Bohemian Rhapsody

Directed by Bryan Singer and screenplay by Anthony McCarten from a screen story by McCarten and Peter Morgan, Bohemian Rhapsody is the story about the life of Queen frontman Freddie Mercury from the formation of the band Queen to their legendary performance at Live Aid in July of 1985. The film is bio-pic that play into a man’s rise into becoming a star only for him and the band to become big while dealing with the many trappings of fame as Mercury is portrayed by Rami Malek. Also starring Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aidan Gillen, Allen Leech, and Tom Hollander. Bohemian Rhapsody is a drab and un-exciting film about one of the greatest vocalists of the 20th Century told in such poor style by Bryan Singer.

The story of Queen is probably one of the finest stories ever told in the history of rock n’ roll as a band that featured a flamboyant vocalist in Freddie Mercury along with the soaring guitar work of Brian May (Gwilym Lee), the bass work of John Deacon (Joseph Mazzello) and the thunderous drumming of Roger Taylor (Ben Hardy) as they fused glam rock, hard rock, and progressive rock early in their career. Then in 1975, the band released A Night at the Opera that included the song Bohemian Rhapsody as they would become massive superstars in their native Britain and around the world while would spend the rest of the 70s and early 1980s reaching a worldwide audience and continue to do so until Mercury’s death in November 24, 1991 of bronchial pneumonia due to the cause of AIDS just 24 hours after he announced to the world he had AIDS. While the band’s story would be tailor made for a feature film to showcase the band’s early struggles and their many rise and falls that they would endure, this film unfortunately manages to play by the numbers and schematics expected into a bio-pic which is the opposite of what Queen are.

Anthony McCarten’s screenplay focuses mainly on Mercury from the time he was working as a baggage handler at Heathrow while following a band called Smile that would feature May and Taylor in 1970 to the band’s legendary performance at Live Aid in 1985. It plays into the traditional schematics of a wannabe singer with dreams of being a band, meet the people he would form the band, fall in love with a girl or a guy, they become successful, egos become inflated, one wants to make a solo record, break-up, everything goes to shit, and the eventual reunion/redemption. Queen doesn’t follow that formula but McCarten’s script not only relies on that schematic but would also make Mercury’s life story dull and take away some of the edges that he was known for in his personal life as many of sexual exploits are only hinted superficially and not any further. At the same time, McCarten’s script seems lost in what story to tell as it relates to Mercury’s personal life and the people whom he’s close with whether it’s longtime on/off girlfriend Mary Austin (Lucy Boynton) and Jim Hutton (Aaron McCusker) whom Mercury would meet at a party as he sees Mercury for who he really is.

Then there’s Paul Prenter (Allen Leech) who was Mercury’s personal manager/assistant as he is a figure that would be a source of conflict between Mercury, the band, and those close to Mercury though he is first presented as an assistant to the band’s first manager John Reid (Aiden Gillen). Prenter is someone who is an enabler to Mercury’s vices as he would also do things to drive the wedge between Mercury and the band whether it’s through creative issues or lifestyle issues. It’s a dramatic crutch that loses sight of the real story that relates to Queen’s continuous rise but the script doesn’t dwell on the early struggles while taking some dramatic liberties into the conflict within the band over creativity. There are also moments that are baffling as it relates to historical inaccuracies and a lot of anachronisms.

If the script is a mess in its inability to find a focus on what part of the story to tell, it is nothing compared to the chaos that is in Bryan Singer’s direction. Shot mainly in Britain, the film tries to capture the spirit of the band in terms of its flamboyance and over-the-top presentation which they were known for but in all of the wrong places. Notably in the fact that Singer doesn’t do enough to make the film be dangerous as he’s confined by the PG-13 rating which is too tame for a band like Queen while he also makes some bad visual choices and dramatic moments that never felt genuine. As great as those songs are, Singer unfortunately create moments of how they create this song or that song where it felt more like sketches rather than real scenes as an excuse for those songs to be played. Even in a sequence in the creation of the film’s titular song as it is played for humor that never felt funny and instead is portrayed as awkward.

Due the chaotic presentation of the film and its inability to be unconventional, the film would have some tonal issues in the presentation where it wants to be entertaining and dramatic. Part of the reason for its tonal inconsistencies is due to the fact that Bryan Singer was fired just weeks before principal photography was finished and was replaced by Dexter Fletcher who seemed to try and create a film that is at least engaging. Unfortunately, Fletcher couldn’t clean up much of the film’s stench in some of the compositions that Singer created that includes the sequence where Queen meets with John Reid for the first time with Prenter also at the meeting. The usage of medium shots, wide shots, and close-ups in that fast-cutting style is a key scene of how bad the presentation is as it is clear Singer is trying to create something fast and to the point but it felt so wrong. Especially for the fact that the scene is set in the early 1970s just as the band had released their first album when in reality, Queen wouldn’t meet Reid until 1975 around the time they were making A Night at the Opera while Mercury and Queen wouldn’t meet Prenter until 1977 as he was part of the band’s circle until 1986 when Mercury got rid of him for good.

It’s these historical inaccuracies that really irks anyone who is familiar with Queen as Singer, Fletcher, and those involved in the post-production definitely play it safe and suggest that Queen was a success in the early years following the release of their hit single Killer Queen in 1974. That’s not exactly true as Queen didn’t become a big deal in the U.S. until a year later due to the fact that their early U.S. appearances had them opening for Mott the Hoople which was cut short due to illnesses in the band. In that sequence of them playing in the U.S., the song Fat Bottomed Girls is being played even though the song wasn’t created until 1978. The anachronisms and historical inaccuracies, which includes claims that the band broke up in 1984 which was false though they took a hiatus the year before to do other projects, definitely kill the film’s enjoyment yet it’s nothing compared to the climatic performance in Live Aid as it is extremely underwhelming in its entire presentation.

