Bitter Moon

Based on the novel Lunes de fiel (Evil Angels) by Pascal Bruckner, Bitter Moon is the story of a British couple on a honeymoon cruise ship in the Mediterranean where they meet a Frenchwoman and her American husband who tells the British man the story of their marriage. Directed by Roman Polanski and screenplay by Polanski, Gerard Brach, and John Brownjohn with screen story and contributions by Jeff Gross, the film is a study of marriage and desire where two men converse about passion and desire as well as the dangers that occur in a relationship. Starring Peter Coyote, Hugh Grant, Kristin Scott Thomas, Emmanuelle Seigner, and Victor Banerjee. Bitter Moon is a wild yet exhilarating film from Roman Polanski.

Set mainly on a Mediterranean cruise ship towards Istanbul during the Christmas holiday, the film revolves around a British couple on their honeymoon as they meet a young Frenchwoman and her paralyzed American husband where the latter tells the British man the story of their love affair leading to all sorts of intrigue and attraction towards the Frenchwoman. It’s a film that is an exploration of passion in marriage where a man is fascinated yet shocked by the stories of this paraplegic whose wife is a beautiful yet troubled woman. The film’s screenplay by Roman Polanski, Gerard Bach, and John Brownjohn maintains a back-and-forth narrative where Oscar Benton (Peter Coyote) tells Nigel Dobson (Hugh Grant) the story of his marriage and relationship with Micheline “Mimi” Bouvier (Emmanuelle Seigner) from the moment they met to the time they got married after he had been paralyzed.

Much of the film has Benton tell Dobson this story as each act ends with Dobson telling his wife Fiona (Kristin Scott Thomas) about what he’s heard as she is disgusted by the stories preferring to play bridge or chat with an Indian gentleman in Mr. Singh (Victor Banerjee) who is onboard with his daughter Amrita (Sophie Patel) whom Fiona is fascinated by. Dobson is reluctant to hear more of Benton’s story as it relates to his relationship with Mimi in Paris as the first act is about the sense of adventure and passion they had. The second act is about the disintegration of that relationship due to his lack of interest towards Mimi where he would humiliate her publicly as she changes her looks and becomes needy. The second act does meander due to tonal issues as it delves into dark comedy and drama with Dobson becoming confused but also aroused by Mimi in her activities on the cruise. Yet, it would lead to this third act that is about how Benton got paralyzed and the relationship with Mimi in its current state.

Polanski’s direction is definitely wild in terms of the activities that Benton and Mimi do as well as how they humiliate each other just to turn themselves on. Shot mainly in Paris as well on an actual cruise ship and on studio sets in Paris, the film does play into two different worlds from the claustrophobic feel of the interior cruise hallways to the more open yet chaotic world of Paris. Polanski would use a lot of wide and medium shots to play into the locations of Paris while emphasizing on the latter and close-ups for the scenes at Benton’s apartment where he and Mimi would engage in ideas of sadomasochism and other sexual activity to express their passion for each other where it starts off with an air of innocence. Notably in a moment that plays into this innocence and passion for love is shown during a scene at a skydiver ride where they reach their hands as if there’s an element of fantasy. There’s a liveliness in the way Polanski play into the idea of sadomasochism and bondage where it is innocent until the second act where Benton becomes mean towards Mimi.

The scenes on the cruise ship are more constrained due to its claustrophobic tone in the rooms and interior hallways yet does have a sense of calm on the decks and at the main hall for meals and at the climatic New Year’s Eve party. Despite some of the tonal issues in the film’s second act, Polanski does maintain that air of intrigue and dark humor that play into Benton’s desire to humiliate Mimi at social gatherings and such. Polanski would also play into this intrigue as it relates to Dobson who finds himself attracted to Mimi but doesn’t want his wife to know while he’s unsure if Mimi and Benton are playing him or want him for something. The New Year’s Eve party scene is where some big surprises occur but also play into the fallacies of temptation and desire along with the dark aspects of relationship forcing Dobson to deal with himself and his own marriage to Fiona. Overall, Polanski crafts a provocative and intense film about a man’s infatuation with a woman through the stories told by her paraplegic husband.

Cinematographer Tonino Delli Colli does amazing work with the film’s cinematography with the way the exteriors of the cruise ship are shown during the evening as well as the exteriors in Paris along with the look of the Parisian nightclubs that Benton and Mimi go to. Editor Herve de Luze does excellent work with editing as it has elements of style in the montages and dissolves along with rhythmic cuts to play into the drama and suspense. Production designer Willy Holt and Gerard Viard do brilliant work with the look of the interiors of the cruise hallways, cabins, dining halls, and ballrooms as well as the look of Benton’s apartment in Paris.

Costume designer Jackie Budin does fantastic work with the costumes in the stylish clothes that Mimi wears including the colorful sweaters, sneakers, and other casual clothes to some of the wild and skimpy dresses along with the S&M stuff. The sound work of Daniel Brisseau is superb for the atmosphere of the cruise ship with sounds of water heard in the background as well as how music is heard in some scenes including some of the noises that happen for the scenes in Paris. The film’s music by Vangelis is incredible for its usage of orchestral and piano-based music to play into the drama and suspense with rich string arrangements and textures that add to story while the film’s soundtrack is a mixture of music ranging from artists/acts like Peggy Lee, the Eurythmics, George Michael, Sam Brown, the Communards, Gloria Gaynor, and covers of songs by Bryan Ferry, Stevie Wonder, and Lionel Richie that are performed in the film’s climatic New Year’s Eve party.

The casting by Francoise Menidrey, Mary Selway, and Bonnie Timmermann is marvelous as it include some notable small roles from Sophie Patel as Mr. Singh’s daughter Amitra, Olivia Brunaux as Mimi’s roommate Cindy, Boris Bergman as a friend of Oscar who often goes clubbing with him, Luca Vellani as an Italian cruise passenger who tries to flirt with Fiona when he took over for Dobson during a game of bridge, and Stockard Channing in a terrific yet un-credited cameo as Benton’s agent Beverly who is trying to get Benton to come back to New York City. Victor Banerjee is superb as Mr. Singh as an Indian gentleman traveling to Istanbul as he befriends to the Dobsons while representing someone who can show the Dobsons another way of life that is more fulfilling than what the Bentons offer. Kristin Scott Thomas is fantastic as Fiona Dobson as a woman who is trying to enjoy her vacation as she becomes concerned about Nigel’s fascination towards the Bentons as she becomes disgusted by his attraction to Mimi prompting her to show that she can be just as wild.

Hugh Grant is excellent as Nigel Dobson as a British man who is intrigued by Benton’s story as he tries to make sense of what is happening while wondering if he’s being played as he provides some humor as well as a humility in the film’s third act where he awkwardly tries to woo Mimi. Peter Coyote is brilliant as Oscar Benton as an American writer living in Paris who falls for Mimi as she represents everything he wants in a woman only to get bored and later succumb to paralysis as he tells Nigel his story with an air of discontent as it’s a slimy yet playful performance from Coyote. Finally, there’s Emmanuelle Seigner in a spectacular performance as Micheline “Mimi” Bouvier-Benton as a young woman who aspires to be a dancer as she falls for Oscar only to become desperate to please him to the point of great humiliation and later rebellion and unhappiness as it’s a performance filled with energy and danger that isn’t seen often in films.

Bitter Moon is a phenomenal film from Roman Polanski. Featuring a great ensemble cast, compelling themes of passion and desire through sex and humiliation, gorgeous visuals, a chilling setting, and a killer music soundtrack. The film is definitely an off-kilter yet intriguing suspense-drama that play into the ideas of passion and some of the fallacies that occur prompting another couple to raise questions about their own marriage. In the end, Bitter Moon is a sensational film from Roman Polanski.

