Red Riding: 1983

Based on David Peace’s Red Riding Quartet novel about the Yorkshire Ripper murders, Red Riding: In the Year of Our Lord 1983 is the concluding film of a trilogy of films about the Yorkshire Ripper murder mysteries. Directed by Anand Tucker with a script by Tony Grisoni, the third film is about a superintendent whose guilt finally haunts him as he tries to solve the crime with help of a public solicitor whose father was part of the corruption within the police. In turn, the two men realize who the real killer is and why was the police and local businessmen were covering it up. Starring Mark Addy, Robert Sheehan, Daniel Mays, Peter Mullan, and David Morrissey. Red Riding: In the Year of Our Lord 1983 is a powerful yet exhilarating film from Anand Tucker.

It’s 1983 as a young girl named Hazel Atkins (Tasmin Mitchell) has disappeared with everyone in Yorkshire realizing it’s happening again. The pressure is on police superintendent Maurice Jobson (David Morrissey) as he and Dick Alderman begin the investigation as they turn to a medium (Saskia Reeves) for help. Realizing that the medium has garnered information concerning the previous crimes as Jobson begins to reflect on memories about the early investigation that involved John Dawson (Sean Bean) who was part of a group of businessman and local officials to create a shopping center where everyone profits.

Meanwhile, John Piggott (Mark Addy) returns home following the funeral of his mother as he is asked by Mrs. Myshkin (Beatrice Kelley) to be a solicitor for her son Michael (Daniel Mays) who remains jailed for the 1974 crimes. Piggott reluctantly does so as a favor only to learn that Michael was forced to claim he did the crimes as he searches for more information about those early murders. When Leonard Cole (Gerard Kearns) is accused of the disappearance of Hazel Atkins, Piggott is asked to represent him only to find something bad has happened as he meets Jobson about Kearns. Jobson remains haunted by his past deeds as he is aware of who really committed the murders as he turns to the medium realizing that his superiors want him to do nothing.

With Piggott trying to solve the mystery of who killed the girls and Jobson dealing with his own guilt. BJ (Robert Sheehan) is released from jail as he reflects on the events that had happened as it leads to a climax as all three men make a discovery of who killed those girls.

For this concluding film of the trilogy about the Yorkshire Ripper murders, screenwriter Tony Grisoni and director Anand Tucker create a film that is about redemption in the form of one of the trilogy’s central characters in Maurice Jobson. Jobson’s guilt in playing the role of a man realizing that he could’ve stopped everything but couldn’t because he is an investor to a businessman who has connections with the killer. Then there’s John Piggott, a useless lawyer who isn’t the kind of man that could be a hero becomes the one person who realizes there’s some loose ends as he tries to save a man’s life. Finally, there’s the male hooker BJ who returns as his role is truly revealed in connection with what happened. Grisoni’s screenplay is very multi-layered story filled with multiple narratives and flashbacks where it takes everything in the previous films right back for a fitting conclusion.

Tucker’s direction is truly hypnotic as he shoots the film with the Red One digital camera for a 2:35:1 theatrical aspect ratio that is mixed in with grainy camera work for BJ’s flashback scenes. Mixed in with stock footage and footage from the previous films, Tucker creates a film that is partially based on memories but also allow characters to use the past as motivation for finding the truth. Eventually, it leads to a harrowing climax as everything comes together. Filled with amazing camera work with a mixture of hand-held and tracking shots, Tucker’s direction is very engaging as he creates a solid yet chilling film.

Cinematographer David Higgs does a great job with the de-saturated look of the film with heightened colors for many of the film‘s exterior and interior scenes in the day time. Even with the flashbacks to create something more heightened with dark shadows and light to complement the tone of the film as well as Jobson‘s sense of moral conflict. Editor Trevor Waite does a fantastic job with the editing in creating seamless transitions towards the flashback scenes and 1983 scenes along with rhythmic cuts to present the intensity of conversations with some of its principle characters.

Production designer Alison Dominitz, along with set decorator Alex Marden and art director Katie MacGregor, does an excellent job with the difference of the two periods of 1974 with the look of cars and objects to decayed home of John Piggott in 1983. Costume designer Caroline Harris does a wonderful job with the costumes from the clothing of the 1970s to the more weary yet simpler look of 1983. Sound editor James Harrison does a very good job with the sound from the hollow world of the council rooms to the stark silence of the poor Yorkshire apartments. The music by Barrington Pheloung is very low-key with its orchestral score to play up the drama and suspense of the film. The rest of the soundtrack is dominated by 60s-70s soul music to accompany the emotions of John Piggott.

