen as Maren’s brother Evan. Katrin Cartlidge is pretty good as Maren’s sister Karen while Vinessa Shaw is wonderful as Evan’s kind wife Anethe. Ciaran Hinds is terrific as Louis Wagner as this German immigrant who is proven to be a really nice man that may have not been the killer after all. Elizabeth Hurley is pretty much a waste in the film as Adaline as this very sexual being who spends her time in a bikini and topless for a bit as she doesn’t really do much except recite some literature and look hot.

Josh Lucas is excellent as Thomas’ brother Rich who tries to ensure that everyone is having a good time as he would show concern for Jean. Sean Penn is pretty fine as Thomas as this pretentious writer who deals with some demons though Penn doesn’t really do much other than drink and stare at Elizabeth Hurley. Sarah Polley is amazing as Maren as this young Norwegian woman who arrives to America trying to start a new life only to deal with Louis and the presence of her new sister-in-law. Finally, there’s Catherine McCormick in a radiant performance as Jean as this photojournalist trying to solve the mystery of the murders as she also deals with her issues with her husband as well as the demons that are lurking into that marriage.

Despite its cast and some amazing visual flair, The Weight of Water is an incomprehensible yet lackluster film from Kathryn Bigelow. Due to its messy script and two different storylines that never finds its balance. It’s a film that has a unique premise but falls flat due to its lack of suspense and emphasis on heavy drama. In the end, The Weight of Water is a very disappointing film from Kathryn Bigelow.

Kathryn Bigelow Films: The Loveless - Near Dark - Blue Steel - Point Break - Strange Days - K-19: The Widowmaker - The Hurt Locker - Zero Dark Thirty - The Auteurs #29: Kathryn Bigelow

© thevoid99 2014

Breaking the Waves

Directed by Lars von Trier and written by von Trier and Peter Asmussen, Breaking the Waves is the story of a young Scottish woman who tries to help her paralyzed husband by having sex with other men and tell him about it in order for him to feel closer to her. The film is von Trier’s first part of an unofficial trilogy exploring women in struggle through immense torment as it’s also the first film to reveal the aesthetics von Trier would use for the Dogme 95 movement. Starring Emily Watson, Stellan Skarsgard, Sandra Voe, Jean-Marc Barr, Adrian Rawlins, Jonathan Hackett, Udo Kier, and Katrin Cartlidge. Breaking the Waves is a heartbreaking yet soaring melodrama from Lars von Trier.

Bess McNeill (Emily Watson) is set to marry a Swedish oil rigger named Jan (Stellan Skarsgard) in her strict, religious small town in Scotland as she gets the blessings of the religious council. Her wedding to Jan is a blissful one as her sister-in-law Dodo (Katrin Cartlidge) makes a speech wishing them well as Bess’s life with Jan is one full of joy as she thanks God for making it happen. When Jan has to return to work, Bess is in despair as has a hard time dealing with Jan at work as she becomes desperate as she prays to God for his return. Jan returns but is paralyzed following an accident as Bess feels responsible as she tries to help her husband with help from Dodo, who is a nurse.

When Jan asks Bess to have sex with other men so he pretend that he’s making love with her, Bess refuses at first but decides to do it once Jan is back in the hospital. Bess tries to make various attempts by seducing Jan’s doctor Richardson (Adrian Rawlins) which doesn’t go well. With Dodo and Bess’ stern mother (Sandra Voe) realizing what is going on, it reaches the attention of the religious council led by its priest (Jonathan Hackett) to banish Bess. After meeting a sadistic sailor (Udo Kier), Bess begins to unravel as she asks Dodo to pray for Jan as she would the ultimate sacrifice.

The film is the story of a childlike yet woman in the 1970s who falls for this Swedish oil rigger as her devotion to him is tested following an accident as he becomes desperate to touch her as if they were making love. In this journey, the woman tries to seduce men around her town in hopes that her husband can feel her as if he is making love to her. Over the course of the film, both would start to unravel in different ways as one would find a way to save everything which requires a form of sacrifice.

The screenplay by Lars von Trier and Peter Asmussen is broken into several chapters to emphasize the course of the film which is often accompanied by dream-like paintings that come to life through visual effects. The chapters breaks, that are based on the art work of Pers Kirkeby, is often accompanied by a song from the late 1960s and early 1970s to emphasize the time frame of the story. Since the film features a lot of religious themes that is based partly on von Trier’s then-conversion to Catholicism in the 1990s as it provides a sense of motivation for Bess who often talks to God as she would speak his words in brash voice.

