Tag: biopic

Categories
Uncategorised

The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!

Categories
Uncategorised

Steve McQueen: Film Ranking

One of the most revolutionary film directors to emerge this century so far is Steve McQueen. A Turner Prize winning artist who has turned his attention to feature films, McQueen’s realistic and fearless approach to exploring serious topics such as domestic abuse and slavery as well as taboo subjects such as sex addiction. When it comes to mcQueen, nothing is off limits and he isn’t afraid to expose the realities of the film’s subjects. He is also the first black filmmaker to win the Acaemy Award for Best Picture for 12 Years a Slave. I also think he should have been rewarded the Best Director Oscar as well although Alfonso Cuarón did a great job with Gravity.

Given the current landscape, I think it is now more important than ever to highlight the talent and calibre that people of colour bring to the film industry. The film industry is so important when it comes to representation and sadly, it just isn’t where it should be. Film is a fantastic medium to express personal stories, provide escapism and bring relevant topics and subjects to the forefront as point of discussion. I thought it best to take a look into McQueen’s amazing filmography and do a ranking of his films. There are only four films but each one is a standout in their own right so as usual, it will prove to be a challenge.

Here are my mini reviews for each McQueen film follows by the ranking:

Hunger (2008)
McQueen’s feature debut stars Michael Fassbender as IRA protestor, Bobby Sands, who takes part in a hunger and no-wash strike. This is a fantastic debut for McQueen and deservedly won him a BAFTA for Special Achievement by a British Director, Writer or Producer for their First Feature Film. We watch as Sands figuratively and literally begins to fade away as he becomes the symbol for the strike. McQueen doesn’t hide the dirtiness and the discomfort in watching Sands lose the majority of his weight to the point where he can’t function. Technically, the film appears simple but it is comprised of many brilliant shots, one in particular being a 17 minute non-stop conversation between Sands and Father Moran (Liam Cunningham). By bringing a minimalist and realistic angle to the film, it actually exemplifies the horrors of the strike. Hunger put both McQueen and Fassbender on the map and it made way for the former’s unapologetic point of view approach to filmmaking.

Shame (2011)
For his second feature, McQueen reunites with Fassbender who plays Brandon Sulliven, a business executive who has an addiction to sex. Much like Hunger, McQueen does not flinch away from the realities that sex addiction has. There is nudity, both male and female, in abundance as well as underlying issues of family conflict and self-harm. This is not a film to be watched lightly as it is even more uncomfortable than its predecessor but it talks about a topic that people consider taboo. It also explores classism and the idea of the untouchable rich white male. During his usual work day, Brandon religiously watched pornography on his computer and when this is discovered, it is automatically assumed that his intern is the one who has been downloading and watching it. The idea that someone like Brandon couldn’t be associated with sex addiction is an idea that McQueen rejects in Shame. Brandon surrounds himself with sex to avoid the fact that he is lonely and unfulfilled.

12 Years a Slave (2013)
The film that propelled McQueen to the major awards circuit, 12 Years a Slave is possibly the most explicit and “real” feature film about slavery in mainstream cinema. Based on the memoir of the name same by Solomon Northup, a New-york born black man who was kidnapped and sold as a slave in Louisiana. Northup is played by Chiwetel Ejiofor with Lupita Nyongo’o as fellow slave Patsey and Fassbender in his third McQueen film as slave owner Edwin Epps. It’s a star-studded cast but what McQueen does so well is focus so much on the characters and their development that the audience forgets which actors they are watching and it becomes almost documentary like. McQueen does not hold back on the brutality that the slaves face and it goes beyond daily beatings as we see Epps rape Patsey and Epps’ wife feel resentment for Patsey rather than her husband. It’s a film that demands conversation and McQueen refuses to allow the film to be whitewashed or edited to appeal to white audiences in the way that films such as Song of the South does.

