“A Mrs Bennett, a Miss Bennett, a Miss Bennett and a Miss Bennett, sir.”
I deliberately chose to rewatch this version of Pride and Prejudice as Joe Wright’s film was the last I saw and I wanted to remind myself of it on its own merits, before returning to the iconic BBC television adaptation. Joe Wright seems to inspire a strength of feeling in some people which is almost akin to that which his frequent collaborator Keira Knightley is (IMHO) unfairly subjected and I don’t imagine his choice to take on Austen’s beloved story in an abridged film format and to cast Knightley as Elizabeth Bennett would have endeared him to anyone new.
But Wright’s visual eye cannot be doubted as he has a clear gift for condensing and crystallising the key emotional moments of a story. He captures beautifully the informality of a public dance where the people actually talk, contrasted with the private moments of secrets and passions for all concerned; his customary flowing tracking shots are present and correct and there’s a hugely romantic feel. This really comes through in his composition of scenes – the first touch between the pair as Darcy lifts Elizabeth into her carriage is powerfully charged, the sense of emotional freedom that comes for the girls when they are allowed to dance is always convincing and there’s a clever reinterpretation of the wet shirt scene that tips the nod to the original but stands on its own two feet – Macfadyen wins my vote over Firth for those that are interested. Continue reading “DVD Review: Pride and Prejudice (2005)”
It’s been a little while since I’ve watched any short films but I had a few link sent to me last week so I thought I’d cast my ever-beady eye over them to see what treasures might be unearthed. As ever, click on the ‘film’ tag to see more short films.
First up was Babysitting, written by Lucan Toh and Sam Hoare and also directed by the latter, but most attractive for its cast including Romola Garai, Dan Stevens and Imogen Stubbs. And from its opening shots of a bedraggled Garai and a super-glam Stubbs, it is rather a bundle of subversive fun. There’s a bit of a twist to the title that I won’t reveal here but it is one that sends Garai’s Maggie on a bit of a journey, where she bumps into arrogant ex Spencer, Stevens in fine West London toff mode and her priorities are pulled skewiff as old feelings rise to the surface. The pair are well-matched and amusingly styled and if the film as a whole comes across as a little slight, it is highly entertaining. Continue reading “Short Film Review #9”
The best cultural experiences, no matter the medium, is the way that it can make one feel. So where classic Broadway-inspired choreography makes my soul soar, musical comedies make me laugh helplessly and my painstakingly curated iTunes collection can fit any mood I want, this group of shorts contains two films that made me weep for days, I’m welling up just thinking about one of them now, and so I am pleased to be able to them with you. The first and the last are the weepies, with a smattering of less sad films mixed in the middle.
Continue reading “Short Film Review #8”
”I’d rather live life wishing I hadn’t rather than wishing I had”
Today I was lucky enough to catch an early screening of Joe Wright’s new film, Anna Karenina starring Keira Knightley in the title role, which is certain to be divisive with its unique approach. Tom Stoppard has been employed to distil Tolstoy’s weighty tome into something more manageable and his adaptation clocks in at a shade over 2 hours. Remaining largely faithful to the novel, Stoppard’s focus is on exploring different kinds of love, and so whilst the focus is mainly on Anna herself as she negotiates the tumultuous affair with a young cavalryman that sets her against her husband and the might of Russian society, he also ensures that the subplot featuring the agrarian Levin’s attempts to woo the object of his affections is kept in to provide a neat counterpoint.
