On Thursday night I screened Downton Abbey, starring Dame Maggie Smith and Allen Leech.
We rejoin our beloved upper-class British family in 1927 when they are set to host King George V and Queen Mary for a night at their estate. As preparations for the royal visit progress, the staff is excited for the opportunity to serve royalty and the Crawleys themselves are anxious, yet pleased.
True to fashion, things don't exactly go as planned. Lady Mary (Michelle Dockery) is concerned that Barrow (Robert-James Collier) isn't up to the task of leading the team and requests that Mr. Carson (Jim Carter) come out of retirement to assure things run smoothly. Flattered, he agrees to do so. Then, the boiler breaks, and a sexy plumber (James Cartwright)—sort of a cross between Ben Affleck and Justin Hartley—arrives to save the day, making Andy (Michael C. Fox) furious with jealously, as Daisy (Sophie McShera) flirts up a storm.
Lady Edith (Laura Carmichael) is awaiting the delivery of her ball gown and has a secret to share with her husband. Violet (Smith) is ready to cause trouble when a cousin comes along for the visit and doesn't plan to name Robert as the family heir. Items around Downton also mysteriously start to go missing.
As usual, there's a lot going on.
In addition, Tom (Leech) maintains a prominent place in the family, still raising his daughter at Downton and managing the property with Lady Mary. He is part of two main storylines here, but I can't mention them in any depth without spoilers, so I'll just say his presence is welcome and he's better than ever.
At heart, this felt like a very satisfying extended episode of the show we said goodbye to just a few years back. There's drama, romance, mystery and comedy. But is there anything particularly cinematic about it? Not really, but that's okay. Downton was grand as a television show with lavish costumes and sweeping landscapes, and it's even more of a pleasure to watch them on a big screen.
The show maintains its usual charm and wit, especially in Smith's delivery, then goes for an emotional sucker-punch (that I personally didn't see coming) at the end. If you're like me, you'll both laugh and cry as you acclimate to the comfort of spending time with characters who already feel like family.
~~~
Showing posts with label royalty. Show all posts
Showing posts with label royalty. Show all posts
Saturday, September 14, 2019
Monday, December 24, 2018
The Favourite
Today I saw The Favourite, starring Emma Stone and Rachel Weisz.
Queen Anne (Olivia Colman) is a mess—physically, mentally, politically. She has a close confidante/lover/advisor in Lady Sarah (Weisz) and utilizes her to truly run the country.
Along comes Sarah's cousin Abigail (Stone) to throw everything off course.
She enters the castle as one of the "help," but soon has her eyes set on a better title, knowing she'll need to get close to the Queen to do so. Lady Sarah is very threatened by Abigail and in turn lets her know it. Sarah underestimates Abigail's capacity for self-preservation and Sarah soon finds herself ill from a poisoned cup of tea.
Abigail gets closer and closer to the Queen and soon marries, rapidly regaining her "Lady" status. However, she maintains a sexual relationship with the Queen and remains by her side at all times. This infuriates Sarah, who does everything in her power to put things back the way they were.
This film can easily be described as a "romp" and that's not a bad thing. It's fun to watch these women get caught up in each other's drama and compete for the attention of a crazy, aging royal. All three leads are perfectly cast and leave you believing the nonsense. Funny thing? Much of the story is actually true, which only makes it more fun.
If you want a good, racy laugh delivered by fine actors in amazing costumes, this is the film for you.
~~~
Queen Anne (Olivia Colman) is a mess—physically, mentally, politically. She has a close confidante/lover/advisor in Lady Sarah (Weisz) and utilizes her to truly run the country.
Along comes Sarah's cousin Abigail (Stone) to throw everything off course.
She enters the castle as one of the "help," but soon has her eyes set on a better title, knowing she'll need to get close to the Queen to do so. Lady Sarah is very threatened by Abigail and in turn lets her know it. Sarah underestimates Abigail's capacity for self-preservation and Sarah soon finds herself ill from a poisoned cup of tea.
Abigail gets closer and closer to the Queen and soon marries, rapidly regaining her "Lady" status. However, she maintains a sexual relationship with the Queen and remains by her side at all times. This infuriates Sarah, who does everything in her power to put things back the way they were.
This film can easily be described as a "romp" and that's not a bad thing. It's fun to watch these women get caught up in each other's drama and compete for the attention of a crazy, aging royal. All three leads are perfectly cast and leave you believing the nonsense. Funny thing? Much of the story is actually true, which only makes it more fun.
