2011. Dir: John Madden. Starring: Judi Dench, Bill Nighy, Dev Patel, Tom Wilkinson and Maggie Smith. ●●●○○
I can highly recommend watching the trailer for John Madden's The Best Exotic Marigold Hotel, it's a delightful piece of advertising with a distinctive palette, easily definable characters and the odd laugh out loud line delivery. Unfortunately I cannot recommend the movie as a whole which somehow drags that trailer over two hours without further developing the characters, providing tension or even giving the audience many more laughs.
In the pre-credits sequences we are introduced to the great and good of British acting talent through a series of short vignettes designed to develop an understanding of back-story and hint at the personalities. There's everything from Judi Dench as the resilient widow to Tom Wilkinson's down-to-earth judge stopping off at Bill Nighy and Penelope Wilton as a bickering pair of retirees choosing how to spend their later years with reduced incomes. One by one they are seduced by the tempting offer of the best exotic marigold hotel, a palce converted into a residential home for senior citizens looking for adventure and not quite requiring care.
As our dysfunctional septet make their journey to Jaipur, mixing for the first time on the plane out you rather hope their stories will intertwine, however oddly right until the end it feels like separate tales. Even as one pair find a common cause whilst another share the beginnings of an illicit romance there's never a feeling of cohesion within the group. Each day the characters go off alone to face or hide away from the world, each night they return to the culinary challenges placed on them by the hotel's love starved owner Dev Patel.
This literary convention of presenting a collection of characters all of whom must have an arc in which to travel probably works very well in Deborah Moggach's novel but I find it irritating beyond belief. In two hours it's simply too much to ask from an audience to make them care about so many personalities, so their storylines either feel irrelevant or hopelessly shortened. It's not helped by most of cast who seem content to take the money and run. Judi Dench reprises her "As Time Goes By" performance only with less one liners, whilst Tom Wilkinson reveals a secret he's kept hidden, tearing away at his soul for over 30 years, with all the gravitas of someone admitting to eating marmite with a spoon.
Maggie Smith does the best she can with an underwritten role, effectively playing a threatened working class racist bigot at the beginning and a entrepreneur with purpose at the end; it's not her fault that the scene where she undergo's her transformation makes no sense. Does she really embrace Indian culture just because an untouchable lets her rant about her life in service? By the way how old is she?
Only Celia Imrie as a glamorous granny looking for husband number 4 and Dev's over the tops pride inject any life into the film, and the scene they share just past the halfway mark is a moment of delightful farce. And no, I'm not going to tell you what happens, other than it involves a chain of misunderstanding starting with the wrong people getting in bed together.
I suppose one of the reasons that scene shines is because there were laughs to be had that hadn't already been shown in the trailer. Make no mistakes this isn't a comedy, it's a series of life lessons with comedic elements, and I rather believe that amping up the comedy may have helped the film. There were moments in the trailer that made me chortle out loud, but stretched out across the running time it felt awfully thin, just the odd joke at the expense of the more extreme characters surrounded by the self-satisfied blog posts of Judi's silver surfer. When she tapped out "With so many old people together it was inevitable one of us would die..." I nearly screamed at the screen in disgust. The average age of the 7 actors is barely 65 and none of them - bar Maggie Smith and her plot developing broken hip - look remotely like age is slowing them down, even the character that does die simply slips away during an afternoon slumber once their storyline has been resolved. It's nothing like the pain and torment and inherent boredom most of us will experience in old age.
There's not even much given to the Indian actors either. Sure Patel along with his girlfriend and mother, played by Tena Desae and Lillete Dubey respectively, have a soap opera level storyline along the lines of following your heart over tradition and family expectations, but aside from them no other Indian gets a look in. There's even two moments when Dench and Wilkinson refer to long conversations they have had independently with a husband and wife whose connection to the group has rocked their relationship to it's core, yet all we hear is a precis from the mouths of our middle class heroes.
All this sounds like I'm ragging on the film, but to be honest I did like it when I was watching. It was nice, the location work was fabulous, as Wilkinson says in the trailer "[I see the] light, colours, smiles. All life is here.", and he's right India is stunning, if nothing else this is a brilliant tourist video for the sub-continent.
I can't say I recommend it. But if you're seeing it for free don't say no. And do try out the trailer.
