Posts Tagged ‘Nicholas Farrell’

Testament of Youth

Director: James Kent

Cast: Alicia Vikander, Kit Harrington, Taron Egerton, Emily Watson, Dominic West, Hayley Atwell, Miranda Richardson, Colin Morgan, Joanna Scanlan

Swedish actress Alicia Vikander has come a long way from her vivacious debut  as Kitty in Joe Wright’s film Anna Karenina.

In director James Kent’s film adaptation of the 1930’s novel Testament of Youth, Vikander plays aspiring novelist and soon to be pacifist Vera Brittain. The film opens in an idyllic setting  resembling an English summer garden with Vera and her brother Edward played by rising star Taron Egerton, last seen in Legend along with his friends Victor Richardson played by Colin Morgan and the dashing Roland Leighton, wonderfully played by Kit Harrington of the hit HBO TV series Game of Thrones.

As a petulant young woman, Brittain objects to her father buying her a piano and strongly presents her case to her parents played by Emily Watson and Dominic West that all she really desires is to go to Oxford and study literature and classics.

At the outset of Testament of Youth, Vera Brittain is portrayed as a strong-minded young woman who was extremely close to her brother Edward and his group of friends which were all destined to study at Oxford. Destiny has different plans when in 1914, Europe is plunged into the bloody and brutal First World War, which initially everyone who enlisted thought would only lost a couple of months.

Her brother and his friends all enrol into the British army and go and fight in France, in the muddy trenches and soon the War develops into a brutal protracted affair. Vera soon abandons her plans for Oxford and enrols to be a nurse to assist the war effort.

Unlike Joe Wright’s brilliant and beautiful adaptation of Ian McEwan’s novel Atonement about doomed love during the Second World War, Testament of Youth does not maintain the same emotional resonance although dealing with similar themes. Vikander holds her own as the passionate and outspoken Vera Brittain.

Her quest to find her brother Edward, leads her to the front lines in France in 1917 where she is forced to take care not only for wounded British soldiers but also for the wounded and dying German soldiers, making her realize that despite the politics, war effects everyone equally, a devastating loss for both the victorious and defeated nations.

Which is precisely why over a hundred years later, Armistice Day is still celebrated on the 11^th November as a commemoration of those countless lives sacrificed during World War 1 and a warning about the perils of embarking on future wars which is especially relevant in the conflict strewn geo-political arena of the 21^st century.

After World War 1, Vera Brittain became a vocal pacifist and an anti-war campaigner. She dealt with her huge grief by publishing all the letters of her brother and his friends as well as her own memoirs in 1933 of that horrific time during the war, where she witnessed the brutality and infinite loss of life first hand as a nurse.

Testament of Youth is a fascinating look at the naivety of war through the eyes of a generation which were obliterated by its devastating effects. At some point the film, does not manage to maximise the emotional resonance, which films like Atonement and The English Patient did so brilliantly.

Nevertheless Testament of Youth remains a damning anti-war indictment and an accurate historical portrait of a lost generation, right down to the soft focus production design and period costumes.

Audiences should look out for cameo appearances by Hayley Atwell (Brideshead Revisited) as well as Miranda Richardson (The Young Victoria, Damage) as the stern Oxford professor who recognizes Vera Brittain’s potential as a young writer. Recommended viewing for ardent fans of historical cinema.

Source: Vera Brittain

Legend

Director: Brian Helgeland

Cast: Tom Hardy, Emily Browning, David Thewlis, Taron Egerton, Chazz Palminteri, Tara Fitzgerald, Sam Spruell, Christopher Eccleston, Nicholas Farrell, Colin Morgan, Paul Bettany

Tom Hardy delivers a suitably menacing performance playing both the Kray Twins, Ronald and Reggie Kray, the 1960’s gangsters who ruled London nightlife and definitely had links to American organized crime in the violent biopic Legend.

Screenwriter turned director Brian Helgeland (Payback) brings to life the true life account of the Krays based upon the book The Profession of Violence written by John Pearson in Legend and in a stroke of genius has British actor Tom Hardy (The Dark Knight Rises, The Drop, Warrior, Mad Max: Fury Road) play both twins, distinguishable only by Ronnie’s thickset glasses, with an equal amount of menace, mayhem and murder.

