The film revolves around a trio of stories that all play into the idea of humanity with people encountering the absurd but also in situations that would prove to be challenging. All of which would feature a character mysteriously known as R.M.F. (Yorgos Stefanakos) as he is the titular character in all three different stories in the film. The first story entitled The Death of R.M.F. is about a man whose life is always in control until he refuses to finish an assignment he is asked to do where his life would fall apart. The second story in R.M.F. is Flying is about a police officer who learns his wife had been found after being lost in sea during a marine biology assignment, yet he realizes that something is not right as he believes the person who looks exactly like his wife is not really his wife. The third and final story in R.M.F. Eats a Sandwich is about two people trying to find someone who they believe possesses special abilities as they hope this person will become their spiritual leader for a secret cult. The film’s screenplay by Yorgos Lanthimos and Efthimis Filippou is straightforward in its narrative, yet each story all plays into characters who are all in some strange situations as well as be in a world that is all absurd.
Lanthimos’ direction is stylish for the different approaches in telling the three different stories though they are all shot on location in New Orleans, Louisiana. Notably as some of his ideas of visual absurdity are kept to a restraint as it plays into more humanistic stories as the absurdity is more driven by the different plots in the film. Lanthimos would emphasize towards wide and medium shots in exploring some of the locations as well as to play into the sense of disconnect from reality. Lanthimos also uses close-ups to play towards some of the dramatic moments as well as some absurd and comical moments that occur in the film. Each story does have a distinctive tone as The Death of R.M.F. has an air of restraint in how the character of Robert Fletcher (Jesse Plemons) lives his day as it is always structured and controlled until he tries to kill someone for his boss/lover Raymond (Willem Dafoe) where he failed as his life falls apart where Lanthimos would maintain a sense of chaos that is burgeoning. In R.M.F. is Flying, the character of the police officer Daniel (Jesse Plemons) is coping with the loss of his wife Liz (Emma Stone) believing that she is lost at sea until he hears that Liz and another marine biologist had been found in an island.
Lanthimos’ direction in that segment is also restrained though the absurdity comes later when Daniel becomes more unhinged about this woman who is living his house where he asks her some odd things. Each segment would feature some offbeat ending that does play into this act of kindness though the third and final segment in R.M.F. Eats a Sandwich is much darker in its absurdity as it plays into the idea of cults that follows the two characters in Emily (Emma Stone) and Andrew (Jesse Plemons) are a part of as they try to find someone who they hope could be their spiritual leader. The direction has Lanthimos presenting a world that is offbeat where Emily and Andrew are part of this cult, yet they venture into the real world to find this person, though the former is also dealing with personal turmoil involving her ex-husband Joseph (Joe Alwyn) who would make things worse for her. It all plays into this desire to belong though reality would eventually kick in with an aftermath that all plays into the titular character of these three stories. Overall, Lanthimos crafts an exhilarating yet riveting film about a trilogy of tales revolving around people who deal with troubling circumstances in their lives.
Cinematographer Robbie Ryan does brilliant work with the film’s cinematography as it is straightforward for many of the daytime exterior scenes while also utilizing some black-and-white film stock for some offbeat inserts that add to the film’s surrealist tone. Editor Yorgos Mavropsaridis does excellent work with the editing as it has elements of stylish cuts including some slow-motion shots and jump-cuts that add to the film’s humor. Production designer Anthony Gasparro, along with art directors Andrew Carnwath and Chris Cornwell plus set decorator Amy Beth Silver, does amazing work with look of the different homes the characters live in from the posh home that Raymond lives in as well as the motel room that Emily and Andrew stay at. Costume designer Jennifer Johnson does fantastic work with the costumes in the suits that Robert wears as well as the brown suit that Emily would wear and some of the stylish clothing that many characters wear.
Special effects makeup artist Adam Bailey and hair stylist Gabrielle Burns do terrific work in some of the film’s minimal makeup effects as well as some of the design of the hairstyles that some of the characters wear. Special effects supervisor Matt Kutcher and visual effects supervisor Sebastian Barker do nice work in some of the film’s minimal visual effects as it relates to some stunts involving cars and other offbeat visual inserts. Sound designer Johnnie Burn does superb work with the sound in some of the sound effects that are created as well as the usage of sparse and natural sounds for some key scenes in the film’s natural locations. The film’s music by Jersin Fendrix is incredible for its eerie music score that mainly consists of a few choral vocal arrangements and some discordant piano pieces that add to the drama and humor while music supervisors Anne Booty, Nick Payne, and Joe Rice cultivate a unique soundtrack that features music from the Eurythmics, Dio, and Cobrah.
The casting by Dixie Chassay is wonderful as it feature some notable small roles and appearances from Krystal Alayne Chambers as a cult member who is hoping to be cleansed, Merah Benoit as Emily and Joseph’s daughter whom Emily rarely sees, Yorgos Stefanakos as variations of a man known as R.M.F., and Hunter Schafer as a young woman named Anna who is observed by both Emily and Andrew to see if she has any powers. Joe Alwyn is terrific in a trio of small roles as a collector appraisal who shortchanges Robert over the sports memorabilia he possesses while he also plays car passenger that Daniel deals with, and as Emily’s ex-husband Joseph who has issues with Emily’s life in the cult as well as how to deal with their daughter. Hong Chau is fantastic in a trio of roles as Robert’s wife, the wife of Liz’s colleague, and as the wife of a cult leader in Aka where Chau brings a lot of low-key restraint and humor to the characters that she plays.
Mamoudou Athie is excellent in a trio of roles as Sarah’s swim coach, Daniel’s police officer partner Neil, and as a morgue nurse where he is quite prominent as Neil who is concerned over Daniel’s behavior considering Liz’s return. Margaret Qualley is brilliant in a quartet of roles as Raymond’s in-house lover Vivian, Neil’s wife Martha, and as identical twins in Ruth and Rebecca where Qualley brings a lot of different complexities to the characters with Rebecca being the weirdest as someone who goes to Emily and Andrew over her sister believing she’s the person they’re looking for. Willem Dafoe is amazing in a trio of role as Robert’s boss/lover Raymond, Liz’s father George, and a cult leader in Omi where Dafoe brings a lot of versatility to his roles as this stern yet caring figure for Robert as well as an offbeat man in Omi who is a true believer of this idea that they’re following believing that purified water from humans will give them long lives.
Finally, there’s Emma Stone and Jesse Plemons in tremendous performances in the trios of roles they play. In the roles of Raymond’s temporary lover Rita, Daniel’s long-lost wife Liz, and the cult follower Emily, Stone provides a lot of different looks and nuances to the characters she plays with Liz being this woman who is trying to understand her husband’s odd behavior while being livelier and more humorous as Emily in her mission to find this spiritual being as well as trying to see her daughter. Plemons’ performances as Robert and Daniel are full of these complexities with former being a man whose life is structured in every way until he breaks from that structure while the latter is someone who becomes suspicious over his wife over the little things about her that he does not recognize. In the role of Emily’s partner Andrew, Plemons is more restrained as someone who helps her while also being in love with Omi as he is envious towards Emily over her connection with him.
