Across the Universe

Originally Written and Posted at Epinions.com on 10/14/07 w/ Additional Edits & Revisions.

Directed by Julie Taymor and written by Taymor, Dick Clement, and Ian La Frenais, Across the Universe is a musical inspired by the music of the Beatles about a Liverpool boy who travels to America to find his long-lost father as he falls in love with an American girl during the 1960s. The film is an exploration into a period of time set to the music of the Beatles as it plays into the idea of peace and love through some of the most tumultuous moments of the 1960s. Starring Jim Sturgess, Evan Rachel Wood, Joe Anderson, Dana Fuchs, Martin Luther McCoy, T.V. Carpio, and cameos from Eddie Izzard, U2's Bono, and Frida star Salma Hayek. Across the Universe is a dazzling and off-the-wall film from Julie Taymor.

In his dour world of Liverpool, a young man named Jude (Jim Sturgess) is hoping to find his father in America, who left his mother (Angela Mounsey) as a baby. Leaving behind his girlfriend Molly (Lisa Hogg) and the world he's known for all of his life, Jude enters into a new world. Landing himself in Princeton, he finds his father Wes Huber (Robert Clohessy) working as a janitor while revealing that he has his own family. Staying in his father's bunk in Princeton, Jude befriends a student named Max (Joe Anderson) after a night of fun. Max, who lives in an upper class home of sorts, invites Jude to Thanksgiving as they meet Max's sister Lucy (Evan Rachel Wood). When Max announces to his family his decision to drop out of school and go to New York City, only Lucy is supportive of the decision with Jude joining along.

Arriving at the city, they stay at the apartment of a singer named Sadie (Dana Fuchs) who has also invited African-American singer-guitarist JoJo (Martin Luther McCoy) as well as a young Asian-American named Prudence (T.V. Carpio). For a while, things to be great with Jude pursuing his artistic pursuits in drawings and paintings as Max decides to invite Lucy to the city. Lucy, still in mourning over the death of her high school boyfriend Daniel (Spencer Liff) at the war, falls for Jude as everything seems to be fine. Then Max receives news that he's been drafted to join the Army forcing Lucy to deal with her feelings towards the war. With Max hoping not to get drafted, things get tense when Sadie is considered for a label deal of her own rather than her band with JoJo. After a party with Dr. Roberts (Bono), they end up taking a trip and have another party with Mr. Kite (Eddie Izzard) as Prudence has joined his circus.

Upon their return to New York City, Max has been drafted and sent to Vietnam for the war. Sadie and JoJo begin to separate while Lucy becomes more involved in activism with an activist named Phil (Michael Ryan). Jude however, decides to not be involved with peace movements in order to pursue his own art which causes friction with Lucy. Yet, as things become tense and nothing is improving over the war or the protests, Jude tells Lucy about her involvement as he and JoJo try to find their own worlds through their art. Finally after another protest where Jude, is suddenly involved, things start to fall apart as Jude gets help from the last he expects to help him as everyone is forced to look inward.

While musicals aren't for all audiences, a musical with music by the Beatles is a tough sell yet the result is definitely spectacular. Even from the mind as someone as ambitious from Julie Taymor. While the result isn't entirely perfect, what she brings to the film is a look that is completely its own and with the music of the Beatles, Taymor brings everything back to the 1960s. With puppet-like sets, visual collages, and everything that seems to represent the psychedelic 60s, it's definitely a film that will stimulate as well as warp the mind of the viewer.

The film's script definitely has an interesting structure in how the music is presented and where it's taking place. The first act starts off very innocently with early music from the Beatles including some more upbeat tracks. From the dour world of Liverpool that Jude lives to the beautiful suburbia that Lucy lives in. Yet, the tone begins to change when both Lucy and JoJo have their first encounter with death, in JoJo's case, the death of a family member following the Detroit riots in '67. In the second act, the music is geared towards mid-60s Beatles where everything at first seems fine and then chaos ensues. By the third act which is around '68-'70, things start to wind down as everyone faces their own sense of disillusionment. Yet, a lot of what happens includes many references to not just that period but also the moments that happened to the Beatles as well.

