Muppets Most Wanted/Party Central (short)

Directed by James Bobin and written by Bobin and Nicholas Stoller, Muppets Most Wanted is the story of the Muppets who take part in a European tour where a notorious criminal who looks like Kermit the Frog has Kermit taken to the Gulag in Siberia while pretending to be Kermit much to the suspicion of the other Muppets. The sequel to the 2011 film that brought the Muppets back to the public consciousness, the film is a suspense-comedy where it involves thefts, doubles, singing Russian criminals, and all sorts of crazy things. Starring Ricky Gervais, Ty Burrell, Tina Fey, and the Muppets. Muppets Most Wanted is a very entertaining film from James Bobin and the Muppets.

Party Central

Written and directed by Kelsey Mann, Party Central is a sequel short to 2013’s Monsters University in which Mike and Sulley help out their fraternity brothers in Oozma Kappa create the ultimate college party. It’s a short where Mike and Sulley do some very crazy things to help their friends create the ultimate college party where a lot of craziness ensues that includes moments where monsters walk through the homes of humans who become freaked out by what is happening. It’s a fun, fun, fun short film from Pixar who continues to deliver with the shorts.

Muppets Most Wanted

The film is a simple story which picks up where the last film is left off where the Muppets try to figure out what to do next. Under the advice of a tour manager, the Muppets go on an European tour where Kermit the Frog is ambushed and taken to the Gulag prison in Siberia as he is believed to be the notorious thief Constantine who switches places with him. Yet, Constantine’s real plan with his associate Dominic Badguy (Ricky Gervais) is to steal clues to obtain the Crown Jewels of England while a few of the Muppets become suspicious over Kermit’s odd behavior. It’s a film that has a premise that may not be entirely original but it does play into a world where taking one Muppet out of the equation in the group can spell disharmony as Miss Piggy finds herself unfulfilled in the new devotion that Kermit has for her unaware that it’s really Constantine.

James Bobin and Nicholas Stoller’s screenplay keeps the premise simple in the way the Muppets not only deal with success but also deal with the fact that many of their ideas don’t always work sometimes. In some respects, the film is sort of the anti-sequel as the film opens with a song about sequels and how they’re often not as good as the predecessor. Not only do Bobin and Stoller take a few shots at it but also infuse it with some suspense and comedy to play into Kermit’s situation at the Gulag where its warden Nadya (Tina Fey) has a major crush on Kermit. Meanwhile, an Interpol agent in Jean Pierre Napoleon (Ty Burrell) teams up with Sam Eagle to not only uncover the jewelry thefts but also deal with each other where a lot of hilarity ensues.

Bobin’s direction is very simple where he aims for something that is crazy at times but also slow things down so that audiences can be engaged into the story. While there’s a lot of excellent musical numbers, it is balanced by its approach to comedy and drama where much of the film is shot in Britain with a few location shots in Berlin, Madrid, and Los Angeles as Bobin goes for mostly medium shots and close-ups. Yet, he does manage to create a few wide shots for some of the film’s big musical numbers as well as present this elaborate climax that is definitely entertaining and gripping. Overall, Bobin creates a very delightful and fun film about the Muppets dealing with a doppelganger and other crazy things.

Cinematographer Don Burgess does nice work with the film‘s cinematography from the look of the scenes at the Gulag to the lavish lighting for some of the stage performances by the Muppets. Editor James Thomas does terrific work with the editing as it‘s pretty straightforward while has some effective use in the montages. Production designer Eve Stewart, with set decorator Anna Lynch-Robinson and supervising art director Grant Armstrong, does excellent work with the set pieces from the Muppets stage presentation to the look of the Gulag.

Costume designer Rahel Afiley does wonderful work with the costumes from the look of the prison uniforms to some of clothes the Muppets wear. Visual effects supervisor Sean Mathiesen does fantastic work with the visual effects in some of the musical numbers to some of the more action-based effects in the film. Sound editors Kami Asgar, Sean McCormack, and Jeffrey A. Pitts do superb work with the sound in creating layers of sound effects and textures in some of the stage performances and the scenes in the Gulag. The film’s music by Christoph Beck and Bret McKenzie is great for some of the original songs that is made as well as some of the musical choices they put in including a very inspired take on Working in the Coal Mine and an over-the-top duet between Miss Piggy and Celine Dion.

The casting by Randi Hiller and Tamara Notcutt is brilliant for the cameos they bring in as among the celebrities that appear in the film are Celine Dion, Salma Hayek, Tom Hiddleston, Chloe Grace Mortez, Christoph Waltz, Mackenzie Cook, Toby Jones, Tony Bennett, Lady Gaga, Zach Galifianakis, Sean “Diddy” Combs, Frank Langella, Hugh Bonneville, Stanley Tucci, Miranda Richardson, Saoirse Ronan, James McAvoy, Josh Groban, Usher, and Til Schweiger. In other cameos as prisoners of the Gulag, there’s Danny Trejo, Jermaine Clement, Ray Liotta, and Dylan “Hornswoggle” Postl as they bring a nice edge to their performances as tough criminals who want to sing. Ty Burrell is terrific as the very comical Jean Pierre Napoleon who teams with Sam Eagle to find what is going on.

Tina Fey is amazing as she does a very comical Russian accent as the Gulag warden Nadya who tries to be tough but has a secret crush on Kermit. Ricky Gervais is excellent as Constantine’s henchman Dominic Badguy (pronounced Bad-gee) who serves as a foil for Constantine. Finally, there’s the Muppets as the people who perform such great characters as Kermit the Frog, Miss Piggy, Gonzo the Great, Fozzie Bear, Walter, Scooter, Animal, and the rest of the gang are just fun to watch. Especially as Matt Vogel does superb work in voicing Constantine who does his worst to ruin Kermit’s persona.

Muppets Most Wanted is an excellent film from James Bobin. Not only is it a worthy successor to its 2011 predecessor but also proof that the Muppets are still vital. Even as they manage to engage audiences from all ages to kids and adults as they all want to do is entertain and give the audiences a good time. In the end, Muppets Most Wanted is a superbly fun film from James Bobin.

The Muppets Films: (The Muppet Movie) - (The Great Muppet Caper) - (Muppets Take Manhattan) - (Sesame Streets Presents Follow That Bird) - (The Muppets Christmas Carol) - (Muppet Treasure Island) - (Muppets from Space) - (The Adventure of Elmo in Grouchland) - The Muppets

© thevoid99 2014

The Grand Budapest Hotel

Written and directed by Wes Anderson from a story by Anderson and Hugo Guinness, The Grand Budapest Hotel is the story of a concierge who asks for the help of a young lobby boy to prove his innocence following the death of an old woman as the woman’s son and his associates try to kill him. Inspired by the writings of Stefan Zweig, the film is set between two world wars in a fictional European country where the story involves theft, love, mischief, and all sorts of things that is expected in a Wes Anderson film. Starring Ralph Fiennes, Tony Revolori, F. Murray Abraham, Matheiu Almaric, Adrien Brody, Willem Dafoe, Jeff Goldblum, Jude Law, Harvey Keitel, Bill Murray, Edward Norton, Saoirse Ronan, Lea Seydoux, Jason Schwartzman, Tilda Swinton, Tom Wilkinson, Owen Wilson, and Bob Balaban. The Grand Budapest Hotel is a rapturous yet exquisite film from Wes Anderson.