The casting by Nina Gold is phenomenal as she creates an ensemble that features players from the previous films and the addition of newer ones for the final part of the trilogy. Making small but memorable appearances from previous episodes include John Henshaw, Andrew Garfield, Cara Seymour, Sean Harris, Tony Mooney, and Tony Pitts. Other notable small roles include Michelle Dockery as a former journalist, Gerard Kearns as Leonard Cole, Jim Carter as Harold Angus, Shaun Dooley as Dick Alderman, Chris Walker as Jim Prentice, and Warren Clarke as the slimy Bill Molloy. In other notable supporting roles, there’s Beatrice Kelley as Mrs. Myshkin, Daniel Mays as the mentally-challenged Michael Myshkin, Catherine Tyldesley as Leonard’s girlfriend Tessa, Tasmin Mitchell as the missing girl Hazel, and Saskia Reeves as the medium Jobson turns to for help.

Peter Mullan is great as the quiet but secretive Reverend Laws who has a very strong way to influence people while Sean Bean is superb in an appearance as the deceitful John Dawson. Robert Sheehan is very good as the male prostitute BJ who brings some narration to reflect his own experiences with the Yorkshire murders as well as having a connection with the killer. Mark Addy is brilliant as John Piggott, a solicitor who gets a chance to uncover the truth realizing the corruption that has surrounded the case including the fact that his father was part of that corruption. Finally, there’s David Morrissey in a phenomenal role as Maurice Jobson. Morrissey brings a chilling performance as a man consumed by guilt as he tries to redeem himself for the things he let happen.

Red Riding: In the Year of Our Lord 1983 is a fantastic film from Anand Tucker that features superb performances from David Morrissey and Mark Addy. For a film on its own, it’s a remarkable one that has suspense and drama. In comparison to its predecessors, it is a fitting conclusion that finally allows the first two films to fill in gaps that were supposedly lost. In the end, Red Riding: In the Year of Our Lord 1983 is a mesmerizing film from Anand Tucker.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1974 - Red Riding: In the Year of Our Lord 1980

© thevoid99 2011

Red Riding: 1980

Based on David Peace’s Red Riding Quartet about the Yorkshire Ripper Murders, Red Riding: In the Year of Our Lord 1980 is the second part of a trilogy of films about the investigation of the murders. Directed by James Marsh and screenplay by Tony Grisoni, the film is about a police officer who begins the investigation of the murders that is continuing to happen. It is there he finds resistance from the Yorkshire police as he goes further into the corruption that is surrounding the force. Starring Paddy Considine, Jim Carter, Sean Harris, Maxine Peake, Warren Clarke, and David Morrissey. Red Riding: In the Year of Our Lord 1980 is a compelling crime drama from James Marsh.

It’s 1980 as the Yorkshire Ripper killings continue as pressure mounts on the Yorkshire police force. The West Yorkshire Constabulary bring in Peter Hunter (Paddy Considine), an investigator from Manchester, to lead the investigation. With help from John Nolan (Tony Pitts) and Helen Marshall (Maxine Peake), Hunter takes charge of the investigation as he’s under watch from Harold Angus (Jim Carter) who puts Bob Craven (Sean Harris) to assist them. Craven remains evasive as Hunter asks Nolan and Marshall to look into the stories of the victims as Marshall learns about a woman named Clare Strachan (Kelly Freemantle) who was killed in 1977.

Hunter wants more questions as he believes something isn’t right while he’s haunted by the fact that he had previously been part of an investigation over a nightclub massacre six years earlier. Hunter remembers Craven from that investigation who was one of the survivors along with another officer in Tommy Douglas (Tony Mooney). Believing there’s a link between the Ripper murders and the nightclub massacre, Hunter tries to ask Douglas while he gets some answers about Strachan from a male prostitute named BJ (Robert Sheehan) and Reverend Laws (Peter Mullan) who introduces him and Marshall to Mrs. Hall (Julia Ford). Mrs. Hall provides answers about her late husband and Clare who was possibly murdered by a copycat.