Famous for its 20-minute set of six songs, a sea of arms filling out Wembley Stadium as they clap in unison to Radio Ga-Ga. Only four of the six songs are presented while the scene which is shot in an air force base, as Wembley Stadium is no more, feels very small. Plus, its emphasis to get the perspective of the audience in the stadium, pubs, and at the homes of several people including Mercury’s family makes it an awkward experience. Overall, Singer, Fletcher, producer Graham King, producer/Queen manager Jim Beach, and 20th Century Fox create a poor and inconsequential film about the life of one of the greatest singers of the 20th Century.

Cinematographer Newton Thomas Siegel does some fine work with the film’s cinematography in creating some of the lighting for some of the shows performed in arenas as well as some low-key lighting for a few dramatic scenes in the film. Editor/music composer John Ottman does terrible work with the film’s editing as it plays too much into chaotic editing styles where you get a few seconds of a shot rather than let a shot play out for more than 10-15 seconds including that scene of Queen meeting John Reid as it’s an example of what not to do while Ottman’s music score is mainly a collage of music from Queen as it is never memorable nor does it stick out. Production designer Aaron Haye, along with set decorators Anna Lynch-Robinson, Sarah White, and Sarah Whittle plus art directors David Hindle and Stuart Kearns, does excellent work with the look of the clubs and some of the places the characters go to including Mercury’s homes in London and Munich. Costume designer Julian Day does fantastic work with the design of some of the clothes that Mercury wear to sport his evolving fashion from the flamboyant to the leather look he would have in the early 80s.

Hair/makeup supervisor Rebecca Cole does terrific work with the evolving hairstyle and look of Mercury from the 1970s to the 1980s though the prosthetic overbite teeth that Malek has to wear as Mercury at times is visually distracting for the wrong reasons. Special effects supervisor Manex Efrem, along with visual effects supervisors Ana Grgic and Paul Norris, does some OK work with pyro for some of the stage performances though the visual effects for the crowd and the recreation of Wembley Stadium doesn’t feel right as it’s not as big to play into the magnitude of Queen’s legendary performance at Live Aid. Sound editor John Warhurst has some good moments in the sound in some of the non-musical scenes yet the way the music is mixed with the live audience never feels right nor does it feel like a live sound as it really hurts the film. Music supervisor Becky Bentham does decent work with the film’s soundtrack as it feature a bit of music from May/Taylor’s pre-Queen band Smile along with some of the music at the times though the usage of Rick James’ Super Freak at a party scene set during the late 70s when the song hadn’t even been made yet just adds to the jarring tone of the film.

The casting by Susie Figgis is wonderful in some spots as it feature some small appearances from Michelle Duncan as a journalist asking Mercury some personal questions during a press conference, Neil Fox-Roberts as Mary Austin’s deaf father, Max Bennett as Austin’s boyfriend late in the film, Jack Roth as Smile vocalist/bassist Tim Staffell, Dermot Murphy as Live Aid co-organizer Bob Geldof, Tim Plester as music producer Roy Thomas Baker, Dickie Beau as BBC radio DJ/future comedy legend Kenny Everett, Priya Blackburn as Mercury’s sister Kashmira Bulsara, Meneka Das and Ace Bhatti as in their respective roles as Mercury’s parents in Jer and Bomi Bulsara, and current Queen vocalist Adam Lambert in a lame cameo as an American trucker Mercury meets in the U.S. with all sorts of horrific beard, mustache, and trucker looker as he looks so unconvincing to play a trucker.

Mike Myers’ cameo as EMI music executive Ray Foster is one that is just distracting as he is just there to give Queen a lot of shit and be used as a plot device to motivate them to release Bohemian Rhapsody with a reference to the film Wayne’s World as it never works and only feels like useless cameo. Aaron McCusker is pretty good as Mercury’s life-partner in his final years in Jim Hutton though only appears in two scenes such as their lone meeting during the second act at the aftermath of the party and just before the film’s climax at Live Aid. Allen Leech is OK as Paul Prenter as an assistant to manager Jim Reid who would become Mercury’s personal assistant/lover who would also be Mercury’s enabler as he’s someone who is never really defined as a true person but rather a caricature that doesn’t have any redeeming qualities. Aiden Gillen is terrific as Queen’s first manager Jim Reid as someone who would help them be successful though he is underused. Tom Hollander is superb as Jim “Miami” Beech as the band’s second and permanent manager who started off handling the band’s financial, legal, and other business issues and later help them deal with conflicts and such.

Lucy Boynton is fantastic as Mary Austin as Mercury’s on-off girlfriend/muse as someone who was supportive of Mercury and helped him find himself through fashion while also being the one person to try and ground Mercury later in the film. Joseph Mazzello and Ben Hardy are excellent in their respective roles as bassist John Deacon and drummer Roger Taylor with Mazzello as the more reserved Deacon who shares Mercury in his love for funk while Hardy displays the energy of Taylor but also someone who isn’t afraid to show his opinions on things. Gwilym Lee is brilliant as guitarist Brian May who is shown as someone a bit reserved but also has some things to say as he also tries to maintain some order in the band despite some of the issues they have. Finally, there’s Rami Malek in an amazing performance as Freddie Mercury as the Queen vocalist who is a man of charisma and grandeur as Malek is able to capture all of those nuances of Mercury performance-wise but is hampered by the script in the way Mercury is presented behind the scenes at never gets the essence of who he is as it’s a flawed performance only because of the script and the shortcomings of the direction despite Malek’s effort to make Mercury interesting.

Despite some of the performances of the cast and the music of Queen that is presented, Bohemian Rhapsody is a film that is a total disservice and a major slap in the face to the legacy of Queen and its late singer in Freddie Mercury. It’s a film that plays way too by the book to create any standout moments while never doing enough to go into the edges and some of the funnier and seedier stories of the band. Plus, it’s a film that die-hard fans of Queen no question will be insulted by for its inaccuracies and dramatic liberties as it tries to do so many things only to end up being quite boring in some parts. In the end, Bohemian Rhapsody is just a tremendously horrible and insulting film from Bryan Singer and everyone else who had a hand in creating another lame bio-pic.

