Ginger & Rosa

Written and directed by Sally Potter, Ginger & Rosa is the story of two young girls living in the 1960s as they cope with the threat of nuclear holocaust during the Cold War as well as a growing divergence between the two. The film is a coming of age tale set entirely in the year of 1962 Britain during the period of the Cuban Missile Crisis as a young woman fears about the concept of no future. Starring Elle Fanning, Alice Englert, Alessandro Nivola, Christina Hendricks, Timothy Spall, Oliver Platt, Jodhi May, and Annette Bening. Ginger & Rosa is a compelling and touching film from Sally Potter.

The film revolves around the lives of two 17-year old girls in 1962 Britain as they cope with the idea of nuclear holocaust as they both diverge into different paths where one of them tries to do something about it while the other falls in love. It’s a film that is a coming-of-age tale set in the backdrop of the Cuban Missile Crisis where two girls are trying to have fun but certain events in their lives would change things. While Ginger (Elle Fanning) and Rosa (Alice Englert) have many similarities in their personalities and adventures as they were both born on the same day to young mothers. The latter would find herself be drawn to Ginger’s free-spirited father Roland (Alessandro Nivola) in his views of being independent and wild as he encourages Ginger to do so. Yet, Ginger is becoming interested in poetry as she also tries to find herself through activism.

Sally Potter’s screenplay doesn’t just play into the relationship between the two girls but also the events that would drive them apart. Notably Rosa’s actions as she likes to drink and smoke while make out with boys while Ginger is confused if she wants that as she becomes more passionate about activism as well as poetry. While Rosa isn’t exactly a bad person but rather someone who does bad things, her lack of a father figure and need for one in Roland would create a schism in her friendship with Ginger who would also lash out over the state of the world. The film’s second half would have Ginger live with her father but it becomes clear that it’s not ideal where she turns to family friends including an experienced activist in Bella (Annette Bening) who knows what Ginger is dealing with but also tell her there is still a solution to the chaos of the world.

Potter’s direction is quite simple in terms of the compositions she creates yet does manage to create some dazzling visuals as it relates to the world that Ginger and Rosa are living in. Shot largely in locations near Kent in Britain, the film does play into a small-town yet post-war feel in a world that is changing but grounded as much of the film is set in a working class environment where kids are listening to jazz and rock n’ roll. While Potter uses a lot of wide shots to capture the scenes set on Roland’s boat and in some location shots, she maintains an intimacy with the medium shots and close-ups. Especially as it plays into Ginger’s own growing pains and confusion as it would culminate into the third act where she begins to realize that the world she is in as it relates to her father is just as complicated as what is happening around her. Even as Rosa becomes a more complicated person to the point that Ginger has no clue how to comprehend everything around her. Overall, Potter crafts a mesmerizing coming-of-age film about two teenage girls diverging into different paths amidst the growing threat of a nuclear holocaust.

Cinematographer Robbie Ryan does amazing work with the film‘s cinematography to create some very vibrant and colorful looks for many of the exterior scenes set in the day and night along with some low-key lighting for some of the interior scenes in the film. Editor Anders Refn does nice work with the editing as it is mostly straightforward with a few stylish bits such as an opening montage on Ginger and Rosa‘s lives as well as some scenes that play into Ginger‘s emotional turmoil. Production designer Carlos Conti, with set decorator Liz Griffiths and art director Andrea Matheson, does fantastic work with the look of Roland‘s home with its somewhat-Bohemian look that is a sharp contrast to the simplistic yet more spacious home that Ginger lives with her mother. Costume designer Holly Waddington does excellent work with the costumes with the look of early 1960s fashion including the turtleneck sweaters the girls would wear.

Hair/makeup designer Tara McDonald does terrific work with the hairstyles of Ginger and Rosa with the former having dyed red hair as well as the look of young men in Teddy-boy haircuts. Visual effects supervisor Martin Madsen does some fine work with some of the film‘s minimal visual effects which is just essentially bits of set dressing for some of the locations. Sound editor Eddie Simonsen does superb work with the sound in not just capturing some of the moments in the locations but also in the way the reports on the radio about the Cuban Missile Crisis is being presented. Music supervisor Amy Ashworth creates a wonderful soundtrack that features different kinds of music from classical, jazz, and rock n’ roll as it features contributions from Franz Schubert, Little Richard, Chubby Checker, Count Basie, Charlie Parker, Thelonious Monk, Duke Ellington, Sidney Bechet, Dave Brubeck Quartet, Miles Davis, the Shadows, Les Paul, and Django Reinhardt.

The casting by Irene Lamb and Heidi Levitt is brilliant as it features some notable small roles from Andrew Hawley as the lead activist Tony that Ginger befriends, Luke Cloud as Rosa’s father who is only seen briefly early in the film, and Jodhi May in a wonderful role as Rosa’s mother Anoushka who deals with her daughter’s behavior as well as the activities she is doing. Oliver Platt and Timothy Spall are excellent in their roles as two family friends named Mark who help Ginger in dealing with the chaos of the world as well as provide their own insight into the way things are. Annette Bening is fantastic as Bella as an activist friend of the American Mark who would help Ginger in answers about the ways of the world while calling out on some of Roland’s own bullshit idealism.

Christina Hendricks is amazing as Ginger’s mother Natalie as a former artist turned homemaker who becomes overwhelmed with her daughter’s activities and her husband’s infidelities where she struggles to maintain some sanity over what is happening in her family life. Alessandro Nivola is superb as Ginger’s father Roland who is this free-spirited pacifist who encourages his daughter to be independent and free but often does a lot of bad things as it includes sleeping with other women and students where one of them would be too much for Ginger to deal with. Alice Englert is remarkable as Rosa as a 17-year old girl who becomes more fascinated by boys rather than the reality of nuclear holocaust as she starts to dress more stylish and act a certain way where she would make Ginger feel uncomfortable. Finally, there’s Elle Fanning in an incredible performance as Ginger as a 17-year old girl dealing with the reality of what is coming as she leans towards her poetry to cope with not just that reality but also the one close by as it relates to her disintegrating friendship with Rosa and her relationship with her father.

Ginger & Rosa is a marvelous film from Sally Potter that features a mesmerizing performance from Elle Fanning. Along with a great supporting cast as well as a compelling premise that play into real world situations from the views of a young lady. It’s a coming-of-age film that plays a lot into what happens when a bomb will drop and two young girls different reaction to that reality. In the end, Ginger & Rosa is a rapturous film from Sally Potter.

Sally Potter Films: (The Gold Diggers) - (Orlando) - (The Tango Lesson) - (The Man Who Cried) - (Yes) - (Rage)

© thevoid99 2016

Mr. Turner

Written and directed by Mike Leigh, Mr. Turner is the story about the life and career of British painter J. M. W. Turner who was considered one of the most radical painters of the 19th Century. Told in an unconventional fashion, the film explores Turner’s work as a painter and what drives his art as he is played by Timothy Spall. Also starring Lesley Manville, Dorothy Atkinson, Paul Jesson, Marion Bailey, and Martin Savage. Mr. Turner is an astonishing yet captivating film from Mike Leigh.

Set in 19th Century Britain, the film is the story of one of Britain’s most revolutionary and daring painters of the century’s first half who created images that didn’t play by convention but rather look at a landscape or the see as it is. Yet, it is told from the prime of his life where he is getting recognition as an artist to his death in 1851 where he creates paintings through watercolor and evocative images of skies and the sea with colors that were considered to be innovative. The film also showed that Turner was a man who was also very polarizing during his time where some thought he was mad for the works he did while there are some who thought he was a genius. At the same time, the film portrayed Turner as a man who lived by his own rules despite the fact that he often neglects his maid who is in love with him while he would fall for a twice-widowed landlady whom he would later marry.

The film’s screenplay does play into a rise and fall scenario as its first act is about Turner’s rise through the British art world despite some reservations for some on his work. The second act is about that continuation but also show Turner deal with criticism as he finds solace in her personal life despite some trouble which involves the daughters he has but neglects as well as his maid. It plays into a man who lives in a very unconventional fashion in his lifestyle which alienates some but others are fascinated by it. Especially in his approach to painting and how he wants to see things which definitely arise those with strong opinions to see if his art is any good or not. By the film’s third act, it is about not just the dismissive opinion towards his painting from those in society including royalty but also Turner dealing with his failing health. Notably as he also copes with the changes that goes on in the world of art where his paintings are seen as either passé or just too radical for the British public.

