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Emma @ The Movies (1786 KP) rated A Guide To Second Date Sex (2020) in Movies
Feb 17, 2020
Talk about burying the lead. Marie Claire offered its readers the chance to see A Guide To Second Date Sex free online for Valentine's Day, after seeing the cute little into from the lead actors I knew I had to give it a try.
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, đŹ]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, đŹ]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
Laura and Ryan have a chance meeting in a club after their friends abandon them, their awkward meeting turns into flirty banter and the two agree to a second date.
Both fresh off break-ups and clueless about how to go about dating they turn to their friends for help, but do too many cooks spoil the broth?
What a film. It's so awkward, but you just can't look away. I envy you if there isn't a moment in this that you can identify with. [Mum, if you're reading this I am of course playing it up for effect, I've never done any of this.] [Everyone else, đŹ]
The keyword that kept popping up throughout my notes was "awkward", I truly hate awkward viewing. It's one of the reasons I don't like reality TV for the most part [when I do watch it I record it so I can fast forward through those bits]. I have actively walked out of the room because I couldn't cope watching things. How I managed to sit through this film I do not know. I was laughing out loud, I was burying my head in my hands, and yet I sat through it.
I can well and truly say at this point that I love George MacKay, put him in everything please. He plays Ryan, Ryan is somewhat unsuccessfully trying to get over his ex and his little experience with dating is being helped along by his flatmate Dan... but he's all for the conquest rather than the romance. Laura, played by Alexandra Roach has the backup of the internet, her mother and a friend, but she seems a little more sceptical about all the suggestions she's offered.
The setup gives you a very quick insight into our two main characters including some of the advice that's offered above. I've moaned in the past about short intros not setting up enough of the film that follows but with the way this film is laid out and the fact that the main action happens in the space of one evening means that everything unfolds very quickly and you don't need anything more.
When the present day story happens I really love the internal monologue that cuts in, the underlying insecurities and anxiety gets to bubble up. It absolutely needed it too, there's no way the film would have worked without this extra layer of humour. Without the audio the actors still do a great job, they mastered the art of the awkward silence, add the voiceover in and you get that chance to identify and match it to your own experience and internal commentary. I could write several stories in this vein based on my own experience. [Mum, again, I've never done any of this.] [Everyone else, đŹ]
The film is based on the director's play that was performed at the Edinburgh Fringe Festival, I would love to have seen how that was done, I'm visualising something crossed between a play and Fleabag.
A Guide To Second Date Sex expresses those hideous memories that you really wish had been erased with the evening full of alcohol that accompanied them. It reflects so many girls' nights in and morning after phones calls I've been part of that it had that nostalgic feel which I think is how I stayed engaged despite my awkward reaction. It's an amusing and charming tale of dating that develops into a hilarious romp through young love and its perils.
This was an immensely entertaining watch but I really wish it ended one clip earlier than it did, and that's the only reason I'm not giving this 5 stars.
[Note to friends when you see it... Yes, that scene... I know, right?!]
Originally posted on: https://emmaatthemovies.blogspot.com/2020/02/a-guide-to-second-date-sex-movie-review.html
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Sarah (7798 KP) rated The Prestige (2006) in Movies
Jan 9, 2021
Criminally underrated
Film #10 on the 100 Movies Bucket List: The Prestige
The Prestige is one of 3 Christopher Nolan films on this bucket list (the others being Memento and The Dark Knight), and probably the one that has least recognition out of the the three. In fact Iâd say itâs criminally underrated. It focuses on two rival magicians in Victorian London, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), as a tragic accident gives rise to a bitter escalating feud. Supporting are Michael Caine as stage magic designer and engineer Cutter, Scarlett Johansson as magicianâs assistant Olivia, Rebecca Hall as Bordenâs wife Sarah and a brief appearance from Andy Serkis and the great David Bowie as Nikola Tesla and his assistant.
From the very start, The Prestige asks us the age old magicianâs phrase âAre you watching closely?â and is very much a hint at events to come, warning us that we should be paying attention. And with this being a Christopher Nolan film, this shouldnât be a surprise. The Prestige starts at the end, with an intriguing image of dozens of discarded top hats explaining magic tricks and the meaning behind the filmâs title, and is followed by the death of one of the main characters and subsequent incarceration of another. It continues in typical Nolan style, jumping between the prison, Angierâs journey to visit Nikola Tesla and telling the story of both magicians and their feud from the very beginning. A tad confusing at times, but it wouldnât be a Nolan film with a some time travelling story telling.
Magic isnât probably something that appeals as much now as it did back when this film is set. Victorian London is a perfect setting at a time when magic was very much a fascination and a popular form of entertainment, and the costumes and set design for this period are very well done and in keeping with the dark and dreary setting. Yet strangely despite this, The Prestige never feels like a run of the mill period drama. The cast too are perfect for their roles and also help to make magic a lot more appealing. Christian Baleâs cockney Borden is exactly what youâd expect from him yet couldnât imagine anyone else playing the role, especially with such an awkward verging on unlikeable character, and itâs refreshing to see Hugh Jackman play a part where he isnât a completely nice or likeable person. And of course it wouldnât be a Christopher Nolan film without Michael Caine, who brings some much needed humour and exposition. The only drag is unfortunately Scarlett Johansson, whose dodgy English accent pulls us away from anything she puts into her performance.