© thevoid99 2019

The Invisible Woman (2013 film)

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

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

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

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

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

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

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

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

Ralph Fiennes Films: Coriolanus - (The White Crow)

© thevoid99 2014

Gosford Park

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

© thevoid99 2013

In the Loop

Based on the British TV show The Thick of It, In the Loop is the story of a British government official who makes an offhand comment on TV as things go out of control as both American and British government officials try to sort things out as they’re on the verge of a war with the Middle East. Directed by Armando Iannucci and written by Iannucci, Jesse Armstrong, Simon Blackwell, and Tony Roche with additional material from Ian Martin. The film is a black-comedy satire that explores the backstage world of politics as people try to prevent or start a war. Starring Peter Capaldi, Tom Hollander, Gina McKee, Mimi Kennedy, Anna Chlumsky, Chris Addison, Steve Coogan, David Rasche, and James Gandolfini. In the Loop is a whimsical yet very witty political comedy from Armando Iannucci.

After an interview with International Development minister Simon Foster (Tom Hollander) for the BBC goes bad due to comments made by Foster. Malcolm Tucker (Peter Capaldi), the director of communications for the prime minister, goes on damage control over Foster’s comments as he confronts Foster and communications director Judy Molloy (Gina McKee) over what happened. With Foster’s comments getting into more trouble about a possible war happening, it only worsens when U.S. officials led by U.S. Assistant Secretary of State for Diplomacy officer Karen Clark (Mimi Kennedy) visits where Foster attends the meeting and becomes mocked.

Tucker sends Foster and his new assistant Toby (Chris Addison) to Washington D.C. to meet up with Clark and U.S. Assistant Secretary of State for Policy official Linton Barwick (David Rasche) for a meeting with war council that’s to include Lt. General Miller (James Gandolfini). Foster and Toby deal with Clark and her assistant Liza Weld (Anna Chlumsky) as Clark wants Liza to get some information from Toby whom they had known each other since college. After a meeting with the war council where Foster ends up looking more like a fool and information is leaked to the press. With Foster and Toby working for a local constituent building where they deal with a local (Steve Coogan), Toby gets himself into trouble while Foster’s shenanigans has his being mocked by the press.

With Tucker sending Foster and Toby back to the U.S. where they’re to travel to New York City for a United Nations meeting, Tucker and Molloy join them while Tucker sends Senior Press Officer Jamie MacDonald to find out who sent out the leak. The brash MacDonald confronts Diplomacy Director of Foreign Office official Michael Rodgers (James Smith) and Rodgers’ secretary Suzy (Olivia Poulet) about the leak while Foster makes a decision about his political career. In the U.N., more complications arose as Foster becomes aware of what he’s been doing while Tucker would make moves that would help save face for the British government.

The film is a satire on political strategy that involves the mistake of an official’s comment leading to problems between U.S. and British relations as they all try to smooth things out. In a game of manipulative politics, a communications director gets this official in the U.S. along with an assistant where they end up being played in a game of strategy where the U.S. try to be on top of things. The screenplay delves into this world where everyone in the game of politics try to outdo who while using people in the process for their own gain. Throughout the film, there’s characters who clearly find out they’re being used while some are willing to be involved.

The script is also very multi-layered for the fact that there’s a lot of characters with overlapping dialogue along with back-and-forth narratives that revolve around both British and U.S. political strategies as each faction figure out what to do. With a lot of the dialogue being fast, stylized, and often crass due to the more aggressive characters in the film. It adds to who these people are as they’re doing damage control where they become very confrontational and vulgar as they’re all trying to protect their territory. Caught in the middle of this damage control is this official who finds himself becoming a pawn as he would become more confused by the world of politics.

Armando Iannucci’s direction is truly engaging to watch in the way he goes for this very offbeat, cinema verite style that has a lot of intimate moments on the conversations where the camera is always there to see what is going on. Even if it involves someone in the background watching where Iannucci knows that a character in the background is either a target or is about to do something that will shake things up. While the film is essentially a satire, Iannucci doesn’t stray into silly gags or parodies but rather go for small moments of silliness while letting the actors just go all out in the characters they play no matter how despicable or idiotic they are. Overall, Iannucci creates a truly superb and very funny film about political damage control.

Cinematographer Jamie Cairney does an excellent job with the film‘s cinematography providing differing looks to the British and American locations with the British interior and exteriors being a bit more grimy while the American set pieces having more lights to complement their personalities. Editors Ant Boys and Billy Sneddon do nice work with the editing by capturing a lot of the intensity of the conversations that goes on with some rhythmic cutting as well as straightforward cuts to play up the more intimate moments of the film. Production designer Cristina Casali, along with set decorator Clare Keyte and art director Nick Dent, does fantastic work with the set pieces such as the offices of the British officials to the more spacious offices and conferences rooms of the American officials to contrast the two differing world of politics.

Costume designer Ros Little does a terrific job with the costumes in maintaining a look for all of the characters wearing suits and all sorts of business attire while Lt. General Miller maintains a uniform to emphasize his intimidating persona. Sound supervisor Tim Alban does a fine job with the sound to capture the intimacy of some of the private conversations to the more raucous world of the board meetings and such that occur in the film. The film’s score by Adem Illhan with the Elysian Quartet is pretty good as it’s very low-key with plaintive piano pieces to more thrilling orchestral arrangements to play up the humor and more tense dramatic moments of the film.

The casting by Sarah Crowe and Meredith Tucker is brilliant for the ensemble that is created for this film. In small but notable roles, Zach Woods as brown-nosing junior staffer, Paul Higgins as the very angry Scottish official Jamie MacDonald, Olivia Poulet as Toby’s girlfriend/civil servant Suzy, James Smith as a classical-music loving diplomacy director, Alex MacQueen as the British representative for the U.N., and Steve Coogan as angry local upset over a wall that’s to collapse on his mother’s garden. Anna Chlumsky is very good as the ambitious assistant Liza whose paper about war gets her a lot of attention while David Rasche is excellent as the smarmy U.S. official Linton Barwick. Gina McKee is wonderful as a communications director who helps try to smooth things out while Mimi Kennedy is terrific as a diplomacy official who tries to use Foster for her own gain.