Read by a young girl who visit’s the fictional European country of Zubrowka, the film is multi-layered story about the recollections of a young lobby boy who worked for a prestigious hotel in the country that is run by a charming concierge who takes the young boy named Zero Moustafa (Tony Revolori) as his protégé. After the death of an old lady (Tilda Swinton) whom the concierge Gustave (Ralph Fiennes) had romanced, Gustave is inherited a prized painting much to the dismay of the old lady’s son Dmitri (Adrien Brody) who would have Gustave sent to prison over claims that Gustave killed his mother. With the help of Zero and a young baker named Agatha (Saoirse Ronan), Gustave would do whatever to prove his innocence as the older Zero (F. Murray Abraham) tells this story to a young author (Jude Law) at the hotel his mentor had cherished where the author (Tom Wilkinson) would turn it into a book many years later that the young girl is reading.

Wes Anderson’s screenplay delves into not just themes of nostalgia but also set it into a place in time where things were simpler and had a certain amount of respect where it is largely set in a hotel that was once a place of prestige and elegance where the film is set in three different time periods in 1932, 1968, and 1985 where the ‘68 and ‘85 portions involve the young author reflecting on the story he has created. Much of the narrative is set in 1932 where old Moustafa tells the young author his story where the Grand Budapest Hotel was his home and how he became a part of the world that Gustave has cherished until the death of an old lady would change everything. Especially as her son Dmitri would do whatever to get what he feels he’s supposed to inherit as he would send his henchman J.G. Jopling (Willem Dafoe) to take care of things.

It’s not just the story that makes the film so engaging but also the characters as Gustave is a man who likes to sleep with old ladies and give them the time of their lives while his greatest love is for the Grand Budapest Hotel in which he ensures that it maintains that sense of respect as the hotel of Zubrowska. It would be something that Gustave would have Zero do as it would be the role that Zero would play where this unique friendship between the two starts to form. Especially as Gustave would help Zero woo Agatha into a romantic relationship where the two would help Gustave get out of jail and evade the authorities and Dmitri where the third act would have the trio not only go back to the hotel but also deal with the sense of a world that is changing that would greatly affect the reputation of the hotel.

Anderson’s direction is definitely what is expected from him in terms of his approach to stylish compositions and attention to detail. Yet, he also manages to take some risks with his direction in not just the compositions he creates but also in the framing devices he goes into. Much of the scenes shot in 1932 is presented in a full-frame 1:33:1 aspect ratio to play into that period of time. Anderson’s direction is definitely controlled with that aspect ratio while adding a sense of looseness into the direction in the way he approaches humor. There’s also moments where Anderson utilizes that framing device to create some dazzling medium shots and wide shots where he creates scenes that is a mixture of stop-motion animation, miniature set designs, and some visual effects to play into that world that is Zubrowka.

The scenes between Mr. Moustafa and the young writer are shot in a 1:85:1 widescreen aspect ratio while the scenes involving the old author and the girl reading the book at present time is shot at a 2:35:1 aspect ratio. The 1968 sequence is once again filled with a lot of spectacular wide shots but also present a world that is filled with a sense of loss and sentimentality where the young writer looks into the history of this once great hotel. Anderson’s mixture of humor, drama, action, and adventure adds to many of the aspects of the film’s visual style not matter what aspect ratio is in where he maintains something that is visually-enriching but also captivating in the way he presents the story and the characters in the film. Overall, Anderson creates a very extravagant yet touching film about a concierge and his protégé trying to prove the former’s innocence in a strange murder plot.

Cinematographer Robert Yeomen does amazing work with the film‘s cinematography from the vibrant interior lights for the scenes at the hotel to some of the exterior settings in day and night to play up the rich look of the country as it‘s shot on location in Germany. Editor Barney Pilling does excellent work with the editing in creating some stylish cuts for some of the film‘s action and humor while also to help structure the story with its different timelines. Production designer Adam Stockhausen, with art directors Stephen O. Gessler, Gerald Sullivan, and Steve Summergill and set decorator Anna Pinnock, does phenomenal work with the set pieces from the look of the hotel itself as well as the design of the bakery boxes that Agatha works for and other decorative pieces as the art direction is a highlight of the film.

Costume designer Milena Canonero does dazzling work with the costumes from the uniforms of the people at the hotel to the lavish clothes of the guests as well as the dark look of Dmitri and his family/associates. Hair and makeup supervisor Heike Merker does brilliant work with the look of the Madame D. character in the way she looks as well as in some of the prosthetic makeup some of the other characters wear including the Mexico birthmark on Agatha‘s face. Visual effects supervisors Andrea Block, Christian Haas, and Gabriel Sanchez do fantastic work with some of the film‘s minimal visual effects while getting additional help from miniatures designer Frank Schegel and stop-motion animator Andy Biddle to play into the look of the hotel and some of its features.

Sound editor Wayne Lemmer does superb work with the sound to play into the atmosphere of the hotel as well as the prison and other locations in the film. The film’s music by Alexandre Desplat is just awesome for its mixture of Eastern European-based string music that is dominated by the balalaika that is mixed with some orchestral flourishes as it‘s definitely of Desplat‘s best scores while music supervisor Randall Poster brings in a few pieces of the times to add to the tone of the film.

The casting by Douglas Aibel and Jina Jay is just incredible for the ensemble that is created as it features appearances from Larry Pine as the Grand Budapest Hotel manager, Jella Niemann as the girl reading the book the author write, Giselda Voldi as Serge’s sister, and as members of a secret society of concierges that Gustave is in, Bob Balaban, Wallace Wolodarsky, Fisher Stevens, and Waris Ahluwalia. Other notable small roles include Lea Seydoux as a housemaid of Madame D., Mathieu Almaric as a servant of Madame D. who would provide crucial information for Gustave, Tom Wilkinson as the older author in the 1980s scene, Owen Wilson as a concierge who fills in for Gustave, Jason Schwartzman as the hotel concierge in the 1968 sequence, and Bill Murray in a very funny performance as a fellow concierge in M. Ivan who is also a member of the secret society of concierges.

Tilda Swinton is wonderful as the aging Madame D. who has cherished Gustave’s kindness as she would leave him a prestigious painting. Harvey Keitel is terrific as the prisoner Ludwig that Gustave would meet as they help each other break out of prison. Jeff Goldblum is superb as the hotel overseer Deputy Kovacs who is also Madame D.’s executor while Edward Norton is excellent as the army inspector Henckels who tries to do what is right while being a friend of Gustave. F. Murray Abraham is amazing as the older Zero Moustafa as a man who displays such grace in his role as a man reflecting on his past while Jude Law is great as the young author who listens to Zero’s story and reflects on a lost place in time.

Adrien Brody is fantastic as the very devilish son of Madame D. in Dmitri who is angry over what Gustave is getting while Willem Dafoe is brilliant as the very chilling J.G. Jopling who seems to have no problem in killing people as it’s definitely a role fitting for Dafoe. Saoirse Ronan is remarkable as the very brave Agatha whose talent for designing elaborate sweets is matched by her ability to do dangerous things in order to help Gustave and Zero. Tony Revolori is marvelous as the young Zero Moustafa as a young man trying to find his place in this hotel while helping Gustave to prove his innocence as it’s a major breakthrough for the young actor who manages to have some great moments with Fiennes. Finally, there’s Ralph Fiennes in a performance for the ages as Gustave as it’s one that is so full of charm where Fiennes really showcases his sense of wit where he is always funny from start to finish while proving to be a man who will fight for the people he cares for.

The Grand Budapest Hotel is a magnificent film from Wes Anderson. Armed with a glorious ensemble cast led by Ralph Fiennes as well as dazzling technical work and a fun score by Alexandre Desplat. The film is definitely one of Anderson’s finest in terms of its technical brilliance as well as an engaging story about friendship and finding a home in a troubled world. In the end, The Grand Budapest Hotel is a spectacular film from Wes Anderson.

