Cruella

 

Based on the character from the novel One Hundred and One Dalmatians by Dodie Smith, Cruella is an origin story of a young woman whose aspirations to be a fashion designer has her going against a cruel fashion queen set in the backdrop of late 1970s Britain during the age of punk. Directed by Craig Gillespie and screenplay by Dana Fox and Tony McNamara from a story by Aline Brosh McKenna, Kelly Marcel, and Steve Zissis, the film is an offbeat take on the story of Cruella de Vil as a young woman who is trying to make her mark in the world of fashion as she is portrayed by Emma Stone. Also starring Emma Thompson, Paul Walter Hauser, Emily Beecham, Joel Fry, Kirby Howell-Baptiste, John McCrea, and Mark Strong. Cruella is an exhilarating and thrilling film from Craig Gillespie.

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

2021 Cannes Marathon: The Meyerowitz Stories (New and Selected)

 

(Winner of the Palm Dog Award to Einstein at the 2017 Cannes Film Festival)

Written and directed by Noah Baumbach, The Meyerowitz Stories (New and Selected) is the story of a group of adult siblings who cope with their failings as they continue to live in the shadow of their famous father. The film is an exploration into family dysfunction as siblings all reunite to celebrate their father despite their own issues as they deal with the many faults of their father. Starring Dustin Hoffman, Adam Sandler, Ben Stiller, Elizabeth Marvel, Grace Van Patten, Adam Driver, Candice Bergen, Judd Hirsch, Rebecca Miller, and Emma Thompson. The Meyerowitz Stories (New and Selected) is a witty yet riveting film from Noah Baumbach.

The film follows the lives of a family whose patriarch is a famous sculptor in the twilight years of his life while his fame and modest success has managed to overshadow his three children who all cope with their own disappointment towards themselves and not living up to his fame. It’s a film that takes a simple premise of family dysfunction as three adult siblings cope with their own lives as they all have to tend to their father who is starting to go through health issues but also unruly behavior in the way he reacts toward certain things. Noah Baumbach’s screenplay has a structure that does focus on these three siblings but also one of the sibling’s kids who has just entered college as it showcase not just trying to cope with the family patriarch but also themselves. The eldest in Danny (Adam Sandler) had just split up from his wife as he’s in New York City taking his 18-year old daughter Eliza to Bard where she is planning to study film while Danny is moving in with his father in Harold Meyerowitz (Dustin Hoffman) and hippy stepmother Maureen (Emma Thompson).

Also at the home is his younger sister Jean (Elizabeth Marvel) who is spending time to help out her father following an injury he suffered involving the dog while Maureen often goes away for seminars only to come back drunk. Danny and Jean are upset to learn that Maureen is planning to sell the family home as well as some of Harold’s art work with their younger half-brother Matthew (Ben Stiller) handling all of the finances. The unemployed Danny and Jean agree to create a retrospective at the Bard for Harold following an event for Harold’s old friend L.J. Shapiro (Judd Hirsch) where Danny reunited with his childhood friend in Shapiro’s daughter Loretta (Rebecca Miller). Yet, that event would prompt some issues from Harold who is jealous towards Shaprio’s success claiming that Shapiro is mediocre compared to himself. The section on Matthew who visits New York City from Los Angeles where he is starting his own accounting business deals with the fact that his own success doesn’t really impress his father as it also causes resentment from his half-siblings whom he is convinced are damaged because of their father. When Harold becomes ill due to the injuries he had sustained some time earlier, the siblings and Eliza deal with the possibility of his impending death as the script also showcase dialogue where Baumbach often have characters talking over one another as it play into the dysfunction of themselves and relationship with one another.

Baumbach’s direction does have some style yet much of his compositions are straightforward as much of the film is shot on location in New York City as well as areas upstate with Sarah Lawrence College playing the role of Bard. Baumbach does use wide shots that do play into some of the locations but much of his compositions emphasize on close-ups and medium shots to play into the interaction between the characters in the film. Notably as there are these elements that feel loose such as the first scene of Danny trying to find an open parking spot as he and Eliza are about to meet Harold as Baumbach also play into some of the awkwardness that is happening that includes some of the strange cuisine that Maureen has created. Baumbach’s approach to humor doesn’t play into these sexually-provocative student films that Eliza has created for her film class but also in the way the siblings react to a situation involving their father such as a scene of Matthew trying to go after a man who had mistakenly taken Harold’s coat.

Baumbach also plays into these moments of tension as it relates to Matthew’s absentee presence as it showcases a man who is still dealing with the fact that he has issues with his dad while his mother Julia (Candice Bergen) who was Harold’s third wife feels guilty over the way she treated Danny and Jean. The scenes in the second half as it relates to Harold being hospitalized and the idea of him dying does come into play where Jean does reveal a harrowing story of what happened to her as a teenager in relation to a friend of Harold a long time ago. It is followed by a moment of comical bonding for Danny and Matthew yet it would be followed by the two going to their father’s retrospective with Jean and Eliza as it showcases the pain that their father caused towards them. The film’s chapters emphasize on Danny, Matthew, Harold’s health, Jean’s story, and a final chapter on Harold’s fate but also the future that is Eliza. Yet, its ending is about these three siblings as they try to cope with their father’s shadow and how they would break out of it. Overall, Baumbach crafts a funny yet somber film about a family coping with the disappointments of their lives and the emotional chaos laid upon them from their father.

Cinematographer Robbie Ryan does brilliant work with the film’s cinematography to capture the autumn-like season of New York City and areas upstate including Massachusetts for the scenes at the hospital while maintaining some low-key lights for some of the interior scenes at night. Editor Jennifer Lame does excellent work with the editing as its usage of jump-cuts help play into some of the film’s emotionally-intense scenes along with some stylish cuts for Eliza’s student films. Production designer Gerald Sullivan, with set decorator Kris Moran and art director Nicolas Locke, does fantastic work with the look of the home that Harold and Maureen have in the city as well as Maureen’s country home upstate as it is filled with all sorts of things including the former’s art work. Costume designer Joseph G. Aulisi does amazing work with the costumes from some of the clothes that Eliza wears to the strange and hippie clothing of Maureen.

Special effects supervisor Jeff Brink and visual effects supervisor Andrew Lim do terrific work on some of the film’s minimal effects that mainly is featured in some of Eliza’s student films. Sound editor Paul Hsu does superb work with the sound in some of the sound effects that are created for Eliza’s student films but also in being straightforward of the way a gathering sounds like or how things sound in a location such as Matthew talking to his son on the phone while at a gas station. The film’s music by Randy Newman is wonderful with its low-key yet piano-based score that plays into some of the film’s melancholia with some string-based pieces in some of the dramatic moments while Britta Phillips and Dean Wareham provide some offbeat music pieces for Eliza’s student films. Music supervisor George Drakoulias creates a fun soundtrack that features music from Lisa Lisa & Cult Jam with Full Force, Cameo, Prefab Sprouts, and a few classical pieces and some original songs written by Adam Sandler and Noah Baumbach.

The casting by Douglas Aibel and Francine Maisler is incredible as it feature some notable small roles and appearances from Sigourney Weaver as herself at Shapiro’s retrospective, Josh Hamilton as a friend of Loretta at the Shapiro retrospective, Danny Flaherty as Eliza’s boyfriend Marcus, Sakina Jeffrey as Dr. Malina Soni who watches over Harold, Gayle Rankin as the nurse Pam that also watches over Harold, Jerry Matz as an old friend of Harold in Paul whom Jean dislikes, Mickey Sumner as an attendee of Harold’s retrospective at Bard that Matthew becomes attracted to, Matthew Shear as Matthew’s colleague Gabe who tries to help out in handling Harold’s financial situations, and Adam Driver in a terrific one-scene performance as a client of Matthew’s in Randy who trying to get his dream apartment made despite the lack of finances he has. Candice Bergen is fantastic in her one-scene appearance as Matthew’s mother and Harold’s third wife Julia who hadn’t seen Harold in years while laments over the way she treated Danny and Jean feeling she only made things worse for them.

