The Artist (2011)

The Artist was a triumph at the 2012 Academy Awards, winning five Oscars, including Best Actor for Jean Dujardin.  It perhaps was not an obvious candidate for success, being a black and white silent movie.  Or maybe that was part of the charm….either way, it was a deserving winner, for showing that excellent films do not always require huge budgets – this was comparatively cheap to make, but provided top-notch entertainment!

The film starts in 1927, and Jean Dujardin plays George Valentin, a hugely popular silent movie star.  Berenice Bejo plays Peppy Miller, a young starlet, just starting out in the movies, who meets Valentin and stars with him briefly in one film.  Two years later, and talking films are the new craze, while Valentin is seen as a has-been.  Meanwhile, Peppy is finding ever more success in the movie industry.  As Valentin falls on hard times, he grows depressed and bitter.  But there may be someone who can help him….

Sometimes when films are a novelty of sorts – which a black and white silent film certainly is these days – once the novelty has worn off, there is not much underneath.  I’m happy to say that I did not think this was the case whatsoever in this film.  Dujardin and Bejo both sparkle in their roles, and have great chemistry and charisma.  Peppy (by name and by nature) is adorable, but in the hands of a lesser actress, could easily have just been annoying.  Dujardin perfectly captures the fall from grace of George Valentin – adored and revered at first, but he soon becomes yesterday’s news, and he really struggles to cope.  And of course, his beloved and loyal dog Uggy, is just adorable!

I did find it quite a strange experience watching a film with no dialogue – it’s just not something that we are used to today, where often snappy and witty dialogue is required.  However, The Artist illustrates that you can tell a charming story without speaking – the expressions and movements of the actors, together with the sets, tell the story perfectly.

There are shades of Singin’ In The Rain in this film, dealing as it does with a similar theme – that of talking movies causing problems for silent actors.  In fact, in some scenes, Dujardin really does resemble Gene Kelly, and while I don’t know for sure, I am sure that some scenes were a direct nod to the Kelly classic.

Anyway, it’s the kind of film that I think needs to be seen to be appreciated.  I would certainly recommend it, and have no doubt that I will be watching it again in the future.

Year of release: 2011

Director: Michel Hazanavicius

Producer: Antoine de Cazotte, Daniel Delume, Richard Middleton, Bob Weinstein, Harvey Weinstein, Jeremy Burdek, Nadia Khamlichi, Thomas Langmann, Emmanuel Montamat, Adrian Politowski, Gilles Waterkeyn, Jean Dujardin

Writer: Michel Hazanavicius

Main cast: Jean Dujardin, Berenice Bejo, John Goodman, James Cromwell

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Thoroughly Modern Millie (1967)

Julie Andrews plays Millie Dillmount, a young woman who comes to New York in 1922, with the sole intention of getting a job and marrying her (rich) boss.  However, when she meets happy-go-lucky Jimmy Smith (James Fox), she has to decide where her priorities lie.  And then there’s the issue of the women at Millie’s hotel being captured and forced into slavery.

While I had some doubts about the tastefulness of using sex slavery as a comedic plot point, I must admit that I very much enjoyed this film.  There are a couple of scenes showing some of the girls who have been sold into slavery, and they did cause a bit of a jolt, as it is so unexpected in a frothy musical comedy.

The film is intentionally farcical, and did cause me to dissolve into giggles on occasion.  In a nod to earlier silent films, Andrews often breaks the fourth wall by looking directly into the camera at the viewer, and her thoughts are then shown on screen in the form of title cards.  There are also some very funny musical interludes (such as the ‘Haaaaaallelujah!’ when Millie first lays eyes on her handsome boss Trevor Graydon).  As it set in the 1920s, the costumes are as lovely as you might imagine, and Andrews herself is just adorable.  Equally endearing is Mary Tyler Moore as Millie’s friend Miss Dorothy, and James Fox and John Gavin provided excellent support as Jimmy and Trevor respectively.  Carol Channing pops up as a rich widow who befriends Millie, and certainly makes her mark with a hilarious song and dance routine!  It is only because the cast as a whole is so strong, that Beatrice Lillie did not steal the entire film as the evil Mrs Meers, manageress of the hotel, and the main villain behind the slavery business.

