With the exception of Titanic, the last three posts have looked at how British films did rather well in terms of garnering nominations throughout the 1990s. However the majority of these nominations were given to films set during Elizabethan or Edwardian times with many of them featuring an endless cycle of exquisite costumes and loads of sodding bowing. But there was another type of British film that was gaining momentum in the nineties with a focus on more contemporary issues and a look at the way in which the working class were coping with various problems.
Not that there were many working class characters in our first offering, Mike Newell's Four Weddings and a Funeral. The movie was most famous for launching the international film careers of two prominent personalities one in front of the screen and one behind. Screenwriter Richard Curtis earned an Oscar nod for his original screenplay which was based on the fact that he was suddenly attending a lot of weddings. Curtis' well-observed if overly corny script certainly rung true in places and marked him out as the king of the romantic comedy over the following decade. He would also go on to collaborate with the film's leading male Hugh Grant, who we've already seen do his thing in costume dramas. Four Weddings really saw him utilise his slightly awkward persona which he would utilise in such flops as Nine Months and Mickey Blue Eyes. Whilst I found Grant's turn here incredibly endearing I felt he lacked chemistry with the film's female lead Andie Macdowell. Macdowell's presence in the film was obviously to increase audience interest and include a star that the American audience would've been aware of. However I thought Macdowell didn't handle Curtis' comic dialogue at all well and her line at the end of the film asking if it was still raining was incredibly cringeworthy. Additionally I felt that Curtis' plot device to keep them apart, by having Macdowell's Carrie marry an elderly Scottish politician was fairly absurd. While I agree that Carrie having another beau made sense, I never felt that she and Corin Redgrave were a good match so I wasn't surprised when they'd divorced quite quickly. Meanwhile I felt that Grant's Charlie really should've acted on the fact that Kristin Scott Thomas' Fiona was madly in love with him as she was a lot more interesting.
Indeed the scenes I really enjoyed throughout Four Weddings were those featuring Charlie's friends all of whom had distinct personalities. Simon Callow's Gavin was an absolute joy, lighting up the screen before breaking everybody's hearts when he died at Carrie's wedding. One of the highlights of the film is John Hannah's Matthew delivering a moving eulogy to his late lover which famously included the use of WH Auden's 'Stop All the Clocks'. In fact I felt the inclusion of a gay couple in a major romantic comedy was a groundbreaking move at the time but neither Matthew nor Gavin ever behaved in a clichéd manner. At the same time you believed that they truly loved each other and that's a testament to both Hannah and Callow. James Fleet also got his moment to shine as the foppish Tom whose heart to heart with Charlie following the funeral is another memorable moment. Meanwhile the late Charlotte Coleman's Scarlett was a firecracker whose unusual dress sense and dyed hair still stick in the memory. I feel that the film rings true for anybody whose ever attended a wedding as Curtis explores the monotony of the celebrations as the day goes on. I personally enjoyed the awkward speeches and the dreariness as the post-wedding discos began to wind down. I think I would've preferred more of these well-observed moments as opposed to the more overtly comic sections of the movie most notably the second wedding ceremony being performed by Rowan Atkinson's novice vicar. The film's other notable contribution to pop culture was Wet Wet Wet's cover of 'Love is all Around' which seemed to loiter at the top of the pop charts for what seemed like an eternity. I have a long-running history with Four Weddings, dating back to when I rented it on VHS at the tender age of twelve. I do believe that Carrie and Charlie's drunken fumblings in their hotel room was my first ever on screen sex scene and has probably scarred me for life. Despite not really buying into the central relationship, I still think Four Weddings is a funny and believable look at a tight-knit friendship group who really care deeply about each other. For me the real love story is about Charlie's feelings for his friends rather than his relationship with the dreadful Carrie.
Similarly well-observed, but not as tightly-scripted, was Mike Leigh's excellent Secret and Lies. I have to say I was surprised to see a film from a very British director like Leigh gain so much Oscar buzz. In fact the film ultimately had five Oscar nominations to its name with Leigh being nominated for both his direction and script. Not that there was much scripting to talk of as Leigh only provided his actors with bare-bone accounts of each scene and a description of their characters. I feel that this helped to provide the realism that the film has in droves and why each character feels interestingly recognisable. The main plot of the film concentrates on intelligent optometrist Hortence who, following the death of her adopted mother, tries to find the woman who gave birth to her.After an exhausting search, Hortence discovers that her mother is a white working-class woman with a complicated family life of her own. The woman in question is Cynthia, a harassed factory worker who is struggling for money and has a strained relationship with her daughter Roxanne. Cynthia's relationship with her brother Maurice and his wife Monica is also explored throughout the film which particularly deals with the aspect of class. Whilst Cynthia has stayed in the family home, Maurice's job as a photographer has afforded he and Monica a new house. Cynthia's apparent jealousy of this new purchase adds to the problems she already has with Monica, who she blames for her lack of contact with Maurice. I personally really liked the scene in which Hortense and Cynthia meet for the first time as it feels so raw and genuine. The primary reason for this is that Leigh hadn't informed actress Brenda Blethyn that Hortense was black meaning that Cynthia's reaction was a completely realistic one. Similarly the scene was shot in one take meaning that Blethyn and Marianne Jean-Baptiste had to work their socks off to provide something spectacular. The film itself culminates at a barbecue that Monica and Maurice hold for Roxanne's birthday with Hortense attending under the guise of Cynthia's work colleague. From there the secrets and lies of the title are finally revealed and everybody comes to terms with the new information they've been given.
