Chris Cooper, Pierce Brosnan, Patricia Clarkson, Rachel McAdams, David Richmond-Peck
Dir. Ira Sachs
Scr. Ira Sachs & Oren Moverman (based on the novel “Five Roundabouts to Heaven” by John Bingham)
Married Life is a smart, funny, well acted drama. The major moral dilemma we are asked to buy into might well be mildly far-fetched, if not fully-flung absurd. And while this movie is mostly compelling, its pace is sometimes lost. I guess it’s what you could call a slow-burner. In the end, the resolution is neat, believable and even heart-warming. But I couldn’t help feeling slightly ripped off at not being treated to a more chilling and thrilling conclusion. It had potential in spades.
Set in the 1940s, Married Life tells the story of married couple Harry and Pat, Harry’s best friend Rich, and Harry’s mistress Kay. Harry is a dependable sort of bloke who, despite falling in love with another woman, is hesitant to leave his wife because of the hurt and humiliation it will cause. Pat, a frank and cheery woman, has no idea Harry is cheating but, as you will discover, has secrets of her own. Rich is a player, as they say, and on meeting his best friend’s bit-on-the-side, is immediately infatuated with the lovely Kay. What unfolds could almost be a comedy, if it wasn’t so tragic. Harry, intent on both being with Kay and not breaking his wife’s heart, decides the most humane thing to do would be to kill Pat. Painlessly, of course.
The gist of the movie, as summarised in its tagline, is ‘do you know what really goes on in the mind of the person with whom you sleep?’ From the goings-on in this story, the answer is clearly no. It’s a disturbing thought. While no one is completely evil in this film (not even murderous Harry), each and every character would shock their lover with their thoughts and motivations. Wouldn’t we all?
I can’t fault the acting in Married Life. The cast is a director’s dream. Brosnan (as Rich) is on fine form and well suited to both the period and the character. McAdams (as Kay) does surprisingly well – I am not the biggest fan, but she plays this more-complex-than-meets-the-eye character well. Clarkson (as Pat) is a treat to watch – she truly is one the best actresses working today. But, as always, Cooper (as Harry) steals the show. Cooper is an amazing actor, possessed of a wonderfully lived-in face, whose emotional journey in this film is at times chilling, at times heart-breaking. In the end, it is the performances of these actors that keep you hooked on Married Life.
Visually, Married Life is fantastic. The tone is set with a wonderful opening title sequence. From there we are treated to authentic costumes and great sets. Married Life also treats us to a proper and formal way of speaking that harks back to a more restrictive time. But even within this formality, sex was still sex, and the frankness of the circumstances ensures the audience doesn’t feel too distant from characters of a bygone era.
Married Life might bore some. It’s not a thrill-a-minute, although at times it feels like it’s winding itself up to try to be. It’s certainly funny, and at times you will be laughing nervously. Ultimately, I thought the ending could have been stronger – less neat, more bloody! And while you don’t know what is going to happen to these characters in the long-run, you suspect it’ll all be okay. Married Life didn’t deliver 100% for me. But this is a well acted, mostly compelling, slightly odd film that I’m glad I saw.
Sunday, July 20, 2008
Sunday, July 13, 2008
Mamma Mia!
Meryl Streep, Pierce Brosnan, Colin Firth, Stellan Skarsgard, Julie Walters, Christine Baranski, Amanda Seyfried, Dominic Cooper
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
----------------------------------
Rosie: Typical, you wait 20 years for a father and then three show up at once.
Dir. Phyllida Lloyd
Scr. Catherine Johnson
What fun! Mammia Mia is a movie for musical-lovers – for people who don’t cringe when characters burst into song, for people not concerned too much with realism, for cinema-goers who like to leave the theatre with a grin on their faces. Someone like me, in other words. And while I’m not the hugest ABBA fan, it’s always a comfort and a treat to know the songs being belted out on screen. This film isn’t perfect by any means, but it might just be the most fun you’ll have on a rainy Saturday afternoon.
Mamma Mia is based on the hugely popular stage musical of the same name, which uses the songs of ABBA to tell the story of soon-to-be-wed Sophie, who lives with her mother, Donna, on a small Greek island. After finding her mother’s diary from the year before she was born, Sophie figures out that her father is one of three men. So, desperate to know who her father is, Sophie invites all three to the wedding, sure that she will know “him” when she sees him. When all three possible fathers actually turn up – Sam the architect, Harry the banker, Bill the adventure writer – chaos and hilarity ensues.
This film is a visual treat. Some of the filming was done on the Greek Islands of Skopelos and Skiathos. But, I was surprised to find out that most of the movie was filmed on the 007 stage at Pinewood Studios. You certainly can’t tell – this film will make you want to move to a Greek island, or at least plan your next vacation there. And while the plot is more than a little ludicrous, you’ll easily forgive an outrageous story because this film looks simply gorgeous. And, least we forget, it’s a musical – the most surreal and ridiculous genre to have ever been conceived. And often the most pleasurable.
