Encore’s Birthday Marathon: Day 16

Part of my ongoing Birthday Marathon (four days to go until D-Day. And my birthday is on D-Day.)
   
After I finished my poetry course this semester I gave my lecturer a copy of Bright Star. Keats was one of the 19th century poets we were studying so I considered it apt. Bright Star, after multiple viewings, still leaves me entrance and I’d wager that it’s not just because of the excellent cinematography. Cinema might be my biggest love, but literature was my first. So, even if it doesn’t retain primary residence in my heart anymore it does have irrevocable tenancy. This is why I’m so fond of films where the two coalesce.

            

ours, Even though Bright Star is hardly Keats’ story – not exclusively, at least, Campion still manages to retain that saturation of bliss that I’ve come to think of when I remember the Romantic era. It reminds me of that other gem on a literary figure – Shakespeare in Love.It’s odd, like Bright Star there are moments when Shakespeare in Love seems more fascinated by its heroine that the great man behind her (or in front of her?). Fanny and Viola both get the juiciest bits of the film and both films end with them taking a walk of solitude. Abbie might not have gotten an Oscar nomination (she and the film were egregiously absent from the awards that year) but her performance like tends to endure much more than Whishaw’s in the same way that almost everyone seems top have forgotten how brilliant Fiennes was. Unfortunately.

         

I love The Hours and I think that the triage of women dole out some of their finest performances but like any film which has the narratives divvied up, I can’t help but pick a favourite and it’s Virginia’s portion which I find most appealing. You’d think that something like writing a novel would make for a tedious viewing experience but Stephen Daldry (shamefully underrated, despite those three Oscar nods) some keen visionary concepts on making it work.

        

I’m willing to bet that any assiduous director could make a fine piece on some literary stalwarts. (Just as there are some which are less than exemplary.) I’m not certain as to the precise shortcoming of Becoming Jane but it’s an incredibly turgid experience. I’m almost certain that any target audience of such a film would be a literary fanatic and Becoming Jane seems to have forgotten that (which is a shame, because Austen seems like a capital woman). Even though it’s hardly an impeccable cinematic entity the honesty with which Richard Eyre approaches the life of Iris Murdoch makes for an earnest (if occasionally docile) tale. And he manages to churn out three excellent performances. So, kudos there.

        

Whatever became of that F. Scott Fitzgerald movie? I could probably put forth a host of literary folk I’d like to get their cinematic treatment, beginning with Tennessee Williams. What say you?

Shakesparean Reunion

Movie Meme, Day 8: A Movie That Should Be Required High School Viewing

I vaguely suspect where the MEME is trying to go with this one. Perhaps a film centring on teenage ideals that we all should see? I don’t know – probably…but I went a bit different.

      

The other day on twitter someone mentioned Shakespeare in Love as one of the five worse Best Picture winners (well The English Patient was there too, so I didn’t really take it to heart). Everyone, I assume, reads Shakespeare at some point in their school life and what better way to be introduced to Shakespeare than through Stoppard and Madden’s fanciful account of his early life.

Hmmm, Shakespeare in Love in schools? I approve.

How many of you have ever said that Shakespeare is too stifling? (I have, and I love the man.) Yes, Shakespeare in Love is purely fictional, but it makes a good argument – Shakespeare was a real man with real feelings and probably every bit as bohemian as portrayed in the film. Sometimes it does pay to consider what the writer of a play was about and I’d wager that reading “Romeo & Juliet” becomes more interesting when we imagine Joseph and Gwynn in the throes of love…or Judi Dench being purely awesome, or Imelda Staunton being brilliant as the Nurse. Suffice to say, the film is excellence.

             

I suppose everyone will not love Shakespeare, but Shakespeare in Love seems like a good place to start. If you can believe that Shakespeare was more than a stuff stick-in-the-mud you may actually enjoy reading him in high school. Who knows?
         
As per normal, the MEME continues...

Scene On A Sunday: Shakespeare in Love

I wasn't planning on posting an episode of Scene on a Sunday today, but I've had this drafted for a while and thought, why not? It's a bit tough coming off the Atonement entry which you all seemed to love because of Yojimbo's many screen captures. Only 12 for this entry. I've expressed my love for Shakespeare in Love before and this short scene is particularly nice. We've seen only a few shots of Paltrow thus far enjoying the plays at the palace. We meet her now for the first time. The shot opens with a gorgeous shot of the house.

