Directed by Sarah Gavron and written by Abi Morgan, Suffragette is the story of a laundress who takes part of the Suffragette movement in the 1910s in the hopes that she and other women would have the right to vote. The film is a historical drama set in the real-life period of women’s suffrage in Great Britain before World War I. Starring Carey Mulligan, Helena Bonham Carter, Anne-Marie Duff, Brendan Gleeson, Natalie Press, Ben Whishaw, Romola Garai, and Meryl Streep. Suffragette is a compelling yet evocative film from Sarah Gavron.
Set in 1912 Britain after many attempts to get the right for women to vote, the film is about a young laundress who finds herself being part of the Suffragettes movement where she eventually becomes an active member. It’s a film that follows a woman who is lured into a movement she is reluctant to be part of yet is unable to ignore the treatment that she has endured working in the laundry factor as she notices the teenage daughter of a Suffragette activist is being sexually harassed by her boss. Even as she also realizes that she doesn’t have the legal right to determine the future of her own son which prompts her to not only take part full-on but also learn what it means to stand up for herself and other women. Abi Morgan’s screenplay doesn’t just follow the journey of this young woman in Maud Watts (Carey Mulligan) but also the women she would meet as she takes part in this movement.
While she would get herself into some trouble as well as risk losing her son who is forced to be cared by his father Sonny (Ben Whishaw), Maud would find a purpose about what to do as she thinks about the women in the future. Still, she and the other Suffragettes would face numerous challenges and obstacles as they’re seen by those in the government including authority figures such as Inspector Steed (Brendan Gleeson) who is this unconventional antagonist of sorts. Notably as he actually cares about the women yet is aware of the job he has to do while he becomes disgusted with the tactics of those he works for. One aspect of the script that is underwhelming is the appearance of Suffragette leader Emmeline Pankhurst (Meryl Streep) as she is this mysterious figure who makes her appearance in the second act for a big speech and then she is gone as her character would disappear.
Sarah Gavron’s direction is quite simple in terms of the compositions that are created as it also has some ambition for the fact that it is shot on location in London and in studios to recreate some of the old buildings. The usage of the wide and medium shots play into the locations as well as the tense and grimy atmosphere of the factories where Maud and Sonny work at as it feels repressive and hard. By the time the film hit the streets, Gavron’s direction definitely becomes richer where it does play into this sense of time where protests are happening as well as a very intimate scene where Maud testifies to the government about her own experience as it would lead to a key moment in her development. There are these moments of violence in how the women are beaten by police as well as do small guerilla-style warfare by blowing up mailboxes. Gavron’s usage of close-ups are definitely entrancing as it play into the anguish that Maud endures as well as what she would have to sacrifice. Notably in the climax as it would play into a real-life key moment that would be the catalyst for the Suffragette movement as it would end with images of a real-life event of the movement. Overall, Gavron creates a fascinating and riveting drama about a young woman joining the Suffragettes movement in their right to have a say in the world.
Cinematographer Eduard Grau does excellent work with the film‘s cinematography from the usage of low-key lights for the interior scenes at the factory as well as what London looked like at night including a key scene involving the bombing of a Parliament member‘s home. Editor Barney Pilling does nice work with the editing as it is largely straightforward with some rhythmic cutting to play into some of the intense moments in the film. Production designer Alice Normington, with art directors Jonathan Houlding and Choi Ho Man and set decorator Barbara Herman-Skelding, does amazing work with the look of the factory as well as the buildings that were prevalent in those times as well as a church where Maud would stay during her time as a Suffragette. Costume designer Jane Petrie does brilliant work with the costumes from the fancy dresses in those times as well as the ragged look of the women during that period of protest and activism.
Hair/makeup designer Sian Grigg does fantastic work with the look of the women in the hairstyles they had as well as some of the burns and scars in Maud‘s skin from years working as a laundress. Visual effects supervisor Simon Hughes does terrific work with the visual effects as it is mostly set-dressing to help create that look of 1912 London in its exterior setting. Sound editors Stephen Griffiths and Andy Shelley do superb work with the sound as it play into the frenzy of the crowd and the protests as well as in the sparse yet eerie moments at the prisons where some of the women would go for their actions. The film’s music by Alexandre Desplat is wonderful for its orchestral-based score with its lush string arrangements that play into the drama as well as some of the intense moments in the film while music supervisor Karen Elliot create a soundtrack that play into the music of the times.