The script works for the most part though it starts out very clunky and when a musical sequence is going to happen, the audiences tends to know what's going to happen. That's part of the film's weakness at first even as it has the feeling where the performance feels like a music video. Yet, as the film continues, things start to relax as the audiences know what's going to happen where the music and story finally gel. A lot of credit goes to Taymor in her presentation that includes some wonderful sequences that involves dancers and sets where the whole film does feel like theater. Then there's the music that plays to the film and by the second act, it starts to feel very natural and comforting while the message that goes in terms of what was going in the 60s doesn't feel heavy-handed. It's more about what the characters are going through and such.

Helping with Taymor's vision in terms of her staging and musical numbers is choreographer Daniel Ezralow whose choreography feels natural and not in an engaging way that would make the viewer uncomfortable. It actually works to emphasize the emotions and the feeling of where the characters are. Cinematographer Bruno Delbonnel use of lights from the multi-colored lights mixed in with animation sequences, visual effects design by Dongho Lee that brings some joy and rhythm to whatever sequence that's going on. Delbonnel's photography is exquisite with some wonderful exterior shots that look naturally dreamy while the interiors are amazing to the staging of the film. Editor Francoise Bonnot does some fine work with a lot of the film's editing without making into that rapid, MTV-style of cutting that's dominant in a lot of films. Instead, it moves very well with the rhythm and tone of the music as well as the emotions in the performances.

Production designer Mark Friedberg along with set decorator Ellen Christansen and art director Peter Rogness do some amazing work in the film's production. Whether it's the flashing lights that pop up during the bowling alley sequences, a hospital scene that involved a bunch of nurses played Salma Hayek, the puppets, and a lot of the recreation of 1960s psychedelic clubs, and the Liverpool club that's a reference to the Cavern where the Beatles played in their early years. The overall work on the production is amazing in every detail and look with its use of locations. Costume designer Albert Wosky does some great work with the film's look whether it's the leather-like, black look of Jude, the upper-class look of Lucy, to the psychedelic looks of Sadie and JoJo. Each look the film has in its costume works well with the period. Even in the makeup by Mary Aaron and Louise McCarthy do great work, even with the masks that some of the people wear.

Sound effects editor Wyatt Sprague does some great work in creating the atmosphere of the locations where the characters are as it plays to the tone of the film, particularly in the second and third act. Taymor's husband and music composer Elliot Goldenthal brings a nice film score that plays to Max's horrors at war as well as the sense of disillusionment that comes in the third act with its soft, orchestral score. The rest of the film soundtrack is definitely filled with Beatles covers and to its surprise, they were all actually well performed and sung by the cast. Standout cuts include Jeff Beck's guitar performance of A Day In The Life, Martin Luther McCoy's While My Guitar Gently Weeps, Because by the entire cast, and many more. It's an overall fantastic soundtrack.

The cast is definitely unique with cameos from Dylan Baker as Max & Lucy's father, Bill Irwin as their uncle, James Urbaniak as Sadie's manager, Salma Hayek as a gorgeous nurse (who wouldn't want her as 6-7 nurses?), and Joe Cocker doing a cover of Come Together in three different roles including a pimp that's a sight to see. U2's Bono makes a glorious cameo while sporting a cool American accent as this guru named Dr. Roberts. Other small appearances from Robert Clohessy, Angela Mounsey, Linda Emond as Lucy's mother, Lisa Hogg, Spencer Liff, and Michael Ryan are good in their small roles. T.V. Carpio is excellent as the confused Prudence who is trying to find her own identity as well as her own role in the world. Though her role is small, she makes most of her appearances leaving the viewer wanting more as she does a nice cover of I Want To Hold Your Hand. Dana Fuchs is impressive as the bohemian, Janis Joplin-like singer Sadie who is just sexy and a hell of a vocalist as her renditions of a few Beatles song in a bluesy style.

Martin Luther McCoy is great as the Jimi Hendrix-like character JoJo who can play a mean guitar while doing some spirited, soulful renditions of While My Guitar Gently Weeps while his duets with Fuchs are just awe-inspiring to convey their love-hate relationship. The film's real breakthrough performance is Joe Anderson as the non-conforming Max who brings a very energetic, spirited performance that is a sight to watch. The British actor not only sports a perfect American accent but his singing and dance is equally as impressive in songs like Hey Jude, Happiness Is A Warm Gun with Salma Hayek, and With A Little Help From My Friends with Jim Sturgess. Jim Sturgess is incredible as Jude, a young man who just wants to make art and have fun. Sturgess' vocal performance is amazing as he definitely adds emotions and angst into the songs, notably Revolution, Across The Universe, Girl, and Something. Sturgess not only can sing but also act as his chemistry with Evan Rachel Wood is insatiable. Evan Rachel Wood delivers a strong yet complex performance as Lucy who starts out as an innocent young girl who is forced to find reason over the death of her first boyfriend. Wood definitely is the acting veteran among her main cast while proving to sell herself not just in the film's dramatic moments but also the musical performances. Wood's vocals are definitely impressive and natural as she sings them with such life on songs like It Won't Be Long, If I Fell, and Blackbird.