Bess McNeill is a character that is truly one of von Trier’s greatest creations as she is one that is full of innocence as she marries a man who has experienced the world. Through Jan, she discovers sex in its purest and most loving form as in her attempts to help the paralyzed Jan. She becomes desperate and unstable as she would later become a prostitute in order to have sex with other men. While some might claim that Bess’ descent into prostitution and how she gets treated will spark ideas of misogyny. That is not what von Trier is doing as it’s all about a woman trying to find the strength for what she does for her husband in a world where women can’t attend funerals in this religious society.

The script that von Trier and Asmussen creates is an exploration of a woman desperate to save her husband as she communicates to God who looks on at what she’s trying to do. In many ways, it’s God trying to test Bess in what she can do for her husband in a world where there’s a lot of religious oppression. For an outsider like Jan, he gets very close to see what goes on in a funeral scene while he asks the priest why there’s no bells in the church. It’s part of the world that von Trier and Asmussen creates which would allow for an ending where one character would defy this religious oppression while another would find some semblance of hope from above.

The direction of von Trier is probably his most potent and entrancing work of his career in the way he presents the film. Featuring a lot of dreamy chapter breaks, the film has a look that has a personal feel as von Trier goes for something that is reminiscent of a home movie as if it was shot in Super 8 film with natural light. Breaking from his more technical-driven yet more controlled filmmaking style of previous films, von Trier goes for a much looser yet more natural approach to the direction of the film. In this approach, hand-held cameras are used as there’s a shakiness to it without being too frenetic.

At the same time, there’s moments where the fourth wall is sort of broken as Bess is always looking directly at the camera which emphasize her innocent and playful persona. The film also has the feel and look of a storybook that comes to life through the chapter breaks as it includes an epilogue that dwells on melodrama without being too overly-sentimental and heavily-dramatic. There is a rawness to what von Trier aimed for while some of the sex scenes reach the line of being graphic at times though it’s meant to present sex in its purest form. The overall work that von Trier did is truly hypnotic and mesmerizing as he creates what is definitely his best film.

The cinematography of Robby Muller is definitely the film’s technical highlight for its grainy yet naturalistic look to emphasize the home-movie feel of the film. For some of the nighttime interiors, the film has a very dark look to play up its naturalistic look as there’s elements of a static look so that it plays to some of the aesthetics that von Trier is looking for. The daytime scenes with sunlight have a more heightened yet monochrome look where the colors of the film are de-saturated but in a dream-like look that is truly gorgeous. Editor Anders Refn does an amazing job with the stylized editing of the film that has a great emphasis on jump-cuts for some of the film’s playful yet unconventional rhythm that moves quite leisurely for a film with a 158-minute running time.

Art director Karl Juliusson does a great job with the set pieces created for the film such as Bess‘ home, the ship, and the oil rig scenes to create something that looks like that it comes from the world of the 1970s. Costume designer Manon Rasmussen does an excellent job with the costumes from the more plain clothes that Bess wears early on to the more thinner yet stylized dress that Jan bought for her including various clothes to play up the look of the 1970s. Sound designer Pers Streit and sound editor Kristien Eidnes Andersen do a superb job with the sound work to play up the naturalistic tone of the film with natural sounds presented throughout the film.

The film’s music soundtrack features a version of Johann Sebastian Bach’s Siciliana - Sonata BWV n. 1031 that plays in the final credit by a trumpet and organ while the rest of the film’s soundtrack features an array of music from the 1970s. For the chapter breaks, there’s music by the likes of Mott the Hoople, Python Lee Jackson with Rod Stewart, Jethro Tull, Procol Harum, Leonard Cohen, Elton John (who also has two more cuts in the film), Deep Purple, and (in the theatrical version) David Bowie. Additional music that appears in the film include Roxy Music, Bob Dylan, Thin Lizzy, and T.Rex all play up to the world that is the 1970s.

The casting by Joyce Nettles is brilliant as it features appearances from von Trier regulars like Udo Kier as a sadistic sailor and Jean-Marc Barr as Jan’s best friend Terry. Other notable small roles include Mikkel Gaup and Roef Ragas as fellow oil riggers as well as Robert Robertson as one of the leaders of the religious council. Jonathan Hackett is very good as the very strict and humorless priest while Sandra Voe is excellent as Bess’ stern yet grounded mother. Adrian Rawlins is wonderful as the sympathetic but conflicted Dr. Richardson who helps with Jan’s paralyzed state while also trying to help Bess. Katrin Cartlidge is superb as Dodo, Bess’ sister-in-law who tries to help Jan in the hospital while trying to protect Bess from trouble as she gives truly a mesmerizing performance.

