Literature Review

I’m feeling foolish at the moment, or perhaps lazy is the appropriate word. Even though I spend a good deal of my holiday reading I don’t think I’m ready for literary stuff and my Novel Course this semester begins with Daniel Defoe’s Robinson Crusoe. If you’ve never read Defoe, here’s a hint – the man never heard of chapters. I’m already balking at re-reading it, actually I can’t even remember it clearly so it’s like I’ll be reading it for the first time. Then on to Joseph Andrews by Henry Fielding (I wish it was Tom Jones) and then Pride & Prejudice and Jane Eyre. Wuthering Heights is the only Bronte book I like so that means, other than Pride & Prejudice I’m not looking forward to this semester of reading (and then next year, The Mill on the Floss. Ick!)  On the topic of Jane Austen, though, why do her books make for such good cinema?

          

Am I being harsh? Which of these is worth a second read? What have you been reading lately?

“Sister, Sister”

I love seeing sibling machinations on the screen. There’s something decidedly charming in seeing sturdy bouts of filial love and especially when that bond is between sister and sister. It’s something that pits actress against actress and often results in good performances all around. So today we're catering to the ladies - But what makes a good sisterly pairing? Well, obviously, they have to love each other – that’s a bit of prerequisite, so of course no inclusions of those Dubois women…few sisterly pairing are as true, and loving as these five that follow – well, I can’t think of any…

            

The Dashwoods 

There are really three Dashwood sisters in Sense & Sensibility, but only two of them get descriptive adjectives to their name. Sure, Emma Thompson’s age acts against the very reason for Austen’s title, but she’s a good enough actress to overcome whatever her age cannot. Sure, sometimes Marianne comes off as undeserving of her sister’s patience, but they do look out for each other. Like a clever diversion on a piano to prevent the embarrassment of Elinor and the dedication Elinor in turn pays to a sick Marianne. Dedication to sisterhood. 

           

The Magraths

Crimes of the Heart is such a forgotten one, but with Diane Keaton, Jessica Lange and Sissy Spaceck I remember it. A sister of Best Actress Oscar winners, what can be better? Sure one of them is washed up, one's suicidal and one's "never been kissed" but the chemistry these three women have make me wonder this film isn't more remembered.

                

Ms. Jane Bennet, Ms. Elizabeth Bennett, Ms. Mary Bennett, Ms. Lydia Bennett and Ms. Kitty Bennett

It’s one thing ensuring two sisters match the truth of an Austen novel, but it’s so much more difficult when it’s five. How does Joe Wright accomplish it? Well Mary is the odd one out, and is often alone. Eliza and Jane gravitate to each other as do Lydia and Kitty so we have the older pair and the younger pair. But, even more, moments when they must combine are just as honest. The film’s beginning with the five of them, and their fishwife mother, haranguing their father about Miss Bingley is handled nicely. Yes, the strongest moments of the film come when Rosamund and Keira interact – they are so very lovely together. But Wright tries to make each one have their moment, and for the most part, he succeeds.

   

The March Girls

Of course this list cannot be made without some incarnation of the March sisters. Meg, Jo, Beth and Amy are memorable characters of literature and cinema and the 1932 incarnation is the most memorable. Kate stars as a role that seems tailor made for her - that of the irrepressible Jo. Joan Bennett, Jean Parker and Frances Dee round out the foursome as Amy, Beth and Meg. It's a pity none of the actresses went on to fame other than Kate, and it's a pity that the fair but uninspired 1994 version is remembered more. Still, the March Girls are the epitome of sisterly affection.

   

The Schlegel Girls

Howards End is a delight, and more than anything else the reason for its beauty lies in the chemistry between Helena Bonham Carter and Emma Thompson. Sure, they have a brother, but Tibby is incidental. It’s weird, considering the future controversy between these two women and a certain Shakespeare fanatic, but the bond these two seem to share is striking. Sure, halfway through the film they part ways, temporarily, but it doesn’t make the bond tenuous, they’re reunited at the end because the Schlegel girls know something about familial ties. It’s a unity that Ivory handles wonderfully. They are as different as night and day and of course this is why they’re so necessary to each other.

                      

Which actress pairing convince you most of their sisterly bond?

Forgotten Characters 2:11

In the wake of The Lord of the Rings and Pirates of the Caribbean I ended up believing that Orlando Bloom was a part of Joe Wright’s Pride & Prejudice. It wasn’t until some time later that I realised that it was no him, but his doppelganger (to me, at least). Now at the turn of a decade Bloom’s name is forgotten, truthfully, few remember this young man either…

               

Rupert Friend in Pride & Prejudice

As Mr. Wickham

Friend probably gets the best entrance in Pride & Prejudice. Lizzie and Jane walk chatting through the streets, she loses her handkerchief and in a billow of cloth we spy the face of Friend’s soldier. Carey Mulligan’s giggles incessantly (more on her in P&P), “Did you drop yours on purpose, Lizzie.” As much as I love Austen’s work (and I do) I am always amused by how many of her books (all arguably) have our heroine being duped by a good-looking but duplicitous man. Friend’s performance isn’t anywhere as good as Wise’s take on a similar character in Sense & Sensibility, but he does well. He’s charming if not a little bland, I’ve said it before – he’s so good I wish he’d been given Simon Wood's role of Bingley. But Friend succeeds in making Wickham affable enough so that we end feeling a little - a little - derailed when we find out the inevitable truth, he's a cad.