Mike Leigh’s direction is very intoxicating in not just the way he presents the world of 19th Century Britain where it would transition during the age of the Industrial Revolution with trains and factories. It’s also in the fact that some of the images he would create are attempts to visualize Turner’s paintings where some of it looked like real paintings. Shot in various locations in Britain, Leigh does create something that is quintessentially British in its look and atmosphere while much of the dialogue and language has a looseness where the actors are able to improvise and say things as if it felt natural to those times. Even as Leigh wanted to deviate from the convention of traditional bio-pics where he uses the setting to do something that feels real as he is known for never using a script to guide him.

Leigh’s approach to framing with some unique wide and medium shots do carry a sense of atmosphere in some of the locations including the painting galleries where people of royalty would gaze into them. Much of it involves some slow yet gazing camera movements along with scenes of Turner creating his paintings as Leigh does approach many of his compositions as if it was a painting by Turner but with people and things rather than the landscapes themselves. Even as some of Leigh’s close-ups use to play into the world that Turner is in and how some suffer from it or those who are enriched by his presence. It all plays into the fact that Turner cares about his work and the land he is from no matter what a bunch of snobbish critics, people of society, or royalty think of them as he made his work for Great Britain. Overall, Leigh creates a sensational and exhilarating film about one of Britain’s great painters.

Cinematographer Dick Pope does incredible work with the film‘s cinematography with its rich usage of colors to play into some of the film‘s lighting schemes as well as maintain some rich colors in some of the film‘s interior settings as it is a major highlight of the film. Editor Jon Gregory does excellent work with the editing as it‘s mostly straightforward to play into Turner‘s approach to painting while there‘s some rhythmic cuts and montages for a few moments in the film. Production designer Suzie Davies, with set decorator Charlotte Watts and art director Dan Taylor, does amazing work with the look of Turner‘s studio and the art galleries where many of Britain‘s painters post their paintings for the royals to see. Costume designer Jacqueline Durran does fantastic work with the costumes to create the look of the clothes the men and women wore including the ragged clothes that Turner wears.

Hair/makeup designer Christine Blundell does brilliant work with the hairstyles of the women as well as some of the facial hair and hairstyle of the men. Visual effects supervisor George Zwier does nice work with some of the film‘s visual effects as it is very minimal for a few scenes set in skylines and for some big ships. Sound editor Lee Herrick and sound designer Robert Ireland do superb work with the sound to create something that is sparse but also naturalistic in the sound work while going for something big in a few scenes set in the sea. The film’s music by Gary Yershon is marvelous for its orchestral-based score that ranges from themes with soaring and lush string arrangements to more somber pieces as it plays into the many moods that Turner endures in his life.

The casting by Nina Gold is phenomenal as it features small yet notable appearances from Leo Bill as the famed photographer J.E. Mayall, Peter Wight as the famed art patron Joseph Gillot, Sinead Matthews as Queen Victoria, Tom Wlaschiha as Prince Albert, Karina Fernandez as a singer Turner befriends at a gathering, David Horovitch as Turner’s physician Dr. Price, Joshua McGuire as the pretentious art critic John Ruskin, Sandy Foster and Amy Dawson as two of Turner’s adult daughters in their respective roles as Evalina and Georgiana, and Fenella Woolgar as art critic Elizabeth Eastlake. Other noteworthy small roles as such famous British painters include James Fleet as John Constable, Richard Bremmer as George Jones, Jamie Thomas King as David Roberts, Mark Stanley as Clarkson Frederick Stanfield, Simon Chandler as Augustus Wall Callcott, and Roger Ashton-Griffiths as Henry Williams Pickersgill.

Ruth Sheen is terrific as Sarah Danby as a former lover of Turner who is the mother of his two daughters as she despises Turner for not being there enough for his girls. Martin Savage is fantastic as Turner’s friend Haydon who is also a painter but one who struggles to succeed in the world of art as he would also owe many including Turner money. Lesley Manville is superb as the scientist Mary Somerville who would show Turner some unique insight into the world of light and science that would inspire his work. Paul Jesson is excellent as Turner’s father William who is a big supporter of his son as he does whatever to help him despite his ailing health.

Marion Bailey is amazing as Sophia Booth as a landlady who lets Turner stay with her under an alias as she later becomes his lover while learning about his true identity and his work where she would give him a life outside of that world. Dorothy Atkinson is brilliant as Turner’s maid Hannah Danby as a woman who is in love with Turner but feels neglected and exploited sexually for Turner’s own desires as she later copes with his growing absences at home. Finally, there’s Timothy Spall in a magnificent performance as J.M.W. Turner as this very brilliant but troubled artist who lives under his own rules as he is also very radical in who he is as a person and as an artist while trying to deal with the world around as well as those he feel don’t understand his work as it’s a really Spall at his best.

Mr. Turner is an outstanding film from Mike Leigh that features an incredible performance from Timothy Spall as the titular character. Armed with a great ensemble cast as well as top-notch technical work, the film isn’t just a very provocative look into one of Great Britain’s great painters but also into the world of art. Especially in the way art was viewed in those times and how Turner was someone that was considered too daring in a world that was confined by old rules. In the end, Mr. Turner is a spectacular film from Mike Leigh.

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

© thevoid99 2015

Enchanted

Originally Written and Posted at Epinions.com on 3/23/08 w/ Additional Edits.

Directed by Kevin Lima and written by Bill Kelly with narration by Julie Andrews, Enchanted tells the story of a princess-to-be from a 2-D animated world who is suddenly thrown into a magical portal by a witch. Suddenly, the girl enters the real-life, live-action world of New York City as she meets a single father whom she befriends while her dim-witted prince decides to enter New York City to save her. The film is a genre-bender that is part family-film, part-fantasy, part-2D animation, part-comedy, and part-musical that is in the tradition of the Walt Disney films of the past that features the award-winning team of composer Stephen Schwartz and lyricist Alan Menken who wrote several classic tunes for Disney films like The Little Mermaid and Beauty and the Beast. Starring Amy Adams, Patrick Dempsey, James Marsden, Timothy Spall, Idina Menzel, Rachel Covey, and Susan Sarandon. Enchanted is a delightful, charming, and magical film from the Walt Disney company.

In the world of Andalasia, a princess-to-be named Giselle (Amy Adams) is waiting for the day for her true love to come. Meanwhile, the young yet dim-witted Prince Edward (James Marsden) is battling a troll with the help of Nathaniel, the longtime minion to Edward's stepmother Queen Narissa (Susan Sarandon). Edward saves Giselle from a troll and the two are destined to become wedded and Giselle, a princess. Narissa however, has plans on her own as she disguises herself as an old witch who pushes Giselle into a waterfall fountain where she finds herself in the harsh, cruel world of real-life New York City. Lost and confused, Giselle finds a castle billboard as she attracts the attention of a divorce lawyer named Robert (Patrick Dempsey) and his six-year old daughter Morgan (Rachel Covey).

Robert is confused by Giselle's whimsical, joyful behavior until she sleeps in his couch. The next morning, Giselle wakes up to clean Robert's home to his own shock with the help of pigeons, flies, and rats as he is bewildered by Giselle's behavior. Especially in front of his fiancee Nancy (Idina Menzel). Meanwhile, Edward learns that Giselle is in another world as with the help of Nathaniel (Timothy Spall) and a chipmunk named Pip, they enter New York City. Yet, Edward's chivalry is unaware that Nathaniel is sent to poison Giselle for Narissa. Robert however, is still confused by Giselle's unique personality as she sings all over the place while trying to tell her about the real world and such. With Edward still searching for Giselle, he becomes amazed by what the real world has to offer while Nathaniel begins to question his own role after his attempts to poison Giselle had failed repeatedly.