Kinds of Kindness is a phenomenal film from Yorgos Lanthimos that features top-notch leading performances from Emma Stone and Jesse Plemons. Along with its ensemble cast, wondrous visuals, an eerie music score, and riveting stories of humanity in troubling situations. It is a film that plays into a trio of offbeat stories that has a bit of surrealism as it involves people who are in situations that are beyond their control and to try and find some form of kindness. In the end, Kinds of Kindness is a sensational film by Yorgos Lanthimos.
Yorgos Lanthimos Films: (My Best Friend (2001 film)) – (Kinetta) – Dogtooth - (Alps) – The Lobster - (The Killing of a Sacred Deer) – The Favourite - Poor Things - (Bugonia)
© thevoid99 2024
Set in the late 19th Century during the Victorian era of London, the film revolves around a young woman who had killed herself only to be resurrected by a scientist as she goes on a journey of sexual discovery, identity, and ideals through some of the people she meets along the way including a greedy and nefarious attorney who lusts after her. It is a film that follows the life of this woman who despite having a brain transplant following her suicide as she would have the mind of a child that would then grow into a full-fledge woman with an appetite for sex and knowledge. Tony McNamara’s screenplay is filled with not just this unique study of a woman’s mental and emotional development but also through the people she meets in her life including the scientist in Dr. Godwin Baxter (Willem Dafoe) who found her dead body in a river and would make a discovery as he would remove her brain and put in another brain and use electricity to revive her as he would call her Bella (Emma Stone).
Dr. Baxter and his maid Mrs. Prim (Vicki Pepperdine) would take care of Bella who would start off with the mind of a child learning to walk as one of his students in Max McCandles (Ramy Youssef) would aid them both and take notes as he would fall for Bella. Yet, Bella gets the attention of the attorney Duncan Wedderburn (Mark Ruffalo) who would fall for her and convince Bella to travel with him around the world much to Dr. Baxter’s reluctance and Max’s refusal. Bella’s relationship with Duncan revolves around sex at first until she gets to know him as someone who is a control freak that couldn’t keep up with Bella’s thirst for sex and knowledge as they travel on a ship to Alexandria where she meets the cynical philosopher Harry Astley and the elderly German Martha Von Kurtzroc (Hanna Schygulla) who are both amazed by her. Yet, Bella would also encounter things that would challenge her ideals as it all plays into her own journey and revelations about her past life before her suicide.
Yorgos Lanthimos’ direction is quite sprawling in terms of not just the way he imagines some of the places that Bella would encounter but also a world that is just as odd and wondrous as she would imagine. Shot largely on location in Hungary with several interiors and sets made at the Origo Studios in Budapest, Lanthimos does play into this world that is full of wonders but also a reality that is too terrifying to ignore. Much of the film’s first act is shot in black-and-white with bits of color emerging in flashbacks as Lanthimos’ usage of fish-eyed lenses for wide shots add to the surrealistic tone of the film as well as this world where Bella is protected from during her time living with Dr. Baxter who is a father figure to her while also knows the truth about who she is. Max is also protective of her as he would take notes observing her while all three and Mrs. Prim are happy at Dr. Baxter’s lab in doing experiments including the hybrid animals that Dr. Baxter has surrounded himself. Still, Lanthimos’ direction also play into the outside world as its second act goes into full-blown color while it also play into this sense of manic energy into Bella’s hedonistic attitudes as she finds a partner in Duncan.
The scenes set in Lisbon, Alexandria, and the cruise ship they travel on are quite surreal as it is this strange mix of a futuristic world (by 19th Century standards) and the period of the time as it has something that feels artificial and dream-like. Lanthimos’ usage of the wide and medium shots add to the scope of that world while Lanthimos does maintain some intimacy including the usage of close-ups including some extreme close-ups that play into Bella’s sexual awakening. There is a lot of humor that play into Bella’s understanding of the world as well as humanity where its third act that begins in Paris where she learns a lot about the ways of the world and what Dr. Baxter was trying to shield her from. Especially as there’s revelations into her past life where Max feels the need to take a stand for her as well as realize the sacrifices that Dr. Baxter had done towards her. It all plays into a woman discovering herself but also a world where men do what they can to maintain the status quo unaware that she is willing to challenge these ideals. Overall, Lanthimos crafts a majestic yet wild film about a woman coming of age in her understanding of sex and its many ideals including her own identity.
Cinematographer Robbie Ryan does incredible work with the film’s cinematography from the striking imagery in the black-and-white photography in its daytime interior/exterior scenes to the exterior scenes at night as well as the lush colors for the scenes in Lisbon and the interiors in the ships as it is a highlight of the film. Editor Yorgos Mavropsaridis does excellent work with the editing as it has elements of style as well as some unique jump-cuts and other rhythmic cuts that add to some of the humor and drama. Production designer Shona Heath and James Price, with set decorator Zsuzsa Mihalek and senior art director Jonathan Houlding, do phenomenal work with the set design in the way Lisbon is presented as well as the interiors of the ships as well as the rooms and lab at Dr. Baxter’s home as it is a major highlight of the film. Costume designer Holly Waddington does fantastic work with the design of the dresses that Bella wears as well as the suits that the men wear during that period in the late 19th Century.
Prosthetic makeup designer Mark Coulier and hair/makeup prosthetic designer Nadia Stacey, along with hair/makeup supervisor Carolyn Cousins, do amazing work with the look of Dr. Baxter with his scars and deformed body parts as well as some of the scars that Bella has in her body. Special effects supervisors Balazs Hoffmann and Gabor Kiszelly, along with visual effects supervisor Simon Hughes, do terrific work in some of the visual design of some of the hybrid animals that Dr. Baxter have created as well as some set dressing including some of the cable cars at Lisbon. Sound designer Johnnie Burn does superb work with the sound in creating an atmosphere in the way Bella hears things as well as certain natural sounds and textures that play into the humor and drama. The film’s music by Jerskin Fendrix is brilliant for its unconventional music score filled with unique string and piano arrangements and textures that are offbeat in its presentation as well as some orchestral themes that have some discordant elements as it is a highlight of the film while music supervisors Anne Booty and Sarah Giles cultivate a soundtrack that largely features European folk music of that period performed by Carminho.