Stellan Skarsgard is great as Jan, the oil-rigger that Bess falls for as he has a playful side to him but once he’s paralyzed, he gives a more reserved performance as a man desperate to please his wife though he couldn’t touch her. Finally, there’s Emily Watson in her film debut as Bess McNeill. Watson’s performance is truly one of the most iconic and heartbreaking performances captured on film. For the way she exudes a childlike innocence throughout the film while being all brash as she speaks the words of God. It’s also one full of charm and anguish as it’s definitely a performance for the ages from one of Britain’s great actresses.

***The Following Additional Material is Written from 1/1/16-1/16/16***

The 2014 Region 1/Region A 2-disc DVD/1-disc Blu-Ray dual-format release of the film from the Criterion Collection presents the film in a newly remastered 4K digital restoration print supervised by Lars von Trier with 5.1 surround DTS-HD Master Audio soundtrack on Blu-Ray and 5.1 Surround Sound for its DVD. In its 2:35:1 aspect ratio, the film is given a richer look while retaining the grainy look from Robby Muller’s de-saturated yet atmospheric cinematography. In the first disc of the DVD, the only special feature in the DVD is a trailer for the film that serves as a prototype of red-band trailers.

The second disc of the DVD features a 47-minute selected-scene audio commentary track from von Trier, editor Anders Refn and cinematographer Anthony Dod Mantle who was the film’s location scout in the production. The trio discuss not just the approach to editing where von Trier and Refn reveal that the reasons the way the film was edited in such a offbeat way was that it would serve as an emotional tool rather than something conventional. The trio also discuss the look of the film, the performances, and some of the locations where it was shot partially in Scotland while some of it was shot in Denmark. It’s a fine special feature that features some humorous anecdotes as well as some criticism where Refn reveals his own quibbles about aspects of the ending.

The ten minute interview with filmmaker/critic Stig Bjorkman who made a documentary on von Trier back in 1997 discusses the documentary but also where von Trier was at in his career when making the film. Bjorkman reveals many of these changes while making comparisons to Ingmar Bergman in the way both men were comfortable on a film set as well as have ideas that were similar visually. Bjorkman also talked about what von Trier was doing before this film in directing actors and what changed when he did this film which showcased him being more comfortable with them.

The seventeen-minute interview with Emily Watson has the actress talking about her experience making the film as it was the first film she had ever done. She was a theatre actress before the film as she admits to having very little knowledge about cinema. She talks fondly about von Trier, Stellan Skarsgard, and Katrin Cartlidge who were great help to her while Watson admitted that the film sort of mirrored her own life as she was living in a very religious community where she was cast out due to accepting the role for this film. Watson also talked about the character of Bess and what she felt she was going through while admitting her initial reaction to the film was negative until Cannes where she realized how extreme the reactions where as she looks back at the film very fondly as it’s one of the finest interviews for the DVD/Blu-Ray’s special features.

The thirteen-minute interview with Stellan Skarsgard has the actor talking about his collaboration with von Trier and how he got the part as he had been wanting to work with von Trier for years. Skarsgard also discusses many of the themes of the film as well as Watson’s performance and the many claims about von Trier being criticized as a misogynist. Skarsgard also talks about von Trier’s approach to actors in the way he wanted to them to be loose and make mistakes as it is one of the reasons why he continuously works with von Trier. A two-minute interview with Adrian Rawlins from 2004 has the actor talking about working with von Trier and why he enjoyed it as it had a sense of looseness as well as the need to improvise which something Rawlins enjoyed as opposed to what he usually does for British television.

A two-minute audition clip from Emily Watson features a commentary track from von Trier as the audition showcases not just the kind of naturalism and energy that Watson would put into the audition but also the reasons into why she was right for the role. The commentary track by von Trier, Mantle, and Refn talk about the audition and what impressed von Trier as he stated that something about Watson being barefooted that intrigued him and realized that she was right for the part.

Seven minutes of two deleted scenes and five minutes of two extended scenes are featured with optional commentary by von Trier, Mantle, and Refn as the two deleted scenes include a conversation between Jan and his friend Terry in the hospital and a meeting between Bess and Dr. Richardson just after she escaped from the police. The extended scenes include an extended conversation between Bess and Dodo in the mountains and the other is where Bess calls to her mother to open the door. In the commentary, von Trier revealed that the reasons the scenes were cut either due to the fact that he didn’t like the performances in the extended moments or in the deleted scenes as well as felt they didn’t fit in with the rest of the film.

A two-minute deleted clip featuring the late Katrin Cartlidge serves as a tribute to her which is a scene where Bess, Bess’ mother, and Dodo are in church during a service where Bess asks Dodo about Jan. It’s essentially an outtake where Cartlidge tries to hold her composure but it ends up being very funny which is fitting to the kind of talent that she is. A seventeen-second promotional clip for the 1996 Cannes Film Festival has von Trier revealing that he will not be showing any clips of the film but rather have the people at Cannes see the film as a whole as it is very funny.

