Kingsman: The Secret Service

Based on the comic book The Secret Service by Dave Gibbons and Mark Millar, Kingsman: The Secret Service is the story of a young man who is recruited to be part of a secret spy organization where they try to save the world from a megalomaniacal man of great wealth. Directed by Matthew Vaughn and screenplay by Vaughn and Jane Goldman, the film is a take on the world of spies and what it takes to become a badass spy with a sense of style. Starring Colin Firth, Taron Egerton, Mark Strong, Sophie Cookson, Sofia Boutella, Mark Hamill, Samuel L. Jackson, and Michael Caine. Kingsman: The Secret Service is an exhilarating and fun film from Matthew Vaughn.

The film revolves around a young man, whose father had died when he was young, as he is recruited to be part of a secret organization from a man who feels he owes a debt to that young man’s father for saving his life. There, the two deal with a wealthy Internet mogul who has plans to wipe out most of the population in favor of saving the world as it forces the secret organization of the Kingsman to save the world. It’s a film with a simple plot that plays into a lot of the tropes that is expected in spy films such as world domination, chaos, and doing what is right. Yet, Matthew Vaughn and co-screenwriter Jane Goldman become aware of these clichés and play with those while investing their time in developing a young man who was going through an aimless life into finding something that has meaning.

The protagonist Eggsy (Taron Egerton) is a young kid who lost his father at a young age where he’s been living with his mother, an abusive stepfather, and infant half-sister where he had all of the grades and potential to be something more than a criminal but has a chip on his shoulder. When he meets Harry Hart aka Galahad (Colin Firth) who knew Eggsy’s father, he would bail him out and show him what he could be as Galahad is a spy that looks like a tailor but proves to be a formidable badass. Yet, Galahad is also dealing with the loss of one of his colleagues and needs a replacement where he and the Kingsman are dealing with this billionaire named Richmond Valentine (Samuel L. Jackson) who is an odd villain of sorts. A billionaire with a lisp and can’t stand the sight of blood despite what he is doing to the world with his new free software that he gives to the world which really serves as what he is planning to do. Once Galahad and the Kingsman senior agent Merlin (Mark Strong) realize what they’re dealing with, they knew something had to be done which also prompts Eggsy to fulfill his own potential.

Matthew Vaughn’s direction is definitely stylish from some of the tracking shots and long takes he creates for some of the scenes to the mixture of violence and humor that is injected in the film. While it starts off with comical moments of violence, Vaughn does play into some of the impact that occurs such as an opening sequence where Eggsy’s father sacrifices himself to save three men from a suicide bomber which plays into Galahad making an oath to be there for Eggsy. While some of the action and suspenseful moments are quite gripping, Vaughn does find a way to inject some humor but also play into what is at stake where Eggsy learns what he has to do to become a Kingsman. Even in a tense moment where he meets with Kingsman leader Arthur (Michael Caine) that would serve as a major test to see if he can really become one. Vaughn’s usage of close-ups and medium shots do play into the drama as well as Eggsy coming to term with who he is but also someone that has a lot of attachments which is often the reason for why he never able to live up to his promises as a young man.

When the film reaches its third act where the Kingsman have to confront Valentine, it is presented in a grand scale in terms of its set pieces and what is at stake where Eggsy not only fulfills that potential. He also becomes aware of what is at stake where Vaughn does play with the conventions of these climaxes as some of it is very violent but also has this air of dark comedy that manages to be a whole lot of fun to watch. Especially in what Valentine unleashes into the world through his app which gave the world free internet and free cellphone usages which plays into the drawbacks of the modern world. Overall, Vaughn creates a very thrilling yet witty film about a young man who realizes his potential to be something more as well as saving the world.

Cinematographer George Richmond does excellent work with the film‘s cinematography with its usage of lights for many of the nighttime interior settings including the film‘s climax as well as some of the exteriors in the day to play off its natural look for scenes set in London. Editors Eddie Hamilton and Jon Harris do nice work with the editing as it does have some fast-paced rhythmic cuts for some of the action and conversations while knowing when not to cut such as some of the tracking shots. Production designer Paul Kirby, with supervising art director Andy Thomson and set decorators Naomi Moore, David Morison, and Jennifer Williams, does fantastic work with the set design from the look of the Kingsman base and its training facilities to the secret hideout where Valentine holds his party. Costume designer Arianne Phillips does terrific work with the costumes from the tailored suits the Kingsman wear as well as the stylish clothes of Valentine.

Hair/makeup designer Christine Blundell does wonderful work with the hairstyles of the characters including the one Galahad would wear during his brief comatose state. Visual effects supervisors Steven Begg, Huseyin Caner, and Matt Kasmir do fine work with some of the visual effects though some of the background stuff don‘t look finished at times. Sound designer Matthew Collinge and sound editor Danny Sheehan do superb work with the sound in creating some sound effects for some of the gadgets the Kingsman use along with some of the sound that occurs in the locations and places the characters go to. The film’s music by Henry Jackman and Matthew Margeson is amazing for its mixture of orchestral bombast and some pulsating electronic music as the latter plays more into Eggsy‘s personality while music supervisor Ian Neill creates a fun soundtrack that features a plethora of music ranging from rock, pop, and hip-hop from acts like Lynyrd Skynyrd, KC and the Sunshine Band, Dire Straits, Take That, Dizzee Rascal, Iggy Azalea and Ellie Goulding, and Bryan Ferry.

The casting by Reg Poerscout-Edgerton is brilliant as it features notable small roles from Jack Cutmore-Scott, Tom Prior, and Fiona Hampton as a few Kingsman candidates, Hanna Alstrom as the Swedish princess who refuses to make a deal with Valentine, Bjorn Floberg as the Swedish prime minister, Richard Brake as an interrogator for the candidates, Jack Davenport as the original Lancelot who tried to save a professor, Geoff Bell as Eggsy’s abusive stepfather Dean, Samantha Womack as Eggsy’s mother whom he cares about, and Mark Hamill in a terrific role as Professor James Arnold as this man who would be a pawn into what Valentine is creating. Edward Holcroft is superb as the Kingsman candidate Charlie Hesketh who bears all of the attributes to be a Kingsman as he is the total opposite of what Eggsy brings to the organization.

Sofia Boutella is fantastic as Valentine’s amputated henchwoman Gazelle as this woman who is beautiful but dangerous as her sword-like legs are very dangerous. Sophie Cookson is amazing as Kingsman candidate Roxanne as a young woman who befriends Eggsy as she is one of the few who doesn’t dismiss his working-class background while being someone who can be a Kingsman and do what is right. Michael Caine is excellent as Arthur as the Kingsman leader who tries to sort out everything that is happening as well as deal with a world that is changing very rapidly. Mark Strong is awesome as Merlin as a senior Kingsman officer who is also the candidates’ trainer as a man that had seen so much as he is also the film’s conscious of sorts.