Wednesday, 7 March 2012
The Best Exotic Marigold Hotel
Monday, 23 January 2012
J. Edgar
2011. Dir: Clint Eastwood. Starring: Leonardo DiCaprio, Armie Hammer, Naomi Watts, Judi Dench and Josh Lucas. ●●○○○
Why? Why? Why? Why? Why? Why? I have asked before and I will shout it from the rooftops if absolutely necessary. Biopics (much like any other film genre) must exist for a reason, you must decide whether you want to draw parallels with the human condition, or prescient societal factors, or you must seek to restore or destroy a reputation, alternative aim to explain your protagonists public actions through their private history. J. Edgar does none of these. Instead it throws events and personal relations onto the screen, with three distinct elements of the film all failing to relate with each other and therefore failing to relate with the greater context.
The first element of the film, and perhaps the most compelling, establishes, through the unreliable narrative of Hoover himself played sympathetically by Leonardo DiCaprio, the origin mythology of the FBI from it's beginnings in the anti trade union movement through the war against organised crime in the 1930's and the development of modern police procedural to catch and prosecute Bruno Hauptmann, the kipnapper of Charles Lindbergh jr. (notably dubbed the "crime of the century" at the time). This section celebrates J. Edgar as a nerdy modernist standardising the process for catching criminals against a backward looking establishment. This alone may have been an interesting picture, in spite of it's glorification of his early achievements and the missed opportunities to discuss his political talents or his much publicised fear of Bolshevism not to mention the constraints of using the scientific method for raising convictions.
The first element is narrated by an older Hoover (during the Presidential tenure of JFK and later) a deeply paranoid man, clinging on to power through blackmail and illegal wire tapping. The film barely plays homage to the unspeakable acts of criminality and suppression that Hoover exercised through his COINTELPRO programme, a bitter taste in the mouth of anyone with a degree of knowledge of the civil rights movement, he may have associated equality with Communism but as we have no basis for the genesis of those beliefs there's no explanation for his acts (save a clunky scene with his dominant mother - Judi Dench - regurgitating anti-Black rhetoric).
What makes this worse is the disfiguring make-up plastered over the younger cast members by this time. Leo's jowls are surprisingly solid but he compensates with a determined physical presence and some possible expression, Naomi Watts as his long-term secretary Helen Gandy largely gets away with her transformation, but poor Armie Hammer playing Associate Director Clyde Tolson peers helplessly through an impenetrable mask of latex unable to contort any facial muscles even before his debilitating stroke. Given the excellent make-up work in The Iron Lady and the modern advances in CGI aging techniques (not something the one take Eastwood would be interested in I expect) this seems utterly baffling.
Finally crowbarred into the narrative is a attempt to clarify Hoover personal relationship with his mother and with Tolson, alluding to the rumoured relationship between the two but without firmly decided whether the rumours are true or not. The film seems to side with an asexual love affair, with Hoover admitting he loves/needs Tolson only to himself and the relationship remaining unconsummated. There are a couple of scenes of hand-holding and one fist-fight inexorably heading towards a kiss but nothing towards romanticism or even hidden passion. Even Tolson's occasional calls for restraint are ignored by Hoover indicating there's little shared intellectual or emotional connection.
I am confused about where the blame lies in this muddled production. I considered laying it Eastwood's door, after all if I believe in auteur theory than the strengths of the director as author are also their failures, however whilst this clearly fits within his back-catalogue it's also his most hack-for-hire directorial work since 2002's Blood Work. The workmanlike approach and unfussy editing is all there, but there's no great resolve for story-telling, even his trademark themes of guilt, retribution and repentance are absent.
I can't even lay it at the hands of cinematographer Tom Stern (although it was terribly dark) or Eastwood's over-present score.
No, the finger of blame lies with Dustin Lance Black, Oscar winning screenwriter for Milk he hews too close to the successful formula he used previously. In Milk Sean Penn, as the titular Supervisor records a statement to be read after his death on a dictaphone detailing his career and personal life. With Harvey the political was the personal, his campaigns relate directly to the discrimination he experienced and the private and public life were visibly entangled. Hoover is writing a (massively embellished) history of the early years of the FBI to a string of untrusted lower level agents, people he sacks merely for not identifying Lindbergh as the most famous American of the 20th Century, so therefore he is unlikely to slip details of his weekend pursuits with Tolson, let alone the kiss, in which case where did those memories come from and how have the audiences heard/experienced them?