With Marshall dealing with personal issues, Hunter tries to figure out why she’s talking to Laws as he continues the investigation. After talking to a couple of investigators Prentice (Chris Walker) and Alderman (Shaun Dooley), Hunter learns that something isn’t right as he confronts Maurice Jobson (David Morrissey) about what side he’s on. Things get worse for Hunter as he and his wife (Lesley Sharp) returned home from a Christmas party when he loses his home to a fire. Believing something is going on as a man has been captured for the murders, Hunter learns something from BJ about the night of the nightclub murders. Realizing that one of the survivors know who were involved, what he discovers is something far more terrifying.

In this second part of a trilogy of films about the Yorkshire Ripper murders, it’s the story of a man trying to keep the investigation going only to find loose ends over a previous investigation he was part of and why it’s connected to the corruption from within the police force. During this investigation, he’s dealing with his own issues including feelings for a fellow cop with whom he used to go out with. At the same time, he recalls his own investigation at the nightclub shooting which he had to leave for personal reasons. Yet, Peter Hunter is a man that is flawed but also trying to do the right thing as he even begins to confront the men he believe are responsible for making things complicated. Tony Grisoni’s script definitely weaves its way as it brings in characters from the previous film to maintain continuity but also uses flashbacks to emphasize Hunter’s yearning to solve the case.

Director James Marsh creates a different film than its predecessor for creating a look that is broader and more polished as he films it in 35mm with a theatrical aspect ratio of 2:35:1 for widescreen. Yet, he maintains the suspense of the first film but it’s more restrained as it’s all about trying to figure out this murder that was supposedly done by a copycat and its connection to the nightclub murders. Marsh’s direction is entrancing and brooding for its suspense while creating eerie angles and shots to create the sense of dread throughout the film. The overall direction is definitely phenomenal as Marsh creates something that is engaging and harrowing.

Cinematographer Igor Martinovic does an excellent job with the film‘s chilling yet dark photography. Shot mostly with dark blue colors for the daytime scenes with naturalistic but brooding lighting for the nighttime scenes. Notably the scenes on location at West Yorkshire as it creates something that is unsettling and eerie. Editor Jinx Godfrey does a fantastic job with the editing where he adds a bit of style by including a few jump-cuts for some intense, surreal scenes while a lot of it is mostly straightforward.

Production designer Tom Burton and art director Sami Khan do a great job with the look of 1980 Yorkshire with the cars and clothes worn that is less stylish than its predecessor along with objects to reflect the new decade that was the 80s. Costume designer Charlotte Walter does a good job with the costumes by toning down the style for something more casual and refined as it reflects the dark mood of the film. Sound editor Paul Davies does a superb job with the sound work to convey the tense atmosphere of the locations as well as silence that underscores the suspense. The music score by Dickon Hinchliffe does an incredible job with the film’s somber yet hypnotic score filled with melodic guitars and pianos meshed with a low, screeching orchestra to play up the suspense of the film.

The casting by Nina Gold is wonderful for its large ensemble cast as it features appearances from Eddie Marsan in a flashback scene as the sleazy journalist Jack Whitehead, James Fox as a local politician, Peter Mullan as Reverend Law, Robert Sheehan as BJ, Kelly Freemantle as Clare Strachan, and Lesley Sharp as Peter’s wife. Other notable small appearances include Warren Clarke as Bill Molloy, Jim Carter as Harold Angus, Tony Mooney as Tommy Douglas, and David Morrissey in a slightly bigger role as the quiet Maurice Jobson. Julia Ford is very good as Mrs. Hall, a former hooker whose husband was a pimp as she gave Hunter evidence while Sean Harris is excellent as the secretive Bob Craven. Chris Walker and Shaun Dooley are superb as two corrupt investigators who are part of the cover-up as they bring an intimidating presence while Tony Pitts is wonderful as Hunter’s longtime partner John Nolan.

Maxine Peake is very good as Hunter’s partner Helen Morris, a woman who finds herself dealing with personal issues as she becomes a bit evasive towards Hunter though she is aware that he still has feelings for her. Paddy Considine is brilliant as Peter Hunter, an investigator trying to finish the nightclub shooting incident investigation he was given six years before while trying to uncover the link between the murder of a young woman. It’s a powerful performance from Considine that is also very restrained as a man trying to do what’s right only to get himself in extreme danger.