When Edward learns of Giselle's whereabouts, he continues his quest while Giselle suddenly starts to fall for Robert despite his no-nonsense, cynical view on the world, love, and such. Edward finally arrives as Giselle is with her prince but becomes confused of whether she wants to be Edward or Robert. Upset over the union of Giselle and Edward, Narissa decides to take matters into her own hands as she arrives to New York City in style. With Nathaniel forced to help her out, she decides to pull another old trick on Giselle as her own feelings for who her true love is becoming more confusing. Yet, when Narissa finally revealing herself, she decides to create her own ending only to realize, this isn't some ordinary fairytale.

While the fairytale films of Disney from years past can be considered fluff and passe in comparison to the harsh realities of the world. It should be noted that the real-world sometimes needed to be slapped with a dose of happiness. Here is a film where those great Disney films of the past are given a chance to look themselves in the mirror and make fun of themselves at the same time. Yet, what this film is really about is a princess-to-be who has always known a world that's been sheltered in all of her life. Yet, when she comes into this other world that is much harsher, colder, and very cynical. She tries to deal with it the best she could through song, cheerfulness, and curiosity. The result is that she brings a new kind of hope to a man filled with cynicism and no-nonsense to believe that it's okay to bring a bit of fantasy into the real world.

Credit must go to screenwriter Bill Kelly and director Kevin Lima for creating a charming, whimsical film that mixes a lot of genres. Kelly's screenplay is excellent for its structure, twists, character development, and most of all, references to other classic fairytales. Lima's direction is superb from the use of animation with its peppy, delightful 2-D, hand-drawn animation style to its colorful, live-action sequences. Lima's work in some of the film's dance and musical numbers is truly magical from the use of wide lenses to capture the scope of the dance numbers. The result is truly a film that lives up to Disney's magical reputation.

Cinematographer Don Burgess creates a colorful look with the film's daytime exteriors shot on location in New York City while the nighttime, interior shots are wonderfully intimate with low lighting set-ups to create an atmosphere that is true to the tone of the film. Editors Stephen A. Rotter & Gregory Perler do an excellent job with the film's pacing and rhythm for the film's musical sequences as scenes that match up with one scene to another. Production designer Stuart Wurtzel with art director John Kasarda do an amazing job in creating the film's sunny, colorful look on location in New York City as well as the ball scene. Costume designer Mona May does a superb job with the filmls costumes that included the huge gown that Giselle wears on her arrival to the city, her curtain-made dress, the sunny dress, and gown as well as the princely clothes that Edward wears along with Queen Narissa's gown that is true to her villainy.

Makeup artist Bill Corso does a great job with look of Susan Sarandon's Queen Narissa look as the old hag that makes Sarandon look unrecognizable. Animation supervisor James Baxter and his team do a superb job with the 2-D hand-drawn animation that is true to the look and style of Disney films of the past. Visual effects supervisors Brennan Doyle and Thomas Schelesny do a great job with the visual effects design of the character of Pip in NYC as well as other visual effects for the film's climatic third act. Sound editor Dennis Leonard does a great job with the film's sound to capture some of the film's moments of fantasy and adventure.

The music of Stephen Schwartz and lyricist Alan Menken is top-notch that includes a sweeping, dazzling score that plays to the film's whimsical tone. Yet, it's the original songs that Schwartz and Menken that really shine. From the sweeping True Love's Kiss performed by Amy Adams and James Marsden, the comically divine Happy Working Song and calypso-flavored That's How You Know both sung by Adams, the ballad So Close sung by Jon McLaughlin, and the country-pop song Ever, Ever After by Carrie Underwood. The soundtrack is truly a standout and definitely a joy to listen to thanks to the team of Schwartz and Menken who both prove they still have a magical touch.

The casting by John Papsidera, Marcia Ross, and Susan Shopmaker should be noted for its assembly of talent that includes cameo appearances from three actresses who are famous for voicing famed Disney heroines, Jodi Benson of The Little Mermaid as Robert's secretary Sam, Paige O'Hara of Beauty & the Beast as a soap opera actress Nathaniel watches, and Judy Kuhn of Pocahontas as a pregnant woman with children. Other memorable small appearances from Marilyn Sue Perry as a bus driver whom Edward annoys, Tonya Pinkins & Isaiah Whitlock, Jr. as a divorcing couple Robert is handling, and in the voices of Pip, Jeff Bennett as Pip in Andalasia and director Kevin Lima as the squeaky-voiced Pip in NYC. Broadway actress Idina Menzel is good as Robert's girlfriend Nancy who is bewildered by the appearance of Giselle while trying to commit with Robert.

Rachel Covey is adorable as Robert's six-year old daughter Morgan who is trying to find a sense of excitement from the realities that her father is trying to prepare her for. Timothy Spall is delightful as the sniveling, cowardly Nathaniel who is doing the Queen's deeds while in NYC, begins to question his own role and self-respect. James Marsden is delightfully funny as the dim-witted, narcissistic Prince Edward who always go into song while being completely clueless to everything. Marsden's smile, winning performance is fun to watch as the actor is showing his versatility from action roles like the X-Men films to the recent Hairspray musical film.

Patrick Dempsey is wonderfully low-key as the cynical Robert who proves to be a great foil for Giselle as Dempsey is also charming and intelligent in being the romantic lead as the actor continues his winning ways following his comeback role on the TV show Grey's Anatomy. Though her appearance in the film is only 20-minutes, Susan Sarandon makes the most of her appearance as Queen Narissa with a great, slimy performance as Sarandon seems to enjoy herself in playing a villain as her performance is fun to watch.

Finally, there's Amy Adams who delivers a performance that lives up to the film's title description. Fresh off from her Oscar-nominated role in 2005's Junebug, Adams carries this entire film with such wit, charm, innocence, and humor. From the way she smiles to how she reacts innocently to newfound situations, it's a performance that obviously cannot be enjoyed for someone, even the most cynical performance. Adams' versatility also proves that she can sing very well as she just shines from scene to scene. Adams also proves that she is capable in being dramatic while having great chemistry with Patrick Dempsey and Rachel Covey in their own individual scenes as she brings a lively character with such charisma and bravado, it's hard to not to smile in everything she does. After toiling in obscurity in small roles like Drop Dead Gorgeous, Psycho Beach Party, and Catch Me If You Can, Amy Adams gives a performance that is surely going to make her a household name.

Enchanted is a delightful, entertaining, and joyful film that lives up to its name and description thanks to the talents of director Kevin Lima, screenwriter Bill Kelly, songwriters Stephen Schwartz and Alan Menken, and Amy Adams' dazzling performance. Fans of Disney films will no doubt enjoy the film for its humor and homage to the genre while families will enjoy it for its squeaky-clean yet charming tone. In the end, for a film that is a real feel-good film that does its job to entertain and make everyone feel smile, Enchanted is the film to go see.

© thevoid99 2013

Topsy-Turvy

Written and directed by Mike Leigh, Topsy-Turvy is the story about Gilbert and Sullivan’s attempt to create their greatest play in The Mikado as the two men fight each other creatively and personally through this 15-month ordeal that culminates with its premiere in 1885. While the film is a fictional account of the making of The Mikado, Leigh approach his same improvisational style to directing actors to explore what goes in the world of creating art. Starring Jim Broadbent, Allan Corduner, Timothy Spall, Lesley Manville, Shirley Henderson, Kevin McKidd, Dexter Fletcher, Alison Steadman, Ron Cook, and Andy Serkis. Topsy-Turvy is a delightful yet engrossing film from Mike Leigh.

It’s January 1884 as W.S. Gilbert (Jim Broadbent) and Arthur Sullivan (Allan Corduner) release their new opera Princess Ida to a lukewarm reception as Sullivan falls ill from kidney disease while Gilbert is dealing with writer’s block. Facing pressure to create a new piece for the Savoy, Sullivan goes on a holiday to France while Gilbert stays in England with his wife Kitty (Lesley Manville) who has been aware that having Princess Ida play during the hot British summer was a bad idea. After Sullivan’s return from France with mistress Fanny Ronalds (Eleanor David), he and Gilbert have no idea what to do as Sullivan refuses to repeat his own musical ideas while Gilbert has a hard time creating a new story.

