As much an M movie as a Bond flick, Skyfall benefits from putting Dame Judi Dench front and centre to make this one of the best Bond films of recent times
“Well, I suppose I see a different world than you do and the truth is that what I see frightens me”
One of the best aspects of Bond in the Daniel Craig era has been the introduction of actual consequences for people. We’re not dealing with total realism to be sure, but rather a thoughtfulness that is too rarely seen in the action genre. Written by John Logan and directed by Sam Mendes, Skyfall is a masterful entry in the Bond canon, playing out the complex relationship between Bond and Judi Dench’s steely M right through to its devastating end.
Delving into both of their pasts and hauling them up to account, the notion of personal vengeance as all-encompassing motive is far more effective than the fate of the Bolivian water supply. And Javier Bardem’s Silva is one of the most genuinely chilling villains for that very reason, his cyberterrorist truly compelling in his psychopathy – that climactic scene in the chapel is simply stunning on all levels.
It’s not perfect: the queer-baiting, sorely underusing Helen McCrory in just one scene, and all the business on the tube is ridiculous (it’s rush hour in the station but the train that crashes is somehow empty? And you can’t slide down the escalators like they do, there’s things in the way. And yes, I know it is a film, hehe). But I’m picking at small things cos I can – the new Q is introduced perfectly (all credit to Ben Whishaw) and ultimately, it’s just a great film, never mind a great Bond film. Continue reading “Film Review: Skyfall (2012)”
I mean, just look at this absolute treasure trove of theatrical talent!
I’m off to listen to Patsy Ferran read Tom Wells, and Gabby Wong read Alexi Kaye Campbell, and Sarah Niles read Winsome Pinnock and…and…
Neil Austin’s lighting design in Rosmersholm at the Duke of York’s Theatre is a thing of beauty and Hayley Atwell is excellent but Ibsen is still Ibsen…
“You see, this is what happens when the general public becomes engaged in politics — they get duped into voting against their own interests”
Chances are if Helen McCrory can’t make me like a play, then few others will be able too either. I first saw Henrik Ibsen’s Rosmersholm with Anthony Page’s production for the Almeida which was…eek…more than 10 years ago now. It didn’t click with me then and in the assured hands of Ian Rickson here, it still leaves me cold.
You do have to admire the bravado of producer Sonia Friedman, opening a play like this cold into the West End without resorting to any hint of stunt casting.And creatively, this is a triumph. Neil Austin’s hauntingly perfect lighting of Rae Smith’s austerely grand designs is a thing of pure beauty as it evolves throughout the show. Continue reading “Review: Rosmersholm, Duke of York’s Theatre”
“For women are as roses…”
It is seriously impressive how sparklingly fresh Jonathan Mumby has managed to make Twelfth Night in his production for English Touring Theatre which I caught at Richmond Theatre this week. The familiarity, even overfamiliarity, which many have with Shakespeare’s work means it can often be hard to get too excited about yet another production but Mumby’s work here has all the hallmarks of a successful and subtle reinvigoration.
Colin Richmond’s artfully distressed design and an original suite of songs from Grant Olding locate this version of Illyria in the folky fancies of Brian Protheroe’s Feste, a move which pays dividends in extending its oft-melancholy mood to all and sundry. So Hugh Ross’ Malvolio is more tragi than comic, a deep sadness apparent under the prickly exterior. Milo Twomey’s Aguecheek is a rueful soul indeed and Doña Croll’s Maria has a marvellous pragmatism.
Continue reading “Review: Twelfth Night, ETT at Richmond Theatre”
“Everywhere they curse the name of Boris”
The instinctive reaction when one hears of a production of a lesser-known work by a well-known writer tends to be one of healthy scepticism, as one waits to find out whether there was a good reason for its relative obscurity. But sometimes there are mitigating circumstances and Alexander Pushkin’s 1825 play Boris Godunov – receiving its first ever professional production in English here at the Swan Theatre – sufficiently provoked the ire of the state censors so that it was 30 years after his death before it was first approved and even then, continued political pressure ensured its limited impact.
The uncensored version was finally translated by Adrian Mitchell, premiered at Princeton in 2007 and selected now by Michael Boyd to mark his swansong as AD at the RSC, as part of the ensemble-led globetrotting A World Elsewhere season. And one can see why the Russian authorities wouldn’t have taken too kindly to Pushkin’s satire, indeed still to this day, as wrapped up in the tale of men lying, cheating and murdering their way to become Tsar in the late 1590s is an excoriating indictment of the Russian ruling elite. And what Boyd teases out in this fast-moving version, is that such autocratic leadership is seemingly endemic in this country and so its resonances play out right up to the current day. Continue reading “Review: Boris Godunov, Swan Theatre”
“There is nothing either good or bad, but thinking makes it so”
It is apparently a truth universally acknowledged that any actor aiming for greatness needs to tackle Hamlet, Shakespeare’s most revered epic, and it is now the turn of Rory Kinnear, under the directorial baton of Nicholas Hytner at the National Theatre to make his entry into the canon (this was the second preview). Recently we’ve had David Tennant and Jude Law, John Simm is currently performing it in Sheffield (I’ll be there on Wednesday) and Michael Sheen will be making his mark at the Young Vic next year. I don’t have a problem with this so much as just wish that there was a similar epic role for women which was restaged and revived as often to allow a comparable ticket to magnitude.
This is very much a modern-day Elsinore. Suited security guards with earpieces are ever-present, state of the art bugging technology is used, a briefcase of tools of torture is brandished and high-definition television cameras record political and battlefield broadcasts. Thus the familial quarrel at the heart of this play is firmly located in the wider political sphere of this dangerous Denmark and it is a mostly highly effective updating. Continue reading “Review: Hamlet, National Theatre”
“If it were done when ’tis done, then ’twere well it were done quickly”
And first a moan. I’d intentionally booked front row seats for this back in December, so upon arrival I was a little surprised to find that there was another row of seats in front of ours, row AA which is set a little closer to the ground but with nowhere near sufficient a rake to prevent people’s heads being seriously in the way. This extra row was added in to sell extra tickets due to it being a sellout and whilst I’m happy for the Barbican with their success here, I’m most annoyed that it subsequently affected my enjoyment of the evening.
Cheek by Jowl return to London with their interpretation of Macbeth, Shakespeare’s examination of the cost of chasing power and limitless ambition without responsibility, using their trademark inventiveness to create an otherworldly experience. Setting up in the Silk Street Theatre at the Barbican, there is excellent use of the space throughout the play: the opening haze-filled scene seems to take place in a seemingly endless void, later on the rear wall is used most effectively with spotlights and shadows thrown up. So much is left dark or in shadow, the audience is left to let their imagination fill in the gaps. Continue reading “Review: Macbeth, Cheek by Jowl at the Barbican”