Samuel L. Jackson is phenomenal as Richmond Valentine as this megalomaniacal man of wealth who believes he has the answers for all of the problems of the world while doing it in a very evil way where Jackson brings charm but also some humor in his lisps and aversion to blood and violence. Colin Firth is remarkable as Galahad/Harry Hart as a Kingsman agent who personifies all of the things to be a spy that is full of control and style while also being the one person who can show Eggsy what he can be as it’s one of Firth’s finest performances. Finally there’s Taron Egerton in a real breakthrough as Eggsy as young man with a chip on his shoulder as someone that is lost and destined for trouble as he tries to find ways to better himself as well as bring meaning where Egerton manages to have some charm and dramatic weight to his role.

Kingsman: The Secret Service is a sensational film from Matthew Vaughn. Featuring a great cast and an inventive premise that manages to be fun and engaging, the film is truly not just a play on spy movies but also showcases the idea of what a gentleman can be when he’s facing the world in danger. In the end, Kingsman: The Secret Service is a rapturous film from Matthew Vaughn.

Matthew Vaughn Films: (Layer Cake) - (Stardust) - Kick-Ass - X-Men: First Class

© thevoid99 2015

Magic in the Moonlight

Written and directed by Woody Allen, Magic in the Moonlight is the story of an illusionist in the late 1920s who try to disprove the work of a clairvoyant while being charmed by her. The film is an exploration into Allen’s love for magic as it plays into a man who doesn’t really believe in magic while falling for a woman who might prove that he’s wrong. Starring Colin Firth, Emma Stone, Hamish Linklater, Simon McBurney, Jacki Weaver, Erica Leershen, Eileen Atkins, and Marcia Gay Harden. Magic in the Moonlight is a delightful and charming film from Woody Allen.

Set in 1928, the film plays into an illusionist’s attempt to expose a young clairvoyant as a fraud as it’s part of a job he is known for yet would be intrigued by her and eventually fall for her. It’s a film that plays into this conflict over cynicism and spirituality as the character of Stanley (Colin Firth) is a man of rational thoughts as he doesn’t believe in God or anything. Spurred by a friend who is convinced by the powers of this young clairvoyant named Sophie (Emma Stone), Stanley travels to the French Riviera to see if Sophie is real or is a fraud. Along the way, things become weirder as Stanley wonders if Sophie is really faking it or did she find a way to crack into his cynical view of the world. While Woody Allen’s screenplay does follow a predictable and formulaic storyline, it does manage to create situations that are funny but also engaging into Stanley and Sophie’s growing friendship.

Though Stanley is engaged to another woman and Sophie is in a relationship with a young rich man, there is an attraction that is electrifying to watch where Stanley is often baffled by Sophie while Sophie tries to figure who what Stanley is doing. Even as Stanley becomes conflicted in exposing Sophie as a fraud while being in love with her that would play a key part into the film’s second act. While a twist does get unveiled into the third act where it’s not entirely successful, it does play into Stanley’s own view of the world and this growing confusion he has in just believing something that might not be real or just stick to the ideas of reality.

Allen’s direction is quite straightforward while it does employ elements of style such as the opening scene of Stanley performing as it shows his mastery in illusion. At the same time, it shows exactly how much of a pain in the ass he is as he’s egotistical and craving for perfection behind the scenes. Allen’s usage of wide shots not only help make the locations in the French Rivera quite beautiful but it also plays into the wide divide between Sophie’s love of mysticism and Stanley’s own cynicism. Allen’s usage of close-ups and medium shot not only play to the film’s humor but also in the growing attraction between Stanley and Sophie that is filled with a sense of joy along with some dramatic tension. Though things do get clunky in its third act as it relates to a twist in the film, it does play into Stanley’s own resolve about everything he had thought about in the world and what should he accept. Overall, Allen creates an enjoyable though flawed film about a man trying to disprove the credibility of a young clairvoyant.

Cinematographer Darius Khondji does brilliant work with the film‘s cinematography to capture the beauty of the French Riviera locations as well as the gardens in some of the houses while using some unique lighting schemes and textures to play into the film‘s look. Editor Alisa Lepselter does excellent work with the editing as it is straightforward with a few dissolves and rhythmic cuts to play into the film‘s humor. Production designer Anne Siebel, with set decorators Jille Azis and Fanny Landsberg, does fantastic work with the look of the homes that the characters live in as well as Stanley’s stage show and the places the characters go to. Costume designer Sonia Grande does amazing work with the costumes from the period clothes of the men to the gorgeous dresses that the women wear.

Visual effects supervisor Andrew Lim does nice work with one of the film‘s minimal visual effects sequence that involves a scene where Stanley and Sophie look at the sky at night inside an observatory. Sound editor Robert Hein does terrific work with the sound to create something that is sparse and low-key while capturing the exuberance in a few of the party scenes. The film’s music soundtrack consists of different genres of music from jazz to classical as it plays into the period of the time as it is one of the film’s highlights.

The casting by Juliet Taylor, Patricia Kerrigan DiCerto, and Stephane Foenkinos is superb as it features a few small performances from Catherine McCormack as Stanley’s fiancee Olivia, Lionel Abelanski as a doctor late in the film, Jeremy Shamos and Erica Leershen in their respective roles as George and Caroline who are amazed by Sophie’s gift, and Eileen Atkins in a wonderful performance as Stanley’s Aunt Vanessa whom he is fond of as she is impressed by Sophie. Jacki Weaver is fantastic as Grace as a family matriarch who asks Sophie to communicate with her late husband as she brings a lot of spark to her character. Marcia Gay Harden is terrific as Sophie’s mother who would accompany Sophie on a few of these things while trying to prove to Stanley that she is the real thing.

Hamish Linklater is excellent as Grace’s son Brice who is deeply in love with Sophie as he falls under her spell as he brings a lot of humor in just being intentionally bland and singing awful love songs to Sophie. Simon McBurney is fantastic as Stanley’s friend Howard who is also an illusionist as he wants to see if Stanley can prove that she is a fraud as he provides some delightful supporting work in his performance. Emma Stone is amazing as Sophie as this young woman who has the power to see the future and such as she deals with Stanley’s snide attitude where Stone brings a lively presence to her performance. Finally, there’s Colin Firth in a brilliant performance as Stanley as a renowned illusionist and psychic debunker who finds himself baffled by Sophie as he struggles with his feelings for her and his job where Firth brings a lot of humility and humor into his performance.

Magic in the Moonlight is a stellar film from Woody Allen that features great performances from Colin Firth and Emma Stone. While it is a flawed film, it is a still an enjoyable and fun film that explores the world of magic and spirituality. In the end, Magic in the Moonlight is a wonderful film from Woody Allen.