With their producer Richard D’Oyly Carte (Ron Cook) deciding to revive their old play The Sorcerer as a way to make profit, Gilbert and Sullivan are unsure what to do as Sullivan refuses to repeat any ideas for a new libretto that Gilbert has written. Meanwhile, the actors who had worked in the Gilbert & Sullivan plays are becoming frustrated as some want a pay raise while dealing with their own personal issues. When Kitty convinces Gilbert to attend a Japanese exhibition of arts and crafts, Gilbert is suddenly inspired to write a new piece as it also inspires Sullivan to create The Mikado.

With all of the actors joining up for the project, complications arise as Gilbert wants an air of authenticity as he invites Japanese women to teach his actresses how to walk. Still, Gilbert and Sullivan are unsure about the opera itself where a decision about a song cut from the opera forces him to deal with the actors who felt very strongly about it. With opening night emerging, Gilbert and Sullivan wonder how the play will do as they also try to deal with its aftermath.

The film is about two men dealing with failure and the pressure to come up with something that would eventually be their best work. Yet, it’s also an in-depth look into the way art is made by two people who respect each other but at times, don’t really like each other. Sullivan is a guy that likes to have a good time with a mistress and enjoy a bit of decadence to escape his own kidney problems. Gilbert is the more anxiety-ridden as he wants to avoid dealing with his ailing mother while spending time with his wife. Yet, they’re both very creative personalities who really want to bring out the best opera out there to Victorian society as they’re also very stubborn artists.

Mike Leigh’s approach to the story deals with the world of creativity as well as the world of the late 1800s in British Victorian society where men wore suits and women wore big dresses with corsets inside. Leigh also explores the complex and often troubled relationship between Gilbert and Sullivan based on stories about the duo and the way they worked together. The story also allows Leigh to dwell into what the actors are thinking about their own performances in the play as well as their own personal lives. Yet, they all come together in the third act when the actors and the creative forces try to finish an opera they all believe could be great.

Since Leigh is known for never using a script and allowing his actors to improvise, it allows the film to have a tone that feels very loose through his direction. With rich compositions highlighting a lot on what goes on in and out of the stage as well what goes in the respective homes of Gilbert and Sullivan. Leigh crafts a film that is engaging into what goes in the world of creating art while having some amazing compositions such as high shots to see what middle-class people would see at a theater or what the actors are seeing. The overall work Leigh creates is sensational as he creates a truly funny yet mesmerizing film.

Cinematographer Dick Pope does an incredible job with the film‘s colorful photography from the way he sets the mood in the stage look for the differing plays to a more straightforward yet colorful look to many of the interiors settings in the film. Editor Robin Sales does an excellent job with the editing to create rhythmic cuts to capture the intensity of what goes on in the making of a stage as well as playing to the melody of some of the musical moments of the film. Production designer Eve Stewart, along with set decorator John Bush and art director Helen Scott, does a spectacular job with the set pieces created from the spacious living room of Gilbert to the more intimate bedroom of Sullivan plus the staging of the operas that is created in the film.

Costume designer Lindy Hemming does a magnificent job with the late 19th Century period costumes from the dresses look and feel to the costumes created for The Mikado opera. Hair & makeup designer Christine Blundell does a fabulous job with the way the hair looks to that 19th Century period for women as well as the wigs and makeup made for The Mikado. Sound recordist Tim Fraser and sound editor Peter Joly do stellar work with the sound from the way sound is made for some parts of the stage presentation to the intimacy that occurs during rehearsal. The film’s music is largely dominated by the works of Gilbert and Sullivan that is adapted by composer Carl Davis who uses pieces from other operas as score music to emphasize the drama and humor that includes the stage scene as it’s a highlight of the film.

The casting by Nina Gold is truly amazing for the large ensemble that is created for the film as all of the actors do their own singing for the film. Making appearances in the film, which includes a lot of Leigh regulars, are Ashley Jensen as a chorus member, Andy Serkis as an eccentric choreographer, Katrin Cartlidge as a friend that Sullivan entertains, Alison Steadman as a costume designer, Eve Pearce as Gilbert’s ailing mother, Naoko Mori as a Japanese waitress Gilbert meets at the exhibition, Dexter Fletcher as Sullivan’s butler, and Wendy Nottingham as Carte’s assistant Helen Lenoir. In standout supporting performances, there’s Vincent Franklin as the joyful Rutland Barrington and Martin Savage as the troubled yet gifted George Grossmith.

Dorothy Atkinson as the injured diva Jessie Bond, Eleanor David as Sullivan’s mistress Fanny Ronalds, and Shirley Henderson as the insecure yet talented Leonara Braham are all wonderful in their respective roles. Kevin McKidd is excellent as the demanding Duward Lely while Timothy Spall is superb as veteran lead Richard Temple who gets to play the title role in The Mikado. Ron Cook is terrific in a low-key performance as Gilbert and Sullivan’s producer Richard D’Oyly Carte while Lesley Manville is brilliant as Gilbert’s supportive wife Kitty.

Finally there’s the duo of Jim Broadbent and Alan Corduner in fantastic performances in the respective roles of W.S. Gilbert and Arthur Sullivan. Broadbent brings a great sense of turmoil and anguish in Gilbert that is striving to create the best opera he can while Corduner is the more humorous of the two as the funnier Sullivan. Though Broadbent and Corduner don’t have a lot of scenes together, the two do have great rapport together as these two different personalities who are trying to create an opera they will be remembered for. It’s definitely some of the best work for both Broadbent and Corduner for the way they portray Gilbert and Sullivan.

Topsy-Turvy is a splendid yet witty film from Mike Leigh featuring an outstanding ensemble cast led by Jim Broadbent and Alan Corduner. The film is definitely one of Leigh’s finest films in terms of its ambition and the way he brings a unique interpretation to the world of late 19th Century Victorian society. Notably in how he explores the world of creativity at its most troubled as he creates a wonderful study on that world while making it entertaining with the use of the music and operas of Gilbert & Sullivan. In the end, Topsy-Turvy is a superb yet dazzling film from Mike Leigh.

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

© thevoid99 2012

All or Nothing

Written and directed by Mike Leigh, All or Nothing tells the story of three families living in working-class London as they each deal with the changes in their lives. Along the way, they all intersect to discuss their own lives and the messiness that is around them. Starring Timothy Spall, Lesley Manville, James Corden, Alison Garland, Ruth Sheen, Sally Hawkins, and Daniel Mays. All or Nothing is a good although extremely dreary film from Mike Leigh.

Phil Basset (Timothy Spall) is a miserable cab driver who works on long hours day and night as a cab driver for a company run by Neville (Gary McDonald). His friend Ron (Paul Jesson) also works in the same company but always manages to get into some accident that leaves him ailing for money. Phil and Ron’s family life are messy as they each deal with their own world. Phil’s wife Penny (Lesley Manville) works as a supermarket cashier with friend/neighbor Maureen (Ruth Sheen) whose daughter Donna (Helen Coker) is in an abusive relationship with her boyfriend Jason (Daniel Mays). Penny’s daughter Rachel (Alison Garland) works at nursing home while her younger brother Rory (James Corden) is an angry, obese teenager who refuses to do anything.

Ron’s wife Carol (Marion Bailey) is an alcoholic always intoxicated while their daughter Samantha (Sally Hawkins) is a slacker trying to find work while dealing with a creepy stalker (Ben Crompton) near her apartment. Everyone works as they all try to deal with their day-to-day lives as Donna learns she’s pregnant making Jason very upset. When Maureen learns what happens, she tries to sort things out while Rachel is being flirted by an old man (Sam Kelly). On another typical day when Phil is working as he has a French woman (Kathryn Hunter) as a passenger. Phil has a realization about his life leaving him to shut off his phone and just drive somewhere. Yet, the timing turns out to be bad when a family emergency brings everyone together.

The film is about a trio of dysfunctional families living their lives in London as they all live in the same apartment building interacting with one another and go on with their lives. They all try to help each other while some are going through the motions of working and doing things when they work with the exception a few people who don’t really do anything. Yet, they’re all pretty miserable as the main focus is on the Basset family where there’s a couple whose marriage is pretty much on the outs which affects the family. The other two stories about a mother and her pregnant daughter and the other family who are an absolute mess help balance out the rest of the film.