 

Shakespeare in Love easily notes the richness of our heroine, and though it's Wessex's reason for marrying her it's never made an issue out of. Of course this is because it's the Elizabethan era and our characters have bigger fish to fry - Shakespearean fish. I just love seeing Paltrow in this mode, though. She's so personable and has such a beautiful lilting voice.

VIOLA: Did you like Proteus or Valentine best? Proteus for speaking. Valentine for looks.

In case we don't already know, she's speaking of The Two Gentlemen of Verona, one of Shakespeare's earlier comedies. It's a fair pice, though nowhere near his best (of course Viola will quote a beautiful soliloquy from it later) but Viola is almost like a "groupie" for Shakespeare and she's so caught up in the "poetry".

NURSE: I liked the dog for laughs.

And on that note can we please discuss the brilliance that is Imelda Staunton here? Why does no one remember her excellent comedic timing here. She's not even "acting" like you'd expect, she's so completely in the character and refuses to play it prosaicly. The relationship between her and Viola is lovely, even if they really are speaking over each other.

VIOLA: Sylvia I did not care for much. His fingers were red from fighting and he spoke like a school boy at lessons.

She's referring, naturally, to the custom of men playing women and her annoyance is palpable. I don't think of Paltrow as particularly physical in her acting but she's acting with her entire body here. Notice how she slumps her shoulders just slightly, so impassioned about something like the injudicious lot of a badly played Sylvia. She really is a fan of "Master" Shakespeare.

VIOLA: Stage love will never be true love while the law of the land has our heroines being played by pipsqueak boys in petticoats

I wish you could hear how she delivers this line. Her stress on the word "boys" is a nice slight touch. Her brilliance here is often forgotten, even  I sometime forget that she really did a fine job. And there's more going on in that shot. Like the Nurse cleaning Viola's ears for her, and the obvious dynamic of the servant/mistress that still manage to attain a personal bond - very Shakespeare. The two will soon have a slight banter about Lord Wessex. Viola of course will have none of the Nurse's suggestion. Marry Lord Wessex? A pox on Wessex!

VIOLA: I shall have poetry in my life.

The words are lovely, but you must give Gwyn credit for pulling off the trueness of the period. And, as always, the Nurse is not far behind to ask her: Like Sylvia and Valentine?

 

VIOLA: No not the artful postures of love. Love that overthrows life. Love like there has never been in a play. I shall have love, or I shall end my days...

NURSE: As a nurse?

Love that portion. viola is so enamoured with the postures of love (even if she doesn't realise) and Staunton is ready to inject wisdowm without being condescending about it. She is, after all, paid help and with almost no life of her own. Yet, she continues to be so devoted to her charge and never sinks into self pity. Her line reading there is precise, but never pitiful.

VIOLA: Oh, but I would be Valentine and Sylvia, too.

Her earnestensss is so infectuous, how can anyone root against this lovely woman?

VIOLA: I would stay asleep my whole life if I could dream myself into a company of players.

I love that shot above, Viola stares out wistfully and she is framed soooo beautifully and Stoppard words read as if they're almost poetry. I choose to end the scene there, even though Viola's poetic words are cut by the Nurse's matter-of-fact "Clean your teeth while you dream then." Such a perfect blend of comedy and olden aged drama. I do love this scene.

"Can you love a fool?"

"Can you love a player?"

Apparently, the answer is yes on both counts.

“I Love You, But I Don’t”

Don’t you hate it when the lovers don’t end up together? Damn, realism to hell I think everyone gets those pangs in the stomach when the credits roll and you realise that the lovers will be remain apart. The thing is, it works in films. So many classics have been memorable precisely because the lovers end up apart, it hurts, but it’s still true. It doesn't count when they die, so things like Titanic and Atonement don't count. I'm talking about those films where everyone ends up alive - but they also end up alone, living alone and not liking it.These are the five that I think do the deed best. Interesting enough, interestingly all five are Best Picture winners four are Oscar winners.

                    
Gone With the Wind (1939) (my review)
"Frankly my dear, I don’t give a damn."