Woody Allen Films: What's Up Tiger Lily? - Take the Money and Run - Bananas - Everything You Always Wanted to Know About Sex* (*But Were Afraid to Ask) - Sleeper - Love and Death - Annie Hall - Interiors - Manhattan - Stardust Memories - A Midsummer's Night Sex Comedy - Zelig - Broadway Danny Rose - The Purple Rose of Cairo - Hannah & Her Sisters - Radio Days - September - Another Woman - New York Stories: Oedipus Wrecks - Crimes & Misdemeanors - Alice - Shadows and Fog - Husbands and Wives - Manhattan Murder Mystery - Bullets Over Broadway - Don't Drink the Water - Mighty Aphrodite - Everyone Says I Love You - Deconstructing Harry - Celebrity - Sweet and Lowdown - Small Time Crooks - The Curse of the Jade Scorpion - Hollywood Ending - Anything Else - Melinda & Melinda - Match Point - Scoop - Cassandra's Dream - Vicky Cristina Barcelona - Whatever Works - You Will Meet a Tall Dark Stranger - Midnight in Paris - To Rome with Love - Blue Jasmine - Irrational Man - (Cafe Society)

The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4

© thevoid99 2015

Tinker, Tailor, Soldier, Spy

Based on the novel by John Le Carre, Tinker, Tailor, Soldier, Spy is the story of a former spy who is asked to find a Soviet double-agent that is rumored to be a top official in the British secret service. Directed by Tomas Alfredson and screenplay by Bridget O’Connor and Peter Straughn, the film explores the world of espionage and intrigue as it revolves a retired spy who is forced to uncover dark secrets that involves the people he used to work for. Starring Gary Oldman, Colin Firth, Tom Hardy, John Hurt, Toby Jones, Mark Strong, Benedict Cumberbatch, and Ciaran Hinds. Tinker, Taylor, Soldier, Spy is an engrossing yet intriguing film from Tomas Alfredson.

After British intelligence sends agent Jim Prideaux (Mark Strong) to Hungary where he was shot and captured, the ailing intelligence head Control (John Hurt) is forced to retire as he asks his right-hand man George Smiley (Gary Oldman) to investigate a claim by agent Ricki Tarr (Tom Hardy) about a mole in British Intelligence. With Tarr in hiding, Smiley takes charge of the investigation as he brings in officer Peter Guillam (Benedict Cumberbatch) to aid him where they suspect about the Witchcraft project that is led by new head Percy Alleline (Toby Jones) that also includes deputy Bill Haydon (Colin Firth), and senior officials Roy Bland (Ciaran Hinds) and Toby Esterhase (David Dencik).

With Alleine taking control of the MI6 and getting rid of various personnel, Smiley meets Connie Sachs (Kathy Burke) who reveals that she was sacked for finding out about a mole-handler named Polyakov (Konstantin Khabensky). Another former employee in Jerry Westerby (Stephen Graham) reveals to Smiley some more information about what happened to Prideaux as Smiley believes that a top official could be the mole. Coming home from work, Smiley finds Tarr at his house hiding as Tarr reveals his story about what happened to him in Istanbul. Tarr met an operative named Irina (Svetlana Khodchenkova) whom he fell for as they traded information as she was the one who revealed about the mole in the MI6 before being captured. Tarr was forced to flee after finding a British agent dead as he’s been accused of murder as he remains in hiding.

After Guillam is asked to fetch Tarr’s reports to confirm what Tarr had said, Guillam and Smiley make a discovery that someone knows about Tarr’s time in Istanbul. After learning about more about what happened to Prideaux and what he was trying to find for Control, Smiley goes further to find out what Alleine, Haydon, Bland, and Esterhase have been giving to Polyakov as one of them has been giving away something more than just information. There, Smiley makes a move to have the mole to be revealed.

What happens when a retired spy has to uncover dark secrets that involves espionage that would threaten the livelihood of the British Intelligence Agency? That's what the film is simply about as it explores the world of corruption and men's desire to create a new world order in the 1970s during the Cold War. Yet, it would take a man like George Smiley to realize that what they're doing isn't just wrong but immoral about the way spy games work. Seeing people he knew for many years being dismissed like that because they know something is wrong forces him to make some moves with old friends including a spy who is on the run for uncovering the truth.

The screenplay does play to the schematics of a suspense story yet a lot of the narrative does shift back and forth as it revolves around Smiley’s memories and the events that transpire throughout the course of the film. The story opens with Prideaux’s capture as it would be among the moments that keeps coming back along with Smiley’s memories of more simpler times when Control was in charge. During these flashbacks, Smiley would force to look back at things that would raise his suspicions as he later realizes that something was up. Even as it would involve meeting people like those who were dismissed or someone like Ricki Tarr as they would reveal to Smiley things that would eventually confirm his own suspicions.

Tomas Alfredson’s direction is very entrancing in the way he frames his actors and set-up the moments of suspense that occurs throughout. His attention to detail in the film’s opening scene that involves Prideaux that would led to his capture is among one of these key moments of suspense. The rest of the film takes a much more low-key approach in order to uncover everything that is happening as Alfredson creates a world that is set in the early 1970s where the Cold War is already happening and Smiley feels out of step with the times. It’s to establish that a new world order is happening where men like Smiley are just obsolete while these new lions take over and keep the Cold War happening yet it’s the mole that is creating all of these complications that is going on.

Set mostly in London with some parts of the film set in Paris, Istanbul, and Hungary, it’s definitely a film about international intrigue as Alfredson is trying to figure out who is the mole. Notably the sequence that involves Ricki Tarr in Istanbul where the compositions have an air of style as it reflects Tarr’s desire to lead a life out of the world of spy games. The film’s third act where Smiley gets closer to finding out who the mole is has him doing things where he will confront someone in a very unique way in order to get answers. There’s no violence involve but rather just play it cool and create a situation where that person eventually breaks down. Overall, Alfredson crafts a very solid and engaging suspense film that works to play out its sense of mystery.

Cinematographer Hoyte van Hoytema does brilliant work with the film‘s stylish photography to play out the drab look of London in its exteriors along with lush lighting schemes for the interior. Editor Dino Jonsater does excellent work with the editing to create stylish cuts to help shift the narrative around along with some methodical cuts to play out the suspense. Production designer Maria Djurkovic, along with set decorator Tatiana MacDonald and art directors Tom Brown and Mark Raggett, does superb work with the set pieces such as the meeting room where the British intelligence supervisors meet along with the offices and homes that the characters live and work at.

Costume designer Jacqueline Durran does terrific work with the costumes from the suits the men wear to the more casual 70s clothing the younger characters wear. Hair and makeup designer Felicity Bowring does nice work in creating looks for the characters to create the feel of the 1970s. Sound editors Stephen Griffiths and Andy Shelley do some fine work with the sound to capture the intimacy of the meetings as well as the chaos in some of the film‘s thrilling moments. The film’s music by Alberto Iglesias is amazing for its orchestral-driven score filled with slow, heavy themes to play out the drama and suspense. Music supervisor Nick Angel creates a very good soundtrack that features a few music pieces from the 70s including a rhythmic cover of La Mer by Julio Iglesias.

