T2 Trainspotting

Based on novels Trainspotting and Porno by Irvine Welsh, T2 Trainspotting is the sequel to the 1996 film in which a former heroin addict returns to Edinburgh, Scotland to meet with old friends as they deal with changing times and attitudes as well as things from the past. Directed by Danny Boyle and screenplay by John Hodge, the film is an unconventional sequel that follows four men dealing with the new world as Ewan McGregor, Jonny Lee Miller, Robert Carlyle, and Ewen Bremner return playing their roles from the previous films with special appearances from Shirley Henderson and Kelly MacDonald in their old roles. Also starring Anjela Nedyalkova. T2 Trainspotting is an enthralling and exhilarating film from Danny Boyle.

The film follows four different men who have each gone separate paths in life more than 20 years after a deal that was supposed to make them rich only for one of them to leave with the money and bring ruin to their lives. Yet, Mark Renton (Ewan McGregor) returns to Edinburgh after his long 20-year exile where not only does he want to make amends but also deal with the fact that he’s returned to a world that has changed with some things that hasn’t changed. John Lodge’s screenplay doesn’t just explore Renton’s return to Edinburgh but also the fates and fortunes of his friends Simon “Sick Boy” Williamson (Jonny Lee Miller), Daniel “Spud” Murphy (Ewen Bremner), and Francis Begbie (Robert Carlyle). Sick Boy runs a failing pub while tries to blackmail top Scottish officials by filming their sexual encounters with a prostitute named Veronika (Anjela Nedyalkova) who is also Sick Boy’s girlfriend. Spud’s life is in a freefall after a failed marriage to Gail (Shirley Henderson) and being an absentee father to his son Fergus forcing him to return to heroin. Begbie is serving a 25-year prison sentence where he would escape prison.

Renton’s fortunes also haven’t gone well since he exiled himself in Amsterdam where he would also endure a fail marriage, an accounting firm that is forcing him out, and a heart attack. His return to Edinburgh forces him to deal with the fact that he not only fucked over Sick Boy and Begbie but also realize what is happening to Spud. Sick Boy decides to get revenge on Renton, despite getting back the share of the money they stole 20 years ago, with Veronika’s help but eventually realizes that there’s still some love towards his old friend as they also help out Spud. Begbie meanwhile, has a huge grudge towards Renton upon his escape from prison where the script also reveal that he has a family and does care about them despite being so brutal into everything he’s done. Renton and Sick Boy would work together to create a brothel with the involvement of Veronika and Spud but the two would know something would give as they’re bound to betray each other.

Danny Boyle’s direction is definitely stylish as it owes a lot to not just the 1996 film in terms of its visual style but also in showcasing how much Edinburgh has changed as it is a character in the film. Boyle’s usage of wide shots would capture how much the city has changed where Sick Boy lives next to a dump of destroyed cars as if a new housing development is about to emerge. Even in the usage of slanted angles where Boyle would showcase that sense of direction of where the characters are going as if their destined to go up or down. At the same time, Boyle would create compositions and shots of certain locations to match it with images of the previous film as it would evoke elements of nostalgia which is a key theme of the film visually and literally. Notably in a sequence where Renton has dinner with Veronika where he talks about the downsides of conformity and modernism in a dizzying montage where he talks about the idea of “choose life” in the 21st Century as it showcases why he, Spud, and Sick Boy are more fond of simpler times.

The film also play into the sense of melancholia as it relate to their late friend Tommy (Kevin McKidd via archival footage) in the same area where Tommy was trying to get his friends to walk to the Scottish Highlands. It’s a moment where Renton would accept the fact that he was responsible for Tommy’s descent as he would force Sick Boy to face his own tragedy and faults. It would culminate with Spud finally coming to terms with his addiction as he would channel his energy into something new as well as face Begbie who would see what Spud has created where it is this rare glimpse of humanity that seems to be lost in Begbie. Still, it does play into four men facing their own sins of the past as well as try to create something that does harken to simpler times and a balance of the past and present. Overall, Boyle crafts an evocative yet wild film about four men coming to terms with the past and their encounter with their modern environment in their search for nostalgia.

Cinematographer Anthony Dod Mantle does brilliant work with the film’s colorful cinematography with its stylish approach to scenes set in the day with its lighting and how Edinburgh would look on a sunny day as well as the scenes set at night where it play into a stylish look to emphasize the manic ride the characters would embark on. Editor Jon Harris does excellent work with the editing as its usage of jump-cuts, montages, match cuts with the original film, and other stylized cuts play into the sense of nostalgia as well as the characters dealing with the past. Production designer Patrick Rolfe and Mark Tildesley, with set decorators Orlin Grozdanov and Veronique Melery, do fantastic work with the look of Sick Boy’s apartment and pub as well as the apartment that Spud lives in to play into their lack of stability. Costume designers Rachel Fleming and Steven Noble do terrific work with the costumes as it play into the look of the characters including some of the more youthful clothes that Veronika wears.

Hair/makeup designer Ivana Primorac does nice work with the look of the characters from Sick Boy’s hair to the look of Veronika. Visual effects supervisor Adam Gascoyne does amazing work with the visual effects as it play into the air of nostalgia in the way some of the footage that the characters talk about are shown on objects and such. Sound designers Glenn Freemantle and Niv Adiri do incredible work with the sound in creating an array of sounds to play into the chaos that the characters endure in their environment as well as some of the locations they would go to. The film’s phenomenal soundtrack is a mixture of hip-hop, new wave, alternative rock, Brit-pop, ambient, drum n’ bass, rock, punk, and other types of music that features contributions from the Clash, Blondie, Underworld, Queen, Wolf Alice, Frankie Goes to Hollywood, Lou Reed, Brian Eno, Run-DMC vs. Jason Nevins, Fat White Family, Young Fathers, High Contrast, and Iggy Pop.

The casting by Gail Stevens is marvelous as it feature some notable small roles and appearances from Scot Greenan as Begbie’s son Frank Jr., Kyle Patrick as Spud’s teenage son Fergus, Charlie Hardie as the nine-year old Fergus, Pauline Turner as Begbie’s wife, Steve Robertson as a prison official who invokes Begbie’s wrath, Bradley Welsh as a rival brother owner in Doyle, Michael Shaw and Elijah Wolf in their respective roles as the 20-year old and nine-year old versions of Tommy, the trio of Christopher Mullen, Daniel Smith, and Daniel Jackson as younger versions of Begbie, James McElvar and Logan Gilles as the younger versions of Sick Boy, Aiden Haggarty and John Bell as the younger versions of Spud, the trio of Connor McIndoe, Ben Skelton, and Hamish Haggerty as the younger versions of Renton, and novelist Irvine Welsh reprising his role as Mikey Forrester who has become a black markets dealer. James Cosmo and Shirley Henderson are terrific in their brief appearances in their respective roles as Renton’s father and Spud’s former girlfriend Gail.

Kelly Macdonald is fantastic in her brief appearance as Renton’s former girlfriend Diane who has become a solicitor as she tries to help Renton and Veronika over Sick Boy’s legal and financial troubles while seeing what Renton had become. Anjela Nedyalkova is wonderful as Veronika as a Bulgarian prostitute who is Sick Boy’s girlfriend that becomes concerned with Sick Boy’s schemes while having an affair with Renton and befriending Spud whom she sees as someone that has a lot more to offer as a person in need of help. Robert Carlyle is brilliant as Francis Begbie as a psychopath who is hell-bent in getting out of prison to continue his life as a criminal where he also seeks revenge on Renton for putting him in prison where Carlyle also show a bit of vulnerability into the character as he would also briefly play a dual role as drunken man he met many years ago.