The casting by Dixie Chassay is marvelous as it feature some notable small roles from composter Jerskin Fendrix as a restaurant musician in Lisbon, Carminho as a Fado performer Bella sees in Lisbon, Wayne Brett as a priest whom Bella would have sex with, Tom Stourton as a steward on the ship that Duncan tries to fight against, Vicki Pepperdine as Dr. Baxter’s maid/assistant Mrs. Prim who is very loyal to Dr. Baxter, Suzy Bemba as a prostitute in Toinette whom Bella would befriend and learn the ideas of socialism from, and Margaret Qualley in a terrific small role as Felicity as a replacement for Bella at the Baxter home as she provides a lot of humor as someone that has a hard time learning. Kathryn Hunter is superb as Madame Swiney as an aging brothel madam in Paris that gives Bella a job in the film’s third act as well as show her a broader view of the world through good and bad. Hanna Schygulla is fantastic as Martha Von Kurtzroc as an elderly passenger whom Bella befriends on the ship as she gives Bella some joy and insight as well as gaining her own sense of joy through Bella.
Jerrod Carmichael is excellent as the American philosopher in Harry Astley whom Bella meets on the ship towards Alexandria as a cynic who wants to show Bella the cruelties of the world while he also realizes that Bella’s viewpoint also has some upsides. Christopher Abbott is brilliant as Alfie Blessington as a cruel and sadistic general who is a key figure in Bella’s past as he is this representation of the darkest aspects of humanity and masculinity. Ramy Youssef is amazing as Max McCandles as a medical student that Dr. Baxter brings in to assist him as he falls for Bella while also coping with her absence as he copes with Dr. Baxter’s growing illness as he is someone that represents the best in men as he is also open-minded and caring. Mark Ruffalo is great as Duncan Wedderburn as this sleazy and hedonistic attorney that falls for Bella as he would take her around Europe only to be overwhelmed by her as he is full of dark humor and snobbery that adds to how awful his character is as it is one of Ruffalo’s finest performances.
Willem Dafoe is incredible as Dr. Godwin “God” Baxter as this scientist and surgeon who has a deformed face and hands while also is unable to fart as he is this odd yet caring figure who is trying to understand humanity while caring for Bella as if she’s his daughter as it is a very tender and somber performance from Dafoe. Finally, there’s Emma Stone in a magnificent performance as Bella Baxter as this woman who had been resurrected after committing suicide but with the brain of a baby as she would learn about things while there is also a sense of physicality that Stone brings to her performance. Stone also exudes this sense of wonderment and ferocity in her role as there’s a lot of energy and emotions into her role but also the willingness to be vulgar in a humorous way as it is a performance for the ages.
Poor Things is an outstanding film from Yorgos Lanthimos that features a towering leading performance from Emma Stone. Along with its ensemble cast, Tony McNamara’s riveting script, ravishing visuals, gorgeous cinematography, wondrous sound design, and Jerskin Fendrix’s offbeat score. It is a film that explores a woman’s journey to find herself but also her exploration of sex and identity as it is told in a grand and stylistic manner. In the end, Poor Things is a magnificent film from Yorgos Lanthimos.
Yorgos Lanthimos Films: (My Best Friend (2001 film)) – (Kinetta) – Dogtooth - (Alps) – The Lobster - (The Killing of a Sacred Deer) – The Favourite - Kinds of Kindness - (Bugonia)
© thevoid99 2023
Set in late 1970s Britain against the backdrop of the punk rock movement, the film revolves around a young woman who works with thieves as she gets a job working for a revered yet cruel fashion queen known as Baroness von Hellman (Emma Thompson) only to go into war against her following some revelations and such. It is a film that is an origin story of sorts of how this young woman who would become Cruella de Vil would wreak havoc in the world of fashion and also deal with the events that defined her life including the death of her mother Catherine (Emily Beecham) when she was a child. The film’s screenplay by Dana Fox and Tony McNamara does have a straightforward narrative as it is largely told from Cruella’s perspective from her birth to her defiance in the world of fashion. Cruella, then known as Estella, lives with a couple of thieves in Jasper (Joel Fry) and Horace (Paul Walter Hauser) along a couple of dogs. Upon getting a job to work for the Liberty department store in London, Estella would realize the job is a low-level janitor job until she drunkenly creates a window display that gets the Baroness’ attention.
In working for the Baroness directly, it seemed like the dream job that Estella wanted as a way for herself and her friends to live a trouble-free life but also a chance to prove to her late mother that she’s finally becoming a good person. It is part of the development of Estella as someone who feels guilty when she witnessed her mother’s murder as she feels responsible for what happened as it lead to her going to London and meeting Jasper and Horace. The moment Estella sees the Baroness wearing a necklace that once belonged to Catherine is where things change while Estella gets to know more about this ambitious woman who thinks nothing but control and dominance. When Estella chooses to become Cruella as a way to rile up the Baroness and steal back the necklace. Revelations occur about the Baroness as it forces Estella to be Cruella in a series of schemes as she brings chaos while also unknowingly alienating those close to her.
Craig Gillespie’s direction is stylish as it definitely plays into this world of London in this clash of high couture fashion against the lower-class yet creative chaos in the world of punk rock in the late 1970s. Shot partially on location in London with much of it shot at Shepperton Studios in London, Gillespie does create a film that isn’t just this clash of cultures but also a young woman trying to find herself as he does create some unique compositions in the close-ups and medium shots to get a view of Estella/Cruella in the way she reacts to certain things or contemplating situations in her life. There are also some wide shots to get a scope into not just London and the Hellman Hall estate that the Baroness live in but also into the presentation that Cruella would create as the antithesis to the sophisticated and posh world of the Baroness. Gillespie would also use these intricate tracking shots that do go on for a few minutes as it play into these worlds in how Cruella would arrive at a gala held by the Baroness but also the world that Estella would encounter.
Gillespie would up the presentation of these fashion shows with the second act ending with a show that Cruella would have as it play into the spirit of punk rock at Regent Park. It would be followed by an example of how cruel the Baroness is but also some revelations about this woman and everything she would do to be successful to the point of murder and push anyone who gets in her way. While Cruella may have a mean streak of her own and would neglect her friends, there is that element of her that realizes that she is someone that does care as the third act is about her not just going after the Baroness. It’s also claiming her own identity but with the help of the people whom she refers to as her family as they would become part of something bigger that involves them. Overall, Gillespie crafts a wild and mesmerizing film about a young woman who creates an identity to upset a cruel fashion queen in the age of 1970s British punk rock.
Cinematographer Nicolas Karakatsanis does brilliant work with the film’s cinematography in the usage of blue-grey colors for some of the exteriors in the day and night along with some stylish lighting to some of the interior scenes to help set the mood for the chaos that Cruella would bring. Editor Tatiana S. Riegel does excellent work with the editing as it has some stylish jump-cuts to play into the sense of anarchy that Cruella brings as well as some straightforward editing to play into the drama and suspense. Production designer Fiona Crombie, with set decorator Alice Felton and supervising art director Martin Foley, does amazing work with the look of Hellman Hall where the Baroness live as well as the flat that Cruella lives with Jasper and Horace plus the fashion shows that the two women create. Costume designer Jenny Beaven does incredible work with the costumes as it doesn’t just play into the different styles of fashion in 1970s but also in showcasing a lot of the personalities into the people who design them with Cruella creating fashion that is unique on its own.