Roman Polanski Films: Knife in the Water - Repulsion - Cul-de-Sac – The Fearless Vampire Killers - Rosemary's Baby - Macbeth (1971 film) - (What?) – Chinatown - The Tenant – Tess (1979 film) - (Pirates) – Frantic - Death and the Maiden – The Ninth Gate - The Pianist - Oliver Twist (2005 film) - The Ghost Writer - Carnage - (Venus in Fur) – (Based on a True Story) – (An Officer and a Spy) - (The Palace)

© thevoid99 2018

Mission: Impossible

Based on the TV series created by Bruce Geller, Mission: Impossible is the story of a spy who being hunted down by his organization after being accused of killing his crew where he has to find the mole in the agency. Directed by Brian de Palma and screenplay by Robert Towne and David Koepp from a story by Koepp and Steve Zaillian, the film is suspense-thriller in which a spy has to uncover the truth over a failed mission as well as wonder who to trust. Starring Tom Cruise, Jon Voight, Emmanuelle Beart, Jean Reno, Ving Rhames, Kristin Scott Thomas, Henry Czerny, Emilio Estevez, and Vanessa Redgrave. Mission: Impossible is a thrilling and stylish film from Brian de Palma.

The film revolves around a spy who was part of a mission that suddenly goes wrong when he is accused of being a mole after his crew had been killed forcing him to find out who the mole is as it involves a deal with a mysterious arms dealer. It’s a film with a unique premise that is filled with twists and turns by screenwriters David Koepp and Robert Towne as it explores a man who is seeking out the truth as well as wonder who the mole is. The film does have a MacGuffin in this list of spies and their alias where everyone wants it as the spy Ethan Hunt (Tom Cruise) decides to steal it as a way to get the mole to come out as well as clear his name with the help of another agent in Claire Phelps (Emmanuelle Beart) whom the IMF doesn’t know is still alive as she takes part to get revenge on the people who killed her husband Jim (Jon Voight) who was also Hunt’s mentor.

Claire was also in the botched mission as a getaway driver as Hunt is suspicious about why she is still alive when everyone else in their team was killed including her husband. At the same time, they deal with this mysterious arms dealer in Max (Vanessa Redgrave) who wants this list for her own advantage in this post-Cold War race to get power. Upon hiring the disavowed hacker Luther Stickell (Ving Rhames) and the pilot Franz Krieger (Jean Reno) for this mission to retrieve the list, Hunt realizes that there are those he can’t trust including Claire as he is convinced the mole is the IMF leader Kittridge (Henry Czerny) due to this play for power.

Brian de Palma’s direction definitely has a flair for style as it opens with a mission to establish what Hunt and his team does as well as play into a few references of the original TV series. Shot on various locations in Prague, London, and parts of Scotland, the film does play into this world where there is still a sense of unease following the end of the Cold War with some wanting to cash in on whoever will win the next war. The film does show de Palma’s penchant for style in the way he captures so much attention to detail in the key scene to capture a Russian spy from retrieving the list as well as what Hunt and his team are doing and the roles they play. There are also these suspenseful moments where de Palma keeps the intrigue going of who is killing who and who are these people in the background. The usage of close-ups and stylish compositions are key to what de Palma is doing in the suspense that includes a post-mission conversation between Hunt and Kittridge as it is show on low slanted camera angles and in a reverse shot as it play into this air of intrigue. The non-action scenes is where de Palma shines as he uses medium shots to play into the way multiple characters interact as well as a few wide shots to establish the location and its geography.

One key sequence that involves Hunt retrieving the list in a very exclusive and highly secretive room as he’s hanging from a ceiling a key example of de Palma’s approach to suspense as it requires silence as well as not make sure a drop of sweat hits the floor or the alarm will go off. It’s a key sequence late in the second act which play into what is at stake but also what Hunt needs to do to find the mole. The third act is about the unveiling of the mole as well as the mole’s motivations as it play into the aftermath of the Cold War and the ideas of the future. Even as Hunt has to do something to expose the truth for the safety of the world in a grand and thrilling climax set on a train in the English Channel. Overall, de Palma crafts an exhilarating and entertaining film about a spy trying to uncover a mole who killed his team during a botched mission.

Cinematographer Stephen H. Burum does excellent work with the film’s cinematography as it play into the look of the cities at night as well as some of the interiors of the rooms and places the characters stay at and the room of the secret computer. Editor Paul Hirsch does brilliant work with the editing as its usage of jump-cuts, stylish montages, dissolves, and other stylish cuts help play into the suspense and action. Production designer Norman Reynolds, with set decorator Peter Howitt plus art directors Fred Hole and Jonathan McKinstry, does amazing work with the look of the places the characters go to including the secret computer room and the interiors of the train for the film’s climax. Costume designers Penny Rose and Timothy Everest do fantastic work with the costumes as it include a few designer dresses for the mission that would be botched as well as clothes for the characters to wear in disguise.

Makeup designer Lois Burwell, along with special makeup effects artist Rob Bottin, does terrific work with the masks that Hunt would wear in disguise including the look of a senator he would pretend to be for the botched mission. Special effects supervisors David Beavis and Ian Wingrove, along with visual effects supervisors Andrew Eio, John Knoll, and Richard Yuricich, do superb work with the visual effects as it relates to the film’s climax as well as some of the design of the masks that Hunt wears. Sound editor Tom Bellfort does nice work with the sound in creating sound effects for the action as well as the air of silence for the computer room scene to play into the suspense. The film’s music by Danny Elfman is incredible for its orchestral-based score as well as creating variations of the famed TV show theme by Lalo Schifrin that include an electronic-based version by Adam Clayton and Larry Mullen Jr. of the band U2.

The film’s marvelous cast include some notable small roles from Olegar Fedoro as the Ukranian spy trying to get the list early in the film, Dale Dye as Kittridge’s aide Frank Barnes, Rolf Saxon as the CIA analyst William Donloe who has access to the secret computer room, and Karel Dobry as Max’s assistant Matthias. In the roles of Hunt’s original team, there’s Ingeborga Dapkunaite as surveyor Hannah and Emilio Estevez in an un-credited role as Hunt’s gadgets creator and hacker Jack Harmon as they’re terrific in their roles as is Kristin Scott Thomas in a small yet superb performance as the spy Sarah Davies. Henry Czerny is excellent as Kittridge as the IMF chief who believes that Hunt is the mole as he does whatever he can to catch him while Jean Reno is fantastic as Franz Krieger as a disavowed agent hired by Hunt to help him retrieve the list as he’s also very ambiguous over what he wants to do with the list. Ving Rhames is brilliant as the hacker Luther Stickell who would prove to be one of the few people Hunt can trust as he is also someone who is good at what he does and be humble about it.

Emmanuelle Beart is wonderful as Claire Phelps as Jim’s wife who survived the botch mission as there is a sense of ambiguity to her about her survival as she is also someone that wants revenge while dealing with her feelings for Hunt. Vanessa Redgrave is amazing as Max as this secretive arms dealer that is eager to get the list for her own thirst of power as it’s a charismatic performance from Redgrave. Jon Voight is incredible as Jim Phelps as Hunt’s mentor and Claire’s husband as a top spy who organized the botched mission unaware of what he’s going after as it’s a low-key yet chilling performance from Voight who maintains this sense of ambiguity. Finally, there’s Tom Cruise in a phenomenal performance as Ethan Hunt as a spy who finds himself being accused of being a mole where it’s a performance that has Cruise display charm as well as be full of determination and drive as it is one of his finest performances of his career.

Mission: Impossible is a marvelous film from Brian de Palma that features a top-notch performance from Tom Cruise. Along with its ensemble cast, dazzling visuals, and Danny Elfman’s thrilling score, it’s a blockbuster film that offers a lot of excitement as well as containing some engaging moments of suspense. In the end, Mission: Impossible is a remarkable film from Brian de Palma.