Hardy’s performance is captivating especially in his portrayal of Ronald Kray who was a diagnosed paranoid schizophrenic, psychopathic gangster with homosexual proclivities. Ronnie liked to organize orgies at his East End flat involving rent boys and prominent British Lords, which naturally led to several political scandals.

Reggie, on the other hand, initially appears to be the sensible twin, as he courts and marries an East End girl, Frances Shea, wonderfully played by Emily Browning. Reggie will never abandon Ronnie despite his often despicable and unpredictable behaviour which often exploded into bouts of extreme violence in public places, namely the nightclubs and bars that the twins owned.

As The Krays rise in notoriety becomes more noticeable they move from London’s East End to the casinos and nightclubs of the swankier West End, particularly the glamourous Esmeralda’s Barn in Knightsbridge.

In their attempt to attract credibility within upper class British society, their nightclubs soon had politicians rubbing shoulders with film stars such as Joan Collins along with gangsters.

Underneath the veneer of glamour is a more sinister propensity for unrestrained violence, which director Helgeland captures beautifully in the films best scene when Ronnie and Reggie fight each other like brothers, who are bound by blood and loyalty, without matching temperaments. This particular scene is so captivating specifically because it occurs in front of their gang as well as Reggie’s wife Frances, made even more compelling because it is played by one actor making it Hardy’s undisputed Oscar worthy moment.

At times, Legend appears as a parody of the gangster genre, so effectively done by Scorsese in Goodfellas, but in other ways the film is a peculiar love triangle between Frances Shea and the conflicted Reggie Kray which she has to share with his psychotic twin brother, Ronnie.

Best line in the film is when The Kray twins meet the American mob’s representative Angelo Bruno played by Chazz Palminteri who inquires after Ronnie’s sexual preference and Ronnie casually replies:

“I prefer boys, Italians. Sometimes Greeks. I am not prejudiced.”

Legend is a sleazy version of the rise of gangsters in the swinging sixties, and is more a biopic about the treacherous twins that ruled the London underworld until their power engulfed them in a dazzling yet brutal fall from grace. Audiences should look out for superb cameos by Tara Fitzgerald as Mrs Shea who is completely opposed to her daughter marrying a gangster. She even wears black to the wedding.

Rising star Taron Egerton (Kingsman: The Secret Service) is cast as the gorgeous Mad Teddy Smith who is Ronnie’s casual boyfriend, although the sexuality is hinted at instead of explicitly portrayed. Christopher Eccleston plays the hapless cop Nipper Read who is both obsessed and entranced by the Krays rise to power.

Legend is highly recommended viewing for those that love factual gangster films such as Goodfellas, Bugsy and Public Enemies, yet has a more British scallywag twist assisted by a phenomenal career best performance by Tom Hardy. This is dazzling, daunting cinema at its best.

Grace of Monaco

Director: Olivier Dahan

Cast: Nicole Kidman, Tim Roth, Paz Vega, Frank Langella, Robert Lindsay, Parker Posey, Milo Ventimiglia, Derek Jacobi, Robert Lindsay, Roger Asthon-Griffiths, Geraldine Somerville, Nicholas Farrell

French director Olivier Dahan who directed Marion Cotillard to an Oscar win in La Vie en Rose about the life of Edith Piaf, turns his focus on the more glamourous life of Princess Grace of Monaco, better known as Oscar Winner Grace Kelly who at the age of 26 turned her back on Hollywood and married Prince Rainer of Monaco and soon become embroiled in the politics of that luxurious principality on the edge of the French Riveira. Oscar winner Nicole Kidman (The Hours) returns to a more accessible role as the gorgeous Grace of Monaco after appearing in several darker films including Stoker and Lee Daniel’s The Paperboy. Kidman’s utter versatility as an actress is clearly evident in this fabulous often sensitive portrayal of Grace Kelly in the transitional years soon after her marriage into the House of Grimaldi and her reluctant turn away from lucrative Hollywood roles including the lead in Alfred Hitchcock’s film Marnie, a role which eventually went to Tippi Hedren who starred opposite Sean Connery.

