Passion (2012 film)

Based on the 2010 film Love Crime by Alain Corneau, Passion is the story of two women working for a multi-national corporation as they try reach for a prime position only for the competition to get dangerous. Written for the screen and directed by Brian de Palma, the film is a remake of sorts of Corneau’s film with some different interpretations as it play into two women trying to one-up themselves in a game to reach to the top. Starring Rachel McAdams, Noomi Rapace, Karoline Herfurth, Paul Anderson, Rainer Bock, and Benjamin Sadler. Passion is a gripping yet stylish film from Brian de Palma.

An advertising executive takes credit for her subordinate’s idea as she would later try and blackmail her prompting her subordinate to try and one-up her where it would eventually lead to murder. That is the film’s premise as it play into two women trying to vie for position in a multi-national advertising corporation in Berlin as it would intensify with one of them playing mind games over the other. Brian de Palma’s screenplay, which includes additional dialogue by Natalie Carter, focuses on this relationship between Christine Stanford (Rachel McAdams) and her subordinate Isabelle James (Noomi Rapace) as they’re trying to create a new ad yet Stanford would take credit for James’ idea for an ad that she created with her secretary Dani (Karoline Herfurth). Yet, Stanford is a woman that always gets what she wants as her reason to hurt James is due to the fact that James is having an affair with Stanford’s lover in a co-worker in Dirk Harriman (Paul Anderson) who is already in trouble for embezzling money from their company as he’s hoping to pay them back. Stanford’s usage of power and seduction would eventually cause James to break down and the desire to fight back.

The direction of de Palma definitely play into his stylish approach of slanted camera angles, split-screens, perspective shots, and other tricks that he is known for yet he does maintain the importance of the suspense and drama that occurs in the film. Shot on location in Berlin, de Palma avoids many of the city’s landmarks to focus on something that is more intimate in the corporate world that also include these lavish apartments that the main characters live in. There are some wide shots in the film yet de Palma emphasizes more on close-ups and medium shots to not just focus on the characters but in the environment they’re in. Even as he uses webcams and phones for footage as it would play into Stanford’s need to humiliate James in every way she can that include an office party scene that also shows footage of office workers in compromising positions.

The direction also has de Palma maintain this idea of what James might do yet she is already falling apart where she is seen using prescription pills to cope with the humiliation she endured. The usage of split-screen is a method that de Palma is known for where he gets multiple perspectives of what is going on where it focuses on a party Stanford is having as well as who is going to join for an after party while the other focus is on a ballet performance that James is watching. It is a sequence that is offbeat yet it play into the suspense of what is going to happen followed by an aftermath in the third act that is filled with the usual twists and turns over who did it. Even as it raises questions about who and why did it happen where de Palma definitely play with the tropes though it’s ending does get a little over-written towards the end. Overall, de Palma crafts a witty and exhilarating film about a corporate ad executive trying to outdo her subordinate leading to a battle for supremacy and seduction.

Cinematographer Jose Luis Alcaine does amazing work with the film’s cinematography with its usage of bright and vibrant colors for some of the scenes in the day and night along with blue filters and shades for other scenes to express the mood of the characters. Editor Francois Gediger does excellent work with the editing with its approach to rhythmic cuts for the suspense as well as playing up to the style of split-screens. Production designer Cornelia Ott, with set decorator Ute Bergk and supervising art director Astrid Poeschke, does brilliant work with the look of the offices and homes of Stanford and James as well as the restaurants and places they go to. Costume designer Karen Muller Serrau does fantastic work with the costumes with the clothes that Sanford wears including some skimpy and stylish lingerie to the black clothes that James would wear.

Special makeup effects artists Tamar Aviv, Goran Lundstrom, and Jorn Seifert do terrific work with the look of the characters including a mask that Stanford has which matches her face. Visual effects supervisor Sarah Moreau does nice work with the film’s minimal visual effects for some of the film’s set-dressing and scenes involving computers and such. Sound editor Jean Goudier does superb work with the sound as it play into the atmosphere of the offices and some of the places the characters go to. The film’s music by Pino Donaggio is incredible for its lush and eerie orchestral arrangement that play into the suspense with its usage of strings as it adds to the dramatic tension while music supervisor Elise Luguern provide a few classical pieces from Claude Debussy, Johann Sebastian Bach, and Wolfgang Amadeus Mozart as well as contemporary pieces from Archive, Steve Dudas, and Mark Hart.