 Clark Gable doesn’t do much for me, granted I’m not the target audience for him to “do things to”. He’s a fine actor, but I just never go crazy for him. Of course, Gone With the Wind is all about Ms. Vivien Leigh who is completely riveting as our protagonist Scarlett. Unlike another entry, Gone With the Wind is often referred to as a love-story, at heart - something I never really see. I will admit though, Gable and Leigh do have some striking chemistry and that makes the film just a little more excellent.

                       
Casablanca (1942) (my review)
"Play it once, Sam. For old times sakes."

Ingrid Bergman is just lovely, and Bogey is no slouch himself. It's another one of those tragically memorable ones and with good reason, I suppose. I don't love it quite as much as the everyone else, but I do love it.There is much to love. True, the romance sometimes is secondary much of the plot - like with Gone With the Wind) and true it's a story that's more about coping with life's hardships than about love...but it's still a story about love at the end of it all.

                 
Annie Hall (1977) (thoughts on Diane)
"La-di-da, la-di-da, la la"

Of course the crux of Annie Hall lies in her become too mature for Annie Hall and in that way I suppose it's not so sad as pathetic. But I can't make a list like this without Woody. Sure, Alvy just can't commit and that's the very reason the relationship cannot survive - and therein lies the tragedy. They just cannot function together forever, no matter how good they are as one. True it's a comedy, but it's a bittersweet one.
            

Shakespeare in Love (1998) (my review)
"This is not life, Will, it's a stolen season."

It's true, like the others, the poignancy in this tale lies in the fact that the lovers don't end up with each other, but it's still sad. Palthrow and Fiennes work so well together, and we know it won't end well for love. Nonetheless, I can't help but get a little teary eyed as they part for the final time, and when that final image of Palthrow pops up walking on the beach...just magic. It's not wholly loved, but I love it enough to make up for the haters.
               
The Age of Innocence (1993) (my review)
"I think we should look at reality not dreams"

Yes, the last one's the one that didn't get that Best Picture win (or nomination), but I'll always pretend. Michelle Pfeiffer and Daniel Day Lewis are scorching even though they spend so much time apart, but little things like a kiss on the neck, a glove are all so erotic, and it's all so tragic. Scorsese knows how to direct tortured souls, and Newland and Ellen are two such souls. Unlike the above four, they don't even get to consummate their relationships and spend just a few moments of almost bliss. Heartbreakingly tragic.

                     
Which of these unrequited lovers thrill you the most? Which of your own would you add?

“A Rose By Any Other Name Would Smell As Sweet”

When I became au fait with the internet, and the large backlog of arguments concerning the Academy Awards “horrible” decisions Shakespeare in Love was one of the films that always popped up. Its name preceded it, and I didn’t see it until I could carefully explicate all the arguments against its shocking Best Picture. I had seen both Saving Private Ryan (which it “robbed” of Best Picture) and Elizabeth (which it “robbed” of Best Actress). So I saw it. As a staunch Cate Blanchett fan I was still convinced that she was incomparable as the Queen (more deserving than Palthrow who was admittedly excellent, too) but I was nonplussed as to the arguments bemoaning its Best Picture win. For, when it comes down to the argument as to which film deserved the Oscar in 1998 – I am firmly in the Shakespeare in Love camp. You can quote me.

The romantic comedy – the phrase is indicative of so much today. Even though other genres (example, drama) still manage to mete out a good romance every now and then, the good and original romantic comedy has become less and less and common. Shakespeare in Love is often referred to as another billowing period piece that Oscar fell in love with, and I’m always bewildered as to the claim. If American Beauty represents the recent Oscar flick most in tune with the time it represents, Shakespeare in Love represents the most irreverently out of its time and yet still within; a paradox of course. We’ve all been forced (I was willing, though) to study Shakespeare and the connotations of any Shakespeare play are obvious. The usual words – boring, cumbersome, indolent etc. What Shakespeare in Love does (and good grief, it does it excellently) is take the man we’ve become so remiss about and turn him into something that is in keeping with its time, but still accessible to our time and all without being anachronistic. Take away the corsets, take away the Queen – and Shakespeare in Love is still a completely enjoyable romantic comedy; but one with brains. This is because of the excellent script by Marc Norman and Tom Stoppard. I am hard-pressed to find any Best Picture winner in the last two (even three) decades that is as highly quotable, and not just because of the references to “Romeo & Juliet”. Norman and Stoppard are able to do something that would sound blasphemous; they mix their own prose with that of the Bard and makes it sound just as excellent. Their imagination is expansive as they use Shakespeare’s own quotable quotes as incidental conversation. But, I’m getting ahead of myself. It’s not just they who makes the film works, it’s the actors.