Across the Universe is a marvelous film from Julie Taymor. While it is a very flawed film, it is a film that manages to be a lot of things as it includes a superb cast and amazing technical work. Especially as it has something to offer for fans of the Beatles to see these songs be re-interpreted for a new generation. In the end, Across the Universe is a visually spectacular film from Julie Taymor.

Julie Taymor Films: Titus (1999 film) - Frida - The Tempest (2010 film) - The Auteurs #42: Julie Taymor

© thevoid99 2014

Cloud Atlas

Based on the novel by David Mitchell, Cloud Atlas is the story about human beings being connected to one another in various places in time from the past to the future as they all deal with their role in humanity. Written for the screen and directed by Lana and Andy Wachowski and Tom Tykwer, the film is an epic story that bends all sorts of genres. With an all-star cast playing multiple roles that includes Tom Hanks, Halle Berry, Hugh Grant, Hugo Weaving, Jim Sturgess, Ben Whishaw, Doona Bae, Susan Sarandon, Jim Broadbent, James D’Arcy, David Gyasi, Zhou Xun, David Gyasi, and Keith David. Cloud Atlas is a captivating yet exhilarating film from Tom Tykwer and the Wachowskis.

In the 1850s, a young notary named Adam Ewing (Jim Sturgess) travels to the Pacific Islands to discover a plantation run by Reverend Gilles Horrox (Hugh Grant) as it consists of slaves. Upon his return home to San Francisco, Ewing discovers a young slave named Autua (David Gyasi) who stows away on the ship as the ailing Ewing recalls his experience in a journal. In 1930s Belgium, a young musician named Robert Frobisher (Ben Whishaw) writes many letters to his lover Rufus Sixsmith (James D’Arcy) where he works as an amanuensis for the aging composer Vyvyan Ayrs (Jim Broadbent) where they collaborate on a musical piece together. In the 1970s, a San Franciscan journalist named Luisa Rey (Halle Berry) meets the aging Sixsmith where she discovers a chilling mystery about an oil magnate Lloyd Hooks(Hugh Grant) trying to manipulate the energy crisis as a hitman named Bill Smoke (Hugo Weaving) is after her.

In 2012 London, book publisher Timothy Cavendish (Jim Broadbent) is in big trouble over mounting debts to gangsters as he turns to his older brother Denholme (Hugh Grant) for help. Instead, Denholme tricks Timothy to live in a retirement home where Timothy has to deal with the cruel nurse Noakes (Hugo Weaving) as he fights for freedom. In the futuristic South Korea, a genetically-created clone named Sonmi-451 learns about her dystopian world as she meets a young rebel named Hae-Joo Chang (Jim Sturgess) where they decide to create rebellion. In a more distant future, a tribesman named Zachry takes a technologically-advanced woman named Meronym (Halle Berry) to an old palace to find meaning in their world so they can save humanity from an evil tribe and other dark forces.

The film is essentially a multi-layered, inter-weaving collection of stories of people making decisions that would change their own fates as well as the fate of others through six different periods of time. Through the recollection of one individual’s story, one character would discover that person’s story that would inspire something of their own that would eventually inspire another and so on. In these moments where they would discover these stories or pieces of work by a certain person, it would allow a character from different stories to be motivated to do something as it would eventually give them a chance to do something that would help humanity.

The screenplay by Tom Tykwer and the Wachowskis is truly dazzling for the way the narrative moves from one story to another in this inter-weaving style where it adds up to the dramatic momentum of the film. Even as they would provide moments that would play up the suspense of another story and so on. It’s part of the schematics that Tykwer and the Wachowskis wanted to create while slowing things down so that characters can find ways to connect with one another to feel something as if there’s a chance to really do something great. Yet, each protagonist in these six different stories would make decisions that could impact something that would become a key moment of their lives and would set the stage for another.