The Prestige is a slow burn murder mystery, that almost feels like a gothic horror at times with some sci-fi aspects thrown in. The plot has a vast amount of twists and turns and you really do have to be watching closely to understand it all and the ending itself and the final twist is probably the most polarising of them all. For me, the first time I watched this I never saw this twist coming. It truly shocked me, despite the many nods the film gives to the twist throughout. Watching this back now years later, I have to admit that the twist is actually a little predictable when you really think about it. But the feeling of astonishment I had watching this for the first time was second to none. What is most strange though, is that the most confusing thing in this entire film isnât the twists and turns, itâs the fact that both Angier and Norden can dress up in ridiculously fake disguises to fool each other and ruin the tricks. This does spoil things a little.
Iâve always loved magic and grew up watching many magic shows on TV when I was younger. For me Nolan has brought back that love and appeal of magic, with a hugely entertaining and captivating story. It may not be perfect and the ending may lose some of itâs shine after the first watch, but itâs still another brilliant film from Christopher Nolan.
The Prestige is one of 3 Christopher Nolan films on this bucket list (the others being Memento and The Dark Knight), and probably the one that has least recognition out of the the three. In fact Iâd say itâs criminally underrated. It focuses on two rival magicians in Victorian London, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale), as a tragic accident gives rise to a bitter escalating feud. Supporting are Michael Caine as stage magic designer and engineer Cutter, Scarlett Johansson as magicianâs assistant Olivia, Rebecca Hall as Bordenâs wife Sarah and a brief appearance from Andy Serkis and the great David Bowie as Nikola Tesla and his assistant.
From the very start, The Prestige asks us the age old magicianâs phrase âAre you watching closely?â and is very much a hint at events to come, warning us that we should be paying attention. And with this being a Christopher Nolan film, this shouldnât be a surprise. The Prestige starts at the end, with an intriguing image of dozens of discarded top hats explaining magic tricks and the meaning behind the filmâs title, and is followed by the death of one of the main characters and subsequent incarceration of another. It continues in typical Nolan style, jumping between the prison, Angierâs journey to visit Nikola Tesla and telling the story of both magicians and their feud from the very beginning. A tad confusing at times, but it wouldnât be a Nolan film with a some time travelling story telling.
Magic isnât probably something that appeals as much now as it did back when this film is set. Victorian London is a perfect setting at a time when magic was very much a fascination and a popular form of entertainment, and the costumes and set design for this period are very well done and in keeping with the dark and dreary setting. Yet strangely despite this, The Prestige never feels like a run of the mill period drama. The cast too are perfect for their roles and also help to make magic a lot more appealing. Christian Baleâs cockney Borden is exactly what youâd expect from him yet couldnât imagine anyone else playing the role, especially with such an awkward verging on unlikeable character, and itâs refreshing to see Hugh Jackman play a part where he isnât a completely nice or likeable person. And of course it wouldnât be a Christopher Nolan film without Michael Caine, who brings some much needed humour and exposition. The only drag is unfortunately Scarlett Johansson, whose dodgy English accent pulls us away from anything she puts into her performance.
The Prestige is a slow burn murder mystery, that almost feels like a gothic horror at times with some sci-fi aspects thrown in. The plot has a vast amount of twists and turns and you really do have to be watching closely to understand it all and the ending itself and the final twist is probably the most polarising of them all. For me, the first time I watched this I never saw this twist coming. It truly shocked me, despite the many nods the film gives to the twist throughout. Watching this back now years later, I have to admit that the twist is actually a little predictable when you really think about it. But the feeling of astonishment I had watching this for the first time was second to none. What is most strange though, is that the most confusing thing in this entire film isnât the twists and turns, itâs the fact that both Angier and Norden can dress up in ridiculously fake disguises to fool each other and ruin the tricks. This does spoil things a little.
Iâve always loved magic and grew up watching many magic shows on TV when I was younger. For me Nolan has brought back that love and appeal of magic, with a hugely entertaining and captivating story. It may not be perfect and the ending may lose some of itâs shine after the first watch, but itâs still another brilliant film from Christopher Nolan.
Lucy Buglass (45 KP) rated Jojo Rabbit (2019) in Movies
Oct 14, 2019
The premise of Jojo Rabbit is a bold one, and something that could have very easily been executed terribly on-screen.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes âJojoâ Betzler, who lives in Nazi Germany. Heâs a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist Iâve seen, because itâs easy to have very mixed feelings about who he is as a person. Heâs a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. Heâs fuelled by a love of Hitler (even going as far as to describe him as his âbest friendâ).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when heâs looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbitâs protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. Heâs funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojoâs imaginary Hitler, heâs hysterically funny and not at all how youâd imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojoâs delusions of how wonderful he is.
Heâs simply someoneâs interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what youâd expect from a naive child, who isnât fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because heâs mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitlerâs ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasnât sure whether my tears were from laughing or because I was genuinely sad at what Iâd just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojoâs meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths theyâd go to keep themselves safe.
Despite Elsaâs life constantly being in jeopardy, sheâs very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, youâll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit Iâm not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archieâs first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, itâs an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
Itâs darkly funny with an important overall message of confronting ideologies, and Iâd urge you to seek it out ASAP.
Whilst you might feel some apprehension about the concept of a 10-year-old boy who has Hitler as an imaginary friend, Taika Waititi has turned it into something brilliant and poignant.
As mentioned above, the film follows Johannes âJojoâ Betzler, who lives in Nazi Germany. Heâs a fanatic and is driven by his desire to serve Adolf Hitler in the German army during World War II, even joining a Hitler Youth Camp which is run by Captain Klenzendorf (Sam Rockwell).
Jojo is unlike any other child protagonist Iâve seen, because itâs easy to have very mixed feelings about who he is as a person. Heâs a child and his everyday behaviour is indicative of someone who lacks maturity, resulting in some laugh out loud moments.