The DVD/Blu-Ray set also features a booklet that features two pieces of text relating to the film. The first is an essay entitled Breaking the Rules by film critic/historian David Sterritt. The essay plays into where von Trier’s career was before and after he made the film but also into many of aspects of the story. Especially in some of the religious context and why would someone like Jan be intrigued by someone as naïve and as innocent as Bess. It also play into the element of fantasy vs. reality where the world Jan comes from is reality as his encounter with the community Bess lives in is an entirely different world where he comes from. The second piece of text in the booklet is an excerpt from Stig Bjorkman’s 1999 book von Trier on von Trier where Bjorkman interviews the director about the film. In the interview, von Trier talks about many of the themes of the film and some of the technical aspects of the film. He also talked about the origins of the film and why it was made in this way rather than in a conventional thing. It’s a fascinating interview about where von Trier was at the time as well as why the film is so revered.

***End of DVD/Blu-Ray Tidbits***

Breaking the Waves is an enchanting but provocative film from Lars von Trier featuring Emily Watson’s exhilarating performance. For anyone interested in the works of von Trier will find this as the best place to start since it definitely his most revered film. For fans of Emily Watson, whose career has flourished since this film, this remains her best performance of her career. While it’s not an easy film to watch since it dwells into elements of melodrama with a lot of graphic material. It is a film that challenges the conventions of melodrama as well as stripping down the aesthetics of traditional cinema. In the end, Breaking the Waves is Lars von Trier’s masterpiece that breaks down all barriers of what cinema is and could be.

Lars von Trier Films: The Element of Crime - Epidemic - Medea - Europa - The Kingdom I - The Kingdom II - Dogme #2: Idioterne - Dancer in the Dark - The Five Obstructions - Dogville - Manderlay - The Boss of It All - Antichrist - Melancholia - Nymphomaniac - The House That Jack Built

Favorite Films #3: Breaking the Waves - The Auteurs #7: Lars von Trier

© thevoid99 2011

Naked (Expanded Criterion DVD Review)

Originally Written and Posted at Epinions.com on 8/23/05 w/ Extensive Revisions & Additional Content.

One of Britain's most celebrated and independent directors, Mike Leigh has made most of his films surrounding the working class and their dysfunctions around the world. Starting out with small features for BBC and for British cinema, Leigh's early films contained mostly dramatic insights on British, working-class citizens from the early 70s to the 80s. In 1989, Leigh finally gained international recognition with his 1989 drama High Hopes which was a satire of British society in the post-Margaret Thatcher world. 1990's Life is Sweet also showed his dark view of society by having a bulimic woman as his protagonist. Then in 1993, Leigh shook things up even more with a far more controversial film about an unemployed philosopher who embarks on a journey around his surroundings while belittling those who are weaker to him entitled Naked.

Written and directed by Leigh, Naked is a journey of sorts about a disenfranchised man who doesn't have a job but has an intellectual charm as he grabs a car, meets his ex-girlfriend's roommate, and wanders around London talking philosophy and having his way with women. The film is also a commentary on the post-Thatcher society where Britain is still in chaos with its protagonist meandering about everything he can think of while dealing with people in an emotional and mental way. Starring David Thewlis, Katrin Cartlidge, Lesley Sharp, Greg Cruttwell, Claire Skinner, Ewen Bremner, Gina McKee, and Susan Vidler. Naked is a brutal, harrowing journey that questions the moralities of the world through its troubling protagonist.

After raping a woman and stealing a car, Johnny (David Thewlis) drives from Manchester to London to meet up with his ex-girlfriend Louise (Lesley Sharp). Arriving at her flat, Johnny meets Louise's roommate Sophie (Katrin Cartlidge) where they befriend each other as they wait for Louise who isn't happy to see Johnny. While Sophie enjoys having Johnny around, Louise isn't sure though he isn't a totally bad guy in comparison to their brutish landlord Jeremy (Greg Cruttwell). After Sophie gets too close, Johnny leaves to venture around London as he encounters various people including an angry Scot named Archie (Ewen Bremner) and his girlfriend Maggie (Susan Vidler).

With Johnny's encounters with various people having go into existential and spiritual discussions as he converses with a nightwatchman named Brian (Peter Wight). The two men see a woman (Deborah MacLaren) where Johnny has sex with her as she struggles with her fading looks. Johnny continues to wander around London as he flirts with a depressed waitress (Gina McKee) and harass a chauffeur (Robert Putt) while going into various discussions about everything and anything. Back at Louise's flat, Jeremy pretending to be another man asks Sophie about another roommate named Sandra (Claire Skinner). Sophie's encounter with Jeremy proves to be horrifying as he's already harassed a masseuse (Carolina Giametta) and raped a waitress (Elizabeth Berrington).

