The film follows a young novelist/actor who is interviewed by a journalist over a book he wrote about his corresponding letters with an American TV star more than a decade ago who died mysteriously following a scandal relating to both of them. It’s a film that is an exploration of fame and celebrity as well as how his stardom won the affections of a young boy who would write corresponding letters with him that eventually would cause trouble. It’s an idea that is interesting yet Xavier Dolan and co-writer Jacob Tierney create a script that is overwhelmed with ideas but with not much to say as the result is something extremely messy and overblown. Notably as its narrative moved back and forth into the story of its titular character (Kit Harrington) and his young fan in Rupert Turner (Jacob Tremblay) while the older Rupert (Ben Schnetzer) talks about everything to the journalist Audrey Newhouse (Thandiwe Newton).
The script opens with the news of John F. Donovan’s death and Rupert’s reaction as he is watching it on TV at a coffee house with his mother Sam (Natalie Portman) as it would be the start of a non-linear reflective narrative where the older Rupert talks to Newhouse about the book he wrote. Yet, Dolan and Tierney chooses to create a parallel narrative about Donovan’s rise and his need to keep his homosexuality a secret while the young Rupert is striving to become a young actor inspired by Donovan despite the homophobic abuse he receives from classmates. It’s a narrative that showcases both Donovan and Rupert’s own issues with their mothers but also their own struggles with who they are yet it is a narrative that tends to overwhelm itself with the older Rupert coming across as someone who has become an asshole. Especially as it features various characters in their lives with the exception of a few who are either underwritten or played as clichés.
Dolan’s direction definitely has ambition and a look that plays into this world of celebrity though it is largely set in three different cities such as New York City, London, and Prague as much of the film is shot on location in Montreal. While many of Dolan’s compositions are straightforward, there are elements of style in some of the scenes he shoots as it play into some of the film’s melodrama. There are some wide and medium shots in not just scopes of the locations but also in some intimate moments with the latter as it play into conversations including scenes that play into the lives of Donovan and the young Rupert as they struggle with their own issues as well as their own parallel relationships with their mother. Yet, there are these moments in the film where Dolan’s approach to melodrama does create scenes that are either cheesy or just overwrought such as a scene where Donovan visits his mother Grace (Susan Sarandon) for Thanksgiving as Donovan is accompanied by his wife Amy (Emily Hampshire) and his brother James (Jared Keeso) as it becomes this overblown moment of Grace feeling unappreciated while she’s drunk as Donovan gets angry over his uncle being an asshole.
It’s not just that sequence that feels overwritten as well as a scene where Rupert’s corresponding letters were discovered after a homophobic classmate stole them where Rupert had to break into the boy’s house to get it back. It’s also scenes where the older Rupert talks to Newhouse about ethics where he comes off as entitled as it’s another scene that doesn’t work. Dolan also puts in an odd scene where an old man (Michael Gambon) gives Donovan some advice late in the film where it is a strange moment that never feels earned as it would be followed by a scene of Donovan at his mother’s house where he and his brother are singing Lifehouse’s Hanging By a Moment that feels tacked on and never adds anything to the story. For a film that is meant to be this exploration of scandal, misunderstanding, and celebrity, Dolan not only doesn’t say anything new but he also dwells into clichés that doesn’t feel earned nor does it help the story in general. Overall, Dolan crafts an overwritten and baffling film about a young man reflecting on his time as a kid corresponding letters to a troubled TV star.
Cinematographer Andre Turpin does excellent work with the film’s cinematography as its emphasis on low-key lighting and lack of vibrant colors do add to the film’s dramatic tone despite its messy narrative. Editors Xavier Dolan and Mathieu Denis do fine work with the editing where it does have elements of style though some of it do go overboard to play into some major dramatic moments. Production designers Anne Pritchard and Colombe Raby do fantastic work with the look of the home that Donovan’s mother live in as well as the school and home that the young Rupert goes to in London. Costume designers Michele Clapton and Pierre-Yves Gayraud do nice work with the costumes as it has some style in the clothes that Donovan wears while much of it is just casual.