However, a lot of what he says happens to be horrendous insults towards the Jewish community. Heâs fuelled by a love of Hitler (even going as far as to describe him as his âbest friendâ).
Throughout the film, he imagines scenarios in which Hitler is there with him, such as when heâs looking in the mirror and giving himself a pep-talk.
The strength of Jojo Rabbitâs protagonist is a testament to actor Roman Griffin Davis, and I found it hard to believe that this was his first ever film performance. Heâs funny, flawed, and a very well-rounded character brilliantly brought to life.
As for Jojoâs imaginary Hitler, heâs hysterically funny and not at all how youâd imagine the real man to be. Played brilliantly by director Taika Waititi, he is a caricature of a deplorable historical figure, and fuels Jojoâs delusions of how wonderful he is.
Heâs simply someoneâs interpretation of a political leader, created by a child who has been brainwashed into believing Nazi propaganda by adults in his life.
This bubbly oversimplification of a dictator is what youâd expect from a naive child, who isnât fully aware of the atrocities around him.
The fact Taika Waititi plays this version of Hitler feels important, because heâs mocking him in the best possible way. As a Jewish man, it feels very appropriate that he criticises Hitlerâs ideology through his satirical performance. It was brilliant.
Adding jokes to such a horrific situation is difficult, but this is where Jojo Rabbit really excels. The balance between humour and gut-punching reality checks is beautifully done, and there were times when I wasnât sure whether my tears were from laughing or because I was genuinely sad at what Iâd just seen.
Relationships are an important part of the film, particularly the one between Jojo and his mother Rosie (Scarlett Johansson). However, this becomes strained when he finds out that his mother is hiding a young Jewish woman in their home.
Jojoâs meeting with Elsa Korr (Thomasin McKenzie) is central to the story and gives us a real insight into the horrific treatment of Jewish people during this period, and the extreme lengths theyâd go to keep themselves safe.
Despite Elsaâs life constantly being in jeopardy, sheâs very sassy and gives young Jojo a run for his money once the two meet. The way the two characters bounce off each other is exceptional, and again, youâll laugh and cry in equal measure.
I was also impressed by some brief appearances in the film such as Rebel Wilson as Fraulein Rahm, who I found hilarious in this film. I must admit Iâm not always a fan of her work, but here she really delivered.
Stephen Merchant as Captain Deertz and Archie Yates as young Yorki are also worthy of praise, as every time they were on screen I found them delightful to watch. Much like Roman Griffin Davis, this was Archieâs first film, and he stole the show every time he was in a scene.
Jojo Rabbit is, simply put, political satire at its finest. As a result of this, itâs an emotional rollercoaster and one that I am excited to revisit whenever I get the chance.
Itâs darkly funny with an important overall message of confronting ideologies, and Iâd urge you to seek it out ASAP.
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Lottie disney bookworm (1056 KP) rated The Girl In The Clockwork Tower in Books
Aug 30, 2021
Steampunk Rapunzel-inspired tale? Check.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the âEnchantedâ so that they can be captured by MOTHERâs agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesnât take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the âUprisingâ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilhamâs characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an âassetâ for anyone but herself.
Despite Persiâs evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manuâs clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the âDuchessâ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captainâs previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the âmaiden in the towerâ of literature before Grimmâs Rapunzel grew her first curl and when you think that Wilhamâs Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories arenât a million miles apart after all.
That being said, the cute Disney-esque details werenât really needed, they certainly werenât what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldnât need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest âgay dadsâ to Manu.
I really appreciated how these charactersâ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manuâs part! Persiâs adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesnât need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Dashing captain of an airship? Check.
Magic? Check.
Weird obsession with pineapples? Check!
The Girl in the Clockwork Tower is a steampunk Rapunzel-inspired tale full of adventure and magic and great, well-developed characters.
Persinette was brought to MOTHER headquarters at the age of 8 and has since been used as a seer, tracking the âEnchantedâ so that they can be captured by MOTHERâs agents and placed in concentration camps. 16 years later, Persinette, or Persi, doesnât take the entrapment of her own kind lightly but is under constant threat from her controlling agent Gothel who makes it clear that once Persi is no longer useful to MOTHER, she will be disposed of.
Luckily for Persi, the Enchanted are not completely defenceless and the âUprisingâ have also noticed her talents. Captain Manu Kelii is tasked with recruiting Persi to their cause but can the charming airship captain protect the Seer from the formidable MOTHER?
Lou Wilhamâs characters are so well developed you will feel as if you have known them forever. Persinette begins her adventure as a timid, downtrodden, lavender haired girl: used as an asset for as long as she can remember. However, by the closing pages, Persi is a survivor, wielding her new-found magic and is unwilling to be an âassetâ for anyone but herself.
Despite Persiâs evolution from broken to badass, Captain Manu Kelii steals the show. Manu is a puppy dog, so eager to please and very confident in himself. When he finally receives a mission from the leader of the Uprising he is like a kid at Christmas and his bizarre obsession with pineapple provides both humour and an almost arrogant air about him. However, Manuâs clear adoration and care for Persi really cause him to grow as a character: this is potentially the first time Manu has worried for someone other than himself.
I would have liked a little more backstory from Manu, we know how he came to be on the âDuchessâ and we know him now but what happened in the meantime? It would be nice to have a little more insight into our pirate captainâs previous adventures.