Ewan Bremner is amazing as Spud as a man who endured a lot of misfortune to the point that he’s hit bottom as he struggles to be clean and find a new outlet which he would eventually find as a way to come to terms with his faults and a new promise in his life. Jonny Lee Miller is remarkable as Sick Boy as a man who continuously schemes to get what he wants as well as deal with a cocaine addiction and his anger towards Renton where he tries to find a way to get even with him only to realize how much he needs Renton to get things done. Finally, there’s Ewan McGregor in an incredible performance as Mark Renton as a man who returns to Edinburgh following a 20-year exile where he deals with his own brush with death as he tries to figure out what to do with the remaining years of his life as well as make amends for his past sins in the hope he can redeem himself and find some idea of life he can live in.

T2 Trainspotting is a sensational film from Danny Boyle that features great performances from Ewan McGregor, Ewan Bremner, Jonny Lee Miller, and Robert Carlyle. Along with its supporting cast, dazzling visuals, approach to nostalgia, and a killer soundtrack, it’s a film that manages to capture the spirit of its predecessor while not being afraid to use that film as a reference point in order to explore its characters who are still hung on to the past. In the end, T2 Trainspotting is a phenomenal film from Danny Boyle.

Danny Boyle Films: Shallow Grave – Trainspotting - A Life Less Ordinary - The Beach - 28 Days Later - Millions - Sunshine (2007 film) - Slumdog Millionaire - 127 Hours - Trance (2013 film) - Steve Jobs (2015 film) - (Yesterday (2019 film)

Related: Trainspotting OST - Favorite Films #10: Trainspotting

© thevoid99 2017

Anna Karenina (2012 film)

Based on the novel by Leo Tolstoy, Anna Karenina is the story of the titular socialite, who is the wife of a statesman, who begins an affair with an officer in late 19th Century Russia. Directed by Joe Wright and screenplay by Tom Stoppard, the film is a look into the life of a woman as she tries to find love only to be ruined by her affair as Keira Knightley plays the title role. Also starring Jude Law, Aaron Johnson, Alicia Vikander, Matthew McFayden, Domhnall Gleeson, Kelly MacDonald, Ruth Wilson, Shirley Henderson, Olivia Williams, and Emily Watson. Anna Karenina is a beautiful yet vapid film from Joe Wright.

Set in 1874 in Imperial Russia, the film is an exploration into the life of this aristocratic woman who falls for a cavalry officer where their affair becomes scandalous. Yet, the film is an exploration into many ideas of love as well as infidelity where the latter showcases a woman’s decision in being with this officer named Count Alexei Vronsky (Aaron Johnson) where they fall in love despite the fact that she’s married to a statesman in Count Alexei Karenin (Jude Law). Yet, Vronsky is notorious for wooing many women including Anna’s sister-in-law Kitty (Alicia Vikander) who is also pursued by Konstatin Levin (Domhnall Gleeson) who tries to deal with his ideas about true love and such. All of which is told in a very broad but messy story that doesn’t hold itself together.

Tom Stoppard’s screenplay has this narrative where there’s a lot of characters involved where it has this unique structure that would play Anna’s fall from grace. Yet, it has these other subplots involving her brother Stiva (Matthew McFayden) trying to help Levin while having his own extramarital affairs as well the stuff involving Levin. The first act explores Anna’s marriage to Count Karenin where it’s one where there’s not much communication yet there is love until Anna meets Count Vronsky. The second act is about Anna and Count Vronsky’s love affair and the scandal that it creates where Karenin becomes embarrassed. The third act is about Anna’s attempt to return to society where she is disapproved by those around her while her relationship with Vronsky starts to fall apart.

Notably as the script reveals a lot about Vronsky’s appetite for women which adds to Anna’s insecurities yet neither character become interesting as they have range of emotions that drags the story. Even as the script would shift into what Count Karenin is doing as he feels humiliated as well as the stuff about Levin who feels lost as he tries to comprehend all of the ideas of love. Notably as there’s people like Stiva’s wife Dolly (Kelly MacDonald) who isn’t sure about wanting Stiva back or Vronsky’s cousin Betsy (Ruth Wilson) whose appearances would raise questions about Vronsky’s devotion to Anna. All of which just adds to the messiness of the script as it gets to the point where there’s too many characters to follow and how important they are to the story.

Joe Wright’s direction is unique in the way he presents the story where he wants to go for something that is theatrical where most of the film is presented in a theater. A lot of which seems to play into a world that seems artificial and sort of removed from reality to portray Anna’s idea of the world where things aren’t cold and such. Even in moments of the film where some of the action takes place backstage or above the stage where people will freeze while she and Vronsky are moving. It all plays to that world where Anna and those around her seem to thrive in where there’s even a horse race that occurs on the stage where Anna is watching from the booth. It’s these moments where the idea of fantasy and reality would collide as many of the moments set in the Karenin home is a mixture of that.

There’s also moments where the fantasy is replaced by reality which plays into the Levin’s plight as he goes to the country to deal with some family matters as well as resigning to the fate that might happen to him. These are moments that are all interesting but it also adds to the confusing nature of the story where Wright wants to do both. It unfortunately creates this idea of style over substance where there’s all of this gorgeous imagery with some amazing tracking shots and moments where everything happens in one take. Yet, it doesn’t do enough to really engage the audience into the story despite its emphasis on the themes of adultery and love where its end result is a bit mixed. Overall, Wright crafts a very lavish but lifeless film about a woman’s affair that led to scandal and the loss of her identity.

Cinematographer Seamus McGarvey does fantastic work with the film‘s cinematography from the gorgeous look of the exterior locations to some of the lighting in the theater stage and some of its interior settings. Editor Melanie Ann Oliver does excellent work with the editing from the use of montages and fast-cuts for the dancing scenes as well as some smooth transitions for the fantasy-reality scenes. Production designer Sarah Greenwood, with set decorator Katie Spencer and supervising art director Niall Moroney, does amazing work with the set pieces from the look of the Karenin home to the look of the stage where a lot of the action occurs.

Costume designer Jacqueline Durran does brilliant work with the costumes from the uniforms that Vronsky wears to the many dresses that many of the female characters wear including Anna. Hair/makeup designer Ivana Primorac does dazzling work with the hair/makeup to complement the different looks of the many female characters. Sound editors Craig Berkey and Becki Ponting do superb work with the sound to capture the intimacy of the theatrical settings as well as the broad sound of the scenes set at the train station. The film’s music by Dario Marianelli is spectacular for its heavy yet effective orchestral score to play out the romance and drama while also using some low-key moments and some themes for the different characters including a humorous one for Stiva.

The casting by Dixie Chassay and Jina Jay is terrific for the ensemble that was created as it features some notable small roles from Holliday Grainger as a baroness friend of Vronsky, Michelle Dockery as a friend of Anna, Shirley Henderson as a disapproving madam at a scene late in the film, Raphael Personnaz as Vronsky’s brother, Oskar McNamara as Anna and Count Karenin’s son Serhoza, Alexandra Roach as the Countess Nordstron that Vronsky tries to woo early in the film, and Emily Watson in a chilling performance as the Countess Ivanova who observes Anna’s behaviors as she would eventually tell Karenin about what is going on. Ruth Williams is wonderful as the mysterious Princess Betsy who tries to get her cousin Vronsky to steer him away from Anna while Olivia Williams is excellent as Vronsky’s mother Countess Vronskaya who is very disapproving about her son’s relationship with Anna.