Wes Anderson Films: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Hotel Chevalier - The Darjeeling Limited - Fantastic Mr. Fox - Moonrise Kingdom - Castello Cavalcanti - Isle of Dogs - The French Dispatch - Asteroid City - The Wonderful Story of Henry Sugar - The Swan - The Rat Catcher - Poison - The Phoenician Scheme - The Auteurs #8: Wes Anderson

Wes Anderson Soundtracks: Bottle Rocket - Rushmore - The Royal Tenenbaums - The Life Aquatic with Steve Zissou - Seu Jorge-The Life Aquatic Studio Sessions - The Darjeeling Limited - Fantastic Mr. Fox - (Moonrise Kingdom) - (The Grand Budapest Hotel) - (Isle of Dogs)

© thevoid99 2014

2014 Blind Spot Series: A Room with a View

Based on the novel by E.M. Foster, A Room with a View is the story of a young woman who falls for a free-spirited man during a holiday in Italy. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is a look into a young woman coming of age in a restrictive time during the Edwardian period in Britain in early 20th Century. Starring Helena Bohnam Carter, Maggie Smith, Denholm Elliott, Daniel-Day Lewis, Julian Sands, Simon Callow, Rosemary Leach, and Judi Dench. A Room with a View is a ravishing and enchanting film from the Merchant-Ivory team.

Set in 1907, the film is an exploration into a young woman coming into her own during the Edwardian period in Britain where she meets a free-spirited man during a holiday in Florence, Italy with her cousin as her chaperone. What would happen upon meeting George Emerson (Julian Sands) is that the young Miss Lucy Honeychurch (Helena Bohnam Carter) tries to cope with her feelings for George but also play to what is expected for her as she would later return to England where she would be engaged to a wealthy yet snobbish man named Cecil Vyse (Daniel Day-Lewis). Yet, when George moves nearby with his father (Denholm Elliott), Lucy becomes confused on what she should do as her older cousin Charlotte Bartlett (Maggie Smith) would observe everything as she would also play into Lucy and George’s fate.

Ruth Prawer Jhabvala’s screenplay has a unique structure where the first half of the film is set in Florence where Lucy and Charlotte are on holiday as it’s Lucy’s first visit to the city. It is there that the two meet the Emersons plus an eccentric group of visitors including the very free-spirited priest the Reverend Beebe (Simon Callow), a lively novelist named Eleanor Lavish, two aging sisters in Catherine and Teresa Alan (Fabia Drake and Joan Henley, respectively), and the more stern Reverend Eager (Patrick Godfrey). Upon this holiday in Florence, they all look at various landmarks and such where Lucy and George sense an attraction but the very prim Lucy is bewildered by George’s sense of free-spirit as he likes to climb trees, jump around, and act wildly. Yet, George is also a man who is very sensitive and is willing to do anything for Lucy which would add to this attraction much to the shock of Charlotte who has been watching Lucy for Lucy’s mother (Rosemary Leach).

The film’s second half would largely be set in Surrey, England where several months has passed and Lucy becomes engaged to Cecil who is a very interesting individual for the fact that he’s a character that audiences would love to hate. Largely because he’s this stuffy twat that really has no formidable opinion for anything as he becomes an opponent for George to deal with as he wants to give Lucy something more than just be a trophy wife for this rich, snobbish twat. Yet, the expectations that Lucy has to play with the rules of society would hinder the decisions she makes as her mother, her younger brother Freddy (Rupert Graves), and Charlotte would notice the restrained anguish that Lucy is carrying. One aspect of the screenplay that is very noticeable is the language in the way the characters talk as there’s a certain rhythm to the dialogue as well as how it can help move the story in such a brisk way.

James Ivory’s direction is truly exotic for not just the simplicity of the images he creates but also in how he makes the locations in Florence, Italy and England characters in the film. Many of the compositions of the locations would be presented in wide and medium shots to play into the beauty of the locations and the way the characters react to their surroundings. Especially in a moment where Lucy and George witness a brawl in a square amidst these surroundings of statues and famous landmarks where it would be a key moment into Lucy and George’s relationship. Much of the locations set in Florence would have this air of beauty as well enchantment where a moment of the two having a picnic in the Italian countryside where the two would have their first kiss to the shock of Charlotte. The scenes set in England would contain a similar presentation but there’s also a tightness that goes on early in that section once Lucy is engaged to Cecil.

The direction is more controlled in its tracking shots and such until George would appear to shake things up as there’s a very comical scene of he, Freddy, and Reverend Beebe enjoying a skinny-dip to the shock of Lucy, her mother, and Cecil. The direction would also have moments of symbolism that would play to Lucy dealing with her feelings for George but also to try and devote herself to Cecil as it would create a sense of drama that becomes intense but in a very restrained form. Especially as Ivory’s approach to melodrama doesn’t play to any kind of theatrics in favor of just letting the drama be played out with a tenderness and sensitivity that makes the story far more engaging. Overall, Ivory crafts a very delicate yet intoxicating film about a young woman coming of age in the early 20th Century where she would meet her soulmate.

Cinematographer Tom Pierce-Roberts does brilliant work with the film‘s photography to display the beauty of many of the film‘s exterior locations in the day while using some low-key lights for some of its interiors in the day and nighttime scenes. Editor Humphrey Dixon does excellent work with the editing as it‘s mostly straightforward yet has this seamless flow to play into the drama while infusing a few montages and rhythmic cuts to play with some of the film‘s low-key humor. Production designers Brian Ackland-Snow and Gianni Quaranta with art directors Brian Savegar and Elio Altamura, do amazing work with the set pieces from the look of the hotel rooms Lucy and Charlotte stayed in during their time in Florence to the home Lucy lived in as well as the house George‘s father stayed nearby in England.

Costume designers Jenny Beavan and John Bright do fantastic work with the costumes from the look of the dresses the women wear to the suits and clothes the men wear to play into that period. The hairdressing by Carol Hemming is terrific for the look of the hairstyle of the time that plays into the personalities of the women in the film. The sound work of Ray Beckett is superb for its low-key approach to sound by playing up much of the film‘s natural sounds as well some of the things that are captured on location. The film’s music by Richard Robbins is remarkable for its use of low-key orchestral music to play up the drama while the film’s soundtrack also uses an operatic piece by Giacamo Puccini that is sung by Kiri Te Kanawa that serves as a fitting piece in the film.

The casting by Celestia Fox is incredible for the ensemble that is created as it features some notable small roles from Maria Britneva as Cecil’s mother, Mia Fothergill as Lucy and Freddy’s younger sister, Fabia Drake and Joan Henley as the very charming Alan sisters, and Patrick Godfrey in a terrific role as the very annoyed and strict Reverend Eager. Rupert Graves is wonderful as Lucy’s mischievous brother Freddy while Judi Dench is a total delight as the novelist Eleanor Lavish who is so full of charm and provides some witty commentary. Simon Callow is excellent as the very lively and kind-hearted Reverend Beebe who often gives Lucy some advice on how to live life. Denholm Elliot is amazing as George’s father as a man who has such wit and a good heart as he deals with the anguish of his son. Rosemary Leach is superb as Lucy’s mother who deals with Lucy’s engagement to Cecil and George’s presence as she ponders exactly what Lucy is thinking.

Daniel Day-Lewis is great as the very snobbish Cecil as Day-Lewis brings a charm that makes his character so infuriating to watch because he thinks he’s all that as it’s a performance that is funny to watch. Julian Sands is fantastic as George as this free-spirited man who likes to do all sorts of crazy things but there’s a man who is so good as he tries to woo Lucy and help her find her way. Maggie Smith is brilliant as Lucy’s elder cousin Charlotte as a woman who watches over Lucy while noticing her attraction towards George and later find a way to help guide her into the right direction. Finally, there’s Helena Bohnam Carter in a radiant performance as Lucy as this young woman trying to find herself in the early 20th Century as she deals with what is expected of her as well as it’s a performance that is very enchanting to watch.