The direction of Tykwer and the Wachowskis is vast in terms of the presentation they wanted to create for this massive film. With Tykwer directing the two segments in the 20th Century and the 2012 segment while the Wachowskis helm the 19th Century story and the ones set in the future. The filmmakers give each story a chance to set out on their own as they each provide broad visuals to establish the world these characters live in. Notably as these segments also have moments of intimacy to help flesh the characters out even more in their development. Since the film is really a genre-bender that features elements of sci-fi, adventure, drama, comedy, romance, and suspense. It is still about people and the adventures they go into and how they deal with these opposing forces.

For the 20th Century and 2012 segments, Tykwer pretty much keep things straightforward in terms of the presentation though he does shoot scenes with elements of style. Even as he find ways to put every actor who plays multiple roles a chance to pop up every now and then. Tykwer also utilizes bits of humor in the stories as well as some truly jaw-dropping moments such as a scene where Frobisher and Sixsmith stand and freeze while china plates drop all over them. In the 19th Century and futuristic segments, the Wachowskis go all out in terms of the ambition where they create massive sceneries for their segments. Notably the future where it is awash with visual effects to showcase a world that is unique but also unsettling.

Particularly as it establishes the sense of chaos and mistakes humans made where it plays into the most furthest futuristic segment forcing one character to do something to bring some semblance of hope. Overall, Tywker and the Wachowskis create a truly grand yet engaging film about human connection and how they impact one another in different periods of time.

Cinematographers Frank Griebe and John Toll do amazing work with the film‘s photography from the naturalistic look of 19th Century and beyond future segments to the more stylish array of lighting schemes in the 20th Century scenes and the dystopian Seoul segment. Editor Alexander Berner does excellent work with the editing to create unique rhythms for the film‘s suspenseful and action moments as well as creating montages for certain scenes as well as intricate transitions to move from one story to another. Production designers Hugh Bateup and Uli Hanisch, along with set decorator Rebecca Alleway and Peter Walpole and supervising art directors Stepan O. Gessler, Kai Koch, and Charlie Revai, do spectacular work with the set pieces from the ship in the 19th Century, the homes in the 20th and 21st Century segment, and the futuristic places in the future-Seoul segment.

Costume designers Kym Barrett and Pierre-Yves Gayraud do wonderful work with the costumes to play up the very different periods of time that occur in each segment including the more stylish clothes in the dystopian Seoul segment. Makeup and hair designers Heike Merker and Daniela Skala do great work with the hair and makeup to have every actor look a different way in the various segments and play different races and nationalities in the course of the film. Visual effects supervisors Dan Glass and Stephane Ceretti do terrific work with the film‘s visual effects for segments involving Frobisher, the dystopian Seoul segment, and the beyond future scenes. Sound designer Markus Stemler and sound editor Alexander Buck do superb work in the sound to capture the different atmosphere of each location and world the characters inhabit.

The film’s music by Tom Tykwer, Reinhold Heil, and Johnny Klimek is brilliant for its low-key, orchestral-driven score to play out the very different worlds that take place in the film along with some touching piano-driven themes in scenes involving Frobisher and Ayrs. The soundtrack also includes an array of music that plays up in two segments such as the Luisa Rey segment and the Timothy Cavendish segments.

The casting by Lora Kennedy and Lucinda Syson is incredible for the large ensemble that is created where the actors get to play multiple roles. Notable small performances include Robert Fyfe as the old seadog and Mr. Meeks, Brody Nicholas Lee as Luisa’s neighbor Javier and Zachry’s nephew, Raevan Lee Hanan as Zachry’s child Catkin, and Martin Wuttke as Cavendish’s friend Mr. Boerhavve and a healer in Zachry’s tribe. Other noteworthy small parts include terrific performances from Keith David as Horrox’s servant/a friend of Luisa’s dad/a rebel leader/a futuristic chief, Zhou Xun as Zachry’s wife/a relative of Sixsmith/Sonmi-451’s friend, David Gyasi as the stowaway slave Autua/Luisa’s father/an associate of Meronym, and James D’Arcy as Rufus Sixsmith and a man who interrogates Sonmi-451.