The casting by Jina Jay is marvelous for the ensemble that is assembled for this film. Among those making small appearances include Christian Makay as an agent in Paris, Roger Lloyd-Pack as a friend of Smiley, Stephen Graham and Kathy Burke as two dismissed staff members of the agency, Simon McBurney as official Oliver Lacon, Konstantin Khabensky as the mysterious Polyakov, Svetlana Khodchenkova as the Soviet operative Irina that Tarr falls for, and John Hurt in a small but crucial role as former MI6 head Control. Toby Jones is excellent as the very aggressive Intelligence head Percy Alleline while Ciaran Hinds is very good as the more low-key official Roy Bland. David Dencik is terrific as the very snaky and secretive Toby Esterhase who tries to be low-key only to have Smiley target him.

Benedict Cumberbatch is wonderful as Smiley’s aide Peter Guillam who gets a hands-on experience into the world of corruption and espionage. Colin Firth is superb as the very low-key yet calm official who is part of the cover-up. Tom Hardy is amazing as the agent Ricky Tarr who was the one to discover the idea of the mole as he deals with the conflict of being an agent. Mark Strong is brilliant in a small yet crucial role as the agent Jim Prideaux who is sent to find the identity of the mole early in the film as he is unaware of the dangers he’s facing. Finally, there’s Gary Oldman in an incredible performance as George Smiley. Oldman creates a performance that is very entrancing as a man who feels lost in these new times as he has to uncover a mystery and reveal the mole that is destroying the British Intelligence.

Tinker, Tailor, Soldier, Spy is a rich yet captivating film from Tomas Alfredson that features a remarkable performance from Gary Oldman. Along with a cast that includes Colin Firth, Mark Strong, Benedict Cumberbatch, Toby Jones, Ciaran Hinds, John Hurt, and Tom Hardy. It’s a film that weaves it way to uncover the mystery as it is presented with great care for the audience to be engaged by and figure out what is going on. In the end, Tinker, Tailor, Soldier, Spy is a brilliant film from Tomas Alfredson.

Tomas Alfredson Films: (Bert: The Last Virgin) - (Screwed in Tallinn) - (Office Hours) - (Four Shades of Brown) - Let the Right One In

© thevoid99 2012

Girl with a Pearl Earring

Based on Tracy Chevalier’s novel, Girl with a Pearl Earring is the fictional story of how Johannes Vermeer created his famous painting as a young maid works for his tumultuous household. Directed by Peter Webber and screenplay by Olivia Hetreed, the film explores the world of Vermeer’s art as he finds a muse in this young woman who would inspire him to make one of his great paintings. Starring Colin Firth, Scarlett Johansson, Essie Davis, Cillian Murphy, Judy Parfitt, Alakina Mann, and Tom Wilkinson. Girl with a Pearl Earring is a ravishing drama from Peter Webber.

Following an accident that left her tile-painting father (Chris McHallem) blind, Griet (Scarlett Johansson) goes to work as a maid for the Dutch painter Johannes Vermeer (Colin Firth). Arriving at his already tumultuous home where his wife Catharina (Essie Davis) is pregnant, Griet is assigned to help out around the house and clean Vermeer’s painting studio as he’s still working on a painting. Griet is also assigned to fetch meet for the family with their maid Tanneke (Joanna Scanlan) where Griet catches the eye of the butcher apprentice Pieter (Cillian Murphy). After Catharina gives birth to a new baby boy, Griet is asked by Catharina’s mother Maria Thins (Judy Parfitt) to send a message to Vermeer’s patron Pieter Van Ruijven (Tom Wilkinson) for a party to celebrate the baby’s birth and the completion of Vermeer’s new painting.

After taking notice of Griet cleaning the studio, Vermeer gets another idea for a new painting as she suddenly becomes his new assistant to help mix colors and such. Though Griet is having a wonderful relationship with Pieter, she is drawn to Vermeer’s world as she helps him fetch things while doing other duties around the house. After Vermeer completes a new painting and another child coming, Van Ruijven wants another painting as he wants Griet involved much to her discomfort. Vermeer makes a compromise to Van Ruijven to paint Griet alone as only Van Ruijven, Griet, Vermeer, and Maria Thins would know about this painting. With Catharina restless over Griet’s presence around Vermeer and Van Ruijven trying to go after her, Griet becomes uncomfortable with the role she’s playing. Even as it leads to a breakdown of what Vermeer is trying to make.

The film is a fictional idea of how Johannes Vermeer created one of the great paintings of the 17th Century told largely from the perspective of the girl in that painting. It’s a film that is about art and how this simple young, shy woman would inspire Vermeer to create some of these great paintings. Even as she is someone who understands what Vermeer is trying to make with these paintings where she would help him see things. Vermeer would let her be part of his world that only a few people can enter as she understands the idea of lighting and color that his wife couldn’t understand. Yet, there would people like Van Ruijven who wants Griet to be in his service as she hears stories about what Van Ruijven did to a maid some years earlier.

Olivia Hetreed’s screenplay does manage to create a story that is about these two people caught up in this world of paintings where Griet is this participant who reluctantly aids her master. Meanwhile, Vermeer is an artist who has a difficult time trying to create great paintings as he is also under pressure to deliver as his mother-in-law is trying to hide the family’s financial problems from her daughter. The reason they need a patron like Van Ruijven is so he can buy Vermeer’s paintings as he sets his sights on Griet. Yet, Griet is aware of Van Ruijven’s intentions while finding herself caught up in Vermeer’s world as there’s also an alternative in the form of Pieter who wants to give her a simpler life. For Griet, it adds to the sense of confusion as she would eventually be caught up in a world of trouble.

Peter Webber’s direction is intoxicating in the way he presents the film by re-creating 17th Century Delft as it represents a world where Griet is obviously an outsider. Many of Webber’s compositions has a truly astonishing look from the way he frames his actors in a scene as if he’s creating moving paintings. Even as he maintains a restraint in some of the drama with the exception of some emotionally-driven scenes that involves Catharina’s sense of resentment towards Griet. Webber also knows how to set up key moments of how Vermeer creates his paintings to establish this unique relationship between painter and this young maid. Overall, Webber creates a truly gorgeous yet engrossing drama about the world of art.

Cinematographer Eduardo Serra does magnificent work with the film‘s evocative photography from the blue-gray look of many of the wintertime exteriors to the lush array of lights for some of the film‘s nighttime interiors as if Serra is recreating the look of a Vermeer painting. Editor Kate Evans does nice work with the editing as a lot of the cutting is very straightforward while maintaining a leisured pace for the film. Production designer Ben van O, along with set decorator Cecile Heideman and art director Christina Schaffer, does fantastic work with the look of recreating 17th Century Delft with its bridges and homes along with the box that is the camera obscura.

Costume designer Dien van Straalen does superb work with the costumes from the lavish clothing of Van Ruijven as well as elegant dresses that Catharina and Maria Thins wear. Hair and makeup designer Jenny Shircore does terrific work with the look of Van Ruijven to display his grand personality. Sound editor Julian Slater does excellent work with the sound to capture the intimacy of Vermeer at work as well as some of the raucous sounds of the Vermeer household. The film’s score by Alexandre Desplat is a major highlight for the film for its evocative orchestral themes to play up the sense of drama and melancholia. Filled with lush string arrangements and tingling sounds of piano and other instruments, Desplat’s score is among one of his best as well as a key reason for the film’s success.