Matthew McFayden is fantastic as Anna’s brother Stiva who tries to deal with the chaos in his own life while helping out Levin. Kelly MacDonald is superb as Stiva’s wife Dolly who deals with her husband’s infidelity while helping out her sister Kitty to find love. Alicia Vikander is remarkable as Kitty as a young woman who is supposed to marry Vronsky only to lose herself in a whirlwind of many prospects while being courted by the more kind Levin. Domhnall Gleeson is marvelous as Levin as a young man who is in love with Kitty only to lose her to her more revered prospects as he tries to deal with his idea of love as well as his family who are dealing with their own troubles. Jude Law is amazing as Count Karenin as a man who is devoted to his service for his country while trying to make time for his family only to learn the truth about what Anna is doing as he tries to comprehend everything as well as make some decisions about what to do for his son.

Aaron Johnson is quite bland as Count Vronsky where Johnson doesn’t do enough to make his character interesting as he spend some of his time being aloof or doe-eyed where it comes across as very uninspiring to watch. Keira Knightley is pretty terrible as the titular character as she spends some of her time either overacting in some of the dramatic moments or just underplaying where she often wears a veil and gaze. It’s a performance that doesn’t allow Knightley to really do more for the character as it has her just being sad and confused most of the time though she’s more effective in the happier moments as it’s not one of her best works.

Despite its amazing supporting cast and technical work, Anna Karenina is a very disappointing film from Joe Wright. Due to the uninspiring leading performances of Keira Knightley and Aaron Johnson as well as Joe Wright’s emphasis on style over substance and Tom Stoppard’s messy script. It’s a film that had all of the tools to be something quite grand and engaging only to end up being dull and flat. In the end, Anna Karenina is a very underwhelming film from Joe Wright.

Joe Wright Films: Pride & Prejudice (2005 film) - Atonement - The Soloist - Hanna

© thevoid99 2013

Trainspotting

Originally Written and Posted at Epinions.com on 12/23/08 w/ Additional Edits & Revisions.

Based on the novel by Irvine Welsh, Trainspotting is the story about a group of heroin addicts living in the economically-depressed world of Edinburgh, Scotland as one of the addicts is struggling to find a life outside of heroin addiction. Directed by Danny Boyle and screenplay by John Hodge, the film is an exploration into the life of a young man dealing with his own heroin addiction as well as trying to maintain his friendship with those are addicts and those who aren't. Starring Ewan McGregor, Jonny Lee Miller, Ewen Bremner, Kevin McKidd, Kelly MacDonald, Peter Mullan, Shirley Henderson, and Robert Carlyle. Trainspotting is an outstanding yet harrowing film from Danny Boyle.

Drug addiction is often used as a way to escape from the world of reality no matter how bad it is. For Mark Renton (Ewan McGregor), he uses it as a way to get away from the real world as well as what it offers as he has friends who use it as well as those who don't do it. Still, Renton is eager to try to withdraw himself from the drug in an attempt to live a clean life as well as trying to get out more socially. Though he would eventually form a relationship with an underage woman in Diane (Kelly MacDonald), it wouldn't be enough as he is often drawn back to the world of addiction as he even gets one of his friends in Tommy (Kevin McKidd) to be part of this troubled world. After a series of circumstances and an encounter with Diane, Renton attempts to start a new life in London but old friends would only bring trouble as he is suddenly drawn into an even darker world involving crime as he tries to maintain something that would allow him to live a good life.

John Hodge's screenplay is unique for the way it explores the life of a young man and his struggles as it's told largely from his perspective with a lot of voice-over narration. While it's a film with a very grim subject matter, there's humor in the script that is filled with some stylish dialogue as well as scenes that are just terrifying to watch such as Renton trying to retrieve suppositories in the most disgusting toilet in Scotland. Still, Hodge's script has a structure where the first act is about his attempts to withdraw from heroin. The second act is his return to heroin and a near-death experience while the third is his life in London where he tries to start a new life only for his old friends to arrive and nearly ruin things. Through this narration, Renton allows himself to explain the unique world of heroin as well as his everything he's going through as well as his later life being a clean young man trying to make it in London where it's an entirely new world.

Danny Boyle's direction is very stylish as it's filled with lots of dark and funny moments through his unique compositions and scene staging. Yet, some compositions include references to the Beatles and scenes that can be a mix of beauty and ugly. Even in how Boyle would shoot a scene, notably Renton's near-overdose as he tells the film from Renton's perspective. Yet when Boyle creates funny moments, he creates something that can be disgusting to watch yet finds the right note of humor to create that scene. For the film's scenes in Edinburgh, the whole look seems a bit depressing and grey in contrast to the sunnier, colorful world of London. Boyle maintains a look and style to the film as he creates an energetic, fun, harrowing, yet sensational film that is repeatedly watchable.

Cinematographer Brian Tufano creates a unique look to the film with its grey, colorless look of exterior Edinburgh in the daytime with the smoky nighttime scenes at the club. Even some of the interior shots have a unique look to convey the troubled, hazy moods of Renton on dope. The look of London Tufano creates is more colorful in its exterior and interior scenes. Notably the nightclub rave scene to reveal the contrast world of retro-driven Edinburgh and the electronica world of London. Editor Masahiro Hirakubo is excellent in its rhythm, speed-cuts to emphasize the emotions of Renton, and transitions to reveal the world that Renton is surrounded by.

Production designer Kave Quinn and art director Tracey Gallacher do an excellent work in the look of some of the dirty, decayed look of Edinburgh in its apartments and other exterior worlds. The look for London is more clean and colorful until Begbie and Sick Boy arrives to make a mess of things. Costume designer Rachael Fleming does excellent work in the decayed look of the street clothes that the men wear while Sick Boy gets to wear nice suits. Yet, it's the sparkly dress that Diane wears that really stands out among the costumes as it looks great. Sound recordist Colin Nicholson and effects editor Jonathan Miller do great work in capturing the sound locations, action, and dance-club scenes.

The film's soundtrack is truly one of the greatest film soundtracks ever made with music legends like Iggy Pop, Brian Eno, and Lou Reed plus tracks by Brit-pop luminaries like Blur, Blur vocalist Damon Albarn, Elastica, Primal Scream, Pulp, and Sleeper. Other tracks ranging from 80s stalwarts like New Order and Heaven 17 to electronic acts like Leftfield, Bedrock, Ice MC, and Underworld provide the idea of new Britain. Orchestral pieces by Johann Sebastian Bach and Georges Bizet are used for comic effect as it's easily one of the greatest film soundtracks ever created.

The casting by Andy Pryor and Gail Stevens is wonderfully assembled with cameo appearances by the book's novelist Irvine Welsh as Mikey Forrester, Dale Winton as a game show host, screenwriter John Hodge as a security officer, producer Andrew MacDonald as a buyer of one of the flats Renton sells, and costume designer Rachael Fleming as a nurse. Small roles like James Cosmo and Eileen Nicholas as Renton's parents are good as is Susan Vidler as Allison, Shirley Henderson as Gail, and Pauline Lynch as Lizzy. Peter Mullan is great in a small but memorable supporting role as Swanney, the dealer who cooks up heroin for Renton and the gang. In her film debut, Kelly MacDonald is great as Diane. The underage young woman who looks older but provides a sense of surprise and wisdom to Renton in making him change his life as MacDonald is funny and charming in her film debut.