Jim Sturgess is superb as the young notary Adam Ewing as well as in smaller roles as a father of Sixsmith’s relative, Zachry’s brother-in-law, a highlander, and the rebellious Hae-Joo Chang. Ben Whishaw is superb as the melancholic Robert Frobisher as well as other small roles as a seaman, a record shop owner, and Denholme’s wife. Jim Broadbent is great as a sea captain, the very selfish Vyvyan Ayrs, a lab professor, a futuristic leader, a Korean musician, and as the troubled Timothy Cavendish. Susan Sarandon is wonderful as Rev. Horrox’s wife, a tribal witch, and Cavendish’s lost love. Hugh Grant is stellar as Reverend Horrox, a hotel tenant, the slimy oilman Lloyd Hooks, Timothy’s prankster brother, a perverse drug addict, and an evil tribe chief. Hugo Weaving is brilliant as Ewing’s father-in-law, a music conductor, the evil hitman Bill Smoke, a big nurse, a dystopian leader, and a demon who haunts Zachry.

Doona Bae is amazing as the clone Sonmi-451 who becomes part of a rebellion to stop a dystopian Seoul as she also plays other small roles such as Ewing’s wife and a Mexican woman who helps Luisa. Halle Berry is marvelous as the determined journalist Luisa Rey as well as notable small roles as a native woman, Ayrs’ wife, an Indian woman at a party, a Korean doctor, and a woman of the future in Meronym. Tom Hanks is remarkable as the tribe warrior Zachry who deals with demons and his tribe’s future while he also plays small roles as the devious Dr. Goose, a hotel manager, a thuggish writer, and a scientist who falls for Luisa.

Cloud Atlas is a spectacular film from Tom Tykwer and the Wachowskis that explores the world of humanity and its many connections. While it’s not an easy film in terms of its ambition and big themes, it is still an engaging one for the way it explores these themes in such grand stories. It’s also a film that has something for everyone and isn’t afraid to take big risks while featuring an amazing collective of actors. In the end, Cloud Atlas is an extraordinary film from Tom Tykwer and the Wachowskis.

The Wachowskis Films: (Bound) - (The Matrix) - (The Matrix Reloaded) - (The Matrix Revolution) - Speed Racer

Tom Tykwer Films: (Deadly Maria) - (Winter Sleepers) - Run Lola Run - (The Princess and the Warrior) - (Heaven (2002 film)) - True (2004 short) - (Perfume: The Story of a Murderer) - (The International) - (Three (2010 film))

© thevoid99 2012

One Day (2011 film)

Based on the novel by David Nicholls, One Day is the story about a man and a woman who meet each other in the same day in the span of several years. During this time, the two would encounter many changes in their relationship and the individual lives they take. Directed by Lone Scherfig and written by David Nicholls, the film is a story about these two people and their unique relationship. Starring Anne Hathaway, Jim Sturgess, Romola Garai, Jodie Whittaker, Rafe Spall, and Patricia Clarkson. One Day, for all of its take on love, is an episodic and maudlin film from Lone Scherfig.

The film is essentially the story about these two people in Emma Morley (Anne Hathaway) and Dexter Mayhew (Jim Sturgess) who meet on July 15, 1988 on their graduation day as they become friends and eventually, lovers. In the course of more than 20 years, these two people would communicate and be with each other to discuss their lives while they both pursue their individual goals. Emma becomes a teacher and later a children’s novelist while Dexter’s aspirations as a producer has him starting off as annoying TV show host and later becoming a man with a sense of direction. They would also engage into different relationships with other people where they eventually realize how much they really care for each other.

It’s an interesting premise about the lives of these two people in the span of more than 20 years on one particular day being July 15. Yet, it’s a story that doesn’t do a lot to make it much more interesting as it ends up being episodic in its formula where they always do something on the 15th of July. There would a moment where they each have an individual moment in their lives and for a moment, not speak to each other for a few years. A reconciliation would happen as it would eventually lead to them finally being together that is later followed by something in the third act that would change things. While both Emma and Dexter are quite interesting and flawed characters, it’s just that the story isn’t well-executed as it plays too much into convention.

Lone Scherfig’s direction does have a lot of wonderful scenes and images that is playful and romantic. Yet, she doesn’t do enough to make the story more engaging as it does play into a lot of the conventions of being flirty in the first act, frustration in the second, and finally coming together in the third. Some of the moments between Emma and Dexter together are compelling in their conversations with bits of humor and drama. Once the story progresses, it starts to be a bit repetitive at times whenever Dexter is fooling around or Emma is just taking the moments of disappointment in her life. Though things do relax a bit in the third act that is followed by a very shocking moment. Scherfig does manage to find something that is poignant and give it a fine ending. Overall, Scherfig creates a film that is watchable but somewhat unsatisfying in terms of the love story it wanted it to be.