It's almost as if Black is using alleged homosexuality as an excuse for his criminality. If he's one of us then he's alright. Compounded by the crass repression by his mother in the absurd daffodil speech, and don't get me started on the cross-dressing grief bit seemingly lifted from a Dummies guide to Freud. No, Dustin, the relationships Hoover had with Tolson, his mother and Gandy are irrelevant and unconnected to his career, or at least if you think they are why didn't you make the point clear in the screenplay.
Ultimately it's what I said in the opening paragraph, decide why you're writing this biography, what is the aim, and simply skirting around the possibility of gay men in power is simply not enough. Audiences deserve better.
Friday, 9 September 2011
Autopsy of History (Out this week - 09/09/11)
Things are looking pretty grim in cinemas here in the UK, and I don't just mean the subject matter of the few films that come close to getting me into cinemas. I'm not sure why it is but the first couple of weeks of September have been pretty poor the last couple of years, I imagine that the end of the summer holidays (and here it really feels like summer has ended ended) means that the kids quadrant won't be watching new movies but it's too soon for the serious awards fare. Of course there's bonnets and brides which should get a few punters in but for me the film of the week is Post Mortem.
Post Mortem
Most South American film industries have a proud heritage of looking back at the darkest periods of their history so it's no surprise that Chile wants to address the 1973 Coup against Salvador Allende. Taking the unusual route of charting the furtive relationship between a shy morgue worker and a burlesque dancer who goes disappears in the aftermath, this film illustrates the parallels between assessing the bodies and the broken state.
Runs like a Gay Excitometer: ●●●●●○○○○○
Jane Eyre
If this latest adaptation of Charlotte Bronte's classic gothic novel breaks out then expect the arthouse cinemas to have the twinset and tweed crowds queuing round the block for that nice Judi Dench and a few period costumes. I probably sound cynical as news from the US is that Cary Fukunaga's film with Mia Wasikowska and Michael Fassbender is a superb retelling that could even reap some awards notice.
Runs like a Gay Excitometer: ●●●●●○○○○○
Troll Hunter
If you're getting fed up with found footage horror movies then stand by for a shot of adrenalin from this Scandinavian monster mash with a bunch of students coming across a troll hunt and getting up close and personal with the grotesque beasties.
Runs like a Gay Excitometer: ●●●●●○○○○○
Friends with Benefits
You have to wonder if Mila Kunis talked to Natalie Portman during the making of Black Swan, or whether they took the professional rivalry to heart, whatever happened Kunis seems to have drawn the longer straw on the shagging mates stories, coupled with Justin Timberlake and supported by the extremely talented Richard Jenkins, Woody Harrelson and Patricia Clarkson. Some of the trailer looks quite funny too.
Runs like a Gay Excitometer: ●●●●○○○○○○
Lonely Place to Die
There are two Brit thrillers out this week, of which this Scottish set kidnap drama looks slightly more efficient and terrifying with a quintet of mountaineers rescuing a trapped girl, but finding a whole lot of trouble from shady underworld types. Shame the trailer gives away each of the deaths.
Runs like a Gay Excitometer: ●●●○○○○○○○
Mere Brother ki Dulham
It's a well worn story in this bright and fast moving Bollywood release with a downtrodden brother desperately trying to arrange a marriage for his superstar sibling. Naturally when he finally finds a suitable match they end up falling for each other. Utter hokum of course, but fun looking hokum at least, with a surprisingly feminist leading lady.
Runs like a Gay Excitometer: ●●●○○○○○○○
Teja Bhai and Family
Malayalam gangster comedy about a notorious con trying to go straight for love. The trailer looks as complex and incomprehensible as you can imagine.
Runs like a Gay Excitometer: ●●●○○○○○○○
Colombiana
The first of the American big releases to get squashed by The Help's fantastic box office run shares a common heritage with many of Luc Besson's feminist heroes but it seems Zoe Saldana drug cartel orphan doesn't has the emotional heft of Leon or Nikita.
Runs like a Gay Excitometer: ●●○○○○○○○○
Holding
More homegrown violence set against the very best of Britain's National Parks with this "heart-pounding suspense thriller set on a farm in England's beautiful rugged Peak district". Not too far from where I live then.