Leigh’s story has the same kind of improvisational yet free-flowing feel that is common with all of his films since he doesn’t really use a script to tell the story. The problem with this film is that there’s not much to tell as the first act starts off very slow and almost becomes a bit repetitive though it seems like that is what Leigh is aiming for. At the same time, because everyone looks like a mess with the exception of a couple of scenes where one of them has Maureen and Penny go out to a club looking pretty clean and normal though Carol remains a mess. Throughout the story, there’s a lot of scenes where Phil drives his cab and deals with an array of passengers and comes home where Penny doesn’t seem to enjoy him around. For Phil, feeling unloved and unhappy would cause him to drift from everything but at the wrong time in the film’s climatic moment.

Leigh’s direction is pretty good as he keeps things straight in his direction. Yet, there’s a lack of style that happens throughout with the exception of a few scenes. Leigh is always creating something that is engaging about the way a family has dinner together or having a moment together. There is something that is compelling in what he tries to create though it starts off very slow where nothing is happening and it ends up becoming very depressing. Things do pick up in the film’s climatic moment that includes a very emotional scene in the realization about a family’s life. While the ending is a bit cheerful, it does feel a bit unresolved as far as the two other families are concerned though it’s open for interpretation about what could happen. Overall, Leigh creates something that is intriguing but lacks a lot of weight to keep things going.

Cinematographer Dick Pope does an excellent job with the photography in capturing the nighttime setting of London with a very gorgeous look while most of the film, with the exception of a scene at the beach, is very straightforward. Editor Lesley Walker does a good job with the editing as she maintains a mostly straight approach to the cutting while using fade-outs for the transitions to keep things movie.

Production designer Eve Stewart and art director Tom Read do fine work with the look of the film from the dreary apartments everyone lives in to the old folks home that Rachel works at. Costume designer Jacqueline Durran does nice work with the costumes by maintaining a mostly casual look that is very grimy while the clothes that Maureen wear the karaoke scene is pretty stylish. Sound editor Peter Joly doe some stellar work in capturing the sound for the various locations throughout the film including the chaos of the London streets. The film’s score by Andrew Dickson is pretty good for a lot of the smooth, orchestral pieces played in the film that adds a sense of melancholia throughout. Yet, it also becomes a bit aggravating as it’s always played in between many of the film’s transitions.

The casting by Nina Gold is really the highlight of the film as it includes some standout small performances from Diveen Henry as Neville’s sister, Gary McDonald as the cab service boss Neville, Kathryn Hunter as a French passenger, Sam Kelly as the old man that flirts with Rachel, Robert Wilfort as a doctor, and Ben Crompton as the creepy Craig. Other notable performances include Daniel Mays as the very abusive Jason, Marion Bailey as the often-intoxicated Maureen, and Paul Jesson as the frustrated Ron. Helen Coker is very good as the troubled yet abused Donna while Sally Hawkins is extraordinary as the sexy though lonely Samantha. Ruth Sheen is superb as Maureen, Donna’s mother who tries to help her daughter out while proving to be a tough, no-holds-barred woman who can get things in control and deal with Jason.

James Corden is excellent as Rory, an obese teenager who often spouts insults at his mother as he lazes around in the couch and smoke cigarettes only to finally get into some trouble. Alison Garland is brilliant as Rachel, a quiet young woman who works at a nursing home as she tries to keep things organized while being the one who watches her parents’ marriage break apart. Timothy Spall is great as Phil, a depressed cab driver who tries to cope with everything around him as Spall has a very dirty look where he is unshaven and hasn’t washed his hair. Finally, there’s Lesley Manville in a radiant role as Penny. A woman who tries to help out though she is unaware that she seems to be not really helping as she gives what is truly a heartbreaking performance.

All or Nothing is a decent though grim film from Mike Leigh despite an intriguing premise and a superb cast. While it’s a film that has a lot of Leigh’s unconventional storytelling ideas and intriguing study of characters and situations. It’s a film that doesn’t have much weight as it starts off very slow and tedious for about the first half only to pick up in the second half. It’s a film that isn’t among his greats like Naked, Secrets & Lies, and the films he made after this. Yet, it is still a compelling piece as All or Nothing is a film with some good moments that could only come from someone as revered as Mike Leigh.

Mike Leigh Films: (Bleak Moments) - (The Permissive Society) - (Knock for Knock) - (Hard Labour) - (Nuts in May) - (Abigail’s Party) - (Kiss of Death) - (Who’s Who) - (Grown-Ups) - (Home Sweet Home) - (Meantime) - (Four Days in July) - (High Hopes) - Life is Sweet - Naked - Secrets & Lies - Career Girls - Topsy-Turvy - Vera Drake - Happy-Go-Lucky - Another Year - Mr. Turner

© thevoid99 2011

The Sheltering Sky

Originally Written and Posted at Epinions.com on 8/17/07 w/ Additional Edits.

1987's The Last Emperor marked a triumph for Italian director Bernardo Bertolucci as the film won several Academy Awards including Best Picture and a Best Director prize for Bertolucci. Following its award-winning success, Bertolucci and producer Jeremy Thomas decided to embark on another ambitious film that was to follow The Last Emperor in a trilogy of epic films relating to outside cultures and landscapes that would conclude with 1993's Little Buddha. For the second part of his trilogy, Bertolucci released a film based on Paul Bowles' novel of a New York couple traveling to North Africa with a friend as their own marriage disintegrates where the attempt to save their marriage ends in despair. The book from 1947 was finally made into a film for 1990's The Sheltering Sky.

Directed by Bernardo Bertolucci with a script written by Mark Peploe, The Sheltering Sky is an ambitious, epic, romantic film about a couple trying to save their marriage in North Africa only to find faults and failures that also included the involvement of other people. Shot on location in Morocco, Algeria, and Niger, the film unveils some of the most breathtaking images of the desert shot by Bertolucci's longtime cinematographer Vittorio Storaro. Starring John Malkovich, Debra Winger, Campbell Scott, Timothy Spall, Jill Bennett, and Paul Bowles as the film’s narrator. The Sheltering Sky, despite its breathtaking images, is a clumsy, dense film from Bernardo Bertolucci.

It's the late 1940s as an American couple named Port (John Malkovich) and Kit Moresby (Debra Winger) arrive onto a port in North Africa accompanied by their friend Tunner (Campbell Scott). While Tunner hopes to spend a month at least in Tangier, the Moresby are travelers hoping to spend maybe a year or two in North Africa to explore its wonders. Their marriage however, is failing as they spend their time alone and sleep in different rooms. Tunner sleeps in another room while he often tries to court Kit. When Port describes a dream that upsets Kit, they receive an unexpected visit by and Englishman named Eric Lyle (Timothy Spall) and his mother (Jill Bennett). Planning to travel through the desert for their next trip, Port wanders around Tangier where he meets a man named Smail (Ben Smail).

After encountering a little village and tribe where he encounters a hooker (Amina Annabi), she attempts to steal his wallet but fails as he nearly gets mugged. Upon returning to the Grand Hotel, Port begins to suspect a possible affair between Kit and Tunner. With Kit deciding to travel with Tunner by train, Port is accompanied by the Lyles on their trip through the desert to a nearby town. With both parties arriving, it's clear that Kit has been attracted to Tunner as they keep their affair a secret. Port meanwhile, is often asked by Eric for a loan about a possible endeavor. Port gives him a bit of money to be rid of the Lyles as he and Kit go on a bike ride through the desert. In another attempt to save their marriage, they go to a spot where they see the beautiful Sahara Desert. Unfortunately, their lack of passion and the years they've been in have made them cold.

Now going through the desert by bus, the Moresby and Tunner travel yet again as Tunner finds everything to be frustrating as he decides to leave the journey. Port and Kit continue their North African journey unaware of an epidemic coming through the various villages as flies are surrounding them. Port finds himself ill all of a sudden as Kit begins to worry. They continue on their trip to another town but Port is becoming increasingly ill. Things get worse as they find themselves in the middle of a sandstorm. With Kit now worried, she now fears for her own future as she suddenly finds herself being seduced and accompanied by a mysterious young man named Belqassm (Eric Vu-An). Taken to another village, she finds herself in the middle of a culture clash wondering what has this journey really been about.