Judd Hirsch is excellent as L.J. Shapiro who is an old friend of Harold who is the embodiment of what Harold could’ve been if he wasn’t much of a prick yet Hirsch is someone who often praises Harold and his work feeling that Harold should’ve gotten more recognition. Rebecca Miller is brilliant as Shapiro’s daughter Loretta who is also an old childhood friend of Danny as the two reminisce about their childhood and being the children of artists as it prompts Danny into wanting to renew a relationship with her. Emma Thompson is amazing as Harold’s fourth wife Maureen as an alcoholic artist who often wears hippie-like clothing and cooks strange feasts as she is someone who believes she has a lot in handling Harold’s financial and health situations despite the fact that she’s kind of a flake though she does mean well.

Grace Van Patten is incredible as Eliza Meyerowitz as Danny’s daughter who is about to go to Bard to study film as she creates these sexually-provocative student films while lamenting over the idea of she can make it as an artist like her grandfather. Elizabeth Marvel is remarkable as Jean Meyerowitz as a woman who works for Xerox as she never showed any ambition while spending much of her time taking care of her father while eventually sharing a secret when she was a teenager that would shock her brothers and becoming a muse for Eliza. Dustin Hoffman is marvelous as Harold Meyerowitz as moderately-successful artist who laments over his lack of major success but also has this attitude where he thinks he’s better than many yet he is a fucking prick when it comes to his kids where he does make them feel terrible as it is one of Hoffman’s great performances.

Ben Stiller is great as Matthew Meyerowitz as the youngest of Harold’s three kids and half-sibling to Jean and Danny as someone who has found success through business and accounting while dealing with the fact that his success doesn’t mean much to his father and often brings a lot of insecurities towards his siblings whom he felt never had the chance to connect with. Finally, there’s Adam Sandler in a phenomenal performance as Danny Meyerowitz as the eldest of the three siblings as an unemployed man that was once a gifted musician but quit due to his insecurities as he copes with an unresolved limp and trying to take of his father as well as the lack of connection he has with his siblings as it is a somber yet charming performance from Sandler.

The Meyerowitz Stories (New and Selected) is a sensational film from Noah Baumbach. Featuring a great ensemble cast with standout performances from Adam Sandler, Ben Stiller, Dustin Hoffman, Elizabeth Marvel, Grace Van Patten, and Emma Thompson, insightful and witty observation on family dysfunction and art, gorgeous visuals, and a terrific music score from Randy Newman. It is a rich and compelling film that explores family dysfunction as well as the idea of a family who are dealing with man’s legacy who is filled with complications and their own shortcomings but also themselves as they try to find ways to be together. In the end, The Meyerowitz Stories (New and Selected) is a spectacular film from Noah Baumbach.

Noah Baumbach Films: Kicking and Screaming (1995 film) - Highball - Mr. Jealousy - The Squid & the Whale - Margot at the Wedding - Greenberg - Frances Ha - While We're Young - Mistress America - De Palma - Marriage Story - (White Noise (2022 film)) - The Auteurs #41: Noah Baumbach

© thevoid99 2021

Stranger Than Fiction

Directed by Marc Forster and written by Zach Helm, Stranger Than Fiction is the story of an IRS auditor who learns that he’s a character in a book that’s being written as he also learns that he is about to die. The film is an exploration into a man learning about his death as he tries to make some changes where he falls for an anarchist baker while the writer tries to figure out how to end her book. Starring Will Ferrell, Emma Thompson, Maggie Gyllenhaal, Queen Latifah, Tony Hale, Linda Hunt, and Dustin Hoffman. Stranger Than Fiction is a quirky yet charming film from Marc Forster.

The world of reality and fiction is very unique as the film is an exploration of a man who hears a mysterious voice where he learns that he is a character for a book being written as the writer reveals that he will die. While dealing with this crisis about his death, Harold Crick (Will Ferrell) tries to come to terms with his work as an IRS auditor as he falls for an anarchist baker in Ana Pascal (Maggie Gyllenhaal). Especially as he decides to live his life without thinking about numbers while coming to a literary professor about his experiences. Meanwhile, the book’s writer in Karen Eiffel (Emma Thompson) is dealing with trying to find a way to kill Harold Crick for her book where Crick eventually finds out the identity of the narrator he’s been hearing. It all plays into a writer dealing with her own artistic morality and a man dealing with who he is as they both endure their own existential crises.

Zach Helm’s screenplay starts off playing into what Harold Crick does as he lives his life based on numbers as it is part of a routine that he does. Much of it is told through Eiffel’s narration where all of a sudden, Crick starts to hear her voice as it would affect his work where he would meet his greatest challenge in Ana who despises everything that Harold does as she refuses to pay taxes that she owes. Harold’s encounter with Ana and some of things that’s happening to him in his life would force him to make some changes as he seeks the advice of literary professor Jules Hibbert (Dustin Hoffman) who is asked to find any idea on who the author is which adds to this blur of reality and fiction.

Especially as some of the fiction is played in Eiffel’s head as she struggles with writer’s block while she is being watched by an assistant in Penny Escher (Queen Latifah) who is making sure that Eiffel finishes her book. Yet, reality and fiction would eventually collide when Eiffel learns that the character she is creating is indeed real where it would play not just into her conflict about her ending but also a conflict in Harold over what he would do. Even as Hibbert would play a role into Harold’s fate based on his literary expertise as it plays into the conflict of what is right for the sake of art.

Marc Forster’s direction is very simple in terms of his compositions yet manages to infuse a lot of light-humor and drama to play into the quirkiness of the film. Much of it is shot on location in Chicago which plays into this world that is quite modern but also quaint as it serves as this unique reality in Harold’s life where he has his routines only for things to fall apart in the course of the film. Some of the direction include some unique wide shots, medium shots, and close-ups along with some very engaging approach to the framing in the way Crick is portrayed early on as he is shown in very tight framing devices. Things definitely change once he starts to loosen up and the film begins to feel much looser while the scenes involving Eiffel are a mixture of differing styles where she’s dreaming in some scenes while her struggles are shown in very direct medium shots and close-ups. Even as Forster maintains that idea of comedy vs. tragedy that adds to the film’s conflict where it would play into the climax over what might be Harold’s death. Overall, Forster crafts a very exhilarating and witty portrait of a man who learns about his death as he starts to live and defy the expectations of his possible fate.

Cinematographer Roberto Schaefer does excellent work with the film’s cinematography where he infuses a few shadings and such for some of the film’s interior settings along with low-key lights for some scenes set at night while keeping the daytime scenes very simple. Editor Chesse does nice work with the editing with its rhythmic cuts to play into some of the film’s action and humor while infusing a few montages in the film. Production designer Kevin Thompson, with set decorator Ford Wheeler and art director Craig Johnson, does fantastic work with the very lifeless look of Harold‘s apartment and the IRS office to the more colorful and lively look of Ana‘s bakery and home.

Costume designer Frank L. Fleming does terrific work with the costumes as it’s mostly casual while the clothes that Ana wears play to her anarchist ideals. Visual effects supervisor Kevin Tod Haug does amazing work with the visual effects that often pop-up to play into Harold’s obsession with numbers. Sound editor Geoffrey G. Rubay is superb for the way it plays into some of the film’s locations as well as Harold’s reactions to what he’s hearing. The film’s brilliant music soundtrack is supervised by Brian Reitzell and Britt Daniels as they provide their own score that mixes a few orchestral pieces with some post-punk based cuts while the soundtrack includes pieces by the Clash, the Jam, Spoon, Wreckless Eric, Delta 5, and M83.