The youngsters in Mamma Mia are great. Seyfried (who plays fatherless Sophie) possesses a wonderful, pure voice and has a lovely chemistry with her onscreen mother (Streep) – it’s no stretch of the imagination that they are mother and daughter. Cooper (Sky, the fiancé), is likeable and cute and has a strong voice. It’s clear the young half of the ensemble were cast at least partly for their musical talent. The older set, well, they are more of a mixed bag. But I have to give them all an ‘A’ for effort. Brosnan (as Sam, possible father #1) looks slightly terrified when he is singing. His voice isn’t strong, but it is sweet and he’s a good enough actor to inject emotion into the tune and make it moving. And he’s absolutely dishy, which helps. Firth (as Harry, possible father #2) and Skarsgard (as Bill, possible father #3) have weaker voices and, wisely, aren’t given a lot of solo singing to do. But, again, these men are experienced, fine actors and they admirably manage to fake it. Firth is, as usual, gorgeous and very funny indeed. Skarsgard has a wonderful twinkle in his eye which lets you know he is having a ball. Even Benny and Bjorn make cameo appearances, alongside their Executive Producer and Composer credits.
The older women in the cast more than make up for any lack of musical talent from Brosnan, Firth and Skarsgard. Walters and Baranski (as Donna’s best friends Rosie and Tanya) are simply wonderful. Their characters are like chalk and cheese, and this plays out with much humour. And, man, that Baranski can belt out a tune. Walters is not as strong, but she makes up for any weakness in her voice with her great comic ability. Much, much, much credit, however, must go to Meryl Streep (as Donna) in this film. Her acting is spot on. And her singing, well, it blew me away. When she sings “The Winner Takes It All” to Brosnan, I swear I had goose-bumps. Casting her in this film was inspired.
Mamma Mia is an energetic and fun frolic on an island paradise with some quality actors and a whole lot of instantly recognisable songs – in other words, a jolly good film. Some of the singing might be shaky and the plot might be silly, but everyone is clearly having the time of their lives. As was I. Highly recommend if you’re a fan of the musical genre.
----------------------------------
Rosie: Typical, you wait 20 years for a father and then three show up at once.
Sunday, July 6, 2008
Before the Devil Knows You’re Dead
Philip Seymour Hoffman, Ethan Hawke, Albert Finney, Marisa Tomei
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
-----------------------------------------
Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Dir. Sidney Lumet
Scr. Kelly Masterson
This certainly isn’t a cheery film. And not one to take your grandma to see. But it’s a bloody good film – well crafted and paced, well acted, compelling. Sidney Lumet, obviously still going strong in his 80s, has assembled a stellar cast who deliver in spades. You might not “enjoy” this movie, but you’ll appreciate a fine director and cast at work.
Before the Devil Knows You’re Dead (the title taken from an old Irish saying – “May you be in heaven a full half hour before the devil knows you're dead”) tells the story of brothers Andy and Hank Hanson, who embark on a seemingly fool-proof plan to rob a jewelry store and solve their financial woes. Hank, a divorced, deadbeat dad, is way behind on child support payments; Andy is in a pickle at work and has a wife who likes to spend his money. The robbery goes terribly wrong – don’t they all? – and events and repercussions spiral out of the control. The tagline of this film – “No one was supposed to get hurt” – hints at the fact that everyone does. Big time.
Before the Devil is non-linear – we jump from character to character, from days before the robbery, to days after. This certainly isn’t a new cinematic device, especially in this genre, and can often be both annoying and confusing. But it is handled deftly in this film and the tension builds wonderfully.
This film is an insight into several disturbing facets of personality. You won’t necessarily like the characters in this film – they are hugely flawed and sometimes downright horrid – but they are very believable. Hank is weak. Andy is unforgiving. Gina (Andy’s wife) is never satisfied. Charles (Hank and Andy’s father) is cruel. These characters don’t redeem themselves, they don’t suddenly come good. It’s a bleak picture of modern life. Some may find it hard to watch, but it is tragedy as its best.
The cast of this film is very good indeed. Hoffman, as Andy, is the stand-out. He is an actor that simply doesn’t disappoint. And he is especially good as the flawed and unlikeable man. The scene in the car after his mother’s funeral is quite gut-wrenching. Hawke – on the face of it, an unexpected casting choice – is wonderful as the weak, hopeless younger brother Hank. Talked into anything, you simply want to slap him and tell him to get a backbone. Finney, as their father Charles, is on fine form. Having ignored his older son and smothered his younger son, Charles could in fact be held responsible for all that transpires in this story. And, in the end, he makes a choice that will have you questioning the assumption that parental love overcomes all. Tomei, as Andy’s wife Gina, is pretty good. I found her character hugely unlikeable and so found it hard to like Tomei in this film. So, I have to concede, well done on her part.
I recommend this film. It’s not an easy watch. And the very graphic opening scene might put some off. But this is a finely crafted, compelling, superbly acted film about the worst in all of us.
-----------------------------------------
Andy Hanson: The thing about real estate accounting is that you can add down the page or across the page and everything works out. Everyday, everything adds up. The total is always the sum of its parts. It's, uh, clean. It's clear. Neat, absolute. But my life, it, uh, it doesn't add up. It, uh... Nothing connects to anything else. It's, uh... I'm not, I'm not the sum of my parts. All my parts don't add up to one... to one me, I guess.
Subscribe to:
Posts (Atom)