A Room with a View is a magnificent film from the Merchant-Ivory team that features outstanding performances from Helena Bohnam Carter, Maggie Smith, Denholm Elliott, Julian Sands, and Daniel Day-Lewis. Armed with amazing technical work and a rich soundtrack, it’s a film that definitely showcases what a period film should be without the need to be superficial or stuffy. Especially as it features a truly evocative screenplay by Ruth Prawer Jhabvala that adds to the elegance of the film. In the end, A Room with a View is a sensational film from James Ivory.

James Ivory Films: The Householder - (The Dehli Way) - Shakespeare Wallah - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - The Remains of the Day - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)

© thevoid99 2014

The Auteurs #31: Andrea Arnold

One of the new voices to emerge from Britain, Andrea Arnold brought a unique voice that featured the realism of Ken Loach with an aesthetic similar to the Dogme 95 movement of the late 1990s. Her emergence to cinema was something needed when another female British voice in Lynne Ramsay was forced into exile by more powerful forces in the industry. Though Arnold started out her career as an actress and TV presenter, her desire to create stories of her own would yield an already impressive collection of films in three shorts and three feature films with another feature film in development.

Born in Dartford at the Kent county in England, Arnold was the eldest of four children to a teenage mother as seeing her mother raise four children by herself would have a profound experience on the young Arnold. These experiences would lead to Arnold writing stories that played into her childhood as she became interested in dancing and acting by the age of 10. After leaving high school at age 16 to pursue an acting career and leaving for London two years later, Arnold got a job in being the host for the British children TV show No. 73 in the 1980s while being a dancer at Top of the Pops. By the early 1990s as No. 73 was coming to an end, Arnold decided to retire from acting and being a TV host as she went to Los Angeles to study directing at the AFI Conservatory.

The rest of the piece can be read here at Cinema Axis.

© thevoid99 2014

Bombay Talkie

Directed by James Ivory and written by Ivory and Ruth Prawer Jhabvala, Bombay Talkie is the story about a British author who meets and falls for a Bollywood actor during her research on the Bollywood film industry. The film is an exploration into the world of Bollywood where an outsider tries to figure out its impact in Britain while finds herself in an affair that becomes very complicated. Starring Jennifer Kendal, Shashi Kapoor, Aparna Sen, Zia Mohyeddin, and Utpal Dutt. Bombay Talkie is an extraordinary film from the Merchant-Ivory team.

The film is about a British author who travels to Bombay to discover the world of Bollywood where she falls for one of the industry’s top actors as they would embark into a love affair that is complicated when an Indian writer also has feelings for her. There, things become more troubling as the actor’s marriage starts to fall apart as does his affair where the author goes into a spiritual retreat to find herself. It’s a film that explores a world of different cultures meeting together where the author Lucia Lane (Jennifer Kendal) goes to India to learn about the industry as accompanying her is a writer named Hari (Zia Mohyeddin) who has feelings for her. Yet, the presence of Vikram (Shashi Kapoor) would have Lucia go into places that would lead her to a lot of trouble as it would also create tension between Hari and Vikram.

The film’s screenplay doesn’t just play into a woman’s world where she is definitely an outsider that’s been through a lot as she wants to go somewhere that is unfamiliar. Though Lucia isn’t an entirely bad person as she often means well, she is very naïve over the way things are in India as her love for Vikram would cause a lot of trouble as Vikram’s marriage to Mala (Aparna Sen) is becoming rocky as she wants a child. Lucia’s presence only makes Mala very uneasy as Lucia is unaware of how much trouble she is causing where she briefly goes into a spiritual retreat causing Vikram to worry as Hari is the only person that knows where she went. While Hari at times can lose his cool, he is the most level-headed person in the film as opposed to the more self-involved Vikram who cares about living the good life yet complicates himself in his love for both Mala and Lucia.

James Ivory’s direction opens with this elaborate and rich credits sequence where a group of men are carrying the title card onto the streets and then feature pictures of cast and crew members involved in the film as it’s shot on location in Bombay. Much of it would feature some entrancing medium and wide shots as well as some striking close-ups to play into some of the emotional aspects of the film. There’s also moments of humor that is involved such as this extravagant set piece on the set of a film where Vikram is performing on a large typewriter for a dance number. While there’s elements of the film that does drag a bit such as Lucia’s own flightiness in her spiritual retreat as well as the way Vikram behaves when Lucia isn’t around. There is a payoff towards the end for a birthday celebration for Lucia where Vikram and Hari are taking part yet it would involve some very heavy moments for all three individuals. Overall, Ivory crafts a very delightful yet somber film about a love triangle in India that becomes very messy.

Cinematographer Subrata Mitra does excellent work with the film‘s very colorful cinematography with its use of natural lights for some of its exteriors to some exotic lighting schemes and moods for some of the film‘s nighttime interior/exterior scenes. Editor David Gladwell does wonderful work with the editing in creating something that is straightforward in its approach to cutting while going for methodical rhythms to build up some of the film‘s emotional moments. Production designer A. Rangaraj does brilliant work with the look of the homes that the characters live in as well as the large typewriter for a set piece that Vikram is dancing on.

Sound editor Prabhakar Supare does nice work with the sound to play into the natural atmosphere of the film‘s locations. The film’s music by Shankar Jalkishan is fantastic for its mixture of pop and traditional Indian music with some orchestral flourishes that include some lively Bollywood numbers as well as soothing opening theme that is composed by filmmaker Satyajit Ray while the soundtrack also includes some rock music from Santana and Janis Joplin.

The film’s superb cast includes appearances from producer Ismail Merchant as a producer on a film set, Nadira as a friend of Vikram who tries to get him to see reason, Pincho Kapoor as a swami that Lucia goes to in her spiritual retreat, and Utpal Dutt as a corrupt film producer who tries to stir things around for Mala and Vikram. Aparna Sen is wonderful as Vikram’s wife Mala as a woman who despises Lucia as she struggles with Vikram’s feelings for her as well as being barren. Zia Mohyeddin is excellent as the screenwriter Hari who is in love with Lucia as he tries to keep his feelings intact while noticing how erratic Vikram is as he tries to get him to be with Lucia.

Shashi Kapoor is terrific as the Bollywood star Vikram who has fallen for Lucia but deals with his marriage to Mala as he tries to comprehend everything only to give in to his own selfishness. Finally, there’s Jennifer Kendal in a radiant performance as Lucia Lane as this woman who tries to find herself in India only to be in a love triangle and unknowingly cause trouble for herself and the men she’s with.

Bombay Talkie is a rich and majestic film from James Ivory and the Merchant-Ivory team. Thanks to its excellent cast and a phenomenal film soundtrack, it’s a film that has a lot of charm and wit into the world of Bollywood with a dash of melodrama over a romantic love-triangle though the two stories do make it an uneven film. Still, Bombay Talkie is a superb film from James Ivory.

James Ivory Films: The Householder - (The Dehli Way) - Shakespeare Wallah - (The Guru) - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room With a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - The Remains of the Day - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)

© thevoid99 2014

National Lampoon's Vacation

(In Memory of Harold Ramis 1944-2014)

Directed by Harold Ramis and written by John Hughes, National Lampoon’s Vacation is the story of a family who travel cross-country from Chicago to California to go to the famed amusement park known as Walley World where everything goes from bad-to-worse during the journey. Based on a short story by John Hughes with additional contributions from Ramis and Chevy Chase who plays the lead role of Clark W. Griswold. The film is an unusual comedy that explores a family’s ill-fated journey where they have to deal with misdirection, a troubled station wagon, hick relatives, a very mean aunt, and a hot lady driving a Ferrari. Also starring Beverly D’Angelo, Anthony Michael Hall, Dana Barron, Imogene Coca, Randy Quaid, Christie Brinkley, and John Candy. National Lampoon’s Vacation is truly one of the greatest comedies ever created.