Hair/makeup designer Nadia Stacey does tremendous work with the look of the hairstyles for both Cruella and the Baroness that both display their personalities and evolving look as the film progresses. Special effects supervisor Steve Warner and visual effects supervisor Max Wood do terrific work with the visual/special effects as it feature some unique action set pieces in some scenes along with some dressing in the visual effects. Sound designers Alan Rankin, Ann Scibelli, and Martyn Zub, with sound editor Mark P. Stoeckinger, do superb work with the sound from some of the sparse moments include the Baroness’ dog whistle to the way music sounds on a location.
The film’s music by Nicholas Britell is phenomenal for its mixture of bombastic and somber orchestral music that features elements of rock to play into the world of 70s music. Music supervisor Susan Jacobs creates a fun soundtrack that features pieces from the Rolling Stones, Ike and Tina Turner, the Bee Gees, the Doors, Supertramp, David Bowie, the Clash, Nina Simone, Ohio Players, Queen, Electric Light Orchestra, Georgia Gibbs, the Animals, Ken Dodd, Nancy Sinatra, the Zombies, Deep Purple, Black Sabbath, Suzi Quatro, a cover of the Stooges’ I Wanna Be Your Dog by John McCrea, Doris Day, Tony Martin, Rose Royce, the J. Geils Band, Brigitte Fontaine, Judy Garland, and an original song by Florence and the Machine.
The casting by Lucy Beven and Mary Vernieu is wonderful as it feature some notable small roles from Andrew Leung as the Baroness’ assistant Jeffrey, Jamie Demetriou as Estella’s first boss at Liberty in Gerald, Kayvan Novak as the Baroness’ mistreated lawyer Roger Dearly who would later play a role for Cruella’s ascent, John McCrea as a vintage fashion shop owner in Artie who helps Cruella in creating some of her designs, Billie Gadsdon and Tipper Siefert-Cleveland in their respective roles as the five and 12-year old Estella, Florisa Kamara as the young Anita, Ziggy Gardner as the young Jasper, Joseph MacDonald as the young Horace, and Tom Turner in a brief role in a flashback sequence as the Baroness’ late husband. Emily Beecham is terrific as Estella’s mother Catherine as a woman who is trying to ensure that Estella has a normal childhood while also aware of her creativity. Kirby Howell-Baptiste is fantastic as Anita as a childhood friend of Estella/gossip columnist who often attends fashion shows as she is someone who praises Cruella while also being someone who keeps her identity a secret.
Mark Strong is excellent as the Baroness’ longtime valet/confidante John as a man who takes care of everything the Baroness wants as he’s also someone who knows a lot more than both the Baroness and Cruella realizes. Joel Fry and Paul Walter Hauser are brilliant in their respective roles as the thieves Jasper and Horace as the former is the smarter of the two thieves as someone who is careful but also someone with some morals as he is disturbed by Estella’s changing behavior while the latter is the funnier of the two as someone who is helpful but also does weird things in the scheme with Hauser sporting a gravelly British accent that is a tribute of sorts to the late Bob Hoskins. Emma Thompson is spectacular as Baroness von Hellman as a fashionista who is a control freak that demands perfection as she sees herself as the queen of haute couture where Thompson just eats up every moment she’s in while displaying a sense of charisma and melodrama at its most camp as it a performance for the ages. Finally, there’s Emma Stone in a career-defining performance as the titular character as this young woman with a creative mind for fashion as Stone brings up someone that wants to be good and do well only to take on a new persona as this wild fashionista from the world of punk where Stone just owns nearly every scene she’s in while having this great rapport with Thompson in their lone scenes together.
Cruella is a sensational film from Craig Gillespie that features an outstanding performance from Emma Stone along with a great supporting performance from Emma Thompson. Along with its supporting ensemble cast, gorgeous visuals, Jenny Beaven’s dazzling costumes, and a kick-ass music soundtrack. It is a film that doesn’t just explore an origin story of one of the great villains in the world of Disney films but also a study of a young woman who finds her identity as a way to defy the world of a cruel woman who sees the world as hers. In the end, Cruella is a phenomenal film from Craig Gillespie.
Craig Gillespie Films: (Mr. Woodcock) – Lars and the Real Girl - (Fright Night (2011 film)) – (Million Dollar Arm) – (The Finest Hours) – I, Tonya
© thevoid99 2021
Directed by Jonathan Dayton and Valerie Faris and written by Simon Beaufoy, Battle of the Sexes is about the legendary 1973 tennis match between Bobby Riggs and Billie Jean King that was televised and held at the Houston Astrodome. The film is a dramatic account of the events where the legendary Riggs challenges King, who was then the top champion in tennis, as a publicity stunt as a way to get women more respect in the world of sports with Steve Carell playing Riggs and Emma Stone as King. Also starring Andrea Riseborough, Elisabeth Shue, Austin Stowell, Bill Pullman, Natalie Morales, and Sarah Silverman. Battle of the Sexes is a compelling yet exhilarating film from Jonathan Dayton and Valerie Faris.
The film is a dramatic re-telling of the 1973 Battle of the Sexes tennis match between Bobby Riggs and Billie Jean King from the events prior to the match as well as its set-up and outcome. It’s a film with a simple premise where King is the top tennis player of her time but feels that women aren’t being treated fairly in comparison to the men as she feels like women deserve equal pay or more money. Simon’s Beaufoy’s script opens with King’s sudden rise to fame in 1970 as a top tennis player but is upset that an upcoming tennis tour will have her and several other women players be paid much less than the men. This forces King and former tennis player/magazine publisher Gladys Heldman (Sarah Silverman) to create their own tournament with eight other players as they would gain a sponsor in Virginia Slim cigarettes though they would struggle early on to draw an audience despite being banned by legendary tennis player/promoter Jack Kramer (Bill Pullman) from the U.S. Lawn Tennis Association.
The first act is about King and her attempt to get equal pay for herself and other players as well as establish what Riggs was doing at the time as a man who loves to gamble much to the dismay of his wife Priscilla Whelan (Elisabeth Shue) who would kick him out of their home. Riggs who plays tennis to win cars decides to challenge the women as a publicity stunt where he would immediately challenge King who would turn him down as Riggs would challenge Australian tennis champion Margaret Court (Jessica McNamee) and defeat her prompting King to accept Riggs’ challenge. Beaufoy’s script also touch upon King’s affair with hairdresser Marilyn Barnett (Andrea Riseborough) despite the fact that King is married to a man named Larry (Austin Stowell) as it is a key part of the second act that would also play into King’s determination to beat Riggs unaware that he’s really playing a character for show.