Of the three films in this post, Secrets and Lies is the only one that I'd never seen before and I'm now wondering why it took me so long to find it in the first place. Leigh's minimal use of scripted dialogue allows the actors to create something naturalistic which is very hard to do in films. The barbecue scenes were particularly realistic from Maurice's manning of the grill to Monica's worries that she won't have enough garden chairs. One of the best recurring sequences of the entire piece is the small segments in which Leigh shows us some of the characters who come into Maurice's studio to have their photo taken. These scenes show all aspects of human life from happy couples and families to a woman who is having photos of her battered face being taken ahead of an impending court case. Andrew Dickson's haunting score perfectly punctuates each scene and contributes to the film's bleaker qualities. It's hard to highlight one member of Leigh's stunning ensemble cast with each of them taking their turn to give winning performances. Brenda Blethyn's jittery turn as the emotionally fraught Cynthia anchors the film beautifully with her use of the word 'sweetheart' having several different meanings. Her performance is perfectly counterbalanced by that of Marianne Jean-Baptiste who presents Hortense as a cool and calm professional woman. Timothy Spall's turn as the reliable Maurice is perfectly realised whilst Phyllis Logan really comes into her own as Monica in the film's final act. Claire Rushbrook is great as the stroppy Roxanne whilst Lee Ross and Elizabeth Berrington shine in smaller roles. Leigh himself deserves praise for perfecting the kitchen sink drama and adding a new element to it in the form of the cultured Hortense. If I have one minor criticism it's that I don't think the scene in which the former owner of Maurice's studio visits him quite works. Apart from that though, Leigh's work is a thing of beauty and I'm happy to say that he's still creating brilliant dramas such as this almost twenty years later.
The final film of this trio combines the working class elements of Secrets and Lies with the comedic charm of Four Weddings and some of its own magic. The Full Monty instantly conjures up certain images in people's heads but I feel that some of you forget that Peter Cattaneo's film is ultimately about a group of unemployed men. This is demonstrated perfectly in the film's opening scene which is taken from a 1970s movie reel entitled 'City on the Move' which looked at Sheffield's thriving steel industry. But, in the late 1990s, the industry had disappeared and the men who used to work there were forced to go on the dole. The characters in The Full Monty have all decided to deal with their new unemployment in different ways even if all these methods ultimately have the same outcome. The film's protagonist Gaz is a happy-go-lucky type who wants to maintain a relationship with his young son despite the boy's mother filing for full custody. His best mate Dave is paranoid that his wife is having an affair and therefore has started to withdraw from life. Meanwhile security guard Lomper tries to commit suicide to get away from a life which is split between looking after his elderly mother and playing in the local brass band. The most compelling character, who deserved more screen time, is Tom Wilkinson's Gerald a man who is yet to tell his wife that he's been made redundant. Gerald is certainly one for keeping up appearances and I think one of The Full Monty's most tragic moments is when the bailiffs start calling round. Writer Simon Beaufoy's script perfectly combines all of these elements with the Gaz's money-making scheme to put on a strip show for the area's local ladies. The scenes featuring the lads training for their stripping debut add some much needed light to proceedings but I feel never overshadow the characters. This use of light and shade is one of The Full Monty's most positive attributes and is one of the reasons that audiences have returned to the comedy drama time and time again.
I do remember watching this film when it first aired on television and by that point it had become a worldwide phenomenon following its Oscar success. In fact the film won an award for Best Musical and Comedy Score, thankfully one Oscar that Titanic wasn't eligible for. Watching it for the first time in years, I didn't realise how quick The Full Monty was and it almost feels a little rushed. Due to the short running time several subplots don't get enough time devoted to them especially the relationship between Lomper and Guy. I felt that both Dave's anxieties about his weight and Gerald's need to get back to work needed to be explored in more depth but both were outshone by Gaz's tale. Not that there's anything wrong with that as Robert Carlyle's breezy performance is a joy as his chemistry with Mark Addy who plays Dave. Young William Snape is excellent as Gaz's son Nathan and clearly portrays a boy who loves his dad despite his many faults. I do feel it's a shame that not one of the cast members were nominated for an Oscar, especially Wilkinson who steals the show as the incredibly proud Gerald. Wilkinson's performance is possibly the most tragic and he is able to convey a man who's devoted all his life to the steel industry. Possibly one of the film's lasting legacies is its use of music most notably Hot Chocolate's 'You Sexy Thing' and Donna Summer's 'Hot Stuff'. Interestingly the iconic 'Hot Stuff' dole queue scene was initially cut from the film as Cattaneo didn't feel it was realistic enough however I believe it represents how much their new passion means to the men. Despite feeling rushed, The Full Monty is an enjoyable film that has a lot to say about the failing industries in the UK and the affect it has on the men who face redundancy. An uplifting look at the many personalities that can find themselves unemployed, The Full Monty is the dictionary definition of a feelgood hit.