Chris Addison is a delight to watch as the naïve assistant who goes way over his head in trying to help out Foster only to end up being a key player to further complicate matters. James Gandolfini is great as Lt. General Miller as a man unsure of his role while not wanting to go to war as he also tries to use Foster for his own political reasons. Tom Hollander is amazing as political official Simon Foster who unknowingly creates an incident where he becomes a pawn in a political game furthering his confusion about his role in politics. Finally, there’s Peter Capaldi in a magnificent performance as the ambitious yet terrifying Malcolm Tucker who bullies his way to do damage control while always being very intimidating to officials whether its British or American.

In the Loop is an extraordinary yet humorous film from Armando Iannucci. Featuring a fantastic ensemble cast led by Peter Capaldi, it’s a film that explores the world of foreign relations with biting satire and brash humor. While it’s not an easy film to follow through in terms of its subject matter and unconventional approach to comedy. It is the kind of film that is willing to explore the fallacy of politics and do it in a very witty manner. In the end, In the Loop is a masterfully-crafted comedy from Armando Iannucci.

Related: The Death of Stalin

© thevoid99 2012

Hanna

While 2005’s adaptation of Pride & Prejudice and 2007’s Atonement made Joe Wright one of the hottest rising British directors. He went to America in 2008 to helm The Soloist with Robert Downey Jr. and Jamie Foxx. The film was delayed and pushed to an early 2009 release. Disappointing box office and lukewarm reviews hurt the film as it was also Wright’s most expensive at $60 million only drawing half of its budget through its worldwide box office gross. After some time off, Wright returns to Europe as he also decides to take on a different genre for a cat-and-mouse revenge thriller simply called Hanna.

Directed by Joe Wright with a story by Seth Lochhead and screenplay by Lochhead and David Farr. Hanna tells the story of a young girl who lives alone in the forest with her father as he trains her to be an assassin. When he takes a leave to Berlin, she is finally captured by the CIA where a corrupt agent goes after her following an escape. A change of pace from Wright’s previous period-drama films, Wright reunites with his Atonement co-star Saoirse Ronan who plays the title character as they go for a different kind of action film. Also starring Eric Bana, Cate Blanchett, Olivia Williams, Jason Flemyng, Jessica Barden, and Wright regular Tom Hollander. Hanna is a thrilling yet exciting action-suspense film from Joe Wright and company.

Living alone in a forest, Hanna has been taught by her father Erik Heller (Eric Bana) to kill and fight for her own survival. Erik also teaches his 16-year old daughter different languages though she is still curious about who she is and the world outside as she has no idea about what music is and such rather in their definitions. On a particular day, Erik brings a transmitter as it would reveal their location to the woman who killed Hanna’s mother (Vicky Krieps) named Marissa Wiegler (Cate Blanchett). Hanna turns on the transmitter while Erik leaves to go to Berlin as he hopes to meet her later.

Hanna is eventually captured by Wiegler’s associates as she is interrogated by a decoy (Michelle Dockery). Instead, Hanna deposes the decoy and other soldiers as she escapes the high-tech prison as she learns she is in Morocco after being found by a young girl named Sophie (Jessica Barden) who is traveling with her family. Hanna eventually catches up with Sophie and her family as she hides in their van as she finds herself introduced to a world that is very different from what she knows. Marissa meanwhile, goes on the hunt for Erik Heller as she also hires a mercenary named Issacs (Tom Hollander) to find Hanna.

With Hanna traveling with Sophie, her little brother Miles (Aldo Maland), and their parents (Jason Flemyng and Olivia Williams). Hanna finds herself drawn to them as she finds her first real friend in Sophie but wondering about the mysterious presence of Issacs. With Hanna wanting to go to Berlin as Sophie’s parents help her, Hanna sees Issacs as she tries to get them away from Sophie and her family. After evading Issacs, she travels to Berlin to find her father as the address that Erik has given her leads her to a home owned by a man named Mr. Grimm. While Hanna wonders about her own identity based on a DNA sheet that she took from the prison, she learns who she is as she confronts her father and eventually, Marissa.

The film is about this young girl who for all of her life has been trained to be an assassin of sorts while living with her father somewhere in the middle of a forest. She’s trained to become a super-soldier while every word she’s taught is only by its actual definition. The only idea of love that she has is in a picture of her mother and a book of fairy tales by the Grimm Brothers. Upon her capture and escape, Hanna is introduced to the real world where it’s different from everything she’s known. When she meets Sophie and her family, she gets a look of what family life is along with what music is and what it’s like to kiss someone.

There is something very innocent in a girl like Hanna who is just curious about this new world she’s in and when she’s confronted by people who want to get rid of her. She finds a reason to protect this new family she finds herself being accustomed to and learns to care for them. Even as she tries to find something about herself while wondering why this woman named Marissa is going after her and her father.

Eventually, there is a reason why Marissa is going after Hanna and Erik as she is a woman that is a corrupt CIA agent has a very sick demeanor. From the way she brushes her teeth to the shoes she wants to wear as she is kind of a traditional fairy tale villain. Then there’s Erik Heller who is a guy that is just wanting to protect Hanna from Marissa and her henchmen. Yet, he is also someone carrying a secret about Hanna and who she is.

Screenwriters David Farr and Seth Lochhead do a great job with character study on Hanna and Erik though the character of Marissa isn’t as developed. Yet, there isn’t a need since she is a slimy villain. Even as they use flashback for what Marissa did the night Hanna’s mother died. The screenplay definitely does an excellent job in mixing character study, action, drama, and also comedy. Even as it features moments that is very natural with the humor being strange but natural to who Hanna is.

Joe Wright’s direction is definitely marvelous as he definitely goes for a stylistic approach to the action where he does go into convention but also play along with it. Notably a great tracking shot that follows Erik from a bus to a subway where he’s followed and surrounded by men into a fight scene that is all in one take. Even as he has the action play to rhythms and such while creating great compositions to the confrontation scenes and action sequences. For the rest of the film including for the dramatic scenes in Morocco and Spain, it’s straightforward but also engaging since it’s shown from Hanna’s perspective.