If you want a good, racy laugh delivered by fine actors in amazing costumes, this is the film for you.
~~~
Monday, December 27, 2010
The King's Speech
On Christmas Day, I saw The King's Speech, starring Colin Firth and Geoffrey Rush.
It's not difficult to speculate that this may be the role that finally earns Firth the Best Actor Oscar.
Firth plays Bertie, otherwise known as King George VI of England, as he struggles to cope with his problem of stuttering. His wife, who we knew as The Queen Mum, played wonderfully here by Helena Bonham Carter, is supportive and loving—constantly trying to find a professional to help him with his speech.
Enter Lionel Logue (Rush), an offbeat, unconventional therapist who will only work under the conditions he creates. This doesn't immediately mesh with the spoiled royal's philosophies, but he learns to embrace the rule when Logue's exercises begin to improve his speech.
The bulk of the film is the relationship between Lionel and Bertie, but there are strong supporting performances in the side story of King Edward VIII (Guy Pearce) abdicating the throne to marry American divorcée, Wallis Simpson (Eve Best). Pearce resembles the real royal so closely, it's borderline eerie. Best nails the essence of the bold Simpson, even if she's almost too pretty to be believed.
Timothy Spall as Winston Churchill would be my only complaint in the film. He portrays the iconic man in an exaggerated, over-the-top way that does no justice to the integrity he truly possessed.
Otherwise, Geoffrey Rush is so perpetually appealing, and Colin Firth is so consistently brilliant illustrating the progression of speech that it would be difficult to find fault with any other portion of this masterpiece.
I was entertained and enthralled from start to finish by what could easily be considered a boring topic. That's a testament to the sharp writing, the balanced directing, and most of all, the amazing acting.
~~~
It's not difficult to speculate that this may be the role that finally earns Firth the Best Actor Oscar.
Firth plays Bertie, otherwise known as King George VI of England, as he struggles to cope with his problem of stuttering. His wife, who we knew as The Queen Mum, played wonderfully here by Helena Bonham Carter, is supportive and loving—constantly trying to find a professional to help him with his speech.
Enter Lionel Logue (Rush), an offbeat, unconventional therapist who will only work under the conditions he creates. This doesn't immediately mesh with the spoiled royal's philosophies, but he learns to embrace the rule when Logue's exercises begin to improve his speech.
The bulk of the film is the relationship between Lionel and Bertie, but there are strong supporting performances in the side story of King Edward VIII (Guy Pearce) abdicating the throne to marry American divorcée, Wallis Simpson (Eve Best). Pearce resembles the real royal so closely, it's borderline eerie. Best nails the essence of the bold Simpson, even if she's almost too pretty to be believed.
Timothy Spall as Winston Churchill would be my only complaint in the film. He portrays the iconic man in an exaggerated, over-the-top way that does no justice to the integrity he truly possessed.
Otherwise, Geoffrey Rush is so perpetually appealing, and Colin Firth is so consistently brilliant illustrating the progression of speech that it would be difficult to find fault with any other portion of this masterpiece.
I was entertained and enthralled from start to finish by what could easily be considered a boring topic. That's a testament to the sharp writing, the balanced directing, and most of all, the amazing acting.
~~~
Sunday, December 07, 2008
The Duchess
Today I saw The Duchess, starring Keira Knightley and Ralph Fiennes.
Note: this review does contain spoilers.
Based on British history, the film tells the story of the former 18th century Duchess of Devonshire, Georgiana (Knightley), who is coincidentally an ancestor to our modern-day Princess Diana of Wales.
Unfortunately, their blood was not the only thing these two women had in common.
They both had spunky, outspoken personalities; they both married young into the British Monarchy with every sincerity and hope for a loving union; and they both were cheated on, controlled, lied to and forced to remain in situations that made them miserable—the only difference is that Diana eventually got out.
The Duchess is a well-done exploration of Georgiana's sad life from the time she was married until the time of her eventual complacency to the husband (Fiennes) who was never good to her.
An excitable teenager when first joined together, Georgiana's biggest problems were that her husband didn't "talk" to her and intercourse was mere sex; not the lovemaking she craved.
After two daughters and two stillborn sons, the Duke was growing impatient waiting for an heir and had taken a lover in Georgiana's best (and only) friend Bess (Hayley Atwell). Although "G" (as they called her), had looked away at the Duke's countless other affairs, this one pained her greatly and she expressed her anger at the betrayal, only to be met with indifference on his part. After taking G by force, the Duke finally got his wish and produced a male heir.