Pride & Prejudice is a bite-sized version of Jane Austen's novel (albeit, a delicious bite) so Wickham doesn't really get that much to do, but I really do feel Rupert plays him well. That return to the Bennett's after Lydia's marriage is as uncomfortable as it should be. He's so obviously out of placed there, I can't even imagine he and Lydia at home. They're so obviously unsuited. It's a thankless role, of course. It's not villainous enough to be completely memorable, and he's not good so we don't like him either. All things considered, though, it's a good effort. It was only his second film role, but he showed promise (promise that I hope is soon fulfilled).

               

Do you agree, is he good here or forgettable?

Scene On A Sunday: Pride & Prejudice

I’ve had Joe Wright’s 2005 debut Pride & Prejudice on my mind a whole lot recently; although – truth be told – I’ve been thinking less of the actual film and more of the lovely lady it centres on, the lovely Keira Knightley. I remember when during the awards season in 2006, before I saw the film, I was a bit confused at the choice of clip that a number of shows played for Keira, but it wasn’t until seeing the film in its entirety I was able to place the deserved value on it. This is not a BBC version of Pride & Prejudice, Jane Austen’s very cadence is condensed into a perfectly little two hour piece and Wright’s choice in shooting Mr. Darcy’s first proposal is fresh and original. I like, for example, how he chooses to have it done immediately after Elizabeth learns of his role is thwarting her sister’s chance at marriage. She runs off for some solace, in the rain no less. The shot below is so picturesque. 

 

Keira is such a perfect fit for Elizabeth, it's almost ridiculous. She handles this scene so well, even before it actually begins, as she leans against the pillars she's so naturally upet, and yet never exagerrated.

 

And then of course Mr. Darcy comes to interrupt her thinking -

I said before that McFayden doesn't completely thrill me in the role, but his signs of discomfort work so well here, perhaps it's the rain...

Miss Elizabeth, I have struggled in vain and can bear it no longer...

Certainly, Darcy's first proposal is nowhere near is horrific as Mr. Collins', but I really must comment McFayden for selling some of the weirdest lines and still managing to make it sound (somewhat) romantic. I like how Keira responds with a look somewhere between aghast and confused.

Regardless of the overlying theme in her books, it's nice how Jane Austen always clings to filial love among her heroines and Keira portrays this excellently. Younger than her sister Jane, she is, but the penchant for shielding is handled so well as she rips into Darcy.

 

Of course Matthew is wise enough to realise that as bewitched as Darcy is by Elizabeth he's unwilling to lose an argument. As wrong as she is at the moment, it's nice to see Elizabeth growing...there's almost a hesitancy as if she's not too keen to denounce this man - even as she's certain that he's the cause for her sister's misfortune.

Of course, as we shall come to see, she's completely off in defending her beloved Mr. Wickham. Notice, too, how the mention of his name produces one of the rare moments of heightened life from McFayden's very dour Darcy.

I am to rejoice in the inferiority of your circumstances?

As misguided a line as it is, I can't help but cheer on the line and its excelllent delivery. All leading up to Keira's own notable rant...

Your arrogance and conceit, your selfish disdian for the feelings of others made me realise you were the last man in the world I would ever marry.

It's an excellent delivery of a passionate line, but am I alone in thinking that this would have led into a kiss, talk about sexual tension, eh?

And then of course he stalks off, and she's left there confused (and unkissed).

And damn, isn't she beautiful?

 

What is it about the rain...? And all that silent emoting? Why exactly is she considered to be a poor actress?

And then the scene closes with these lovely shots...

What kind of world do we live in when shots like these went unnoticed for their cinematography? Not even love for the Art Direction...the entire film went Oscar-less....Quelle domage.

Blame it on the rain....

Decade in Review: The Best

I think I can say I've done my duty in recapping the decade. I've done a number of entries dedicated to the decade in review. I'm sure there's some miscellaneous category, but if it comes to me I'll let you know. I think it's time for me to stop looking back before I turn into a pillar of salt, and I suppose that the logical conclusion is to sum it up with the best films of the decade. But, you know me - always atypical, so I'm not recapping film quality, but acting quality. What were the films this past decade with the best ensembles? It's a question that always triggers me thoughts (I did the same for the nineties). So with no explanations I list the 30 best film ensembles of the decade -with a few runners up. Let me remind you, this is not a list of the best films. It's a list of the ensembles that I think were best - the most collectively good performances, the best chemistry among actors, the most talented....

          

Runners Up (alpha): The Constant Gardener, Closer, Dreamgirls, Erin Brockovich, In the Bedroom, In the Loop, King Kong, The Messenger, The Reader, Sweeney Todd

Tier Five

 

                      

Tier Four

  

           

Tier Three

 

             

Tier Two

 

Tier One

The Greatest Ensemble of the Decade

                                              

I'd expect that fans of certains films are foaming at the mouth, so do your worst and tell me where I went wrong. What's missing from the list, what should be missing...what are your thoughts on the top choice?