Given Bertolucci's love of exotic cultures and existential explorations, the film is really about a journey gone wrong with jaded intellectuals being completely unaware of the world that is foreign to them. With the text from this famous novel by Paul Bowles, it's clear that the film's major weakness is in its adaptation. Those who haven't read the book (including myself), definitely will be bewildered by the film's unique narrative. Yet, it makes for a very awkward and detached sense of wonder for the audience who haven't read this book. Even for someone who might've read this book will notice a lot of missing subplots and things from that book.

The film's major weakness is the script by Bertolucci and brother-in-law Mark Peploe, largely because there's not much back story for the film’s protagonists nor is there any are they very interesting in some ways. Port is a self-indulgent and very pretentious though he has some redeeming qualities. Kit is also as detached since she often spends her time in a hotel room alone or with Tunner. Bertolucci, the director, does seem to make up for it with his visual composition and staging. Yet, because of the material he's working on, some of the drama doesn't feel right and the dialogue between Kit and Port is very dense that it seems that a character like Tunner and the audience have a hard time understanding their motives.

The film's narrative is wonderfully structured but uneven as well. Yet, it is unique in some ways since the first part is about Kit's unconventional take on the journey to Africa, the second act being about Kit and Port's disintegrating marriage. Yet, it all goes well despite some road bumps and then comes this third act. All of a sudden, it starts to feel and look like a different film with Kit now being the center of attention. Yet, it makes the entire film feel clunky despite some great scenes that Bertolucci has created and such. Yet, despite all of his intentions and his approach to the storytelling, Bertolucci does create a film that is interesting yet very flawed.

Longtime cinematographer Vittorio Storaro brings a majestic, gorgeous look to the film that makes up for any flaw that it has. Some of the film's interiors including a shot of sunlight in a hotel room looks very close to the old-school, Technicolor cinematography of late 50s/early 60s cinema. The exteriors also has an old-school feel that includes amazing shots of the desert with wonderful set-ups and epic scopes that has to be seen on a widescreen format. Storaro's use of colors whether it would be the blue-evening light or yellow sunlight is always jaw-dropping as his work with Bertolucci as well as other directors like Francis Ford Coppola and Warren Beatty is often top-notch.

Production designers Gianni Silvestri and Ferndinando Scarfiotti along with art director Andrew Sanders create a unique look to the film's period design from the cars to the cramped hotel rooms the Moresby lives. Given the locations they're in, each set piece is wonderfully decorated to give that sense of authenticity. Costume designer James Acheson also brings wonder to the costumes with the sheik-like clothing in the third act, the suits that the men wear, and the 40s dresses that Debra Winger wears throughout for almost the entire film. Editor Gabriella Cristiani brings a nice, elliptical pacing of sorts to the film while using intense cuts to convey the suspense of drama of some of the film's scenes. Sound editor Don Sharpe helps with the film's amazing sound to convey the horror of sandstorms and other surroundings in the desert.

Then there's the amazingly haunting, intensely dramatic score by Ryuchi Sakamoto that is filled with bass-heavy arrangements, lots of strings, and chords that convey the film’s bleak tone. Sakamoto's score is really one of the film’s highlights that also includes traditional, North African music from Richard Horowitz that is filled with a lot of rhythm and mysticism as the land itself. Along with several different kinds of music from the late 1940s, the film's soundtrack is rich in its diversity.

Finally, there's the film's cast that doesn't exactly feature a large ensemble but memorable performances and appearances. There's a few notable small roles from Amina Annabi and Ben Smail as Tangier natives along with a cameo from Italian film starlet Nicoletta Braschi as a French woman in a cafe scene early in the film. Eric Vu-An is good in his mysterious role as a nomad traveler who makes most of his appearance with just his look. A very exotic look who manages to charm Debra Winger. Jill Bennett and Timothy Spall are fine as the irritating Lyle with Bennett as this posh, smug photographer and Spall as a slimy, wormy thief who wants to be rid of his mother. In many ways, maybe this is why Spall got the role of Wormtail in the Harry Potter films.

In one of his early film roles, Campbell Scott is good as the charming, somewhat ignorant Tunner who seduces Kit while trying to understand their fascination with traveling. Scott makes the most of his role despite the fact that it's very underdeveloped. It's just a caricature of a lot of tourist-like characters as Scott would later do better work in the years to come. Debra Winger is fine in her role as Kit but doesn't seem give any real kind of life to the role. I'm not sure whether it's the character or Winger's performance but the character of Kit isn't that interesting. Sure, she looks pretty but her character just seems very detached from everything. Winger is a fine actress and is still better than most stars, it's just that she often seems overlooked.

John Malkovich is actually the film's best performance but that isn't saying much either. While there's some scenes where he and Winger are great together. There's some that don't work which is due to the script. Yet, Malkovich makes the most of it with his self-absorbed, pretentious performance that is always fun to watch. Malkovich usually often would rise above the material, especially as clunky as a film like this. Though his character isn't that interesting, Malkovich does pull all the stops, even as his character starts to become ill that shows wonderful dramatic range.

When the film was released in 1990, expectations were very high considering that it's a film by Bernardo Bertolucci and that he had just come off winning 9 Oscars for The Last Emperor. Instead, the film received mixed reviews and mediocre box office that it was a huge disappointment. Though there were praises towards the film's score and Vittorio Storaro's cinematography, it was a disappointment of sorts from Bertolucci. While he would return with a somewhat better film for 1993's Little Buddha, it was clear that Bertolucci had seen better days.

Despite some of the film's major flaws, The Sheltering Sky is still an interesting yet clunky film from Bernardo Bertolucci and company. While compared to some of his masterpieces like The Conformist, Last Tango in Paris, and The Last Emperor along with other great films like 1900 and The Dreamers, this film is really minor in some ways. Fans of Bertolucci will enjoy the film's epic scope and scenery, unless they hadn't read the book, they will feel like this is minor work. In the end, despite some of those triumphs. The Sheltering Sky is a good film from Bernardo Bertolucci but one would expect a lot more from the Italian auteur.

Bernardo Bertolucci Films: (La Commare Secca) - (Before the Revolution) - (Partners) - (The Spider's Stratagem) - The Conformist - Last Tango in Paris - 1900 - (La Luna) - (Tragedy of a Ridiculous Man) - (The Last Emperor) - Little Buddha - Stealing Beauty - (Besieged) - The Dreamers - (Me & You)

© thevoid99 2011

Secrets & Lies

Originally Written and Posted at Epinions.com on 7/11/07 w/ Additional Edits.

Following 1993's controversial film Naked, Mike Leigh has created international attention for his film that explored a man's journey into London as he talks about philosophy while doing horrible things to the women around him. Despite the acclaim and international attention it brought, Leigh also courted criticism for his film. Three years later, Leigh decided to change the tone of his previous film for something more dysfunctional with his 1996 film that some considered to be one of his best. A family drama about a black woman who searches for her birth mother who is shocked to find out that she's white and very dysfunctional. The film is entitled Secrets & Lies.

Written and directed by Mike Leigh, Secrets & Lies is a drama about a family that is very dysfunctional with its mother often very despondent and sad by the drama that surrounds her. Meanwhile, she is unaware that she has another daughter who is black yet very successful and grounded. When her daughter finally traces her real parentage and finds her mother, the reaction surrounding her mother's family becomes a shock. Starring Brenda Blethyn, Marianne Jean-Baptiste, Claire Rushbrook, Phyllis Logan, Elizabeth Berrington, and Leigh regulars Lesley Manville and Timothy Spall. Secrets & Lies is a harrowing yet powerful masterpiece from Mike Leigh.

It's a typical day at work for Maurice Purley (Timothy Spall) who works as a photographer. Shooting weddings and other styles including modeling shots, Maurice is doing fine in his job yet he's feeling unhappy. His marriage to Monica (Phyllis Logan) is strained as she is often frustrated and nagging over things. When their niece Roxanne (Claire Rushbrook) is about to turn 21 soon, the two decide to have a family get together at their house. Though Maurice hasn't spoken to Roxanne or his sister Cynthia (Brenda Blethyn) in more than two years, he's more than welcome to the idea. Life for Cynthia however, isn't going well as she and Roxanne are not getting along with Roxanne now being angry over things while refusing to have her mother meet her new boyfriend Paul (Leo Ross). Roxanne’s lashing out and the loneliness she's suffering has caused a lot of guilt for Cynthia.