The mistress, genuinely caring for her former friend, arranged for the real object of G's affection, politician Charles Grey (Dominic Cooper), to reunite with her—and reunite they did. They also produced a child, daughter Eliza, which the Duke forced the Duchess to surrender to Grey's family.
Throughout this film, the performances are delivered expertly by all actors, not least of whom is Knightley herself—this is a role that feels as if it was tailor made for her, and after watching her, it's hard to picture anyone else pulling it off quite as well. Fiennes, as always is brilliant and Atwell as the conflicted Lady Elizabeth, is pitch perfect, commanding both sympathy and rage at her actions.
The real problems are plenty and scandalous, but at the end of it all, the Duke and the Duchess faced something that millions of people throughout time have faced: a loveless marriage. As the mother of the Duchess says at the beginning of the film, true love is identified instantly—it's a feeling you get that you can't escape.
The sad thing is that when you deny this magic, and gamble your own fate by doing what society (or merely your partner) feels is "right," you're most certainly going to lose. And lose Georgiana did.
It almost makes you feel guilty enjoying the film so much.
Note: this review does contain spoilers.
Based on British history, the film tells the story of the former 18th century Duchess of Devonshire, Georgiana (Knightley), who is coincidentally an ancestor to our modern-day Princess Diana of Wales.
Unfortunately, their blood was not the only thing these two women had in common.
They both had spunky, outspoken personalities; they both married young into the British Monarchy with every sincerity and hope for a loving union; and they both were cheated on, controlled, lied to and forced to remain in situations that made them miserable—the only difference is that Diana eventually got out.
The Duchess is a well-done exploration of Georgiana's sad life from the time she was married until the time of her eventual complacency to the husband (Fiennes) who was never good to her.
An excitable teenager when first joined together, Georgiana's biggest problems were that her husband didn't "talk" to her and intercourse was mere sex; not the lovemaking she craved.
After two daughters and two stillborn sons, the Duke was growing impatient waiting for an heir and had taken a lover in Georgiana's best (and only) friend Bess (Hayley Atwell). Although "G" (as they called her), had looked away at the Duke's countless other affairs, this one pained her greatly and she expressed her anger at the betrayal, only to be met with indifference on his part. After taking G by force, the Duke finally got his wish and produced a male heir.
The mistress, genuinely caring for her former friend, arranged for the real object of G's affection, politician Charles Grey (Dominic Cooper), to reunite with her—and reunite they did. They also produced a child, daughter Eliza, which the Duke forced the Duchess to surrender to Grey's family.
Throughout this film, the performances are delivered expertly by all actors, not least of whom is Knightley herself—this is a role that feels as if it was tailor made for her, and after watching her, it's hard to picture anyone else pulling it off quite as well. Fiennes, as always is brilliant and Atwell as the conflicted Lady Elizabeth, is pitch perfect, commanding both sympathy and rage at her actions.
The real problems are plenty and scandalous, but at the end of it all, the Duke and the Duchess faced something that millions of people throughout time have faced: a loveless marriage. As the mother of the Duchess says at the beginning of the film, true love is identified instantly—it's a feeling you get that you can't escape.
The sad thing is that when you deny this magic, and gamble your own fate by doing what society (or merely your partner) feels is "right," you're most certainly going to lose. And lose Georgiana did.
It almost makes you feel guilty enjoying the film so much.
Saturday, March 01, 2008
The Other Boleyn Girl
This morning I saw The Other Boleyn Girl, starring Natalie Portman and Scarlett Johanssen.
It was the topic of Cinebanter #47, so click here to download the episode.
It was the topic of Cinebanter #47, so click here to download the episode.
Friday, October 12, 2007
Elizabeth: The Golden Age
Today I saw Elizabeth: The Golden Age, starring Cate Blanchett and Clive Owen.
When I saw the first Elizabeth during Oscar® season of 1998, I remember being blown away by its intensity and glory. This time, I remained impressed by the acting and the cinematography, but the pace left me bored throughout.
The story of how the famous virgin Queen, played pitch-perfectly yet again by Blanchett, comes to form an attraction to Sir Walter Raleigh (Owen, who is equally fantastic) is the core of the narrative and undoubtedly spawns the most exciting scenes in the film. The two lead actors couldn't be more electric in one another's presence and watching their cat-and-mouse game is nothing short of tension-filled—in a good way.
The problem is, there's a whole lot of traditional 'period piece' yammering that happens in between all of the juice that has you begging for them to get on with it.