Presented with a classic of literature and wanting to avoid predictability as far as period dramas are concerned, Wright’s main conceit has been to reconceptualise the whole thing in a deeply theatrical manner, literally. He treats the story as a piece of theatre, sometimes being played out in front of an audience, sometimes as backstage drama, but always with a defined fluidity and through-line. This exceedingly stylised and highly choreographed approach has a huge cinematic sweep which I adored, but it does soon calm down into something more measured and at key moments, it opens out with some breath-taking transformations. Continue reading “Film Review: Anna Karenina”
This post was originally meant to be the out-of-office message that went on here before I went on holiday, but time ran away from me as I left myself much too much to do and so it was left unfinished. But I liked it too much to abandon it completely, as my entrée into the world of watching short films was far too much fun to go unmarked. So here is a collection of short videos, many of them featuring familiar faces from the theatre, that should hopefully entertain you as much as they did I. Continue reading “Short film reviews #1”
“As they say, the Duke of Devonshire is the only man in england not in love with his wife”
Another of the films that I revisited in my period drama splurge over Christmas was The Duchess. This Keira Knightley and Ralph Fiennes vehicle did fairly well in 2008 and I quite enjoyed it at the cinema, though I remember being a little tired of the marketing shtick that overplayed the title character’s familial connection with the late sainted Diana, Princess of Wales and rather unnecessarily sought to draw huge parallels between the two. The film is about Georgiana, Duchess of Devonshire, who delighted and scandalised late eighteenth century society with her extravagance, forward fashion sense and a soft spot for gambling. Her marriage to the Duke though was far from happy though and as her public persona rises and rises and she becomes beloved of most everyone, behind closed doors infidelities and terrible betrayals push the Duchess to extreme measures.
I did enjoy watching this again for the most part and it is strongly acted, but for a film that covers at least ten years, it is surprisingly slow moving. Knightley in particular is excellent as Georgiana (I’ve never understood why she is such a polarising figure), a woman ahead of her time in many ways with her intellect and political nous having no official outlet in the society of its time and also challenged by being unable to contain her passion for Dominic Cooper’s Charles Gray (great casting choice!). Her portrayal deepens as the film progresses too, she becomes a convincing mother and pained victim faced with a harrowing choice as Fiennes’ passive-aggressive Duke finally rouses into action. He is superbly controlled throughout, almost terrifying with his impassive domination of all around him and the best scenes of the film, in my opinion, are the masterful shots at the long dinner table with husband and wife at either end and his mistress in the middle – beautifully, excruciatingly done. Continue reading “DVD Review: The Duchess”
“You ought not to say things like that about people, Mary”
After her (somewhat surprisingly) Olivier-nominated turn in The Misanthrope, Keira Knightley has returned to the same West End stage at the Comedy Theatre to further stretch her dramatic wings in a production of Lillian Hellman’s The Children’s Hour which also features the London stage debut of Ellen Burstyn, plus Carol Kane, Elizabeth Moss and a host of UK actresses in a rare play full of meaty parts for women. I hadn’t originally intended to see this show, the inflated ticket prices proving a step too far for a desperately uncomfortable theatre, especially in the (now no longer) cheap seats, but the offer from a kind soul to do the queuing for the £15 day seats meant that we ended up on the front row (A2&3) on a rainy Wednesday afternoon to be quite pleasantly surprised.
