London Film Fest 2011 Day 16 - THE DEEP BLUE SEA

Jolyon Coy (Philip), Kate Ogborn (producer), Tom Hiddleston (Freddie), 
Terence Davies (director and screenwriter), Sarah Kants (Liz), 
Harry Hadden-Paton (Jackie) at the premiere of THE DEEP BLUE SEA

This review is brought to you by Professor007, long missing from these pages, and a dutiful stand-in when Bina007 was struck down by cine-flu.

It is rare these days to find a movie that captivates one for its length. It is rarer still to find a movie that keeps one in its spell well beyond the hustle of the tube on the way back home.

Terrence Davies' adaptation of Terrence Rattigan's play The Deep Blue Sea is such a masterpiece. It is beautifully set in 1950s London, yet its topic is timeless. Hester (Rachel Weisz), a young and attractive woman of simple background, who is married to William (Simon Russell Beale), a distinguished man of law considerably her senior, falls in love with the young and handsome maverick Freddie (Tom Hiddleston). In Freddie, Hester seems to find the passion, lust, and physicality that she misses in her married life. Some months into the affair, however, William finds out and Hester decides to leave William and move in with her lover. Freddie, however, seems unprepared for such co-habitation: mentally stuck in his life as hero during World War II, he struggles to find a new focus in life, and is unable to emotionally care for anyone else than himself. Despite this lack of attention by Freddie and her husband's continued attempts to win her back, Hester's love for Freddie is unbroken. She does not, however, get the committed and passionate relationship she so desires, and with every increasingly desperate failed attempt to win Freddie over, she degrades herself more and more.

What is striking in its sadness and yet utter plausibility is how the behaviour of three people, of which neither is spiteful or keen to hurt the other ones, can lead to such pain and misfortune. Rachel Weisz beautifully portrays a woman who, in her attempt to find love and passion, knowingly destroys her life. William, excellently played by Simon Russell Beale, tries to win her back, but is too restrained by his upbringing to show the emotions his wife may be longing for so much. Finally, Freddie is a man who struggles with the void of purpose in his life and at the same time is overwhelmed by the passion of his lover.

To me, an oscar candidate for best movie, best actress and best supporting actor. On vera.

THE DEEP BLUE SEA played Toronto, San Sebastian and London 2011. It will be released in the UK on November 25th and the US in December.

London Film Fest 2011 Day 15 - THIS MUST BE THE PLACE

Rabartu Smitu, Rabartu Smitu, 

tashiwa ga suki Rabartu Smitu

THIS MUST BE THE PLACE is a visually inventive but often frustratingly slow-paced film that bravely tries to juxtapose whimsical comedy and serious history with problematic results. 

Sean Penn plays an ageing, bored and depressed former goth rock-star called Cheyenne. His high-pitched voice and Robert Smith clothes mark him as a man-child, trapped in his adolescence, but anchored by the love of his down-to-earth wife, Jane (Frances McDormand) and the friendship of emotionally scarred fan-girl, Mary. The death of his father forces Cheyenne back to America. Almost on a whim, he sets off on a meandering road-trip, searching for the Nazi that had tormented his father. But despite a very moving late scene of confession and humiliation, this is not really a revenge movie at all, but rather a character drama about an estranged son breaking beyond that emotional vacuum in order to become a man.

The casting is strong - with Sean Penn and Frances McDormand complemented by strong cameos from Harry Dean Stanton, Judd Hirsch (as a Simon Wiesenthal cipher) and Heinz Lieven as the Nazi. And the script, by Umberto Contarello, contains many belly-laughs, and superlative dramatic set-pieces. But as with all Paolo Sorrentino movies, the true stars are Luca Bigazzi's fluid, deliberate, elegant camera-work and the flamboyant use of the musical score, this time, by the legendary David Byrne. Technically, this film is flawless and imaginative. 

But it didn't grab me, fascinate me, in the same way as Sorrentino's previous films - IL DIVO and THE FAMILY FRIEND. This is partly because the character of Cheyenne is, however sympathetic, also rather slow and whimsical, and after a while this started to grate. It's partly because the road-trip in the second half is so random and slow. I know that this is the point - that is should have the kind of magic and wonder of THE STRAIGHT STORY - but I did become very impatient with it. And finally, I guess I just felt too uncomfortable with the deliberate juxtaposition of the Holocaust with the character of Cheyenne - the man least likely to come to mind as a Nazi hunter. Something about the man using the hunt for the Nazi as a kind of distraction from a life of satiety, and then as a kind of agent toward self-knowledge, felt weird and exploitative. I know this was a deliberate provocation from Sorrentino - but for me it just didn't work. 

THIS MUST BE THE PLACE played Cannes 2011 where it won the Prize of the Ecumenical Jury. It opened earlier this year in France and is currently on release in Italy. It opens in Germany on November 10th, in Sweden on November 18th, in the US in December, in Australia on December 26th, in Poland on February 3rd, in Spain in March and in the UK on March 9th. 