Sure, there are bright spots found in the wicked Mary Stuart, played convincingly by Samantha Morton, and also the delicate affair between Raleigh and the other Elizabeth, portrayed by an especially voluptuous Abbie Cornish. But overall it felt like we were jumping from bit to bit with only hints of excitement at each pit stop.
The singular saving grace (aside from the excellent performances) would be the scenery. The film is shot beautifully, from the long elegant hallways and candle-filled rooms inside the castle to the stormy golden-age sea, boasting magnificent ships on the majestic waters.
What was missing was the emotional presence of the first, which truly showed us how this leader was ruled by and ruled with her fragile heart.
When I saw the first Elizabeth during Oscar® season of 1998, I remember being blown away by its intensity and glory. This time, I remained impressed by the acting and the cinematography, but the pace left me bored throughout.
The story of how the famous virgin Queen, played pitch-perfectly yet again by Blanchett, comes to form an attraction to Sir Walter Raleigh (Owen, who is equally fantastic) is the core of the narrative and undoubtedly spawns the most exciting scenes in the film. The two lead actors couldn't be more electric in one another's presence and watching their cat-and-mouse game is nothing short of tension-filled—in a good way.
The problem is, there's a whole lot of traditional 'period piece' yammering that happens in between all of the juice that has you begging for them to get on with it.
Sure, there are bright spots found in the wicked Mary Stuart, played convincingly by Samantha Morton, and also the delicate affair between Raleigh and the other Elizabeth, portrayed by an especially voluptuous Abbie Cornish. But overall it felt like we were jumping from bit to bit with only hints of excitement at each pit stop.
The singular saving grace (aside from the excellent performances) would be the scenery. The film is shot beautifully, from the long elegant hallways and candle-filled rooms inside the castle to the stormy golden-age sea, boasting magnificent ships on the majestic waters.
What was missing was the emotional presence of the first, which truly showed us how this leader was ruled by and ruled with her fragile heart.
Thursday, October 26, 2006
Marie Antoinette
Last night I saw Marie Antoinette, an exhilirating, realistic glimpse of the subject's life during her time in France.
Kirsten Dunst makes a perfect Marie—naughty and naive as a youth, clever and indulgent as a queen, and brave and sensible as a target of immense hatred. It's easily her best role yet. And her supporting cast is great too. From the sexually challenged Louis XVI (Jason Schwartzman) to the sexually charged Madame du Barry (Asia Argento), each actor fulfills their role and then some.
Sofia Coppla's writing style is brilliant. Every bit of dialogue sounds like words that would actually come out of the mouths of the historical characters, which makes it easy to follow. The fast-paced, blink-and-you'll-miss-it scenes are reminiscent of Baz Luhrman's William Shakespeare's Romeo and Juliet, but not as dizzying.
The authentic sets (i.e. the actual palace where the actual Marie Antoinette reigned), coupled with extravagant costumes that are sure to attract attention during awards' season, make the viewer feel as if they're a party attendee rather than an audience member.
Can you tell I had a good time at this film? Well, I did.
That of course doesn't mean that it's perfect, because it's not. The pace in the beginning is frightfully slow and the time spent dwelling on the young couple's non-existent sex-life is too lengthy, but the payoff of an engaging middle and exciting end (though we all know how the story turns out before we arrive at the theater) makes it a worthwhile way to spend two hours.
Just go see it.
Kirsten Dunst makes a perfect Marie—naughty and naive as a youth, clever and indulgent as a queen, and brave and sensible as a target of immense hatred. It's easily her best role yet. And her supporting cast is great too. From the sexually challenged Louis XVI (Jason Schwartzman) to the sexually charged Madame du Barry (Asia Argento), each actor fulfills their role and then some.
Sofia Coppla's writing style is brilliant. Every bit of dialogue sounds like words that would actually come out of the mouths of the historical characters, which makes it easy to follow. The fast-paced, blink-and-you'll-miss-it scenes are reminiscent of Baz Luhrman's William Shakespeare's Romeo and Juliet, but not as dizzying.
The authentic sets (i.e. the actual palace where the actual Marie Antoinette reigned), coupled with extravagant costumes that are sure to attract attention during awards' season, make the viewer feel as if they're a party attendee rather than an audience member.
Can you tell I had a good time at this film? Well, I did.
That of course doesn't mean that it's perfect, because it's not. The pace in the beginning is frightfully slow and the time spent dwelling on the young couple's non-existent sex-life is too lengthy, but the payoff of an engaging middle and exciting end (though we all know how the story turns out before we arrive at the theater) makes it a worthwhile way to spend two hours.