The film’s casting by Kathy Driscoll and Francine Maisler is great as it features some notable small performances from Linda Hunt and Tom Hulce as two shrinks that Harold meets upon his breakdown plus a terrific performance from Tony Hale as Crick’s co-worker and friend Dave who tries to find a fun life outside of work. Queen Latifah is excellent as Penny who watches over Eiffel to see if she’ll finish the book while being baffled by Eiffel’s quirky behavior. Dustin Hoffman is amazing as Professor Jules Hibbert as this very smart man who knows about the ideas of literature as he tries to help Harold over his situation while being someone who will play into Harold’s fate. Emma Thompson is brilliant as Karen Eiffel as a revered novelist who is struggling to finish her book and kill Harold Crick as Thompson brings a lot of humor to her character as well as an internal conflict over artistic morality.

Maggie Gyllenhaal is fantastic as Ana Pascal as this fiery baker who refuses to pay her taxes due to her anarchist beliefs as she tries to torture Harold only to realize that he’s not a bad guy as it’s a performance full of humor and warmth. Finally, there’s Will Ferrell in a remarkable performance as Harold Crick where it’s Ferrell in a very restrained performance where he endures all sorts of humiliating moments while trying display someone who had been obsessed with his routines only to be alive as it’s a performance with a lot of heart that showcases Will Ferrell doing more than what is expected from him in the comedies he’s usually in.

Stranger Than Fiction is a phenomenal film from Marc Forster that features a winning lead performance from Will Ferrell. Along with great supporting work from Maggie Gyllenhaal, Emma Thompson, Queen Latifah, and Dustin Hoffman. It’s a film that plays into the world of reality and fiction plus a man trying to find a new lease on life. In the end, Stranger Than Fiction is a witty yet sensational film from Marc Forster.

Marc Forster Films: (Everything Put Together) - (Monster’s Ball) - Finding Neverland - (Stay (2005 film)) - (The Kite Runner) - Quantum of Solace - (Machine Gun Preacher) - (World War Z)

© thevoid99 2014

The Remains of the Day

Based on the novel by Kazuo Ishiguro, The Remains of the Day is the story of a butler whose devotion to his master has him cut off from reality as the estate’s new housekeeper tries to find the humanity within him. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is an exploration into the life of a man who maintains his servitude while not giving in towards his own emotions that would later come back to haunt him. Starring Anthony Hopkins, Emma Thompson, James Fox, Christopher Reeve, Hugh Grant, Lena Headey, and Ben Chaplin. The Remains of the Day is a somber yet exquisite film from James Ivory and the Merchant-Ivory team.

The film takes place in two different time periods where a butler reflects on his life of service to a lord as he’s about to meet the housekeeper he worked with back in the 1930s. During his trip to meet Miss Sarah “Sally” Kenton (Emma Thompson), Mr. James Stevens (Anthony Hopkins) reflects on the years he served Lord Darlington (James Fox) and how he had been very compulsive in his duties to his lord while not pretending to listen to any conversations or state his own opinions. It’s a role that he’s accepted as Miss Kenton begrudgingly accepts his cold demeanor except in moments where she feels that something had to be said. It’s a film that explores a man’s devotion to his life in service where the only moments he has time to himself is in reading books as a way to connect with the world.

Ruth Prawer Jhabvala’s screenplay, with additional contributions from Harold Pinter, has a unique narrative structure where it moves back-and-forth from Mr. Stevens’ traveling to see Miss Kenton in the 1950s and their time together serving for Lord Darlington in the 1930s. It’s a narrative that Mr. Stevens reflecting on that time where he was at his most useful where he would supervise everything that goes on in the estate while ensuring that everything is in tip-top shape. It is there that Miss Kenton arrives as the new head housekeeper as she is aware of how to act and perform duties. Even as the younger maids and butlers know that rule as well though some of them would have romantic trysts during breaks with the exception of Miss Kenton and Mr. James as the former often observes while the latter just oversees what goes on in the house.

The film also features a subplot where Lord Darlington would hold a meeting to appease Nazi Germany to the world over the unfair treatment they got in the Treaty of Versailles in the aftermath of World War I. Though it has nothing to do with the main narrative, it would play into Mr. James’ sense of disconnect with the real world and his lack of opinion about the state of the world where he’s later confronted by Darlington’s godson Reginald Cardinal (Hugh Grant) in the film’s third act over Darlington’s meetings with Germany as it’s a crime of treason. Most notably as Darlington would later regrettably dismiss a couple of young maids because of their Jewish backgrounds which was a decision that Miss Kenton wasn’t fond of. It would play to the sense of restraint in the role of Mr. Stevens who could’ve done something but sit back and let it happen where he would reflect on that moment with regret as well.

James Ivory’s direction is truly intoxicating in the way he explores the world of servitude in a posh, English estate where a lord lives there and he’s got a large staff of people tending to the house. While Ivory would create scenes where it would play into whatever meetings Lord Darlington is holding, Ivory always make sure that Mr. Stevens and his fellow staff are in the background maintaining their role of servitude. Even where they would find themselves listening to some secret conversations and such but maintain their place as if they never heard anything. Still, Ivory makes sure that it’s a film about the servants where Mr. Stevens is the leader as he’s often seen in a medium shot or in a close-up where he has very little idea about the world outside.

Since much of the film takes place in a lot of estates in England, they do serve as a character in the film where it’s a place where the servants know where to go and what to do when the bell rings. The use of slow zoom lenses for close-up and some of the tracking shots showcase Ivory playing into that world where these servants run the house like clockwork and make sure things are intact. Even as the scenes in the 1950 where it begins with Mr. Stevens working with his new boss in the retired American politician Trent Lewis (Christopher Reeve) who knew Mr. Stevens as he was a visitor during a key meeting in the film. The house is still a character but a shell of its former self as it reflect the sense of loss and disconnection of Mr. Stevens with the rest of the world and in his relationship with Miss Kenton. Overall, Ivory creates a very rich yet heartbreaking film about a man’s devotion to service as he becomes unable to express himself to the people who are closest to him.

Cinematographer Tony Pierce-Roberts does fantastic work with the film‘s photography from the way many of the house interiors in day and night are lit to play into its natural atmosphere as well as some of the exteriors to show the richness of the countryside. Editor Andrew Marcus does brilliant work with the film‘s editing as it‘s filled with stylish dissolves and slow-motion cuts as well as some jump-cuts to play with its drama. Production designer Luciana Arrighi, with set decorator Ian Whittaker and art director John Ralph, does amazing work with the look of the house from its library to the dining halls and silver room to play into the sense of richness that Mr. Stevens takes great care into.

Costume designers Jenny Beaven and John Bright do excellent work with the costumes from the suits that Mr. Stevens and the other butlers wear to the uniforms of Miss Kenton and the other maids wear. Sound editor Colin Miller does nice work with the sound from the way things sound during the cleaning process to some of the way conversations are heard from the outside. The film’s music by Richard Robbins is just marvelous for its very low-key yet elegant orchestral score that plays to some of the film’s drama as well as some of the emotional moments in the film.

The casting by Celestia Fox is incredible for the ensemble that is created as it features some superb small performances from Michael Lonsdale as a French aristocrat Lord Darlington invites, Emma Lewis and Johanna Joseph as the two German-Jewish maids that Miss Kenton hires, and Tim Pigott-Smith as a former servant named Benn that Miss Kenton meets in her days off. Other notable small roles include Ben Chaplin in a terrific performance as the under-butler Charlie, Lena Headey in a wonderful performance as the young maid Lizzie, and Peter Vaughn in a fantastic performance as Mr. Stevens’ father who would work with his son early on only to be stricken by age. Hugh Grant is excellent as Lord Darlington’s godson Reginald Cardinal as he brings some subtle humor to the film while commenting to Mr. Stevens about the trouble Lord Darlington is getting himself into.

James Fox is amazing as Lord Darlington as a man who tries to create peace between Germany and the rest of the world while later finding himself in ruins over what he’s done while he often asks Mr. Stevens on any opinions on his role. Christopher Reeve is great as Trent Lewis as a former American congressman who arrives at a 1930s dinner displaying his opinion about the meeting while later becoming Mr. Stevens’ new boss in the 1950s as it’s a truly fine performance from the late actor.