Kevin McKidd also does great work in his film debut as Tommy, a clean-cut man who gets dumped by his girlfriend only to succumb to the troubles of heroin addiction. McKidd's performance is excellent to see someone full of life and hope go down only to bring a sense of guilt to the film's protagonist. Ewen Bremner is excellent as Spud, the most innocent and comical member of the group as he's often clueless despite his earnestness and being just a good guy. Jonny Lee Miller is wonderfully slimy and witty as Sick Boy, the Sean Connnery-loving guy who likes to look good while being just as sleazy and untrustworthy. Robert Carlyle is amazing as the psychopathic Begbie, a guy who likes to intimidate people and be the leader. Carlyle's performance is fun to watch in every scene he's in as he's just one of cinema's most unlikely badasses. Finally, there's Ewan McGregor in a breakout performance as Renton. The protagonist trying to leave the world of heroin addiction while struggling with his addiction. McGregor's performance is really the heart of the film as he provides the sense of struggle and hopefulness in his performance.

Trainspotting is an exciting, funny, yet harrowing film from Danny Boyle. Thanks to Boyle's stylish direction, John Hodge's witty screenplay, a superb soundtrack, and an amazing ensemble cast led by Ewan McGregor. It remains one of Britain's beloved films as well as one of the best films ever made. With a lot of memorable scenes both funny and horrifying, it's a film that remains unforgettable in whatever scene that is shown. In the end, for a film that is witty, dark, yet mesmerizing, Trainspotting is the film to go check out.

Danny Boyle Films: Shallow Grave - A Life Less Ordinary - The Beach - 28 Days Later - Millions - Sunshine - Slumdog Millionaire - 127 Hours - Trance - Steve Jobs (2015 film) - T2 Trainspotting - (Yesterday (2019 film))

Related: Trainspotting OST - Favorite Films #10: Trainspotting

© thevoid99 2013

Gosford Park

Originally Written and Posted at Epinions.com on 3/30/07 w/ Additional Edits & Revisions.

Based on an original idea from Robert Altman and Bob Balaban, Gosford Park is a murder mystery set in the British countryside in the course of a weekend involving a group of wealthy people and their servants as a conflict emerges between the two parties. Directed by Robert Altman and screenplay by Julian Fellowes, the film is a take on the whodunit mystery as it's set in the 1930s that is a mixture of comedy, drama, and suspense. With an all-star cast that includes Maggie Smith, Helen Mirren, Michael Gambon, Stephen Fry, Kelly MacDonald, Jeremy Northam, Kristin Scott Thomas, Bob Balaban, Ryan Phillippe, Alan Bates, Richard E. Grant, Camila Rutherford, Emily Watson, Eileen Atkins, Clive Owen, Tom Hollander, Charles Dance, Derek Jacobi, and Geraldine Somerville. Gosford Park is a witty yet delightful whodunit from the brilliant Robert Altman.

A weekend gathering at the British gathering is happening as a group of rich socialites and many others arrive at the home of Sir William McCordle (Michael Gambon) and Lady Sylvia (Kristin Scott Thomas). Among those arriving are the Countess of Trentham (Maggie Smith) with her maid Mary MacEachern (Kelly Macdonald), Lord and Lady Stockbridge (Charles Dance and Geraldine Sommerville) with their servant Robert Parks (Clive Owen), Freddie and Mabel Nesbitt (James Wilby and Claudie Blakely), Lt. Commander Anthony and Lady Lavinia Meredith (Tom Hollander and Natasha Wightman), Ivor Novello (Jeremy Northam), and American producer Morris Weissman (Bob Balaban) with his servant Henry Denton (Ryan Phillippe). The servants are accompanied by the head butler Jennings (Alan Bates) along with housekeeper Mrs. Wilson (Helen Mirren), head maid Elsie (Emily Watson), jewels security chief George (Richard E. Grant), and the chef Mrs. Croft (Eileen Atkins). Immediately, conversations occur throughout the house as Denton tells Wilson and Croft that his boss is a vegetarian as he observes the place much to the annoyance of his fellow maids and servants. Meanwhile at the house, a lot is happening where the Nesbitts are having marital issues where Freddie seeks to have an affair with Sir McCordle's daughter Isobel (Camilla Rutherford) and Lt. Commander Meredith is seeking to have a business deal with Sir McCordle.

While dinner is happening both up and downstairs, Denton continues to ask questions to the maids and servants where Parks reveals himself to be an orphan where a couple of late arrivals happen in Lord Rupert Standish (Laurence Fox) and his friend Jeremy Blond (Trent Ford). Mary does some last minute work as she tries to figure out how to work in a big house without bothering anyone. On the next day during pheasants hunting with Sir McCordle, things don't go well during the hunt while Anthony Meredith and Freddie Nesbitt are both eager to talk to him. Instead, things don't go well as everyone starts to get testy with one another leading to a tense dinner where a comment by Lady Sylvia has Elsie finally speaking out in defense of Sir McCordle. Elsie leaves due to her behavior as Ivor Novello decides to change the mood by entertaining the guests while Weissman is waiting for a phone call. Later that night, Lady Stockbridge makes a shocking discovery where Inspector Thomas (Stephen Fry) and Constable Dexter (Ron Webster arrive to the house to investigate. With Thompson amazed by the home, he talks to all of the servants including Probert (Derek Jacobi) as well as the guest about their connections to McCordle.

Still, revelations are unveiled into why Henry Denton had been so snoopy as many of the guests and servants who killed McCordle and why. Mary makes a discovery about Parks in relation to McCordle as does Dexter. Once the investigation winds down, Mary receives a final lesson from Mrs. Wilson about servitude.

While the movie is a classic whodunit where everyone is a suspect, Robert Altman takes the genre off its feet and makes it into something where it becomes more about the people behind the homes and how they run the place. Yet, it's not surprising that the servants, butlers, cooks, and valets are far more interesting than the people above the basements who spend their time talking about things common people can't relate to. That doesn't mean the posh aren't uninteresting, there's moments when they can be interesting. Yet, they are out of touch somewhat with the real world when Weissman talks about a movie he plans to make yet, most of the people he is surrounded by aren't interested or intend to watch his films. Really, the film is about a murder and how people react to it while living their own idea of life.

Screenwriter Julian Fellowes does an amazing job in taking the structure of making the story feel like a theatrical play of sorts. There's the first act where the story introduces the characters, the second act about the murder and the investigation, and the third is the aftermath. It's all told in a simple way while it's all helmed by the brilliance of Robert Altman. Taking an almost, entirely British cast whom all seem to have some kind of theater background. The film does feel like a theater play where all the actors have their place and their own take on the character.

Yet, Altman deconstructs all of that to the point where the actors feel a bit loose, improvise, and enjoy themselves. Including a very comedic scene where Maggie Smith is seen laughing as if she's having a hell of a time. The camera rarely stands still as it's constantly moving to observe a conversation, a moment where people are having fun or something else. It's all part of the Altman style of improvisation, overlapping dialogue, and something that feels natural for the audience to relate to. Yet, it still works to the point where though at times, it's hard to follow, it's a lot of fun to watch.