Even as she is hiding in the van where she watches Sophie and her family singing David Bowie’s Kooks from Hunky Dory. There’s also some great humor to the film as includes a scene where Hanna and Sophie are hanging around with boys as a boy is trying to get closer to Hanna hoping to kiss her. It’s a very simple, comedic approach that recalls the era of silent films it plays off natural to the awkwardness of it. While all of the action stuff that happens mixed in with the more character-driven study does make the film a bit uneven. Still, Joe Wright does step up his game in terms of presentation and composition as he creates what is definitely a fun action-thriller.

Cinematographer Alwin H. Kuchler does a superb job with the film‘s photography from the snowy scenes in Finland to the varied locations in Morocco, Spain, and Berlin. Kuchler’s photography definitely captures a vibrancy to each location along with interiors including a scene of Hanna in her hotel room to dark lights of the Spanish docking bay where she’s being chased by Issacs and his men. Kuchler’s work is definitely the film’s big technical highlight.

Editor Paul Tothill does an excellent job with the film’s editing from the kinetic rhythm of the action scenes while maintaining a leisured pace for the more dramatic moments. Tothill’s cutting is straightforward while doesn’t lag in its pacing while continuing to keep up with the suspenseful tone of the film.

Production designer Sarah Greenwood, along with set decorator Katie Spencer and art director Niall Moroney, does a wonderful job with the set designs that includes the cabin home that Erik and Hanna lives to the slick world that Marissa lives in. Even as the real highlight of the art direction is Mr. Grimm’s home that is filled with lights and such as it’s definitely plays up to Hanna’s childlike fascination. Costume designer Lucie Bates does a very good job with the costumes from the rugged clothes that Erik and Hanna wear early to the slick, business-like suits that Marissa wears. Even to the bohemian-like clothes that Sophie’s parents wear as the costumes play up to Hanna’s growing curiosity with the world.

Sound designers Craig Berkey and Christopher Scarabosio do a phenomenal job with the sound work from the sparse world of the cold forest to the chaos in the cities and places that Hanna encounters. Particularly with the technology that Marissa surrounds herself with to communicate with other officials along with the intimacy in her world which is very cold.

The film’s score by the Chemical Brothers is a hypnotic yet frenetic score with its array of electronic textures and intense beats. Featuring some great themes that plays up to Hanna’s innocence as well as Marissa’s demeanor, the Chemical Brothers’ score is definitely a real highlight of the film. Even as the soundtrack includes pieces of flamenco, Eastern music, and pop music including David Bowie’s Kooks.

The casting by Jina Jay is amazing for its array of memorable appearances from actors (whose names can’t be found) for roles such as Hanna’s grandmother and the whimsical Mr. Grimm. Other notable small roles include John MacMillan as Marissa’s colleague Lewis, Michelle Dockery as the fake Marissa, Mohamed Majd as a hotel owner in Morocco, and Vicky Krieps in flashback scenes as Hanna’s mother. Aldo Maland is very good as Sophie’s little brother Miles while Jason Flemyng is also good as Sophie’s dad. Olivia Williams is excellent as Sophie’s mother who helps Hanna while being a bit of the lost maternal figure that Hanna never had.

Jessica Barden is superb as Sophie, a teenage girl who befriends Hanna as she helps introduce to a new world while being a bit snotty towards her parents over their bohemian lifestyle. Tom Hollander is great as Issacs, a slimy mercenary who can be a badass but also play it cool from the clothes he wears to his slick blond hair. Eric Bana is brilliant as Erik Heller, Hanna’s father who tries to prepare for a world where she’s chased as he is also a man that can kick ass but also has a warm side to him. While it’s a mostly serious role from Bana, he also allows him to be funny through subtle moments as it’s a fantastic role for the actor.

Cate Blanchett is phenomenal as Marissa Wiegler, a devilish CIA official hell-bent on capturing Erik and Hanna while doing anything she can to get the job done. With Blanchett sporting a Southern accent of sorts, it’s a very stylish yet fun role that Blanchett plays as she also makes her character cool and also, kind of likeable despite how bad she is. Finally, there’s Saoirse Ronan in a magnificent performance in her role as the titular character. Ronan truly sells the idea that a little 16-year old can be a supreme badass from the stunts she does along with her combat skills. Yet, Ronan manages to balance that dangerous side with someone who has a childlike fascination with things that are new to her while showing some subtle humor to how she does things. It’s a very remarkable performance for the young actress who is definitely becoming an actress to watch out for in the years to come.

Hanna is a fun, smart, and hypnotic action-thriller from Joe Wright that features a great cast led by Saoirse Ronan along with some amazing technical work and a brilliant score by the Chemical Brothers. Audiences wanting a different kind of action film that has some conventional ideas but something more will definitely want to see this. Fans of Joe Wright will be relieved to see the young British director refining his tricks while taking on something different as he broadens his range as a storyteller. In the end, Hanna is an excellent yet entertaining film from Joe Wright.

Joe Wright Films: Pride & Prejudice (2005) - Atonement - The Soloist - Anna Karenina

© thevoid99 2011

The Soloist

After two back-to-back successful films, British filmmaker Joe Wright was already one of the hot rising directors emerging into the mainstream. His 2005 adaptation of Jane Austen’s Pride & Prejudice and 2007’s Atonement had helped established Wright as a director who can create lush imagery. For his third film, Wright went to Los Angeles to direct a true story about a journalist who befriends a homeless musician suffering from schizophrenia called The Soloist.

Based on the book and articles of Steve Lopez, The Soloist is the story of how the troubled Lopez meets Nathaniel Ayers. Ayers was once a cello prodigy who became troubled by schizophrenia by the time attends Julliard and eventually becomes homeless. Directed by Joe Wright and screenplay by Susannah Grant, the film is a dramatic tale of how a troubled journalist’s life is changed by the meeting of a gifted musician as Robert Downey Jr. plays Lopez and Jamie Foxx as Ayers. Also starring Catherine Keener, Stephen Root, Lisa Gay Hamilton, Nelsan Ellis, Rachael Harris, and appearances from Wright’s Pride & Prejudice co-stars Jena Malone and Tom Hollander. The Soloist is an interesting but lackluster drama from Joe Wright.