This kind of film isn’t for everyone and I can imagine that some people might find it an irritant, but I really enjoyed it.  As long as you can abandon all sense of logic and realism (and the film is really not meant to be realistic), I would say that this is a treat for fans of musicals.  Needless to say, Julie Andrews is in excellent voice.  Recommended.

Year of release: 1962

Director: George Roy Hill

Producer: Ross Hunter

Writers: Richard Morris

Main cast: Julie Andrews, Mary Tyler Moore, James Fox, John Gavin, Beatrice Lillie, Carol Channing

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Some Like It Hot (1959)

In Chicago in 1929, musicians Joe and Jerry (Tony Curtis and Jack Lemmon) witness a mob hit, and decide to get out of town described as women in an all-female music group, where they meet singer and ukelele player Sugar Kane (Marilyn Monroe).  Romance, complications and comedy ensue!

Some Like It Hot was voted number 1 on the AFI’s list of the top 100 comedies of all time.  In the past, I have sometimes been disappointed by films which have been so hyped up, so I wasn’t sure what I would make of this.  However, I absolutely adored it.  The three leads are all wonderful – Marilyn was made for this role – she absolutely sizzles – and Curtis and Lemmon play perfectly off each other.  (My personal favourite was Jack Lemmon, who was so utterly endearing, and laugh-out-loud funny, both as Jerry and his female alter-ego, Daphne.)

Naturally two men posing as women, in the company of young and pretty actual women gives rise to plenty of opportunity for comedy and romance, and Curtis was so funny as both ‘Geraldine’ and Junior – a third identity which he adopts in order to woo Sugar!  Meanwhile, ‘Daphne’ has caught the eye of millionaire yacht owner Osgood Fielding III, who decides he wants to make her his eighth wife (or ninth – he can’t really remember how many times he has been married).

This film is one that really is worth all the hype.  It’s sexy and sweet, and really, truly, incredibly funny.  Billy Wilder was a legendary director, and films like this, Sunset Blvd and Stalag 17 show us exactly why.  Watch it whenever you need a good belly laugh!

Year of release: 1959

Director: Billy Wilder

Producers: Billy Wilder, I.A.L. Diamond, Doane Harrison

Writers: Billy wilder, I.A.L. Diamond, Robert Thoeren, Michael Logan

Main cast: Marilyn Monroe, Tony Curtis, Jack Lemmon, Joe E. Brown, Joan Shawlee,

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The Great Gatsby (2000) (spoilers)

With all the hype surrounding Baz Luhrmann’s big-screen adaptation of F. Scott Fitzgerald’s incredible novel, it seemed like a good time to check out another adaptation – not the famous Redford/Farrow version from 1974; rather this one stars British actor Toby Stephens as Gatsby, Paul Rudd (usually better known for his comedic roles) as Nick Carraway, Mira Sorvino as Daisy, and Martin Donovan as Tom Buchanan.

This version was made for tv, and clearly had a much smaller budget that the lavish 1974 version.  In addition, some of the casting choices seem unusual, but somehow it all works and I think I actually got more out of this than it’s more famous predecessor. (There were actually two much earlier adaptations starring respectively, Warner Baxter and Alan Ladd as Gatsby, and I would certainly be interested in seeing these.)

Tony Stephens did a good job in the titular role.  His American accent was convincing and he certainly possesses the enigmatic beauty of Gatsby.  I was not so sure of Mira Sorvino as Daisy.  Basically Daisy is a shallow, self-absorbed woman who places far too much emphasis on the importance of money – this being the reason that she and Gatsby did not end up together after they first fell in love, because at the time he simply did not have enough money to keep her.  Sorvino’s portrayal is a lot softer around the edges, and had I not read the novel, I probably would have felt a fair amount of sympathy for Daisy (well, until the end of the film anyway, when she lets Gatsby take the blame for the death of a woman in a road accident, and then didn’t turn up or even send flowers to Gatsby’s funeral when the grief-stricken husband of the dead woman shoots him dead, believing him to responsible for his wife’s death).  Mia Farrow made Daisy too shrill and annoying; Sorvino makes her almost too likeable, but it’s a different interpretation, which is interesting to watch.