The casting by Leo Davis is incredible for the ensemble that is created as it includes some notable small roles from Joanna Scanlan as the head maid Tanneke, Gabrielle Reidy and Chris McHallem as Griet’s parents, and Anna Popplewell as Vermeer’s eldest daughter Maertge. Alakina Mann is wonderful as Vermeer troublemaking daughter Cornelia who despises Griet and is willing to do anything to make her life terrible. Essie Davis is excellent as Vermeer’s wife Catharina who tries to deal with her husband’s work while being unaware of what is at stake. Judy Parfitt is brilliant as Vermeer’s mother-in-law Maria Thins who is aware of the role Griet plays in the paintings as she also tries to shield the family’s financial issues from her daughter.

Cillian Murphy is wonderful as the butcher apprentice Pieter who becomes the one person who cares for Griet as he offers her a different, simpler world as he also brings a low-key charm to the performance. Tom Wilkinson is great as patron Van Ruijven who brings a larger-than-life presence as a man who is filled with greed and wanting to control Vermeer as well as trying to go after Griet. Colin Firth is remarkable as the painter Johannes Vermeer as he brings a very restrained yet touching performance as an artist who finds inspiration in his young maid while taking her under his wing.

Finally, there’s Scarlett Johansson in what is definitely an outstanding performance in the role of Griet. While her role doesn’t require for her to say a lot, Johansson’s performance is truly engaging in the way she displays the fragility of a young shy girl dealing with the new world she’s in while being drawn to the world of Vermeer. The performance is also very minimalist in the way Johansson portrays this young girl where she’s allowed to observe her surroundings as well as not overplaying the part to express her emotions in some very intense scenes. It is really a career-defining performance for an actress who was only 18 when she played the part.

The 2004 Region 1 DVD from Lions Gate presents the film in its original 2:35:1 theatrical aspect ratio for the widescreen format. Along with 5.1 Dolby Digital Surround Sound in English with English and Spanish subtitles, the DVD features a few special features such as the film’s trailer and a music video by Truman for the song Girl with a Pearl that features Scarlett Johansson. The big special feature on the DVD is a 30-minute Anatomy of a Scene special from the Sundance Channel. Featuring interviews with Johansson, director Peter Webber, novelist Tracy Chevalier, and members of the film’s crew, they discuss the making of the banquet scene to reveal how it was made and what was to establish as it’s a truly brilliant special feature.

Girl with a Pearl Earring is a marvelous film from Peter Webber that features a phenomenal performance from Scarlett Johansson. Armed with a great ensemble cast that includes Colin Firth, Tom Wilkinson, and Cillian Murphy along with amazing technical work that includes Eduardo Serra’s cinematography and Alexandre Desplat’s score. It’s a film that explores the world of art as it presents the idea of how Vermeer made his famed painting. In the end, Girl with a Pearl Earring is a stunning yet mesmerizing film from Peter Webber.

© thevoid99 2012

Genova (2008 film)

Directed by Michael Winterbottom and written by Winterbottom and Laurence Coriat, Genova is the story of a widowed professor and his two American daughters who move to Italy after the death of their mother. There, they deal with their new surroundings as they all try to come to terms with loss. Starring Colin Firth, Catherine Keener, Willa Holland, Perla Haney-Jardine, and Hope Davis. Genova is a touching yet enchanting drama from Michael Winterbottom.

After the death of his wife Marianne (Hope Davis) from a car accident, Joe (Colin Firth) decides to take a job to teach English literature at a university in Genova, Italy. Taking his two daughters in 16-year old Kelly (Willa Holland) and 10-year old Mary (Perla Haney-Jardine) with him for the entire year, they’re accompanied by Joe’s old college friend Barbara (Catherine Keener) who also teaches at the university. Things aren’t easy as Mary is ravaged with guilt over the accident as Joe has his two daughters take piano lessons from a local teacher. Kelly meanwhile, becomes interested in socializing as she meets a young man named Lorenzo (Alessandro Giuggioli). With Barbara showing Joe and the girls the sites in the town as well as other places as she gets to know Mary who claims to see her mother’s ghost.

When Barbara takes Joe and the girls to a beach that is nearby a monastery, Barbara takes Mary to a place to light candles where Mary suddenly wanders around and gets lost prompting Joe to try and find her. Joe becomes more worried about Mary while Kelly starts to come home late from parties as she starts to rebel and do things behind her father’s back. With Mary still seeing her mother’s ghost, Joe takes an interest in one of his students in Rosa (Margherita Romeo) much to Barbara’s chagrin where he would go out with Rosa on one particular day. With Kelly also out, Mary remains haunted by the visions of her mother prompting her father and sister to realize what has been happening.

The film is about a British professor who decides to try and start over following the death of his wife as he takes his two daughters to the exotic world of Genova. While he takes a job teaching English literature for a summer course in a local university, his two daughter go into very different directions to deal with loss of their mother. For the rebellious teenager Kelly, she ventures into a world of parties and falls for a young man while keeping it secret from her father. For the younger daughter Mary, she tries to find solace in attending spiritual places to light candles as she is surrounded by the ghost of her mother while dealing with the guilt over how her mother died. While an old friend of Joe in Barbara would try and help out, she would start to feel guilty thinking she’s getting too close.

The screenplay that Michael Winterbottom and Laurence Coriat create is an exploration of grief where they emphasize more on following these characters in this new world they’re adapting to rather than play to the conventions of a melodrama. Since the film doesn’t have much of a plot as it wanders around a lot for the characters to figure out how to adapt to this new environment. Yet, there are moments of repetition of what these people do for their surroundings though there’s a break every once in a while from these daily routines. Notably as there’s a few moments where Mary cries in anguish prompting Joe to comfort her as she remains haunted by the events presented early in the film. The characters are definitely flawed because they’re all unsure of how to move on. Though Kelly starts to act out by going home late and become cruel to her younger sister and dad. It’s only because she is at an age where she is trying to find herself but the loss of a maternal figure adds to her confusion.

Winterbottom’s direction is truly engaging in the way he presents the film without trying to make Genova into a world where it’s all about the beaches and luxurious buildings. Instead, Winterbottom avoids the postcard look of the film to go for something more realistic as he takes the camera into these narrow alleys where it’s a place that is very strange and dark. Since it is presented largely in a hand-held digital camera style, Winterbottom makes a film where it is about this new environment and this family trying to start anew. Though the early portions of the film shot partially in Sweden and Chicago, the first scene that involves the accident has Winterbottom create something simpler and then cut to black only using sound to emphasize what is happening.