Red Riding: In the Year of Our Lord 1980 is a chilling yet provocative film from James Marsh. Featuring a superb performance from Paddy Considine, it is a film that maintains the intrigue of its predecessor while paving the way for the climatic conclusion in the third film. Audiences that love mysteries will no doubt enjoy this as a smart yet exhilarating crime film. In the end, Red Riding: In the Year of Our Lord 1980 is a powerful film from James Marsh.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1974 - Red Riding: In the Year of Our Lord 1983

© thevoid99 2011

Red Riding: 1974

Based on David Peace’s novel Red Riding Quartet, Red Riding: In the Year of Our Lord 1974 tells the story of a young reporter trying to uncover the mystery of missing girls supposedly committed by the Yorkshire Ripper. Along the way, the reporter has an affair with a widow while learning about the corruption in the police force. Directed by Julian Jarrod with an adapted screenplay by Tony Grisoni, it is the first of a three-part trilogy chronicling the Yorkshire Ripper murders. Starring Andrew Garfield, Sean Bean, Anthony Flanagan, Sean Harris, Eddie Marsan, Rebecca Hall, and David Morrissey. Red Riding 1974 is a haunting yet mesmerizing thriller from Julian Jarrod.

Eddie Dunford (Andrew Garfield) is a young journalist for the Yorkshire Post as he’s been asked to do some work about a recent murder of a young girl by the Yorkshire Ripper. With help from his friend and fellow journalist Barry Gannon (Anthony Flanagan), Dunford asks about the murders as he wonders why the police aren’t cooperating. After turning to another journalist in Jack Whitehead (Eddie Marsan) for more resources, he asks one of the victims’ parents in Paula Garland (Rebecca Hall) about her daughter as she is upset when he mentions her late husband.

Realizing that her husband had already died of a suicide, he gets more help from Gannon in the research against the wishes of their editor (John Henshaw). Seeing Paula again at a pub, the two talk as he asks if she called the two policeman (Sean Harris and Tony Mooney) who assaulted him. She admitted that she did but didn’t realize he didn’t mean to hurt her as an affair ensues. Eddie then learns some horrifying news as he meets John Dawson (Sean Bean), a business magnate set in creating a shopping center in the town. After getting some evidence from a male prostitute (Robert Sheehan), Eddie sees a link between Dawson and the police thinking there is something going on.

After being suspended, Eddie believes that Whitehead is working with the police as he also learns that Paula has been sleeping with Dawson because he always gets his way. Eddie suddenly realizes he’s a target for the police as he turns to a local cop (Steven Robertson) for help by giving him evidence in case something goes wrong. What happens is a harsh discovery for Eddie about the Yorkshire police and the cover-ups that is happening.

The film is about a young journalist’s attempt to report the Yorkshire Ripper murders as he ends up seeing a corruption within the police as people are missing and he becomes a target. Tony Grisoni’s screenplay is an intriguing story about a man trying to uncover a mystery while risking his journalist integrity by having an affair with a widow whose child was missing two years earlier. What happens is that Eddie Dunford goes way into deep as it involves his own newspaper, the local police, and a local businessman all trying to have Eddie to keep his mouth shut. Instead, Eddie is a character that is motivated in not just doing the right thing but help a woman who lost her child.

Julian Jarrod’s direction is very entrancing in its stylish approach as it’s shot with 16mm cameras for a 1:85:1 widescreen aspect ratio to create a gritty look. Jarrod’s direction is filled with wonderful compositions and eerie scenes of cars driving at night to create a haunting feel for the film. Jarrod’s direction also has some surreal moments such as Eddie’s trip to a damp yet dreary place where homeless people live to the city of Yorkshire itself. Jarrod’s direction is truly a highlight of the film for creating a dark mood and enhance the world of the powerful and the poor.

Cinematographer Rob Hardy does a great job with the film‘s stylish photography from the gritty yet dream-like look. For many of the daytime scenes interior and exterior, there‘s a colorless yet grimy look to display the world that is Yorkshire. For scenes in the pub and Paula’s home at night along with some nighttime exterior shots, there is a very stylized yet lush look to the photography to complement the world that is the 1970s. Editor Andrew Hulme does an excellent job with the editing in maintaining a straightforward presentation with some rhythmic cuts and a tight, leisured pace throughout the film.