Some reviewers have said this book is not a true Rapunzel retelling and I can see what they mean to a certain extent. I can certainly appreciate that the towns of Pascal and Maximus, the organisation Mother and agent Gothel do feel quite forced. However, Persinette was the âmaiden in the towerâ of literature before Grimmâs Rapunzel grew her first curl and when you think that Wilhamâs Persi is imprisoned in a tower, desperate to explore the outside world but, most importantly, to discover who she truly is, you start to realise that the stories arenât a million miles apart after all.
That being said, the cute Disney-esque details werenât really needed, they certainly werenât what made this story great: The Girl in the Clockwork Tower would have easily stood its own ground without any affinity to Rapunzel being made.
It shouldnât need adding but sadly the lack of diversity in other novels means that readers find it refreshing and reassuring when LGBTQIA characters are included and Lou Wilham does not disappoint. Eddi, the leader of the uprising uses gender neutral pronouns and Benard and Owen are the cutest âgay dadsâ to Manu.
I really appreciated how these charactersâ genders or sexuality were not under a spotlight: pronouns were used and relationships were explained, just as they were with Manu and Persi and that is just how it should be.
The Girl in the Clockwork tower is a gritty fairytale; complete with love, magic, villains, airships, concentration camps and a fair amount of alcohol on Manuâs part! Persiâs adventure sees her discovering her strength, her magic and maybe even finding love: this is one damsel who doesnât need a man to save the day!
Thank you to Booksirens. I received an advance review copy for free, and I am leaving this review voluntarily.
Bob Mann (459 KP) rated Mamma Mia: Here We Go Again! (2018) in Movies
Sep 29, 2021
I had a dream. A sob. A sing.
You remember in âAliensâ when Ripley (Sigourney Weaver) fought through hell and high water against that âbitchâ to protect the youngster Newt (Carrie Henn)? And then how betrayed you felt in that emotional investment at the start of âAlien 3â?
Which brings us spoiler-free to the start of âMamma Mia! Here We Go Againâ, typically shortened by everyone to âMamma Mia 2â, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now â unbelievably â 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, âThe Windsorsâ, âW1Aâ), Bill (Josh Dylan, âAlliedâ) and Sam (Jeremy Irvine, âWar Horseâ) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a⌠erm⌠âloose womanâ, then this plot point could have been amplified by seeing the âdot, dot, dotâ acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. âBeguilingâ was the description my better half came up with, and I couldnât describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Waltersâ character) and Jessica Keenan Wynn (as the young version of Christine Baranskiâs character). The trioâs exuberant performance of âWhen I Kissed the Teacherâ sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who âLoved to Laughâ on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory â in CD terms â of âMore Abba Goldâ than âAbba Goldâ, but Bjorn and Bennyâs B-sides are still better than many otherâs A-sides. Whatâs really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, youâre a legend and we forgive you!
Itâs also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesnât move you to tears you are either made of rock or are immune to being shamelessly manipulated! Itâs a well-scripted convergence of grief and joy (I feel Richard Curtisâs hand in the story here) around one of Abbaâs most beautifully tear-jerking songs. I will admit to you â donât tell anyone else â that I was left in a complete mess⌠another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (youâll NEVER guess what his first name is!) and Cher (âMoonstruckâ) literally rocks up trying hard to steal the show as Sophieâs Vegas superstar grandmother.
Directed and scripted by âBest Exotic Marigold Hotelâ director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated âMamma Miaâ then you will hate this one; if you loved âMamma Miaâ you will simply adore this one.
Which brings us spoiler-free to the start of âMamma Mia! Here We Go Againâ, typically shortened by everyone to âMamma Mia 2â, the sequel to the enormously successful cheese-fest (and Bros-fest) that was the first film, now â unbelievably â 10 years old.
Sophie (Amanda Seyfried) is trying to open the Bella Donna hotel on that magical Greek island separated from her husband Sky (Dominic Cooper) who is learning the tips of the hotel trade in New York. As preparations for the opening party progress we flash back to the back-story of Donna (as a post-graduate played by Lily James) as she meets Harry (Hugh Skinner, âThe Windsorsâ, âW1Aâ), Bill (Josh Dylan, âAlliedâ) and Sam (Jeremy Irvine, âWar Horseâ) en route to Greece.
If you remember the first film and thought Donna (Meryl Streep) was a bit of a⌠erm⌠âloose womanâ, then this plot point could have been amplified by seeing the âdot, dot, dotâ acts in the flesh, as it were. Fortunately, in steps Lily James as the young Donna who is so mesmerisingly gorgeous and vivacious that you can forgive her just about anything. âBeguilingâ was the description my better half came up with, and I couldnât describe her better. Supporting her effectively are Alexa Davies (as the young version of Julie Waltersâ character) and Jessica Keenan Wynn (as the young version of Christine Baranskiâs character). The trioâs exuberant performance of âWhen I Kissed the Teacherâ sets the tone well for the grin-fest to follow. (By the way, if you are a Mary Poppins fan then a bit of trivia is that Wynn is the great-granddaughter of Ed Wynn, the character who âLoved to Laughâ on the ceiling!).
In these days of drought, Trump vs the world, Brexit and universal bruhaha, this is a much-needed joyful film, and far better I would say than the original. A good story, well executed and stuffed with excellent tunes. True, apart from a number of key repeats, we are more in the territory â in CD terms â of âMore Abba Goldâ than âAbba Goldâ, but Bjorn and Bennyâs B-sides are still better than many otherâs A-sides. Whatâs really nice is that the songs are well chosen to mesh better into the story and the lead singing of Seyfried and James is uniformly excellent. Pierce Brosnan gets to sing (no, no, come back!) but it is cleverly low-key and genuinely touching. And as for Celia Imrie, youâre a legend and we forgive you!