Finally, there’s Anthony Hopkins and Emma Thompson in magnificent performances as Mr. James Stevens and Miss Sarah Kenton, respectively. Thompson has the more showier role yet it is told with such passion as a woman who tries to get Mr. Stevens to express himself while dealing with her feelings for him. Hopkins’ performance is entrancing for the sense of restraint and lack of emotion he displays as a man just trying to do his duty no matter what kind of situation is happening. Hopkins and Thompson have a chemistry that is just undeniable to watch as they showcase the sense of heartbreak and desire to be with each other but also the internal conflicts in the two as it’s truly some of their best work.

The Remains of the Day is a tremendous film from the Merchant-Ivory team that features outstanding performances from Anthony Hopkins and Emma Thompson. Not only is this one of the best films from Merchant-Ivory but also in the way the explore a man’s blind devotion to his duties and the sense of disconnect he would have with the world and the people around him. In the end, The Remains of the Day is a remarkable film from James Ivory.

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

© thevoid99 2014

Howards End

Based on the novel by E.M. Forster, Howards End is a multi-layered story revolving around different social classes in early 20th Century Edwardian-Britain where a poor woman’s friendship with an industrialist’s wife leads to all sorts of trouble for her family as well as the people they’re connected to. Directed by James Ivory and screenplay by Ruth Prawer Jhabvala, the film is an exploration into the world where a man tries to save the one thing of his wife unaware that she gave it to someone else. Starring Emma Thompson, Anthony Hopkins, Helena Bonham Carter, Vanessa Regrave, Samuel West, and James Wilby. Howards End is a remarkable film from James Ivory and the Merchant-Ivory team.

Set in early 20th Century Britain during the Edwardian era, it’s a film where a middle-class woman who unknowingly inherited a country house by an industrialist’s wife whom she had become friends with in the final days of that woman’s life. When her husband reads the handwritten will that his late wife wrote, he schemes to get the house back where he meets the woman only to fall for her. Yet, things become complicated when that woman’s sister tries to help a poor man and his wife whose fortunes have gone bad where it would create dissension between the two sisters. It’s a film that isn’t just about connections between three different families from three different social classes but also in the way they would affect one another and their fortunes in a world where there’s a lot of expectation in Edwardian society.

Ruth Prawer Jhabvala’s screenplay takes it time to flesh out the story where she reveals the lives of these three different families. The very rich Wilcoxes led by Henry (Anthony Hopkins) and Ruth (Vanessa Redgrave) with their elder children Charles (James Wilby) and Evie (Jemma Redgrave). The middle-class siblings Margaret (Emma Thompson), Helen (Helena Bonham Carter), and Tibby Schlegel (Adrian Ross Magenty). The last couple is the working-class couple Leonard Bast (Samuel West) and his wife Jacky (Nicola Duffett). All of which are trying to play roles in societies yet they all face struggles with trying to advance themselves with the exception of the Wilcoxes. When Margaret meets the ailing Ruth, the two strike a friendship where Margaret reveals to Ruth about the lease of her home expiring as Ruth wants to help Margaret out where she would hand-write a will leaving Margaret the home that she loved that is called Howards End.

This would later set-up a series of trouble where Henry and his children are dismayed over what Ruth had written as it would play into this second act where Margaret and Helen would diverge due to the involvement of different men. Margaret formally meets Henry where the two fall in love though the latter did decide to help Margaret find a home nearby only for his plans to lose way. Helen meanwhile meets and falls for the working-class clerk Leonard Bast who has been trying to find a job as he accepts the help of Helen and Margaret only for Henry’s presence to cause trouble as it would play to the growing tension between the sisters. It would all play to a troubling third act where there’s more to the connection between Henry and the Basts as well as Margaret being torn in her devotion to Henry and her siblings. It’s not just the way Jhabvala plots everything but also her approach to the language and dialogue that adds more spice and suspense to the story.

James Ivory’s direction is truly ravishing in the way he presents the period of Edwardian Britain at a time where the rich try to maintain their status while looking down at those beneath them. Though the Wilcoxes aren’t entirely bad people, they do have this sense of entitlement that makes them somewhat disconnected from reality. Ivory has unique framing devices in the way he presents them as well as scenes where Charles would eavesdrop into whatever conversations his father would have with Margaret where it’s clear he is going to cause trouble for many. Even as Charles’ somewhat-dim wife Dolly (Susie Lindeman) would also eavesdrop as she knows something isn’t right. It would play to some moments of suspense that occurs in the film while much of the direction in terms of its humor and drama is quite understated.

The approach to putting characters in the frame wouldn’t just play to the dramatic tension that occurs between some of the characters but also to display a sense of a social order that would make Leonard Bast feel uneasy about. Many of the scenes involving Bast has him in places where he either doesn’t fit in or is surrounded by a place of despair in comparison to the world that the Wilcoxes and Schlegel siblings live in. Still, Ivory creates scenes of a dream-world that Bast wants to live in as if he wants to be in a world where he can happy where Helen would be that person who would help him. Even as the house that is Howards End is a major character in the film as a place of comfort that is a major escape from the real world as Margaret would learn why Ruth cherishes it. Especially as Henry and his family would try to hold on to it for very selfish reasons as it would lead to a dramatic climax that would involve tragedy. Overall, Ivory creates a very captivating yet touching film about pride and connections in the Edwardian period of Britain.

Cinematographer Tony Pierce-Roberts does amazing work with the film‘s lush and gorgeous cinematography from the way some of the film‘s interiors are lit in some of the scenes as well as the exteriors to play into the different moods of the film. Editor Andrew Marcus does fantastic work with the editing with its use of dissolves, abrupt fade-outs, and other stylized cuts to play into some of the drama and suspenseful moments of the film. Production designer Luciana Arrighi, with set decorator Ian Whittaker and art director John Ralph, does brilliant work with the set pieces from the look of the apartment the Schlegel siblings live in to the quaint yet lavish home that is Howards End.

Costume designers Jenny Beaven and John Bright do splendid work with the costumes from the suits that Henry wears to the stylish dresses that the women wear. Hair stylist Carol Hemming does excellent work with the look of the different hairstyles the women had in that period. Sound editor Campbell Askew does nice work with the sound to play into the different atmosphere of the locations including the scenes set in the British countryside. The film’s music by Richard Robbins is truly delightful for its somber yet enchanting orchestral score that includes some piano pieces as well as some music from Percy Grainger to open and close the film as well as a piano piece by Beethoven.

The casting by Celestia Fox is just simple marvelous for the ensemble that is created as it features some notable small roles from Simon Callow as a music lecturer, Jo Kendall as the Schlegel’s maid Annie, Joseph Bennett as Charles’ brother Paul whom Helen was briefly engaged to, Prunella Scales as Schlegel’s Aunt Juley, and Susie Lindeman as Charles’ naïve wife Dolly. Other noteworthy performances include Adrian Ross Magenty as Margaret and Helen’s younger brother Tibby who finds himself having to defend his sisters’ generosity, Jemma Redgrave as the very snobbish and cruel Evie Wilcox, and James Wilby as the eldest Wilcox child Charles whose nosiness and pride would cause trouble for the whole family. Nicola Duffett is wonderful as Leonard’s wife Jacky as this troubled woman trying to do whatever to help them while being suspicious over Leonard’s time with the Schlegels. Vanessa Redgrave is radiant as Ruth Wilcox as an ailing woman who is full of life as she finds a true friend in Margaret and does something that she feels is a good thing.