Runs like a Gay Excitometer: ●●○○○○○○○○
Wednesday, 25 May 2011
Pirates of the Caribbean: On Stranger Tides
2011. Dir: Rob Marshall. Starring: Johnny Depp, Penelope Cruz, Geoffrey Rush, Ian McShane and Kevin McNally. ●●○○○
Since seeing Pirates of the Caribbean: On Stranger Tides last week the question I've been asked more than any other was "Is it better than the last one?". If there was every a bigger display of the public relations disaster that was At World's End it's hard to imagine. Right now the potential audience for the latest in the Pirates franchise are trying to decide if it's worth going to. The answer is that it is, for the first 30 minutes at least, a better film, however it is still a predictably bad film.
After a bit of Spanish business, introducing the search for the fountain of youth to those of us who didn't really pay attention during the last film, we are thrust into Hanoverian London, with the crowds of artistically dirty peasant baying for the blood of Pirates in the Old Bailey (maybe a better directorial/writing team might have made some parallels to the hysteria over Bin Laden, but perhaps this isn't the right vehicle for that), and pretty soon we're re-introduced to the star of the show Johnny Depp's Captain Jack and his most loyal sidekick Gibbs, played by the good value Kevin McNally. In my cinema the punters cheered with delight when Depp first appeared proving this is his vehicle and as long as he's willing to do this you know there'll be an audience.
We are quickly launched into a hilarious escape bid from the palace of King George (although it appears to have been filmed in Hampton Court which kind of messes up London's geography) and the clutches of his arch-frenemy Barbossa (Geoffrey Rush) which works like a Looney Tunes cartoon full of unlikely ducks and dives, hankerchiefs and strawberries all perfectly placed to aid Sparrow's delightful progress before he is launched onto the streets and into the arms of Judi Dench's cameo - again more could have been made of this, even a hint of Edith Evans in manic Tom Jones would've made it perfect but I did chuckle at her line - until finally he ends up in the pub where Penelope Cruz, masquerading as Sparrow, is recruiting a shipful of pirates to aid her and her father Blackbeard (Ian McShane). The fight between Depp and Cruz is well choreographed and funny to watch, easily the equal of the Depp/Bloom confrontation in the first film.
And then the film shudders to a halt as the various characters make their way to sea.
Like the previous film we spend over two hours with allegiances being swapped and endless exposition of the fantastical plot elements. There's a love story between a Priest and a Mermaid that's insipid enough to wish Keira Knightley and Orlando Bloom would come back, all the battles from here on seem perfunctory or confused and only a final act twist involving the Iberian troops offers anything close to a interesting moment. Given the film repeatedly talks about destiny and fortune telling there are few surprises in the final reel as each characters fate unfolds exactly as you would expect.
Depp and Rush appear to have watched the first Pirates movie and decided to do hammy impersonations of themselves rather than try for any characterisations, whilst the newbies do nothing to ingratiate themselves into the minds of the public. Ian McShane in particular does nothing memorable - there's nothing he does that comes to mind one week after having seen it.
Rob Marshall, the hack director taking the reins (known for his musicals Chicago and Nine), does some nice stuff in the London scenes but he doesn't have either Gore Verbinski's loopy vision or the ability to maintain tension in the second half. Although he's not helped by the flat script peppered with Carry On level double entendres ("I'm for the Missionaries position", "I'm still bent, devilishly so") that remind you this is an action comedy but not enough to persuade.
The highlight, as with all these films, is the music. Klaus Bedelt's main theme is still a corker that acts as a centrepiece for a score that works just as well (maybe better) without the rest of the movie.
Overall I wouldn't bother with this pointless retread, but when it hits TV in a couple of years time it'll be fine to watch the first quarter whilst waiting for something better to come on.
Sunday, 30 January 2011
But has it been worth the wait? (Film News - 29/01/11)
This weeks news has been dominated by the Oscar nominations on Tuesday morning, althugh a few other stories caught my eye. More on which later. With regards to the Academy as always we can bemoan and criticise their choices, there was an odd omission in the director category and a surprise inclusion in both foreign language and Documentary (Banksy for the Oscar!) but on the whole I think they did very well this year. In all of the categories there is a general level of quality, indeed I haven't spotted a single nomination that I disagree with (even though there are some I think we're better there's nothing bad in there). This probably speaks to the quality of films and work going into them that we've seen in the last 12 months.
I repeat what I said on Tuesday and congratulate the first time nominees (I'd especially like to congratulate Christian Bale and John Hawkes both of whom will get two mentions on the blog today), and I very much hope that the added exposure from gaining a nod helps you find more rewarding and enjoyable work in the future.
Right now though, it's back to the real news...