For me however, the two stand-out cast members were Rudd as Carraway, who is by far the most decent character of the lot, and Donovan as the brutish Tom.  Both played their roles extremely well, which in Rudd’s case particularly was important, as Nick narrates the story.

The sets are not as lavish and extravagant as some might expect (I know without having seen it, that Luhrmann is bound to go the other way, and have sets that are completely OTT), but they certainly served their purpose well enough.

As an accompaniment to the novel, this version is probably an excellent one to see – it is faithful to the story, and impressed me.  I wouldn’t call it brilliant, but I would say that it is certainly worth a watch.  The funeral of Gatsby at the end genuinely made me sad to just three mourners; just one of the hundreds of people who were happy to attend Gatsby’s house, enjoy his hospitality and consume his food and drink could be bothered to turn up.

Overall, I would recommend this.  It’s not a perfect adaptation, but it’s a faithful one, and there was plenty to enjoy.

Year of release: 2000

Director: Robert Markowitz

Producers: Delia Fine, Antony Root, Jane Tanyer, Tom Thayer, Manon Bougie, Craig McNeil, David Roessell

Writers: F. Scott Fitzgerald (novel), John McLaughlin

Main cast: Toby Stephens, Paul Rudd, Mira Sorvino, Martin Donovan, Francie Swift

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Click here for my review of the novel.

Click here for my review of the 1974 film adaptation.

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Amazing Grace (2006)

Well.  You know how sometimes you watch a film, expecting that you will quite enjoy it – it might be a nice way to pass a couple of hours – and it totally exceeds your expectations, and eats into far more than a couple of hours, because you can’t stop thinking about it?  This is what happened to me when I watched this film.

It tells the story of politician William Wilberforce as he moved through Parliament in a determined effort to get the British slave trade abolished.  While he had some loyal friends and colleagues, they faced an uphill struggle as many politicians favoured the slave trade and considered it a necessity.  Together with his friend, prime minister William Pitt the Younger, Wilberforce never gives up in his efforts.

I cried throughout much of this film, because it was so incredibly moving, and ultimately uplifting to see people determined to create a kinder and better world.  Wilberforce was played brilliantly by Ioan Gruffudd, who perfectly captured the man’s intelligence and integrity.  Benedict Cumberbatch was also excellent as Pitt, and the supporting cast contained many acclaimed actors.  I liked Rufus Sewell as abolitionist Thomas Clarkson, and Albert Finney and Michael Gambon both showed off their extensive skills as respectively, John Newton who used to be involved with the slave trade himself, and was now filled with guilt; and Charles Fox, a politician who initially disagreed with Wilberforce, but subsequently came to support the abolition.  Romola Garai played Wilberforce’s wife Barbara, and was lovely in the role.

I keep finding myself thinking about this film – it was beautifully filmed and very emotional.  The scene when former slave Olaudah Equiano, played by Youssou n’Dour, shows Wilberforce around a slave ship, and Wilberforce sees with his own eyes the mistreatment and abuse that the slaves suffer, stunned me.  Although I knew about Wilberforce’s campaign, and the eventual outcome prior to watching, I still found myself on the edge of my seat at parts of the story.

I would highly recommend this film (in fact I almost want to insist that you watch it!)  It tells such an important story, and if anyone ever doubts that they can make a difference, or thinks that their efforts aren’t worth it, this film tells the story of a man who can remind us just what can be achieved with hard work and determination.  Wonderful.  (And I have ordered an autobiography of Wilberforce – this is the kind of film that makes me want to learn more.)