Cinematographer Benoit Delhomme does excellent work with the gorgeous, colorful photography for many of the film‘s locations in Britain and parts of France to complement the changing times the characters go through. Editor Barry Pilling does nice work with the editing to play out the structure and some of the film‘s emotional moments. Production designer Mark Tildesley, along with set decorator Dominic Capon and art director Denis Schnegg, does superb work with the set pieces such as the apartments Dexter and Emma lived in during their lives along with studio sets where Dexter worked at.

Costume designer Odile Dicks-Mireaux does some fine work with the costumes to complement the looks of Dexter and Emma in the different times they live in . Makeup designer Ivana Primorac does some terrific work with the look of the hair and makeup to make the character age a bit during the course of the film. Sound designer Glenn Freemantle does wonderful work with the sound to capture the energy of the clubs that Dexter frequent to the more intimate places that he and Emma go to. The film’s music by Rachel Portman is very good for its melancholic-driven orchestral score to play out the sense of longing between the two characters. Music supervisor Karen Elliot provides a decent soundtrack that captures the moment of the times with music from James, Tracy Chapman, Fatboy Slim, and Del Amitri.

The casting by Lucy Bevan is brilliant for the ensemble that is created although appearances by Jodie Whittaker as Emma’s friend Tilly and Patricia Clarkson in an excellent performance as Dexter’s mother Alison is kind of a waste as they don’t get enough to do. Ken Stott is very good as Dexter’s stern but caring father while Romola Garai is terrific as Dexter’s wife Sylvie. Rafe Spall is excellent in a standout performance as Emma’s aspiring-comedian boyfriend Ian who tries to make Emma laugh while deal with her relationship with Dexter.

Finally, there’s the duo of Jim Strugess and Anne Hathaway as they both give pretty remarkable performances. Strugess provides a lot of wit and energy to a character who is quite arrogant at times only to have humility as he later becomes a father. While parts of Hathaway’s English accent isn’t perfect, she does manage to create a performance that is full of charm and depth as a woman who just wants to be friends only to realize how much she cares for him. Sturgess and Hathaway do have some chemistry together in the way they interact as they do make a fine pair to watch and be compelled by.

Despite the terrific performances of Jim Sturgess and Anne Hathaway, One Day is a mediocre film from Lone Scherfig. While it will have something that fans of romantic movies might enjoy, it doesn’t do enough to make it more unique or adventurous for audiences that want more. In the end, One Day is an okay film from Lone Scherfig.

Lone Scherfig: (Dogme 12-Italians for Beginners) - (Wilbur Wants to Kill Himself) - (Just Like Home) - An Education

© thevoid99 2012

The Way Back

2003’s Master and Commander: The Far Side of the World was a film that garnered lots of acclaim from critics as it also received several Oscar nominations. Despite the acclaim, the film was a modest hit in the U.S. while its overall grosses worldwide did help cover the film’s massive budget. For its director Peter Weir, it was another of his great films as he would spend the next seven years taking on various projects. Among them was an adaptations of Pattern Recognition by William Gibson and Gregory David Roberts’ Shantaram. Other projects included War Magician and Shadow Divers as none of them got past the development stage. Weir finally got a project going based on the true story about a group of prisoners escaping the Siberian Gulag during World War II based on The Long Walk by Slawomir Rawicz that would be entitled The Way Back.

Directed by Peter Weir with an adapted script by Weir and Keith Clarke. The Way Back tells the story of a young Polish POW who is sent to the cold Siberian prison where he meets fellow prisoners from around the world. The young man along with other prisoners decides to escape the prison as they go into a treacherous journey through the cold mountains of Siberia and into the desert where they‘re later joined by an orphaned teenaged girl from Poland. Starring Jim Sturgess, Colin Farrell, Saoirse Ronan, Mark Strong, Gustaf Skarsgard, Dracos Bucur, and Ed Harris. The Way Back is an exhilarating and adventurous film from Peter Weir.

It’s 1939 as Janusz (Jim Sturgess) is being interrogated for possible crimes in being a spy which he denies. When his wife (Sally Edwards) reveals, under torture, that he did commit crime, he is sent to the Gulag in Siberia for twenty years. Entering the Gulag in 1941, Janusz meets an actor named Khabarov (Mark Strong) who claims to know a way to escape the Gulag. Yet, Janusz learns from an American prisoner named Smith (Ed Harris) that Khabarov is just trying to make his own way out as Janusz refuses to give up. When a brutish, tattooed prisoner named Valka (Colin Farrell) overhears a conversation with Janusz and Khabarov, he decides to join in Janusz’s plan to escape.