Itâs also far better at finding both humour and pathos than the original, with the splendid Hugh Skinner exhibiting perfect comic timing and comedian Omid Djalili being very funny (stay to the end of the end-credits for a very funny monkey). National treasure Julie Walters also adds excellent comic content, particularly in a number of dance scenes.
And as for the pathos, if the duet at the finale doesnât move you to tears you are either made of rock or are immune to being shamelessly manipulated! Itâs a well-scripted convergence of grief and joy (I feel Richard Curtisâs hand in the story here) around one of Abbaâs most beautifully tear-jerking songs. I will admit to you â donât tell anyone else â that I was left in a complete mess⌠another reason to sit through the end titles!
At the elderly end of the cast list Andy Garcia is magnificent as the South American hotel manager Mr Cienfuegos (youâll NEVER guess what his first name is!) and Cher (âMoonstruckâ) literally rocks up trying hard to steal the show as Sophieâs Vegas superstar grandmother.
Directed and scripted by âBest Exotic Marigold Hotelâ director Ol Parker (the lucky guy who is married to Thandie Newton!) it drips with cheese again, but who cares when it is so stylishly done. Should you see this? The test is simple: if you hated âMamma Miaâ then you will hate this one; if you loved âMamma Miaâ you will simply adore this one.
Bob Mann (459 KP) rated Paddington 2 (2017) in Movies
Sep 29, 2021
Bear faced brilliance.
I never went to see âPaddington 2â at the cinema when it came out. Well, itâs a kids film isnât it? And my grandkids I thought⌠well, their probably a bit too young for the long haul on this one. But â after catching up with it recently on a transatlantic flight â Iâm sorry I missed it. For it is brilliant in its own way.
Having not seen the first âPaddingtonâ, also directed by Paul King, there is a useful little flashback to the Peruvian origins of the little chap before we pitch into the plot proper. Paddington (voiced by Ben Wishaw, âSpectreâ) has nicely settled down to life with The Brownâs in their London home and is a well-loved member of the community (well, well loved that is by everyone except the cranky Mr Curry (Peter Capaldi, âDr Whoâ, âWorld War Zâ). But he longs to buy his Aunt Lucy (Imelda Staunton, âFinding Your Feetâ) a special birthday present â a pop-up book of London scenes that heâs seen in a local antique shop. But for that he needs a lot of cash, and so proceeds to earn it through a variety of different jobs.
However, fading actor Phoenix Buchanan (Hugh Grant, âFlorence Foster Jenkinsâ, âThe Man From U.N.C.L.E.â) also shows an unhealty interest in the book and, after it disappears from the shop with Paddingtonâs paw prints all over the scene, the poor bear finds himself on the wrong side of the law.
This is a continually inventive movie, which rockets along with truly impressive verve and panache from scene to scene. As a particular example of this, an animated walk through the pop-up book is marvellously done: a tribute to the 2D retro nature (even in those days!) of the TV animation of the 70âs that will go over the heads of younger viewers. There are plenty of slapstick scenes â notably of Paddington trying window cleaning, and his job in a barberâs shop â which will not only delight younger children but also made this 57 year old laugh out loud too! The prison sequence also delights, with a laundry blunder by the bear leading into a comical showdown with the prisonâs chief poisoner, sorry, head chef played by Brendan Gleeson (âAlone in Berlinâ, âLive By Nightâ).
Vision AND sound! Paddington with incarcerated friends, including Brendan Gleeson (centre).
The cast all seem to revel in their parts, with Hugh Bonneville (âViceroyâs Houseâ, âThe Monuments Menâ) energetic as Mr Brown and Oscar runner-up (surely!) Sally Hawkins (âThe Shape of Waterâ) very chirpy as Mrs Brown. All of the residents of Windsor Gardens are a whoâs who of UK film and TV, and each cameo has a lovely little tale behind it: Julie Walters (âBrooklynâ) as Mrs Bird, the Brownâs help; Sanjeev Bhaskar as Dr Jafri, forever nearly locking himself out; Miss Kitts (Jessica Hynes) and the crusty Colonel Lancaster (Ben Miller) in a âwill they/wonât theyâ potential romance. Elsewhere, Jim Broadbent (âBridget Jones Babyâ, âEddie the Eagleâ) is great as the antique store owner; Tom Conti adds both gravitas and humour as Judge Biggleswade and Richard Ayoade (âThe Doubleâ) is very funny as a forensic expert.
The Brown family: from left; Mr Brown (Hugh Bonneville); Jonathan (Samuel Joslin); Mrs Brown (Sally Hawkins); Mrs Bird (Julie Walters); and Judy Brown (Madeleine Harris).
Head and shoulders above all of them though is Hugh Grant who is just outstandingly good as the puffed-up and self-important ham-actor. His Best Supporting Actor nomination for a BAFTA was surprising, but having seen the film so very much deserved. Hang around in the end credits for his last words of the film which are cornily hilarious! One can only hope that Phoenix Buchanen returns for Paddington 3.
A career best⌠Hugh Grant as the devilishly slippery Phoenix Buchanan.
I would have thought that some of the scenes towards the end of the film, particularly one where Paddington seems doomed to a watery end, might be a little frightening for younger viewers. Thank heavens Sally Hawkins has gills! đ
Overall, this is a movie I would gladly watch again, with or without kids. In a movie landscape that is pretty devoid of good comedy, here is a movie that really did make me laugh out loud.