Hair/makeup designer Jan Archibald does terrific work with the look of Sam with her hairstyle as well as the look of a few other characters to play into the world that Rupert and Donovan are in. Special effects supervisor Guillaume Murray and visual effects supervisor Jean-Francois Ferland do some OK with the film’s visual effects for scenes relating to the TV show Donovan is in as well as some set-dressing for some of the film’s locations. Sound designer Sylvain Brassard does superb work with the sound in the way music is played on a car radio to the atmosphere of a few party scenes as well as some sparse moments in the dramatic aspects of the film. The film’s music by Gabriel Yared is good for some of the lush orchestral score pieces that does play into the drama though it does have moments where it does feel overdone while the music soundtrack that features music from Cat Power, Adele, P!nk, Lifehouse, and the Verve do have their moments as it play into the period of the mid-2000s yet some feel used in the most clichéd ways.
The casting by Carmen Cuba is wonderful despite the fact that the cast wasn’t given strong material to work with as small roles from Jane Wheeler and Susan Almgren as two of Donovan’s aunts, Craig Eldridge as Donovan’s asshole uncle Patrick, Lukas Rolfe as the young Rupert’s homophobic classmate Cedric, Sarah Gadon as one of Donovan’s co-stars in Liz Jones, Jared Keeso as Donovan’s older brother James, and Chris Zylka in a somewhat-bland performance as an actor in Will Jefford Jr. who would have a thing with Donovan as he’s never given anything to do. Michael Gambon’s one-scene performance as a man who gives Donovan advice is amazing despite the fact that the scene made no sense while Emily Hampshire’s performance as Donovan’s wife Amy is severely underwritten as someone who never really says a lot in the film.
Kathy Bates and Amara Karan are excellent in their respective roles as Donovan’s manager Barbara Haggermaker and Rupert’s schoolteacher Miss Kureshi with the former being a no-nonsense manager who does what she can for Donovan but not put up with his bullshit while the latter is a kind-hearted teacher who believes that Rupert is gifted. Ben Schnetzer’s performance as the 21-year old Rupert is terrible as he switches between a British and American accent every now and then where he comes off as a real douche bag in how he talks about his past and observations while Thandiwe Newton manages to be solid as the journalist Audrey Newhouse as she just plays it straight and not putting up with some of the bullshit. Susan Sarandon has her moments as Donovan’s mother Grace in quieter moments though the scenes where she is melodramatic is her over-acting a bit.
Natalie Portman is superb as Rupert’s mother Sam as a woman who is baffled by her son’s relationship with Donovan through the letters where Portman does show some realism in the mother world despite some of the clichéd dramatic tropes she had to endure. Kit Harrington’s performance in the titular role is a mess as it does have moments of someone that is struggling with his identity but Harrington is unfortunately hindered by clichés that never allows his character to be fully engaging. Finally, there’s Jacob Tremblay in an incredible performance as the young Rupert Turner where Tremblay displays this air of energy and enthusiasm to the role but also someone who is just trying to understand the ways of the world as he is the only real highlight of the film.
The Death and Life of John F. Donovan is a horrendous film from Xavier Dolan. Despite the performances of Jacob Tremblay, Natalie Portman, Kathy Bates, and Amara Karan, the film is unfortunately bogged down by too many ideas in its study of celebrity and identity by favoring melodrama and tacked on moments that never says anything. It is a film that had a unique idea but fails in its execution where it dwells too much into convention while never going into places that could’ve done more with its subject matter. In the end, The Death and Life of John F. Donovan is an absolute failure from Xavier Dolan.