Joining Janusz, Smith, and Valka for the escape are four other men that consists of a Lativan priest named Voss (Gustaf Skarsgard), a Yugoslav accountant named Zoran (Dracos Bucur), an artist named Tomasz (Alexandru Potocean), and a 17-year old Polish boy named Kazik (Sebastian Urzendowsky). During a snowstorm and a blackout in the prison, the men escape as they trek through the cold forest of Siberia as they make their way South in hopes of reaching Mongolia. Along the way, they go further into the mountains hoping to reach a lake while they wear wooden masks during the heavy snowstorm. During the long journey, Janusz finally finds the lake as everyone goes to the lake.

Along the way, they learned that a young Polish girl named Irena (Saoirse Ronan) has been following them as Smith isn’t sure in taking another person to the journey. Still, she follows them as they reluctantly let her join the trek to Mongolia. Encountering everything from mosquitoes to icy waters, they finally reach the Russian-Mongolian border only to learn that Mongolia is a Communist state. Realizing that the only place to go to is India for freedom, the group goes on a trek through the Gobi desert where they have to deal with all sorts of challenges to get across to their destination.

The film’s plot about a group of men and a young girl trekking through Siberia to India seems like the kind of film that doesn’t really do much in terms of plotting. In the hands of Peter Weir, it becomes an extraordinary experience about endurance and survival. Though the film’s opening dedication does spoil the ending which is the only big mistake the film makes. Weir and co-screenwriter Keith Clarke decides that the film shouldn’t just be about the journey but also the characters.

Janusz is the character who drives the film as he knows he’s innocent and hopes to return to his wife whom he loves and knows that she is carrying a lot of guilt for putting him in prison. He is then joined by several characters who would help him escape and take part in this journey. While there are a couple of minor characters like the shady Khabarov and the young Kazik that do get a chance to shine. They’re just minor players who would help everyone else. Smith is an American who came to Russia to find work only to be suspected as spy. Smith is the old man who would be Janusz’s right hand man as he’s also someone not very sentimental as he tells Janusz about his kindness which he perceives as a weakness.

Yet, the arrival of Irena would become the person that the men in the journey would feel protective for. She becomes their angel of sorts as at one point during an encounter with Mongolians in the desert. Smith would say that Irena is his daughter as their relationship becomes somewhat of a father-daughter relationship as the rest of the men are her brothers. The character of Valka is a brutish man who is an admitted thief and is willing to do anything to survive. Yet, he becomes someone who would help everyone for their survival while maintaining his belief as a man who loves Stalin despite everyone else’s opinions.

It’s not just Weir’s ability for audience to get to know these characters which include other supporting characters like Tomasz, Voss, and Zoran as they would bring their own personalities to the journey. Even as the film would have bits of humor through the dialogue as some of it is in Russian and Polish. The screenplay also has a great structure in how to tell the story despite not having a lot of plot-points or conventional story ideas. Though it would lag in a few places, the overall work in the script is superb.

Weir’s direction for the film is definitely top of the line in what is expected from a cinematic master. Shooting on location in places like Bulgaria for the scenes in Siberia plus other locations such as Morocco, Pakistan, and India for the rest of the film. Weir takes audiences into a journey as if they’re part of this long walk from Siberia to India as he always has the camera following the group or have long shots of them walking together. Part of Weir’s brilliance as a director is him always having a wide depth of field where he allows the audience to soak the vast locations they’re walking on.

Whether its coldness of the snow and heavy storms in Bulgaria as Siberia or the big sandstorms the group encounters in the desert. Weir allows the audience to get a feeling of the location with close-ups of the ground or vast long shots. There is always something that Weir is interested in and he’ll shoot it. Even if with actors interacting with nature while taking a chance to even get in touch with where they’re at. It’s definitely directing at its finest as Weir secures another film that goes up there with his vast filmography.

Cinematographer Russell Boyd does an amazing job with the film’s vast, sprawling camera work as he creates naturalistic images that are truly dazzling on film. From the snowy regions near the Himalayas and other mountains to the wondrous deserts. Boyd’s photography is truly exquisite not just for its realistic look at the locations but also in playing to the emotional tone of the film as creates dream-like images for scenes at night as well as a mirage-like sequence. Boyd’s work is definitely top-notch in what is expected for a film like this.