Production designer Cristina Casali, along with set decorator Duncan Wheeler and art director Julie Ann Horan, does a fantastic job with the look of 1970s Yorkshire from the look of the pubs to the cars that were used at the time. Costume designer Natalie Ward does a fine job with the costumes from the pants the mean wear to the dresses that the women wear that is representative of the times. Visual effects supervisor Adam Gascoyne does a good job with the minimal visual effects needed for the film such as the dreary homeless scene and other violent effects.

Sound editor/recordist Danny Hambrook does a superb job with the sound work from the dreary atmosphere of Yorkshire to the chaos at the party and pub scenes in the film. The film’s score by Adrian Johnston is wonderful for its plaintive yet chilling guitar-driven score to play up the brooding tone of the film. The soundtrack also features an array of music from 1970s soul music to the music of King Crimson as the music is a highlight of the film.

The casting by Nina Gold is wonderful as it features cameo appearances from Peter Mullan as a priest and David Morrissey as Maurice Jobson, the superintendent that is part of the corruption from within. Other notable performances includes Gerard Kearns as the man who shows Eddie where he found a body, Cara Seymour as a mother whose son shows Eddie the body’s location, Daniel Mays as a mentally-challenged suspect, Robert Sheehan as the male prostitute BJ, Steven Robertson as a friendly cop, Mary Jo Randle as Eddie’s mother, and Warren Clarke as the corrupt police chief. Sean Harris and Tony Mooney are excellent as a couple of corrupt cops who harass Eddie while Eddie Marsan is great as the sleazy journalist Jack Whitehead.

John Kenshaw is very good as the hard-nosed editor Bill Hadley while Anthony Flanagan is also good as Eddie‘s fellow journalist Barry Gannon. Rebecca Hall is radiant as the grief-stricken Paula, a widow whose child is supposedly missing or dead as she engages into an affair with Eddie while wondering what really happened. Sean Bean is superb as the charming but sleazy John Dawson, a businessman who is intent on making sure Eddie keeps his mouth shut for his own reasons as he’s one of the corrupt figures. Finally, there’s Andrew Garfield in the phenomenal role of Eddie Dunford. Garfield brings a chilling performance as a young man whose journalistic integrity is put to the test as he seeks out truth only to be confronted by dark secrets from within.

Red Riding: In The Year of Our Lord 1974 is an eerie yet intoxicating suspense thriller from Julian Jarrod featuring top-notch performances from Andrew Garfield, Rebecca Hall, and Sean Bean. Audiences that want a smart thriller that doesn’t play by the rules while keeping things mysterious while wanting more should see this. In the end, Red Riding: In The Year of Our Lord 1974 is a smart yet engrossing film from Julian Jarrod.

Red Riding Trilogy: Red Riding: In the Year of Our Lord 1980 - Red Riding: In the Year of Our Lord 1983

© thevoid99 2011

The Other Boleyn Girl

Originally Written and Posted on 3/2/08 w/ Additional Edits.

 

In the 16th Century, Henry VIII ruled England while he was known more for having six wives during his reign. The most famous wife of them all was his second Anne Boleyn who would later be beheaded in an accusation of adultery in 1536 three years after she became queen. During those years, she gave birth to the future Queen Elizabeth I who would be raised by Anne's sister Mary. The story of Anne Boleyn was then told from another perspective by novelist Phillippa Gregory from her sister Mary in the book entitled The Other Boleyn Girl. The book was a success as it's now become a film adaptation in the same name.

The Other Boleyn Girl tells the story of Anne and Mary Boleyn's relationship as sisters until they're met by Henry VIII. When Mary is chosen over Anne, she becomes the king’s mistress until Anne gets his attention and a rivalry ensues between the two sisters. Directed by Justin Chadwick with a screenplay by Peter Morgan of The Queen fame, the film is a dramatic re-telling on one of the greatest affairs in English history. Playing the title role of Mary Boleyn is Scarlett Johansson and as Anne Boleyn, Natalie Portman. With Eric Bana in the role of Henry VIII, the film also stars Mark Rylance, Kristin Scott Thomas, Jim Sturgess, Juno Temple, and Ana Torrent. The Other Boleyn Girl is a superb though by-the-books period drama from Justin Chadwick and screenwriter Peter Morgan.

