Steel Magnolias

It opens with a wedding. Cinema is amok with weddings, some good and some disastrous and Shelby our young ingénue of sorts is determined to have her wedding. A justifiably precocious Julia Roberts plays her with that tinge of Southern drawl that’s both charming and irritating as she tells us about her wedding. “My colours are blush and bashful” to which her careworn mother asides “Her colours are pink and pink.” They are in Truvy’s beauty shop preparing for the big day. Truvy is played by Dolly Parton, who underappreciated as an actress, bringing just the right amount of quasi-humour to the part. Darryl Hannah’s Annelle and Olympia Dukakis Clairee round out the lot. They will soon be joined by Shirley MacLine Ouisa – an eccentric, cantankerous old woman with a heart of gold. Steel Magnolias is a story about these six women. Sure most of them have men who drift in and out, since unlike Harling’s  actualy play it doesn’t take place in the one setting with these six women for the duration. Still, there is no denying that they are the heart, soul, brain and face of Steel Magnolias.

             

Julia Roberts earned an Oscar nomination for her performance and it’s not difficult to see what’s in her favour. She is the youngest of the lot and so we see her age the most as she goes through marriage and motherhood and voters love a martyr and an ingénue so her character is all but irresistible. Don’t get me wrong. I adore Julia Roberts and she is everything that Shelby needs to be, but (save for Hannah) she is surrounded by four exceptionally talented who cannot help but outshine her. I persist that Dolly Parton gives her greatest performance here, possibly one that fits her good-natured self to a T, but excellent nonetheless. Harling gives her some of the best quips in the script and she goes about it being so irrepressibly charming that you can’t help but be impressed with her at the end. The same goes for Sally Field’s M’Lynn. Sally and Julia make a believable mother and daughter pair and Sally has never been one to hold back on scenery chewing. There is a scene that occurs with fifteen minutes to spare at a funeral which is really a monologue. It’s the best scene of the film and Sally Field is excellent here. It’s a wonder she didn’t go on to an Oscar nod (the Globes recognised). The film is a light-hearted one but Sally puts so much emotion into that scene that she could make tears come from a rock.

                

Whereas Sally offers the more dramatic moments of the film, Dukakis and MacLaine offer comic relief as two old friends always at it. It’s a beauty to watch these two Oscar winners doing what they do best. Sure Shirley’s Ouisa may seem over the top but it’s not as by the book as it seems it’s so endearing to see her and Olympia walk around hand in hand. Darryl Hannah rounds out the set playing Annelle, a bashful hairdresser to be that Truvy takes in. It’s easy to forget her in the lot and even resent her semi-annoying character tics but she really does grow as the film progresses and her few words to Sally Field at the end are so poignant (and ridiculous) and she completely sells them.

               

The men don’t have that much time - Dylan McDermott and Tom Skerrit have the most screen time and the latter is especially hilarious when he must fight it out with Shirley MacLaine. Kevin J. O'Connor plays Truvy’s son and much is asked of him, the same goes for Sam Shepherd who has few lines as her husband – but he has a few potent lines at the end that are played just right that are as moving to the audience as they are for Dolly.

           

When I see films like Steel Magnolia I always wonder why there aren’t more films like this about men, although I suppose that is too much to ask. I’m not sure what to classify Steel Magnolias as. It’s a comedy; it’s a drama; it’s romance; it’s a family story. You’ll laugh, you’ll cry and above all else you’ll be entertained. Steel Magnolias is a rarity I believe, it’s been relegated to unimportance but it’s a good film. It is one of the films in my top 100 I am aware is not as good as I believe, but what is the internet for if not highlighting your misguided opinions?  It's my #58.

A Few Words in Being In the Loop

In this age if star power it’s always good to see films succeed with relative unknowns at the head. Two of the bigger films of the last year – The Hurt Locker and Avatar both thrived without any notable stars in the lead roles and British comedy In the Loop continues that trend. Explaining the plot of In the Loop would prove quite a dilemma for me. It’s enough to say that it juxtaposes the opposing Brits and Americans as both sides of Ocean debate on their immanent involvement in war. However with a summation like that In the Loop sounds more pedantic than it is. Despite the seemingly studious overtone In the Loop is a thoroughly comedic ensemble piece.

                                

In the Loop has garnered laurels for its writing which is good, but the beacon of its film is the acting – Mimi Kennedy gives an excellent performance as a Deputy Secretary of State, Tom Hollander plays to his strengths as a Minister and he’s quite good as is James Gandolfini in a role that could have become nondescript. It’s an interesting film that doesn’t really have villains or heroes as it does normal people caught on different sides of the track. In the Loop is a good film, though I’m uncertain if enough people have seen it. It’s a hilarious but intelligent comedy that encompasses all the qualities I love in the British.