Family vacations is a chance for parents and their children to enjoy time with one another and do things like go to Disneyland or Universal Studios theme parks. What Clark W. Griswold and his family want to do is to go the happiest play in the world in Walley World and meet the mascot Marty Moose by traveling from Chicago to Los Angeles. By going cross-country on a very troubled station wagon, a lot goes wrong along the way as it would play to some of the series of misfortunes that occurs in the film. All of which involves a lot of laughs and all sorts of crazy shit for Clark, his wife Ellen (Beverly D. Angelo), son Rusty (Anthony Michael Hall), and daughter Audrey (Dana Barron). Add the very bitchy Aunt Edna (Imogene Coca) who joins them during a stop in Kansas to drop her off to Phoenix.

John Hughes’ screenplay is based on his own real life experience about his own ill-fated trip to Disneyland where it all plays to all of the unfortunate things that can go wrong in a cross-country road trip through America. Throughout all of this ordeal, there is this strange optimism that is prevalent in Clark Griswold as he wants his family to experience a kind of journey that every American family has done. Even as he deals with all sorts of bad shit and a hot blonde (Christie Brinkley) driving a red Ferrari 308 GTS who tempts him from leaving his family. Yet, there’s Ellen who is the most grounded person of the family as she tries to remain realistic and deal with the chaos on the road as she even makes Clark visit her cousin Catherine (Miriam Flynn) and Catherine’s oddball husband Eddie (Randy Quaid). One aspect of the script that works isn’t its use of language but also in some of the dialogue that is largely improvised and full of wit that just adds to the brilliance of the film.

Harold Ramis’ direction is pretty simple in terms of the compositions and scenes he creates where he’s not doing anything flashy or go for something that is visually-astonishing. Instead, Ramis just create something that does feel like a road film where it’s shot on various locations in the U.S. with some wide shots and medium shots of the locations. By going into different locations in the U.S. from Chicago to Los Angeles, it adds to the sense of unpredictability to the film as well as some of its humor that feels loose and natural. Even in some of the moments that involve Clark being wooed by the hot lady during a picnic or the moment he finds himself in the ghetto of St. Louis and asks for directions unaware that his hubcaps are being stolen. It would eventually lead to the Griswolds finally going to Walley World as it is a climax that pays off and more. Overall, Ramis crafts a very entertaining and heartfelt comedy about a family road trip to Walley World.

Cinematographer Victor J. Kemper does excellent work with the cinematography from the vibrant look of the daytime interior/exterior settings to the simple lighting schemes for some of the film‘s nighttime scenes. Editor Pembroke J. Herring does nice work with the editing as it‘s very straightforward while using some slow-motion moments to play into some of the funnier moments like a homage to Chariots of Fire. Production designer Jack T. Collis and set decorator Joe D. Mitchell do terrific work with some of the set pieces from the different hotels and homes the Griswolds stay at to the look of Walley World.

Sound editors Bub Asman, Robert G. Henderson, and Alan Robert Murray do superb work with the sound in some of the sound effects that is created in the film. The film’s music by Ralph Burns is wonderful for its light-hearted orchestral score that plays to the film’s humor while its soundtrack features songs by June Pointer, Vanity 6, Nicollete Larson, the Fleetwoods, the Ramones, and a couple of original songs by Lindsey Buckingham including the theme song Holiday Road.

The casting by Susan Arnold and Phyllis Huffman is fantastic for the ensemble that is created as well as cameo appearances from Eugene Levy as a shady car salesman, John Diehl and Mickey Jones as a couple of sleazy mechanics, James Keach as a motorcycle cop, Brian Doyle-Murray as the Kamp Komfort clerk, and Eddie Bracken as Walley World founder Roy Walley. Other notable small roles include John P. Navin Jr. and a young Jane Krakowski as Rusty and Audrey’s cousins, John Candy in a hilarious performance as a Walley World security guard, and Christie Brinkley as the hot blonde in a Ferrari. Miriam Flynn is very good as the very kind cousin Catherine while Randy Quaid is a total hoot as the inbred cousin Eddie. Imogene Coca is great as the very mean and cold Aunt Edna who always take shots at Clark and make him do all sorts of shit while having no problem eating a sandwich drenched in dog piss.

Dana Barron and Anthony Michael Hall are amazing in their respective roles as Audrey and Rusty Griswold as two teens trying to deal with the chaos of the vacation as well as trying to get anything from pot to booze to cope while doing some funny things along the way. Beverly D’Angelo is great as Ellen Griswold as the realist of the family who tries to handle everything that is happening while being the voice of reason as she also has some funny lines. Finally, there’s Chevy Chase in an iconic performance as Clark W. Griswold as this very optimistic father who tries to give his family the greatest vacation ever no matter how bad things are as he says all sorts of funny things and so some funny shit as it’s definitely a performance for the ages.

National Lampoon’s Vacation is an outstanding film from Harold Ramis and screenwriter John Hughes. Thanks to a great cast and its theme on family along with a witty approach to the road film. It’s not just a film that stands as a touchstone of classic 80s comedies but also a film that has something for everyone as it’s a family film and a low-brow comedy rolled up into one. In the end, National Lampoon’s Vacation is tremendous film from the late Harold Ramis.

Harold Ramis Films: (Caddyshack) - (Club Paradise) - (Groundhog Day) - (Stuart Saves His Family) - (Multiplicity) - (Analyze This) - (Bedazzled) - (Analyze That) - (The Ice Harvest) - (Year One)

© thevoid99 2014

Sound of My Voice

Directed by Zal Batmanglij and written by Batmanglij and Brit Marling, Sound of My Voice is the story about a documentary filmmaking team who try to make an expose on a cult led by a mysterious leader who claims that she’s from the future. The film is about the world of cults and how two documentary filmmakers try to expose this leader only to fall prey into her world. Starring Brit Marling, Christopher Denham, and Nicole Vicius. Sound of My Voice is a chilling and provocative film from Zal Batmanglij.

The film is about the world of cults where two documentary filmmakers decide to join this strange cult in order to expose the leader only to fall prey into that world. During their time in these secret meetings with this leader who claims she’s from the future, things become even stranger as activities also become more questionable. Even as the substitute schoolteacher Peter (Christopher Denham) and aspiring writer Lorna (Nicole Vicius) go into diverging paths with the cult where one of them becomes seduced by the words and thoughts of its leader Maggie (Brit Marling). It’s a film that is filled with a lot of ambiguities as Peter and Lorna’s intentions were to bring Maggie and her cult down but things become very complicated. Even as some of Maggie’s antics would make them believe that everything she might be saying is true.

The film’s screenplay by Zal Batmanglij and Brit Marling has a structure where it all takes place in the span of ten days where Peter and Lorna do their activities in the daytime while would spend their time with this cult in the late nights. Upon arriving into this mysterious house, the two would have to shower and clean up anything that could have germs and wear these clothes. Then, they would be blindfolded and taken to a secret house and into a basement where Maggie lives as cult leaders would have members do a secret handshake and then meet Maggie who would hold a nightly meeting. There is a sense of repetition in the script as it would play into how these meetings would affect Peter and Lorna as their relationship would start to suffer. There’s also some ambiguities that is unveiled involving a young student of Peter’s school as well as a mysterious woman (Davenia McFadden) who would later play a key part into the film’s third act.