Brian de Palma Films: (Murder a la Mod) – (Greetings) – (The Wedding Party) – (Dionysus in ’69) – (Hi, Mom!) – (Get to Know Your Rabbit) – Sisters - Phantom of the Paradise – Obsession – Carrie - The Fury - (Home Movies) – Dressed to Kill - Blow Out - Scarface - Body Double – (Wise Guys) – The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito's Way - Snake Eyes - Mission to Mars - Femme Fatale – The Black Dahlia - (Redacted) – Passion (2012 film) – (Domino (2018 film))

© thevoid99 2018

The Horse Whisperer

Based on the novel by Nicholas Evans, The Horse Whisperer is the story of a New York magazine editor who asks a horse specialist to heal her daughter’s injured horse following a tragic accident that led to the loss of her daughter’s leg and the death of her daughter‘s friend. Directed and starring Robert Redford and screenplay by Richard LaGravenese and Eric Roth, the film is an exploration of a woman seeking the help of a man who can understand horses as she is also dealing with her own fragile relationship with her teenage daughter as Redford plays the role of Tom Booker. Also starring Kristin Scott Thomas, Scarlett Johansson, Sam Neill, Dianne Wiest, Cherry Jones, and Chris Cooper. The Horse Whisperer is a superbly rich film from Robert Redford.

The film revolves around a workaholic magazine editor from New York whose life crashes when her teenage daughter was in an accident that led to the death of a friend and her daughter losing her right leg while the horse itself is severely injured. In needing to help her daughter and her horse, Annie MacLean (Kristin Scott Thomas) travels from New York to Montana with her daughter Grace (Scarlett Johansson) and the injured horse Pilgrim where Annie seeks the help of Tom Booker who has a reputation for understanding horses as he is known as a horse whisperer. Though Booker is reluctant to help Annie and Grace out, he realized what they needed where Annie falls for him as she becomes torn between her love for Booker and her devotion to her family. Especially as Booker’s own family watches over Annie’s presence and how it affects Booker who had been through heartbreak before.

The film’s screenplay does have very grand structure that is very broad in the way it tells the story as the first act is about the accident that would have Grace lose her leg while Annie is determined to help her daughter despite their contentious relationship. Especially as Annie is known for being a workaholic who is dealing with a lawsuit as she discovers about Booker’s work through a magazine article in the hopes that she can help Grace and Pilgrim where the latter is severely hurt by the accident as Annie refuses to put him down. Annie’s desire to wanting to help both Grace and Pilgrim would have her drive all the way from New York to Montana where the second act is about Annie learning about Booker’s methods but also the quaint life he lives in with his brother Frank (Chris Cooper) and Frank’s wife Dianne (Dianne Wiest) who knows Tom very well as well as his past living in the city. During the course of the story where Annie tries to get to know Tom and his past, there is also Grace who is driven by grief and anger as she doesn’t like her mother while is having a hard time opening up to Tom about what happened to her as he would be very patient towards her in her recovery.

Robert Redford’s direction is quite vast for the way he presents much of the scenes set in Montana and the American Midwest where it has this very intoxicating feel as opposed to the more intimate world of the city where Annie and Grace live at with Annie’s husband Robert (Sam Neill). There is an intimacy to the film’s direction in the way Redford explores the family lives that Tom and Annie live in and the differences they have. There are these evocative images of horses that is featured throughout the film as it plays into a sense of innocence that Grace had while Booker is definitely aware of that connection Grace has with the horse Pilgrim. There is also a looseness in the direction in the way many of the scenes set at ranches and gatherings are happening along with some very unique compositions that occur in the way Grace would glance at something including one key moment where she tries to reach out to Pilgrim by feeding him with caution. While there are some moments that do get overdrawn such as its ending as well as some other moments between Tom and Annie, Redford still manages to keep things intact to play into a young girl trying to get back up. Overall, Redford crafts a touching yet majestic drama about a man helping a family in heal a wounded horse.

Cinematographer Robert Richardson does amazing work with the film’s cinematography with some very beautiful images of the film’s opening sequence set in the snow in upstate New York along with the vast colors and open fields of the scenes set in Montana. Editors Hank Corwin, Freeman A. Davies, and Tom Rolf do brilliant work with the editing in the way Grace‘s accident happens as well as some of the montages on the road and some of the effective moments in the film‘s dramatic scenes. Production designer Jon Hutman, with art director W. Steven Graham and set decorators Gretchen Rau and Hilton Rosemarin, does excellent work with the look of the Booker ranch and their houses along with the more posh look of Annie‘s New York City apartment.

Costume designer Judy L. Ruskin does terrific work with the costumes as it‘s mostly casual with the exception of the rugged cowboy clothes that Tom Booker and his brother Frank wears along with Frank‘s sons. Sound editors Frank E. Eulner and Richard Hymns, along with sound designer Gary Rydstrom, do fantastic work with the sound to create some unique sound work in the accident sequence along with chilling scenes of Pilgrim being wounded. The film’s music by Thomas Newman and Gwil Owen is wonderful with Newman providing some bombastic orchestral flourishes for some of the dramatic moments with Owen bringing in a more folk, country sound with guitars while music supervisor John Bissell brings in a mix of country, classical, and alternative music to play into the different worlds of the characters.

The casting by Ellen Chenoweth and Gretchen Rennell is incredible as it features some notable small roles from Jessalyn Gilsig as Annie’s assistant in New York, Jeanette Nolan as Tom and Frank’s mother, Ty Hillman as Frank’s eldest son Joe, Austin and Dustin Schwartz as Joe’s younger twin brothers, Cherry Jones as horse wrangler who reluctantly tells Annie that Pilgrim should be put down, and Kate Bosworth as Grace’s friend Judith who would die in the tragic accident. Chris Cooper is terrific as Tom’s brother Frank who aids him in helping Pilgrim out while being this low-key observer about everything that goes on. Dianne Wiest is fantastic as Frank’s brother Dianne who really cares for Tom as she also observes Annie and her intentions while being the woman that Annie can talk to as it proves that Dianne has desires to travel the world. Sam Neill is superb as Annie’s husband Robert who is often worried about Grace as he tries to be there while he also deals with Annie’s time in Montana where his arrival would cause problems for Annie.

Scarlett Johansson is phenomenal as Grace MacLean as this teenage girl who loses part of her right leg in a tragic accident as she is driven by grief and anguish as it’s a performance that is filled with a lot of depth and sadness as it’s one of Johansson’s finest performances. Kristin Scott Thomas is excellent as Annie MacLean as a woman who is desperate to help her daughter and horse while dealing with her own faults as a woman as she tries to deal with her feelings for Tom as well as the cracks in her family. Finally, there’s Robert Redford in an amazing performance as Tom Booker as this very reserved man who can help a horse get back on its feet while trying to not live a complicated life as he falls for Annie where he falls into a trap that could ruin him.

The Horse Whisperer is a dazzling film from Robert Redford that features superb performances from Redford and Kristin Scott Thomas plus a breakout performance from a young Scarlett Johansson. While it’s not a perfect film, it is still a fascinating film that explores a man trying to help horses through unconventional means as well as repairing the fragile bond between a horse and a young girl. In the end, The Horse Whisperer is a fantastic film from Robert Redford.