B+

Forgotten Characters 2:4

It’s always nice when stars who’ve been acting for years get recognised as serious actors. Sometimes it’s a bit ironic, especially when these very actors have been doing their job for years. When a film is a favourite of mine I can’t be accused of forgetting any of the characters but I’m sure that many of you may have forgotten this man’s excellent performance in his first of two Best Picture winners:
                 

Colin Firth in The English Patient

As Geoffrey Clifton

             

The English Patient is one story that occurs in nonlinear format – on one side Count Almásy (Ralph Fiennes) along with his “International Sand Club” explore the deserts in the prelude to World War II. As we learn more about Almásy and his relations with married woman Katherine Clifton (Kristin Scott Thomas) we see The Patient (Almásy) after being disfigured by a horrible plane crash. As the wife of our heroine Firth makes his first appearance as he joins Fiennes troupe with his wife. We immediately see that he is quite devoted to her, even if he is a bit ingratiating. The film is a love story between Katherine and Almásy but it never tries to make Geoffrey into a villain – though he is not perfect. There is a scene towards the middle when he realises the affair on the night of their anniversary, it’s short and he does not have any lines but Firth handles it well. His involvement in a fatal plane crash towards the end angers the audience, but we don’t lose sympathy. As beautiful as it is to watch Katherine and Almásy we realise that for all his faults Geoffrey’s is dedicated to his wife and the pain that he feels at her betrayal is palpable. Of course, it’s no wonder that the character is forgotten since he’s not the romantic lead, but having yet to see A Single Man I single this out as my favourite performance of Firth.

              
Do you remember Colin’s Geoffrey? Or have you yet to see The English Patient?
          
Previously Forgotten...

2009 in Review: Forgotten Characters

I know I promised I’d be posting the nominees for my 2009 awards this week, but circumstances have prevented me. I’ll get that to that as soon as possible; by the end of next week probably. However, in the meantime I’ll take a break from Season Two of my running Forgotten Characters’ feature to take a look at the Forgotten Characters of 2009.

                      

One simple way to become a forgotten character is to be an unknown actor in a nondescript role. It’s a sure-fire to become forgotten – even if your film goes on to become an Oscar nominee and whatnot. Last year we had a few forgotten characters (who I’ll hopefully cover over the next few weeks) and none of them epitomises that like this next entry:

Matthew Beard in An Education

As Graham

       

We first meet Graham as he and Jenny practise their violin, then subsequently he questions Jenny about the upcoming Sunday dinner at her house. Graham’s chronic nervousness is palpable. He’s the typical reticent schoolboy. His next scene for tea at the Mellor’s his most screen time as Graham suggests taking a year off to Jack who begins his tirade. Beard’s facial expressions are appropriate and a bit sad when we consider his situation. We may never have experienced it, but the situation of the self-conscious school boy facing the irate father is not a new one. I love Mulligan’s expression as he makes his response in that inaccurate French of his: “Mr. Mellor…I’m not a teddy boy. I’m an homme serieux. Jeune. An homme jeune serieux home.” We later see Graham as Jenny brushes him off, as her friend says she doesn’t have time for boys. His final appearance at that catastrophic birthday meeting is sad. I love his expression as he pulls out his uninventive (but useful) present – the Latin dictionary. His last appearance as he tries to catch Jenny’s eye amid the hubbub of David’s arrival is quite pathetic actually.

                    

Still, Graham’s appearance in An Education is not extraneous. Jenny is such an anomaly because despite her prodigious educational talent she is still a hopeless schoolgirl; the type of schoolgirl who passes over the Grahams in the world for the Davids. It doesn’t make her a villain, it just highlights her immaturity. An Education is wrought with short appearances from actors but at the end of it all as I see Jenny riding on her bike at Oxford I couldn’t help but wonder what had become of Graham…

                      

What are your thoughts on Beard's Graham? Is he justly forgotten? …Or a sympathetic oaf?

A Streetcar Named: Reminder

Just reminding you to head on over here, and vote in my LAMB Casting feature. The finals for the film in question: A Streetcar Named Desire. Polls close this afternoon.

The Young Victoria: Review

In the next series of reviews of Oscar nominated films.. I bring you, The Young Victoria starring Emily Blunt of The Devil Wears Prada, Paul Bettany, Mark Strong, Jim Broadbent  and Miranda Richardson. The film has been nominated for 3 Academy Awards and..... it was just okay.

 

The Young Victoria is a dramatization of the controversial first years in the reign of Queen Victoria. The film explores the plight of a 17 year old Victoria trying to run a nation, balance unrest in the English parliament and finding a romantic relationship in the "charming" Prince Albert.