Batmanglij’s direction is pretty simple and understated as he shoots much of it in the Los Angeles area where Batmanglij manages to avoid some famed landmarks to go for something where it could be set anywhere. Yet, he maintains a sense of intimacy in much of his direction that does include some entrancing compositions in the way he puts his actors into the frame. Some of it is presented with hand-held cameras while there’s elements of suspense that Batmanglij creates to play into the world that Peter and Lorna have gotten themselves into. Especially as it would lead to this very chilling climax where it would showcase who is loyal to what Maggie wants but also reveal the other players that hadn’t been in touch with the cult as their roles are revealed. Overall, Batmanglij creates a very mesmerizing and entrancing thriller about the world of cults.

Cinematographer Rachel Morrison does excellent work with the film‘s very entrancing cinematography with its use of lights for many of the film‘s interiors and nighttime exterior scenes as well as some grainy video footage of the early lives of Lorna and Peter. Editor Tamara Meem does amazing work with the editing with its use of montages, jump-cuts, and other stylish cuts to play with the film‘s suspense and its unconventional structure. Production designer Scott Enge and set decorator Alys Thompson does nice work with the set pieces from the home that Peter and Lorna lives to the basement where Maggie conducts her rituals.

Costume designer Sarah de Sa Rego does terrific work with the costumes from the white clothes the cult members wear in the rituals to the casual look of Peter and Lorna outside of the cult. Sound editors Tobias Enhus and Patrick Giraudi do fantastic work with the film‘s sound from the way it plays up the suspense at the home where Maggie lives as well as some of sounds in the locations the characters go to. The film’s music by Rostam Batmanglij is superb for its ambient-based score with some folk textures and such to play into that sense of the unknown as he also contributes a couple of original songs that is sung by Libby Gery as well as a song by the British electronic group Hot Chip in the final credits.

The casting by Danielle Aufiero and Amber Horn is brilliant for the ensemble that is created as it features appearances from James Urbaniak as the father of a young girl that is featured prominently in the film, Richard Wharton as Maggie’s second-in-command, Kandice Stroh as a middle-aged cult member whom Lorna would socialize with, Alvin Lam and Constance Wu as other new members of the cult, and Avery Pohl as the young girl with a red hat who is one of the students that Peter teaches. Davenia McFadden is terrific as a mysterious woman who appear in the second act and later appear in the third as she would play a crucial role in uncovering the mystery that is happening.

Christopher Denham is excellent as Peter as he is the most skeptical of the two who would later find himself getting closer to Maggie while Nicole Vicius is amazing as Lorna who joins the cult with Peter as she deals with her new world and what it demands. Finally, there’s Brit Marling in a fantastic performance as Maggie as it’s one that is restrained at times but also very confrontational as she is this very odd yet engaging individual who could be telling the truth about her claims from being the future or she might be conning them.

Sound of My Voice is an extraordinary film from Zal Batmanglij that features an incredible performances from Brit Marling. The film is definitely an unconventional suspense film that plays into the world of cults and how two people try to expose them. In the end, Sound of My Voice is a remarkable film from Zal Batmanglij.

Zal Batmanglij Films: (The Recordist) - The East

© thevoid99 2014

Shakespeare Wallah

Directed by James Ivory and written by Ivory and Ruth Prawer Jhabvala, Shakespeare Wallah is the story of traveling acting family who arrive into India for work as they deal with dwindling audiences and the rise of Bollywood. The film is an exploration into the world of changing times as well as trying to see if there’s an audience for Shakespeare in India. Starring Shashi Kapoor, Felicity Kendal, Geoffrey Kendal, Madhur Jaffrey, and Laura Liddell. Shakespeare Wallah is a majestic film from the famed Merchant-Ivory team.

The film is about a world where times are changing in India as Bollywood starts to take center stage while a famed British acting troupe that is known for traveling from city to city to perform Shakespeare find themselves dealing with these changing times. Meanwhile, the daughter of the troupe’s leader falls in love with a playboy who is also attached to a very vain Bollywood actress as he starts to appreciate the world of theater despite its dwindling audience. It’s a film that plays into a world where old meets new and the struggle to keep an art form vital during these changing times. Especially as a young actress in Lizzie Buckingham (Felicity Kendal) is just starting to grow but has to face the reality that doing Shakespeare in India might not be her future as it’s the only thing she knows.

The film’s screenplay by James Ivory and Ruth Prawer Jhabvala not only explores the life of an acting troupe that is struggling to playing to small audiences who are becoming more interested with Bollywood. They’re also struggling with an uncertain future that would affect the troupe, led by Tony Buckingham (Geoffrey Kendal) and his wife Carla (Laura Liddell), where they contemplate about going to Britain to get work or stay in India to try and continue as they still have some respect from theater managers and agents. Among those who are interested in their work is the playboy Sanju (Shashi Kapoor) who witnesses one of their performances and falls in love with Lizzie.

Yet, he has to deal with his mistress Manjula (Madhur Jaffrey) who is becoming a major star who is annoyed by Sanju’s interested towards Lizzie. Even as she would try to humiliate Lizzie where she later attends the troupe’s performance of Othello late in show where her appearance would divert the audience’s attention towards her much to Sanju’s embarrassment. It would play into what Sanju wants and what Lizzie wants but also into the uncertain future they might face as Sanju would also have to deal with a very disruptive and ignorant Indian audience.

Ivory’s direction is quite entrancing for the way he presents India where the film is set at a time where the country had just gained independence from the United Kingdom and were starting to forge their own ideas of arts and culture. Ivory’s compositions and the way he presents India coming into its own is just amazing to look at while he also creates some very enchanting moments in the theatrical performances the Buckinghams do. Even as Ivory maintains that sense theatricality and intimacy in these productions as opposed to the more looser style of a film set where Manjula is acting in a film. The use of wide and medium shots allow Ivory to play into that sense of changing times but through subtle means while ensuring that sense of drama as he would create some beautiful scenes such as Sanju’s first kiss with Lizzie. Overall, Ivory crafts a very delicate and rich film about a family facing changing times in India.

Cinematographer Subrata Mitra does brilliant work with the film‘s black-and-white photography that has this look that is similar to the European films of the times where it is rich in its imagery as it includes some gorgeous lighting schemes. Editor Amit Bose does nice work with the editing to play into the rhythms of some of the moments that occur on stage as well as some of the drama in the film. Costume designer Jennifer Kendal does excellent work with the costumes from the costumes the troupe wears on stage to the posh clothes of Manjula. Sound editor Prabhakar Suqare does terrific work with the sound to play into the intimacy of the theater as well as some of the sounds of the locations the characters encounter. The film’s music by Satyajit Ray is superb for its mixture of orchestral music with traditional Indian folk music to play into that world of India.

The film’s amazing cast includes appearances from producer Ismail Merchant as a theater owner, Jennifer Kendal as a friend of the family, Partap Sharma as an Indian actor who joins the troupe, and Praveen Paul as an aging actor dealing with the changing times. Madhur Jaffrey is fantastic as Manjula as this very manipulative Bollywood star who tries to pull Sanju away from Lizzie as she would do whatever to embarrass him and make him come to her. Laura Liddell and Geoffrey Kendal as excellent as Lizzie’s parents in Clara and Tony Buckingham, respectively, as the troupe leaders trying to make sense of their dwindling fortunes.

Shashi Kapoor is superb as Sanju as this playboy who falls for a British girl as he struggles with his different love affairs and his newfound appreciation for Shakespearian theater. Finally, there’s Felicity Kendal in a radiant performance as Lizzie Buckingham as this young woman who starts to grow as an actress while dealing with her feelings for Sanju and the uncertainty of her acting career.