Samuel West is superb as Leonard Bast as a man trying to find work amidst the adversity he faces where he finds himself becoming close with Helen. Helena Bonham Carter is amazing as Helen Schlegel as a woman that simply wants to help Leonard while becoming suspicious over Henry’s intentions for Margaret as it’s a role that has a lot of bite and wit. Anthony Hopkins is great as Henry Wilcox as a man who prides himself as someone with power as he tries to hold on to his wife’s house only to be impressed by Margaret where he becomes unsure if he’s doing the right thing. Finally, there’s Emma Thompson in a radiant performance as Margaret Schlegel as a woman who deals with her own financial issues while trying to help Leonard and befriend the Wilcoxes where she becomes torn in her devotion to Henry and her family as it’s a powerful performance from Thompson.

Howards End is an exquisite and enchanting film from the Merchant-Ivory team. Thanks to a splendid cast led by Emma Thompson, Anthony Hopkins, Helena Bonham Carter, and Vanessa Redgrave along with fantastic technical work, Richard Robbins’ mesmerizing music, and Ruth Prawer Jhabvala’s potent screenplay. It’s a film that isn’t just an exploration into human connections and the sins that forces people to do horrific things but it’s a film that plays into the understanding of humanity and how they can be similar. In the end, Howards End is a spectacular film from James Ivory.

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

© thevoid99 2014

An Education

Originally Written and Posted at Epinions.com on 12/5/09 w/ Additional Edits.

Based on a memoir by Lynn Barber, An Education tells the story of a 16-year old schoolgirl living in a quaint yet disciplined suburban home. The girl's life changes when she meets an older man who would take her away from her restrictive life of school and ambition for a world that is broader only to later be hit with a dose of reality. Directed by Lone Scherfig and screenplay by Nick Hornby, the film is a tale of a girl coming of age in the 1960s as she is introduced to a new world. Starring Carey Mulligan, Peter Sarsgaard, Alfred Molina, Cara Seymour, Dominic Cooper, Rosamund Pike, Sally Hawkins, Olivia Williams, and Emma Thompson. An Education is a brilliant coming-of-age drama from Lone Scherfig & co.

It's 1961 in Twickenham, England as a 16-year old schoolgirl named Jenny Miller (Carey Mulligan) is working hard to go to Oxford. She has great grades and is one of the top students of her class. Though she lives a quiet life with her parents Jack (Alfred Molina) and Marjorie (Cara Seymour) as Jack hopes she goes to Oxford to have a great education. Jenny isn't so sure if studying and going to Oxford is the way to go. Even as she's pursued by another young student named Graham (Matthew Beard) who Marjorie likes though Jack felt isn't good enough for Jenny. Then on rainy day following a rehearsal for a youth orchestra, Jenny encounters an older man named David (Peter Sarsgaard) who takes Jenny home to school along with her cello.

Jenny befriends the older yet cultured David who shares a love of French music and films along with books and other fine things. David introduces himself to Jenny's parents whom he charms them while he introduces Jenny to his friends Danny (Dominic Cooper) and Helen (Rosamund Pike). Jenny starts to go into clubs and orchestras as she is having fun. Once she learns what David and Danny does to maintain their posh lifestyle, she is reluctant to leave but stays so she can have fun. Though her grades start to drop much to the concern of her teacher Mrs. Stubbs (Olivia Williams) and headmistress Ms. Walters (Emma Thompson). Jenny continues to live a world of fun with David as he takes to her Paris once she turns 17.

Even Jenny's parents seem to enjoy David's company as Jenny's own academic future becomes troubles as Stubbs and Walters know she has much more to offer. Even Danny becomes worried as David makes a move to the surprise of Jenny and her parents. All of this is changed when David's past starts to catch up with him leaving Jenny pondering about all she had been through.

The film is a coming of age tale based on real life events in the life of its author Lynn Barber. With Nick Hornby, a renowned author in his own right with such works as Fever Pitch, High Fidelity, and About a Boy, taking on the adaptation. It plays up as a coming of age story from the mind of a young girl who is bound for Oxford until she encounters this mysterious yet worldly man. The relationship between Jenny and David seems taboo since she was 16 and he in his early 30s. David's sense of charm and wit manages to win her over as well as her parents despite Jack's supposed anti-Semitic feelings. Even though Hornsby creates a film that centers around this young girl. He creates supporting characters that are just as interesting and all providing some sort of guidance to Jenny whether it's right or wrong.

In David, he's a man interested in Jenny because she's intelligent and isn't like other girls while wanting to show her a world that dreams about going to. Paris is among them while David's friends like to play along though Danny seems to the more cautious while Helen is a bit vapid but fun to be around. The parents are portrayed in a multi-dimensional way as Marjorie is a woman who wants Jenny to do well but also have fun though it's Jack that seems to have more to say. He's a man determined for Jenny to have a great education but after meeting David, he realizes that there might be another alternative for Jenny. Only later to realize she might sacrifice something that she will regret and it will be his fault. Other characters like Mrs. Stubbs and Ms. Walters are authority figures who are more sympathetic though Walters is a bit more hard-nosed as she reveals possible consequences. Mrs. Stubbs meanwhile, is also cautious for Jenny while revealing that life without an education won't really mean anything.

All of these characters Jenny interacts with are crucial to her development in life. She starts out as a young girl wanting a life out of school and studying and end up a young woman trying to figure out what she had just went through. Along the way, she is enamored with all of the excess of a rich lifestyle and begins to question about educated life and at times, becomes ignorant on certain things. It's a character that is truly memorable and certainly wonderfully written in the mind of Nick Hornby.

Director Lone Scherfig does an amazing job in recreating 1960s England in its pre-swinging days where things are a bit reserved, calm, and still coming out of the era of World War II with the Cold War still looming around them. A departure from Scherfig's more looser filmmaking style that came from the world of Dogme 95. There is something enchanting of the way Scherfig shoots and composes a scene while presenting the dramatic moments quite intimately while leaving more space for happier, humorous sequences. Scenes like an entire sequence of Jenny and David in Paris is very dream-like as if it gives the audience a feeling they're seeing Paris for the first time while it has a French New Wave feel. Though Scherfig does still employ a hand-held style in more intense sequences where David and Danny do what they do. It's told through an engaging yet intimate style of filmmaking as it is clearly the best work that Scherfig has done so far in her filmmaking career.

Cinematographer John de Borman does a splendid job in capturing the drab yet low-color look of 1960s English suburbia for the film's early sequences with more lighter colors in scenes near London. The work of de Borman works in conveying the mood of the film as it progresses where by the 2nd act, it has a colorful feel only to dim down once the third act begins as the camera work is phenomenal. Editor Barney Pilling does an excellent job with the film's editing with the use of smooth transitions and rhythmic cuts while giving the film a nice, leisurely pace that works overall in its 95-minute feel.

Production designer Andrew McAlpine along with set decorator Anna Lynch-Robinson and art director Ben Smith do a fabulous job in recreating the look of 1960s England. From the look of the cars and shops to the look of the objects at the home of the Millers. Even the recreation of paintings and objects that David has obtained for his rich lifestyle. The costume design by Odile Dicks-Mireaux is truly wonderful in the more conservative, schoolgirl look for Jenny early on to fancy, colorful dresses and hairdos while the clothes that Helen wears are gorgeous to look at. In recreating the look of 1960s dresses and suits, the costume design is definitely a huge technical highlight of the film. Sound editor Glenn Freemantle does an excellent job in the sounds of school halls and ballrooms that Jenny encounters with along with the city of London itself as Freemantle captures the atmosphere of those locations.

The music by Paul Englishby is wonderful in its orchestral feel with flourishing arrangements of strings to convey Jenny's new sense of freedom along with more low-key, dramatic pieces for the heavy drama. The soundtrack features a slew of early, pre-Beatles 1960s pop and classical pieces while the closing song is a track sung by Duffy that she co-wrote with Suede's Bernard Butler.