Despite being an acclaimed journalist for the Los Angeles Times, Steve Lopez is a man whose life isn’t going very well. Divorced from his wife/L.A. Times Mary (Catherine Keener), Lopez is trying to find some way to get himself back on good terms following a bike accident. During treatment for his accident, he hears a violin playing in a yard as he comes across a homeless man named Nathaniel Anthony Ayers. Learning that he was in Julliard, he tries to find information as he was a student in the early 1970s only to drop out after a two year stint. After calling Nathaniel’s sister Jennifer (Lisa Gay Hamilton), he learns about Nathaniel’s life as a child as his mother (Lorraine Toussaint) believes he will do great.

After writing an article about Ayers, an old woman suffering from arthritis gives Lopez her cello for Ayers to play. After seeing Ayers at a tunnel, he gives him the cello as Lopez hears Ayers play as he realizes that he and the cello need to be in a safe place. Convincing Ayers to stay at a homeless shelter, it turns out to be a good idea as a doctor (Nelsan Ellis) helps out while suggesting that Ayers should get an apartment later on. The friendship slowly builds as Lopez also works on other assignments as he also takes Ayers to a rehearsal though it wasn’t easy due to Nathaniel’s attachment to his shopping cart. With things moving slowly, Lopez gets an apartment for Ayers despite some reluctance.

After bringing in a renowned cello player named Graham Claydon (Tom Hollander) to see Ayers, Claydon agrees hoping to help Ayers through music. Though the lesson goes well, he realizes that Ayers is becoming attached to Lopez as Ayers has a chance to play a recital. Instead, it becomes a disaster due to Ayers’ mental illness as Steve blames himself for what happens. Even as he felt that Ayers is helping him with his own issues.

The film is about a journalist’s unexpected friendship with a mentally-ill musician that ends up helping both of them. While it’s an interesting yet captivating story, the problem is that the screenplay tends to over-dramatize the relationship between Lopez and Ayers while there’s additional elements in the screenplay that doesn’t really belong in the film. There’s also an underdeveloped storyline about Lopez’s own relationship with ex-wife Mary though the truth is that Steve Lopez never got divorced. Some of the dramatic liberties that screenwriter Susannah Grant take with the story to makes the film lose focus on what it’s supposed to be about. Even as Grant adds a bit of heavy-handed ideas about the issue with the homeless, though its intentions are thoughtful, as well as a character that spouses religious ideals.

Joe Wright’s direction definitely has a lot of flourishes that he’s known in tracking shots, wonderful zooms, and lots of amazing ideas. The problem is that he is given an uneven script that doesn’t play to his strengths. While he creates some wonderful sequences where Lopez just plays the music, some of it becomes quite unnecessary as there’s a scene where birds (ala CGI) fly around Los Angeles that really overdoes the dramatic tone of the music.

At the same time, he also has to shoot scenes involving the homeless where while it’s interesting and does provide insight into that world. It becomes a distraction as if he wants to make something about the homeless situation in Los Angeles when really, the film should be about these two men. Despite some interesting sequences and some chances to not over-dramatize events, Wright stumbles with his approach for this film.

Cinematographer Seamus Garvey does some excellent work with the photography in bringing some wonderful yet gorgeous shots of the nighttime exterior scenes of Skid Row Los Angeles. While there’s some great shots of Los Angeles in other places. Garvey’s work is definitely a highlight though it’s nothing really new in comparison to other films shot in L.A. Editor Paul Tothill does a good job with the editing that includes some wonderful rhythmic cuts that plays to the music despite some pacing issues that slows the film down at times.

Production designer Sarah Greenwood, with set decorator Julie Smith and art director Greg Berry do a nice job with the look of the L.A. Times office as well as Lopez‘s home and the apartment that Ayers eventually lives in. Costume designer Jacqueline Durran does a fine job with the costumes in creating casual clothing for most of the cast including the look for Ayers with his cap and such that is pretty unusual but fun to look at.

Visual effects supervisor John Moffatt does some exceptional work for a sequence where it‘s just lights and swirling visuals that play along to the music though the sequences of the birds flying around Los Angeles isn‘t one of those great moments. Sound designers Craig Berkey and Christopher Scarabosio do some wonderful work with the sound to create a chaotic atmosphere for Los Angeles though some scenes where Ayers hears voices in his head gets a little repetitive and overdone at times.

Music composer Dario Marianelli creates an amazing film score that plays up to not just the dramatic elements of the film but also something that infuses Ayers’ gift as a musician. Along with pieces by Johann Sebastian Bach and Ludwig Van Beethoven that helps drive the soundtrack as Beethoven is the most dominant piece of music in the film. Along with cuts by Stevie Wonder, Neil Diamond, the Temptations, the Carter Family, and Beenie Man that all appear in the background. The film’s music and soundtrack is definitely the real highlight of the film.

The casting by Francine Maisler is pretty good for some notable appearances that include Stephen Root and Rachael Harris as fellow journalists of the L.A. Times, Justin Martin as the young Nathaniel Ayers in the flashback scenes about his early life, Lorraine Toussaint as Nathaniel’s mother, and in a cameo appearance, Jena Malone as a Goth-like lab technician. Nelsan Ellis is very good as the homeless shelter doctor who offers Steve Lopez guidance about dealing with Ayers’ illness. Lisa Gay Hamilton is also good as Nathaniel’s sister who is desperate to want to contact him a wonderfully understated scene with Jamie Foxx. Tom Hollander is excellent as Gary Claydon, a musician who tries to help Ayers though approaches it the wrong way.

Catherine Keener is pretty good as Mary Weston, Lopez’s ex-wife and editor, who is a bit baffled by her ex-husband’s fascination with Ayers though her character seems underdeveloped due to the fact that there’s not much more about her life with Lopez. Even as Keener has a very embarrassing scene where she gets drunk at a gathering with Lopez. Jamie Foxx is wonderful as Nathaniel Ayers as Foxx doesn’t go into a sense of vanity into playing a troubled man who refuses to believe he’s schizophrenic. Even as Foxx proves to be a wonderful musician while making some fascinating ramblings and such as he has great rapport with Robert Downey Jr.