Editor Lee Smith does an excellent job with the film’s editing which is mostly straightforward as it moves quite well for a film with a near two-and-a-half hour running time. Smith also manages to keep the film going with rhythmic cuts for some intense, fast-paced scenes while a lot of the scenes of walking is slow but in a leisured pace.

Production designer John Stoddart and art director Kes Bonnet do a fine job with the few set pieces made for the film such as the prison where the prisoners were staying early on to the Soviet Union-Mongolia border arc they encounter. Costume designer Wendy Stites does a very good job with the ragged costumes the characters wear including the dress that Irena wears and the pants and boots the men wear in their journey. Sound editor Richard King does a spectacular job with the film’s sound in capturing the broad atmosphere of the locations the characters encounter whether it’s the snowstorms or a sandstorm. King’s work is definitely one of the film’s technical highlights

Music composer Burkhard von Dallwitz brings a wonderful epic, soaring score that plays to the journey of the characters. Filled with sweeping string arrangements and a huge orchestra, von Dallwitz’s score is definitely one of the film’s highlights as it helps play up to the film’s vast presentation.

The casting by Lina Todd is wonderful for what is definitely inspired casting not just for its well-known actors but also lesser-known ones. Smaller performances such as Sally Edwards as Janusz’s wife, Zahary Baharov as the interrogator in the opening scene, Stanislav Pishtalov as the prison superintendent, and Sebastian Urzendowsky as Kazik, the young prisoner suffering from night blindness. Alexandru Potocean is excellent as Tomasz, an artist who makes drawings as he keeps the morale of the group high while being a dreamer with high hopes. Gustav Skarsgard is amazing as Voss, a former priest hoping to find a home to maintain some kind of spirituality for those seeking something to believe in as he has a great scene where he and Saoirse Ronan are inside a decayed Buddhist temple.

Dracos Bucur is superb as Zoran, a Yugoslav accountant who brings some much needed humor to the film whether is the desire for salt or maintaining some kind of hope needed once they reach their destination. Mark Strong is very good in a small role as Khabarov, an actor who has the idea to escape prison but doesn’t believe anything will happen. Colin Farrell is phenomenal as Valka, a thug who is very pro-Stalin as he is an admitted thief but a person who cares about freedom as he helps his friends to their journey. Saoirse Ronan is just spectacular in her role as Irena, a young Polish girl who forges an unlikely bond with the prisoners. Even in her scenes with the more cynical Smith where the chemistry between Ronan and Ed Harris is one of the film’s touching yet low-key moments.

Jim Sturgess gives what is definitely his best performance yet as Janusz. A young man desperate to return home as his willingness to escape and go home becomes one of the key moments into why the film is so captivating to watch. Even as tries to maintain hope for his group as Sturgess proves himself to be a capable lead when he’s armed with a great cast. Finally, there’s Ed Harris in one of his best roles as Mr. Smith. A cynical American who came to the Soviet Union for work only to be in prison as he tries to maintain a realist approach to the journey. Even in being an unlikely father figure for both Janusz and Irena as he also some great scenes with the rest of the cast as Harris solidifies his position as one of the finest actors working today.

The Way Back is an amazing film from Peter Weir and company. Featuring a great ensemble cast led by Ed Harris, Jim Sturgess, Saoirse Ronan, and Colin Farrell along with new discovers in Dracos Bucur, Gustav Skarsgard, and Alexandru Potocean. It’s a film that is a great testament of courage and survival as its captured through masterful filmmaking. Fans of Weir will no doubt enjoy the film for its adventurous vision and large canvas as it’s something that should be seen more. In the end, The Way Back is a stunning yet engrossing film from Peter Weir.

Peter Weir Films: (3 to Go-Michael) – (Homesdale) – (Whatever Happened to Green Valley?) - (The Car That Ate Paris) - Picnic at Hanging Rock - (The Last Wave) - The Plumber (1979 TV film) - Gallipoli - The Year of Living Dangerously - (Witness) - (Mosquito Coast) - Dead Poets Society - (Green Card) - (Fearless) - (The Truman Show) - Master & Commander: The Far Side of the World

© thevoid99 2011

The Other Boleyn Girl

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

 

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(C) thevoid99 2010