Instead in the tumultuous years of the early 1960’s with France threatening Monaco’s sovereignty, Grace Kelly decides to play the more difficult role of a Princess, one who certainly captured the hearts of the French, Americans and the Monagasque. Princess Grace and her erratic Prince Ranier underplayed by Tim Roth, mix with a very wealthy set in the late summer of 1961 including Greek Shipping Tycoon Aristotle Onassis played by Robert Lindsay and his girlfriend opera diva and celebrated Greek soprano Maria Callas, a wonderful turn by Spanish actress Paz Vega (Spanglish), while adjusting to the rigid formality of becoming a European princess. In the especially well-scripted scenes between Grace and her Palace confidant Father Francis Tucker superbly played by Oscar nominee Frank Langella (Frost/Nixon) who describes the House of Grimaldi as a heartless kingdom.

Soon Grace Kelly has to transform into the luminous and sumptuous Grace of Monaco a dazzling if heartbreaking transformation which director Olivier Dahan emphasizes in every extreme close up shot of Kidman’s gorgeous yet conflicted face. Her intelligent eyes peaking out from a veneer of diplomacy and unhappiness, conveying the depth of an actress who has traded the thrilling life of a film star for the more elegant yet equally scrutinized life of the Princess of Monaco. Grace of Monaco’s legacy is undeniable and this film is out to prove that especially as it recently opened the 2014 Cannes Film Festival. Nicole Kidman’s performance is flawless and while the rest of the tale of Grace of Monaco borders more on sentimentality than substance, it is still a stylish and enjoyable film which carefully blends the glamour of Hollywood with the legacy of old fashioned European tradition.

Grace Kelly’s Oscar winning role in The Country Girl

Whilst Monaco now has cemented itself a tax haven for the super rich, a reason why Onassis was initially so interested in maintaining  its sovereignty and the source of the enchanted principality much publicized pending conflict with France, back in the summer of 1961, Grace of Monaco‘s skewers the political agreements reached at that time in favour of the charm of the new and practical American actress who become a princess and her increasing involvement with the International Red Cross.

The politics might be questionable in Grace of Monaco, but Kidman’s superb portrayal of this iconic film star turned princess is pivotal to this charming film’s sumptuous appeal. American indie actress Parker Posey stars as Madge Tivey-Faucon the secretive private secretary to the princess along with Milo Ventimiglia as the dashing press secretary Rupert Alan and Shakespearen actor Derek Jacobi’s flamboyant turn as Count Fernando d’Aillieres, Grace’s etiquette coach.

Audiences that loved films like My Week with Marilyn, The Queen and The Aviator will certainly enjoy Grace of Monaco although this film is by no means in that league in terms of script and overall conception. An enjoyable if not too short cinematic outing nevertheless, Grace of Monaco could have added more substance to the thinly plotted storyline, but that was not Dahan’s intention, which remains an incomparable film to his previous success of La Vie en Rose.

The Iron Lady

Director: Phyllida Law

Cast: Meryl Streep, Alexandra Roach, Jim Broadbent, John Sessions, Julian Wadham, Nicholas Farell, Olivia Colman, Richard E. Grant

The first moment Oscar winner Meryl Streep (Kramer vs Kramer, Sophie’s Choice) appears on screen as Baroness Thatcher in Phyllida Law’s The Iron Lady, the viewer knows that they will be treated to a towering portrayal of one of the most influential and controversial leaders of the Western World in the 20^th century former British Prime Minister Margaret Thatcher. The Iron Lady, which chronicles Baroness Thatcher grappling with her old age and the loss of her beloved husband Dennis, played by Oscar winner Jim Broadbent (Iris) depicts an elderly  and at times not so iron lady looking back on a landmark and eventful political career.

Streep’s performance of the Prime Minister Margaret Thatcher both as an old woman and as a ruthless and powerful Conservative politician is outstanding and is worthy of Streep being one of the few actresses to win three Oscars in an impressively brilliant and diverse career spanning from such earlier films as Kramer vs Kramer and The Deer Hunter, through to Sophie’s Choice, Ironweeds and Out of Africa to the more recent performances in Mamma Mia and The Devil Wears Prada.