Having not seen the first âPaddingtonâ, also directed by Paul King, there is a useful little flashback to the Peruvian origins of the little chap before we pitch into the plot proper. Paddington (voiced by Ben Wishaw, âSpectreâ) has nicely settled down to life with The Brownâs in their London home and is a well-loved member of the community (well, well loved that is by everyone except the cranky Mr Curry (Peter Capaldi, âDr Whoâ, âWorld War Zâ). But he longs to buy his Aunt Lucy (Imelda Staunton, âFinding Your Feetâ) a special birthday present â a pop-up book of London scenes that heâs seen in a local antique shop. But for that he needs a lot of cash, and so proceeds to earn it through a variety of different jobs.
However, fading actor Phoenix Buchanan (Hugh Grant, âFlorence Foster Jenkinsâ, âThe Man From U.N.C.L.E.â) also shows an unhealty interest in the book and, after it disappears from the shop with Paddingtonâs paw prints all over the scene, the poor bear finds himself on the wrong side of the law.
This is a continually inventive movie, which rockets along with truly impressive verve and panache from scene to scene. As a particular example of this, an animated walk through the pop-up book is marvellously done: a tribute to the 2D retro nature (even in those days!) of the TV animation of the 70âs that will go over the heads of younger viewers. There are plenty of slapstick scenes â notably of Paddington trying window cleaning, and his job in a barberâs shop â which will not only delight younger children but also made this 57 year old laugh out loud too! The prison sequence also delights, with a laundry blunder by the bear leading into a comical showdown with the prisonâs chief poisoner, sorry, head chef played by Brendan Gleeson (âAlone in Berlinâ, âLive By Nightâ).
Vision AND sound! Paddington with incarcerated friends, including Brendan Gleeson (centre).
The cast all seem to revel in their parts, with Hugh Bonneville (âViceroyâs Houseâ, âThe Monuments Menâ) energetic as Mr Brown and Oscar runner-up (surely!) Sally Hawkins (âThe Shape of Waterâ) very chirpy as Mrs Brown. All of the residents of Windsor Gardens are a whoâs who of UK film and TV, and each cameo has a lovely little tale behind it: Julie Walters (âBrooklynâ) as Mrs Bird, the Brownâs help; Sanjeev Bhaskar as Dr Jafri, forever nearly locking himself out; Miss Kitts (Jessica Hynes) and the crusty Colonel Lancaster (Ben Miller) in a âwill they/wonât theyâ potential romance. Elsewhere, Jim Broadbent (âBridget Jones Babyâ, âEddie the Eagleâ) is great as the antique store owner; Tom Conti adds both gravitas and humour as Judge Biggleswade and Richard Ayoade (âThe Doubleâ) is very funny as a forensic expert.
The Brown family: from left; Mr Brown (Hugh Bonneville); Jonathan (Samuel Joslin); Mrs Brown (Sally Hawkins); Mrs Bird (Julie Walters); and Judy Brown (Madeleine Harris).
Head and shoulders above all of them though is Hugh Grant who is just outstandingly good as the puffed-up and self-important ham-actor. His Best Supporting Actor nomination for a BAFTA was surprising, but having seen the film so very much deserved. Hang around in the end credits for his last words of the film which are cornily hilarious! One can only hope that Phoenix Buchanen returns for Paddington 3.
A career best⌠Hugh Grant as the devilishly slippery Phoenix Buchanan.
I would have thought that some of the scenes towards the end of the film, particularly one where Paddington seems doomed to a watery end, might be a little frightening for younger viewers. Thank heavens Sally Hawkins has gills! đ
Overall, this is a movie I would gladly watch again, with or without kids. In a movie landscape that is pretty devoid of good comedy, here is a movie that really did make me laugh out loud.
Lee (2222 KP) rated The Hitman's Bodyguard (2017) in Movies
Aug 16, 2017
The double act bickering of Reynolds and Jackson (1 more)
Salma Hayek!
Surprisingly Good
I wasn't sure what to make of The Hitman's Bodyguard when I first saw the poster. Movies which try to squeeze some comedy out of two people being thrown together who don't really like each other generally tend to suck. But then I saw the trailer, which made it look entertaining and worth a watch. However, if it hadn't been for the fact that I was away on holiday last week I may well have read some of the early negative reviews and thought about giving it a miss. Luckily though, I was on holiday, I didn't read any reviews and I ended up watching one of the funniest action packed movies I've seen in a while.
Ryan Reynolds is Michael Bryce, a 'Triple-A' bodyguard with a hot girlfriend, nice house, nice car and a smart suit. He likes to make sure that the protection of his clients runs like clockwork (boring is best, as he likes to remind his team!). So when things go badly wrong on a job, Bryce suddenly finds himself way back down the ladder when it comes to landing quality bodyguard roles. Consequently, his expensive lifestyle takes a big hit and we join him 2 years down the line, unshaven and peeing into a bottle while sitting in his beat up car before heading into a job.
Meanwhile, Samuel L Jackson is Darius Kincaid, a hitman being escorted by Interpol from Manchester to testify in Holland at The Hague. The man he is testifying against is warlord Vladislav Dukhovich (Gary Oldman, suitably evil). A nasty piece of work determined to take out anyone with the potential to put him behind bars. So when the escort accompanying Kincaid takes a hit, it becomes clear that someone in Interpol has been leaking their route, and Bryce ends up landing the role of escorting Kincaid for the rest of his trip to The Netherlands. Turns out though that Bryce and Kincaid have history, with Kincaid nearly killing Bryce on 28 previous occasions, so their initial meeting doesn't go too well. Eventually the pair reach enough of an understanding so that they can head out on the road together, down through the English countryside. It's their constant bickering on this road trip that then provides a lot of the humour for the movie. Bryce is pretty particular when it comes to how smoothly these things should be handled, whereas Kincaid just likes to get things done and screw the consequences. The word 'motherfucker' gets used to great effect A LOT by Jackson (as Bryce puts it, âThis guy single-handedly ruined the word âmotherfuckerââ) and Bryce continues to be frustrated and amazed at just how 'un-killable' Kincaid appears to be.