When Louise returns home to see Jeremy, she and Sophie wait for Johnny to return only to see him beaten and battered. With Sophie more intent to cling onto Johnny, Louise deals with Jeremy while awaiting Sandra's return.

When watching a film like this right in front of you, do not expect to have any likeable or happy-like moments. Leigh's aim for the film is simply to convey a brutality driven by bleakness and the question of existence. In some ways, the film is also like The Odyssey by Homer, which was referenced in the film, since it's about a man's journey through London in trying to find answers about humanity while challenging those with his view of the world. It's not a film to watch at first viewing but it does leave the viewers talking. The film's treatment of women will definitely be something that many of its female viewers will be offended by but Leigh isn't being sexist since some of his characters are heroines. The treatment on women from the viewpoint of Johnny and Jeremy. Johnny may be abusive but he actually listens to women and comforts them with his charm and wit. Jeremy though is a full-on misogynist who takes carnal pleasure in abusing women.

Leigh's been known for making a film, getting his actors together, and not bringing in a script leaving actors to improvise. That improvisation seems to work where the actors have a sense of themselves in what they want to do for the character while remaining true to the story. The film has several themes to pin-point on whether it's about the existence of humanity and conformity which is something Johnny wants to rebel against since he doesn't want to live by society's rules. The film may have a bleak outlook on the world and humanity, particularly in post-Thatcher Britain but Leigh chooses to try to find some glimmer of hope in the eyes of one man.

Leigh's improvisational writing and viewpoints that is in his script plays to his directing style since he aims for a gritty, brutal approach that makes the audience uncomfortable. Leigh is definitely confrontational in his directing style and his choices of locations for London and Manchester is inspiring for the fact that he refuses to show any kinds of landmarks and famed streets. Instead, Lee goes for the nitty-gritty by showing depressing places and dirty streets. It's really a film of the streets. Helping Lee capture that vision is his longtime cinematographer Dick Pope who brings a grainy, natural quality to the film without any kind of artificial light or anything glossy. Pope chooses to shoot London as it is as if the audience is there which is very colorless and very gray.

Helping the film in its interior looks of the apartments are production designers Alison Chitty and Steven Jones-Evans and art director Eve Stewart who decorate the film with such things for the characters whether it's the Greek statues or the anatomy posters for Sandra. Costume designer Lindy Hemming also shines for his drab, ordinary clothing for most of the cast but a Goth-punk like look for Sophie, and all black, trench-coat style look for Jeremy that is a precursor to what he would do with Batsuit in Batman Begins. Editor Jon Gregory manages to pull in a tight, leisurely-paced editing style to the film that makes the 130-minute feature seem to go with ease where Leigh's direction helps draw the audience into what's going on. The musical score of Andrew Dickson also captures the bleakness of its melancholia with its piano and harrowing string arrangements.

The film's large cast is wonderfully inspiring, especially if they're in a Mike Leigh film where they're given freedom to put themselves in characters. With such small stand out roles from Carolina Giammetta and Elizabeth Berrington as the women who are harassed by Jeremy to the roles of Darren Tunstall and Robert Putt as the working men that Johnny annoys. There is a wonderful moment in those performances including memorable ones from Ewen Bremner and Susan Vidler as the Scottish couple who are so dirty and misled, it's no wonder that Johnny takes pity on them though Bremner is more memorable for his twitch. Deborah MacLaren is excellent in her performance as the woman in the window who is desperately trying to relive her youth in a very powerful performance. Gina McKee is also amazing as the depressed cafe` waitress who is very sad by her loneliness as she is one of the rare women Johnny seems to take pity on without being abusive.

Peter Wight gives a memorable and excellent supporting performance as Brian, a morally night-watchman who listens to Johnny but is still convinced that there is more out there than Johnny's bleak view of the world. Wight makes his character more than just another of Johnny's intellectual conquest since he knows that Johnny has some great insight but he is really the shining light that Johnny doesn’t want to believe. Leigh regular Claire Skinner is excellent in her brief appearance as the uptight Sandra who couldn't believe in the state of things as she arrives in the final act of the film. Skinner's brief appearance is memorable for the fact that she is different from Louise and Sophie in terms of responsibility. Greg Cruttwell is wonderfully nasty and vile as Jeremy with his hatred towards women and his control in a performance that audiences will love to hate. Cruttwell brings in every ounce of disgust and obscene behavior that it's very convincing in a very disturbing performance.