Shakespeare Wallah is a remarkable from the Merchant-Ivory team that features top-notch performances from Shashi Kapoor and Felicity Kendal. The film is definitely an intriguing look into the world of India coming into its own where Britons deal with changing times. Even as an Indian starts to find appreciation for the world of William Shakespeare as his people look towards something else. In the end, Shakespeare Wallah is a marvelous film from James Ivory and the Merchant-Ivory team.

James Ivory Films: The Householder - (The Dehli Way) - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room With a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - The Remains of the Day - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)

© thevoid99 2014

Afterschool

Written, edited, and directed by Antonio Campos, Afterschool is the story of a video-obsessed high school student whose desire to film violence around him as him dealing with the death of two students as he becomes more confused with the world around him. The film is an exploration into the world of high school as it’s told from an outsider who doesn’t play by the rules as he holds the cards for what might’ve seen. Starring Ezra Miller, Addison Timlin, Jeremy Allen White, Emory Cohen, Rosemarie DeWitt, and Michael Stuhlbarg. Afterschool is a very cold and often un-involving film from Antonio Campos.

Set in a prep high school in the course of a year, the film is an exploration into the world of a sophomore student whose obsession for crazy Internet video clips of violence and sex has him dealing with the death of twin students whom he had witnessed as he tries to deal with what he saw. It would all play to this young teen not just dealing with what he’s witnessed but also take part in making a memorial video for these two twin girls he never really knew. It’s a premise that is very interesting but what Antonio Campos ends up creating is a story that tries to be unconventional but ends up being not very involving at times as he’s more concerned with visual ideas and such.

While the characterization of Robert (Ezra Miller) is compelling as this loner who likes to watch graphic Internet clips. Campos doesn’t do enough for some of the other characters with the exceptions of the school principal Mr. Burke (Michael Stuhlbarg), who is trying his best to maintain order, and the school shrink Mr. Anderson (David Costabile) who talks to Robert every week about what happened. It adds to some of the frustrating aspects of the script where it wants to be a very minimalist story but doesn’t carry enough depth or intrigue to really get things going.

Campos’ direction does have some unique compositions in terms of its framing and the use of grainy cell phone and digital cameras. Yet it is often presented with some sense of detachment of sorts where there’s little close-ups that occur where Campos want to go for some kind of minimalist approach to the filmmaking. Unfortunately, it’s lack of a strong plot makes the film much more plodding in its pacing where all of these quiet and gazing shots would become very tedious. With Campos also serving as the editor, he doesn’t do enough to really get things moving as he’s become too accustomed to the minimalist style where the overall result of the film is one that has a good idea but marred by its very pretentious execution.

Cinematographer Jody Lee Lipes does nice work with the film‘s cinematography from the polished look of the film to the grainy look of the video footage. Production designer Kris Moran, with set decorator Gina Freedman and art director William Logan, does excellent work with the look of the dorm room that Robert stays in along with the classrooms and such. Costume designer Katie Akana does terrific work with the costumes where it mostly plays to the look of prep schools. Sound designer T. Terressa Tate does superb work with the sound as it plays to the hushed dialogue that occurs in the schools and such along with the intimacy in some of the locations. The film’s music by Gale Rakotondrabe is OK as it’s just a piano piece that plays at the end of the film since the film doesn’t feature any music which adds to its tedious tone.

The casting by Randi Glass and Susan Shopmaker is great for the discovery of some of the young actors in the film though some of them are actually wasted in the film. Appearances from Emory Cohen as a classmate and Rosemarie DeWitt as an English teacher that Robert ogles at don’t get much to do while David Costabile is terrific as the school shrink Mr. Anderson. Michael Stuhlbarg is excellent as the school principal Mr. Burke who tries to maintain order and defuse some of the things that’s happening while talking to Robert to see if he’s OK.

Jeremy Allen White is pretty good as Robert’s roommate Dave as is Addison Timlin as their classmate Amy who helps Robert with the video though neither of them get much to do. Finally, there’s Ezra Miller in an amazing performance as Robert as this loner whose obsession with graphic Internet clips has him facing the reality of what he witnessed and what he’s going through as it’s a very chilling performance.

Despite the breakthrough performance from Ezra Miller, Afterschool is a pretty drab and uninspiring film from Antonio Campos which could’ve done so much more with its premise. It’s a film that had the potential in its exploration of voyeurism and alienation but ends up being very pretentious with trying to be very obtuse and such. In the end, Afterschool is a very dull film from Antonio Campos.

© thevoid99 2014

The Householder

Directed by James Ivory and screenplay by Ivory and Ruth Prawer Jhabvala that is based on the novel by the latter, The Householder is the story about a Dehli college teacher whose recent arranged marriage to another woman gets into trouble as he tries to adjust to his new life as a married man. The film plays into the world of adulthood set in India as it marks the first of many films from the Merchant-Ivory company that would include producer Ismail Merchant. Starring Shashi Kapoor, Leela Naidu, and Durga Khote. The Householder is a superbly rich film from James Ivory.

When marriage first arrives to a new couple, it’s about two people trying to get to know each other and such as this film is about this college teacher in Dehli who tries to deal with his newfound life as a newlywed in an arranged marriage to a young woman. It’s a marriage wracked with difficulty which gets worse when the groom’s mother arrives observing and criticizing everything forcing him to deal with his role and what he wants in his life. Ruth Prawer Jhabvala’s script not only explores the difficulty of being newly married but also the expectations and sense of repression that Prem Sagar (Shashi Kapoor) is dealing with as the presence of his mother (Durga Khote) only causes trouble. Especially as she would make her new daughter-in-law Indu (Leela Naidu) very insecure while calling out on her husband as a mama’s boy. For Prem, the adjustment of being a newlywed and balancing it out with his work as a professor would force him to seek answers from many on what to do as it would be presented in a very simple narrative.

The direction of James Ivory is quite simple in the way he explores the sense of repression and expectations put upon a newlywed couple but also in how a man tries to find answers into dealing with his marriage. Much of the direction has Ivory shooting on location in Dehli where it’s this strange mix of a new world colliding with the old yet there are those seeking some answers in a spiritual form as Prem would meet an American visitor (Ernest Castaldo) who would be a catalyst for Prem’s personal journey. Many of the compositions that Ivory would create would be simple in terms of close-ups, medium shots, and some wide shots of the locations. All of which would play into the drama that would intensify throughout the film. Overall, Ivory creates a very compelling film about the newness of being married and the expectations that occurs in India.

Cinematographer Subrata Mitra does excellent work with the film‘s black-and-white photography to play into the look of Dehli as well as the way some of the nighttime interiors are shot. Editor Pran Meha, with additional contributions from Satyajit Ray, does nice work with the editing in creating some unique rhythmic cuts to play into some of the drama along with some stylish usage of dissolves. Costume designer Bettina Gill does terrific work with the clothes from the robes that the women wear to the clothes the men wear. The film’s music by Ustad Ali Akbar Khan and music supervisor Satyajit Ray is fantastic for its mixture of somber Indian orchestral music and some playful pieces that features additional contributions by Ali Akbar Khan and Jyotitindra Moitra where their pieces are featured in the opening moments of the film.