Set in 1930s New England at a small boarding school run by Karen and Martha, two women who after years of hard work and building up the school, are finally secure enough to begin looking at other things in life, in the case of Karen, marrying her patient fiancé. The only cloud on the horizon is problem child Mary, a massively disruptive influence and constant troublemaker who after yet another punishment is doled out to her, decides to run away to her grandmother’s house. But when an argument between Martha and her dippy aunt turns particularly rancorous with accusations of unnatural feelings towards Karen and is overheard by some of the other schoolgirls who pass on the tidbit to Mary, the malevolent child accuses her teachers of being secret lovers. It’s a charge which the grandmother takes deadly seriously, encouraging all the parents to withdraw their children and thereby threatening the very livelihood of the two women as they battle to clear their name. Continue reading “Review: The Children’s Hour, Comedy Theatre”
Ruth Negga, for Aricia in Phèdre (National Theatre)
Max Bennett, for Claudio in Measure for Measure (Theatre Royal, Plymouth) and Frank in Mrs Warren’s Profession (Theatre Royal, Bath)
Natalie Dew, for Celia in As You Like It (Curve Theatre)
Special commendations as previous winners
Mariah Gale, for Celia in As You Like It (Royal Shakespeare Company)
Rebecca Hall, for Hermione in The Winter’s Tale (Bridge Project at the Old Vic)
Hedydd Dylan, for Eliza Doolittle in Pygmalion (Clwyd Theatr Cymru)
Tracy Ifeachor, for Rosalind in As You Like It (Curve Theatre)
Max Irons, for Max Piccolomini in Wallenstein (Chichester Festival Theatre)
Tunji Kasim, for Lucius and Romulus in Julius Caesar (Royal Shakespeare Company)
Vanessa Kirby, for Regina in Ghosts (Octagon Theatre, Bolton)
Keira Knightley, for Jennifer in The Misanthrope (Comedy Theatre)
Jack Laskey, for Orlando in As You Like It (Shakespeare’s Globe)
Harry Lloyd, for Oswald in Ghosts (Arcola Theatre)
John MacMillan, for Malcolm in Macbeth (Royal Exchange Theatre), and Rosencrantz in Hamlet(Wyndhams Theatre)
David Ononokpono, for Orlando in As You Like It (Curve Theatre)
Henry Pettigrew, for Marcellus and Second Gravedigger in Hamlet (Wyndhams Theatre)
Prasanna Puwanarajah, for Messenger in Thyestes (Arcola Theatre)
George Rainsford, for Bertram in All’s Well That Ends Well (National Theatre)
Sam Swainsbury, for Demetrius in A Midsummer Night’s Dream, and Salerio in The Merchant of Venice (Propeller)
Ellie Turner, for Agnes in The School for Wives (Upstairs at the Gatehouse)
Best New Play
Enron by Lucy Prebble – Royal Court / Noël Coward
Jerusalem by Jez Butterworth – Royal Court / Apollo
The Mountaintop by Katori Hall – Trafalgar Studio 1
Red by John Logan – Donmar Warehouse
Best New Musical
Dreamboats and Petticoats – Savoy
Priscilla, Queen of the Desert – Palace
Sister Act – London Palladium
Spring Awakening – Novello
A Streetcar Named Desire – Donmar Warehouse
A View from the Bridge – Duke of York’s
Arcadia – Duke of York’s
Cat on a Hot Tin Roof – Novello
The Misanthrope – Comedy
Three Days of Rain – Apollo Continue reading “2010 Laurence Olivier Awards nominations”
“Jesus Christ, you wonder why
I want to curl up and just die”
Try as I might, I was hoping not to be too misanthropic about this production of The Misanthrope, but all the talk of misanthrophy has left me somewhat of a misanthrope myself. It was one of those difficult experiences where it was hard to work out whether I really hadn’t enjoyed the play or if it was just the general experience of the most fidgety couple in the world in front of us forcing a constant search for a decent view, the realisation that we’d actually got quite poor seats despite being expensive (£35 for 3rd row of Royal Circle) and the feeling that we were the only sober people at the party, such was the raucous laughter at every other line. Either way, I was perilously close to leaving at the interval, but stuck it out to the end.
Molière’s Le Misanthrope has been translated and updated to modern-day here by Martin Crimp and follows Alceste (Damien Lewis) a disenchanted playwright whose resolution to reject society and all its hypocrisy and shallowness, is challenged when he falls in love with Jennifer (Keira Knightley), a fame-hungry American filmstar. A timeless enough story, but one made problematic by the unlikeability of Alceste and Lewis’ performance which I found at times to be insufferable. Part of the problem is also in the script though: this is an incredibly self-aware translation, stuffed full of cultural references and one particularly galling joke about people paying £50 to see any old shit on the stage. For me, this just led to a form of mugging on the stage, Lewis might have well have just said ‘nudge nudge wink wink!’ at times. Continue reading “Review: The Misanthrope, Comedy”