Just go see it.
Wednesday, October 04, 2006
The Queen
Tonight I saw The Queen starring Helen Mirren and James Cromwell.
As the brits would say, it was "spot on."
This movie chronicles the actions of Her Majesty Queen Elizabeth II in the days following Princess Diana's death and how the input of those around her supposedly did (and didn't) play a role in her response.
First, let me say that I understand why Ms. Mirren has generated so much Oscar buzz. Having grown up enamored with the drama of the royal family, I've watched the real queen all my life and studied her mannerisms. Seeing this film, I forgot I was watching Helen Mirren.
From the way she folds her glasses to her less-than-feminine walk, this woman has Her Majesty down.
The brilliance of her work however, was really in the supressed emotion that she conveyed—bubbling beneath the surface, yet refined and crisp in the presence of everyone except for a wandering stag, which she tenderly tries to save. I won't be angry if this actress takes the statue come March.
And the others weren't so bad either.
James Cromwell is perfectly cast as Prince Philip—bitter and irritable, always throwing in his two cents. And Alex Jennings as Charles is cowardly and awkward, even while trying to do the right thing as the actual Prince of Wales so often appears.
Michael Sheen, who portrays Tony Blair, is a little over-the-top and doesn't possess the real charm of the actual Prime Minister, but does an ample job of at least sounding like the man he's trying to imitate.
The writing is superb in that you can't bear to take sides as the crises unfolds.
In 1997, I was disgusted as many 'Diana fans' were, that the royal family didn't immediately fly the flag at half mast or make a public statement regarding the tragedy. But after seeing this, I'm left with mixed emotions.
While the silence of the queen was undoubtedly inappropriate, I no longer think it was because of any disdain she had for her former daughter-in-law. I think it was because she is a woman of duty and she believed her job was to remain strong.
In the end, she did the right thing by finally giving in to her advisers (in the movie it's implied it was mostly Blair and his team; I have to wonder in reality how true that was), but the damage she did to the reputation of the Monarchy may never be repaired.
Seeing the actual footage of Diana spliced in with the fictional reinactment gave it an eerie "I'm watching you" vibe, which quite frankly gave me goosebumps.
If only Her Majesty had realized the magic her grandsons' mother had with people while she was still alive, she may have reacted differently.
As the brits would say, it was "spot on."
This movie chronicles the actions of Her Majesty Queen Elizabeth II in the days following Princess Diana's death and how the input of those around her supposedly did (and didn't) play a role in her response.
First, let me say that I understand why Ms. Mirren has generated so much Oscar buzz. Having grown up enamored with the drama of the royal family, I've watched the real queen all my life and studied her mannerisms. Seeing this film, I forgot I was watching Helen Mirren.
From the way she folds her glasses to her less-than-feminine walk, this woman has Her Majesty down.
The brilliance of her work however, was really in the supressed emotion that she conveyed—bubbling beneath the surface, yet refined and crisp in the presence of everyone except for a wandering stag, which she tenderly tries to save. I won't be angry if this actress takes the statue come March.
And the others weren't so bad either.
James Cromwell is perfectly cast as Prince Philip—bitter and irritable, always throwing in his two cents. And Alex Jennings as Charles is cowardly and awkward, even while trying to do the right thing as the actual Prince of Wales so often appears.
Michael Sheen, who portrays Tony Blair, is a little over-the-top and doesn't possess the real charm of the actual Prime Minister, but does an ample job of at least sounding like the man he's trying to imitate.
The writing is superb in that you can't bear to take sides as the crises unfolds.
In 1997, I was disgusted as many 'Diana fans' were, that the royal family didn't immediately fly the flag at half mast or make a public statement regarding the tragedy. But after seeing this, I'm left with mixed emotions.
While the silence of the queen was undoubtedly inappropriate, I no longer think it was because of any disdain she had for her former daughter-in-law. I think it was because she is a woman of duty and she believed her job was to remain strong.
In the end, she did the right thing by finally giving in to her advisers (in the movie it's implied it was mostly Blair and his team; I have to wonder in reality how true that was), but the damage she did to the reputation of the Monarchy may never be repaired.
Seeing the actual footage of Diana spliced in with the fictional reinactment gave it an eerie "I'm watching you" vibe, which quite frankly gave me goosebumps.
If only Her Majesty had realized the magic her grandsons' mother had with people while she was still alive, she may have reacted differently.
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