Robert Redford Films: Ordinary People - (The Milagro Beanfield War) - (A River Runs Through It) - (Quiz Show) - (The Legend of Bagger Vance) - (Lions for Lambs) - (The Conspirator) - (The Company You Keep)

© thevoid99 2014

The Invisible Woman (2013 film)

Based on the book by Claire Tomalin, The Invisible Woman is the story of Charles Dickens’ affair with a younger woman that lasted several years before Dickens’ death. Directed by Ralph Fiennes and screenplay by Abi Morgan, the film is an exploration into the secret affair that Dickens would have with a stage actress in Nelly Ternan as she is played by Felicity Jones with Fiennes starring as Dickens. Also starring Kristin Scott Thomas, Joanna Scanlan, and Tom Hollander. The Invisible Woman is a mesmerizing though flawed film from Ralph Fiennes.

The life of Charles Dickens is a compelling one as the film is about his affair with the stage actress Ellen “Nelly” Ternan as she was 18-years old when the two first met during a stage performance of one of his plays. Yet, the story is told from Nelly’s perspective as she thinks about the time she met Dickens and their eventual affair that would last for several years until his death in 1870. While Abi Morgan’s screenplay does have a unique approach to the narrative as it is told largely from Nelly’s perspective. The script is one of the key faults of the film where there’s parts of the film that is told from Dickens’ perspective in the way his marriage is dissolved as well as certain parts of his affair with Ternan is sort of glossed over. Especially as the first two acts is about the building of Dickens’ relationship with Ternan that starts out as friends that would destroy Dickens’ marriage. Once the affair starts to happen, it occurs in the third act where there is no sense of when the affair happens other than a few key moments that would shape their secretive relationship.

Ralph Fiennes’ direction is quite simple and understated as he does play true to the period setting of the mid-to-late 19th Century in Britain as the story spans nearly 30 years. Fiennes does maintain some unique compositions in the wide-medium shots as well as some unique close-ups and framing devices to play into this affair between Dickens and Ternan. Though he is hampered by some of the film’s issues with the script as it relates to the back-and-forth narrative of Nelly recalling her affair with Dickens. Much of the film is shot in parts of Kent and London as well as the British countryside to play into that feel of the period as well as some scenes on a beach where Nelly does much of her walking as she reflects on that crucial part of her life that she is reluctant to share with anyone in her life after Dickens. Overall, Fiennes creates an engaging but uneven film about Charles Dickens’ secret affair with Nelly Ternan.

Cinematographer Rob Hardy does excellent work with the film‘s very lush and evocative cinematography for some of the gorgeous interior lighting schemes as well as some scenes set in the exterior locations. Editor Nicolas Gaster does nice work with the editing as it‘s mostly straightforward with few stylish touches including a key scene involving a train in the film‘s third act. Production designer Maria Djurkovic, with set decorator Tatiana Macdonald and supervising art director Nick Dent, does amazing work with the look of the homes that the characters live in as well as the stage plays that Dickens would stage.

Costume designer Michael O’Connor does brilliant work with the costumes from the design of the dresses and gowns the women wear as well as the suits and hats that Dickens would wear. Hair/makeup designer Jenny Shircore does fantastic work with the look of the hairstyle the women wear as well as the beard and hair of Dickens. Sound editor Matthew Collinge does superb work with the sound from the way some of the location sounds come into play as well as the sound of the stage plays. The film’s music by Ilan Eshkeri is wonderful for its orchestral score with some lush, somber pieces to some more ominous and dramatic pieces to play into Nelly’s reflection of her past.

The casting by Leo Davis is incredible as it features some notable small roles Amanda Hale and Perdita Weeks as Nelly’s older sisters, respectively, in Fanny and Maria, Tom Burke as Nelly’s husband George in the 1883 scenes, and Michael Marcus’ as Dickens’ eldest son Charley. Michelle Fairley is terrific as Wilkie Collins’ mistress Caroline Graves who would reveal the ideas of a secret affair while Joanna Scanlan is fantastic as Dickens’ wife Catherine who is aware that something is going on as she is this woman of radiance who would warn Nelly about what might be at stake in an affair that hasn’t happened yet. John Kavanagh is excellent as Reverend Benham who is intrigued about Nelly’s knowledge of Dickens’ work where he would ask questions about her life with Dickens.

Tom Hollander is superb as Dickens’ collaborator Wilkie Collins who would write some of the stage plays with Dickens while informing Nelly about what to do with her possible affair with Dickens. Kristin Scott Thomas is amazing as Nelly’s mother who is anxious about Dickens’ attraction toward her daughter as well as some revelations about Nelly’s talents as an actress. Ralph Fiennes is brilliant as Charles Dickens as a man who is quite playful but also very caring as he falls for Nelly as he treat her with great care while balancing his family life and public persona. Finally, there’s Felicity Jones in a phenomenal performance as Nelly Ternan as this young woman who is an admirer of Dickens’ work as she falls for him yet deals with the anguish over what could hurt his public persona as their affair would later haunt her following his death as it’s a very entrancing performance from Jones.

The Invisible Woman is a stellar film from Ralph Fiennes that features amazing performances from Fiennes and Felicity Jones. Despite some of the film’s issues with its screenplay over its narrative, it is still a worthwhile film that explores the life of Charles Dickens and some revelations about his work. In the end, The Invisible Woman is a pretty good film from Ralph Fiennes.

Ralph Fiennes Films: Coriolanus - (The White Crow)

© thevoid99 2014

Love Crime

Directed by Alain Corneau and written by Corneau and Natalie Carter, Crime d’amour (Love Crime) is the story of two women working at a multi-national corporation who embark into a sick game of one-upmanship as it gets more humiliating and darker. The film is an exploration into the world of business and how two women try to outdo one another in order to get to the top. Starring Kristin Scott Thomas and Ludivine Sagnier. Crime d’amour is a thrilling yet engaging film from Alain Corneau.

The film is a look into the world of multi-national corporations where a top executive and her protégé do whatever to make it to the top. Yet, the young woman known as Isabelle (Ludivine Sagnier) finds herself not only doing the work of her boss Christine (Kristin Scott Thomas) where Isabelle gets no credit for her hard work. Christine would then further the humiliation by playing nasty pranks on her that would involve moments of blackmail as Isabelle would try to counter that with a few deals of her own. Eventually, things would get out of control under Christine’s world forcing Isabelle to take more drastic actions that would go into various extremes. It’s a film that plays into that cruel and unforgiving world of corporate mud-slinging where those like to humiliate colleagues emotionally and mentally. Even as it would force one woman to do things that is unexpected.

The film’s screenplay has a unique structure where the first act is about Christine’s cruel persona and how she treats Isabelle though there’s time where Christine tries to help Isabelle be a better person. Even when it comes to charming other executives and such to make a deal which Isabelle does succeed at but at her own terms. Adding to this unique relationship between the two women is the fact that both are sharing the same man in a lawyer named Philippe (Patrick Mille) who finds himself in trouble with Christine over some secret finances where he breaks off his relationship with Isabelle. This would lead into this second act of Isabelle not only falling apart emotionally and mentally but also try to see how she can try to beat Christine in this twisted game. It would go into this very strange third act where it is about actions but also what really happened as police investigators get involved and such.

Alain Corneau’s direction is quite engaging for not just some of the compositions that he creates but also in the way he presents the suspense and drama that is played out. Notably as Corneau would often put both Christine and Isabelle in the same frame sometimes at the edge of the frame or close together to display this sense of power struggle between the two women. There’s also moments where there is this mix of suspense and drama that includes this scene where Christine holds a party and shows a video of other colleagues in humiliating moments based on video footage as well as that moment of Isabelle feeling humiliated by one of Christine’s nasty pranks. It would then turn the film into a thriller where it would see what Christine would do as Corneau would create ideas of what might’ve happened or what really happened to create this ambiguity. While it’s shot largely in Paris, it plays into this very chaotic world of corporate businesses and mud-slinging as well as some scenes set in suburbs to showcase the different world that Christine and Isabelle live in. Overall, Corneau creates a fascinating yet intriguing film about ambition, greed, and deception.