Cinematographer Andrew Dunn does great work in capturing the atmosphere and difference of the two cultures with very dark, intimate lighting schemes on the basements to more showy lights on the upstairs part. Production designer Stephen Altman and art director Sarah Hauldren do amazing work in playing to the film's authenticity of 1930s cars, objects, and such with costume designer Jenny Beavan creating wonderfully lavish clothing for the upper class people.

Editor Tim Squyres adds to the film's energetic, improvisational style with some wonderful cutting and tension to build the momentum for the suspense. Sound editor Nigel Mills also adds to the film's atmosphere with a great sequence where Ivor Novello sings and how the people downstairs react to his music playing in the background. The music of Novello is heard as is a wonderfully melodic, suspenseful score from Patrick Doyle whose piano flourishes and orchestral arrangements adds to the film's unique energy.

Then there's the film's amazing cast in which, there isn't a single bad performance. To the smallest of performances to the most well-known cast member. Yet, it's a bit hard at times to remember everyone involved. Small performances from Trent Ford, Laurence Fox, Teresa Churcher as cook Bertha, Jeremy Swift as the gay butler Arthur, and Ron Webster as Constable Dexter are memorable. Sophie Thompson is great as the ever-loyal Dorothy who seems willing to do anything for Mr. Jennings. Charles Dance and Geraldine are wonderful as Stockbridges with Clive Owen giving a fantastic role as the shady Robert Parks.

Derek Jacobi is wonderful as Mr. McCordle's personal butler with Richard E. Grant as the snotty George. Ryan Phillippe is very good as the shady Henry Denton who gets more than he bargains for when he plays both sides only to be humiliated in front of both. Bob Balaban is excellent as the consumed American producer Weissman who carries his own secret that only Denton knows. Jeremy Northam is wonderful as the entertaining Ivor Novello.

Maggie Smith is wonderfully funny as the spoiled Constance who enjoys her own lifestyle though not fully aware of the real world. Tom Hollander is good as the desperate businessman Meredith with James Wilby as another desperate man in Freddie Nesbitt. Natasha Wightman and Claudie Blakley are excellent as their respective wives to portray the contrast of their own love life with Blakley being more dramatic. Stephen Fry is charming as the inept, distracted Inspector Thompson, who never gets to say his name entirely while Emily Watson is amazing as the Cockney-accent Elsie whose experience and care for McCordle makes her a very complex character. Camila Rutherford is excellent as the suffering Isobel who is often pursued by Freddie with Kristin-Scott Thomas as her mother Sylvia, who is a divine as the bitchy, bored wife of McCordle.

Sir Michael Gambon is excellent as this awful yet mean man who has become more distracted by money and riches as he opposes all sorts of old businesses and such. Eileen Atkins and Helen Mirren are great as feuding members of the staff who don't like each other with Mirren giving an amazing performance as the perfect servant, Mrs. Wilson. The late Alan Bates is great as the head butler Mr. Jennings who have his own secrets while managing the house while Kelly MacDonald is great as the naive yet observant Mary MacEachern who learns what it takes to be a great servant.

Gosford Park is an incredible film from Robert Altman that features an amazing ensemble cast. The film is definitely among of Altman's great films for its take on the whodunit mysteries as well as utilizing his mastery of finding life in an ensemble piece. Notably as it explores the world of class and servitude and the roles that these people play in this way of life. In the end, Gosford Park is an extraordinarily rich film from Robert Altman.

Robert Altman Films: (The Delinquents) - (The James Dean Story) - Countdown (1968 film) - (That Cold Day in the Park) - M.A.S.H. - Brewster McCloud - McCabe & Mrs. Miller - (Images) - The Long Goodbye - Thieves Like Us - California Split - Nashville - Buffalo Bill and the Indians, or Sitting Bull’s History Lesson - 3 Women - (A Wedding) - (Quintet) - (A Perfect Couple) - (HealtH) - Popeye - (Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean) - (Streamers) - (Secret Honor) - (O.C. and Stiggs) - Fool for Love - (Beyond Therapy) - (Aria-Les Boreades) - (Tanner ‘88) - (Vincent & Theo) - The Player - Short Cuts - Pret-a-Porter - (Kansas City) - (The Gingerbread Man) - Cookie’s Fortune - Dr. T & the Women - The Company (2003 film) - (Tanner on Tanner) - A Prairie Home Companion

© thevoid99 2013

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

Elizabeth (1998 film)

Originally Written and Posted at Epinions.com on 7/16/07 w/ Additional Edits & Revisions.

Directed by Shekhar Kapur and written by Michael Hirst, Elizabeth tells the story of Elizabeth's early life before she became Queen until she was accused of making murder attempts towards her half-sister Mary. When Elizabeth becomes Queen, she is surrounded by advisors, suitors, and everyone wanting her until she takes control. The film is an exploration as well as a dramatization of Queen Elizabeth's early life before she would assume the persona of being the Virgin Queen as she is played by Cate Blanchett. Also starring Geoffrey Rush, Joseph Fiennes, Christopher Eccleston, Richard Attenborough, Fanny Ardant, Emily Mortimer, Kelly MacDonald, Eric Cantona, Daniel Craig, Vincent Cassel, and in his final film role, Sir John Gielgud. Elizabeth is a powerful, mesmerizing bio-pic.

With England in a state of chaos over religious arguments between Catholics and Protestants, Queen Mary (Kathy Burke) falls ill while giving birth to a child that unfortunately dies as her husband also dies.  With Mary's half-sister Elizabeth set to replace her, Norfolk (Christopher Eccleston) is keen to arrest Elizabeth in his belief that she's part of the Protestant revolt whom she has no part of as she lives a quaint life with her love her Robert Dudley (Joseph Fiennes) and two ladies-in-waiting in Kat (Emily Mortimer) and Isabel (Kelly MacDonald).  After taken to prison with her ladies-in-waiting, Elizabeth is eventually freed when she is summoned to meet her dying sister where Elizabeth is to become the new Queen of England.  With Sir William Cecil (Richard Attenborough) aiding Elizabeth in the deal once Queen Mary dies in 1558, Elizabeth takes the throne as she gets the exiled Francis Walsingham as her advisor.

Still, the state of England is in chaos as they're facing the threat of the Scotland, that is run by Mary of Guise (Fanny Ardant) from France while many try to have the Queen get married to a king for political reasons as she continues to have her time with Dudley.  After a battle against the Scots that goes wrong, Elizabeth has to deal with other lords where she offers them a plan that guarantees her loyalty.  Still, Elizabeth faces assassination attempts as French ambassador Monsieur de Foix (Eric Cantona) suggests that Elizabeth should marry the comical Duke of Anjou (Vincent Cassel).  Instead, the meeting becomes a disaster though Cecil tries to ensure that the Queen must marry to ensure England's security.  After another failed assassination attempt, things get worse when the Pope (John Gielgud) gets involved as he hires the priest John Ballard (Daniel Craig) to assassinate the Queen.

With her relationship with Dudley strained following the assassination attempt as he turns to Spanish ambassador Alvaro de la Quadra (James Frain) for help.  The Queen turns to Walsingham for advice as he would make moves to help ensure England's safety after learning about another assassination attempt involving Ballard, Norfolk, Quadra, Earl of Sussex (Jamie Foreman), and Dudley.  After Walsingham informs Elizabeth, she would make plans that would set the wave for her powerful reign.