The Iron Lady is as much about the making of a politician, the sculpting of a prolific and charismatic female leader as Prime Minister of Britain that Margaret Thatcher was during the tumultuous 1980s, as a testament to an aging woman who cannot deal with approaching senility and the fact that her once great career is drawing to a gradual close. Meryl Streep, helped with superb make-up by the Oscar winning team of J. Roy Helland and Mark Coulier portrays all the nuances  and strength of a unrelentingly headstrong politician, along with all the subtle  insecurities of breaking all the initial conventions of being the first female leader of Parliament in the cut-throat male dominated world of British politics while sacrificing her family life and domestic duties to achieve her political ambitions.

Whilst The Iron Lady does not sequentially follow Thatcher’s political career in the 1980s, it is portrayed through a series of perfectly crafted flashbacks showing the flashpoints in Margaret Thatcher’s political career from the IRA bombing of the Grand Hotel in Brighton at the 1984 Conservative Party conference to the Falklands War and also the eventual ousting of Thatcher as leader by her own party at the height of Britain’s participation in ending the Cold War.

Phyllida Law, director of Mamma Mia, shows a slightly parodic view of Margaret Thatcher beautifully portrayed by Streep as well as thematically points to the personal dilemma of all great leaders, that of having made your mark on history and now having to deal with the greatest challenge of all, old age and dealing with one’s own mortality.

Unlike Stephen Frears superbly directed film The Queen which also dealt with a living icon, the British Monarch an Oscar winning performance by Helen Mirren, focusing on a specific period of British history, the death of Lady Diana; The Iron Lady is more fluid in its narrative, depicting Baroness Thatcher in the 21^st century reminiscing about her prominent political career three decades earlier, in which as Prime Minister she was never one to compromise. Whilst The Iron Lady as a film is not superb and flawed in narrative and direction, it is Meryl Streep’s unbelievably brilliant portrayal which makes up for any cinematic defects.

Late Bloomers

Sharing a wonderfully bitter-sweet moment in the bath

Cast: William Hurt, Isabella Rossellini, Simon Callow, Nicholas Farrell and Joanna Lumley

Director: Julie  Gavras

Late Bloomers directed by Julie Gavras,  seen at the 32^nd Durban International Film Festival in July 2011 is a shy perceptive tale about a middle-aged couple, Adam and Mary in London, who are fairly successful yet have inevitably lost touch with each other to such point that they engage in brief affairs to reignite the dormant love that that once cherished. William Hurt always so brilliantly reticent as the semi shy architect who is losing touch with his own potential is pared against the diva of semi-independent cinema Isabella Rossellini who for once takes on a starring role and is suitably anguished as a woman who realizes that the world has moved much faster than she can imagine.

Ironic for Rossellini the once the gorgeous model for French fashion house Lancome, who has come a long way from her heady debut in David Lynch’s weird and slightly uncompromising tour de force in Blue Velvet and has appeared alongside Meryl Streep in the 90’s satire on plastic surgery Death Becomes Her and more recently as the mother to the anguished Joaquin Phoenix in the Brooklyn based Jewish drama Two Lovers.

William Hurt one of my favourite actors, ever since he appeared in Hector Babenco’s brilliant Kiss of the Spiderwoman is beautifully cast in Late Bloomers as the aging architect who is unwilling to accept the inevitability of early retirement, and in doing so surrounds himself with a batch of young ambitious architects for one of his new projects, the construction of a museum.

Rossellini and Hurt make a fine pair as a couple on the verge of retirement and have to find ways to rediscover the love they once shared for each other. Comic moments are provided by their three thirty something children who decide that a parental intervention is necessary to recapture the love their semi-retired parents once shared.

Suitable foils for Hurt’s melancholic performance is the delightful Simon Callow, seldom seen on film since the collapse of the highly collaborative Merchant Ivory films.  Mary’s confidante is played with relish by Joanna Lumley ex (AbFab) who also happens to be the leader of the Grey Panthers, senior citizens’ rights and activities group. A wonderful moment  in the film is when Adam suitably horrified at the prospect of the Grey Panthers invited by the unsuspecting Mary descend on his home, makes a hasty retreat to his office for refuge and a brief reinvention with youth is part of the charm and delight of Late Bloomers.

Late Bloomers is a quirky comedy about a successful yet aberrant couple whose marriage is near disaster only to be saved by the onset of a funeral, to bring all concerned back to the reality of life, commitment and death and will definitely appeal to viewers within the fifty plus age group.