 

I'll be honest. This film was not bad. But if you've seen The Duchess or Marie Antoinette, you would have seen this movie. Young Victoria is the typical Tudor age love story centered around boring political dramas between the Duke of Whatsername, the Baron of Bla Bla Land and Archbishop of Coca Cola. I'm really getting sick of these Victorian age royal dispute movies. Didn't the royalties do anything except dispute back in those days?

 

The script was boring. I was barely keeping up with the dialog throughout the film. What with all the Shakespeare language like thee, thy, cometh, bla bla bla. Yeah I get that you're trying to make the film as authentic as possible, but can you do that and not confuse me to death? Maybe these type of films are just too intelligent for me. Heh.

 

But what was great about Young Victoria was Emily Blunt. Her queen is the character Queen Amidala in Star Wars: The Phantom Menace should have been. A young naive girl who is suddenly thrust into the most powerful position in the country and is forced to deal with all this shit other power hungry assholes are giving her. Emily Blunt was absolute class as Victoria. Forget about Emily from Devil Wears Prada, Queen Victoria is Blunt's greatest role.

 

Though she does look too old to be playing a 17 year old girl, everything on the inside of her resembled that of an adolescent woman. Her usual sassy voice sounded like a sweet 14 year old in the movie. And I love her the way her character carries herself. It's kind of like, "I'm trying to show prestige and class but I still want to remain a rebel" type of portrayal.

I really don't see the relationship between Victoria and Prince Albert ever happening. This Albert dude is a straight up sissy. Forget about all the sweet lovely things he whispers in you're ear, this guy has the highest pitched voice ever to come out of a man. And my God was his talking annoying. Usually I like listening to British people talking but Albert was irritating. He was like Michael Cera, who mumbles every line like an insecure timid loser. Oh wait, Prince Albert was German... ohh okay.

 

Like any other Victorian age British film, the costumes and art direction is flawless. But then again.. we've seen these kind of costumes and 1800's type of settings so often in other movies, it doesn't really wow us anymore.

 

While it wasn't bad, it's just the same old period piece film. Queen is young. Queen faces opposition. Queen rises up and beats all odds. Queen becomes the greatest queen to ever rule England. So don't need to go rushing to see this, it ain't gonna add anything to your life.

RATING: 5/10

Roald Dahl’s Cinematic Masterpiece

I’ve always been more than a little fond of Roald Dahl, even when I was young and thought his name on the books were typographical errors. He’s one of the most inventive writers for children –and adults – and it’s not difficult to see why his films have often been adapted for the screen. Last year Wes Anderson’s wonderfully smart Fantastic Mr. Fox was a hit and we’ve seen two good adaptations of Charlie & the Chocolate Factory – but the greatest adaptation of a Dahl film is one that is often taken for granted, it’s also one of the most ingenious animated flicks I’ve ever seen. A masterpiece in my opinion was 1996's James & the Giant Peach.

                                              

James is an orphan who lives with his two hideous aunts – in nature, and in looks and when a peach in the garden grows to unbelievable proportions he experiences a wealth of magical incidents in it along with a troupe of quirky and endearing animals. I have vivid memories of seeing this as a child and if you thought Selick’s Coraline was quirky and mystifying then you should see James & the Giant Peach. The world of the peach is both alluring and terrifying. It’s a true feast for the eyes, clichéd yes, but accurate. And like all works of animation, the voice work is an essential. Susan Sarandon’s enigmatic Spider remains as a favourite of mine, it’s animated to perfection and her charming voice only amplifies the mystery of the peach, Miriam Margolyes and Richard Dreyfuss also turn in notably good (voice)work.

                         

The story is, I suppose, the usual coming of age film. James is a beleagured child and his (sometimes dormant) thirst for a change is understandable and moving in its own way. Much like Coraline it takes an otherworldy experience for the child to "find" himself, though this is certain not a cautionary tale. Thematically James & the Giant Peach is difficult to pin down. I can't be certain what message it is that Burton and Selick (or Dahl for that matter) want us to leave with. But the important of "messages" has become too much. James & the Giant Peach offers a fresh look and childhood with some incredibly witty dialogue.

                  

Selick is a connoisseur of children’s cinema and he is notorious for blending the dark with the youthful. This interpretation of James & the Giant Peach is a quintessential example of childhood. It seems bizarre on the more superficial of levels, but beneath the repulsive slugs and bugs and underneath the obvious idiocy of a travelling peach there is a whole lot of heart in this story and luckily Selick was able to translate that to the screen intact. This film would be a wonder to any child, and as we grow older and it all comes into perspective we realise that it’s also a wonderfully insightful film that’s for the child in each of us. It’s the #52 on my list of favourites.