Widows (2018)
The latest feature film released by McQueen is an amazing tour de force starring Viola Davis as Veronica, a woman recently widowed after her bank robber husband, Harry (Liam Neeson) and his cohorts are killed when their car blows up. Veronica along with the other widows of the men who died must work together to get some money that is owed to a crime boss. The team comprises of Veronica, Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) and it’s so empowering watching such a huge film led by women and more importantly such a diverse cast of women. Anyone who claims that women cannot lead a film because it doesn’t bring in money is mistaken as the film was a critical and commercial success. What makes the film so engaging is how well-rounded each of the women are. We get a grip of their backgrounds in a few scenes and yet the audience understands their story and motivations to get the money. Even when Belle, who wasn’t one of the original widows is brought into the plot, is introduced, her backstory as both a beautician and babysitter is made clear highlighting her struggling financial position.

Although it is not the longest filmography, McQueen has proven why he is one of the most exciting filmmakers working today. I have included discussions of each of the films above when talking about Michael Fassbender and Viola Davis’ best roles which you can read here and here, respectively. I think that only demonstrates McQueen’s talent as director that he is able to create career-best films for his stars. His ability to create characters that are well-rounded is flawless and he has only demonstrated improvement as we go from a single standout performance in Hunger to four equally developed characters in Widows where he allows women to take the lead.

Here is my ranking of McQueen’s film:

1) 12 Years a Slave (2013)

2) Widows (2018)

3) Hunger (2008)

4) Shame (2011)

Do you agree with my ranking? Which McQueen film is your favourite? Let me know in the comments below!

Categories
Uncategorised

Top 5 Jim Carrey Performances

Jim Carrey is an actor who time and time again demonstrates the range that he has, despite his solidified reputation as a brilliant comedian. He has been playing leading roles since his meteoric rise to fame in the 90s that have become classics such as Ace Ventura and The Mask. There is a reason why he was Hollywood’s highest paid actor at one point, he has such charisma that his films are incredibly fun to watch. It is unbelievable to think that he has never been nominated for an Academy Award despite winning two Golden Globes and showing that he is capable of pulling off performances that are memorable and impactful.

Carrey was one of my favourite actors growing up. I loved watching his films thanks to his larger than life characters and his hilarious physical comedy, particularly his dramatic expressions. What has been wonderful about Carrey’s career is seeing him evolve and taking part in a variety of differing roles from his mid-90s expressive comedy to his more serious roles in the late 90s and early 2000s. Like marmite, people tend to either love or hate Carrey’s work and I am definitely in the former.

Here are my top 5 Jim Carrey performances in chronological order:

Ace Ventura: When Nature Calls (1995)

One of those rare instances where I enjoy the sequel much more than the original, Carrey reprises his role as the titular pet detective which sees Ventura recruited for a mission to retrieve a rare white bat that belongs to the native Wachati tribe. The film is an explosion of signature Carrey jokes and the film is my personal highlight of the mid-90s period where Carrey was all the rage. His unpredictability still remains the main point of attention for audiences as we watch him knock out a man and wear him on his shoulders to make a point on the fur trade as well as numerous musical moments including a hilarious rendition of “Chitty Chitty Bang Bang”. My personal highlight, however, is the seen in which he encounters the bats for the first time bringing us great lines such as “take that, you winged spawn of Satan” and “die, devil bird”. His filmography at thie point in his career wasn’t for everyone as it is so over the top but personally, I love it and it’s interesting watching this film back and watching it from an animal rights point of view.

The Truman Show (1998)

The film that showed an entirely different side to Carrey’s range, The Truman Show sees Carrey play Truman, a man who believes he is living a regular suburban life when in fact it is a reality show filled with actors that is broadcast to the world. Truman begins to suspect that something isn’t quite right and tries to escape the edge of his town where he hasn’t been before. It’s a poignant film about identity and finding that sense of belonging. Truman’s life has always unknowingly been synonomous with a global audience who share his journey. Truman has always been controlled by the show’s creator, Christoph (Ed Harris) who acts like the puppet master. He adds in drama and conflict if Truman’s life is going swimmingly. Carrey’s performance is a true tour de force thanks to his naive and subtle approach to the role. He is able to detract from the typecast view that he has created in his filmography thus far. It is because of his ability to switch between ranges so well that won him a Golden Globe for his troubles.