Xavier Dolan Films: I Killed My Mother - Heartbeats (2010 film) - Laurence Anyways - Tom at the Farm - Mommy (2014 film) - (It’s Only the End of the World) – Matthias & Maxime - (The Night Logan Woke Up) – The Auteurs #46: Xavier Dolan
© thevoid99 2021
Directed by Matthew Warchus and written by Stephen Beresford, Pride is the story about the British miner’s strike of 1984-1985 where miners reluctantly get the support of gay and lesbian activists who would raise money for the miners. The film is a dramatic account on how the gay and lesbian community get involved as well as display the act of solidarity during one of Britain’s most tumultuous periods. Starring Bill Nighy, Imelda Staunton, Paddy Considine, Dominic West, Andrew Scott, George MacKay, Joseph Gilgun, Menna Trussler, and Ben Schnetzer. Pride is a heartfelt and compelling film from Matthew Warchus.
The British miners’ strike of 1984-1985 was an event in Britain that had miners going against the rule of its then-prime minister Margaret Thatcher over pit closures and pay restraints. It was around this time that the National Union of Mineworkers would receive support but from the most unlikely group of people in the gay and lesbian community who saw the same amount of prejudice and abuse they had received from the police as they offered their own support as an act of solidarity. The film is a dramatic account of this event which is considered a watershed moment for the British gay and lesbian movement but also for the miners strike as well where it took a ragtag group of people who go to a small town in Wales to offer their support and raise money for the miners.
Stephen Beresford’s screenplay talks about the formation of the Lesbians and Gays Support the Miners campaign that started in a gay bookshop by a few activists where they just wanted to donate whatever money to help miners who are on strike and can’t pay the bills. While NUM was at first unwilling to take their money, it was through a small faction in this small Welsh mining town that said yes but unaware of who they’re getting money from as the locals are aghast of who is giving them donations. Still, one of the miners’ local organizers in Dai Donovan (Paddy Considine) would invite them as does the leader of the women’s support group in Hefina Headon (Imelda Staunton) where it took a while for the locals to accept them. Even as the LGSM would find ways to raise more money and awareness despite the fact that there is a lot happening in their own community as it relates to the AIDS crisis as one of them is HIV positive yet has found a way to curb his disease.
Matthew Warchus’ direction doesn’t really go for a lot of style except for a few scenes shot entirely on hand-held to give it a cinema verite feel. Yet, it does maintain a simplicity in not just the compositions but also the setting as it is shot not just in parts of London and its nearby suburbs but also in small towns in Wales to make it feel very real. Warchus would also find something ordinary and make it special as the film does have subplots as it relates to not just miners’ wives trying to do what they can for their husband but also find themselves in their own right. The direction also play into the realities of what is going on in Britain with footage of the news as well as what the tabloids were printing as a way to cause problems between the two factions. Even as a miner’s widow would create further problems upsetting her brother-in-law who is one of the organizers in the strike. Though it’s third act does give the film a bit of a different tone as it relates to not a lot of realities in both the mining and gay community. It does serve as some major moments in a few of its characters as well the fact that these two very different communities come together where they were able to make a difference in a way that is bigger than themselves. Overall, Warchus crafts a lively and engaging film about gay and lesbian activists helping striking miners in their time of need during the 1980s British miners’ strike.
Cinematographer Tat Radcliffe does excellent work with the film‘s cinematography from the vibrant look of London in its clubs and the gay bookshop that the LGSM organizers frequent at to the more drenched yet grey-like color of the small town in Wales. Editor Melanie Oliver does fantastic work with the editing as it does play into style with its usage of jump-cuts as well as some montage-based cutting. Production designer Simon Bowles, with set decorator Liz Griffiths and supervising art director Mark Raggett, does amazing work with the look of the bookshop the LGSM organizers meet as well as some of the clubs they go to and the community hall at the small Welsh town where the miners meet to have meetings. Costume designer Charlotte Walter does brilliant work with the costumes from the colorful look of the members of the LGSM to the more grey and casual look of the miners and their wives.