Next time we look at another film with an iconic music based scene that certainly got quite a few people into pottery.
Showing posts with label Hugh Grant. Show all posts
Showing posts with label Hugh Grant. Show all posts
Tuesday, 24 June 2014
Monday, 23 June 2014
Matt's Big Oscar Challenge Days 332-333: Kate's Greats
In the last post we looked at two of Emma Thompson's performances from Best Picture nominees of the early 1990s but unbeknownst to us she was also busy scribbling off screen. That's because, for the best part of five years, Thompson had been adapting Jane Austen's Sense and Sensibility after being hired for the project by producer Lindsay Doran. Thompson had initially wanted Natasha and Joely Richardson to play sisters Elinor and Marianne Dashwood but instead the studio wanted her to play Elinor. This meant having to alter the character's age from nineteen to twenty-seven in order to make Thompson's appearance in the part convincing. Thompson would go on to win her second Academy Award for the screenplay and be nominated for a third Best Actress for her role as Elinor. But it's the actress who played Marianne that we turn our attention to as she forms the basis of this next double bill.
The actress in question is Kate Winslet who was just nineteen when she appeared in Sense and Sensibility and earned a Best Supporting Actress nomination as a result. Winslet's road to the part was a rocky one as she was initially due to audition for the smaller role of Lucy Steele. But when she arrived at the audition she played dumb and read for Marianne, instantly captivating the panel and winning the part. However, her casting in the film was not without criticism primarily from director Ang Lee who felt that her performance in Peter Jackson's Heavenly Creatures was too over-the-top. In order for her to be convincing in the role, Lee wanted her to act more gracefully so encouraged her to read poetry and learn to play the piano. The result was a scene-stealing performance as the reckless middle Dashwood sister who falls head-over-heels for the dashing John Willoughby. Even in the earlier scenes Winslet excels at conveying quiet disdain for her step-brother's wife Fanny who is basically evicting them from their own home. Winslet easily conveys Marianne's transformation from brash stroppy teenager to a more mature character as she finally falls for the stable Colonel Brandon. Emma Thompson's own performance really tied everything together and I didn't for a minute have a problem with the way that Elinor was substantially aged to suit Thompson. Indeed the fact that Elinor was practically considered a spinster was incorporated into Thompson's script and worked perfectly well in the overall story. As the dreadful Fanny, Harriet Walter gave an incredibly awful turn and triumphed in providing the majority of the film's comedy. Meanwhile Gemma Jones and Emilie François, as Mrs Dashwood and Margaret respectively, shone in their limited screen time. In comparison to their female counterparts, the male actors were a little subdued but that might have something to do with the characters they were playing. Apparently Thompson wrote the role of Edward Ferrars with Hugh Grant in mind but I feel the pair didn't share enough chemistry to convince me of their on screen romance. Similarly, as Col Brandon, Alan Rickman's chemistry with Winslet lacked any spark though he was convincing as an emotionally reserved soldier. Of the male leads, only Greg Wise put in a convincing turn as the dashing Willoughby as he made you understand why Marianne fell for him so much. Interestingly it was actually Thompson who fell for Wise in real life with the pair eventually marrying some years later.
Both Doran and Thompson wanted Sense and Sensibility to have far-reaching appeal and never wanted it to be viewed as just another costume drama. I definitely felt that Sense and Sensibility was more accessible than both Howard's End and The Remains of the Day which at times were a little bit too rigid for their own good. One of the ways the pair achieved their goal was for Thompson to simplify some of the dialogue so the themes would be more relatable for a modern-day audience. Doran's goal was for the film to appeal to lovers of romantic comedy and I feel that Thompson's script for Sense and Sensibility does indeed have those sorts of elements. Another way Doran gained global appeal for the film was in the hiring of South Korean director Ang Lee, who had never heard of Jane Austen prior to his appointment. But, after reading Thompson's script, he realised his previous film The Wedding Banquet had a lot in common with Austen's story. Lee certainly added a lot of elegance to the piece but was able to incorporate some of his own stylistic qualities to the exterior scenes which made Sense and Sensibility feel a lot more open than the stuffier Merchant Ivory pictures. Costume designers, and Merchant Ivory stalwarts, John Bright and Jenny Bevan provided plenty of distinctive outfits for each individual character. Meanwhile composer Patrick Doyle's score provided a suitable accompaniment to a film that felt a lot more contemporary than a lot of other Victorian dramas. Sense and Sensibility was a film I remember watching on VHS both at home and in a Year 9 English Lesson but a the time I don't think I appreciated the quality of the film in the way I do now. Sense and Sensibility ultimately came across as a labour of love for all those involved and was a film that definitely deserved the seven Oscars it was nominated for. Meanwhile Winslet's role in the film saw her become a breakout star and for the first time was a recognisable presence in the film industry.