Meanwhile in another side of London, Hortense Cumberbatch (Marianne Jean-Baptiste) is mourning the death of her adoptive mother. Though she lives a great live as an optometrist, Hortense knows the fact that she is adopted since her adopted parents told her as a child. After talking to a social worker (Lesley Manville), she learns on who her real mother is. Then while reading the files, she learns that Cynthia Rose Purley is white. Shocked and baffled, Hortense ponders on whether or not she should try to find out more about Cynthia. After filing through papers and everything, she learns that Cynthia is alive and well.

While taking a break for work, Maurice pays an unexpected visit to Cynthia's home. Aware of her loneliness and everything, he invites to the barbeque he's having in honor of Roxanne's birthday. He expects Roxanne and whoever she’s dating to come. After the very emotional meeting with Cynthia, Maurice ponders his own family life and how Cynthia tried the best she could to cope with their mother’s death early in their life. When Cynthia asks Roxanne about Maurice's barbeque, Roxanne refuses to come as Cynthia pleads with her to be more open. Instead, Roxanne says insulting things leaving Cynthia despondent. The timing couldn't have been worse when Cynthia suddenly receives a phone call from Hortense of all people in which, Cynthia receives the shock of her life.

After reluctantly agreeing to meet, the two wait out at a train station where they finally meet. Shocked over when the baby was born and conceived, Cynthia is full of grief over what she's done to Hortense. Learning that Hortense is doing fine and everything, the meeting becomes extremely emotional for Cynthia. Yet, it's become something rewarding considering that her relationship with Roxanne is very rocky. Cynthia calls Hortense as the two begin to meet more and more as they now bond like mother and daughter.

In a day where Maurice photographs a scarred woman (Emma Amos), Monica visits as she and Maurice's assistant named Jane (Elizabeth Berrington) discuss plans for the barbeque. The day gets stranger when a man named Stuart Christian (Ron Cook), who was once the owner of the photo studio that Maurice had bought. Returning from Australia, the despondent Christian sees what Maurice has done but isn't impressed with how he makes a living as the meeting turns bitter.

After deciding to go to her birthday party at her uncle, Roxanne brings over Paul while Cynthia calls Maurice to confirm that she's bringing a friend. The party goes smoothly at first with no incident, even as Cynthia brings Hortense to the party where things go well without incident. Though Hortense had to see how Roxanne acts towards her mother. When Cynthia becomes emotional, the secrets and lies begin to come out as Hortense finds herself in the middle of a family drama.

Considering that the film is a family drama, Mike Leigh chooses to not over-emphasize the drama or situations that would build to up emotional blow-ups in the end. Instead, his improvisational approach to his writing and direction works in building a realism of a dysfunctional family who are so disconnected that they're brought together by someone who doesn't fit in at first. Since many of the characters aren't played as caricatures, there's depth to all of the characters in the film. Leigh's improvisational style in which the actors are given the freedom to improvise and create their own lines feel universal to an audience who can understand family dysfunction.

Leigh's observant yet mesmerizing direction is at its best when he decides to capture a moment of conversation and drama. Two scenes are shown with an unbroken take in which, the actors seem very comfortable and in character where they engage in conversation of sorts. The conversations and subject matter they talk about is very real. Though there's not much humor, whenever it pops up, it's funny and natural like in any conversation.

While some might complain about the film's pacing, even at a running time of 142-minutes. It's only deliberate to build the momentum of the family's unhappiness and how much pain they're building up. Then there's Hortense, who just went through her own pain about her adopted mother's death is trying to remain strong throughout the whole thing. When she gets to know her real mother, she sees behind all of this pain she's suffering is that Cynthia is a wonderful woman despite her flaws.

Family is really the theme of the film. Leigh shows that no matter how messed up people are, when they're together. There's always someone to talk to, even in a moment of desperation or sadness. While the character of Roxanne may be described as selfish and uncaring, it's because she's got a lot of anger towards her mother about who she is and what she's hiding.

There's also Maurice, who is really the one person who, like Hortense, is very quiet about trying to handle things and try to be strong about every situation. When he's forced to see the family drama that's happening near the end, he is the one trying to settle everything where he's kind of like the glue in family. It's in Leigh's wonderful direction and approach to storytelling that makes the film a compelling yet heartbreaking family drama.

Leigh's longtime cinematographer Dick Pope brings a wonderful look to the film that looks very colorful and natural to the film's exterior shots of London as well as the interiors whether it's the bluish colors that surrounds the home of Maurice, the dark intimacy of Cynthia's home or the spacious, white look of Hortense's home. Production designer Alison Chitty helps the film's look to show the contrast whether it's the clean look of Hortense and Maurice or the decayed home and claustrophobia of Cynthia's home.

Editor Jon Gregory does excellent work with the film's editing to capture the emotion of the family drama that goes on while not cutting some of the film's dramatic conversations. Sound recordist George Richards does great work in capturing the film's sounds, notably London in all of its different sections. Music composer Andrew Dickson brings a wonderfully melancholic, yet enchanting score led by a trumpet to convey the drama and sadness surrounding each character.

The film's cast is wonderfully assembled that features Cameos from other Mike Leigh players like Peter Wight, Lucy Sheen, Ruth Sheen, Phillip Davis, and Leigh's then-wife Alison Steadman. Lesley Manville is excellent in her brief role as a sympathetic social worker who prepares Hortense for what was to come. Elizabeth Berrington is also good as Maurice's assistant Jane who is invited to the party as she tries to see how Maurice is trying to stabilize situations. Ron Cook is wonderful as a frustrated owner who is down on his luck and lashing out at Maurice claiming he doesn't know a thing about art. Leo Ross is good as Roxanne's boyfriend Paul who tries to understand her situations while being interested in meeting Cynthia. Other small roles that included Emma Amos as a scarred model and Michele Austin as Hortense's friend Dionne are good in the brief scenes they're in.

Claire Rushbrook is excellent as the angry, selfish Roxanne who despises her mother while trying to hold down a job cleaning the streets and pondering on why she is angry all the time. Phyllis Logan is also great as Monica, a housewife who is feeling frustrated with her own lifestyle as well as her own resentments towards Cynthia over stability. Timothy Spall gives probably one of his best performances as Maurice, a man who is trying to understand his own unhappiness surrounding the women in his life as he tries to comfort everyone in whatever drama they're in. Spall is in rare form as throughout almost the entire film, is very restrained and subtle as he tries to be a father of sorts to everyone including his older sister Cynthia.

Marianne Jean-Baptiste is great as Hortense, a woman in mourning who is trying to find out about her roots. When she meets Cynthia, Jean-Baptiste shows remarkable strength in a woman, who is successful and grounded, who becomes an unlikely friend for Cynthia. The film's best performance easily goes to Brenda Blethyn as the fragile, neurotic Cynthia. Blethyn gives a performance that is very raw as a woman who has lost a lot of her looks and confidence and is often alienated by everyone. When Hortense comes into her life, Blethyn shows more life and joy to her performance that is often mixed in with light-hearted humor and drama. It's an amazing performance from the actress who is often beloved by filmgoers.

When it premiered at the 1996 Cannes Film Festival, the film was a surprise hit in which it won Leigh the prestigious Palme D'or while Brenda Blethyn also received the Best Actress prize. The film would also give Blethyn a Golden Globe win for Best Actress while the film itself received five Oscar nominations including Best Picture, Best Director and Screenplay to Leigh, Best Actress to Blethyn, and Best Supporting Actress to Marianne Jean-Baptiste. At the British Academy Awards, the film walked with three prizes including Best British Film, Best Screenplay, and another Best Actress prize to Brenda Blethyn.

The film is often considered Leigh's masterpiece as he continues to create amazing films in his unique style. Fans of Leigh work will no doubt consider this his greatest triumph although others might prefer his previous film, the very dark existential drama Naked. In the end, Secrets & Lies is a brilliant, harrowing family drama from Mike Leigh and company.

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

(C) thevoid99 2011

Life is Sweet

Originally Written and Posted at Epinions.com on 11/9/05 w/ Additional Edits.