Robert Downey Jr. is superb as Steve Lopez, a brilliant but complicated journalist seeking some sort of idea to get his hazy life back on track. While Downey brings some humor to his character, he also adds a lot of dramatic weight to a man who is fascinated by this individual he encounters. It’s a remarkable performance from Downey in the way he brings sympathy to a guy like Lopez.

Despite an amazing cast and a stellar soundtrack, The Soloist is a middle-of-the-road drama that got some great ideas but poor execution in its screenplay and in Joe Wright’s direction. While it wants to be an inspirational story of sorts, it’s coddled up with lots of bad decisions about Ayers’ illness along with some dramatic liberties about Lopez’s own life. Though Joe Wright does display some nice sequences that keep the film from being a total disaster, he’s hampered by the shortcomings of Susannah Grant’s screenplay. In the end despite the superb performances of Robert Downey Jr. and Jamie Foxx, The Soloist is a disappointing film from Joe Wright.

Joe Wright Films: Pride & Prejudice (2005) - Atonement - Hanna - Anna Karenina

© thevoid99 2011

Pride & Prejudice (2005 film)

Originally Written and Posted at Epinions.com on 12/5/05 w/ Additional Edits.

Novelist Jane Austen has been known for creating witty and fantastic romantic novels during the 19th Century. Several of them had become films like Sense & Sensibility in 1995 by director Ang Lee that starred Emma Thompson who won an award for the film's screenplay. Another film that received great reviews in 1996 based on an Austen novel was Emma starring Gwyneth Paltrow while a year earlier, a modern day version of that novel called Clueless was also popular. Another of Austen's famous novels is Pride & Prejudice that some said was the blueprint of what would become the romantic comedy. The story of five young women living in a poor area in 18th Century England where one of the daughters rebels the idea of marriage for money while falling for an introverted but conflicted man named Darcy.

Throughout the years, there's been several versions of Pride & Prejudice on film yet in 1995, a five-hour miniseries starring Colin Firth as Darcy is often considered to be the most quintessential adaptation of Austen's novel. Recently, there's been other variations on Pride & Prejudice including the Bridget Jones films that also starred Firth as a Darcy-like character and Gurinder Chadha of Bend It Like Beckham directed a Bollywood-inspired version called Bride & Prejudice. Now a new version has emerged where this time around, to play the novel's heroine of Elizabeth Bennett, they turn to one of the hottest young actresses around in Keira Knightley to play the role of rebellious heroine.

Directed by Joe Wright with a screenplay by Deborah Moggach (with additional treatment from Austen fan Emma Thompson), Pride & Prejudice is a love story that explores class, society, and marriage for love or money. Set in 18th Century England, it's a story of how the rebellious Elizabeth Bennett decides to change those rules while dealing with the more conflicted Mr. Darcy. Also starring a large cast of British actors including Brenda Blethyn, Judi Dench, Rosamund Pike, Talulah Riley, Carey Mulligan, Tom Hollander, Simon Woods, Peter Wight, Penelope Wilton and Matthew McFayden as Mr. Darcy plus American actress Jena Malone and Canadian actor Donald Sutherland as Mr. Bennett. This new film adaptation of Pride & Prejudice succeeds in bringing the Austen classic to life once again for a new generation of filmgoers.

While living in a modest farm with their own land and a small income, the Bennett family is awaiting some riches to come with Mr. Bennett destined to be gone soon. With Mrs. Bennett (Brenda Blethyn) knowing that if her five young daughters are to survive, they would have to be married to someone who is rich. For the second eldest daughter Elizabeth, it's an idea she doesn't really like. After the family is invited to a party, Elizabeth is introduced to the quiet, arrogant Mr. Darcy who is accompanied by Mr. Charles Bingley (Simon Woods) and his sister Caroline (Kelly Reilly). Elizabeth's older sister Jane (Rosamund Pike) is feeling very attracted to Mr. Bingley while Mrs. Bennett introduces the rest of the clan that includes the quiet and introverted Mary (Talulah Riley), the giddy and excitable Kitty (Carey Mulligan), and the youngest yet outgoing of the clan, Lydia (Jena Malone).

While Jane has fallen for Mr. Bingley, she is invited to meet with him more though despite being ill during her rainy trip. Elizabeth decides to meet Bingley where she finds herself not at odds with Bingley's snobbish sister but also the more prideful Mr. Darcy. Still with her sisters desire to be married, Elizabeth finds herself being courted by a young pastor named William Collins (Tom Hollander). Then during a trip to London with her sisters, Elizabeth finds herself attracted to a militia officer named Mr. Wickham (Rupert Friend) who knows Mr. Darcy despite a falling-out. After another party where she's forced to contend with Mr. Darcy and the courting of Collins, Collins proposes marriage to Elizabeth but refuses. Mrs. Bennett is upset at the situation as she tries to set up the engagement as in the end, Collins weds Elizabeth's best friend Charlotte (Claudie Blakley).

After realizing that Collins was more well-meaning while visiting Charlotte, Elizabeth joins the wedded couple to a dinner held by Lady Catherine de Bourgh (Judi Dench), who is the aunt of Mr. Darcy. Mr. Darcy is also at the dinner where despite his aunt's social prejudice, he becomes impressed by how Elizabeth manages to hold herself. When Elizabeth learns that Mr. Darcy tried to break the possible engagement of Jane and Mr. Bingley, she becomes very angry at him as Darcy tries to explain himself and professing his love for her. After a tiring period, Elizabeth decides to visit her relatives Mr. Gardiner (Peter Wight) and his wife (Penelope Wilton) where they visit the renovated Darcy home where Elizabeth runs into Mr. Darcy again as well as meeting his sister Georgianna (Tazmin Merchant).