But Winslet really became a big name after starring in a film that still holds the title of being the largest grossing film of all time and the recipient of eleven Oscars including one for Best Picture. Obviously I'm talking about Titanic and, just like in Sense and Sensibility, Winslet fought hard to get the lead role of Rose. Her tactics included sending several letters and a rose to James Cameron which led to a screen test and an eventual part in this monumental movie. You couldn't grow up in the late 1990s and not know something about Titanic but I have to admit that I've never watched it all the way through. I've caught bits of it on the TV occasionally but I always thought that three hours focusing solely on one movie was too much. I do however remember the commotion that was caused after the BBC revealed that they were going to air Kate Winslet's tame topless scene before the watershed. The scene, in which Rose is painted nude by Leonardo DiCaprio's Jack, is incredibly quick and also is vital to the overall plot. Indeed it is in the discovery of this drawing that the elderly Rose is reunited with the Titanic which is currently being investigated by treasure hunter Brock Lovett. The main story of Titanic is Rose's memories of her time on the ill-fated ship and the brief romance she shared with the commoner Jack Dawson. It was this romance between upper class Rose and lower class Jack that captured the imaginations of the audience. Indeed, I remember some of the girls in my class at school going to see the film two or three times with DiCaprio gaining pin-up status as a result. But I personally never brought into the central romance and as a result the majority of Titanic fell flat for me. Part of the problem for this was the wafer-thin characterisation that was afforded to the central couple but partly both actors were to blame. Winslet showed none of the maturity or discipline of her performance in Sense and Sensibility whilst DiCaprio struggled to hold the film together. Another issue I had was with Cameron's script, particularly the fact that the film shows some of Jack's scenes without Rose even though it's meant to be her narrating it. Thankfully Cameron's script was one of the elements of the film that wasn't included in Titanic's massive haul of nominations.
Despite my reservations about the film's narrative and central performances; there's no denying that Titanic is one of the most ascetically magnificent films of all time. The second half of the film, which focuses on the ship's sinking, was definitely the most compelling and allowed Cameron to demonstrate why the film was the most expensive of all time. Using a combination of scale models, computer imagery and a full-scale replicate of the ship; Cameron's vision for Titanic was more than realised when the project was complete. Every scene of the film looks fantastic from the elegant upper-decks to the rat-infested rooms in which Jack and his friends find themselves. The costumes are realistically recreated and James Horner's haunting score remains one of cinema's most recognisable. While we're on music it would be amiss of me not to mention one of Titanic's most famous attributes, Celine Dion's 'My Heart Will go On'. At the time it was hard to escape the song and there's no denying that it's still one of the most famous film theme tunes. Russell Carpenter's cinematography came alive during the film's second half as he allowed the camera to survey the sinking ship and immersed the audience into the action. The way the camera follows Jack and Rose as they hurtle down the water-logged corridors is simply fantastic as is the manner in which he zooms over the lifeless bodies that have frozen in the cold water. These scenes in particular add to the realism of the film and it was interesting to note that many of the cast members got terribly ill as a result of spending days in the freezing water. Although I wasn't wowed by the central performances some of the supporting cast members brought their characters to life. As the 'unsinkable' Molly Brown, Kathy Bates brought some much needed fun to the film whilst Bernard Hill's facial expressions as the ship's Captain were fantastic. I also enjoyed Victor Garber's turn as the ship's architect and felt his apology to Rose in particular was quite moving. But for me it was Gloria Stuart, as the older version of Rose, who stole the show and I was transfixed by her moving turn at the beginning and end of the film. Ultimately I'm not surprised that Titanic won Best Picture as it is one of the most visually engaging films that you'll ever see. That being said I was never really caught up in the narrative of the film and to me this is a film that's all about the visuals rather than the story itself.
Next time we depart from the fancy costumes of yesteryear and check in on what was going on in Britain during the 1990s.