It's not very long before the bad guys are on their tail though, leading to a succession of more and more complex action sequences. These hit a real high when everyone reaches The Netherlands, with an exciting chase through the streets and canals of Amsterdam kicking things off nicely. The only complaint with this, and the rest of the action in the movie, is that there does appears to be a never ending supply of bad guys lining up to take them out. Just when you think we're down to the final few, another wave of vehicles appears, all full of weapon waving maniacs! I loved all of the action in the movie, but because of this it does constantly run the risk of seeming a little too dragged out. It's a very fine line.
Before I forget, a special mention to Salma Hayek who stars as the wife of Kincaid. Despite being locked in a cell for the entire movie, she gets more than her fair share of funny lines and action, mainly in flashbacks where we get to see just how much of a foul mouthed bad ass she really is. Taking no crap from anyone, she's brilliant.
Although there's nothing really here that hasn't been done before, it was the brilliant double act of Reynolds and Jackson that really made this worth seeing for me. That, along with the hugely entertaining action sequences. Judging by other reviews though, I think it's just my taste in these movies that's different from most others. I actually hated last years 'The Nice Guys', while everyone else seemed to love it so I guess I'm just going to be in the minority when it comes to this movie too!
Ryan Reynolds is Michael Bryce, a 'Triple-A' bodyguard with a hot girlfriend, nice house, nice car and a smart suit. He likes to make sure that the protection of his clients runs like clockwork (boring is best, as he likes to remind his team!). So when things go badly wrong on a job, Bryce suddenly finds himself way back down the ladder when it comes to landing quality bodyguard roles. Consequently, his expensive lifestyle takes a big hit and we join him 2 years down the line, unshaven and peeing into a bottle while sitting in his beat up car before heading into a job.
Meanwhile, Samuel L Jackson is Darius Kincaid, a hitman being escorted by Interpol from Manchester to testify in Holland at The Hague. The man he is testifying against is warlord Vladislav Dukhovich (Gary Oldman, suitably evil). A nasty piece of work determined to take out anyone with the potential to put him behind bars. So when the escort accompanying Kincaid takes a hit, it becomes clear that someone in Interpol has been leaking their route, and Bryce ends up landing the role of escorting Kincaid for the rest of his trip to The Netherlands. Turns out though that Bryce and Kincaid have history, with Kincaid nearly killing Bryce on 28 previous occasions, so their initial meeting doesn't go too well. Eventually the pair reach enough of an understanding so that they can head out on the road together, down through the English countryside. It's their constant bickering on this road trip that then provides a lot of the humour for the movie. Bryce is pretty particular when it comes to how smoothly these things should be handled, whereas Kincaid just likes to get things done and screw the consequences. The word 'motherfucker' gets used to great effect A LOT by Jackson (as Bryce puts it, âThis guy single-handedly ruined the word âmotherfuckerââ) and Bryce continues to be frustrated and amazed at just how 'un-killable' Kincaid appears to be.
It's not very long before the bad guys are on their tail though, leading to a succession of more and more complex action sequences. These hit a real high when everyone reaches The Netherlands, with an exciting chase through the streets and canals of Amsterdam kicking things off nicely. The only complaint with this, and the rest of the action in the movie, is that there does appears to be a never ending supply of bad guys lining up to take them out. Just when you think we're down to the final few, another wave of vehicles appears, all full of weapon waving maniacs! I loved all of the action in the movie, but because of this it does constantly run the risk of seeming a little too dragged out. It's a very fine line.
Before I forget, a special mention to Salma Hayek who stars as the wife of Kincaid. Despite being locked in a cell for the entire movie, she gets more than her fair share of funny lines and action, mainly in flashbacks where we get to see just how much of a foul mouthed bad ass she really is. Taking no crap from anyone, she's brilliant.
Although there's nothing really here that hasn't been done before, it was the brilliant double act of Reynolds and Jackson that really made this worth seeing for me. That, along with the hugely entertaining action sequences. Judging by other reviews though, I think it's just my taste in these movies that's different from most others. I actually hated last years 'The Nice Guys', while everyone else seemed to love it so I guess I'm just going to be in the minority when it comes to this movie too!
RÉX Regent (349 KP) rated The Passion of Joan of Arc (1928) in Movies
Feb 19, 2019
Silent cinema is not my strongest subject but one which I have been making a concerted effort to learn about over the past decade, but admittedly at a slow pace. The idea of sitting through a silent film can seem to be chore to a modern audience and to be honest, it can be inconceivable to the vast majority, but these attitudes only serve to deprive us of 30 years of cinema, both in primitive evolution and cinematic excellence.
The notion is that silent movies where almost amateurish is style, a three decade long film school to keep up occupied until the Talkies turned up and âfilmâ as we know it, was born. This is wrong. Film is visual medium, Movies, moving pictures, all of which were accompanied by music by the way, so the term âsilentâ only really refers to the lack of synchronized sound and dialogue.
ydvjeYet, the core of film is visual. Modern cinema is a about perfecting the mesh of media forms, music, photography, narrative and sound. But without dialogue, silent movies had a challenge on their hands and one which The Passion Of Joan Of Arc, one of the last silent movies of the era, rose to perfectly.