The casting by Lucy Bevan is wonderful with an amazing ensemble that is truly fun to watch. Small roles such as Matthew Beard as Jenny's friend Graham along with Amanda Fairbank-Hynes and Ellie Kendrick as a couple of Jenny's schoolmates are memorable along with a one-scene performance from Sally Hawkins as a mysterious woman. Rosamund Pike is funny as the vapid, superficial Helen who loves living the high life while wanting to look good throughout. Dominic Cooper is very good as Danny, David's partner-in-crime who is reserved and quiet while being the most cautious as he was wondering when is going to go too far for Jenny. Olivia Williams is superb as Mrs. Stubbs, Jenny's English teacher who sees Jenny going down a troubling path while warning her about what will happen as Williams is wonderfully understated in a very sympathetic authority figure.

In a small but memorable role, Emma Thompson is great as Jenny's headmistress. A stern though sympathetic figure who warns Jenny about the implications of leading a life without an education while reluctantly admitting to the flaws of an educated lifestyle. Cara Seymour is very good as Jenny's mother Marjorie, a woman who is the more sympathetic parent while still a no-nonsense woman who just wants Jenny to succeed but also live a nice life. Alfred Molina is brilliant as Jack, Jenny's strict but caring father who hopes for Jenny to succeed only to be charmed by David into letting Jenny have a carefree life only to realize the consequences and his own faults. Peter Sarsgaard is excellent as David, a charming man who is also mysterious as Sarsgaard plays with him a bit of creepiness but also wit while sporting a fine British accent since he's the only American actor in the film.

Finally, there's Carey Mulligan in a real breakthrough performance as Jenny. Mulligan's performance is definitely the heart and soul of the film as she displays wit, charm, humor, naivete, and vulnerability all in this incredible journey of a young woman coming of age. Early on, she looks like a young 16-year old girl and then ends up a 17-year old woman who had just been through a lot. It's a radiant yet mesmerizing performance for the 24-year old actress and certainly one of the year's best.

An Education is a smart yet brilliant film from Lone Scherfig with a great screenplay by Nick Hornby and a wonderful performance from Carey Mulligan. Featuring a wonderful cast that also includes Peter Sarsgaard, Alfred Molina, Cara Seymour, Emma Thompson, Olivia Williams, Dominic Cooper, and Rosamund Pike. It is definitely of 2009's best films as An Education is a must-see for anyone that wants to see a coming-of-age story that is worth exploring.

Lone Scherfig Films: (Dogme 12-Italian for Beginners) - (Wilbur Wants to Kill Himself) - (Just Like Home) - One Day

(C) thevoid99 2012

Brave (2012 film)/La Luna (short)

Directed by Mark Andrews, Brenda Chapman, and Steve Purcell with a screenplay by Andrews, Chapman, Purcell, and Irene Mecchi from a story by Chapman, Brave is the story of a Scottish princess who rebels against her mother over her duties as she turns to a witch for help only to cause problems. The film marks a departure of sorts from Pixar studios as the story is driven by a female heroine who tries to deal with her role as well as family as explores the complex relationship between mother and daughter. Featuring the voice cast of Kelly MacDonald, Emma Thompson, Billy Connolly, Julie Walters, Kevin McKidd, Craig Ferguson, Robbie Coltrane, and Pixar regular John Ratzenberger. Brave is a heartwarming film from Pixar Animation Studios.

La Luna

Written and directed by Enrico Casarosa, La Luna is a short film about a boy who goes on a journey with his father and grandfather where he discovers what they do. In his discovery, he finds a way to help them in their job as he would live up to the tradition of their work. It’s a true little gem that explores the dynamics between three different generations of men told from a young boy’s perspective. Featuring a wonderfully melodic score by Michael Giacchino, Enrico Casarosa’s La Luna is definitely among one of Pixar’s great shorts.

Brave

It’s 10th Century Scotland as Princess Merida (Kelly MacDonald) is being groomed to be heir to the throne as she is taught endlessly by her mother Queen Elinor (Emma Thompson). Merida however is unhappy with the on-going lessons to be a proper princess as she has already become a skilled archer ever since her father King Fergus (Billy Connolly) has given her a bow at a young age on the same day he lost his left leg to a bear named Mor’du. When Fergus and Elinor receive word that three clan leaders are willing to present their sons to marry Merida, Merida isn’t happy by the news as the clan leaders arrive hoping to discuss something where Elinor and Merida suggest that the three sons should compete in a contest to win Merida’s hand in marriage.

Instead, the contest has Merida taking control of what she wants to leading a huge argument between herself and her mother where Merida tears a part of Elinor’s tapestry family portrait. Running away with her horse Angus, Merida encounters a trail of Will O’ the Wisps where she finds a mysterious home that belongs to a witch (Julie Walters). After discovering what she is, Merida asks the witch to make a spell that will change her mother as the witch does. What happens would have Merida realizing that she is causing a lot of trouble as she returns to the witch’s home with a cryptic message on how to break the spell. Eventually, Merida realizes that the spell had to do with a legend her mother had told her years ago as she would try to find a way to break the spell before her father discovers what happened to his wife.

The film is essentially a story about young princess who defies her mother’s strict rules about how to be a princess by going to a witch to create a spell only to realize how much her mother really cares about her. It’s a film that explores the dynamic between mother and daughters where all a mother wants to do is prepare her daughter for the role she is set to play. Yet, she has to deal with the fact that her daughter isn’t ready to marry someone nor is she willing to do a lot of the things that is set for her as she tries to rebel against her mother. It’s a relationship that drives the film where it is all up to this young woman to discover the true meaning of bravery as she is someone who has to accept her fate as well as respect her mother.

The screenplay does play to a lot of the schematics of fairy tales as the story is quite conventional though the screenwriters do a lot more in fleshing out the characters such as Merida, Elinor, and King Fergus. There’s also an additional subplot of sorts that involves a story that Merida often has to be reminded of as it would reveal a lot of what would happen if the spell that she accidentally called for doesn’t break. It would add to the stakes that is raised up in the film’s second half where Merida has to play both princess and warrior in order to keep her mother’s secret hidden as well as deal with something far more sinister that relates to the legend that she knew as a child.

The direction of Mark Andrews, Brenda Chapman, and Steve Purcell is truly a feast for the eyes for the way they recreated the Scottish landscape with its mountains, hills, and various locations to play true to the world of 10th Century Scottish warriors. With some amazing scenery for those locations, the directors managed to infuse something that does play to the world of fairy tales while balancing the story with warmth and humor. The latter of which shows Pixar willing to be a bit raunchy but in a restrained, childish manner.

Through some amazing compositions and close-up of the characters, the direction of the film does exactly what is needed as well as setting up elements of suspense and humor that culminates into a real showdown between Merida and the curse that had been created. Overall, the team of Andrews, Chapman, and Purcell do a spectacular job in creating what is a truly enjoyable but also engaging for creating a story about mothers and daughters.

The editing by Nicholas C. Smith is excellent for creating elements of suspense as well as playing to the rhythm of the humor and the dramatic scenes of the film. Sound designers Gary Rydstrom and E.J. Holowicki, along with sound editor Gwendolyn Yates Whittle, do great work with the sound from the way arrows are shot to the clanging of swords as well as the growl of the Mor‘du bear in the film‘s opening prologue. The film’s music by Patrick Doyle is brilliant for its mixture of orchestral flourishes and traditional Scottish music that plays to the world of Scotland. Even as the film’s soundtrack includes amazing contributions from Mumford & Sons with Birdy, Julie Fowlis, Emma Thompson, Peigi Barker, and Billy Connolly.

The voice-casting for the film is extraordinary for the people that is assemble as it includes longtime Pixar regular John Ratzenberger and Patrick Doyle as a couple of guards, Sally Klinghorn and Eilidh Fraser as the voice of the family maid Maudie, Callum O’Neill and Steven Cree as a couple of Merida’s suitors, Peigi Barker as the young Merida, and Steve Purcell as the witch’s pet crow. Robbie Coltrane, Craig Ferguson, and Kevin McKidd are very funny in their roles as the clan leaders who offer their sons to marry Merida while McKidd also voices one of the suitors. There’s also some great non-speaking parts such as the horse Angus and Merida’s young triplet brothers in Harris, Hubert, and Hamish where they provide a lot of hilarious moments for the film.