The actress in question is Kate Winslet who was just nineteen when she appeared in Sense and Sensibility and earned a Best Supporting Actress nomination as a result. Winslet's road to the part was a rocky one as she was initially due to audition for the smaller role of Lucy Steele. But when she arrived at the audition she played dumb and read for Marianne, instantly captivating the panel and winning the part. However, her casting in the film was not without criticism primarily from director Ang Lee who felt that her performance in Peter Jackson's Heavenly Creatures was too over-the-top. In order for her to be convincing in the role, Lee wanted her to act more gracefully so encouraged her to read poetry and learn to play the piano. The result was a scene-stealing performance as the reckless middle Dashwood sister who falls head-over-heels for the dashing John Willoughby. Even in the earlier scenes Winslet excels at conveying quiet disdain for her step-brother's wife Fanny who is basically evicting them from their own home. Winslet easily conveys Marianne's transformation from brash stroppy teenager to a more mature character as she finally falls for the stable Colonel Brandon. Emma Thompson's own performance really tied everything together and I didn't for a minute have a problem with the way that Elinor was substantially aged to suit Thompson. Indeed the fact that Elinor was practically considered a spinster was incorporated into Thompson's script and worked perfectly well in the overall story. As the dreadful Fanny, Harriet Walter gave an incredibly awful turn and triumphed in providing the majority of the film's comedy. Meanwhile Gemma Jones and Emilie François, as Mrs Dashwood and Margaret respectively, shone in their limited screen time. In comparison to their female counterparts, the male actors were a little subdued but that might have something to do with the characters they were playing. Apparently Thompson wrote the role of Edward Ferrars with Hugh Grant in mind but I feel the pair didn't share enough chemistry to convince me of their on screen romance. Similarly, as Col Brandon, Alan Rickman's chemistry with Winslet lacked any spark though he was convincing as an emotionally reserved soldier. Of the male leads, only Greg Wise put in a convincing turn as the dashing Willoughby as he made you understand why Marianne fell for him so much. Interestingly it was actually Thompson who fell for Wise in real life with the pair eventually marrying some years later.
Both Doran and Thompson wanted Sense and Sensibility to have far-reaching appeal and never wanted it to be viewed as just another costume drama. I definitely felt that Sense and Sensibility was more accessible than both Howard's End and The Remains of the Day which at times were a little bit too rigid for their own good. One of the ways the pair achieved their goal was for Thompson to simplify some of the dialogue so the themes would be more relatable for a modern-day audience. Doran's goal was for the film to appeal to lovers of romantic comedy and I feel that Thompson's script for Sense and Sensibility does indeed have those sorts of elements. Another way Doran gained global appeal for the film was in the hiring of South Korean director Ang Lee, who had never heard of Jane Austen prior to his appointment. But, after reading Thompson's script, he realised his previous film The Wedding Banquet had a lot in common with Austen's story. Lee certainly added a lot of elegance to the piece but was able to incorporate some of his own stylistic qualities to the exterior scenes which made Sense and Sensibility feel a lot more open than the stuffier Merchant Ivory pictures. Costume designers, and Merchant Ivory stalwarts, John Bright and Jenny Bevan provided plenty of distinctive outfits for each individual character. Meanwhile composer Patrick Doyle's score provided a suitable accompaniment to a film that felt a lot more contemporary than a lot of other Victorian dramas. Sense and Sensibility was a film I remember watching on VHS both at home and in a Year 9 English Lesson but a the time I don't think I appreciated the quality of the film in the way I do now. Sense and Sensibility ultimately came across as a labour of love for all those involved and was a film that definitely deserved the seven Oscars it was nominated for. Meanwhile Winslet's role in the film saw her become a breakout star and for the first time was a recognisable presence in the film industry.
But Winslet really became a big name after starring in a film that still holds the title of being the largest grossing film of all time and the recipient of eleven Oscars including one for Best Picture. Obviously I'm talking about Titanic and, just like in Sense and Sensibility, Winslet fought hard to get the lead role of Rose. Her tactics included sending several letters and a rose to James Cameron which led to a screen test and an eventual part in this monumental movie. You couldn't grow up in the late 1990s and not know something about Titanic but I have to admit that I've never watched it all the way through. I've caught bits of it on the TV occasionally but I always thought that three hours focusing solely on one movie was too much. I do however remember the commotion that was caused after the BBC revealed that they were going to air Kate Winslet's tame topless scene before the watershed. The scene, in which Rose is painted nude by Leonardo DiCaprio's Jack, is incredibly quick and also is vital to the overall plot. Indeed it is in the discovery of this drawing that the elderly Rose is reunited with the Titanic which is currently being investigated by treasure hunter Brock Lovett. The main story of Titanic is Rose's memories of her time on the ill-fated ship and the brief romance she shared with the commoner Jack Dawson. It was this romance between upper class Rose and lower class Jack that captured the imaginations of the audience. Indeed, I remember some of the girls in my class at school going to see the film two or three times with DiCaprio gaining pin-up status as a result. But I personally never brought into the central romance and as a result the majority of Titanic fell flat for me. Part of the problem for this was the wafer-thin characterisation that was afforded to the central couple but partly both actors were to blame. Winslet showed none of the maturity or discipline of her performance in Sense and Sensibility whilst DiCaprio struggled to hold the film together. Another issue I had was with Cameron's script, particularly the fact that the film shows some of Jack's scenes without Rose even though it's meant to be her narrating it. Thankfully Cameron's script was one of the elements of the film that wasn't included in Titanic's massive haul of nominations.