While dealing with Darcy's behavior, Elizabeth decides to come to distressing news of Lydia running away to marry Wickham. Even after learning of the real nature of his falling out with Darcy, Darcy ended up giving in despite Elizabeth’s protests to the chagrin of her mother. When Elizabeth contending her feelings for Darcy and vice versa, she tries to confront herself about her own pride and prejudices about him as she tries to find way to satisfy herself and her family.

While adaptations are tricky to pull, especially a Jane Austen novel. Another issue is the many versions that came out where the most notable to rival in terms of purists is the 1995 miniseries. Still, Joe Wright along with screenwriter Deborah Moggach remain very faithful to the entire novel though its understandable that purists will be upset on what was cut. What really is surprising about the film for newcomers is the style of dialogue and the language its spoken where it is very rich within every word that gives the script a true sense of authenticity.

Even Joe Wright's directing that features epic film movements does some fantastic work with the camera movements as it focuses not on just the relationship of Darcy and Elizabeth but giving the smallest characters a moment to shine. Overall, the directing is very spot-on and proves itself to be very true to what Austen wanted. It's romantic, intelligent, deals with social issues, and it's also funny.

Helping Wright in his visual scope is cinematographer Roman Osin who does not just amazing work in giving the film an epic look in many of the exterior scenes but also some great lighting techniques in the film's night, interior scenes. Osin's work is gorgeous in giving the film the right look. Production designer Sarah Greenwood and supervising art director Ian Bailie also do great work in getting many of the film's interiors of housing, poor and rich to look and feel right that helps set the atmosphere. Especially some of the locations and the houses that got used which are wonderfully used to a great extent. Costume designer Jacqueline Durran also deserves great commendation for her work on the costumes, especially in the ball scenes where they all look very beautiful for all the women in the film. Editor Paul Tothill also brings in some nice cutting styles and giving the film a nice pace at a bit over two-hours where it doesn't feel slow or moves to fast. Just very leisurely.

The music of the film features not just old piano tunes of the day from those times but also the piano is used very proficiently into giving the story a sense of atmosphere or as some kind of emotional outlet, notably with the character of Mary Bennett. Even the orchestral score by Dario Marianelli helps convey that atmosphere while music supervisor Nick Angel also picks the right pieces for the film, even if they're performed imperfectly. It's a wonderfully rich film score that has memorable moments but plays more into conveying the tone of the story.

Now previous castings in film versions of Pride & Prejudice has been crucial in terms of giving the right notes and style of dialogue in the film. This cast for this version of the film is well-executed in every detail. Carey Mulligan is excellent as the naive, excitable Kitty while Talulah Riley is also brilliant as the more introverted Mary who has a great scene playing a piano which she messes up only to be comforted by her father. Peter Wight and Penelope Wilton are also good as Elizabeth's well-meaning relatives as well as Tazmin Merchant in her small role as Darcy's sister and Kelly Reilly as Bingley's snobbish sister. Claudie Blakley is also wonderful in her role as Charlotte, Elizabeth's best friend who gives good reasons into marrying Mr. Collins. Rupert Friend is good as the dashing but ambiguous Wickham while Simon Woods is wonderfully funny as Bingley.

Tom Hollander is a real standout as the well-meaning but naive Mr. Collins where he brings out many of the film’s laughs in a very straight manner as he delves into that role perfectly. Judi Dench is also great with her authority-driven presence where everything she says is really offensive in terms of its social standings while wanting to maintain control in her rich world only to receive a cold dose of reality. It's a great performance by the always wonderful Judi Dench. Jena Malone is perfect in her performance as what some would call the proto-teenybopper of Lydia. Malone manages to standout in every scene she's in while stealing the show from her co-stars including at one moment, Miss Knightley (where in reality, Malone is a year older than Knightley) as she plays up to all the selfishness and energy that Lydia provides. Rosamund Pike is also brilliant in her understated, anguished performance as the eldest Jane who had a chance for love only to have it taken away. Pike really provides the sisterly companionship to Knightley as she manages to give an amazing performance.

Donald Sutherland is outstanding in his role as the soft-spoken but open-minded Mr. Bennett as he provides the comfort that every child needs with their father while maintaining his role as the head of the family. Sutherland really conveys the freedom that Elizabeth needs as he and Knightley have great scenes together as it's a great role for the longtime veteran actor who has worked with the likes of Robert Altman and Fellini. Brenda Blethyn is perfect in her role as Mrs. Bennett where she not only has great scenes with the young actresses and great chemistry with Sutherland. She really provides a lot of the comic backbone of the film with her emotional outbursts, her desire to have her daughters married, and her necessity to fit in with the upper-class. There's never a moment where Blethyn gives a bad performance as her timing in comedy is just perfect in every note.

In the role of Mr. Darcy, Matthew McFayden must've had to live up to a lot of expectations where the role was played previously by Laurence Olivier and most of all, Colin Firth. McFayden however succeeds while having great chemistry with Knightley.  Even as McFayden provides the right sense of melancholia and pride into a character that is complex and vulnerable. It's a true breakthrough performance from Matthew McFayden.

In what is definitely the best performance of career so far, Keira Knightley does an amazing job as Elizabeth Bennet. Knightley brings the angst, rebellion, torment, and stubborn side of Elizabeth Bennett in every way while making her character grow. Knightley proves herself to be a very strong, dramatic actress while dabbling in a bit of humor but using her words and her feelings to bring that character to life. It's truly her best performance in many ways since her credibility as an actress is often overshadowed by extravagant action films.

While it may not live up to previous variations of the novel, the new version of Pride & Prejudice is an excellent film thanks to Joe Wright's direction and faithfulness to the novel led by a superb cast. Fans of Keira Knightley will be glad to see the actress display her talents while being supported by the likes of Matthew McFayden, Donald Sutherland, Brenda Blethyn, Jena Malone, Rosamund Pike, Tom Hollander, and Judi Dench. Another good thing that the film will do for those who had interest in Austen will not only make those new to her work interested in her films but also the novels themselves. In the end, for a good romantic film that is needed for the holidays in a flurry of weightless fluffs, Pride & Prejudice is the film to see.

Joe Wright Films: Atonement - The Soloist - Hanna - Anna Karenina

(C) thevoid99 2011