Julie Walters is wonderful as a secretive witch who provides Merida a dangerous spell as it’s a very charming character that is filled with humor and intrigue. Billy Connolly is great as the boisterous King Fergus who tries to understand both his wife and daughter while dealing with the clan leaders as Connolly provides a lot of funny moments for his character. Emma Thompson is brilliant as the stern Queen Elinor who tries to deal with her daughter’s rebelliousness while trying to understand her as it’s truly Thompson in one of her best roles. Finally there’s Kelly MacDonald in a fantastic voice performance as Merida. MacDonald provides all of the right notes to display Merida’s angst as well as her humility to create a truly engaging character that lives up to the many great characters from Pixar.

Brave is an enchanting and dazzling film from the team of Mark Andrews, Brenda Chapman, and Steve Purcell. Thanks to an amazing soundtrack, an outstanding ensemble voice cast, and a heartwarming story, it is a film that definitely carries a lot of what is expected from Pixar in terms of storytelling and great visuals. Although it might live up to some of the great films from the studio, it does at least provide a female heroine who does live up to a lot of the great characters that Pixar has created. In the end, Brave is a touching yet incredible film from Pixar Animation Studios.

Pixar Films: Toy Story - A Bug's Life - Toy Story 2 - (Monsters Inc.) - (Finding Nemo) - The Incredibles - Cars - Ratatouille - WALL-E - Up - Toy Story 3 - Cars 2 - Monsters University - Inside Out - The Good Dinosaur - (Finding Dory) - (Cars 3) - Coco - Incredibles 2 - Toy Story 4 - (Onward) - Soul (2020 film) - (Luca (2021 film)) - Turning Red - (Lightyear) - (Elemental (2023 film)) - Inside Out 2 - (Elio) – (Toy Story 5)

© thevoid99 2012

Sense & Sensibility (1995 film)

Originally Written and Posted at Epinions.com on 4/2/09 w/ Additional Edits & Revisions.

Still popular for many years, the novels of Jane Austen has been ready by countless readers throughout the years. One of Austen's most popular novels is her first published novel called Sense & Sensibility released in 1811. The novel tells the story of two sisters who fall in love and deal with heartbreak while moving to a home as their left destitute when their father gives his estate to their half-brother. The book has been acclaimed by many readers though a film adaptation has been attempted for several years. While a 1981 TV serial was the first attempt some acclaim, it would be another adaptation in 1995 that would help create a new wave of film adaptations of Jane Austen's novels as the famed novelist would gain a new generation of fans through both books and film adaptations.

The 1995 film version of Sense & Sensibility tells the story of three sisters and a mother left destitute due to an inheritance deal as they move to a cottage with their relatives. Two sisters would fall in love and deal with heartbreak as their lives would change. Helming the film adaptation is Taiwan-born director Ang Lee, who had just come off the critical acclaim of his third film Eat Drink Man Woman as he makes his first Hollywood-style production. Writing the adaptation is actress Emma Thompson who takes on the role of Elinor Dashwood. Also starring Kate Winslet, Hugh Grant, Alan Rickman, Greg Wise, Gemma Jones, Imelda Staunton, Robert Hardy, Hugh Laurie, Imogen Stubbs, and Tom Wilkinson. Sense & Sensibility is a charming, dramatic, and wonderfully humorous film from Ang Lee.

After hearing his the last request of his dying father (Tom Wilkinson), John Dashwood (James Fleet) gets his inheritance only if he would take care of his stepmother (Gemma Jones) and his three half-sisters.  Unfortunately, John's wife Fanny (Harriet Waller) has ideas of her own forcing Mrs. Dashwood, Elinor, Marianne (Kate Winslet), and Margaret (Emilie Francois) out of their estate and a small inheritance which isn't enough.  Fanny's brother Edward Ferrars (Hugh Grants) makes a visit as he befriends Elinor and Margaret as he helps them gather their things much to Fanny's chagrin.   Moving to a cottage that is owned by Mrs. Dashwood's cousin Sir John Middleton (Robert Hardy) and his wife (Elizabeth Spriggs), the Dashwood women are invited to tea where Colonel Christopher Brandon (Alan Rickman) makes a visit as he becomes smitten by Marianne during a piano performance.

With Brandon befriending Marianne and Elinor longing for Edward, who remains in London and manages to mail Margaret's atlas book, Marianne walks with Margaret as they meet John Willoughby (Greg Wise) whom Marianne falls for.  Brandon holds a picnic with Mrs. Jenning's daughter Charlotte (Imelda Staunton) and her husband Mr. Palmer (Hugh Laurie) as their cousin Lucy Steele (Imogen Stubbs) attend.  Yet, the picnic is abruptly cancelled when Brandon had to go to London that only furthers Marianne's attraction to Willoughby who also has to go to London to meet with his aunt Lady Allen.  The distraught Marianne gets upset until an invite from the Palmers to go to London with Lucy and Mrs. Jennings has her wanting to see Willoughby while Eilnor reluctantly goes to London to accompany Marianne.  

During their trip to London, Marianne learns some news that devastates her while Col. Brandon reveals to Elinor about Willoughby.  Elinor also meets Edward already knowing about his secret engagement to Lucy, which eventually gets revealed putting Edward in trouble until Col. Brandon makes a deal for Edward that he couldn't refuse.  Returning to Devonshire with the Palmers and Col. Brandon, the Dashwoods stay at the Palmers where Marianne becomes ill prompting Elinor to ponder if she and her sister will ever find happiness.

One of the key traits of Jane Austen's novels is strong female protagonists. In this story, we have two in Elinor and Marianne Dashwood. Two sisters both mourning the death of their father and having to lose their home to their selfish, greedy sister-in-law. When they each encounter suitors who might seem fine for them only to realize something more complicated in their own lives. They face heartbreak and such while it's the bond between Elinor and Marianne that is unique. Emma Thompson, who is a devoted fan of Austen's novels, does a fantastic job with the adaptation in taking on what is needed for the story and such. Though with all adaptation, it's not perfect due to what details that are cut and such. Still, Thompson captures the heart of the story and its characters.

Thompson's screenplay is filled with plot structure and plot points that carry the story as it transitions from this lightly-humored story to something more dramatic. From its opening scene of the dying Mr. Dashwood telling his son to take care of Mrs. Dashwood and his half-sisters. Once the audience is introduced to Fanny, it's clear that the Dashwood women will be in trouble. When audiences get to know Elinor, it's clear she's kind of the head of the family who is organizing things and taking care of everyone. Including her mother, who is grieving, and her youngest sister Margaret who is adventurous and finds comfort in the likes of Edward and Col. Brandon. Marianne is a young woman who is just being helpful until she comes across Willoughby as she becomes lovesick over him. When Willoughby is forced to break off the relationship due to troubling circumstances and is forced to fend off Marianne. She becomes heartbroken and distraught only to go into illness when she walks towards Willoughby's home in the rain.

While Austen has been known for creating stories with strong women, there's always men in her stories that are just as complex. Edward Ferrars arrives as a man who is shy and at times, stutters when he's nervous yet provides a sense of charm and wit that Margaret enjoys and something comforting for Elinor. Yet, when it's revealed that he's engaged to someone else. He has no idea how to say all of this because he deeply cares for Elinor but doesn't want to hurt her or Lucy. Yet, Ferrars is a man that is certainly a joy to watch with flaws and all while revealing that he's just someone into simple things.