The late Katrin Cartlidge is amazing as the aloof, stoned, desperate Sophie who seems to find the answer in her relationship with Johnny despite his flaws. Yet when Johnny leaves and she is forced to deal with Jeremy, she realizes her vulnerability and her own regrets into her lifestyle as she depends more and more on Johnny in a performance that is amazing for the gifted actress who is sorely missed. Lesley Sharp is really the film’s strongest female performance as Johnny's ex-girlfriend who doesn't really like having him around yet she knows of his good qualities. Sharp holds her own in nearly every scene, especially around Cruttwell who tries to have his way with her but she gives a fearless confrontational performance as the rare heroine that is needed in the film.

Finally, there's David Thewlis in probably his best performance yet as the comical, intelligent, and sleazy Johnny. Thewlis uses his quick-wit and charming demeanor to win the audience over despite some of his abusive actions. Thewlis shines in every moment of the film as a man trying to discover the idea of existence while challenging the idea of why humanity is cease to be. There is never a dull moment in Thewlis' performance nor from the things he says since he says them in a profound, intelligent way. His scenes with the women in the film show the man in a rare form of sweetness despite the fact that he can be rough as he proves that by all means, he's not a good man but he’s not a bad one either. He's just a man as Thewlis brings balance to that kind of character.

***Additional Content Written from 7/30/11-8/5/11***

The 2005 2-disc Region 1 DVD (1-disc 2011 Blu-Ray) presents the film in its theatrical 1:85:1 widescreen aspect ratio plus Dolby Digital Stereo sound as part of a newly restored high-definition digital transfer that is supervised by its writer/director Mike Leigh. The first disc features the film plus English subtitles for the hearing impaired and its original theatrical trailer. The first disc also includes a feature-length audio commentary track from Leigh and actors David Thewlis and Katrin Cartlidge recorded back in 1994 when the film was released on laserdisc.

The commentary has Leigh talking about the film and his approach to directing and improvisation since he doesn’t really write any scripts. With Cartlidge joining him in some of the commentary, they talk about the film’s accusation of misogyny which as Cartlidge defends Leigh claiming that the critics who made those accusations are missing the point. Thewlis, on a separate recorded commentary, talks about Leigh’s approach to directing actors along with the fact that the film was largely shot on location. Notably as Thewlis said that trying to come up with things in the performance was hard as Leigh admits to shooting 26 takes of a key scene of Thewlis and Peter Wight having a conversation just so he can find the right tone.

Leigh also talks about why he opened the film with a rape scene which was to get people an idea of what character they would meet. Yet, that is eventually challenged by the Jeremy character as a way for people to find the good in Johnny as opposed to Jeremy. Leigh reveals that Greg Cruttwell, who plays Jeremy, is nothing like the character he plays as was really the nicest person on set. Cartlidge reveals that a lot of biographical information was made for the characters but Leigh chose not to reveal too much so the audience can interpret while Thewlis reveals that a lot of scenes were cut because of length reasons. The overall commentary is very informative and engaging about the film and Leigh’s unique approach to directing.

The second disc of the DVD features an array of special features relating to the film. The first is a twelve-minute interview with filmmaker Neil LaBute on the film. LaBute discusses the film’s themes as well as a couple of key characters in the film such as Johnny and Louise. LaBute reveals that the film is partially about isolation in a world where things don’t make much sense anymore as Johnny is a character who likes to shake things up. LaBute also talks about Mike Leigh’s approach along with the accusations critics have of Leigh being misogynistic which LaBute believes is untrue. It’s a very enjoyable yet relaxed interview from LaBute that really dwells into the brilliance of Naked.

The second featurette is a 30-minute excerpt from the British TV show The Art Zone where author Will Self interviews Mike Leigh about his filmmaking methods at Leigh‘s favorite pub in London. Leigh talks about parts of his career while Self opens the segment with his fascination towards Leigh’s work, particularly Naked. Leigh discusses the way he collaborates his actors where they discuss about trying to find the characters in the film so the actors can get a chance to figure out how to approach their role and make it their own. Leigh also refutes the accusations as a misogynist by stating that the women he work with are far tougher feminists than the ones who claim he’s misogynist. It’s a pretty compelling piece that is interesting though lags at time as it’s a great piece for any hardcore fan of Mike Leigh.

The last big special feature is a 17-minute short film entitled The Short and Curlies that stars David Thewlis and Alison Steadman. It’s the story about a drugstore clerk who falls for a young man as she talks to a chatty hairdresser who is dealing with her depressed daughter. It’s a very charming short with elements of humor with Steadman as the hairdresser and Thewlis as the young man who often spouts jokes. The short also includes a feature-length commentary track from Leigh where he talks about the short and performances. Most notably about the fact that it was Leigh’s first 35mm film since 1971’s Bleak Moments which would make him return to feature films. It’s a wonderfully witty commentary on Leigh who talks about the production and his emphasis into making this great short.