The casting by Anja Dihrberg is wonderful as it feature a few notable small roles from Jorg Pintsch as a lover of Stanford in Mark, Michael Rotschopf as James’ attorney, Polina Semionova and Ibrahim Oyku Onal as the ballet dancers, and Dominic Raacke as a corporate boss in J.J. Koch. Benjamin Sadler is terrific as a prosecutor who believes that James is a suspect involved in a murder while Rainer Bock is superb as a police inspector who is suspicious of James yet is aware that something doesn’t feel right. Paul Anderson is fantastic as Dirk Harriman as a co-worker of James and Stanford who is sleeping with both women yet is already in trouble for embezzlement that leads to him being blackmailed by Stanford. Karoline Herfurth is excellent as Dani as James’ secretary who takes part in creating the ad that James wants to present while is also aware of the mind games that Stanford is playing where she becomes protective of James.

The performances of Noomi Rapace and Rachel McAdams in their respective roles as Isabelle James and Christine Stanford are incredible as two women working for a multi-national corporation as they find themselves fighting to be on top. Rapace’s performance is definitely filled with a lot of anguish and humility as someone who feels like she’s not getting enough credit while being used. McAdams’ performance as Stanford is such a delight in how bitchy she is where she uses her sex appeal to get what she wants as well as be emotionally manipulative that has a darkly comic edge. Rapace and McAdams together are a joy to watch with Rapace being the foil and McAdams being bad as they have this amazing chemistry together as they are the highlights of the film.

Passion is a remarkable film from Brian de Palma that features great performances from Rachel McAdams and Noomi Rapace. Along with its gorgeous visuals, study of multi-national corporate culture, themes of seduction and humility, and Pino Donaggio’s score. It’s a film that has the kind of story that definitely has the touches expected from de Palma while being this erotic thriller of sorts that play into the tropes of the genre. In the end, Passion is a marvelous film from Brian de Palma.

Related: Love Crime

Brian de Palma Films: (Murder a la Mod) – (Greetings) – (The Wedding Party) – (Dionysus in ’69) – (Hi, Mom!) – (Get to Know Your Rabbit) – Sisters - Phantom of the Paradise – Obsession – Carrie - The Fury - (Home Movies) – Dressed to Kill - Blow Out - Scarface (1983 film) - Body Double – (Wise Guys) – The Untouchables - Casualties of War - The Bonfire of the Vanities - Raising Cain - Carlito's Way - Mission: Impossible - Snake Eyes - Mission to Mars - Femme Fatale – The Black Dahlia - (Redacted) – (Domino (2018 film))

© thevoid99 2019

Prometheus

Directed by Ridley Scott and written by Jon Spaihts and Damon Lindelof, Prometheus is the story about two scientists who join a space crew to travel to a distant planet thinking they have found the origins of humanity in this unknown planet unaware of what might really be lurking. The film is a prequel of sorts to the Alien franchise which Scott had started back in 1979 where it explores ideas of faith and humanity in a sci-fi horror setting. Starring Noomi Rapace, Michael Fassbender, Charlize Theron, Idris Elba, Logan Marshall-Green, Rafe Spall, Kate Dickie, Benedict Wong, Sean Harris, and Guy Pearce. Prometheus is a sprawling though somewhat messy film from Ridley Scott.

The film is about these two scientists who believe that an archeological drawing might have the answer into who created humanity as they travel to a distant planet on a ship headed by the Weyland Corporation. What they would eventually find is something else as it causes a lot of trouble as well as the end of humanity. It’s a premise that is simple but since there are things in the story that leaves a lot of questionable gaps as well as the motivations into some of the characters. Driving the story is Dr. Elizabeth Shaw (Noomi Rapace) who is convinced that the drawing she and her longtime boyfriend in scientist Charlie Holloway (Logan Marshall-Green) is an invitation to find the answers of human existence as they convince the ailing Peter Weyland (Guy Pearce) to help them find these answers.

The film’s screenplay by Jon Spaihts and Damon Lindelof does raise questions into what might have existed in another world and were these so-called Engineers the creators of humanity. Yet, the script doesn’t really explain much into who they were and where they really come from as Dr. Shaw, Holloway, Weyland manager Meredith Vickers, and an android named David (Michael Fassbender) all try to find the answers. Yet, Vickers and David have motives that are very different as the latter is programmed by his master to find things where he would eventually tamper with some of his discoveries.

There aren’t clear motivation about Vickers as she is this very ambiguous individual as she is just looking over everything as she’s also being kept in the dark by David. Then there’s the ship’s pilot Janek (Idris Elba) who is the film’s realist who is convinced that something isn’t right as his confirmations prove to be true. It all plays to the element of suspense though its outcome doesn’t really payoff as it becomes very obvious as it’s a major flaw in the screenplay. Even as several characters get killed off and more questions start to emerge about what is inside this mountain they found in a planet.