Cinematographer Yves Angelo does excellent work with the cinematography from the bright yet cold look of the corporate environment the characters live in to some of the more stylish lights for some of the film‘s nighttime interior and exterior scenes as well as some black-and-white shots for the ideas of what might‘ve happened. Editor Thierry Derocles does amazing work with the editing in not just building up the suspense but also play into some of the drama with a few rhythmic cuts and montages to see how some of the events might‘ve happened. Production designer Katia Wyszkop and set decorator Gerard Marcireau do brilliant work with the look of the offices and the homes of Christine and Isabelle.

Costume designer Khadija Zeggai does wonderful work with the costumes from the more posh clothes that Christine wears to the more upper-middle class yet youthful look of Isabelle. The sound work of Jean-Paul Mugel is terrific for its low-key atmosphere as well as play into a few moments in some of the social events the characters go to. The film’s music by Pharoah Sanders is fantastic as it doesn’t appear quite often except in some key moments where it has this intoxicating mix of orchestral music mixed in with some Japanese string music to play up the suspense and drama.

The casting by Gerard Moulevrier is superb as it features some noteworthy small performances from Marie Guillard as Isabelle’s sister Claudine, Guillaume Marquet as Isabelle’s loyal assistant Daniel, Gerald Laroche as the lead police investigator Gerard, and Patrick Mille as Philippe who is in the middle of this love triangle where he would do things that would cause trouble. Kristin Scott Thomas is phenomenal as Christine as she plays the role of conniving bitch to the fullest while having a sense of dark charm to her role as she’s very cunning as well as manipulative as it’s definitely one of her finest performances. Ludivine Sagnier is remarkable as Isabelle as a young woman who aspires to do good and even impress Christine only to be driven into madness as she tries to out-do Christine where Sagnier brings a lot of anguish and chilling body language to play a woman who is seemingly losing her mind.

Crime d’amour is a sensational film from the late Alain Corneau that features riveting performances from Ludivine Sagnier and Kristin Scott Thomas. It’s an exciting film that refuses to play nice while also embracing its nastiness as it explores the world of greed, ambition, and manipulation to some great extremes. In the end, Crime d’amour is an exhilarating film from Alain Corneau.

Related: Passion (2012 film)

© thevoid99 2013

Only God Forgives

Written and directed by Nicolas Winding Refn, Only God Forgives is the story about a man who is asked by his mother to find the man who had just killed his older brother in Bangkok. The film is an exploration into the world of vengeance as well as the complex relationship between brothers and their mother as well as the sins they created as a cop determines their fate. Starring Ryan Gosling, Vithaya Pansringarm, and Kristin Scott Thomas. Only God Forgives is an entrancing yet unsettling film from Nicolas Winding Refn.

The film is a revenge tale of sorts in which a young drug smuggler/Thai boxing gym owner who deals with the death of his older brother in Bangkok as he learned about what his brother did. When their mother arrives to Bangkok seeking vengeance, complication ensues involving a cop who deals matters in his way prompting this young man to confront him. It’s a film that explores the sins of a family as one realizes what his older brother has done to cause all of this trouble while their mother wants vengeance at the worst possible way. Notably as it would explore this very troubled relationship between mother and son as it is implied that this young man’s mother seemed to favor his older brother more than him in very strange ways.

Nicolas Winding Refn’s screenplay doesn’t have much of a plot nor a lot of dialogue as it’s mostly this exploration of a man dealing with the consequences of his brother’s actions. Julian (Ryan Gosling) is just a drug smuggler who wants to run a Thai boxing gym as he’s grown to be disconnected from his mother Crystal (Kristin Scott Thomas) while his older brother Billy (Tom Burke) visits. Billy’s actions involving a minor would lead to his death as Julian would want vengeance first only to learn what his brother did. For Crystal, that’s doesn’t matter as she wants to go after this cop named Chang (Vithaya Pansringarm) who is called an Angel of Vengeance and is someone that can’t be trifled with no matter what Crystal thinks. The screenplay is mostly filled with non-dialogue scenes while some of the dialogue is very stylized including some of the things that Crystal says that is definitely shocking as she’s easily one of the most terrifying characters in film.

Winding Refn’s direction is definitely a marvel to look at with its very steady yet precise approach to framing as well as the atmosphere that he brings to the scene. The direction is filled with lots of still and steady tracking shot with not a lot of shaky hand-held work in order to maintain something that is eerie and disconcerting. Notably as it plays to elements of surrealism where it’s not very clear that some of the things that Julian is seeing seems real or is he just dreaming about the sense of darkness that is emerging around him. Though this approach to framing and the direction can get overwhelming as well as be pretentious at times. It does establish this world that is Bangkok where this American expatriate is trying to run from whatever demons he’s carrying upon realizing that his brother’s sins are coming to get him.

The direction is also filled with these very extreme yet unsettling approach to violence where a lot of it is very brutal in not just the way people are killed but also in the way Chang does business. Yet, Chang is a man of honor as he kills or maims someone with a sword as he’s someone that can’t be stopped. It’s something that Julian is aware of as he does confront him in a climatic fight scene where the result would prove to be far more troubling. Even as it relates to the sins that Julian’s family have put upon him where it is his decision to accept his failings or to deny them. Overall, Winding Refn creates a very mesmerizing yet chilling film about vengeance and sin.

Cinematographer Larry Smith does exquisite work with the film‘s very stylized yet evocative cinematography with the use of lights for many of the film‘s interiors in its nightclubs and bars that has this beauty mixed in with violence in its coloring while some of its daytime exterior and interior scenes rely less on stylized lights. Editor Matthew Newman does superb work with the editing as it‘s very restrained and methodical without going into fast cutting while taking its time to play out some of the film‘s violent moments. Production designer Beth Mickle, along with art directors Russell Barnes and Witoon “Boom” Suanyai, does amazing work with the set pieces from the look of the clubs and bars the characters frequent to as well as the hotel suite that Crystal lives in.

Costume designer Wasitchaya “Nampeung” Mochankul does fantastic work with the costumes in the dresses that the women wear including Crystal as well as the more casual clothing of the men. Visual effects supervisor Martin Madsen does nice work with the film‘s minimal visual effects that mostly involve some of the film‘s violent moments. Sound designers Kristian Eidnes Andersen and Eddie Simonsen do brilliant work with the sound to play up that sense of chilling atmosphere in some of the locations including the intimacy that occurs in some of the film‘s suspenseful moments. The film’s music by Cliff Martinez is incredible for its very brooding score that is filled with these ominous electronic arrangements as well as lush string orchestral backgrounds that includes some additional contributions from Mac Quayle and Gregory Tripi including a few Asian pop songs in the soundtrack.

The casting by Des Hamilton and Raweeporn “Non” Srimonju is excellent for the ensemble that is featured as it includes some notable small performances from Gordon Brown as a lieutenant of Julian’s, Byron Gibson as a drug dealer who is hired by Crystal to put a hit on Chang, Kovit Wattanakul as a man who was involved in Billy’s death, Tom Burke as Julian’s older brother Billy, and Rhatha Phongam as a prostitute named Mai who accompanies Julian to dinner with his mother in a very unsettling scene. Vithaya Pansringarm is great as the man Chang as a man who is just this full-on badass that is all about doing what is right as he is certainly a man not to be fucked with as well as proving himself to be a very formidable interrogator and killer.

Kristin Scott Thomas is phenomenal as Crystal as a woman who is this mob leader that is truly one of the most evil bitches to walk on the face of the Earth with her very snide and obscene comments to the things she wants as it’s definitely one of her finest performances. Ryan Gosling is superb as Julian as a man dealing with the sins of his brother as it’s a mostly restrained performance from Gosling while some of his violent moments showcase a man troubled by what’s happening to him as it’s a very intoxicating performance to watch.