It's Mary Boleyn's wedding day as she is set to wed William Carey (Benedict Cumberbatch) with her older sister Anne and younger brother George (Jim Sturgess) watching. With their parents Sir Thomas Boleyn (Mark Rylance) and Lady Elizabeth Boleyn (Kristin Scott Thomas) watching as well, arriving to the wedding is Elizabeth's brother The Duke of Norfolk (David Morrissey) who tells Thomas news of the king's dissatisfaction with his wife Queen Katherine of Aragon (Ana Torrent), who could no longer bear children, let alone a son. With King Henry VIII losing interest in the queen, he seeks a mistress as Anne is suggested to be in the running. Though Elizabeth isn’t happy by the news, Anne reluctantly decides to take the chance in being the king's new mistress as well as a lady-in-waiting for the queen.

Henry arrives to meet the Boleyns as he catches the eye of Anne where she tries to impress with horseback riding. Unfortunately, Anne managed to get the king injured as he meets Mary who nurses him. Mary suddenly is set to become the new mistress as well as lady-in-waiting with William Carey given a position to work with the king and Duke of Norfolk. Mary reluctantly takes part as she has an encounter with the queen as she finds herself satisfying the king in many ways. Anne meanwhile, elopes with Henry Percy (Oliver Coleman) that gets her and the family in trouble as she is sent to France in exile. With George also set to be married to one of the king's lady-in-waiting in Jane Parker (Juno Temple), things look good for the Boleyns when Mary finds herself pregnant. With Mary now forced to lie in bed, Anne returns from exile as she charms the king while rejecting his gifts in order to maintain his attention towards Mary.

Mary eventually, gives birth to a boy but Anne's ambitions to have Henry's heart and such manages to have Henry ignore the newborn boy as well as Mary. Anne's charms wins over Henry with Mary now set to live in the country with her son while no longer married to William Carey. When troubles arises for Henry's desire to divorce Katherine and have Anne as his new queen, Mary returns to help Anne in her bid. When Henry makes the decision to break from the Catholic Church and form his own, he gets his divorce and Anne Boleyn becomes the new Queen of England. Yet, her plan to give birth to a son falters when she ends up giving birth to a girl named Elizabeth. When Anne makes attempts to give Henry a son, he starts to have his attention towards Jane Seymour (Corrine Galloway). Anne seeks help from Mary and George about getting a son as Mary decides she wants out. Joining her is William Stafford (Eddie Redmayne) who had long desired her as the two move to the country.

When Anne is suddenly accused of treason with George also indicted on the crime, Mary returns to London to help out her siblings. Mary makes a final plea for the king to spare her sister as the Boleyn family falls apart with the girls' mother distraught over what her husband and brother had done.

While the film doesn't have a serious approach to historical contents while not telling the audience when exactly the events in the film occurs. It does faithfully tell about Henry VIII's affairs with Anne Boleyn while taking on the perspective of Mary Boleyn. Credit goes to screenwriter Peter Morgan for delving into the film's historical approach as well as the love triangle between Henry VIII and the Boleyn sisters. While Anne Boleyn is portrayed as an ambitious, bitchy character, Mary is her opposite as a simple, shy character where the two seems to have something to offer to Henry VIII. The perspective of characters as well as the rest of the Boleyn family is wonderfully portrayed, particularly of Lady Elizabeth Boleyn who is forced to watch her daughters be treated like objects.

Director Justin Chadwick does a solid job in capturing the drama and atmosphere of the period. While nothing about the filmmaking is groundbreaking, Chadwick does deserve credit for creating a grand film that is true to the period-drama genre while delving into some amazing scenes for its drama and the tone of the times. Not everything Chadwick does is great, notably the love scenes as he emphasizes on styles that includes blurry shots that doesn't work. Chadwick falters in that while the suspense of something very dramatic that is to come lacks momentum. Still, despite its flaws, the film is a good period-drama.

Cinematographer Kieran McGuigan does an excellent job with the film's colorful tone in its exterior settings with the sunlight to convey the moods of the film. Some of the nighttime, darker scenes with elements of blue lights and shading is lovely to watch though it's not really much to get excited about. Editors Paul Knight and the legendary Carol Littleton does some wonderful work in the film's leisurely pacing while utilizing jump-cuts for some of the film’s dramatic exchanges between characters. Production designer John Paul Kelly, set decorator Sara Wan, and art director David Allday do an excellent job with the film's look of the interior homes with the look of chairs, tablecloths, and beds.