While the film is mostly accurate on some parts including the assassination attempts by Norfolk and Mary of Guise. Like many bio-pics before and since, they tend to have serious flaws in terms of dramatic interpretations. Some characters are created fictionally in order to serve as a drama. Yet, screenwriter Michael Hirst does make a fine effort in being true to history as well as basing things on legends. Though some parts tend to be overdramatized including the relationship between Elizabeth and Dudley. Still, the film's direction by Shekhar Kapur is wonderfully observant to show what was going on in England as well as the stories behind the throne.

Notably the scenes of Elizabeth in the aftermath of everything as she becomes the Virgin Queen. The film has a great ending where it was intended to just end with her taking on in this role. Even in a scenario that was similar to the ending of The Godfather. In many ways, this film is more about Elizabeth in an early stage of her life as she becomes Queen. The stuff about her reign however, is another story.

Cinematographer Remi Adefarasin who creates some wonderful lighting schemes from some of the dark, lighting set-ups in the film's earlier sequences to more colorful, spacious sequences in the film's party sequences. Editor Jill Bilcock does some excellent work in the film's editing, notably a scene of Elizabeth rehearsing on what she has to say with the use of jump-cuts to create a bit of humor. Production designer John Myhre and art director Lucy Richardson create wonderfully elaborate set designs for the film's party settings as well as the wonderful use of locations for the castles inside. Costume designer Alexandra Byrne does amazing work with the dresses and suits that looks wonderfully lavish to the period the film is set in. Sound editor Mark Auguste creates tense moments of the film's sound to convey the terror that is coming.

Music composer David Hirschfelder creates an exotic film score ranging from dramatic, orchestral pieces to convey the film's suspense. The film also includes period music ranging from folk music ranging from the use of mandolins, flutes, and such to revel in the period. It's an excellent score that plays to the film's drama.

The cast is wonderfully remarkable with some small parts in roles like Amanda Ryan as Norfolk's lover, Terence Rigby as the treacherous Bishop Gardiner, Edward Hardwicke as the sympathetic Earl of Arundel in an early scene of her arrest, Jamie Foreman as the Earl of Sussex, future British pop singer Lily Allen as a young lady-in-waiting, and two small yet memorable performances from current British favorites Emily Mortimer and Kelly MacDonald as two of Elizabeth's loyal ladies-in-waiting. Daniel Craig is great in an early role as a brutal assassin. James Frain is also good as the corruptive ambassador Quadra who tries to win over the mind of Dudley. Eric Cantona is good as the French ambassador Monsieur de Foix while Kathy Burke is excellent as the hateful Queen Mary I.

In his final film role, Sir John Gielgud is brilliant as a hateful Pope who sees the Queen as a threat. Vincent Cassel is very funny and over-the-top as the Duke of Anjou with his knack to be comical and wear dresses. Fanny Ardant is great as Mary of Guise who tries to take control of Elizabeth while having some charm and wit in her role as she meets Walsingham. Christopher Eccleston is great as the conniving, secretive Norfolk who tries to get rid of the Queen in an attempt to become ruler. Joseph Fiennes is excellent as Robert Dudley, the Queen's lover who tries to deal with the new changes of her life that would ultimately led to his own downfall.

Richard Attenborough is great as Sir Cecil, an old advisor who tries to do what is best for the Queen as only sees his failure despite the Queen's gratitude. The film's best supporting performance easily goes to Geoffrey Rush as the mysterious Walsingham who becomes the Queen's right-hand man as he plans assassinations and such. Rush is just great in playing a dark character who can display charm while being cold at the same time.

Finally, there's Cate Blanchett in what has to be one of her greatest performances. Blanchett brings a wonderfully complex performance as a young, carefree, innocent woman who is aware of her possible role. Displaying the kind of insecurities and flaws that is to come from any woman who is about to rule, Blanchett brings those flaws with a grace that isn't seen much in acting. When she becomes Queen, we see a sense of anger and later, coldness as she develops into a strong woman who is trying to help a country in chaos become strong again. It is indeed a majestic performance from the actress.

Elizabeth is an extraordinary period film from Shekhar Kapur that features a towering performance from Cate Blanchett. Along with great production value and a superb ensemble cast that includes Joseph Fiennes, John Gielgud, Fanny Ardant, Christopher Eccleston, and Geoffrey Rush. It's a film that plays up the grandeur of who Queen Elizabeth was in her early years as well as the people who try to bring her down. In the end, Elizabeth is a marvelous film from Shekhar Kapur.

(C) thevoid99 2012

Tristram Shandy: A Cock & Bull Story

Originally Written and Posted at Epinions.com 12/26/06 w/ Additional Edits & Revisions.

Based on the novel Tristram Shandy by Laurence Stern, Tristram Shandy: A Cock & Bull Story is about the making of a film adaptation of Tristram Shandy where cast and crew deal with the impossible task of filming a novel that is deemed un-filmable. Directed by Michael Winterbottom and screenplay by Frank Cottrell Boyce (under the Martin Hardy pseudonym), the film explores the story of Tristram Shandy as well as film's crew attempt to try and make this impossible film told by its lead actor Steve Coogan who plays the titular character along with Tristram's father and as a version of himself. Also starring Rob Brydon, Jeremy Northam, Ian Hart, Gillian Anderson, Kelly MacDonald, Naomie Harris, David Walliams, Dylan Moran, Keeley Hawes, James Fleet, Mark Williams, Stephen Fry, Kieran O'Brien, and Winterbottom regular Shirley Henderson. Tristram Shandy: A Cock & Bull Story is a witty satire from Michael Winterbottom.

Tristam Shandy talks about his own life and how his uncle Toby (Rob Brydon) got wounded where Tristam later received a similar injury when he was a child (Joe Williams). After discussing his birth and how he was conceived, the birth scene becomes a disaster as its director Mark (Jeremy Northam) is unsatisfied by the results. Steve Coogan and Rob Brydon (as himself) go on break they argue over shoe sizes and height while the assistant director Ingoldsby (Mark Williams) frets over historical accuracy. Often accompanied by production assistant Jennie (Naomie Harris) and trying to be attentive to his girlfriend Jenny (Kelly MacDonald) and their baby, Steve works with Mark and screenwriter Joe (Ian Hart) try to figure out how to tell the story as they realize the difficulty in leaving things out. After an interview with Tony Wilson where Steve reveals what won't be covered, Wilson is enraged over the Widow Wadman story not being filled as Steve later deals with a journalist named Gary (Kieran O'Brien).

Dealing with his attraction towards Jennie, who reveals about a drunken affair they had the previous night, Steve tries to deal with all of the chaos of filming as the rushes for the battle scenes turned out not to be very good. Finally deciding to put the Widow Wadman story in the film, Steve suggests to producer Simon (James Fleet) to get Gillian Anderson for the part. Anderson accepts the role much to Rob Brydon's anxieties as he has a crush on Anderson. Everyone becomes nervous about Anderson's involvement while Rob learns his part is being expanded as Steve is fretting over that as well as Jennie's flirtations. More importantly, everyone else wonders how will this impossible story will be received as the final film.