Ridley Scott’s direction is quite spectacular in the way he presents the film from this opening sequence of an Engineer drinking this mysterious substance only to fall into a waterfall as he is disintegrating setting the stage for what he might become later on. Much of the film is set in mountains as much of the film’s location was shot in Iceland to play into a world that is unique and almost Earthly. Scott’s presentation of these locations do have a sense of wonder as it’s set in the late 21st Century where humanity is becoming more eager to find its origins in a planet that is vast and probably filled with all of those things. Much of the film’s interior settings as it’s all shot in a soundstage play into that element of suspense and mystery where it’s about the characters trying to find out what is inside this mountain.

Due to the script’s shortcomings, Scott doesn’t do enough to build up the suspense where it’s obvious what’s going to happen as a couple of characters encounter some strange alien being that will cause a lot of trouble. Even as it would later play into the elements of the third act where Dr. Shaw has to either hold on to her faith or just accept the truth. Yet, her decision becomes crucial as she is fully aware of what is out there as there’s an added twist to the story which creates more ambiguities to the story. Despite some of the flaws in the story, Scott manages to create a very solid and extraordinary film about the idea of human existence and where humanity comes from.

Cinematographer Dariusz Wolski does excellent work with the film‘s cinematography from the dark look of the mountain caves where the characters try to observe to the lights inside the Prometheus spaceship all the characters live in. Editor Pierto Scalia does amazing work with the editing from the use of rhythmic cuts to play out the suspense and action that occurs in the film. Production designer Arthur Max, with set decorator Sonja Klaus and supervising art director John King, do fantastic work with the set pieces from the look of the caves and the objects there to the interiors inside Prometheus. Costume designer Janty Yates does nice work with the look of the astronaut suit the characters wear when they go into the planet‘s exteriors as well as the clothes inside the spaceship.

Makeup designer Tina Earnshaw does terrific work with some of the film makeup effects such as the look of Peter Weyland as well as the Engineers. The visual effects by Richard Stammers, Charley Henley, and Martin Hill do brilliant work with the visual effects such as the 3-D holograms that appear on the visual maps inside Prometheus as well as some of the looks of the planet they landed on. Sound editors Victor Ray Ennis and Mark P. Stoeckinger do superb work on the sound to create some amazing sound design to play into the suspense as well as some of the scenes inside the spaceship and caves. The film’s music by Marc Streitenfeld is wonderful for its low-key yet brooding score to play into some of the wonders that is discovered as well as some ominous pieces to play into its suspense.

The casting by Nina Gold and Avy Kaufman is phenomenal for the ensemble that is created as it includes some notable small performances from Kate Dickie as the ship’s medic Ford, Emun Elliot and Benedict Wong as Janek’s wise-cracking co-pilots, Patrick Wilson in a flashback scene as Elizabeth’s father, Rafe Spall as the nerdy biologist Millburn, and Sean Harris as the more wild geologist Fifield who isn’t so sure about what is going on in the caves. Guy Pearce is terrific in a small role as Peter Weyland as this man who appeared as a hologram as an aging man who supports what Dr. Shaw and Holloway are trying to find. Logan Marshall-Green is excellent as Charlie Holloway as a scientist who is also eager to find the answers like Dr. Shaw as he becomes frustrated with the lack of progress in the search. Charlize Theron is pretty good as Meredith Vickers as this cold and distant manager who watches over the mission where Theron is hampered by the script by her lack of motivations and ambiguity which makes her performance a bit baffling to watch.

Idris Elba is fantastic as Janek as this no-nonsense pilot who just flies the ship as he doesn’t think this is going to go well as he also brings some humor to the film with his wisecracks. Michael Fassbender is amazing as the android David as a robot that is eager to please his creator while having the desire to want to be human despite some of his actions as Fassbender is just a real standout in the film. Finally, there’s Noomi Rapace in a remarkable performance as Dr. Elizabeth Shaw as this woman who relies on her Christian faith to believe that there is something out there only to find trouble as she deals with a lot that would challenge her idea of faith and existence as she dares to asks bit questions.

Despite some of the shortcomings and messiness of its script, Prometheus is still a worthwhile and engaging film from Ridley Scott. Thanks in part to some of the themes it presents as well as the performances of Noomi Rapace, Michael Fassbender, and Idris Elba. It’s a film that has ideas that are compelling while balancing it with some suspenseful entertainment though it is quite flawed. In the end, Prometheus is a very stellar film from Ridley Scott.