Hair/makeup designer Nadia Stacey does terrific work with the look of the hairstyles and makeup of some of the members of the LGSM as well as create a straight-laced look for the miners and their families. Visual effects supervisor Hugh MacDonald does nice work with some of the film‘s minimal visual effects which is just essentially set dressing to play into what London looked like in the 1980s. Sound designer Blair Jollands does superb work with the sound in the way some of the parties sound as well as the sparse yet eerie tension heard in a key meeting late in the film. The film’s music by Christopher Nightingale is wonderful for its mixture of low-key orchestral music and guitar-based rock music to play into the period of the times while music supervisor Nick Angel creates a fun soundtrack filled with a lot of the music of the times from the Smiths, Shirley & Company, Bronski Beat, Frankie Goes to Hollywood, Culture Club, Dead or Alive, and Pete Shelley as well as some folk-based pieces from Pete Seeger and Billy Bragg.
The casting by Fiona Weir is phenomenal as it include some notable small roles from Matthew Flynn and Monica Dolan as Joe’s parents, Olwen Medi as Gethin’s mother, Kyle Rees and Jack Baggs as a couple of young miners who go to Jonathan in getting dance lessons so they can get girls, Rhodri Meilir as the miner/co-organizer Martin James, Liz White and Nia Gwynne as a couple of miners’ wives, and the trio of Freddie Fox, Chris Overton, and Joshua Hill as members of the LGSM. Other noteworthy small roles include Karina Fernandez and Jessie Cave as two LGSM members who want to form a splinter group known as Lesbians Against Pit Closures while Lisa Palfrey is terrific as the widow Maureen Barry who isn’t keen on having LGSM at the town as she tries to create trouble only to get the ire of her brother-in-law Cliff. Menna Trussler is wonderful as the elderly widow Gwen who would be the first to take LGSM’s donation as well as find common ground with the lesbians. Andrew Scott is fantastic as LGSM co-founder Gethin who also runs the bookshop with his partner Jonathan as he admits to his reluctance in returning to Wales due to his relationship with his mother where he would eventually find the courage to see her again.
Jessica Gunning is excellent as Martin’s wife Sian who would find her voice in the activism as she would also the person to help the LGSM and miner’s union find common ground. Dominic West is brilliant as the HIV-stricken Jonathan who isn’t sure about what his friends are doing as he helps them while showing the young miners how to dance as a way to pick up women. Joe Gilgun is superb as LGSM co-founder Mike Jackson who would introduce the young Joe to activism as well as be the one to create banners for the cause. Faye Marsay is amazing as Stephanie Chambers who is the lone lesbian of the group who has a wild look but finds herself having more common ground with the miners’ wives where she takes a maternal role for Joe. George MacKay is great as Joe as a college student who finds himself taking on the cause to help the miners while trying to hide his sexuality from his parents where he finally makes a big decision as an adult.
Ben Schnetzer is incredible as the late LGSM co-founder Mark Ashton who is the group’s leader that rallies everyone around to the cause as he sees similarities in the struggles the miners are facing along with the gay and lesbian community as it’s just this riveting breakthrough. Paddy Considine is marvelous as local miners’ leader Dai Donovan who would be the first to meet the LGSM as he is taken aback by them at first only to see that they’re just cool people. Imelda Staunton is radiant as Hefina Headon as the head activist for the miners’ wives who is one of the first to welcome in the LGSM as she sees what they’ve done for the cause as well as realize how fun they are. Finally, there’s Bill Nighy in a remarkable performance as Cliff Barry as a miner who had seen a lot as he is one of the few who welcome the LGSM immediately as well as know what is at stake as it relates to the well-being of the miners and their families.
Pride is a sensational film from Matthew Warchus. Featuring a great ensemble cast, awesome music, and a compelling story that is based on the real British miners’ strike of the mid-1980s. It’s a film that doesn’t just explore a moment in time but also a moment where people came together just to help one another no matter what sexual preference they are. In the end, Pride is a phenomenal film from Matthew Warchus.
© thevoid99 2016