Year of release: 2006

Director: Michael Apted

Producers: James Clayton, Jeanney Kim, Duncan Reid, Patricia Heaton, David Hunt, Terrence Malick, Ken Wales, Edward Pressman, Mark Cooper

Writer: Steven Knight

Main cast: Ioan Gruffudd, Romola Garai, Benedict Cumberbatch, Youssou D’Nour, Albert Finney, Rufus Sewell, Michael Gambon, Nicholas Farrell

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These Old Broads (2001)

A television network decides to reunite the three female stars of a 60s movie, for a special programme.  However, problems arise almost immediately due to the fact that the three women can’t stand the sight of each other.  When they do all agree to the reunion, things certainly don’t get any easier….

Starring Debbie Reynolds, Shirley MacLaine and Joan Collins as respectively, Piper Grayson, Kate Westbourne and Addie Holden, this film is a hoot.  The three actresses send themselves up beautifully, and I hope that they had as much fun making this film as I did watching it!  Hollywood legend Elizabeth Taylor also puts in an appearance as Beryl Mason, agent for all three women, but her role is very small, which is something of a shame, as she seemed to be sending herself up as much as the others.

The first scene where Beryl and Piper meet is very funny in itself, but even funnier if you know the real life background of these two actresses.  There was a huge scandal in the 1950s, when Reynolds’ husband Eddie Fisher, ran off with her friend Liz Taylor, who subsequently married him.  This film is in fact the first time that the two women have appeared on screen together since then.  And in the scene, Beryl apologises to Piper for running off with Piper’s husband ‘Freddie Hunter’ (which was CLEARLY a reference to Eddie Fisher!)  Piper soothes Beryl and says that she forgave her years earlier, before the two women pull ‘Freddie’ to pieces!

However, the rest of the film also has several delights.  The catfights between the women are so funny, and Jonathan Silverman, as Kate’s adopted son, who is supposed to be directing the whole reunion, has a rare old time trying to keep things together without one or other of them storming off.  Add to the mix a prison escapee, and a big secret in Kate’s past, and the stage is set for lots of laughter.

(Bit of trivia: This film was co-written and co-produced by Carrie Fisher, who is the real-life daughter of Debbie Reynolds, the former step-daughter of Elizabeth Taylor, and who played the daughter of a character played by Shirley MacLaine in Postcards from the Edge.)

Admittedly a lot of the enjoyment in this film is the sheer novelty value of seeing four legends on screen at the same time, but it is actually a very clever and funny film in its own right.  Definitely one to watch if you get chance.

Year of release: 2001

Director: Matthew Diamond

Producers: Ilene Amy Berg, Carrie Fisher, Laurence Mark, Elaine Pope, Lewis Abel, John D. McNamara, Deborah Edell Underwood, Sally Young

Writers: Carrie Fisher, Elaine Pope

Main cast: Shirley MacLaine, Debbie Reynolds, Joan Collins, Elizabeth Taylor, Jonathan Silverman, Nestor Carbonell

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300 (2006)

This story is based on a graphic novel, which in turn was based on the Spartan battle against the Persians in 480 BC. Gerard Butler played King Leonidas, who leads his 300 Spartan warriors against a Persian army of thousands upon thousands.  Lena Headey plays Leonidas’s wife, Queen Gorgo, who stays behind while her husband goes to battle, and attempts to rally the council into sending reinforcements to help him.  Dominic West plays Theron, a corrupt councilman who is Spartan, but who is really in cahoots with the Persians.

I didn’t really expect to enjoy this film, and I only really watched it because Dominic West is in it, but I found myself totally drawn in, and really liked it.  It is quite obvious that the film is based on a graphic novel; it still has that ‘look’ about it.  All of the cast do a fine job, and I don’t want to even think about how hard Butler must have trained to get himself into such incredible shape for this film.  Dominic West, one of my favourite actors, plays a distinctly unsavoury character in this film, but as ever, I thought he was great in it.