The casting by Fiona Weir is remarkable as it feature some notable small roles from Adam Michael Dodd as Maud and Sonny‘s son George, Grace Stottor as Violet‘s teenage daughter Maggie, Finbar Lynch as Edith‘s loyal husband Hugh, Geoff Bell as the factory foreman Taylor whom Maud dislikes, Samuel West as a government official, and Adrian Schiller as Parliament minister David Lloyd George. Ben Whishaw is terrific as Maud’s husband Sonny as a man that is trying to maintain his role as a man while struggling to take care of his son when Maud isn’t around. Natalie Press is superb as Emily Davidson as a passionate activist who does a lot to herself for the cause as well as be the one person who would make a major sacrifice towards its climax. Romola Garai is fantastic as Alice Haughton as the wife of a government official who is trying to support the Suffragettes any way she can as well as get them to meet with the government. Meryl Streep is excellent in her brief role as Suffragette leader Emmeline Pankhurst as she does have this great presence about her though it’s a role that is just merely a cameo that doesn’t do enough to establish the character.
Brendan Gleeson is amazing as Inspector Steed as a law enforcer whose job is to watch out for the Suffragettes as he is trying to do his job yet is someone that is sympathetic into what these women do as he tries to get them to do less time and such while becoming disgusted with the tactics of his government. Anne-Marie Duff is brilliant as Violet Miller as a woman who had just worked at the laundry factory as she is also quite committed to her work as a Suffragette inviting Maud into the action until she would deal with things beyond her control forcing her to take a step back. Helena Bonham Carter is great as Edith Ellyn as a pharmacist who is one of the organizers of the movement as she is also someone who gives Maud some perspective about what happens if women don‘t get a say about matters into the world. Carey Mulligan is incredible as Maud Watts as this young laundress who is trying to do her role as she is sucked into the world of the Suffragettes where she realizes what it means to her as it‘s performance filled with determination and anguish as it‘s one of Mulligan‘s finest performances to date.
Suffragette is a remarkable film from Sarah Gavron. Featuring a great cast, gorgeous visuals, and some strong themes about women’s right to vote and say something about the world. It is a film that captures a moment in time that shows what women can do in a world that is afraid of change. In the end, Suffragette is a marvelous film from Sarah Gavron.
Sarah Gavron Films: (This Little Life) - (Brick Lane)
© thevoid99 2016
Originally Written and Posted at Epinions.com on 6/4/07 w/ Additional Edits.
Based on the novel by Helen Cross, My Summer of Love is the story about a rebellious young woman who begins an affair with a young rich woman who is staying at the British countryside during the summer. Directed by Pawel Pawlikowski and screenplay by Pawlikowski and Michael Wynne, the film explores the world of lesbian relationships as well as a young woman trying to find love while dealing with her born-again brother. Starring Nathalie Press, Emily Blunt, and Paddy Considine. My Summer of Love is a heartfelt yet unconventional love story.
In the English countryside, a young woman named Mona (Nathalie Press) is riding on her motorbike that has no motor as she lays down on a hill. Coming onto the road on a horse is another young woman named Tamsin (Emily Blunt) who looks at Mona where the two walk on the road with Tamsin on her horse. They engage into a conversation where Mona learns that Tasmin lives in a posh home up on the hill above her town. Mona comes home to learn that her former criminal brother Phil (Paddy Considine) is getting rid of all the alcohol in their pub home. Phil has just become a Born-again Christian much to Mona's displeasure. With a boyfriend named Ricky (Dean Andrews), Mona's life is going nowhere and her brother's newfound behavior only increases her alienation.
One day, Mona decides to go to the hill-top home of Tamsin where she finds her playing cello. Immediately, Tamsin and Mona strike up a friendship as Tamsin claims she's still mourning the death of her sister Sadie (Kathryn Summer) while feeling estranged by her parents. Tamsin introduces Mona to Nietzsche while Mona learns that Tamsin's father (Paul Anthony-Barber) is having an affair with his secretary. The friendship gets more intense as Mona shows Tamsin a small-like pond surrounded by rocks in the middle of a forest. The beauty impresses Tamsin as the two's relationship becomes more romantic. Even as Tamsin lets Mona wear her late sister’s clothes. Phil meanwhile, begins to see what is going on as Tamsin buys Mona a motor for her bike where the two discuss men including Mona's now ex-boyfriend Ricky.