Man on the Moon (1999)

Following on from his critical and commercial success as Truman in The Truman Show, Carrey knocks it out of the park again in this biopic that seems him play Andy Kaufman, a man who redefined comedy in the 1970s. This film sees Carrey join forces with the brillint director Milos Forman and gives him the chance to show that The Truman Show performance wasn’t a stroke of luck. His portrayal of Kaufman is fantastic as we follow his rise in comedy and his stints on Saturday Night Live as well as the TV show Taxi which he starred in. The film overall isn’t the best but usually biopics allow for the actor portraying the subject to really standout as Carrey does here. He is the major draw and highlight but this isn’t a bad thing because he has such command on the role. Also hearing how he stayed in character offset shows his commitment and dedication to getting his performance right shows that he does take his roles seriously. His impersonation strikes the right tone, it is never over the top in classic Jim Carrey style and eventually the audience forgets that we are watching an actor rather than Kaufman himself.

Eternal Sunshine of the Spotless Mind (2004)

My favourite Jim Carrey performance comes in the form of this career-defining film following Joel (Carrey), a man unhappy with his life who finds out that his ex-girlfriend Clementine (Kate Winslet) has had her memory wiped off him by the mysterious Lacuna Incorporated and shows him undergoing the same treatment to get rid of his memories of Clementine. Charlie Kaufman’s script is fantastic and won him a well-deserved Oscar that has redefined original screenplay writing in the 21st century. The concept is so bizarre and yet the humour is subdued within a darker context making way for the film to focus on the drama within Joel and Clementine’s relationship. Carrey’s performance should have garnered him an Academy Award nomination but sadly it wasn’t to be. His portrayal of Joel is tinged with sadness throughout. The idea of not being with Clementine initially to the realisation that he will lose all memories of her while he is being forced to relive the memories during his procedure. It’s a heartbreaking film about the breakdown of a relationship and is made real by the strength of Carrey and WInslet’s performance.

Lemony Snicket’s A Series of Unfortunate Events (2004)

2004 was a resounding success for Carrey who made an unforgettable appearance in this popular adaptation of the best-selling series of the same name. Playing the villainous Count Olaf, Carrey channels his signature overtly expressive humour as his figuratively and literally towers over the three bauldelaire orphans who are subject to his care after the tragic death of their parents. The film is littered with stars including Joan Cusack, Timothy Spall and Meryl Streep but it is Carrey who shines the most. His performance was exactly how I envisioned Count Olaf would be when reading the books. The film overall strikes a completely different tone but Carrey’s performance is overly dramatic, unapologetically obnoxious and loud but most importantly, he has charisma which is crucial for the role. The film does have its flaws but Carrey’s performance is definitely not one. He is clearly having fun being in such a menacing role and it makes the film enjoyable to watch.

There are so many performances that could have been included in this list such as How the Grinch Stole Christmas (2000) and Bruce Almighty (2003) but I think that the films I have listed above really demonstrate Carrey at his best. Although he hasn’t done many major roles in recent years, i hope he does make a comeback because it’ll be interesting to see what kinds of roles he would take on.

Do you agree with the films I have picked? Which Jim Carrey performance and/or film is your favourite? Let me know in the comments below!

Categories
Uncategorised

A Beautiful Day in the Neighborhood (2019)

Marielle Heller’s third feature A Beautiful Day in the Neighborhood is a poignant glance into the morals of Fred Rogers, known as Mister Rogers, an icon of American children’s television. The film follows Lloyd Vogel (Matthew Rhys), journalist who holds onto the darkness of his past which shapes his pessimistic outlook on life. When tasked with interviewing Mister Rogers (Tom Hanks) for a profile in Esquire magazine. A sharp contrast to her previous films The Diary of a Teenage Girl (2015) and Can You Ever Forgive Me? (2018), A Beautiful Day in the Neighborhood is a wonderful film that allows Heller to incorporate her realist storytelling with hints of art and quirkiness through the use of puppetry. The film marks Tom Hanks first Oscar nomination in 19 years (he was last nominated for Cast Away in the Best Leading Actor category) and features a welcome lead performance from Welsh actor Matthew Rhys who is more known for his TV work. A Beautiful Day in the Neighborhood is a quieter film than its award season competitors but its message on love and forgiveness speaks volumes. What Heller manages to do is bring the softness of Mister Rogers’ personality and apply this to Vogel’s life, creating a friction and discomfort to Vogel’s character. 