London Film Fest 2011 Day 15 - ANONYMOUS

The use of the interrogative tense in the poster for ANONYMOUS is misleading. Director Roland Emmerich and writer John Orloff aren't asking whether Shakespeare was a fraud. They are telling us, without doubt, with complete certainty, that he was. Their theory is that it is inconceivable that a poorly educated provincial dolt could have written plays of such genius and erudition. Rather, they posit that the Earl of Oxford, Edward de Vere, a man of great wealth and learning, wrote the plays. But at a time when theatres were next to brothels, and plays seen as seditious, it would have been degrading for Oxford to be publicly acknowledged as an author.  He therefore allowed the boorish, illiterate actor, Will Shakespeare, to take the credit, and the cash, with Ben Jonson as the unwilling go-between.  If this weren't scandalous enough, the movie further raises the stakes by positing that Oxford was at the centre of a conspiracy by his enemy, the puritan Cecil family, that involved the line of succession, incest and bastards. 

Taken on its own terms, ANONYMOUS is a great success. Indeed, I was quite amazed that Roland Emmerich - director of such dubious, mainstream disaster movies as 2012; 10,000 BC; and THE DAY AFTER TOMORROW - could direct something with such elegance and beauty. Because, make no mistake, ANONYMOUS is a brilliantly directed film. The way in which Emmerich deftly handles the transitions between different periods in Oxford's life is elegant and never confuses.  The conspiracy is woven with great delicacy so that even in the final act, we are genuinely surprised and saddened by the turn of events.  In front of the camera, Emmerich coaxes a career best performance from Rhys Ifans as the older Oxford, and uses CGI to create a completely engrossing and compelling Tudor London.  I was absolutely delighted to see Southwark and the Tower recreated, complete with squalor and grandeur.  Kudos to cinematographer Anna Foerster, shooting with the Arri Alexa (the first feature to do so).  She manages to create a colour palette of warmth and depth, beautifully capturing candelit pageants, and snow-covered country mansions. Most importantly, I cared. I deeply cared about the battle between Oxford and the Cecils - I cared about the fate of young Essex, the Queen's bastard son and pretender to the throne - and I cared about the Queen herself, wonderfully portrayed by Vanessa Redgrave as frail and vulnerable and hounded on all sides. 

Of course, when I stand back from the film, the whole thing seems a bit pointless. I've always thought that these debates - who wrote Shakespeare; was Shakespeare a crypto-Catholic; was the Dark Lady really a boy - pretty pointless, as there simply isn't the documentary evidence to decide it either way. So you're just left with dogmatic people using thin supposition.  In particular, the idea that Shakespeare couldn't have written the plays because they required great education strikes me as peculiarly class-ist. Just because someone is provincial and working class doesn't mean they aren't capable of genius - I mean, isn't the whole point of genius that it's like a lightning bolt. And anyway, according to Rene Weis' superb book "Shakespeare Revealed", Shakespeare attended a local grammar school and was taught by a string of Oxbridge graduates in all the subjects and to the very same standard that the movie suggests Oxford was tutored in and to....

But as I said, there's no point quibbling about the truth. I am perfectly happy to believe Will Shakespeare was indeed Shakespeare.  That didn't stop me having a cracking good time watching ANONYMOUS.  To that end, this movie falls firmly in the same category as SHAKESPEARE IN LOVE - a pleasing fiction.

ANONYMOUS played Toronto and London 2011. It is currently on release in Portugal, Finland and Norway. It opens on October 28th in Canada, Ireland, the UK and the USA. It opens on November 3rd in Germany; in Spain on November 11th; in France, Russia and Singapore on November 17th; in the Netherlands, Mexico and India on December 1st; in Sweden on December 16th; in Hong Kong and Hungary on February 2nd.

London Film Fest 2011 Day 14 - HUNKY DORY

Minnie Driver is the only recognised name in Marc Evans' musical drama HUNKY DORY.

Welsh director Marc Evans (SNOWCAKE, MY LITTLE EYE) bravely takes on a "concept" film with his new musical coming-of-age flick, HUNKY DORY. Minnie Driver (with impeccable Welsh accent) plays a teacher in a Welsh school, putting on a musical version of Shakespeare's The Tempest that incorporates the popular music of 1976 - David Bowie, Nick Drake, The Beach Boys - the year in which the movie is set. And while Driver is the only recognised name actor, she's actually not the person carrying the film. Rather, the young cast of talented kids steal the show, with the lead schoolboy Aneurin Barnard making an impressive debut. 

I found the movie earnest, joyful, but uneven and unsure of what it wanted to be. French writer Laurence Coriat (WONDERLAND) has penned a script that isn't an out-and-out big dance number musical in the manner of GLEE or HIGH SCHOOL MUSICAL. Indeed, it seems to want to be one of those authentic realist teen flicks of the US indie movement - AMERICAN GRAFFITI or DAZED AND CONFUSED. And even then it can't resist one of those plot devices that seems totally out of scale with all that preceded it - stupidly clumsy deus ex machina. Combining social realism and musical numbers is a hard trick to pull off, and HUNKY DORY is no BILLY ELLIOT.