Despite my reservations about the film's narrative and central performances; there's no denying that Titanic is one of the most ascetically magnificent films of all time. The second half of the film, which focuses on the ship's sinking, was definitely the most compelling and allowed Cameron to demonstrate why the film was the most expensive of all time. Using a combination of scale models, computer imagery and a full-scale replicate of the ship; Cameron's vision for Titanic was more than realised when the project was complete. Every scene of the film looks fantastic from the elegant upper-decks to the rat-infested rooms in which Jack and his friends find themselves. The costumes are realistically recreated and James Horner's haunting score remains one of cinema's most recognisable. While we're on music it would be amiss of me not to mention one of Titanic's most famous attributes, Celine Dion's 'My Heart Will go On'. At the time it was hard to escape the song and there's no denying that it's still one of the most famous film theme tunes. Russell Carpenter's cinematography came alive during the film's second half as he allowed the camera to survey the sinking ship and immersed the audience into the action. The way the camera follows Jack and Rose as they hurtle down the water-logged corridors is simply fantastic as is the manner in which he zooms over the lifeless bodies that have frozen in the cold water. These scenes in particular add to the realism of the film and it was interesting to note that many of the cast members got terribly ill as a result of spending days in the freezing water. Although I wasn't wowed by the central performances some of the supporting cast members brought their characters to life. As the 'unsinkable' Molly Brown, Kathy Bates brought some much needed fun to the film whilst Bernard Hill's facial expressions as the ship's Captain were fantastic. I also enjoyed Victor Garber's turn as the ship's architect and felt his apology to Rose in particular was quite moving. But for me it was Gloria Stuart, as the older version of Rose, who stole the show and I was transfixed by her moving turn at the beginning and end of the film. Ultimately I'm not surprised that Titanic won Best Picture as it is one of the most visually engaging films that you'll ever see. That being said I was never really caught up in the narrative of the film and to me this is a film that's all about the visuals rather than the story itself.
Next time we depart from the fancy costumes of yesteryear and check in on what was going on in Britain during the 1990s.
Sunday, 22 June 2014
Matt's Big Oscar Challenge Days 330-331: Emma T and Ivory Work Together in Perfect Harmony
Back in the 1980s we witnessed the first success of director James Ivory and producer Ismail Merchant as their adaptation of Forster's A Room with A View was nominated for Best Picture. Their success continued with two Best Picture nominations in the 1990s, the first of which came via another Forster adaptation in Howard's End
Howard's End also saw Merchant Ivory's first of two collaborations with both Emma Thompson and Anthony Hopkins. Thompson won her only acting Oscar for her role as Margaret Schlegel, a young woman who currently resides in London with her sister Helen and brother Tibby. The country estate of the title is an abode owned by the Wilcox family with whom the Schlegel sisters have their various dealings with over the course of the film. Their initial interaction comes when Helen rashly agrees to marry the younger Wilcox brother before they both change their mind. But Margaret gets wind of the event and the social faux pas that has been committed inadvertently leads her to befriend the lady of the house, Ruth. With Ruth at death's door and the Schlegel's requiring a new home; she bequeaths Howard's End to her newest friend. But Ruth's husband Henry, played by Hopkins, and the rest of her family tear up her handwritten will and agree not to tell Margaret of his late wife's wishes. However his guilt over this decision ends up with agreeing to find the Shlegels a new abode and in turn he starts to grow fond of Margaret. Meanwhile the sisters take to Leonard Bast, working class gentleman who they view as being intelligent beyond his standing. It's implied that Helen and Leonard are drawn to each other despite the fact that he's married to the quite uncouth Jacky. The Wilcoxes, the Schelgels and the Basts all collide in the film's memorable wedding scene in which revelations are made and families come to blows. The final third of the film really sees Thompson at her best as she realises the importance of those around her and sees her learn the ultimate truth about her place at Howard's End.