The direction of Jonathan Dayton and Valerie Faris does have its elements of style in recreating the world of the early 1970s as it is shot mainly in Los Angeles where much of the film is set. There are some wide shots in establishing the locations as well as in the film’s climatic tennis match set at the Houston Astrodome. Yet, much of Dayton and Faris’ direction is more on the characters and their situations as well as their need to win. Particularly in the usage of close-ups and medium shots that play into the drama and some of the humor where the latter relates mainly to Riggs and his life including the things he would do in playing tennis for money. The direction would show that for all Riggs’ faults as a man, the persona as this chauvinist was really for show as he was someone that was devoted to his family including his wife. Dayton and Faris’ direction also showcase the growing air of sexism towards women’s tennis not just from men but also women as Margaret Court is more of a traditionalist who would glance at King’s relationship with Barnett with disapproval.
The direction also play into this tension between King and tennis organizations who don’t want to succeed nor want any kind of change in the world of tennis unaware that women are paying to see women play tennis. The climatic match at the Astrodome is shown in a massive scope to play up into how large the event is as well as this air of showmanship before the match is to commence. There is this air of excitement but also dramatic tension as the stakes are high while its aftermath show a sense of relief but also realization that things are to change. Overall, Dayton and Faris create an exhilarating yet engaging film about the real-life tennis match between Billie Jean King and Bobby Riggs and the events preceding this landmark tennis match.
Cinematographer Linus Sandgren does brilliant work with the film’s cinematography as its usage of colors for some of the exterior scenes as well as using grainy film stock to recreate the look of 1970s television coverage is a highlight of the film. Editor Pamela Martin does excellent work with the editing as it has bits of montages as well as some stylish moments that play into the energy of the tennis matches. Production designer Judy Becker, with set decorator Matthew Flood Ferguson and art director Alexander Wei, does amazing work with the look of the hotel/motel rooms the women players stayed in as well as the home of Riggs along with the look of the tennis court inside the Astrodome. Costume designer Mary Zophres does fantastic work with the design of the clothes of the 1970s including some of the uniforms the women tennis players chose to wear as well as some of the costumes that Riggs wear for his publicity tour.
Hair stylist Frioa S. Aradottir and makeup artist Torsten White do terrific work with the different hairstyles and looks of King and Riggs during that time as well as how they would evolve in those few years. Special effects supervisor Sam Dean and visual effects supervisor Cliff Welsh do superb work with the visual effects in some set dressing for the period as well as what footage looked like on TV. Sound designer Ai-Ling Lee does wonderful work with the sound in its creation of sound effects as well as how rackets sounded like back then and the massive layers of sounds for the film’s climatic game. The film’s music by Nicolas Britell is incredible for its rich and sumptuous music score with its lush piano and string arrangements that help play into the drama and sense of excitement into the climatic tennis match while music supervisor Steven Baker provides a soundtrack that played into the times as it includes music from Elton John, Bobbie Gentry, Ray Wills, Tommy James and the Shondells, Apollo 100, Norma Jenkins, George Harrison, and Hugh Masekala along with contemporary pieces from the Pretenders and Sara Bareilles.
The casting by Justine Arteta and Kim Davis-Wagner is great as it feature some notable small roles and appearances from John C. McGinley as a friend of Riggs, Matt Malloy as Riggs’ therapist, Eric Christian Olsen as Riggs’ friend/trainer Lornie Kuhle, Fred Armisen as Riggs’ nutritionist Rheo Blair, Lewis Pullman as Riggs’ eldest son Larry, and James MacKay as Court’s husband Barry. In the roles of the members of the Original 9 players, Martha MacIsaac, Mickey Sumner, Bridey Elliott, Lauren Kline, Ashley Weinhold, Fidan Manashirova, and Kaitlyn Christian play in their respective roles as the tennis players Jane “Peaches” Bartkowicz, Valerie Ziegenfuss, Julie Heldman, Nancy Richey, Kristy Pigeon, Judy Tegart Dalton, and Kerry Melville Reid while Christian also plays the tennis double of King with Vince Spadea as the tennis double of Riggs. Natalie Morales is terrific as an Original 9 tennis player in Rosie Casals as someone who is outspoken as well as be the one to provide commentary for the game.
Jessica McNamee is wonderful as Australian tennis champion Margaret Court as a tennis player who joins the women’s tour as she is someone that is conservative and would accept Riggs’ challenge. Austin Stowell is superb as King’s husband Larry as a man who is supportive of her while he is aware that she has feelings for someone else yet keeps to himself. Elisabeth Shue is fantastic as Riggs’ wife Priscilla as a wealthy woman who isn’t fond of her husband’s gambling as well as his pursuit to challenge women players only to realize what he’s really trying to do. Alan Cumming is excellent as costumer Cuthbert “Ted” Tinling as an openly-gay designer who supports the women in making clothes for them but also help King out in her relationship with Barnett. Bill Pullman is brilliant as famed tennis legend/organization leader Jack Kramer who doesn’t believe that the women would draw as he gains the ire of King for his sexist comments.
Sarah Silverman is amazing as legendary tennis player/publisher Gladys Heldman as a woman who doesn’t take shit from anyone where Silverman provides some humor but also some grit into someone who is championing this new generation of players. Andrea Riseborough is incredible as Marilyn Barnett as a hairdresser who falls for King as she accompanies her on the tour while becomes concerned whether or not she is a distraction to King. Finally, there’s the duo of Emma Stone and Steve Carell in phenomenal performances in their respective roles as Billie Jean King and Bobby Riggs. Stone brings a charm but also a seriousness as King as someone that is striving to be the best but is also deals with her sexuality as it relates to her relationship with Barnett which she wants to keep as a secret as homosexuality was still considered taboo. Carell brings this energy and wit as Riggs as someone who loves to gamble and have fun while knowing a good financial opportunity when he sees it while playing up this persona as a male chauvinist to help sell tickets. Stone and Carell have this chemistry in the way they deal with each other but also know there is an air of respect between the two tennis legends.
Battle of the Sexes is a marvelous film from Jonathan Dayton and Valerie Faris that feature great performances from Emma Stone and Steve Carell. Along with its ensemble cast, Simon Beaufoy’s engaging script, gorgeous cinematography, and Nicolas Britell’s rich score. It’s a film that manages to be exciting as a sports film but also provide some deep insights into the world of tennis during the 1970s and how one woman wanted to make things fair by playing against one of the sports’ great champions. In the end, Battle of the Sexes is a remarkable film from Jonathan Dayton and Valerie Faris.
Jonathan Dayton/Valerie Faris Films: Little Miss Sunshine - Ruby Sparks
© thevoid99 2019
Directed by Yorgos Lanthimos and written by Deborah Davis and Tony McNamara, The Favourite is the story of two cousins who compete against one another to become the favorite and counsel for Queen Anne during the early 18th Century. The film is a study of two women trying to be the closest confidant to Queen Anne who is suffering from depression as she is also coping with events in her palace unaware of what is happening in England. Starring Olivia Colman, Rachel Weisz, Emma Stone, Joe Alwyn, Mark Gatiss, James Smith, and Nicholas Hoult. The Favourite is a rapturous and outrageous film from Yorgos Lanthimos.