It's true that adaptations and even biographies are hard to make into films, especially since they feature stories and subplots that readers seem to love. What Michael Winterbottom and his longtime screenwriter Frank Cottrell Boyce tried to do was make two different films. The first act being about Tristram Shandy and then the second act about making the film and the third is about the business of trying to make Tristram Shandy. While Boyce's structure is interesting along with its knack for British humor, the structure and humor isn't for everyone though Winterbottom brings a lot of satire to the film's second and third act. While the first act is an interesting yet funny film about a man's life, during the second and third act, it reveals that the life of this man is filled with so many stories. Especially in a 94-minute film is impossible to tell where it's hard to make the story of a man like Tristram Shandy where the film becomes a satire of where everything in the world of filmmaking goes wrong due to the egos of actors, the accuracy of costumes, and everything in between. The result is a funny, witty satire from Winterbottom and Boyce.

Cinematographer Marcel Zyskind does wonderful work with varied styles of photography to the arty, artificial style of Tristram sequences and scenes to the more documentary, hand-held approach towards the rest of the film. Production designer John-Paul Kelly and art director Emma MacDevitt do wonderful work in creating the period style of the 18th Century for the Tristram sequences while costume designer Charlotte Walter also does fine work in the look of the costumes where it's purposely is made to look foolish. Editor Peter Christelis does excellent work in playing with the film's structure while giving it a leisurely-pacing feel. Sound recordist Stuart Wilson does some excellent work in creating the sound to convey the atmosphere of the times and the documentary-style of the making-of stuff. The film's music is filled with an array of classical pieces from Antonio Vivaldi, Nino Rota, and Johann Sebastian Bach along with additional pieces from Michael Nyman and Edward Nogria.

The film's cast is wonderfully assembled with several actors playing themselves or caricatures of the film crew and producers. Featuring small yet notable and funny performances from Mark Williams as a historically-accurate assistant director, Keeley Hawes as Elizabeth Shandy/herself, Shirley Henderson as Susannah/herself, David Walliams as the hilarious parson, Stephen Fry as an eccentric historian, Paul Kynman as Shandy's assistant Obidiah, Dylan Moran as the dim Dr. Slop, Raymond Waring as cousin Trim, and Kieran O'Brien as the journalist Gary. Ian Hart is pretty funny as the screenwriter Joe who tries to re-write everything while Mark Hadfield is also good as another journalist named Leo. James Fleet and Jeremy Northam are excellent in their respectful roles as the producer and director Mark where Northam is really making fun of Michael Winterbottom. Tony Wilson and Gillian Anderson are excellent in their cameos as themselves with Anderson doing a great job as Widow Wadman. Joe Williams and Conal Murphy are really good as the child Tristram with their arrogant personality in believing that they're better actors than Steve Coogan.

Kelly MacDonald is wonderfully sweet as Coogan's girlfriend Jenny while Naomie Harris is witty as Coogan's assistant Jennie. The film's best supporting performance goes to Rob Brydon as Uncle Toby and himself. Brydon is the best comedic foil to Coogan as a supporting actor who suddenly is getting more attention to Coogan while dealing with the upcoming appearance of Gillian Anderson. Brydon steals every scene he's in as he also does some hilarious impressions of American actors. Finally, there's Steve Coogan in one of his funny roles as Tristram, his father, and himself. Coogan is truly a comedic genius with his straight-manner in how he narrates and tells the story while allowing himself to be humiliated in strange situations. This is truly Coogan's film as he brings the same kind of energy and wit that he did in 24 Hour Party People.

Tristram Shandy: A Cock & Bull Story is a fascinating, witty film from Michael Winterbottom and company. Though some might not get the film's British humor, fans of British comedy and the satire of filmmaking will indeed enjoy this. Thanks in large parts to the comedic talents of Steve Coogan and Rob Brydon along with their supporting cast, it's a film that no doubt has the Winterbottom wit. Sadly, this film also marked the end of Winterbottom's collaboration with screenwriter Frank Cottrell Boyce where the two fell out during the making in which Boyce chose the Martin Hardy pseudonym. Still, Tristram Shandy: A Cock & Bull Story reminds them of their talent and great collaboration as writer and director.

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

© thevoid99 2012

No Country for Old Men

Originally Written and Posted at Epinions.com on 11/22/07 w/ Additional Edits.

Based on the novel by Cormac McCarthy, No Country for Old Men is the story of a man who finds dead bodies in a shootout and a suitcase with two million dollars in cash. Suddenly, an investigation over the dead bodies is made by a sheriff while a killer is looking for his lost money. Written for the screen, produced, and directed by Joel & Ethan Coen, the film is a return to the crime films of their past work to study a war as it baffles an aging sheriff caught up in changing times. With an all-star cast that includes Josh Brolin, Javier Bardem, Kelly MacDonald, Woody Harrelson, Barry Corbin, Beth Grant, Tess Harper, Coen Brothers regular Stephen Root, and Tommy Lee Jones. No Country for Old Men is a haunting, visceral, and chilling film from the Coen Brothers.

It's 1980 in a desert in Texas as a man named Llewellyn Moss (Josh Brolin) is deer hunting as he hears gunshots from the other side of the desert. He walks into a slew of dead bodies with a man wounded asking for water. He then finds another dead man under a tree with a shiny pistol and a suitcase filled with two million dollars in cash. He returns home to his trailer park residence where his wife Carla Jean (Kelly MacDonald) was waiting for him. She wonders about the money he's just found as Llewellyn hopes he uses it for little things. Later that night, he wakes up returning to the scene of the crime hoping to help the wounded man only to be chased by a gang of Mexican drug dealers and a dog as he returns home telling Carla Jean to leave town and live with her mother (Beth Grant).

Meanwhile, a sociopathic killer named Anton Chigurh (Javier Bardem) is trying to find the lost money as he later kills his employers and others to find his money. After killing several people for their cars, he goes on the hunt for Llewellyn Moss as an investigation over the drug deal with dead bodies lying around is underway by a sheriff named Ed Tom Bell (Tommy Lee Jones). With his young deputy Wendell (Garret Dillahunt) assisting, they ponder on who did the deed while finding Llewellyn's truck. With Anton's bloody manhunt continues, Llewellyn is still evading him while wondering who is hunting him down. With the money now lost, it's up to a bounty hunter named Carson Wells to find the money for a businessman (Stephen Root) to recover from the botched drug deal.

After another near-encounter with Chigurh that becomes bloody, Llewellyn flees to Mexico where he is met by Wells who tells him about Chigurh. With Wells as Moss' only hope, he returns to the U.S. to be with Carla Jean who has been questioned by sheriff Bell about what happened. On the day he arrives, she calls Bell for help where suddenly, things become tragic as Bell is forced to ponder the changing times as he talks to his uncle Ellis (Barry Corbin) about the way the world works.

Returning to some of the crime elements in films like Blood Simple and Fargo, the Coen Brothers lean towards the novel by Cormac McCarthy about this simple story of a man who finds money only to be hunted by a killer with a sheriff trying to piece everything together. While little was reportedly changed from the original book to the Coens' adapted script including the dialogue, the story is definitely relevant to many of the Coen Brothers themes of symbolism and morality. Another theme that the film explore is sin, particularly greed as it's the catalyst for the film's plot. The money is the symbol of all greed with Chigurh, Moss, and Wells all wanting the money yet for different reasons. Wells wants it for the businessman while Moss is more of a simple man, and then there's Chigurh.

Anton Chigurh is a villain that is rarely seen in films. He’s violent, anti-social, remorseless, humorless, and certainly scary. While there is no clear motive on why he wants his money, he is a man that is willing to have it by any means necessary. No matter who he kills. He is certainly someone that has a presence where it's clear that once he's in a scene in the story, trouble is about to happen. Then there's Llewellyn Moss who is basically a simple man that has a bit of intelligence while knowing he's about to do something really stupid. Moss is a character audiences care about despite the fact he's a simple man.