The DVD set includes a booklet that features two different essays about the film. The first is Desperate Days by British film critic David Malcolm. Malcolm talks about the film’s brilliance as well as the complexity of the characters in the dreary setting the film is in. Malcolm also talks about the fact that Leigh is critical to both men and women in this film while also being sympathetic to some of those characters with the exception of Jeremy. Malcolm’s essay is truly intriguing over the film that he believes is one of the best films to come out of Britain.

The second is essay entitled The Monster We Know from New York City film critic Amy Taubin. Taubin’s essay is about the film’s supposed misogyny which she believes is false as she focuses on Johnny and his behavior towards women which she thinks is much more complex. She also talks about Jeremy who is much more brutal and comes from a very different world from Johnny as Taubin’s essay is very compelling about the film’s study of men and their flaws. The overall work on the DVD is phenomenal as is it something that fans of Leigh should own.

***End of DVD Tidbits***

Naked is a brutal, confrontational, yet intelligently viable masterpiece from Mike Leigh led by David Thewlis' worldly performance. It is among one of Leigh's best films as well as his most confrontational about society and alienation. Still, this is not a film that is easy to watch but with repeated viewing, it becomes more understanding. Though many may not agree with the actions of the protagonists or Leigh's existential views, it is one of the most profound and powerful films of British cinema.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail's Party) - (Kiss of Death) - (Who's Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Secrets & Lies - Career Girls - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011

Career Girls

Originally Written and Posted at Epinions.com on 8/3/05 w/ Additional Edits.

One of Britain's most beloved and respected filmmakers, Mike Leigh has always made films that often surround the dysfunctions of families and individuals in working class surroundings. With films like High Hopes, Life is Sweet, Naked, and his 1996 Palme D'or-winning masterpiece Secret & Lies that gave him his greatest international success including nabbing several Oscar nominations. The success of Secret & Lies expected some of his fans and critics to come up with something more ambitious. Instead, Leigh decides to go back to basics for a low-key affair in a drama about two women reuniting to discuss their own lives today while thinking about their years as college students in Career Girls.

Written and directed by Mike Leigh, Career Girls in comparison to previous and later films is more simplistic in its plot of two women reuniting in London for a weekend to reminisce their college years. In Leigh's approach, he films two different sections of the film. One part set in the mid-1980s during the two women's years in college and the mid-90s as those two women are wiser but still unsure of themselves in what they want. Starring longtime Leigh collaborator Katrin Cartlidge and Lynda Steadman plus Andy Serkis, Kate Byers, Mark Benton, and Joe Tucker. Career Girls is a witty, intelligent, warm film from the always-interesting Mike Leigh.

On her way to London for the weekend to search for a new home, Annie (Lynda Steadman) is ready to meet up with her old college roommate Hannah (Katrin Cartlidge). Annie remembers the day she meets Hannah during an interview for a new roommate while attending North London Polytechnic as a psychology student. Annie was then, shy, nervous, and having a facial rash was accepted by the more aggressive, high-energy Hannah and her roommate Claire (Kate Byers). Annie moves in but is forced to contend with Hannah's confrontational attitude though the two share a love for the books of Emily Bronte and the music of the Cure.

Annie arrives in London to see Hannah, who is now a businesswoman, as the two talk about their days as Hannah seems a bit more calm while Annie is now more confident in her looks yet has a hard time trying to relax. Hannah though is more self-absorbed in her work and rarely has time for romance though Annie had been more successful despite breaking with her recent boyfriend. The two then remembers their days one night as the time Hannah and Annie try to kick out Claire, who rarely does anything in the house only to find themselves kicked out. They ended up living in a smaller apartment in which they shared with one of Annie's fellow psychology students named Ricky (Mark Benton), who is a mentally-challenged but intelligent fellow.

While Ricky makes good company, his outbursts would often lead into heavy discussions with Hannah about politics and morals where her opinions would end up being hurtful as Ricky would be verbally abusive sometimes. Annie remembers that her friendship with Ricky had its moments but was also a mess as one day, she and Hannah tried to find Ricky. Back in present time, Hannah and Annie go apartment-shopping when they find a flat that's owned by a messy man named Mr. Evans (Andy Serkis) that is near a river while it's up high at the floor, something that Annie doesn't like since she hates heights. The meeting was a nightmare because of Mr. Evans' messy rooms and flirtatious attitude as the two women run away. They find another flat that's on the floor where they meet real estates agent Adrian (Joe Tucker).