The presentation of these early scenes are shown with a much tighter and controlled approach to the direction while everything else in Genova is much looser. Though the locations are a bit claustrophobic at times and other locations much more spread-out. There is something to that presentation that is engrossing to watch while the drama that unfolds makes it more entrancing. Notably the scenes where Mary would often see her mother either in her room or at a certain location. The overall work has Winterbottom create a truly mesmerizing film about grief and coping with loss.

Cinematographer Marcel Zyskind does an amazing job with the film‘s very vibrant and colorful digital photography to make the film have a more realistic look as well as maintaining some hypnotic lighting set-up for some of the film‘s interior setting. Editing the film with Michael Winterbottom is Paul Monaghan as the duo create a very stylish approach to the editing utilizing rhythmic cuts to play up some of the drama that unfolds in the film. Production designer Mark Digby does a nice job with the set pieces created such as the apartment Joe and his daughters live in to a few other set pieces in some of the locations in Genova.

Costume designer Celia Yau does a wonderful job with the costumes for the more youthful clothes of Kelly and Mary to complement their differing personalities. Sound designer Joakim Sundstrom does excellent work with the sound to capture raucous atmosphere of the locations including the party scenes and beaches. The film’s music by Melissa Parmenter is superb for its somber yet evocative presentation as it’s mostly low-key with piano pieces while a lot of the film’s soundtrack includes a mix of classical piano sonatas, a score piece by Georges Delerue, and alternative rock cuts from Modest Mouse.

The casting by Wendy Brazington is brilliant for the small ensemble that is created as it includes small appearances from Alessandro Giuggioli as Kelly’s Italian lover Lorenzo, Margherita Romeo as Joe’s Italian student Rosa, and Hope Davis in a very crucial yet ethereal role as Joe’s late wife Marianne. Perla Haney-Jardine is great as the young Mary who seeks some sort of spiritual answer from her late mother as she is filled with guilt for her mother’s death. Willa Holland is excellent as the teenager Kelly who tries to rebel by going to parties and explore her sexuality as a way to act her loss. Catherine Keener is terrific as Joe’s old friend Barbara who helps the family out while trying to understand what Mary is dealing with. Colin Firth is superb as the grieving professor Joe who tries to deal with Mary’s guilt and Kelly’s rebellious nature while wanting to start over as it’s a very touching performance from the British actor.

Genova is a rich and exotic film from Michael Winterbottom featuring top-notch performances from Colin Firth, Catherine Keener, Willa Holland, and Perla Haney-Jardine. The film is definitely one of Winterbottom’s most unconventional yet surprisingly accessible film in terms of its exploration of loss while adding a realistic look to the city of Genova. In the end, Genova is a radiant yet engrossing film from Michael Winterbottom.

Michael Winterbottom Films: (Rosie the Great) - (Forget About Me) - (Under the Sun) - (Love Lies Bleeding) - (Family (1993 TV film)) - (Butterfly Kiss) - (Go Now) - (Jude) - Welcome to Sarajevo - I Want You - (With or Without You (1998 film)) - Wonderland (1999 film) - The Claim - 24 Hour Party People - In This World - Code 46 - 9 Songs - Tristram Shandy: A Cock & Bull Story - The Road to Guantanamo - A Mighty Heart - The Shock Doctrine (2009 film) - The Killer Inside Me - The Trip (2010 film) - (Trishna) - (Everyday) - The Look of Love - (The Trip to Italy) - (The Face of An Angel)

© thevoid99 2012

A Single Man

Based on the novel by Christopher Isherwood, A Single Man is the story about a gay British professor who loses his lover in an accident as he decides to kill himself. Directed by Tom Ford and adapted by Ford and David Scearce, the film is an exploration of a man in mourning while pondering about his own existence in early 1960s Southern California. Starring Colin Firth, Matthew Goode, Nicholas Hoult, Ginnifer Goodwin, and Julianne Moore. A Single Man is a gorgeous yet compelling drama from Tom Ford.

Following the death of his lover Jim (Matthew Goode) several months earlier, British professor George Falconer (Colin Firth) has remain haunted by Jim’s death as he reflects on memories of his life with Jim and the day he got the call about Jim’s death. With only his longtime friend Charlotte (Julianne Moore) around nearby, George’s grief continues to surround him as he decides to kill himself later in the day. Working at a university in nearby Los Angeles, George spends the day teaching as he manages to catch the interest of his young student Kenny (Nicholas Hoult). Later in the day, George goes to the bank where he runs into his neighbor Mrs. Strunk (Ginnifer Goodwin) and her daughter Jennifer (Ryan Simpkin) while stopping at a liquor store to buy alcohol where he chats with a Spanish male hooker named Carlos (Jon Kortajarena).

Still despondent over Jim, George had also bought bullets for a pistol in his intent to kill himself. He then chooses to eat dinner with Charlotte as the two talk about their old life in Britain as Charlotte admits to feeling envious towards George and his relationship with Jim. Particularly as Charlotte couldn’t do enough to save her own marriage as George’s memories of Jim about how they first met has him going back to the bar where they met. He runs into Kenny at the bar where the two chat while George ponders about his possible final moments of his life.

What happens when someone loses the love of their life and is unable to find something else afterwards? For a man like George Falconer, he couldn’t deal with a life without his lover Jim as the film is an exploration of a man trying to come to terms with his lover’s death as he seeks to end his own life in the span of an entire day. Throughout the film, George is reflecting on memories of his life with Jim from how they met to the moment he got a call about Jim’s death while meeting various people he knows in his life or those he barely know that are very interesting to him.

The script that Tom Ford and David Scearce create is a character study of a man in what could be the last day of his life as the film both opens and ends with voice-over narration on George reflecting on what he might do. The script also allows to go very depth in not just George’s relationship with Jim but also Charlotte whom he’s known a lot longer since they’re both British who are very close friends and were lovers for a brief time. Charlotte is a woman who is just as lonely as she has been divorced and her own child has already left leaving with not really much to do at all as she hopes to have George around so neither of them wouldn’t be lonely. Still, it’s not enough for George as he finds himself catching the attention of a young student who just wants to offer some form of companionship as the two talk about age and experience which prompts George to think that there could be life after Jim.

Tom Ford’s direction is truly entrancing in the way he presents the film with lots of style to complement the mood of George Falconer. Ford, who is known as a fashion designer, definitely goes for a film that is like a fashion presentation but with a deeper context due to its narrative. Part of Ford’s unique presentation is the way the film looks with this heightened yet de-colored photography that exemplify Falconer’s detached mood. Yet, it would go into full color for emotional reasons to express his yearning to possibly reconnect or see something that he likes. Ford also has this engaging eye for the way objects are presented as if there is something very meticulous to the way an object like pencil sharpener might look or how an object is placed on a desk. It’s all part of who George Falconer is as Ford creates what is truly a mesmerizing and hypnotic film.