HUNKY DORY had its world premiere at London 2011 and has no commercial release date yet.

London Film Fest 2011 Day 14 - THE AWAKENING

Dominic West (Robert) and Rebecca Hall (Florence) star in THE AWAKENING.

THE AWAKENING is an intelligent, adult horror movie that sees Florence (Rebecca Hall), a notorious debunker of spiritualism, invited to a boy's boarding school by Robert (Dominic West) to investigate an apparent haunting. This sets up a classic haunted house movie, in the manner of Alejandro Amenábar's The Others - but with the refreshing site of a clever, independent woman as the protagonist, and the pervasive air of  post-war mourning hanging heavy over proceedings. The resolution is satisfyingly complicated and there were enough genuinely unexpected scary moments to make this good horror - particularly the pivotal bathroom scene. Admittedly, there is nothing particularly innovative in the set up (Nick Murphy and Stephen Volk), but first time feature director Murphy creates and sustains a genuinely tense and morbid atmosphere that completely sucked me in, largely thanks to superb cinematography from DP Eduard Grau (A SINGLE MAN, BURIED) and a desaturated colour palette.

THE AWAKENING played Toronto and London 2011. It opens in the UK and Ireland on 11th November.

London Film Fest 2011 Day 14 - WUTHERING HEIGHTS (2011)

Andrea Arnold (RED ROAD, FISHTANK) is an exceptional British director - a woman whose films take us under the skin of the characters she is portraying. She isn't a director of dialogue but a director of sensory perception. We hear the wind; dogs scuffling; kisses. We can almost feel the texture of worn clothes; curled hair; ruffled blankets; the mist on our face. We feel the relationship between two people from the way they are in each other's presence, not from the dialogue. And every emotion felt by the characters is mirrored in nature, brought to us with startling clarity by Robbie Ryan's award-winning cinematography. In short, Andrea Arnold echoes the authenticity and heightened sense-perception of Terrence Malick - high praise indeed - but justified. All these qualities make Andrea Arnold the perfect director to take on Emily Brontë's Wuthering Heights - a movie whose characters are so much embedded in the wild beauty of the Yorkshire Moors. Working in collaboration with screenwriter Olivia Hetreed (GIRL WITH A PEARL EARRING), Arnold has taken a bold approach to the source novel. She only portrays the first half of the novel, takes away the framing device of Nelly recounting the story to a traveller, as well as the gothic vision that opens the novel.  What this does is allow her to take her time over establishing the central characters and conflicts.  

The Earnshaw family live in a ramshackle farmhouse on the Moors in the early nineteenth century.  The puritanical father brings home a poor young black boy, later baptised as Heathcliff, throwing the elder son, Hindley into brutally violent jealousy and contempt and the young daughter Catherine into a kind of selfish, selfless profound love.  When the father dies, Hindley brutalises Heathcliff; and his poor, rough person stands in sharp contrast with the smooth refined Linton family.  And so, when Edgar Linton proposes, Cathy accepts, though feeling she is betraying both herself and Heathcliff, who overhearing, runs away. So ends the first hour of the film.  In the second hour, Heathcliff has returned a rich man, and Cathy is now married to Edgar.  Their love is hemmed in by Edgar sending his sister, Isabella, as chaperone, and when Heathcliff learns Cathy is pregnant, he returns this apparent "betrayal" by seducing Isabella, so setting off a nervous reaction in Cathy.

The story is, then, powerful, passionate, violent - filled with supposed and real slights, revenge, and a love so painful to bear it results in self-destructive behaviour.  For it to work on screen, we have to feel that visceral connection between Cathy and Heathcliff - we have to believe that their every breath and decision is coloured by the connection.  In the first half of the film, I absolutely believe that thanks to some exceptional casting, the portrayal of young Cathy and young Heathcliff sets a new benchmark among the tens of film adaptations. Shannon Beer and Solomon Gave quietly, powerfully, portray a real and charismatic connection - they are quite simply magnetic. Sadly, the movie is let down by indifferent casting in the later scenes, with Kaya Scodelario (Effy in TV's "Skins") and James Howson.  I didn't buy into their relationship - Howson was too milksop, too little darkly enjoying his revenge on Hindley, not malicious enough with Isabella - and Scodelario simply didn't have the look of a wild bird tamed, caged - she looked to Isabella-ish!   Also, I know we are meant to suspend our disbelief, but the two Cathy's look utterly dissimilar. One feels that better casting would've provided the continuity seen in the Young and Teen Kevins in Lynne Ramsay's WE NEED TO TALK ABOUT KEVIN.

WUTHERING HEIGHTS played Venice (where Robbie Ryan won Best Cinematographer) and Toronto 2011. It opens in the UK on November 11th; in Spain on November 25th; in Slovenia on January 26th; and in Poland on March 23rd.