The character of Colonel Brandon is seen as a melancholic, morose man who had lost a great love in his life years ago and seems disconnected to some degree. The moment he hears Marianne sing and sees her play, it's as if he is awaken as it's love at first sight for the middle-aged army colonel. Becoming fully attentive to her needs and giving her flowers and such. It all goes well until the appearance of Willoughby where he finds himself competing with the younger, more dashing man. Brandon nearly concedes until learning what Willoughby had done as he focuses his sole attention towards Marianne.

Thompson's screenplay is rich with its development of characters and broad, light humor. Nearly every character gets a chance to shine whether it is through humor or drama. Helming all of this is Taiwanese director Ang Lee in his first English-language film debut. An outsider like Lee in doing a 19th Century period piece might seem like it could go wrong. Instead, Lee's straightforward direction with rich compositions, wide shots, and intimate scenery is mesmerizing in everything he captures. Even in allowing the humor to be well-played with such subtlety and the drama being restrained for the most part except in a few scenes. Lee also creates a great mix of humor and melancholia in a few scenes. Notably a scene in which Margaret, Marianne, and Mrs. Dashwood are all in their rooms crying with Elinor sitting on the stairs listening to them.

The way Lee captures those scenes along with the dramatic moment that includes long, wide shots of these hills and mountains of the English countryside. In other dramatic moments at the cottage that the Dashwood women live in, Lee knows when to pull the camera away for unique compositions and scenery as if he knows not to impose on the characters in these emotional moments. Lee also creates unique shots like a crane shot on a party scene from the inside or a shot from the ceiling to see what is happening. The creative compositions Lee creates along with his staging of the drama is purely rich and intoxicating in every scene he creates. It's a testament to his talent as he's regarded as one of cinema's great directors.

Cinematographer Michael Coulter does fantastic work with the film's cinematography from the gorgeous, exterior rainy day shots of the English countryside to the days of sunshine where it's done with little tricks and such. The interior scenes are truly majestic and dream-like to the period setting at hand. From the sepia-like candlelight shots of the nighttime exteriors to the shading of light through the windows. Coulter's work is magnificent in its atmosphere and devotion to the period in its look. Lee's longtime editor Tim Squyres does excellent work with the film's editing in the use of dissolve transitions and straight cuts to give the film a leisurely pace that isn't too slow. Squyres plays to the rhythm of the drama and humor with his cutting while moving the film from scene to scene with such ease without losing its rhythm and pace.

Production designer Luciana Arrighi along with set decorator Ian Whittaker and art directors Philip Elton and Andrew Sanders do an amazing job in the look of the estates and cottages of 19th Century England with its tables, appliances, and such. Even the huge atlas book that Margaret is fond of is well-made along with other little details including carriages. The art direction overall is superb in its authenticity including the costume design by Jenny Beaven and John Bright. The costumes from the suits the men wear with top hats and coats to the dresses the women wear from the simpler to the more lavish. The costume design is purely splendid in its detail and look. Sound editor Steve Hamilton does a great job in the sound work from the nature-like atmosphere of the countryside to the more busy, chaotic sounds of London. Even the interior scenes from the sounds of the floor to the clinks of tea are all masterfully captured.

The film's score by Patrick Doyle is wonderfully subtle and rich with its arrangements of piano-driven flourishes to more orchestral, broader sounds to play up the film's drama. Doyle's score is truly majestic while includes some traditional piano pieces played by Winslet who also sings in the film.

The casting by Michelle Guish is phenomenal in the casting of nearly every part of the film. From small appearances from Lone Vidahl as Lady Grey, Allan Mitchell as Mrs. Jennings' butler Pigeon, Oliver Ford Davies as Dr. Harris, and as the Dashwood women's loyal servants, Isabelle Amyes as Betsy and Ian Brimble as Thomas. Other notable performances from Richard Lumsden as Robert Ferrars and Tom Wilkinson in a small but memorable appearance as Mr. Dashwood are excellent. Small but memorable performances from Imelda Staunton as Charlotte Jennings Palmer and Hugh Laurie as her annoyed husband Mr. Palmer are funny with Laurie being all deadpan in his humor. Robert Hardy as Sir Middleton and Elizabeth Spriggs as Mrs. Jennings are also funny for their lavish personalities as they say the wrong things yet bring laughs in nearly every scene they're in.

James Fleet is good as John Dashwood, the half-brother who inherits everything while Harriet Waller is brilliant as the scheming, snobbish Fanny who wants everything for herself. Imogen Stubbs is wonderful as Lucy Steele, Edward Ferrars' secret fiancee who befriends Elinor though her intentions are good and just wants to be part of a family. Greg Wise is excellent as Willoughby, the dashing young man who falls for Marianne only to be hindered by his own troubles and later, rejecting her. Emilie Francois is great as Margaret, the youngest Dashwood girl who has a love of adventure and exploration as she has some great scenes with Hugh Grant doing some pretend sword fighting. Gemma Jones is good as Mrs. Dashwood, the grieving widow who is living with her daughters while dealing with some of Elinor's judgements over Willoughby and her fears for her daughters' future.

Hugh Grant is extraordinary as Edward Ferrars, the shy, stuttering man who falls for Elinor but deals with his loyalty towards Lucy while hoping for a simple life. Grant's subtlety and light, comic-timing is perfect for the character who is flawed but honorable as it's masterfully performed with such restraint from Hugh Grant. Alan Rickman, known to American audiences in villain-like roles as Hans Gruber in Die Hard and the complex Professor Snape in the Harry Potter films, is amazing as the melancholic, middle-aged Colonel Brandon. Rickman's restrained performance is a marvel to watch as he pines for Marianne and being attentive to her needs while forced to watch in the sidelines as she falls for Willoughby. Rickman is a real surprise as he has great scenes with both Emma Thompson and Kate Winslet while being the man that every woman needs in terms of loyalty and attention.

In one of her pre-Titanic film roles, Kate Winslet is phenomenal as Marianne. The innocent, lovesick young lady who deals with her first love and heartbreak over Willoughby only to find comfort in Col. Brandon shows Winslet in one of her great performances. Filled with humor, charm, and melodrama, it's a performance from a young actress who would later become a force in the years to come as it has Winslet showing her talents that rank up there with veterans like Thompson and Rickman. Emma Thompson is superb as Elinor Dashwood, the elder sister who is trying to take care of things while falling for the young Edward Ferrars. Thompson's subtle, hardened performance is one of the actresses great roles as she rarely displays any heavy emotions until the third act. It's a magnificent performance from the great actress who rarely gives bad performances as she displays herself with dignity and grace.

Released in late 1995, the film drew rave reviews as it was also a modest box office hit. The film garnered several nominations for the Academy Awards with a surprise win for Emma Thompson in the Best Adapted Screenplay category. The film also helped raise Ang Lee's profile as he officially arrived in Hollywood where he would have a career with several critical hits and landmark films for the years to come. The film also helped mark a new revival in the works of Jane Austen which was also helped by Amy Heckerling's adaptation of Emma in the hit teen-comedy Clueless released earlier that summer.

Sense & Sensibility is a majestic, charming, and remarkable film from Ang Lee featuring a superb cast led by Emma Thompson, Kate Winslet, Hugh Grant, and Alan Rickman. Fans of Jane Austen's work, whether in film or books, will enjoy the story as it's true to what Austen had envisioned. For Ang Lee, this film is truly one of his essential masterworks with such films like Crouching Tiger, Hidden Dragon, Brokeback Mountain, and The Ice Storm proving his versatility in stories and cinematic style. In the end, Sense & Sensibility is a film that is entertaining with such grace and style from the mind of Ang Lee, screenwriter Emma Thompson, and its novelist Jane Austen.

Ang Lee Films: Pushing Hands - The Wedding Banquet - Eat Drink Man Woman - The Ice Storm - Ride with the Devil - Crouching Tiger, Hidden Dragon - The Hire: Chosen - Hulk - Brokeback Mountain - Lust, Caution - Taking Woodstock - Life of Pi - Billy Lynn's Long Halftime Walk - The Auteurs #19: Ang Lee

(C) thevoid99 2011