After the international success of 1989's High Hopes, British director Mike Leigh finally broke through to the film scene after years of TV work and overlooked films. With his unique approach of making films without a script while taking a cynical though hopeful view of post-Margaret Thatcher rule in the U.K. Leigh often explores the working class of the U.K. while not sugar-coating things like in traditional Hollywood films or the mainstream attempts made by other U.K. directors. In 1990, Leigh decides to make another film about post-Thatcher working class world about a family struggling day-to-day with the majority acting upbeat while dealing with friends and an anorexic daughter in Life is Sweet.

Written and directed by Leigh, Life is Sweet is about a chef and his wife living in a working class lifestyle in the Enfield area while taking care of their twin adult daughters. With the chef's dream of owning his own food stand ready to come true to the dismay of his wife and children, the wife takes another job in being a waitress to a friend's gourmet restaurant. While one of their daughters is a tomboy working as a plumber's apprentice, the other is an antisocial, anti-conventional girl with an eating disorder and a secret lover who is forced to do unconventional ideas of sex. Starring Leigh regulars Jim Broadbent, Alison Steadman, Stephen Rea, Timothy Spall, Claire Skinner, David Thewlis, and Jane Horrocks. Life is Sweet is a warm, delightful and realistic comedy-drama about a family trying to live day-by-day.

It's a nice Sunday in the London suburb of Enfield as a working-class mother Wendy (Alison Steadman) and her chef husband Andy (Jim Broadbent) spend the entire day with their 20-something twins. Natalie (Claire Skinner) is a tomboy who hopes to visit America in the future while her twin sister Nicola (Jane Horrocks) is a self-destructive, anti-conventional, anti-social young woman who couldn't stand to be around her family. Later that day, Andy's friend Patsy (Stephen Rea) visits to show Andy something though Wendy, is convinced that it's another scam. Though she is upbeat in her surroundings, even in her two-job lifestyle selling clothes to infants and running a day care for children. Wendy is hoping to just have a nice day while talking to Natalie about her lifestyle as a tomboy.

Later that day, family friend Aubrey (Timothy Spall) arrives with a pineapple to talk about the opening of his new gourmet restaurant. When Andy returns home with a beat-up trailer that used to be a food stand, Wendy and the kids are shocked. Andy though, is very happy that a chance for his dream in running his own food stand and working independently is finally coming true as he gives Patsy a huge thanks. With him and Wendy coming to see Aubrey's new restaurant, Aubrey is happy that his dream is finally coming until he learned that his waitress has quit on him to go on a trip to Prague. Wendy decides to help him as a waitress for the opening night, which is the next day while Andy gives him his full support.

After another day of work where Natalie works as a plumber's assistant saving her money for her trip to America, Nicola receives an unexpected visit from her secret lover (David Thewlis). Convinced that she is fat, though in reality looks gravely thin, she asks her lover to have sex with her while she's tied up and covered in jam. Wendy dresses up to serve as waitress as she and Aubrey's chef Paula (Moya Brady) is getting ready for opening night. The evening becomes a disaster as no one shows up leaving Aubrey drunk and Paula a bit distraught. Wendy's night is worse when Andy returns home drunk after drinking in a pub with Patsy as the two talk about what's going to happen next.

Andy apologizes about that night though he still plans to meet Patsy in a pub while helping out Aubrey before going to work as Wendy decides to sit out for the day. Nicola spends another day with her lover but his frustration over her unconventional tactics has gotten to him. With Wendy spending the day to clean her home, she has a heart-to-heart with Nicola about her behavior and pities her though Nicola doesn't want anything only to break down after the conversation. If Wendy's family problems weren’t bad enough, Andy gets injured leaving the entire family to realize what they have to do next.

Noted for working without a script, many of his films often have an improvisational feel in terms of dialogue and performance. Life is Sweet is no exception though in Leigh’s observant direction, he definitely does tell a story about a dysfunctional family trying to keep their feet on the ground while remaining optimistic, with the exception of Nicola. The structure of Leigh's story is wonderful since it's set in 3 days. The first day being an introduction to the family and their eccentric behavior along with their friends. Especially in the parallel to how Andy and Aubrey are both achieving the dreams. The second act is where those parallels began to differ with Aubrey's troubling first day and Andy in shock that his dream might actually come true after working in a job that he doesn't like. The third act and final day is where everything breaks down emotionally and spiritually where the family comes together and look forward to the next part of their life, no matter how downbeat it is.

It's just not family issues and the working-class area that Leigh talks about but also the dynamics of the individuals. The real driving force of the story is Wendy who is a fierce supporter of everyone despite their choices. She supports Natalie for her work and desire since she is more content with who she is while also supporting her husband for seizing his opportunity. Then there's Nicola whose world is a mess since she is a person who had a chance only to find herself to be immensely disillusioned, with very few people around her, and having a hatred for everything including herself and her surroundings. The scene where Wendy and Nicola begin to talk, it's Wendy who understands her more than Nicola does. It's the film's most emotional scene of the movie that leads to an aftermath where all the characters have to grow. The credit for all of these things goes to Mike Leigh though the only flaw in his direction is in that improvisation whether the audience isn't sure if some things are improvised or planned.

Helping Leigh in capturing a realistic vision is cinematographer Dick Pope in his first of many collaborations with Leigh. While the film is shot in grainy film stock, the film has an authentic look in what a London suburb looks like, especially in its lighting where everything feels and looks real. It's no wonder Leigh has chosen Pope to become his regular collaborator after all these years. Helping out in the look of the film for its look is production designer Alison Chitty where everything looks like a working class place and the attempted sophistication of Aubrey's restaurant. Lindy Hemming shines with her work on the costumes which goes from the authenticity of what the family is wearing to the zany clothing that Aubrey wears which includes a San Francisco Giants jacket, a hat, and all sorts of things. The film is nicely edited by Jon Gregory while Rachel Portman delivers a memorable film score that plays to the upbeat attitude of Wendy.

While the film has a small cast of eight main actors, it's still a wonderful ensemble featuring Moya Brady as Andy’s quiet, desperate chef and a young David Thewlis as Nicola's frustrated, eccentric lover. Stephen Rea gives a funny performance as Patsy, a con artist who opens the door for Andy’s dream while his generosity might come off as manipulative despite his intentions. Timothy Spall is also funny as Aubrey with his nerdy clothing and eccentric behavior but when his dream falls apart, Spall brings a lot of depth and sadness to his role despite being bad to the people around him. Claire Skinner is excellent as the content, driven Natalie who refuses to confirm her sexuality while dealing with her own family while knowing full-well of her sister's self-destructive behavior.

Of the supporting cast, no one gives a brilliant performance as Jane Horrocks as the anti-social, bulimic, anti-conventional Nicola. Horrocks throughout the film sneers and never smiles while talking about being an individual when really, she's just trying to destroy herself through all sorts of things. Whether it's through eating large amounts of food only to throw it up or to have strange sexual moments with her lover. Horrocks steals the show in every moment of the film, even when her mother cracks through her emotional shield. Future-Oscar winner Jim Broadbent brings a humorous, delightful performance as Andy who hopes for a better life and becomes fulfilled when his dream starts to come true. Broadbent brings a lot of warmth and humor to his role while in the final act, he brings a sense of hope and humor despite an incident that would affect the course of the film.

The best leading performance goes to Mike Leigh's then-wife Alison Steadman as Wendy. Steadman brings a lot of cheerfulness and optimism to her role no matter how grim in whatever situation she’s in. There's also a realness into her performance while playing well to Leigh's improvisational direction. Steadman carries the movie with such ease while having a lot of great, comedic, heartwarming scenes, and wonderful dramatic moments, especially in her emotional confrontation with Horrocks.

While not a perfect film, Life is Sweet is still a quintessential, realistic and funny film from Mike Leigh. While the film is currently unavailable on DVD and hard-to-find on video, it's a must-see for any fan of Mike Leigh's films. With a superb cast lead by Alison Steadman, Jim Broadbent, and Jane Horrocks along with a group of Leigh regulars like Claire Skinner, Timothy Spall, Stephen Rea, and David Thewlis. The film has something everyone can relate to, even in the characters or situations while it's also a wonderful portrayal of a dysfunctional but loving family. For a look into Mike Leigh's early success, Life is Sweet is the film to see.

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

(C) thevoid99 2011