                   

I recently cited Shakespeare in Love as having the best ensemble cast of nineties, and it’s a claim I believe wholeheartedly. Just as Shakespeare gave the smallest character a host of witticisms, the writers here do the same. Geoffrey Rush, Tom Wilkinson and Ben Affleck are stuck with roles that shouldn’t be so good, but the great words coupled with their complete understanding of their characters (the tics Wilkinson adds to his money lender are amazing) are thrilling to behold. Colin Firth has never been so despicable (not even in that other Best Picture winner) and Judi Dench in a matter of scenes creates a character to be extolled. I’m perfectly fine with her Oscar win. She deserves it only for her line reading of “Mr. Tilney have a care with my name. You’ll wear it out.” But it’s more than her line readings, she shows emotion in her character when you least expect, and it’s not jarring just authentic. If I must speak of the (supporting) cast of Shakespeare in Love I must pinpoint Imelda Staunton who has unfortunately turned into a forgotten character. It’s (arguably) the smartest allusive move from Stoppard. Imelda scintillates in each of her scenes, and she is given as much importance (and humour) as the original Nurse of "Romeo & Juliet" was given. Still, of course, these excellent players are only incidental when we come to the root of the film – William and Viola.

               

Yes, I do believe that Cate should have won the Oscar, but that doesn’t make Gwyneth’s contribution any less excellent. For an actor who’s always thrived on the (sometimes annoyingly) subtle, Gwyneth evokes a memory of old Hollywood with distinct ease here. Am I the only one reminded of ladies like Katharine Hepburn, Irene Dunne or Rosalind Russell in their youth? As Viola skips through the film, changing from male to female and back again, you can’t help but be arrested by her. Her innocence is her key to the role as we notice how her voice breaks just a little as she asks “Are you – are you Master Shakespeare?” or the profundity with which she utters those lovely monologues or the newer lines like “This isn’t life, Will. It’s a stolen season.” True, you can see her ACTING sometimes, but it works in context because Viola is a mere player, and she’s so honest that you can’t help but be charmed. Still, no one comes close in skilful excellence to the eponymous Shakespeare. I have a longstanding bone with the Academy because of their egregious snub of Fiennes who gave one of the best performances of the decade. The film depends completely on his performance. He knows to play the comedy, even the slapstick portions. However, he also knows to rein it in for the quieter moments. His moments with Gwyneth never come off as ordinary –  even though it should be clichéd...(and about that sex scene...) More than anyone in the cast, he knows how to use those lines to his benefits and he gives the best reading of lines in the film. ‘Tis a pity we’ve not been privy to more of him on the screen.

 

In the end Shakespeare in Love represents one of the most enjoyable films I’ve seen (Oscar winning or not). It’s smart, funny, romantic and just beautiful to watch and it does it all without pandering to stupidity or being condescending to the audience. Would I call it perfection? I don’t know. Maybe. But it doesn’t matter. It doesn’t matter what I call it, it’s still #28 on my list of favourites and it’s still exceptional. Or do you disagree?

Parents, Lock Up Your Children: Cinema's Best Sex

In what was pure jest, I suggested that The Mad Hatter continue his list of five greatest screen kisses by highlighting five greatest screen f&*%s. It sounds a bit crass, but sex is a given in films - how it turns out is another story. He suggested I do the list, and it was difficult and simple at the same time. Now I understand why making a top 5 is so difficult, five is a number that sucks. Too small. So firstly, I'd like to give some runners up: West Side Story and Romeo & Juliet both had beautiful scenes of lovers in bed, but for the life of me...I can't remember any actual sex. Sure the latter had naked butts, and the former had beautiful singing...but not quite the best. The Curious Case of Benjamin Button had two beautiful people in bed and Fincher did not make it gory like his last Brad Pitt outing. Ralph Fiennes preforms well (intended pun) in The English Patient and The End of the Affair and I would be remiss to not mention A History of Violence, Cold Mountain and The Reader - but on to the five.