Visually, this could have been made yesterday. A truly timeless blend of artistic and innovative cinematography, fast paced editing and outstanding performances. The Danish director, Carl Theodore Dreyer mastered the close up, naturalistic acting and manages to tell the procedural story of the trial of Joan Of Arc in such a gripping manner that you will forget that there is no spoken dialogue, yet you are literally putting the intertitles in to the mouths of the cast.
Not a single cast member is wasted, with every one pouring their hearts and souls in to the camera in such nuanced ways that it can be left to debate and interpretation as to exactly who is thinking or feeling what as Joan, Maria Falconetti in her third and final film role, steals the screen with her tortured soul and face shown almost entirely in close up.
the-passion-of-joan-of-arc-large-pictureOver acting has given way to strong acting, each shot designed to allow us access to her soul as she, in a plot not to dissimilar from the last hours of Jesus Christ, is torn between torture and certain death of abandoning her faith and spending the rest of her life imprisoned with only bread and water to look forward too.
The script is based on the actually accounts of the future saintâs trial in 1431 but the real events took place over 18 months whilst this either compresses this into one day or takes place on the last one, but the feeling is that this is the one and only trial of Joan so in that sense, theatrical licence has been taken but it hardly matters. The facts are present and the story is harrowing, made more so by an almost perfect production, led by a controversial, almost Kubrickian director, forcing his cast to suffer for their art, yet this version of events is also contested.
joan-of-arc-soundtrackFor everyone out there who believes that Silent movies are just cut to the chase comedies, or overly flamboyant and patronising filler until âreal filmsâ are made, this may just serve as wake up call, that films have evolved, but Sound would actually set the industry back in the 1930âs, as the new audio based art form evolved just as movies had up until this point., but Joan Of Arc should help all see that film has always been able to convey anything, from humour to horror; Real of make-believe.
Many believe that this movie is one of the best ever made and I do believe that to be true. An outstanding and forgotten film to all but critics and film buffs, one which everyone should see.
VERSION
The version which I watched was The Criterion Edition of the 1985 restoration of Dreyerâs âLostâ original cut. The music to this film was never deemed to be that important so there are several compositions which have been attached to the film over the years.
The âLo Ducaâ cut, which was the a 61 minute version (1951) doing the rounds for years after the original cut was lost in a fire soon after the filmâs release, was cut together by Joseph-Marie Lo Duca after discovering a negative in a vault. This version, as well as the âDirectorâs Cutâ are both available on the Blu-ray, whilst it appeared that the 1985 restoration (Directorâs Cut) is more widely available on DVD.
The notion is that silent movies where almost amateurish is style, a three decade long film school to keep up occupied until the Talkies turned up and âfilmâ as we know it, was born. This is wrong. Film is visual medium, Movies, moving pictures, all of which were accompanied by music by the way, so the term âsilentâ only really refers to the lack of synchronized sound and dialogue.
ydvjeYet, the core of film is visual. Modern cinema is a about perfecting the mesh of media forms, music, photography, narrative and sound. But without dialogue, silent movies had a challenge on their hands and one which The Passion Of Joan Of Arc, one of the last silent movies of the era, rose to perfectly.
Visually, this could have been made yesterday. A truly timeless blend of artistic and innovative cinematography, fast paced editing and outstanding performances. The Danish director, Carl Theodore Dreyer mastered the close up, naturalistic acting and manages to tell the procedural story of the trial of Joan Of Arc in such a gripping manner that you will forget that there is no spoken dialogue, yet you are literally putting the intertitles in to the mouths of the cast.
Not a single cast member is wasted, with every one pouring their hearts and souls in to the camera in such nuanced ways that it can be left to debate and interpretation as to exactly who is thinking or feeling what as Joan, Maria Falconetti in her third and final film role, steals the screen with her tortured soul and face shown almost entirely in close up.
the-passion-of-joan-of-arc-large-pictureOver acting has given way to strong acting, each shot designed to allow us access to her soul as she, in a plot not to dissimilar from the last hours of Jesus Christ, is torn between torture and certain death of abandoning her faith and spending the rest of her life imprisoned with only bread and water to look forward too.
The script is based on the actually accounts of the future saintâs trial in 1431 but the real events took place over 18 months whilst this either compresses this into one day or takes place on the last one, but the feeling is that this is the one and only trial of Joan so in that sense, theatrical licence has been taken but it hardly matters. The facts are present and the story is harrowing, made more so by an almost perfect production, led by a controversial, almost Kubrickian director, forcing his cast to suffer for their art, yet this version of events is also contested.
joan-of-arc-soundtrackFor everyone out there who believes that Silent movies are just cut to the chase comedies, or overly flamboyant and patronising filler until âreal filmsâ are made, this may just serve as wake up call, that films have evolved, but Sound would actually set the industry back in the 1930âs, as the new audio based art form evolved just as movies had up until this point., but Joan Of Arc should help all see that film has always been able to convey anything, from humour to horror; Real of make-believe.
Many believe that this movie is one of the best ever made and I do believe that to be true. An outstanding and forgotten film to all but critics and film buffs, one which everyone should see.
VERSION
The version which I watched was The Criterion Edition of the 1985 restoration of Dreyerâs âLostâ original cut. The music to this film was never deemed to be that important so there are several compositions which have been attached to the film over the years.
The âLo Ducaâ cut, which was the a 61 minute version (1951) doing the rounds for years after the original cut was lost in a fire soon after the filmâs release, was cut together by Joseph-Marie Lo Duca after discovering a negative in a vault. This version, as well as the âDirectorâs Cutâ are both available on the Blu-ray, whilst it appeared that the 1985 restoration (Directorâs Cut) is more widely available on DVD.