There's no denying that Thompson's performance in Howard's End see the actress at her very best. Three years after making her big screen debut, in then husband Kenneth Branagh's version on Henry V, Howard's End really made Thompson a star. She deals well with Forster's snappy dialogue and makes you care about the fact that Margaret missed out on owning the house she truly deserved. Thompson perfectly portrays Margaret's transformation from the free and easy Miss Shlegel to the reserved future Mrs Wilcox. Her body language alone is able to convey a multitude of emotions and at times she's the best thing about the entire film. I feel that Helena Bonham Carter deserves an equal amount of praise for her role as the feisty Helen, who is the one character who speaks her mind regardless if she's in the wrong. Carter has certainly grown a lot since we last saw her in A Room with a View but still maintains that joyful innocence that makes her the perfect actor to appear in these sort of films. Despite his character being detestable for the most part, Anthony Hopkins still lends some gravitas to the role of Henry. Hopkins is particularly great at perfecting the small looks that suggest that he is developing feelings for Margaret. One thing that confused me slightly was the fact that Vanessa Redgrave received a Supporting Actress nomination for her small role as Ruth. Although I found Redgrave captivating, she was only on screen for a matter of minutes and never astounded me in the way that Thompson did. As you would expect, the film looked fantastic with every costume and set feeling utterly convincing. The film won a further two awards; one for the brilliant Art Direction and one for Ruth Prawer Jhabvala's adapted screenplay which was incredibly well-paced from start to end. Despite all of these positives I couldn't help but feel oddly removed from Howard's End and it wasn't a film that I ever warmed to. Thompson's performance aside, there was nothing much that really made the film stand out from all of the other costume dramas around and I felt that Ivory could've made more use out of having the talented Hopkins on board.
Luckily, just one year later, Ivory got his chance to better utilise Hopkins and pair him with Thompson in such a way that the trio would create something special. The film was The Remains of The Day, another literary adaptation this time of the book written by Kazuo Ishiguro, with Jhabvala once again on screenplay duties. The movie centres round Hopkins' Mr Stevens, the loyal butler at Darlington Hall, a building that has just been saved from demolition by a new American owner Mr Lewis. Whilst in the present day Stevens begins a journey to see Darlington Hall's former housekeeper Miss Kenton, the film flashes back to explore their relationship over the years. Through these flashback scenes we quickly learn that Stevens is a loyal butler who never questions his master's orders and always believes in formality. His style somewhat clashes with that of Kenton's to the extent that he can't understand why she's brought a flower in to brighten up his study. They later argue over the extent of duties that Stevens' elderly underbutler father can perform after she notices that he's becoming more forgetful. These scenes culminate in Stevens learning of his father's death during a banquet and we see him continue to serve despite receiving this tragic news. Stevens' lack of outward emotion is a recurring theme of the film with Hopkins excelling at letting the audience know when his character his hurting inside. This is certainly true of Hopkins' relationship with his employer, Lord Darlington who is gradually revealed to be involved in having direct contact with the Nazi party. In the present day we learn that Darlington has recently died after being outed as a Nazi conspirator in The Daily Mail. Stevens lack of opinion on any matter extends to his possible romance with Miss Kenton who is seemingly drawn to her boss. The two share several glances over the years but it's his lack of ability to open up that ultimately sees her marry another man. Their exchanges in the present day are extremely emotional and their parting on a seaside bench is particularly memorable. As the film comes to an end Ivory suggests that Stevens is like a trapped bird who is stuck in Darlington Hall until his dying day.
The Remains of the Day was almost a purely perfect film primarily thanks to the complex performance from Hopkins. Hopkins' performance lets the audience in on Steven's secrets to the extent where we realise he's lying even though the other characters don't. It's his subtle turn in the film that makes the reserved Stevens a character we want to follow despite not being an overly likeable person. Whilst not as emotionally-stunted as Stevens, Emma Thompson still makes us believe that Miss Kenton isn't as open about her feelings as she should be. This is demonstrated when Darlington orders Stevens to fire some refugee maids, an order that Kenton is opposed to but at the same time isn't prepared to wholly stand up for what she believes in. Thompson and Hopkins share a lot more chemistry here than they did in Howard's End which is odd seeing as their characters were a couple in Ivory's previous film. I believe that their chemistry is needed here in order for the audience to will Stevens and Kenton to be together even though we realise that their match is doomed to fail. James Fox provides reliable support as Darlington as he portrays him as a man who wants to do the right thing but is ultimately swayed by stronger forces. Both Christopher Reeve and Hugh Grant are on form as Lewis and Darlington's journalist godson respectively with the latter particularly shining in a scene where Stevens has to explain the facts of life to him. Richard Robbins score perfectly captures the emotional nature of the film whilst once again the art and costume direction are flawless. Unfortunately, The Remains of The Day had the bad luck to come up against Schindler's List at that year's Oscars and therefore didn't win a single one of the eight Oscars it had been nominated for. I feel that it's a real shame that Hopkins in particular didn't win a Best Actor Oscar for what I consider to be his best performance to date.
Next time we see Emma Thompson win her second Oscar as she introduces a new British actress to the public's attention.