The Other Side of the Wind
Moves occasionally disappear in a mire of post-production woes, it's a sad fact of life that money, time and talent all run out and whn then do it often leaves the central piece in limbo. Many never complete filming (The Man who Killed Don Quixote, Nailed), some disappear in endless editing (Margaret) and still more get blocked by legal bickering and money men (La Mula). Most of these are forgotten with time, but some become legendary and so it is with Orson Welles (below) last directorial job. Locked in an French vault in the early 1970's the John Huston and Jeanne Moreau starrer has languished whilst various parties sort out the rights, but now seems to be edging closer to a cinematic release.
LA lawyer Kenneth Sidle told the Observer: “We are in negotiations for the picture, which would lead to the finishing and public exhibition. Hopefully within the next few weeks we will know.”
All of which we've heard before a number of times, but you can guarantee that if Wind does get a release I'll be right at the front of the queue.
Read on for a possible Poe trend, erotic thrillers, some unsurprising casting news and the latest release schedule changes.
The Pale Blue Eye
The Wrap are reporting Scott "Crazy Heart" Cooper is set to write and direct his next project for Fox 2000. Whilst no plot details have yet been announced it's inferred elsewhere this could be an adpatation of Louis Bayard's mystery/thriller set around Edgar Allen Poe's (left) education at West Point Military Academy. Sounds like a fascinating mix of location and theme if it's true, and along with this years The Raven it could make for an exciting Poe double bill.
Passion
When was the last time Brian De Palma had a bone fide hit? Don't strain it has been a while. The good news is he's coming back to a screen near you with a English language remake of a French psychodrama Crime d'amour about fueding exes who eventually end with murder. The orginal starred Kristen Scott Thomas and Ludvine Sagnier, but I don't know if they were each others exes or exs of an unnamed third person. I expect De Palma might be drawn to the former though. In a statement he declared: “Not since Dressed to Kill have I had a chance to combine eroticism, suspense, mystery and murder into one spellbinding cinematic experience”. Which sounds great.
Casting News
The latest casting rumours from Hollywood are incredibly predictable, in fact I'm sure we've heard all of this before at some point.. Judi Dench has confirmed she will reprise the role of M in Bond 23, Paul Giamatti is in for Cosmopolis and Naomi Watts will be J. Edgar's secretary for Clint Eastwood. Did any of that shock you?
Release Dates
The Eagle - There's been another short delay for Kevin Macdonald's swords and sandals adaptation of the Rosemary Sutcliffe novel, luckily only a week for scheduling reasons this time. Test your slaves loyalty on 25 March 2011.
Scream 4 - All the rules have been changed as we return to Woodsboro for the first time in ten years for Wes Craven's classic franchise. Don't pick up the phone on 15 April 2011.
The Debt - Delayed from last year Helen Mirren Mossad drama has found a new date, Toronto reviews were generally positive but not enough for an awards run hence the hold up. Regret the past on 02 September 2011.
War Horse - Originally slated for early autumn, Spielberg's serious 2011 film about a horse that went to war (natch) disappeared from the schedules for a while, but now returns. Globe trot after your pet on 06 January 2012.
The Dark Knight Rises - This years see the return of big and bright comic book heroes with Captain America and Thor on their way but few of us can really deny we long to see the brooding Batman return in 2012. Become morally questionable in your quest to serve justice on 20 July 2012.
Sunday, 23 January 2011
20 for 2011: 6 - Pirates of The Caribbean: On Stranger Tides
Sailing into number 6 on the countdown is Pirates of the Caribbean: On Stranger Tides
Proving I'm as vacuous and empty-headed as most movie goers, like a pre-programmed automaton I will flock to see the fourth peaen to commercialism that is the Pirates series of films. It's hard to imagine any of these years crop of releases claiming the box office crown of 2011, only the new Transformers film has any remote chance (Pixar have only a sequel to a middling performer, the coic book releases are minor characters and Potter and Twilight never seem to be able to make that final leap to the top).
That won't be the only reason to watch, from the trailer there looks to be a scenery chewing competition between Rush and Ian McShane as Blackbeard, not to mention Johnny Depp coming back to do a caricature of his previous performances of Jack Sparrow. It'll be interesting to see if Rob Marshall can carry off action scenes with the same talent he displays with his musicals (all cuts and close-ups, with most of it happening in the characters heads).