The film’s cast includes some notable small roles from Ernest Castaldo as an American-Indian tourist that Prem meets, Pahari Sanyal as a swami that Prem goes to late in the film, Romesh Tappar as the school principal that Prem works for, and Patsy Dance as a British tourist that Prem’s American friend was staying with. Durga Khote is wonderful as Prem’s very critical mother who always talks about how things were back then as she starts to be cruel towards Indu as she would make things uneasy for Prem. Leela Naidu is amazing as Indu as this young woman that is just trying to be a good wife while dealing with her mother-in-law as she becomes more insecure around her. Finally, there’s Shashi Kapoor in a superb performance as Prem where he brings in all of the anxieties and immaturity as a newlywed who tries to adjust to his new situation and the expectations to be a husband and a man of importance.

The Householder is an excellent film from the Merchant-Ivory team. Thanks to its great cast, a compelling screenplay, and the additional contributions from famed Indian filmmaker Satyajit Ray. The film is definitely a solid debut film from the team that would redefine the period piece films in the years to come. In the end, The Householder is a brilliant film from James Ivory.

James Ivory Films: (The Dehli Way) - Shakespeare Wallah - (The Guru) - Bombay Talkie - (Adventures of a Brown Man in Search of Civilization) - (Savages (1972 film)) - (Autobiography of a Princess) - (The Wild Party) - (Roseland) - (Hullabaloo Over Georgie and Bonnie’s Pictures) - (The Five Forty-Eight) - (The Europeans) - (Jane Austen in Manhattan) - (Quartet (1981 film)) - (Heat and Dust) - (The Bostonians) - A Room With a View - Maurice - (Slaves of New York) - (Mr. & Mrs. Bridges) - Howards End - The Remains of the Day - (Jefferson in Paris) - (Surviving Picasso) - (A Soldier’s Daughter Never Cries) - (The Golden Bowl) - (Le Divorce) - (The White Countess) - (The City of Your Final Destination)

© thevoid99 2014

About a Boy

Based on the novel by Nick Hornby, About a Boy is the story of a rich and unemployed man who becomes a father-figure to a young boy whose mother had tried to kill herself. Directed by Chris and Paul Weitz and screenplay by the Weitz Brothers with Peter Hedges, the film is an exploration into a man who finds himself being attached to a troubled young boy as it would move him away from the carefree lifestyle that he’s become accustomed to. Starring Hugh Grant, Toni Collette, Rachel Weisz, and Nicholas Hoult. About a Boy is a touching and charming film from the Weitz Brothers.

In a world that is often complicated, there is the need of a back-up so that someone can turn to that person whenever a parent is unable to do that. That’s what the film is sort of about where it explores the lives of a rich slacker and a 12-year old boy who come together through troubling circumstances when the latter’s depressed mother attempted suicide. For the mid-30s slacker Will Freeman (Hugh Grant), the presence of the 12-year old Marcus (Nicholas Hoult) gives him something to do to get away from the already very comfortable slacker lifestyle that he has where he basically collects royalties from a popular Christmas song his father wrote. For Marcus, going to Will’s house would give him the escape he needs not just from his troubled mother but also bullies and such that’s plaguing his adolescence. There, the two help each other in their lives where they also realize how much they need each other.

The film’s screenplay has a unique narrative where it follows the lives of both Will and Marcus as the first act showcases the two living very different lives where both of them narrate their own stories. For Will, being a rich slacker with no sense of responsibility and getting a kick out of dating single mothers where the relationships can end amicably makes him feel fulfilled as he claims to be an island. Marcus’ life in the first is anything but good as he’s an oddball kid who will unknowingly sing a song in class, be bullied, and deal with his mother Fiona (Toni Collette) who has become severely depressed. The two would meet on a day in the park where Will goes out with a single mother who happens to be a friend of Fiona as Marcus joins them where they come home finding Fiona passed out from a suicide attempt. The event would affect Marcus as he would turn to Will for companionship as the two not only become friends but also something more as Will would find some fulfillment in Marcus’ presence.

One aspect of the narrative that helps the film is how the relationship between Will and Marcus helps them as it comes to their love life where Will would meet a single mother named Rachel (Rachel Weisz) while Marcus falls for an older classmate named Ellie (Natalia Tena). Things would seem to go well but for Will, who has constantly lied to win women over, finds himself facing the emptiness of his life while things for Marcus also gets more problematic when it comes to his mother. All of which would provide the catalyst for the two to help each other.

The direction of Chris and Paul Weitz is very simple where they definitely choose to shoot the film in London as opposed to setting in America which is quite daring for a mainstream American film. Notably as they use the locations to get a sense of a world that is unique but also universal where a man and a boy deal with their own growing pains. Many of the compositions in the film are very simple and to the point while there’s also some scenes that has some nice humor but also some drama where it isn’t too heavy nor understated. At the same time, there’s elements of style in the use of freeze-frames and slow-motion to play into the kinds of humiliation Will and Marcus endure as it would presented in moments of humor and drama. Overall, Chris and Paul Weitz creates a very engaging and extraordinary film about a unique relationship between a man and a young boy.

Cinematographer Remi Adefarasin does excellent work with the cinematography to play up the different exterior looks of the locations in London from its sunny look at the park to some of the lights in the New Years Eve party scene where Will meets Rachel. Editor Nick Moore does fantastic work with the editing with its usage of freeze-frames and some stylish cuts to play into some of the film‘s humor and drama. Production designer Jim Clay, with set decorator John Bush and supervising art director Rod McLean, does amazing work with the look of Will‘s home with all sorts of cool things to the more quaint home that Fiona and Marcus live in.

Costume designer Joanna Johnston does nice work with the costumes to play into the personalities of the characters with Fiona wearing some very hippie-inspired clothing. Sound editor Richard LeGrand Jr. does terrific work with the sound from some of the sound textures in some of the locations to some of the moments that would add to the drama such as Will hearing his father’s Christmas song. The film’s music by Damon Gough, under his Badly Drawn Boy moniker, is brilliant for its somber, folk-based score with a mixture of acoustic guitars and pianos with a few orchestral arrangements in the background where it would also include some original songs plus a soundtrack by music supervisor Nick Angel who brings in a mix of music ranging from Roberta Flack, Mystikal, U2, the Carpenters, and all sorts of music ranging from hip-hop to pop.

The casting by Priscilla John is great for the ensemble that is featured as it includes some notable small roles from Augustus Prew as Rachel’s teenage son Ali, Sharon Small and Nicholas Hutchinson as friends of Will who ask him to be a godparent of their child, Isabel Brook as a single mother that Will dates early in the film, and Victoria Smurft as another single mother in Suzie that Will dates as she’s a friend of Fiona. Natalia Tena is excellent as the classmate Ellie that Will likes as she takes a liking to him due to his awkwardness which makes for an unusual relationship. Rachel Weisz is wonderful as the single mother Rachel that Will falls for as she would become the one person that would get him away from other women though she is taken aback by the sudden honesty and guilt that he’s been carrying.

Toni Collette is brilliant as Fiona as Marcus’ troubled mother who is dealing with severe depression as she tries to deal with her son’s friendship with Will as well as her own issues where she sometimes unknowingly embarrasses her son. Hugh Grant is amazing as Will Freeman as this carefree slacker who claims to live in his own metaphorical island as he befriends Marcus and starts to care for him while facing the existence of his empty lifestyle. Finally, there’s Nicholas Hoult in a remarkable performance as Marcus where he not only has great rapport with Grant and Collette but also manages to create a very engaging character that deals with being a boy bullied and such as well as feeling like an oddball as it’s a truly astonishing breakthrough for the young actor.

About a Boy is a marvelous film from Chris and Paul Weitz that features top-notch performances from Hugh Grant and Nicholas Hoult. The film is definitely not just an engaging coming-of-age film that features some humor and very realistic drama but also a film in which a man starts to grow up into an adult. In the end, About a Boy is an extraordinary film from Chris and Paul Weitz.

© thevoid99 2014