Set in the early 18th Century during the War of the Spanish Succession in 1701 to 1714, the film follows the life of Queen Anne of England (Olivia Colman) who is dealing with depression and various issues in and out of her palace as she is suddenly pulled in an emotional tug of war in who can be her closest confidant between two cousins. It’s a film that plays into a woman who is leading a country but is incapable of running things where her adviser and lover Sarah Churchill (Rachel Weisz) would be the queen’s spokeswoman. Along the way, she would take in her impoverished cousin Abigail (Emma Stone) who is given a job to work at the palace and later be Sarah’s assistant only to gain favor from the queen. The film’s screenplay by Deborah Davis and Tony McNamara does take some dramatic liberties with some of the personal events in Queen Anne’s life in favor of some of the legendary rumors about her. Yet, they do maintain this air of disconnect of the queen as it relates to what is happening in her country.
Notably as there’s a conflict within Parliament as Tory party member Robert Harley (Nicholas Hoult) is against the queen’s idea of doubling property taxes to further fund the war as it was suggested by Sarah and Sidney Godolphin (James Smith). Harley would use Abigail to try and influence the queen as she would become attracted towards a young baron in Samuel Masham (Joe Alwyn) only for Abigail to do small things to win the queen over leading to problems with Sarah. The script doesn’t just play into this tension of favoritism between these two women but it also this dialogue that is biting and also crass in its delivery. Especially in the usage of profanity in how they refer to certain characters in the film as it would intensify during the course of the film as the rivalry between Sarah and Abigail over the queen’s affections become more dangerous.
Yorgos Lanthimos’ direction definitely has an element of style in not just its compositions but the overall presentation of the film. Shot mainly on location at the Hatfield House in Hertfordshire in Britain, the film does play into this period of turmoil with the queen trying to distract herself with food, 17 bunny rabbits, and all sorts of things but it’s not enough as she’s constantly crying over pain in her body and other things. While there are some wide shots in the film, Lanthimos would use fish-eye lenses to get coverage of some of the locations including Parliament, the kitchen, and other things as a way to not rely on tracking shots or hand-held cameras with the exception of a few moments with the usage of dolly to follow a character. Still, Lanthimos maintains an intimacy into his direction in the way he would show these three women interacting with one another as well as put them in a shot at a certain position for some unique compositions and framing.
Lanthimos’ usage of close-ups play into some of the reaction of the characters including Sarah and Abigail in their game of one-upmanship that intensifies as the story progresses. With Sarah being a master and a woman of control, Abigail would slowly learn how to scheme as it would play into her development of someone who was an innocent and impoverished woman with a knowledge of herbs and other small things into someone who gets loss through the usage of power. Lanthimos uses this idea of power-play as two women trying to win over the queen’s favor where Abigail is a woman that is constantly thinking of the bigger picture for England as she has to deal with someone like Harley who has his own ideas that Abigail believes would hurt the country and make Queen Anne look bad in front of the world.
Lanthimos would up the ante during the film’s third act where it is about the reversal of fortunes for Sarah and Abigail with the two both enduring a change in favoritism. Yet, it would also reveal some harsh realities for both women as it relates to the queen. Lanthimos’ direction would become less stylish and more eerie in its compositions with Queen Anne being roped in the middle and becoming disconnected with what is happening with her country. It also play into the idea of human nature and what some will do to maintain a certain position in the palace but also think about the fact that Queen Anne is a woman that has to make the final decisions for her country and these decisions would have an impact on the country. Overall, Lanthimos crafts an intoxicating yet darkly comical film about two women of the court trying to become the favorite for Queen Anne.
Cinematographer Robbie Ryan does incredible work with the film’s cinematography in its usage of candlelight and natural lighting for many of the film’s nighttime interior scenes as well as providing some naturalistic colors for some of the film’s daytime interior/exterior scenes. Editor Yorgos Mavropsaridis does amazing work with the film’s editing with its stylish usage of dissolves and superimposed images as well as some jump-cuts and rhythmic cuts to play into the drama and humor. Production designer Fiona Crombie, with set decorator Alice Felton and supervising art director Lynne Huitson, does excellent work with the look of the many interiors of the house including the queen’s bedroom, the main hall, and the room where Parliament meets. Costume designer Sandy Powell does brilliant work with the costumes in the design of the dresses that the women wear including some of the lavish ones Queen Anne wears as well as some of the clothes that the men wear.
Hair/makeup designer Nadia Stacey does fantastic work with the look of the wigs the men wore including the makeup that is sported by both men and women in parties as well as the look of the queen. Special effects supervisor Bob Thorne and visual effects supervisor Ed Bruce do terrific work with some of the film’s minimal visual effects as it relates to scenes of Abigail and Sarah shooting birds in the sky. Sound designer Johnnie Burn does superb work with the sound in maintaining an atmosphere in the locations and the way sounds are heard from another room and other elements that help play into the drama while Burn also provide some low-key ambient-like music pieces that pop up occasionally.
Music supervisors Sarah Giles and Nick Payne do nice work with the film’s soundtrack as it mainly feature an array of classical and experimental music pieces from the likes of Johann Sebastian Bach, W.F. Bach, George Frideric Handel, Henry Purcell, Franz Schubert, Robert Schumann, Antonio Vivaldi, Olivier Messiaen, Luc Ferrari, Anna Meredith, and a contemporary piece by Elton John in the film’s final credits.
The casting by Dixie Chassay is wonderful as it feature some notable small roles from Jenny Rainsford as a tavern owner in Mae, James Smith as the 1st Earl of Godolphin in Sidney Godolphin who is often on Sarah’s side of things relating to politics, and Mark Gatiss as Sarah’s husband in the 1st Duke of Marlborough in John Churchill who leads a regiment as he’s trying to help England win the war. Joe Alwyn is superb as 1st Baron Masham in Samuel Masham as a young baron who falls for Abigail though he’s hired by Harley to woo her as he is essentially a cuckold that is used by everyone. Nicholas Hoult is fantastic as the 1st Earl of Oxford and Earl Mortimer in Robert Harley as a political figure and landowner who is opposed to the ideas that Sarah is trying to have to fund the war as he is someone that wants the war to end as he’s slimy and full of devilish charm.
Emma Stone is incredible as Abigail as a young woman who was once a lady and is forced to work as a servant where her knowledge of herbal medicine would help the ailing queen as she later becomes Sarah’s assistant and become a close confidant of the queen where she displays a dark demeanor who becomes enamored with the decadence of palace life. Rachel Weisz is phenomenal as the Duchess of Marlborough in Sarah Churchill who is the queen’s closest advisor and lover as she tries to handle the many things that queen needs to decide on as she is very protective of her while she becomes threatened by Abigail whom she’s forced to compete with as well as deal with the severity of Abigail’s own plotting. Finally, there’s Olivia Colman in a tremendous performance as Anne, Queen of Great Britain as a woman filled with self-doubt, grief, and insecurities that are key to her depression as someone that is needed and to be loved while trying to run a country unaware of what is really going on despite Sarah’s counseling where she turns to Abigail for comfort as she would unknowingly play into the chaos in her own palace as it’s a career-defining performance for Colman.