Annie and Hannah at first don't recognize Adrian until they got a clear look at him though he recognized Hannah but doesn't remember Annie. The two women look back at their relationship with Adrian during the time they stayed in the apartment with Claire. Hannah and Adrian hit it off at first because of their brash, antagonistic attitudes but when Adrian meets Annie, there is more of an attraction there in which, makes Hannah a bit more uneasy. After the disastrous sale, Hannah and Annie talk about Adrian and how they've changed. On the day when Annie is to return home via train, they decide to take a look at their places where they not only see an old friend running in a park but at the place when they last lived together, they meet an old friend which reminded them about their own past and regrets.

While the film doesn't have the heavy melancholia or the dysfunctional dramatics of other films from Mike Leigh. There is a clear idea on who is writing and who is directing it since Leigh does have his own unique ideas on dramas and relationships that has a bit of sadness and humor. From a directing standpoint, Leigh gives the film two different ideas in terms of its look and style since the film is done mostly in non-linear style with the women looking back at those times. Yet the story doesn't lose its place since it's easy to follow along to know where the characters are. There's also an earnest and nostalgic feel to the movie as Leigh seems to harken back to his early days as a filmmaker which is why he went for something more simple as opposed to the more ambitious projects of other films.

Even in the writing, Leigh gives depth all of his characters, notably Hannah and Annie where they have a lot to offer in terms of character development. There's similarities of both women in the past as they're both insecure in some way, they have a love for novels and the Cure, they're intelligent, and they're also flawed in many ways. The Hannah and Annie of the mid-90s are not as different although they have grown. Though they're not as insecure, there's an assurance that they're still struggling to find love or to find some kind of peace while understanding more about themselves and the past. Even in the way they are from their backgrounds, they understand why they're the way they are. It's that kind of writing that makes Mike Leigh one of the more respected and heartfelt auteurs in cinema.

Leigh's longtime cinematographer Dick Pope also helps Leigh in shaping the film in terms of look. While the 1980s sequence of the film has a blueish, grainy look, the mid-90s sequences is more colorful with its rare shots of sunlight. Art director Helen Scott also helps out with the look of the film with costume designer Eve Stewart as the 80s was more messy in its look of black clothes, jeans, and posters on the wall. While the 90s is more clean and glossy. Editor Robin Sales gives the film a nice, plaintive rhythm in its non-linear style while not making it too slow or too fast in its 87-minute running time. The film’s music which includes an original score from Secret & Lies star Marianne Jean-Baptiste and Tony Remy is plaintive in its contemporary, acoustic style while Leigh does a wonderful job in his selections of songs by the Cure that included singles like The Walk, Let's Go To Bed, The Love Cats, Caterpillar, and other rare album cuts that gives the film a nice sign of nostalgia.

The film's small cast that included Kate Byers as the bratty roommate Claire and Joe Tucker as the brash Adrian are well-performed, especially when Tucker is more quiet in the 90s sequence. Pre-Gollum Andy Serkis gives the film's most hilarious performance as the messy man who is willing to sell his apartment while trying to flirt with Hannah and Annie. Mark Benton is brilliant as the intelligent but dysfunctional Ricky who seems to be nice at times but his character is a sad mess since he's struggling with his own illness and his own life as he gives a memorable performance.

Lynda Steadman is a wonderful delight as Annie as she starts out looking a bit like Nicole Kidman with her shiny, short red hair with her troubling, realistic performance of a nervous young woman who lacks self-esteem. Steadman in the present time, her performance is also delightful as she makes her character grow so easily while admitting to some flaws while carrying a sense of innocence and charm. The late Katrin Cartlidge is also amazing as the more aggressive Hannah who is definitely hiding something as she uses her hand to sometimes talk. In the present time, we see Cartlidge be more calm but with a bit of aggression while dealing with her loneliness. The chemistry of Steadman and Cartlidge is amazing to watch, whether they're having a good time together in both sequences while in the 80s, you see Steadman standing her ground to the more aggressive Cartlidge as the two women give amazing, masterful performances.

While the film didn't get the same reaction like Secret & Lies did, the film did get good notices from fans and critics of Leigh who got a nice break. Leigh would continue to push his creativity further in films like Topsy-Turvy, All or Nothing, and more recently, his Oscar-nominated, Vera Drake that won him the Golden Lion at the 2004 Venice Film Festival. While Career Girls is a nice, low-key film from Mike Leigh with the wonderful performances of Lynda Steadman and the late Katrin Cartlidge. It's a decent starting point for audiences new to Leigh though Secret & Lies and Naked are better introductions. Still, Career Girls offer something more than the typical dramas that involve the conventional female buddy films.

Mike Leigh Films: (Bleak Moments) - (Hard Labour) - (The Permissive Society) - (Knock for Knock) - (Nuts in May) - (Abigail's Party) - (Kiss of Death) - (Who's Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Topsy-Turvy - All or Nothing - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

(C) thevoid99 2011