After learning that Ricky has another life, Tamsin decides to cause trouble. Phil finally comes to Tamsin's home asking Mona to come to prayer meeting where a cross is to be erected on a hill. Tamsin decides to come much to Mona's reluctance as Phil's talks about God and his past life intrigues Tamsin. Though neither women believe that Phil is actually Born-again, they play a mystical game which lead them to the empty room of Sadie and find mushrooms. The relationship intensifies as Phil becomes more concerned as Tamsin attempts to seduce in which, Mona sees Phil's real behavior and only blurs things. Even as Mona becomes more desperate to be with Tamsin as she is forced to clash with her brother's behavior and reality.
The film is really about a lesbian relationship that becomes intense and troubles one's brother. The film is also about loneliness and manipulation through some kind of philosophies and such. The film starts off in the introduction of Mona and Tamsin and Mona's own alienation by her brother and the town around her. The second act is about the relationship between the two young women and its intensity. By the third act, it becomes more about Tamsin and her ability to play with people's mind, notably Phil. Then in the final moments of the film, an element of surprise occurs that really becomes a shocker in relation to the film's entire plot and such. When seen for the first time, it's a shock but loses its element of surprise somewhat after repeated viewing.
Despite that flaw in the film's story, director Pawel Pawlikowski does create some wonderful scenery and compositions. Mostly with a hand-held camera to give the film an energy and realism that isn't seen much in American films which has always been too technical at times. Pawlikowski just goes for emotions in capturing close-ups and scenes. There's also elements in some of the film's exterior settings that feature some wonderfully, naturalistic shots that is obviously inspired by the works of Terrence Malick. Even in those scenes, the film has a very moody, dreamlike feel that is reminiscent to the work of Sofia Coppola. The result is a unique film that is colorful and dreamy along with wonderful wide shots of scenery that is wonderfully shown by Pawlikowski.
Cinematographer Ryszard Lenczewski does some beautiful, colorful work to the film's dreamy look with its high-octane, brightened colors in some of the film’s exterior settings and such. Production designer John Stevenson and art director Netty Chapman do an excellent job in creating the exotic look of Tamsin's room. Costume designer Julian Day also shines with the film's costumes with street-clothes of Mona to the more exotic look that Tamsin has. Editor David Charap brings a nice style to the film's pacing while the cuts reveal the intensity of the film's emotion in the relationship between the two women. Sound editor Simon Gershon does amazing work in capturing some of the film's exterior atmosphere of the forest as well as the sounds of cars and motorbikes on hills.
The film's score and soundtrack is assembled by the duo of Goldfrapp in both Allison Goldfrapp and Will Gregory. The duo's score is moody and haunting to convey the film's dream like feel. The duo even contribute a song that opens the film that plays to its exotic, electronic feel. The rest of the soundtrack is a mix of tango cuts, Asian pop music, a classical performance of The Swan performed by Emily Blunt on cello, and a famous song by the legendary Edith Piaf, who is mentioned throughout the film.
The film's cast features small appearances from Paul Anthony-Barber, Kathryn Summers, Michelle Byrne as an acquaintance of Ricky, and Lynette Edwards as Tamsin's mother. Dean Andrews has a small, memorable role as Ricky, Mona's ex-boyfriend who doesn't treat her well and such. Paddy Considine gives a phenomenal performance as Phil, a Born-again Christian who tries to deal with his sister's newfound relationship and his own troubled past.
Nathalie Press is wonderful as the naive, street-smart Mona who is seeking some kind of companionship in her lonely town while dealing with the new life of her brother. Press, who looks a lot like a young Sissy Spacek is amazing to watch as she has great chemistry with co-star Emily Blunt. Blunt gives a fascinating yet complex performance as the worldly Tamsin. Blunt brings a sadness and ethereal tone her performance as she tries to play one minds while being a wonderful companion to Press. It's two great performances from the young actresses that is the highlight of the film.
While it's not perfect, My Summer of Love is still a wonderfully dreamy, intense film from Pawel Pawlikowski. Fans of gay/lesbian dramas will no doubt consider this film a gem while it has something to offer for mainstream audiences. Even as it showcases something that is unique as well as not playing by the rules. In the end, My Summer of Love is truly a gem worth watching.
Pawel Pawlikowski Films: (Last Resort) - (The Woman in the Fifth) - Ida
© thevoid99 2013
Written and directed by Andrea Arnold, Red Road is the story about a CCTV security officer who is intrigued by a man she knew years ago as she watches him through her video monitor. The first of a trilogy of films of the Advance Party film series that is made under a set of rules with character back-stories and geography settings for new filmmakers. Starring Kate Dickie and Tony Curran. Red Road is a harrowing yet exquisite film from Andrea Arnold.