Only God Forgives is a remarkable film from Nicolas Winding Refn that features brilliant performances from Ryan Gosling, Vithaya Pansringram, and Kristin Scott Thomas. While it’s a very stylized yet intense film that explores vengeance and a man dealing with the sins of his family. It’s also a film that explores the sense of fear as well as humanity at its worst where two men come face-to-face over these sins. In the end, Only God Forgives is a tremendous film from Nicolas Winding Refn.

Nicolas Winding Refn Films: Pusher - Bleeder - Fear X - Pusher II - Pusher 3 - Bronson - Valhalla Rising - Drive - The Neon Demon - The Auteurs #12: Nicolas Winding Refn

© thevoid99 2013

In the House (2012 film)

Based on the play The Boy in the Last Row by Juan Mayorga, Dans la maison (In the House) is the story about a 16-year old student whose visits to a house of another student has him creating story that intrigues his teacher as he encourages him to continue further as it leads to troubling consequences. Written for the screen and directed by Francois Ozon, the film is a look into the world of fantasy and reality as a teacher’s encouragement for his student to venture more would lead to some very surprising results. Starring Kristin Scott Thomas, Fabrice Luchini, Ernst Umhauer, and Emmanuelle Seigner. Dans la maison is an incredibly rich and mesmerizing film from Francois Ozon.

The art of writing requires the writer to go deep into a world and see something as if they’re watching something happening in front of them and thinking that else is happening around them. The film is about the art of writing as it involves a jaded literature teacher and his 16-year old student as the latter writes an assignment about his weekend that intrigues the teacher who believes the student has a gift for writing. The boy would make more visit to his friend’s home where he becomes an acquaintance to the family while the teacher encourages him to get more into deep with the story where the results would have some serious consequences for those involved. It’s all part of a world in which a teacher who tries to guide his pupil to discover his talents even further yet the idea of reality and fiction eventually blurs.

Francois Ozon’s screenplay explores this conflict into the world of reality and fiction as there’s these two individuals who definitely seem like there’s nothing for them. For the teacher Germain (Fabrice Luchini), he feels like he has nothing to prove as a teacher as his students are just kids who don’t really seem to care about literature until someone actually writes the assignment in the form of a gifted 16-year old student in Claude (Ernst Umhauer). Claude writes about spending his time at the home of his classmate Rapha (Bastien Ughetto) to help with him with math as Claude is intrigued by Rapha’s father (Denis Menochet) and mother Esther (Emmanuelle Seigner). Germain’s wife Jeanne (Kristin Scott Thomas) would also read Claude’s stories as she is also intrigued as it gives her some distraction from her failing art gallery in a subplot for the film.

Once the story progresses where Germain becomes a character of Claude’s story as he would pop up in the story to help Claude with what to do next. Things become much more complicated as Jeanne invites Rapha’s parents to her gallery while Germain would get an uneasy confrontation from Rapha’s father over an article Rapha wrote in school. Eventually, the idea of reality and fiction becomes confusing and troubling as it progresses to the point where Claude starts to believe things are really happening though it begs the question about fiction and reality. Even as Claude and Germain try to figure out how to end things where Germain thinks he’s created a monster while Claude becomes confused about everything he’s experienced in the home of this quaint yet loving family as they’re going through some troubles of their own.

Ozon’s direction is very entrancing for the way he explores the world of French high school life where students are more concerned with other things than education while teachers are just trying to get through the day. While some of Ozon’s compositions are simple in terms of its framing with some moments that are just hypnotic. The way he infuses the idea of reality and fiction has some moments of humor but also is quite dramatic where Germain is commenting on what Claude is doing and the dramatic impact it will play into the story. Notably as it plays to some tension as it features scenes of Rapha’s father dealing with his own issues at work as well as Claude’s growing attraction towards Esther.

Things do become much more provocative as the film progresses though it’s done with some restraint where Germain starts to imagine that something dreadful might’ve happened. There is an element of suspense in the story once the story that Claude is writing does go into dark places as Germain becomes more involved in guiding Claude to go more out there with his writing by giving him books and such. Even as the drama and suspense intensify in the third act where Claude is trying to find a resolution to end his story where things do become chaotic though it was expected due to Germain’s involvement. Overall, Ozon crafts a very rich and exhilarating film about the art of writing and the consequences from one man’s encouragement.

Cinematographer Jerome Almeras does excellent work with the film‘s cinematography as it‘s mostly straightforward and colorful with some low-key lighting schemes for some of the nighttime interior scenes. Editor Laure Gradette does fantastic work with the editing that includes a stylized opening credits sequence of a day in life in school along with some very methodical cuts to build up the suspense. Art director Pascal Leguellec does wonderful work with the art direction from the look of Jeanne’s gallery to the quaint home of Rapha’s family

Costume designer Pascaline Chavanne does nice work with the clothes as it‘s mostly casual with some stylish look in the school uniforms and the clothes that Jeanne and Esther wear. Visual effects supervisor Mikael Tanguy does terrific work with the minimal visual effects look for Jeanne‘s twin bosses. Sound editor Benoit Gargonne does some superb work with the sound to capture the atmosphere of the scenes in school to the more intimate moments at Rapha‘s home. The film’s music by Philippe Rombi is brilliant as it is filled with lush orchestral arrangements and somber piano pieces to play up some of its drama and suspense.

The casting by Sarah Teper is amazing as it features some notable small roles from Yolande Moreau as twin owners of Jeanne’s art gallery and Jean-Francois Balmer as Germaine’s superior. Denis Menochet is excellent as Rapha’s father who is dealing with his own issues at work while Bastien Ughetto is terrific as Rapha who befriends Claude as he becomes confused by his feelings while being confused by Germain’s concern towards him. Emmanuelle Seigner is wonderful as Rapha’s mother Esther who is wary about Claude at first only to realize that he pays some attention to her while dealing with the issue she’s having with her husband. Ernst Umhauer is brilliant as Claude as a man with a sense of imagination and a gift for writing as he becomes more invested in his visits to Rapha’s family as he starts to lose sight of himself.

Kristin Scott Thomas is superb as Germain’s wife Jeanne who is dealing with her own issues as she’s intrigued by Claude’s writings as she gives out her own opinions that would prove to be fruitful in the writing process. Finally, there’s Fabrice Luchini in a marvelous performance as Germain as a jaded teacher who is amazed by Claude’s writing as he encourages him to write better only for things to go out of control as Luchini brings a lot of dramatic weight as well as some humor in his performance.

Dans la maison is an outstanding film from Francois Ozon. Thanks to a captivating theme on the art of writing as well as top-notch performances from Fabrice Luchini, Kristin Scott Thomas, and Ernst Umhauer. It’s a film that is definitely engaging for the way things can become real even if it’s fiction as it explores some of the ideas of what writing is and what it can be. Overall, Dans la maison is a tremendous achievement from Francois Ozon.

Francois Ozon Films: See the Sea - Sitcom - Criminal Lovers - Water Drops on Burning Rocks - Under the Sand - 8 Women - Swimming Pool - 5x2 - Time to Leave - Angel (2007 film) - Ricky - Le Refuge - Potiche - Jeune & Jolie - (The New Girlfriend) - (Frantz (2016 film)) - (Double Lover) - (By the Grace of God) - Summer of 85 - (Everything Went Fine) - (Peter von Kant) - The Auteurs #33: Francois Ozon

© thevoid99 2013

Gosford Park

Originally Written and Posted at Epinions.com on 3/30/07 w/ Additional Edits & Revisions.