Sandy Powell's costume designs are wonderfully exquisite to the design of the dresses for the Boleyn sisters, Henry VIII's clothing, and the look of the period itself. Powell's work is truly superb as it is authentic to the look and feel of the 16th Century. Sound editor Julian Slater and mixers Ed Coyler and John Casali do excellent work in creating an atmosphere of the times including some of the film’s dramatic scenes that included a layering of an argument between Henry and Anne while the scene is showing Mary taking care of baby Elizabeth. The music of Ed Shearmur is wonderfully subtle with bass-heavy orchestration to convey the film's sense of drama without any epic arrangements and such.

The cast assembled by Karen Lindsay-Stewart is superb with appearances from Daisy Doidge-Hill, Kizzy Fassett, and Finton Reilly as the young Anne, Mary, and George Boleyn, respectively along with Alfie Allen as the king's messenger and Corrine Galloway as Henry's soon-to-be third wife Jane Seymour. From the Joe Wright adaptation of Atonement, supporting actors Benedict Cumberbatch as William Carey and Juno Temple as Jane Parker are excellent in their roles while Temple has a bigger role as George Boleyn's wife whom George doesn't seem to like very much. Oliver Coleman and Eddie Redmayne as the respective lovers of Anne and Mary are excellent with Redmayne in a bigger role as a man who desired Mary while sympathizing with her role in court.

Spanish actress Ana Torrent is excellent as Katherine of Aragon who intimidates Mary while having a presence that is very regal as she has a wonderful, subtle confrontation with Natalie Portman. David Morrissey is also great as the ambitious, conniving Duke of Norfolk whose connection to the king only causes trouble with his family as he is a character that cares more about prestige than family. Mark Rylance is brilliant as the ambitious Thomas Boleyn who decides to have his daughters become the king's mistresses hoping to ensure a prestigious position for him. Kristin Scott Thomas is superb as Lady Boleyn who is more concerned about her daughters' happiness instead of wealth as she is forced to see her family disintegrate. Thomas' scene where her anger at her husband and brother is just powerful.

Jim Sturgess is wonderful as George Boleyn, the loyal brother of Anne and Mary who hopes to protect them until he's forced to do something for Anne as he becomes confused and hurt. Eric Bana is okay but not great as Henry the VIII. The restraint and lack of heavy emotions makes the character of Henry the VIII very dull. Even when he has to be compared to Jonathan Rhys-Meyers of The Tudors mini-series.  Henry the VIII is supposed to be a man that is big and full of himself as Bana doesn't really do anything but sit around and just give orders.  It's a really uninspiring performance though there's moments where he can be romantic but doesn't exude the sexuality of the young Henry the VIII.

The film's best performances goes to the double-power combo of Natalie Portman and Scarlett Johansson, where if they were one, they'd be called Scartalie Porthansson. Portman's witty, sly, charming performance as Anne Boleyn as she exudes sexiness while using her smiles and giggles to win everyone. While her British accent isn't perfect, Portman makes up for it with her winning performance as her dramatic work is superb. After a series of lackluster films and performances, Scarlett Johansson delivers her strongest performance since 2004's A Love Song for Bobby Long. Using her minimalist approach to performance, Johansson brings subtlety and grace to her performance as Mary Boleyn. While Johansson has often been known for her beauty, that becomes second as her portrayal of the shy, innocent Mary is amazing as Johansson delves into the pain and confusion of her sister's ambitions as well as her role.

While both actresses manage to hold their own against Eric Bana, it's the scenes when they're together that's just dynamite. The two actresses seem to be in ease with other while displaying a masterful sense of drama as the two fight and comfort each other in powerful some powerful scenes. Both are great at crying but the two of them cry together, overwhelming.

While it's not a perfect film, The Other Boleyn Girl is still an enjoyable period film that's entertaining and engaging. Thanks to the double-powerhouse combo of Natalie Portman and Scarlett Johansson with wonderful support from Jim Sturgess, and Kristin Scott Thomas. It's a film that history buffs might seem to enjoy once they don't take some of the historical context to seriously. Fans of both Portman and Johansson will no doubt consider their performances to be essential among their respective filmography. More importantly, the film is a showcase for the two as they show some of Hollywood's more well-known, lesser-talented young actresses how it's done. So in the end, The Other Boleyn Girl is a very good though flawed period film that is watchable thanks to the acting talents of Natalie Portman and Scarlett Johansson.

(C) thevoid99 2010