Ridley Scott Films: (The Duellists) - Alien - Blade Runner - (Legend) - (Someone to Watch Over Me) - (Black Rain) - (Thelma & Louise) - (1492: Conquest of Paradise) - (White Squall) - (G.I. Jane) - (Gladiator) - (Hannibal) - (Black Hawk Down) - (Matchstick Men) - (Kingdom of Heaven) - (A Good Year) - (American Gangster) - (Body of Lies) - (Robin Hood) - (The Counselor) - (Exodus) - The Martian - (Alien: Covenant) - All the Money in the World

© thevoid99 2013

The Girl with the Dragon Tattoo (2009 film)

Based on Stieg Larsson’s novel, Man som hatar kvinnor (The Girl with the Dragon Tattoo) is the story of a journalist trying to solve an unsolved murder more than 35 years ago for a billionaire. The journalist hires a researcher who aids him in the investigation that leads more troubles and intrigue to find out who killed this young girl. Directed by Niels Arden Oplev and script adaptation by Nikolaj Arcel and Rasmus Heisterberg, the film is the first part of a trilogy of films relating Larsson’s novels known as the Millennium Trilogy. Starring Noomi Rapace, Michael Nyqvist, Sven-Bertil Taube, Peter Haber, Lena Endre, Bjorn Granath, Ingvar Hirdwall, and Peter Andersson. Man som hatar kvinnor is a gripping and stylish thriller from Niels Arden Oplev.

After being disgraced for accusations against billionaire financier in Hans-Erik Wennerstrom (Stefan Sauk) and set to serve time in prison, journalist Mikael Blomkvist (Michael Nyqvist) is asked by another billionaire in Vanger Corporation head Henrik Vanger (Sven-Bertil Taube) to investigate the disappearance of his niece Harriet (Julia Sporre) nearly 40 years ago that Mikael knew as a child. Henrik reveals that he has received another framed flower thinking it’s from her killer as Mikael decides to take part of the investigation before his incarceration. Meanwhile, a 24-year old hacker named Lisbeth Salander (Noomi Rapace) has continually been hacking into Mikael’s computer while dealing with the fact that her finances are in the control of her new guardian in sadistic lawyer Nils Bjurman (Peter Andersson).

At the Vanger estate, Mikael meets Harriet’s brother Martin (Peter Haber) and their cousin Cecilia (Marika Lagercrantz) to know more about the Vanger family as they all remain quite secretive. While looking at the pictures of Harriet during a Children’s Day parade in 1966, he notices something in the picture where Harriet was looking at someone while a couple behind her had taken photos behind her. When Henrik Vanger suffers a heart attack, Vanger’s lawyer Dirch Frode (Ingvar Hirdwall) realizes that Mikael is going to need more help in the investigation as Mikael received an email from Lisbeth about the secret codes found in Harriet’s copy of the Bible. Lisbeth and Mikael team up as the two uncover something much bigger relating to the deaths of women back in 1949.

Thinking that the murders are all connected to some form of anti-Semitism since Harriet’s father and a couple of her uncles were part of the Nazi supporters. They realize that Harriet must’ve discovered something and was probably killed for it as Mikael and Lisbeth grow close together as they discovered that one of the women killed had worked for Harriet’s uncle Harald (Gosta Bredefeldt) whom Mikael believed was the one shooting at him. Believing that he might be the killer, the two decide to uncover Harald’s traveling records where a discovery is made about these deaths and what happened to Harriet.

The film is about a man and an odd yet troubled girl trying to catch a killer for an ailing old man that has happened some 35 years ago. During this journey, the journalist and researcher embark into a dark world of murders and secrets that involve the disappearance of this young girl and the secrets of this girl’s family. Throughout the entirety of the film, there’s character studies not just about the journalist but this unique researcher who has a large dragon tattoo on her back as well as body pierces and is a very aggressive woman with a dark past. The two become an unlikely pair in their investigation where they eventually become unconventional lovers to the dismay of the Vanger family.

The film’s script by Nikolaj Arcel and Rasmus Heisterberg is quite unconventional for the way the story is told. The first half has a very unique narrative that cross-cuts between the differing worlds of Mikael and Lisbeth where the latter is still surveying his files by hacking into his computer. Mikael is a once-respected journalist whose career is shattered due to a story where accuses a billionaire stealing money as he’s been found guilty for libel. In taking this job for a man that is in search for the disappearance of his beloved niece, it gives Mikael the chance to restore his damaged reputation as he later gets more than he bargains for.

Then there’s this strange young woman who is a professional hacker but prefers to be on her own with a laptop while not wanting to take shit from anyone. Still, her finances are handled by guardians who take care of her due to her own troubled past where she has to endure the cruel abuse of a sadistic lawyer. Yet, she always finds a way to deal with things as in her interest towards Mikael’s report about this missing young girl. She would become an unlikely help to his investigation where the two become this unique pair despite their differences and an unlikely sexual attraction.