Based on an original idea from Robert Altman and Bob Balaban, Gosford Park is a murder mystery set in the British countryside in the course of a weekend involving a group of wealthy people and their servants as a conflict emerges between the two parties. Directed by Robert Altman and screenplay by Julian Fellowes, the film is a take on the whodunit mystery as it's set in the 1930s that is a mixture of comedy, drama, and suspense. With an all-star cast that includes Maggie Smith, Helen Mirren, Michael Gambon, Stephen Fry, Kelly MacDonald, Jeremy Northam, Kristin Scott Thomas, Bob Balaban, Ryan Phillippe, Alan Bates, Richard E. Grant, Camila Rutherford, Emily Watson, Eileen Atkins, Clive Owen, Tom Hollander, Charles Dance, Derek Jacobi, and Geraldine Somerville. Gosford Park is a witty yet delightful whodunit from the brilliant Robert Altman.

A weekend gathering at the British gathering is happening as a group of rich socialites and many others arrive at the home of Sir William McCordle (Michael Gambon) and Lady Sylvia (Kristin Scott Thomas). Among those arriving are the Countess of Trentham (Maggie Smith) with her maid Mary MacEachern (Kelly Macdonald), Lord and Lady Stockbridge (Charles Dance and Geraldine Sommerville) with their servant Robert Parks (Clive Owen), Freddie and Mabel Nesbitt (James Wilby and Claudie Blakely), Lt. Commander Anthony and Lady Lavinia Meredith (Tom Hollander and Natasha Wightman), Ivor Novello (Jeremy Northam), and American producer Morris Weissman (Bob Balaban) with his servant Henry Denton (Ryan Phillippe). The servants are accompanied by the head butler Jennings (Alan Bates) along with housekeeper Mrs. Wilson (Helen Mirren), head maid Elsie (Emily Watson), jewels security chief George (Richard E. Grant), and the chef Mrs. Croft (Eileen Atkins). Immediately, conversations occur throughout the house as Denton tells Wilson and Croft that his boss is a vegetarian as he observes the place much to the annoyance of his fellow maids and servants. Meanwhile at the house, a lot is happening where the Nesbitts are having marital issues where Freddie seeks to have an affair with Sir McCordle's daughter Isobel (Camilla Rutherford) and Lt. Commander Meredith is seeking to have a business deal with Sir McCordle.

While dinner is happening both up and downstairs, Denton continues to ask questions to the maids and servants where Parks reveals himself to be an orphan where a couple of late arrivals happen in Lord Rupert Standish (Laurence Fox) and his friend Jeremy Blond (Trent Ford). Mary does some last minute work as she tries to figure out how to work in a big house without bothering anyone. On the next day during pheasants hunting with Sir McCordle, things don't go well during the hunt while Anthony Meredith and Freddie Nesbitt are both eager to talk to him. Instead, things don't go well as everyone starts to get testy with one another leading to a tense dinner where a comment by Lady Sylvia has Elsie finally speaking out in defense of Sir McCordle. Elsie leaves due to her behavior as Ivor Novello decides to change the mood by entertaining the guests while Weissman is waiting for a phone call. Later that night, Lady Stockbridge makes a shocking discovery where Inspector Thomas (Stephen Fry) and Constable Dexter (Ron Webster arrive to the house to investigate. With Thompson amazed by the home, he talks to all of the servants including Probert (Derek Jacobi) as well as the guest about their connections to McCordle.

Still, revelations are unveiled into why Henry Denton had been so snoopy as many of the guests and servants who killed McCordle and why. Mary makes a discovery about Parks in relation to McCordle as does Dexter. Once the investigation winds down, Mary receives a final lesson from Mrs. Wilson about servitude.

While the movie is a classic whodunit where everyone is a suspect, Robert Altman takes the genre off its feet and makes it into something where it becomes more about the people behind the homes and how they run the place. Yet, it's not surprising that the servants, butlers, cooks, and valets are far more interesting than the people above the basements who spend their time talking about things common people can't relate to. That doesn't mean the posh aren't uninteresting, there's moments when they can be interesting. Yet, they are out of touch somewhat with the real world when Weissman talks about a movie he plans to make yet, most of the people he is surrounded by aren't interested or intend to watch his films. Really, the film is about a murder and how people react to it while living their own idea of life.

Screenwriter Julian Fellowes does an amazing job in taking the structure of making the story feel like a theatrical play of sorts. There's the first act where the story introduces the characters, the second act about the murder and the investigation, and the third is the aftermath. It's all told in a simple way while it's all helmed by the brilliance of Robert Altman. Taking an almost, entirely British cast whom all seem to have some kind of theater background. The film does feel like a theater play where all the actors have their place and their own take on the character.

Yet, Altman deconstructs all of that to the point where the actors feel a bit loose, improvise, and enjoy themselves. Including a very comedic scene where Maggie Smith is seen laughing as if she's having a hell of a time. The camera rarely stands still as it's constantly moving to observe a conversation, a moment where people are having fun or something else. It's all part of the Altman style of improvisation, overlapping dialogue, and something that feels natural for the audience to relate to. Yet, it still works to the point where though at times, it's hard to follow, it's a lot of fun to watch.

Cinematographer Andrew Dunn does great work in capturing the atmosphere and difference of the two cultures with very dark, intimate lighting schemes on the basements to more showy lights on the upstairs part. Production designer Stephen Altman and art director Sarah Hauldren do amazing work in playing to the film's authenticity of 1930s cars, objects, and such with costume designer Jenny Beavan creating wonderfully lavish clothing for the upper class people.

Editor Tim Squyres adds to the film's energetic, improvisational style with some wonderful cutting and tension to build the momentum for the suspense. Sound editor Nigel Mills also adds to the film's atmosphere with a great sequence where Ivor Novello sings and how the people downstairs react to his music playing in the background. The music of Novello is heard as is a wonderfully melodic, suspenseful score from Patrick Doyle whose piano flourishes and orchestral arrangements adds to the film's unique energy.

Then there's the film's amazing cast in which, there isn't a single bad performance. To the smallest of performances to the most well-known cast member. Yet, it's a bit hard at times to remember everyone involved. Small performances from Trent Ford, Laurence Fox, Teresa Churcher as cook Bertha, Jeremy Swift as the gay butler Arthur, and Ron Webster as Constable Dexter are memorable. Sophie Thompson is great as the ever-loyal Dorothy who seems willing to do anything for Mr. Jennings. Charles Dance and Geraldine are wonderful as Stockbridges with Clive Owen giving a fantastic role as the shady Robert Parks.

Derek Jacobi is wonderful as Mr. McCordle's personal butler with Richard E. Grant as the snotty George. Ryan Phillippe is very good as the shady Henry Denton who gets more than he bargains for when he plays both sides only to be humiliated in front of both. Bob Balaban is excellent as the consumed American producer Weissman who carries his own secret that only Denton knows. Jeremy Northam is wonderful as the entertaining Ivor Novello.

Maggie Smith is wonderfully funny as the spoiled Constance who enjoys her own lifestyle though not fully aware of the real world. Tom Hollander is good as the desperate businessman Meredith with James Wilby as another desperate man in Freddie Nesbitt. Natasha Wightman and Claudie Blakley are excellent as their respective wives to portray the contrast of their own love life with Blakley being more dramatic. Stephen Fry is charming as the inept, distracted Inspector Thompson, who never gets to say his name entirely while Emily Watson is amazing as the Cockney-accent Elsie whose experience and care for McCordle makes her a very complex character. Camila Rutherford is excellent as the suffering Isobel who is often pursued by Freddie with Kristin-Scott Thomas as her mother Sylvia, who is a divine as the bitchy, bored wife of McCordle.

Sir Michael Gambon is excellent as this awful yet mean man who has become more distracted by money and riches as he opposes all sorts of old businesses and such. Eileen Atkins and Helen Mirren are great as feuding members of the staff who don't like each other with Mirren giving an amazing performance as the perfect servant, Mrs. Wilson. The late Alan Bates is great as the head butler Mr. Jennings who have his own secrets while managing the house while Kelly MacDonald is great as the naive yet observant Mary MacEachern who learns what it takes to be a great servant.