The Favourite is a spectacular film from Yorgos Lanthimos that features great performances from Olivia Colman, Rachel Weisz, and Emma Stone. Along with its ensemble cast, its whimsical script, gorgeous look, intricate sound work, and its offbeat approach to music. It’s a period drama that doesn’t play by the rules while being a study of favoritism, grief, and power told in a strange love triangle between three women. In the end, The Favourite is a magnificent film from Yorgos Lanthimos.
Yorgos Lanthimos Films: (My Best Friend (2001 film)) – (Kinetta) – Dogtooth - (The Alps (2011 film)) – The Lobster - (The Killing of a Sacred Deer) - Poor Things - Kinds of Kindness - (Bugonia)
© thevoid99 2019
Written and directed by Damien Chazelle, La La Land is the story of an aspiring actress who moves to Los Angeles where she meets a jazz pianist as they fall in love while trying to find success together in Hollywood. The film is a mixture of fantasy and reality as it play into the hopes and dreams of two people trying to make it in the city of dreams. Starring Ryan Gosling, Emma Stone, John Legend, Rosemarie DeWitt, and J.K. Simmons. La La Land is a ravishing and evocative film from Damien Chazelle.
Set in the city of dreams that is Los Angeles/Hollywood, the film is an exploration of two people trying to reach their dreams as they struggle to make it as they lean on each other unsure if they both can succeed. While it’s a story that is often common with many old-school ideas of Hollywood of people going there and wanting to be part of that world. It is told in a very stylistic fashion as it play into this conflict of fantasy and reality which would blend in some respects for its two central protagonists in the jazz pianist Sebastian (Ryan Gosling) and the aspiring actress Mia (Emma Stone) as they both go through many trials and tribulations in their journey to find fame and happiness. Damien Chazelle’s screenplay is mainly told in the span of an entire year structured by season where it begins with winter as the two are first seen in a traffic jam with Sebastian having road rage.
The two would meet again later on as it would play into an element of fantasy but then reality would return as they wouldn’t see each other again until Mia attends a party where Sebastian is playing in an 80s cover band. The two would forge a friendship that eventually becomes a romantic relationship bonded by their wishes to succeed where Mia wants to become an actress and succeed while Sebastian is hoping to open a jazz club where more authentic jazz music is played. Yet, they also have to contend with some form of reality whether Mia has to go numerous audition and cope with failure and rejection while Sebastian is forced to face some truth about the world of jazz where his ideas of the music is becoming extinct. Once the story reaches towards summer and fall, that specter of reality would come more and more into play but there is still some glimmer of what both Sebastian and Mia want for themselves and each other.
Chazelle’s direction isn’t just stylish but also play against many of the conventional aspects of modern-day cinema in favor of something that is more traditionalist and harkening back to the cinema of the past. The film’s opening sequence and musical number is a great example of what Chazelle is going for. It is set in a traffic jam in Los Angeles which lead to people singing as the usage of wide and medium shots capture the scope of what is happening as it’s all done in one entire take with a tracking shot without the need to cut. Many of the musical numbers would be presented in that similar approach as it doesn’t just play against some of the elements of what the genre had become but also creating something that is more dream-like and with a sense of fantasy. Aiding Chazelle in the dancing and how the choreography would play into the story is choreographer Mandy Moore who would provide moments of dance that has a sense of movement that help establish what is going on where it can be dazzling and intricate or just simple and somber.
The non-musical moments are still just as vital not only in playing to the story but also have the sense of intimacy as it relate to the conflicts that Sebastian and Mia are both going through. Especially in the film’s second half where they don’t just encounter failure but also what people will do to be successful. One noted montage sequence of Mia trying to do something to kick-start her own career while Sebastian would do something as a way to survive would show two people who love and care for each other going into diverging paths. The film’s third act set in the fall would be a moment where it is about facing not just reality head-on but also see if there is some kind of hope that can emerge. Notably as Chazelle would create something that mixes fantasy and reality into a scene that is just powerful which would be followed a more dazzling sequence towards the end of the film as it play into hopes and dreams of those who want something so bad to succeed on their own terms. Overall, Chazelle creates a majestic yet enthralling film about two people trying to make it in the city of dreams.
Cinematographer Linus Sandgren does amazing work with the film‘s cinematography from the way he captures every ounce of color in some of the dance sequences in day and night as well as the way some of the jazz clubs and restaurants are lit along with the gorgeous scene inside and outside of the Griffith Observatory. Editor Tom Cross does brilliant work with the editing as it doesn‘t play by modern-day editing rules as it favors something that is straightforward with some stylish montages and rhythmic cutting that play into some of the music. Production designer David Wasco, with set decorator Sandy Reynolds-Wasco and art director Austin Gorg, does excellent work with the design of the apartment homes of Sebastian and Mia as well as some of places they go to as well as the jazz club that Sebastian likes to hang out and the movie theater they would visit one night.
Costume designer Mary Zophres does incredible work with the costumes from the design and gorgeous colors of the dresses that Mia and the women wear as well as the look of the clothes for some of the dancers in the film. Visual effects supervisors Chris LeDoux, Tim LeDoux, and John L. Weckworth do fantastic work with the visual effects such as the floating dance sequence inside the Griffith Observatory and other sequences that help play into this world of fantasy. Sound designer/editor Ai-Ling Lee and sound editor Mildred Iatrou do superb work with the sound in the way some of the live music is presented as well as some of the sparse elements in the sound to play into the non-musical moments.
The film’s music by Justin Hurwitz is phenomenal as its score is a mixture of jazz and orchestral music to play into that air of excitement but also the dramatic elements of the film. The songs also help as most of them are written by Hurwitz and the duo of Benj Pasek and Justin Paul that help play into the situations and moods the characters are in while another original song written by Hurwitz, Marius de Vries, John Stephens, and Angelique Cinelu is a reflection of the kind of music that Sebastian doesn’t want to be a part of as the entire music score and soundtrack is a highlight of the film.
The casting by Deborah Aquila and Tricia Wood is terrific as it feature some notable small roles and appearances from Josh Pence as a brother of Mia’s boyfriend early in the film, the trio of Callie Hernandez, Sonoya Mizuno, and Jessica Rothe as Mia’s roommates, Meagan Fay as Mia’s mother, Tom Everett Scott as a man named David who appears late in the film, Finn Wittrock as Mia’s boyfriend early in the film in Greg, and J.K. Simmons in a superb cameo appearance as a restaurant owner named Bill who wants Sebastian to play the music as it is. Rosemary DeWitt is excellent as Sebastian’s older sister Laura who tries to ensure her brother about the realities of the world but also hope that he can succeed. John Legend is brilliant as Sebastian’s old high school classmate Keith as a musician who leads a very popular and successful jazz-pop where he wants Sebastian to be a part of as a source of income.