The script’s second half is about the investigation and the relationship between Lisbeth and Mikael where they would uncover about what happened to this girl but who did these mysterious killings. It’s a mystery and thriller that takes its time to figure out what really happened and why it took such a long time for the investigation to unfold as a retired investigator (Bjorn Granath) would later help out uncovering the mystery.

Niels Arden Oplev’s direction is very entrancing to the way he presents the film with lots of wide shots of the various locations in Sweden including stylish compositions such as Lisbeth’s confrontation against Bjurman. The film, like a lot of thrillers, takes its time to set-up the characters and the mystery that surrounds the film. Over the course, clues start to appear little by little as Oplev creates dissolving montages of both Lisbeth and Mikael going over the investigation as computers play big parts to the film. The sense of style along with very straightforward compositions of intimate scenes including intense shots of Lisbeth in her motorcycle gives the film an edge that isn’t like a lot of thrillers. Overall, Oplev creates a truly smart and harrowing thriller that doesn’t go for conventions.

Cinematographer Eric Kress does an excellent job with the film‘s cinematography where a lot of the island exterior scenes and flashback scenes as it features a somewhat de-saturated look for its sunny colors while a lot of the nighttime exteriors and interiors are more stylish and eerie to enhance the film’s mood. Editor Anne Osterud does a wonderful job with the editing in creating stylish dissolve montages for some of the scenes involving computers along with a few fade-outs to help move the story forward. Production designer Niels Sejer does a superb job with the set pieces created such as Martin‘s posh home and the framed flowers that Henrik keeps getting.

Costume designer Cilla Rorby does a fantastic job with the stylish 60s clothes some of the characters wear for the flashback scenes and pictures along with the more punk-Goth look of Lisbeth. Visual effects supervisor Tor-Bjorn Olsson does a nice job with minimal visual effects scene used such as some of the intense action scenes in the film such as Lisbeth‘s motorcycle chase. Sound designer Peter Schultz does a brilliant job with the sound work to complement the natural sounds of the forest locations to the engine rev of Lisbeth’s motorcycle. The film’s orchestral score by Jacob Groth is very good as it features a smooth but heavy theme to play up the suspense and drama that unfolds throughout the film.

The casting by Tusse Lande is terrific for the ensemble cast that is created that includes appearances from Lena Endre as Mikael’s former lover/editor Erika Berger, Michalis Koutsogiannakis as security officer Dragan, Stefan Sauk as the billionaire Mikael tries to target early in the film, Tomas Kholer as Lisbeth’s fellow hacker friend Plague, Gosta Bredefeldt as Henrik’s reclusive brother Harald, Marika Langercrantz’s as Henrik’s niece Cecilia, and Julia Sporre as Henrik’s missing niece Harriet. Other notable supporting roles include Bjorn Granath as retired police investigator Morell who helps Lisbeth and Mikael in filling in clues for the investigation along with Ingvar Hirdwall as Henrik’s lawyer/Lisbeth’s boss Dirch Frode.

Peter Haber is wonderful as Harriet’s charming brother Martin while Peter Andersson is brilliant in a dark, creepy role as Lisbeth’s new guardian in the sadistic Nils Bjurman. Sven-Bertil Taube is excellent as Henrik Langer, an aging billionaire who asks Mikael’s help in the investigation while dealing with his own health issues. Michael Nyqvist is great as the journalist Mikael Blomkvist who leads the investigation into finding out this girl while dealing with the fact that he’s been disgraced as he faces a new, dark challenge. Finally, there’s Noomi Rapace in a phenomenal role as Lisbeth Salander with her fiery attitude and calm persona in the way she uncovers codes and figure things out better than most people. It’s a real breakthrough role for the Swedish actress as she has great chemistry with Nyqvist while proving to be a truly intense character that isn’t afraid to play a dark yet complex character.

Man som hatar kvinnor is a mesmerizing yet thrilling film from Niels Arden Oplev that features top-notch performances from Noomi Rapace and Michael Nykqvist. The film is definitely a cut above a lot of conventional thrillers for the way it plays out the mystery while taking its time to let the clues be revealed. It’s also film that is very engaging while not willing to be pretty due to the graphic violence that appears in the film. In the end, Man som hatar kvinnor is a superb thriller from Niels Arden Oplev.

Millennium Trilogy (Swedish): (The Girl Who Played with Fire) - (The Girl Who Kicked the Hornets’ Nest)

Millennium Trilogy (U.S.): The Girl with the Dragon Tattoo

© thevoid99 2011