Gosford Park is an incredible film from Robert Altman that features an amazing ensemble cast. The film is definitely among of Altman's great films for its take on the whodunit mysteries as well as utilizing his mastery of finding life in an ensemble piece. Notably as it explores the world of class and servitude and the roles that these people play in this way of life. In the end, Gosford Park is an extraordinarily rich film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

Nowhere Boy

Based on the book Imagine This: Growing Up with My Older Brother John Lennon, Nowhere Boy is the story of John Lennon’s early life as a teenager struggling with his absentee mother Julia and the strict upbringing of his aunt Mimi. During his journey to become a musician, he would eventually meet Paul McCartney and George Harrison as they would form the Beatles. Directed by Sam Taylor-Wood and screenplay by Matt Greenhalgh, the film is a look into the young Lennon before he would become famous with the Beatles as Aaron Johnson plays the legendary figure. Also starring Kristin Scott Thomas, Anne-Marie Duff, and Thomas Sangster as Paul McCartney. Nowhere Boy is a touching yet fascinating portrait of the young life of pre-fame John Lennon.

Following the death of his uncle George (David Threlfall), John Lennon’s young life continues to be troubled as he lives with his strict though caring aunt Mimi (Kristin Scott Thomas). During his uncle’s funeral, he sees his mother Julia (Anne-Marie Duff) attending from afar as he’s thinking about seeing her. Though Mimi doesn’t want John to see Julia, John decides to as he forges a relationship with of sorts through their love of rock n’ roll. While Julia does have a family life with two daughters and a husband in Bobby (David Morrissey), John enjoys his time as she teaches him the banjo during his suspension from school. Though John’s visits to Julia would disrupt her family life and cause trouble with Mimi, John reluctantly returns home to his aunt.

After deciding to form a rock n’ roll group with friends including fellow troublemaker Pete Shotton (Josh Bolt), John gets a guitar as his skiffle group the Quarrymen attracts the attention of a young musician named Paul McCartney. John lets Paul be part of the group as Paul teaches John how to play more chords while later introducing him to another guitarist named George Harrison (Sam Bell). Despite the success John is making with the Quarrymen and his 18th birthday approaching, John remains haunted by memories of his life as a child as he confronts his mother why she abandoned him where aunt Mimi reveals what happened. After feeling hurt by everything and the chaos of the whole family, things finally cool down as John, Julia, and Mimi finally come to an understanding only to be shattered by tragedy. For John, the event would help shape his outlook on life as he, Paul, and George would form the Beatles as John would tell the news to his family.

While the story of John Lennon’s life is something that a lot of fans of both Lennon and the Beatles know quite well through various books, stories, and films that are either documentary or dramatic feature. What makes this film a bit different is about the relationship between the young Lennon and the two women in his life that would influence the young boy. While aunt Mimi might seem like a strict woman who keeps telling John to put on his glasses and stay out of trouble. She just doesn’t want him to get hurt and deal with all of the turmoil she went through when she chose to raise him. Then there’s Julia, John’s mother who has just come back into his life once again where the two make another attempt to start a relationship though she has a family of her own while also being quite reckless at times.

These two women represent the different ideas that Lennon would be influenced by in his life as he finds an outlet through music where he would meet a young man that would help him evolve musically in Paul McCartney. Matt Greenhalgh’s script does dwell into how these relationship with these individuals would play a part into Lennon’s development as a young man. Still, it’s all about John Lennon in the way he grew up as he was this troublemaking kid that likes to cause trouble and spit at authority. Yet, there’s a complexity into Lennon as Greenhalgh’s script goes into his early life as someone who is creative in art but is in need of a direction to get it out there. While the script is really more of a dramatic interpretation of the young Lennon’s life, it does succeed in giving an idea of what it was like for this young man to come of age.

Sam Taylor-Wood’s direction is truly marvelous to watch in the way she presents the film. Featuring a lot of intimate moments of framing to stylized shots where Lennon is slowly learning to play the banjo in a room while a lot of activity by other characters is happening rapidly. Taylor-Wood manages to create an atmosphere and a period that seems very innocent and lively with a look that is lush and ravishing. While she keeps a lot of the conversations and musical moments to be very straightforward and lively, Taylor-Wood does manage to keep things engaging such as the big dramatic scene of Lennon learning about why his mother abandoned him and the whereabouts of his own father. The overall work Taylor-Wood does is superb as she creates a wonderfully heartbreaking yet enchanting story of Lennon’s early life as a teenager.

Cinematographer Seamus McGarvey does a magnificent job with the film‘s colorful yet stylish photography from the very straight yet lush look for many of the exteriors shot on location in parts of Blackpool, London, and other British locations. McGarvey’s work also has a very dream-like look that plays to some of the very stylized shots such as the interiors of Julia’s home and some performance scenes. Editor Lisa Gunning does an excellent job with the editing by adding a stylistic flair to some of the cutting with a few jump-cuts and other rhythmic cuts to keep the film moving at a brisk pace.

Production designer Alice Normington, along with set decorator Barbara Herman-Skelding and art director Charmian Adams, does a sensational job with the homes created to capture a late 1950s look with objects and things including a few paintings that were actually made by John Lennon to surround his room. Costume designer Julian Day does a superb job with the costumes created from the schoolboy uniform that Lennon wears to the youthful yet stylish dresses that his mother wears. Sound editor Simon Chase does a terrific job with the sound work to capture the intimacy of the home of aunt Mimi to the raucous energy of the shows he plays.

The score by Alison Goldfrapp and Will Gregory, of the electronic duo Goldfrapp, do a nice job with the score which is a mostly low-key orchestral score and piano to play up some of the drama that goes in the film. Music supervisor Ian Neil does a fantastic job with the soundtrack by utilizing some of the early rock n’ roll music of the times from cuts like Elvis Presley and Screamin’ Jay Hawkins while having the actors actually play the songs of the time which is a real highlight of the soundtrack. Particularly as it uses an outtake of John Lennon’s Mother for the film’s ending.

The casting by Nina Gold is great for the cast that is created that includes appearances from David Threlfall as John’s playful uncle George, David Morrissey as Julia’s kind lover Bobby, Josh Bolt as John’s troublemaking friend Pete Shotton, and Sam Bell as a young George Harrison. Thomas Sangster is excellent as the young Paul McCartney who would help shape John as a musician while becoming his dear close friend and partner following the tragedy John faced. Anne-Marie Duff is wonderful as John’s troubled mother Julia who gives John freedom from his aunt Mimi while dealing with her own guilt that she hadn’t been there enough for him.

Kristin Scott Thomas is superb as John’s aunt Mimi who tries to get him to do what is right while dealing with what she had to do for John’s well-being as Thomas brings a compelling sympathy to a very stern character. Finally, there’s Aaron Johnson in a phenomenal performance as the young John Lennon. Johnson brings a real sense of swagger and charisma to the character that is true to Lennon’s personality while showing the anguish his character goes through in dealing with loss and abandonment. Johnson also shows that he can sing as the overall work he does is truly amazing for the young actor.

Nowhere Boy is a rich yet captivating film from Sam Taylor-Wood on the young life of John Lennon. Featuring an outstanding performance from Aaron Johnson as the legendary musician along with brilliant supporting performances from Kristin Scott Thomas, Anne-Marie Duff, and Thomas Sangster. The film gives the idea an idea of what Lennon’s young life was like as well as show how the two women in his life as a teenager would impact him. In the end, Nowhere Boy is a mesmerizing film from Sam Taylor-Wood.

© thevoid99 2011