Cinematographer Eduard Grau does a brilliant job with the film‘s cinematography from a gorgeous black-and-white flashback scene to the way the film looks throughout the film from its de-saturated yet heightened feel to a much broader look where the coloring intensifies to complement George‘s mood. Editor Joan Sobel does a terrific job with the editing to play up the intensity of the drama while utilizing jump-cuts to play with some of the rhythm in George’s flashbacks as well as straight cuts to help move the transitions in a very leisured, methodical approach.

Production designer Dan Bishop, along with set decorator Amy Wells and art director Ian Phillips, does a spectacular job with the set pieces created such as George‘s home and the objects created to exemplify the world of early 1960s America. Costume designer Ariane Phillips does a superb job with the costumes from the suits that George wears to the very stylish dress that Charlotte wears during the dinner. Sound designer Leslie Shatz and sound editor Robert Jackson do an amazing job with the sound work to complement some of the distorted feelings that George is going through in what he’s hearing to the sparse intimacy in some of the locations that he is present in.

The film’s score by Abel Korzeniowski is great for its low-key yet somber piano to play up the melancholia that surrounds the film. Additional music by Shigeru Umebayashi features heavier orchestral pieces that soars throughout the film as it plays up the more melodramatic elements of the film. Music supervisor Julia Michels does an excellent job with selecting some of the music that is played in the film like Etta James, Bernard Herrmann, Jo Stafford, and Booker T. & the M.G.s to play up the world of the 1960s.

The casting by Joseph Middleton is outstanding for the ensemble that is created as it includes Elisabeth Harnois as a young woman with a dog that George meets, Lee Pace as a fellow professor, Keri Lynn Pratt as a young secretary George notices, Aline Weber as a friend of Kenny’s, Erin Daniels as a bank teller, Jon Kortajarena as the male Spanish prostitute Carlos that George chats with, and Jon Hamm in an un-credited voice cameo as a man on the phone who tells George the horrible news. Other notable small roles include Ginnifer Goodwin as George’s kindly neighbor Mrs. Strunk along with Ryan Simpkin as her daughter and Paul Butler as her toy-gun playing son.

Nicholas Hoult is excellent as the very handsome Kenny who wants to get to know George while wondering why he’s been reluctant to be around people lately. Matthew Goode is wonderful as Jim, a charming yet delightful man who would be George’s lover as Goode makes a fantastic impression in the flashback scenes. Julianne Moore is great as Charlotte, a lonely yet lavish woman as Moore brings a wonderful sense of charm and an over-the-top persona to a woman desperate to not be alone as it’s a radiant role for Moore. Finally, there’s Colin Firth in a magnificent yet haunting performance as George Falconer. Firth’s performance is entrancing for the way he deals with death and his determination to end it while going through all of the turmoil and anguish of what he’s dealing with. It is truly a performance for the ages from Colin Firth.

A Single Man is an extraordinary yet rapturous film from Tom Ford that features a heartbreaking performance from Colin Firth. The film is definitely a wonderful directorial debut for Ford that truly exemplifies his idea of style that is all over the place but very engaging in its presentation. Particularly as it presents itself like a period piece that exudes itself with exquisite beauty that is rarely seen in a lot of films in recent years. In the end, A Single Man is a stunning yet beautiful film from Tom Ford.

Nocturnal Animals

© thevoid99 2011

The King's Speech

Directed by Tom Hooper and written by David Seilder, The King’s Speech tells the story of how King George VI overcame his stammer with the help of an eccentric speech therapist.  The film is an historical drama about the time when King George VI, who was then known as Prince Albert, Duke of York where he gave a speech in 1925 that was a big ordeal to the moment he gave his big speech to his country as they were to enter World War II.  Playing the role of King George VI is Colin Firth while Geoffrey Rush plays the role of Lionel Logue, the eccentric speech therapist.  Also starring Helena Bohnam Carter, Jennifer Ehle, Michael Gambon, Timothy Spall, Derek Jacobi, Eve Best, and Guy Pearce.  The King’s Speech is a remarkable, inspiring historical drama from Tom Hooper.

It’s 1925 at the British Empire Exhibition in Wembley Stadium as Prince Albert Frederick Arthur George, Duke of York is to give a speech.  Accompanied by his wife Lady Elizabeth (Helena Bohnam Carter), Albert gives his speech where the whole British Empire listened as he stammered through his speech as it became a horrific ordeal.  Nine years later with no success to overcome his stammer and through various speech therapists, Albert has given up trying to deal with therapists as Elizabeth wants to find someone who can help.  After learning about Lionel Logue through a league of speech therapists, Elizabeth meets with the eccentric Logue who offers to help out though under his rules.

Albert reluctantly takes Logue’s ideas but after one day where Logue has him read some work while he listens to music.  Albert leaves upset only to realize that after listening to the recording that Logue’s methods were working.  More sessions with Logue managed to help Albert as he became more confident with public speaking.  Even as Logue tries not to tell his wife Myrtle (Jennifer Ehle) and his sons about the fact that he’s treating the Duke of York.  Following the death of Albert’s father King George V (Michael Gambon), Albert’s older brother Edward (Guy Pearce) becomes the king in early 1936.  Yet, Edward is more concerned about his new love Wallis Simpson (Eve Best) who he wants to marry. 

Albert turns to Logue about his own issues about his father and brother as he is already content with being a Duke as well as a father for his young daughters Elizabeth (Freya Wilson) and Margaret (Ramona Marquez).  Yet, when it becomes clear that Edward’s infatuation with Simpson was more important than is duties.  Parliament member Winston Churchill (Timothy Spall) realizes that Edward’s involvement with Simpson is a bad idea as he reveals to Albert about what is happening in Nazi Germany as its clear that Albert might have to become king.  With Edward deciding to abdicate the throne to marry Simpson, Albert turns to Logue who tries to assure Albert about what to do.

With Edward no longer deciding to be king and Albert to become King George VI, it becomes clear that he’s got entire United Kingdom and its empire all over his shoulders with Elizabeth aware of how overwhelmed he is.  Turning once again to Logue for help for the upcoming ceremony to be king.  Though some including the Archbishop of Canterbury (Derek Jacobi) question about Logue’s credentials.  Albert wants Logue there to help as they rehearsed his ceremony which becomes a success.  With Churchill’s warnings about Nazi Germany becoming true and the resignation of Prime Minister Stanley Baldwin (Anthony Andrews).  Albert needed Logue’s help once again following Germany’s invasion of Poland to give the speech of his lifetime as his country are to enter World War II.

While the story of how King George VI was able to overcome his stammer and be the voice of an empire fighting against Nazi Germany is an inspirational one.  Yet, the film is really about George’s friendship with Lionel Logue as well as the love and support of Queen Elizabeth.  While historical dramas and bio-pics do get to play around history and put scenes where not everything is exactly right or accurate to serious history buffs.  The film doesn’t take the historical contexts of the film seriously at all but rather explore the individuals involved with the story.  Notably about King George VI who is a man who knows his duties and place in the world while is content with being a husband and father.  Still, having to speak publicly is a nightmare while audiences get to have an idea of what could’ve caused his stammer.