Finally, there’s the duo of Ryan Gosling and Emma Stone is spectacular performances in their respective roles as Sebastian Wilder and Mia Dolan. Gosling brings that air of frustration and determination into someone who is an ardent traditionalist towards jazz as he tries to do whatever he can to survive no matter how humiliating it can be. Stone provides that humility to her own role as a young woman that is just trying to succeed through audition after audition while displaying that air of charm that is so intoxicating. Gosling and Stone together have this chemistry that is just riveting to watch from how they sing and dance with each other to the moments where they cope with their own failures and desire to succeed.
La La Land is an outstanding film from Damien Chazelle that features sensational performances from Ryan Gosling and Emma Stone. Featuring beautiful visuals, an evocative music soundtrack, top-notch technical work, and a story that is definitely appealing in its conflict of reality and fantasy. It’s a film that doesn’t just create something that is entertaining enough for the audiences but offers a whole lot more about the dreams and hope of two people in the city of dreams. In the end, La La Land is a magnificent film from Damien Chazelle.
Damien Chazelle Films: Guy and Madeline on a Park Bench - Whiplash - First Man - Babylon (2022 film) - (The Auteurs #76: Damien Chazelle)
© thevoid99 2017
Written and directed by Woody Allen, Irrational Man is the story of a philosophy professor who goes through an existential crisis where he goes into a relationship with one of his students. The film is mystery-drama that has Allen explore the world of existentialism where a man copes with the meaning of life as well as the ways of the world where he ponders what one do by a single act. Starring Joaquin Phoenix, Emma Stone, Jamie Blackley, and Parker Posey. Irrational Man is a compelling and witty film from Woody Allen.
Set in a small college campus and town in Rhode Island, the film is a simple story of a troubled philosophy professor who is going through depression and an existential crisis where he befriends a student as they discuss the complexities of life. Yet, when they overhear a conversation about a woman’s custody battle and how unlikely she would get her children back due to a corrupt judge. Professor Abe Lucas (Joaquin Phoenix) is suddenly urged to do something as the result would mark a change in his life and his relationship with student Jill Pollard (Emma Stone) where it becomes romantic. Yet, questions would emerge as it relates to his act but also many questions about morality and the way life works. Woody Allen’s screenplay doesn’t just explore Lucas’ own moral and existential dilemma but also the fact that he has become numb and sort of indifferent about what he’s doing.
With Pollard being one of his students in his summer tenure in philosophy, he is intrigued by her views where they would engage a lot in conversations. Pollard would fall for him, much to the chagrin of her boyfriend Roy (Jamie Blackley), though is aware of Lucas’ own reputation as well as the fact that teachers and students can’t go out with each other in the school. While Lucas would have an affair with another professor in Rita Richards (Parker Posey), he is drawn by Pollard as the film‘s narrative is told from their different perspective with the usage of voice-over narration to display their views and what are they thinking. Especially in the second act where Lucas do something as it relates to this woman he doesn’t even know as the result would give him meaning again. Even as Pollard is taken aback at first by his change in mood until news about what is going on in this small town emerges where Pollard learns some truth as she goes into a moral dilemma of her own. All of which plays into a third act that is about morality and what it means to live but also the fact that action can also have consequences.
Allen’s direction is quite simple in terms of not just the compositions but also in the fact that he creates a film that bears little ideas of style. Shot on location in Newport, Rhode Island, the film does have this ravishing tone in the way it presents this small New England college town where it is quite middle class but also very vibrant. While Allen uses some wide and medium shots to capture the beauty of the locations, he also in maintain some intimacy in the latter along with the close-ups in the way characters interact with one another. Allen also would create different shifts in tones where it starts off a little lighthearted despite Lucas’ dark mood and then have the second act be even more upbeat despite the act that Lucas would do that eventually gave him meaning. The tone would once again shift in the third act where it does become more of a drama but a drama that says a lot about morality and the ways of the world. Especially where Pollard who begins to question herself as she is confused on the ways of the world and where true happiness comes from. Allen reveals that there is a lot of flaws in that argument but also says a lot into the ways of the world and how people live no matter how complicated things can be. Overall, Allen creates an engaging yet whimsical film about existentialism and morality.
Cinematographer Darius Khondji does excellent work with the film‘s cinematography from the look of the exteriors to the way some of the interiors are lit in day and night to play into its low-key yet colorful look. Editor Alisa Lepselter does nice work with the editing as it is mostly straightforward with few bits of style as it plays into the drama and some of the mystery aspects in the film. Production designer Santo Loquasto, with set decorator Jennifer Engel and art director Carl Sprague, does fantastic work with the look of the homes that the characters live in as well as the campus and the hall of mirrors where Lucas and Pollard go to.
Costume designer Suzy Benzinger does terrific work with the costumes as it is mostly casual in the way the characters look as it includes some of the stylish clothes that Pollard and Richards wear. Sound editor Robert Hein does superb work with the sound as it is mostly natural to play into the places that all of the characters go to. The film’s music soundtrack largely consists of playful jazz pieces along with a few classical cuts and a couple of contemporary pop pieces at a party that Lucas goes to.
The casting by Patricia Kerrigan DiCerto and Juliet Taylor is great as it include some notably small roles from Susan Poufar as a woman fighting for custody of her children that Lucas and Pollard would eavesdrop on, Sophie Von Haselberg as one of Pollard’s classmate in April, Ethan Phillips and Betsey Aidem as Jill’s parents, Kate McGonigle as another of Pollard’s friends in Ellie, and Tom Kemp as a custody case judge that Lucas would target. Jamie Blackley is superb as Pollard’s boyfriend Roy who doesn’t like hearing about Lucas as he feels neglected as well unappreciated for what he is trying to do for Pollard.
Parker Posey is fantastic as Rita Richards as a professor who is dealing with her own issues in her marriage as she would have an affair with Lucas only to feel slighted when he begins his relationship with Pollard. Emma Stone is brilliant as Jill Pollard as a philosophy student who would challenge Lucas about his views on the world while they would find similar ground and passions until she realizes the action he has done where she is confused as well as questioning about her own morality. Finally, there’s Joaquin Phoenix in an incredible performance as Abe Lucas as a philosophy professor who is filled with despair and indifference as he tries to find meaning in his life where he tries to find fulfillment until a moment where he listens to a conversation about a woman where he feels the need to act as it would give him a new lease on life.
Irrational Man is a marvelous film from Woody Allen that features top-notch performances from Joaquin Phoenix, Emma Stone, and Parker Posey. While it is a film that bears a lot of familiar territory that Allen has explored in other films, it does manage to say a lot about the way people are in the world as well as how they respond to certain things and their actions. In the end, Irrational Man is a remarkable 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 - Magic in the Moonlight - (Café Society)
The Auteurs #24: Woody Allen Pt. 1 - Pt. 2 - Pt. 3 - Pt. 4
© thevoid99 2016
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
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