    

#5 Sex In the Rain: Scarlett Johannson and Jonathan Rhys Myers in Match Point

Every movement these two make is tinged with overt sexuality, it's overwhelming. There is a particular scene involving a blind-fold that's quite...ummm....stirring, but strangely the sexiest of them all is the one with the least bit of screen time. Nola has just been insulted by the mother of her bourgeoisie fiance. She stalks out into the rain and Chris follows her, with a purpose. Scarlett + rain=awesomeness.

                 

#4 Sex in Cafes: Diane Lane and Olivier Martinez

Why is cheating sex so delicious? Don't ask me. Ask these two. Adrien Lyne loves his sex (see Glenn Close for proof) and Unfaithful has many of them but they become more striking as it becomes more risky. That aggressive experience in the cafe while her suburban friends wait outside is memorable and well worth your time (not being nasty).

     

#3 Elizabethan (Poetic) Sex: Gwyneth Palthrow and Joseph Fiennes

His brother missed the mark, but the other Fiennes makes it. Shakespeare in Love is a lovely comedy, but that sex scene has been remembered for many reasons (including Palthrow's mammaries). Will has just found out that Thomas Kent is Viola De Lesseps, the lead is awesome. She asks "Can you love a player?" He answers, "Can you love a fool?" The unwrapping of her bound chest is sooooo romantic (swoon, ha) and Imelda Staunton's incessant rocking doesn't make it any less sensual. Lovely stuff. If only Cate had had a similar sex scene you know she was getting that Oscar. Grrr.

             

#2 Literary Sex: Keira Knightley and James McAvoy

This scene works on two levels, I'll begin with the boring one. Atonement rests on the fact that a note binds it all together, and on a larger scale Briony's novel hence it's so wise to have the (only) sex scene in a library literally on the books - the very thing that shapes their lives. Okay, enough of symbolism. On the good stuff. Robbie and Cecilia grew up together, but have grown apart. Still, the attraction is there and when a note mistakenly reaches her they confess their devotion. Then consumate it. Obviously Robbie is a rebel. Standing sex? Not British at all, who would have thought fully clothed stuff could be so...scintillating. It took me a long time to forgive Saoirse Ronan's interruption....

       

#1 Sex in the Carriage On A Ship: Kate Winslet and Leonardo DiCaprio

Need I go on? Well my heart will...go on. We know the story, Rose and Jack escape from Cal's bodyguard and find themselves in the room with carriage. Even before the sex it's nice. He climbs into the driver's seat." Where to miss?" He asks. She says: "Take me to the stars." And he does. That hand on the window, the kissing of the fingers - is there any way to deny this legendary scene? I don't think so...

      

...But maybe you do. What is your favourite bedroom (not literally) scene.

   

NOTES: It's interesting, three of the featured women went on to Oscar nominations (Winslet, Palthrow, Lane) with Palthrow winning. Johansson and Knightey were Golden Globe nominated. Yet none of the men saw Oscar love...Is there a trend here?


PS. Did you try to guess the answer here? Please do.

The Nineties Revisited: Ep 5

...wherein we come to the end. It's been lovely looking at the nineties in review, and I'm not going to end with a list of my favourite films from the period. That would be boring. Instead, I will highlight the ten best Ensemble Works from the decade. Firstly, remember this list is purely personal. So you may disagree. Secondly, this is not a list of my ten favourite films of the nineties. It's all about the ensemble, those films where you feel every actor is working in tandem with each other. The sort of "You jump, I jump" scenario from the actors. Yes, that one's there.

So, let me hear your thoughts? Give me your top three casts of that decade? Which of my choices have you reeling? Which makes you happy?

The Nineties Revisited: Ep 3

So continuing from the last two posts with the Supporting Males and the Supporting Females of the Nineties, I move on to the Leading Males. Here are the five Actors that made the greatest impression on me. One won the Oscar, two were nominated and the other two did not.

Which leading actors would you like to single out for recognition?