It’s certainly quite bloodthirsty, and there are a few scenes of nudity also, which did not bother me, but might be worth bearing in mind for some viewers.  Most of the action is centred around the actual fighting itself, but it’s so artistically done, that it never gets boring.

I liked it.  I liked it so much that I would definitely watch it again, and would recommend it to others.

Year of release: 2006

Director: Zack Snyder

Producers: William Fay, Craig J. Flores, Scott Mednick, Frank Miller, Deborah Snyder, Thomas Tull, Ben Waisbren, Mark Canton, Bernie Goldmann, Gianni Nunnari, Jeffrey Silver, Wesley Coller, Nathalie Peter-Contesse, Silenn Thomas, Steve Barnett, Josette Perrotta

Writers: Frank Miller (graphic novel), Lynn Varley (graphic novel), Zack Snyder, Kurt Johnstad, Michael Gordon

Main cast: Gerard Butler, Michael Fassbender, Lena Headey, Dominic West, David Wenham, Tom Wisdom, Rodrigo Santoro

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Suspicion (1941) (spoilers)

Joan Fontaine plays Lina McLaidlaw, a shy and reserved heiress, who falls madly in love with playboy Johnnie Aysgarth (Cary Grant) and marries him after a whirlwind romance.  But she soon discovers that her new husband might not be the man she thought he was, and after a number of incidents shock her, she even begins to fear for her own life.

I would give this film 7 out of 10, because despite all the hokum, and a Hollywoodized ending, I did actually enjoy it a lot.  I’m not sure that it stands up to a lot of scrutiny – woman marries man who clearly can’t be trusted and then is surprised when she can’t trust him.  Nonetheless, it is entertaining throughout, and it is also interesting to view Lina through the eyes of modern viewer.  Because the question that springs to mind is why on earth did she not kick him into touch, pack his bags and tell him to leave?!?! Of course, the film was made in 1941, and it perhaps was not so easy for a woman to divorce her husband without creating a major scandal along the way, particularly in the circles in which Lina and Johnnie moved.

Anyway….Joan Fontaine won an Oscar for her role in this film, although I thought that Grant outshone her in almost every scene (Grant however was shunned by the Academy for much of his working life, and didn’t even receive a nomination for his work in this film).  Fontaine was good, but seemed overly-dramatic at times, although this is also something that seems to be the case in a lot of Hitchcock movies.

The main problem with this film is the ending, which Hitchcock changed, presumably to appease the censors.  There are major spoilers ahead, so stop reading now if you don’t want to know anything further…

Of course, Johnnie had to turn out to be a good guy at the end – or at least not the bad guy that Lina had suspected him to be.  Just when she thought that he was going to try and kill her (and that he had also killed a friend of his, whose death he stood to profit by), it transpires that no!  He wasn’t trying to kill her at all!  And he didn’t kill his friend either.  So Lina forgives and forgets, and all is well again.  Just like that.  The problem here is that throughout the film, Johnnie HAS been shown to be completely untrustworthy – stealing from his cousin, gambling away money which wasn’t his, etc., etc.  So okay, he’s not a murderer, but there’s still a whole load more stuff for him to answer to, but that is all forgotten by Lina.  (Frankly, if this were real life, it would be hard to sympathise with her when he inevitably messes up again.)

BUT….I still enjoyed the film!  I liked Cary Grant’s performance very much, and there were some good supporting actors, especially Nigel Bruce, who played Johnnie’s friend Beaky.  Even Hitchcock’s trademark suspenseful music seemed well placed in this movie.  So despite writing a post which appears to do little but criticise, I still think the film was worth watching, and if you don’t think too much about the storyline, I would recommend it, especially to fans of either Cary Grant or Alfred Hitchcock.