David Seidler’s screenplay does a fascinating job in exploring Albert’s vulnerability as well as the fact that he’s got a bad temper and a smoking habit.  Yet, there’s also a side of Albert where he is a wonderful father who loves his daughters very much.  When his father had died and his brother abdicating the throne for love, all of the weight of the United Kingdom and its empire is so much for Albert to handle as he has to be the voice of an entire group of people.  There’s two people that he would go to for help in both Lionel Logue and Queen Elizabeth.  Logue is an eccentric, humorous man who isn’t a licensed therapist but his experience from World War I and helping traumatized soldiers is something that Albert discovers as he also knows about speech problems.

Logue’s unorthodox methods do add some humor to the film where there’s a scene where Albert gets to say some profanity in a comical manner.  In some ways, the scenes with Albert and Logue have the elements of a buddy film where the two become equals as Logue helps bring confidence to Albert.  Then there’s Queen Elizabeth as she is portrayed as a loving woman who is willing to help Albert and be by his side when he has to do his duties.  Yet, she is revealed to be a woman who was already content in being a wife and mother as well as the Lady of York.  When Edward abdicates the throne, she too is reluctant in being queen but is more concerned for her husband as there is great monologue to Albert about why she married him.

Seidler’s screenplay definitely plays well to the characters as well as the film’s historical context with an actual idea of when some of these events took place along with locations.  Yet, it’s Tom Hooper’s direction that really brings the movie together.  Hooper definitely recreates the look of early 20th Century England with little visual effects and little production design in the exteriors as mostly creates an intimate yet stylish approach to the film.  Even as he finds way to tell the story about the friendship between King George VI and Lionel Logue where there’s a great scene of Albert and Logue talking with not many edits while Albert is putting glue for a model plane.  There’s moments where Albert is trying to talk by singing where it could be comical but Hooper presents the scene in such a subtle manner.  Hooper’s direction is truly spectacular where he knows what the film is needed while not overplaying it or underplaying as he gets the audience to explore the man that is King George VI.

Cinematographer Danny Cohen does an excellent job with the film‘s colorful yet straightforward photography.  Notably on the exterior scenes with some foggy but lush shots of London that included a scene with a steadicam where Albert and Lionel were walking.  Editor Tariq Anwar does a great job with the film’s editing where he maintains a wonderful rhythm to the film’s comical and dramatic moments including the climatic scene for the king’s wartime speech while maintaining a leisurely pace for the film.

Production designer Eve Stewart, along with set decorator Judy Farr and art director Netty Chapman, does an amazing job with the film‘s art direction for many of the interiors in the palaces and sets  Notably Albert‘s coronation stage and Logue‘s office where he and Albert do all of their work.  The art direction of the film is really one the film’s technical highlights.  Costume designer Jenny Beavan does a fantastic job with the period costumes from the dresses that Helena Bohnam Carter wears as Elizabeth along with more tuxedos and suits that Colin Firth wears including a more casual suit for Geoffrey Rush‘s Logue character. 

Visual effects supervisors Derek Bird and Thomas M. Horton do a wonderful job with the minimal visual effects that is used for the film.  Notably the blimps that appear in the sky just before the climatic speech of King George VI.  Sound editor Lee Walpole does a very good job with the hollow sounds of the halls in the coronation rehearsal along with more intimate settings at Logue’s office.  Even in the scenes at the large homes including a raucous party scene where Albert is trying to talk to Edward about Simpson in a chaotic atmosphere as the sound is truly spectacular.

Alexandre Desplat’s score is marvelous with its array of chime-tingling arrangements, subtle melodies, and bombast for many of the film’s comic and dramatic scenes.  Desplat also brings soothing pieces to play to some of the film’s more heavy dramatic moments to convey the emotions of King George VI.  Other music in the film used are pieces from the 1930s as well as a few classical pieces.

The casting by Nina Gold is truly phenomenal as the film features some small but memorable performances from Anthony Andres as prime minister Stanley Baldwin, Roger Hammond as one of Albert’s early speech therapists, Jake Hathaway as one of Logue’s young patients, and Eve Best as the controversial Wallis Simpson.  Other notable small roles include Calum Gittins, Dominic Applewhite, and Ben Wimsett as the son of Lionel Logue, Claire Bloom as Queen Mary, Derek Jacobi as the Archbishop, Ramona Marquez as Princess Margaret, and Freya Wilson as Princess Elizabeth, who would later become Queen Elizabeth II.

Though they don’t appear very much in the film, Jennifer Ehle and Michael Gambon are very good in their respective roles as Myrtle Logue and King George V.  Ehle as the supportive wife who gets a big surprise about who her husband is treating while Gambon plays King George V with a great ferocity as someone who is often very controlling.  Guy Pearce is excellent as Edward, Albert’s older brother who is irresponsible and in love with American socialite as Pearce delivers his best scene when he gives his abdication speech.  Timothy Spall is in fine form as Winston Churchill though he doesn’t look or sound like the future prime minister.  Spall is able to convey the personality of the famed man who would help the UK win World War II.

Helena Bohnam Carter is radiant as Queen Elizabeth as a woman whose sensitivity and comical manner hits all the right notes needed to play this great personality.  Carter’s use of light comical dialogue along with great scene where she comforts Firth shows that she is definitely one of the great actresses to ever come out of the U.K.  Even in scenes where she and Firth have great chemistry whether its comical or dramatic along with some wonderful exchanges with Geoffrey Rush. Rush delivers an amazing performance as Lionel Logue as he brings the famed speech therapist to life with a lot of wit.  Even as he and Firth have great scenes where Rush plays the man who tries to get Firth’s character to relax and feel confident.  It’s definitely Geoffrey Rush at his finest.

Finally, there’s Colin Firth in what is definitely one of his greatest roles to date.  A great follow-up following the acclaimed he received in Tom Ford’s A Single Man as Firth embodies the bravery and vulnerability of King George VI.  Even when had to stammer and say “fuck” in order to get the words to come out of his mouth.  It’s a performance where he allows himself to be vulnerable and make Albert or “Bertie” become more human as he is struggling with his new role as a king.  The development of his character goes hand-in-hand with the way Firth makes Albert into a stronger figure while giving the character a lot of humor.  It’s definitely a performance that truly solidifies Colin Firth as one of cinema’s great actors.

The King’s Speech is a remarkable and uplifting film from Tom Hooper helmed by a magnificent performance by Colin Firth.  Along with some great supporting work from Geoffrey Rush and Helena Bohnam Carter, it’s a film that gives audience not just a great history lesson.  It’s also film that is inspiring without all of the trappings that are often drowned in sentimentality.  It’s a film that gives royal figures like King George VI a chance to feel equal with the average person who can overcome something like a stammer as he became the voice that helped the British Empire deal with the Axis in World War II.  In the end, The King’s Speech is a glorious film from Tom Hooper that gives its audience something to cheer about.

Tom Hooper Films: (Red Dust) - (The Damned United) - Les Miserables (2012 film)

© thevoid99 2010