I expect my comments come across as cynical, given my thoughts why would this juggernaut appear so high on the countdown? Does the relentless selling of the movie compensate for my fear of it's history? Apparantly so. And to be honest I'll probably leave my brain at the door and just have bit of fun watching it.
Sunday, 16 January 2011
20 for 2011: 13 - The Best Exotic Marigold Hotel
The retirement home beckons with The Best Exotic Marigold Hotel at 13.
Sensing a gap in the market Dr Ravi Kapoor, a South London casualty consultant, enlists his cousin Sonny (played by Dev Patel) to open a Mumbai based Old People home for his more complicated patients. When those patients include Maggie Smith (picture with Dev above), Judi Dench, Tom Wilkinson and Bill Nighy you just know there'll be sparks flying and some serious fish out of water gags.
It's going to be tough to balance the tone for this, is it a comedy or will we mainly be learning lessons about the fragility of life? If I were to guess which of the films in the top 20 is most likely to be delayed until 2012 I would probably choose this one. Sorry.
Wednesday, 30 December 2009
Nine
2009. Dir: Rob Marshall. Starring: Daniel Day-Lewis, Marion Cotillard, Penelope Cruz, Judi Dench and Nicole Kidman. ●●●●○
The question I asked myself as I walked into the cinema this week was: Is Rob Marshall the saviour of musical cinema or it's destroyer. I left the cinema with the same question. I simply do not know. I deeply suspect that he is neither, and in the fullness of time he will remian merely a footnote in the history of movies. That is not to say that Nine is a bad movie, it is very enjoyable, but also strangely forgettable.
Before I go any further on this review, I'd like to point out the excellent review by TomS over on his blog. I'd advise going there if you want a slightly more positive spin on what I'm about to say.
Nine is a film adapatation of the stage musical based on Fellini's 8 ½, which is in itself essentially a rumination on writer's block within the film industry, with the lead protagonist a thinly veiled version of Fellini. Nine then follows the story of an egotistical, womanising director - Guido Contini (Day-Lewis) - struggling to create his latest masterpiece even though production is set to begin and the marketing is in full throttle.
Contini distracts himself by talking to and imagining the women in his life, and in each of whom he equates to a particular song and dance style, and so we are able to include the element of music added to the stage without arousing suspicion that it's a musical - it's all in his head. A heady reminder of the artifice of cinema and the strains of the creative process. You may remember Rob Marshall used this technique in Chicago, there it seemed original and clever, here it seems like he's stolen it from himself.
Daniel Day-Lewis does his best in the lead role, hunching his neck forward like a vulture seeking out new prey (or women), but there's little in his demeanor to indicate why women flock to him. Maybe they're awed by his talent, but as he doesn't appear to be "nice" to any of them I can't see why they'd stay around. Saying that Day-Lewis is better at the comedy than I'd suspect - he skulks around the spa furtively hiding from people like a seasoned farceur.
Of the ladies the stand-out is Marion Cotillard (she came first in my supporting actress of the year awards), as I said there she effectively gives us the impression that her love for her husband Guido is balanced by her realisation that that may not be enough. She also performs both her songs with dignity and passion.
The singing performance can only be surpassed by Fergie as the under-written Seraghina, the whore Contini remembers as a child. She has the best song (Be Italian - it was used in the trailer) and really knows how to sing to the back row, the Fosse inspired choroegraphy is also a great additoon to the song.
Some of the other ladies do not do so well - Sophia Loren was distinctly underwhelming and I was also disappointed by Penelope Cruz's mugging. Part of the fault of this is because Nine is just not that good a musical. We want either songs we can repeat the refrain endlessly or to at least be able to spot the beauty of the music outside of it's setting. Nine largely fails at both of these.
The production values also seemed inconsistent. I liked the dancing, but wished the camera would look at it more - Marshall hasn't learnt that editing is crucial to getting the audience to understand the "story" of the dance. The evocation of 1960s Italy was superb until Nicole Kidman's movie star glared at me from a film poster, her face seemingly painted by a different artist from the rest of her body. I will admit the opening and closing scenes were excellently staged and performed, as a introduction and effectively a bow from all the women and their imagined choruses.
As I said at the beginning of the review my overall impression was that I enjoyed the film, but I will soon forget it.
Wednesday, 9 December 2009
Judi Dench
Happy Birthday to
Judi Dench
75 today
By now we've all been wowed by Judi's ability to belt out a number in Nine, all that's left for her to prove is to throttle a few hencemen with her bare hands in the next Bond.