There's no denying that Thompson's performance in Howard's End see the actress at her very best. Three years after making her big screen debut, in then husband Kenneth Branagh's version on Henry V, Howard's End really made Thompson a star. She deals well with Forster's snappy dialogue and makes you care about the fact that Margaret missed out on owning the house she truly deserved. Thompson perfectly portrays Margaret's transformation from the free and easy Miss Shlegel to the reserved future Mrs Wilcox. Her body language alone is able to convey a multitude of emotions and at times she's the best thing about the entire film. I feel that Helena Bonham Carter deserves an equal amount of praise for her role as the feisty Helen, who is the one character who speaks her mind regardless if she's in the wrong. Carter has certainly grown a lot since we last saw her in A Room with a View but still maintains that joyful innocence that makes her the perfect actor to appear in these sort of films. Despite his character being detestable for the most part, Anthony Hopkins still lends some gravitas to the role of Henry. Hopkins is particularly great at perfecting the small looks that suggest that he is developing feelings for Margaret. One thing that confused me slightly was the fact that Vanessa Redgrave received a Supporting Actress nomination for her small role as Ruth. Although I found Redgrave captivating, she was only on screen for a matter of minutes and never astounded me in the way that Thompson did. As you would expect, the film looked fantastic with every costume and set feeling utterly convincing. The film won a further two awards; one for the brilliant Art Direction and one for Ruth Prawer Jhabvala's adapted screenplay which was incredibly well-paced from start to end. Despite all of these positives I couldn't help but feel oddly removed from Howard's End and it wasn't a film that I ever warmed to. Thompson's performance aside, there was nothing much that really made the film stand out from all of the other costume dramas around and I felt that Ivory could've made more use out of having the talented Hopkins on board.
Luckily, just one year later, Ivory got his chance to better utilise Hopkins and pair him with Thompson in such a way that the trio would create something special. The film was The Remains of The Day, another literary adaptation this time of the book written by Kazuo Ishiguro, with Jhabvala once again on screenplay duties. The movie centres round Hopkins' Mr Stevens, the loyal butler at Darlington Hall, a building that has just been saved from demolition by a new American owner Mr Lewis. Whilst in the present day Stevens begins a journey to see Darlington Hall's former housekeeper Miss Kenton, the film flashes back to explore their relationship over the years. Through these flashback scenes we quickly learn that Stevens is a loyal butler who never questions his master's orders and always believes in formality. His style somewhat clashes with that of Kenton's to the extent that he can't understand why she's brought a flower in to brighten up his study. They later argue over the extent of duties that Stevens' elderly underbutler father can perform after she notices that he's becoming more forgetful. These scenes culminate in Stevens learning of his father's death during a banquet and we see him continue to serve despite receiving this tragic news. Stevens' lack of outward emotion is a recurring theme of the film with Hopkins excelling at letting the audience know when his character his hurting inside. This is certainly true of Hopkins' relationship with his employer, Lord Darlington who is gradually revealed to be involved in having direct contact with the Nazi party. In the present day we learn that Darlington has recently died after being outed as a Nazi conspirator in The Daily Mail. Stevens lack of opinion on any matter extends to his possible romance with Miss Kenton who is seemingly drawn to her boss. The two share several glances over the years but it's his lack of ability to open up that ultimately sees her marry another man. Their exchanges in the present day are extremely emotional and their parting on a seaside bench is particularly memorable. As the film comes to an end Ivory suggests that Stevens is like a trapped bird who is stuck in Darlington Hall until his dying day.
The Remains of the Day was almost a purely perfect film primarily thanks to the complex performance from Hopkins. Hopkins' performance lets the audience in on Steven's secrets to the extent where we realise he's lying even though the other characters don't. It's his subtle turn in the film that makes the reserved Stevens a character we want to follow despite not being an overly likeable person. Whilst not as emotionally-stunted as Stevens, Emma Thompson still makes us believe that Miss Kenton isn't as open about her feelings as she should be. This is demonstrated when Darlington orders Stevens to fire some refugee maids, an order that Kenton is opposed to but at the same time isn't prepared to wholly stand up for what she believes in. Thompson and Hopkins share a lot more chemistry here than they did in Howard's End which is odd seeing as their characters were a couple in Ivory's previous film. I believe that their chemistry is needed here in order for the audience to will Stevens and Kenton to be together even though we realise that their match is doomed to fail. James Fox provides reliable support as Darlington as he portrays him as a man who wants to do the right thing but is ultimately swayed by stronger forces. Both Christopher Reeve and Hugh Grant are on form as Lewis and Darlington's journalist godson respectively with the latter particularly shining in a scene where Stevens has to explain the facts of life to him. Richard Robbins score perfectly captures the emotional nature of the film whilst once again the art and costume direction are flawless. Unfortunately, The Remains of The Day had the bad luck to come up against Schindler's List at that year's Oscars and therefore didn't win a single one of the eight Oscars it had been nominated for. I feel that it's a real shame that Hopkins in particular didn't win a Best Actor Oscar for what I consider to be his best performance to date.
Next time we see Emma Thompson win her second Oscar as she introduces a new British actress to the public's attention.
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