Obsession is an interesting theme as it often involves some kind of motivation. For this security officer who watches the entire city of Glasgow through a video monitor to make sure things are going well until one particular day when she sees the face of a man she had known many years ago. Who is this man and why is she interested in him? The film slowly explores the life of this woman named Jackie (Kate Dickie) as she follows this mysterious man named Clyde (Tony Curran) as she learns that he’s been released from prison over something he committed. While information isn’t unveiled until late in the film, it does become obvious into why Jackie wants to see what Clyde is up to. Yet, writer/director Andrea Arnold takes her time to figure out what is Jackie really trying to discover and how to approach this man.
The screenplay that features some rules conceived by Danish filmmakers Lone Scherfig and Anders Thomas Jensen that includes character backgrounds and such along with what these new filmmakers should do. Arnold takes these ideas and uses it to create her own story about a woman still mired in some form of grief as she is trying to follow this man. Jackie starts off as a woman living her life alone as a security officer who would often have trysts with a married co-worker while distancing herself from family. By the time she learns about Clyde’s release, she is intrigued to see if he’s up to no good as she eventually takes a closer look where he lives with a couple of young people in Stevie (Martin Compston) and April (Nathalie Press). Once she gets closer to learn more about Clyde, there is a conflict into what Jackie wants as there are those in Clyde’s circle who are also wondering about Jackie’s intentions though they don’t really know her either.
Arnold’s direction is presented in a style similar to Dogme 95 except in its look as it is loose and free wielding but also very direct into the images that Arnold is presenting. Some of which are very entrancing from the look of Glasgow seen through the video monitors including the famous Red Road section of the city as well as the city itself at night. Shot in a hand-held camera style, Arnold’s direction allows the film to have this sense of realism but also a beauty to the stark world of Glasgow, Scotland as it’s a character in itself. There also some very direct and frank scenes of sexuality as it relates to Jackie’s own sense of desires that she seems to have lost as Arnold isn’t afraid to make it a bit graphic or confrontational. Yet, it plays to what Jackie is going through as she is intrigued by Clyde as well as the unveiling of why she did this as the answers themselves don’t become easy to digest though Arnold is aware that the audiences are smart enough to know why. Overall, Arnold creates a very fascinating yet haunting film about obsession and loss.
Cinematographer Robbie Ryan does brilliant work with the film‘s photography from the grainy look of the video footage to some of the more entrancing lighting schemes for the scenes at night. Editor Nicolas Chaudeurge does great work with the editing by using some methodical cuts to play out some of the drama as well as some jump-cut to intensify some of these dramatic moments. Production designer Helen Scott does wonderful work with the look of the work place Jackie works at to the apartment where Clyde lives with Stevie and April.
Costume designer Carole K. Millar does nice work with the clothes as it‘s mostly casual for the characters to wear including some of the darker clothes of Jackie. Sound designer Douglas MacDougall is amazing for the atmosphere it creates in some of the scenes in the city and at Jackie’s work station to showcase the world of obsession. The film’s music consists largely of what is played on location as it features music by the Monkees and Oasis as well as cover of Joy Division’s Love Will Tear Us Apart in the closing credits.
The casting by Kahleen Crawford and Des Hamilton is remarkable as it features some notable small roles from Andrew Armour as Jackie’s father-in-law, Paul Higgins as a co-worker/part-time lover of Jackie’s, and John Comerford as a man with a dog Jackie always watches. Martin Compston and Nathalie Press are wonderful as the young couple Stevie and April as two people struggling to find something in their lives as they’re both poor. Tony Curran is great as Clyde as a man trying to live a straight life as he’s eager to make contact with his daughter as he is intrigued by Jackie. Kate Dickie is marvelous as Jackie as a woman who is wondering about what Clyde is up to as Dickie brings a chilling presence as a woman trying to look from afar as she has no idea what she’s in for.
Red Road is a tremendous film from Andrea Arnold that features amazing performances from Kate Dickie and Tony Curran. The film is an intriguing look into the world of obsession as well as a woman dealing with her own intentions into that obsession. It’s a film with a sense of richness as well as an ugliness that adds to that world of realism and suspense. In the end, Red Road is an exhilarating film from Andrea Arnold.
Andrea Arnold Films: Fish Tank - Wuthering Heights (2011 film) - The Auteurs #31: Andrea Arnold
© thevoid99 2013