Year of release: 1941

Director: Alfred Hitchcock

Producer: Harry E. Edington

Writers: Anthony Berkeley (novel ‘Before the Fact’ as Francis Iles), Samson Raphaelson, Joan Harrison, Alma Reville

Main cast: Cary Grant, Joan Fontaine, Cedric Hardwicke, Nigel Bruce, Dame May Whitty, Heather Angel, Auriol Lee

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The Ghosts of Berkeley Square (1947)

Robert Morley and Felix Aylmer are the titular ghosts in this British comedy.  They play, respectively, General ‘Jumbo’ Burlap, and Colonel ‘Bulldog’ Kelsoe, two 18th century soldiers, who accidentally kill themselves in the house they have taken on after retirement.  As they were meant to be entertaining Queen Anne prior to their untimely deaths, they are sentenced in the afterlife to remain as ghosts, haunting the house, until a reigning monarch visits…and as the years roll on, and the house is taken on by a variety of tenants, the chances of that happening look ever less likely.

I can’t deny that the plot of this film is pretty thin, and very ludicrous.  However, it really doesn’t matter, because it’s just so entertaining!  Morley and Aylmer are wonderful as the hapless soldiers (who are just as hapless in their afterlife).  The supporting cast are fine on the whole, although Yvonne Arnaud particularly shines as the manageress of a Bordello house.

Over the years (the film ends during World War 2), as well as being used as the aforementioned Bordello, the property is also a home to an Indian Rajah, the home of the Rex T. Farnum circus (no prizes for guessing who the name of the circus was inspired by), a wartime hospital, and a soldiers’ club, and it was amusing the see Jumbo and Bulldog grow ever more despairing of ever attracting a member of the Royal Family to visit their former home.

My only niggle with this film was some very dodgy racial stereotypes, particularly in the part where the property is inhabited by an Indian Rajah.  The depiction of the Rajah (also played by Robert Morley), and depictions of various other nationalities made me wince.  Apart from that however, there were some genuinely funny scenes in this film, and two excellent leads, playing probably the two most unthreatening ghosts of all time, make it worth a watch.

Year of release: 1947

Director: Vernon Sewell

Producer: Louis H. Jackson

Writers: Caryl Brahms (novel ‘No Nightingales), S.J. Simon (novel ‘No Nightingales’), James Seymour

Main cast: Robert Morley, Felix Aylmer, Yvonne Arnaud

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Promises To Keep (1985)

This 1985 film features three generations of the Mitchum family.  Robert Mitchum is Jack Palmer, a man who walked out on his family 30 years earlier, and having learned that he has a terminal illness, wants to make his peace with them before its too late.  His son Tom is played by his real-life son Christopher Mitchum, and Tom’s son Johnny, is played by Christopher’s real-life son, Bentley.

In all honesty, there were a lot of things about this film which were quite cringeworthy.  Some of the acting – not Robert Mitchum’s (obviously) was a bit wooden.  And I feel it only fair to warn potential viewers of the TRULY AWFUL 1980s clothing on display!!  I know it was made in 1985, but frankly, there was no excuse for those clothes even then.  (I’m joking obviously – but I truly realised why the 1980s is known as the decade that taste forgot, although obviously that is no reflection on the film itself.)

There was one thing that kept me watching though – and that was Robert Mitchum. He may have been slightly older here than in some of the films for which he was famous, but he never lost his charisma, or his natural talent, and it does shine through.  (And – oh! that voice – I could listen to it all day.)  Claire Bloom is also great as Jack’s ex-wife Sally, and Tess Harper does a good job as Tom’s wife, Gwen.

In all, despite the cheesiness – which is to be expected of many films made at that time – there was actually plenty to enjoy about this movie, and I did find myself drawn in.  It was also interesting to see three generations of one family playing three generations of another family.  Not brilliant maybe, but certainly enjoyable.

Year of release: 1985

Director: Noel Black

Producers: Allen Epstein, Jim Green, Sandra Harmon, Stephanie Austen, Robert Papazian, Milton Sperling, James Veres

Writers: Frederic Hunter, Phil Penningroth

Main cast: Robert Mitchum, Christopher Mitchum, Bentley Mitchum, Tess Harper, Claire Bloom, Merritt Butrick

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