Then there's the character of Ed Tom Bell, who begins the film with a voice-over narration about the way the world is changing for elders who couldn't keep up with the changing times. Bell is a man who seems content about his job and life yet has a few regrets. When he is faced with this investigation, it gives him a chance to do something good and maybe have a bit of redemption. Yet, his conflict isn't just this crime but action and cruelty of this crime that he is baffled by. It's the script by the Coens and their faithfulness to McCarthy's work that is amazing for its structure with the first act being about the found money and Chigurh's manhunt for Llewllyn, the second act is about that continued manhunt and Bell's confusion over the modern world. The third act is more about Bell and how he relates to things as well as loss. His loss isn't just about what happens but the world around him as he turns to his Uncle Ellis as he too is having trouble understanding the world.

The direction of the Coen Brothers is potent as ever with its use of locations shot in Texas and New Mexico. From its eye-weilding imagery to stylized scenery, Joel and Ethan Coen definitely create situations that wouldn't be shown in a Hollywood film. Notably the violence which acts as a sense of force and an element of surprise. Their take on the film's violence is visceral indeed from the opening sequences of Chigurh killing a deputy and then another man. For some scenes, the Coens know when not to show an act of killing even though the audience knows what was going to happen. The sense of tension and momentum throughout the film is superb with everything not being too fast or too slow. The pacing they use works on every level to convey the suspense. More importantly, the Coens' approach to storytelling with their compositions of scenes and presentation is insatiable.

One thing that a lot of audiences might be baffled about the film is its ending which is abrupt. What the Coens is emphasizing is the film's theme and most of all, it's title. It's about everything that has just happened and how one of its protagonist is dealing with everything. While that character may be rambling about something, it's only to reflect what the character is going through. It might seem confusing at first but once it's being replayed in the mind, it becomes understandable. That's what the Coens are trying to do while giving the audience something to think about in their own interpretations. The result overall is the Coen Brothers making a film that is haunting and as hypnotic as some of their previous work.

Longtime cinematographer Roger Deakins brings out some of his best camera work to date with eerie, dream-like photography style for many of the film's exterior sequences. Notably Llewellyn's chase in the desert as well as the nighttime scenes in Texas and Mexico. The interior sequences are done with amazing, low-light shades and darkness to give the film that haunting look. The cinematography of Deakins isn't just something that many cinematographers will love but also worthy of awards. The film's editing by the Coens under their Roderick Jaynes alias is also potent for their energetic, well-paced editing style to convey the suspense and tone of the film as Jaynes' work is amazing.

Production designer Jess Gonchor with art director John P. Goldsmith is excellent for its old-school, Texan look whether it's the cowboy shops, the trailer park home of the Moss', or the down-home look of Bell's home that is simple yet clean. The overall look in the production is amazing for its authenticity to convey what is America. Longtime costume designer Mary Zophres does some great work in the film's clothes with the use of cowboy hats for the characters of Bell, Moss, and Wells along with the dresses of Carla Jean Moss that are very simple. Longtime sound editor Skip Lievsay with sound designer Craig Berkey create a unique tone to the entire film for the fact that there's no film score played throughout the entire film. Instead, Lievsay and Berkey create sounds for the film's suspense and violence as their work is just amazing on every level. While longtime music composer Carter Burwell's work is minimal, he does create an eerie, ominous score with dense arrangements for the film's final credits.

The films casting by Ellen Chenoweth is amazing for notable small performances from Eduardo Antonio Garcia as the wounded man from the shootout, Zach Hopkins as the deputy killed early in the film, and Kit Gwin as Bell's secretary Molly. Other notable small performances from characters Barry Corbin and Beth Grant are superb with Corbin as the laconic Uncle Ellis and Grant in a funny role as Carla Jean's mother. Tess Harper is excellent in the role of Bell's wife who only appears in a few scenes but is a woman who is trying to understand her husband's alienation with the modern world. Coen Brothers regular Stephen Root is great in his brief performance as a businessman who hires Wells to track down the money while Garret Dillahunt is brilliant as Bell's young partner who scours around every crime scene asking Bell questions. Woody Harrelson's small role as Carson Wells is great for its laid-back humor and experience of a bounty hunter who knows Chigurh all too well and how he plays the game.

Scottish actress Kelly MacDonald is amazing as Carla Jean Moss, an innocent woman who is unaware of what her husband is trying to do despite her love for him. MacDonald does a great Texan accent while her performance is amazing for how she seeks help from Bell while having an amazing scene near the end about her own fate that shows her subtlety and restraint to everything that's happened to her. Josh Brolin is equally as great in the role of Llewellyn Moss, a simple man who doesn't know what he put himself through. Brolin's performance is very rugged and laconic as a Texan who knows he isn't the smartest man in the world while proving that he could go toe-to-toe with a psychopath like Chigurh. Brolin, who is having a breakout year with appearances in Robert Rodriguez's Grindhouse segment in Planet Terror, Ridley Scott's American Gangster, and Paul Haggis' n the Valley of Elah with Tommy Lee Jones as he is now destined for stardom.

Tommy Lee Jones is in masterful form as the wise Ed Tom Bell. Jones' performance is very grizzled and often with dead-pan humor that includes rambling stories about people he know. Yet, Jones performance isn't just hypnotic but also mesmerizing for the way he looks at the world and how he tries to do good. Tommy Lee Jones doesn't just earn another winning performance but one that most actor should look up to. Finally, there's Javier Bardem in what has to be his most chilling performance yet as Anton Chigurh. If there was a Hell-in-a-Cell match with Jason, Hannibal Lector, Freddy Krueger, and every other super-villain on film, Chigurh would win hands down. Bardem never goes over-the-top throughout his performance but his restraint is so eerie, it's definitely a performance that is unforgettable. While also sporting a Texan accent of sorts, Bardem definitely hides in character with a haircut that's almost comical until he starts killing. That's when he reveals he isn't funny and is all about business. Bardem rarely smiles in the film and if the Academy overlooks this performance, then the Oscars ain’t worth winning.

No Country for Old Men is a quintessential, harrowing, shocking film from Joel and Ethan Coen with a great cast that includes Javier Bardem, Tommy Lee Jones, Josh Brolin, and Kelly MacDonald. Fans of the Coen Brothers will no doubt rank this film up there with a lot of their many great films while those who loved the Cormac McCarthy novel will enjoy the film for its symbolism and themes. In the end, this is a film not for the faint of heart, especially for anyone who isn't into any kind of violence. Still, No Country for Old Men isn't just one of 2007's best films but it's a sign that the Coen Brothers are back in business.

Coen Brothers Films: Blood Simple - Raising Arizona - Miller's Crossing - Barton Fink - The Hudsucker Proxy - Fargo - The Big Lebowski - O Brother, Where Art Thou? - The Man Who Wasn’t There - Intolerable Cruelty - The Ladykillers (2004 film) - Paris Je T'aime-Tuileries - To Each His Own Cinema-World Cinema - Burn After Reading - A Serious Man - True Grit (2010 film) - Inside Llewlyn Davis - Hail, Caesar! - The Ballad of Buster Scruggs

The Auteurs #9: The Coen Brothers Pt. 1 - The Auteurs #9: The Coen Brothers Pt. 2

© thevoid99 2012