During an award season that has seen female filmmakers snubbed in the directing categories, it seems that Heller has yet again been overlooked. When comparing Heller’s vision to some of the contenders in the Best Director category, I do think she is more deserving. Her film seems simultaneously grounded and innovative at the same time bringing an effortless flair. What Heller does so well is drawing out the best from both her lead and supporting actors (see Bel Powley and Kristen Wiig in The Diary of a Teenage Girl and Melissa McCarthy and Richard E. Grant in Can You Ever Forgive Me? as prime examples). I think that Heller has really come into her own and on her third feature, has managed to show us how varied her talent is and her fearlessness in tackling various genres and topics. Despite being overlooked, I think that Heller will continue to wow in her future projects and she’ll only receive more attention and acclaim.Matthew Rhys (Finalized)Performance-wise, the cast is really strong, particularly from Rhys and Hanks. Rhys brings out the protagonist’s inner conflict where the hurt that he feels is overshadowed by the anger. In fact, it seems that Vogel is more of an antagonist in the first act but as he lowers his guard, we begin to understand why he is how he is. It is ultimately a film about forgiveness and acceptance and no revelation is more important than the moment when Vogel accepts himself and his situation. The moment when he confronts his mum is heartbreaking and provides a bittersweet release for him as he allows himself to move forward with his life and enjoy the life that he has. I think that Rhys provides a side of his acting that we have not seen before and although Hanks is undoubtedly the highlight of the film, I think that Rhys will only get better from now on and has managed to successfully break into mainstream films.

In the supporting role, Hanks excels as Mister Rogers and was the big draw for critics and audiences alike and with good reason. From the moment he enters the screen, he is charismatic and gentle and truly becomes Mister Rogers. Admittedly after watching this, Hanks became my favourite for the Best Supporting Actor Oscar, although I completely appreciate that Brad Pitt was nothing short of phenomenal in Once Upon a Time in Hollywood. There was something about Hanks’ performance that harked back to the 90s when he was King of the Silver Screen that is a stark reminder that he is capable of truly captivating performances. I love Hanks in everything he does (I even compiled a top 10 which you can read here) and will admit that I find the Dan Brown adaptations entertaining but A Beautiful Day in the Neighborhood is among his best. 

Another aspect of this film that I adored is the costume design. Simply and quintessentially American, Indian costume designer Arjun Bhasin does a brilliant job at encapsulating the late 90s style and mixing it with a nostalgic 70s feel when it comes to Mister Rogers. Particularly, the standout for the costume department is the iconic Mister Rogers cardigan. As an avid knitter, I was interested in reading about the conception and process of the knitting process for this film. Yasemin Esmek spent nine weeks making each cardigan and the results are amazing. The craftsmanship is so good and the details are beautiful. The costume designs overall are simple but it was important that they get the cardigan correct due to its association with Mister Rogers. I think that the costume team deserved award recognition for their work but it wasn’t to be and hopefully this only continues the interest in handmade knitted costumes in film. Much like the puppetry used for scene transitions, I love the craftsmanship and passion that was brought to the costumes and production design and feel that it is a shame that this wasn’t praised as much as other films were that were less creative. rogers3.0I wasn’t expecting to love A Beautiful Day in the Neighborhood as much as I did as I thought it was going to be run-off-the-mill Oscar bait but I left the cinema feeling a mix of emotions. It was funny, dramatic, heartbreaking and hopeful all rolled into one. Despite being set in the 90s and reminiscent and nostalgic for the 70s, A Beautiful Day in the Neighborhood feels fresh and seems to be a new kind of family film. It isn’t afraid of delving into dark topics while remaining appropriate and light at the same time. It stayed with me long after the credits rolled and is among my favourites of awards season. It is a shame that the film didn’t garner more than its single Oscar nomination because Heller’s direction and Nate Heller’s score are brilliant and deserved the recognition. 

What did you think of A Beautiful Day in the Neighborhood? Let me know in comments below!

 

Categories
Uncategorised

Bombshell (2019)

One film that has brought much buzz among the acting categories is the Fox News centred biopic Bombshell. Following numerous women working at Fox and their experiences of sexual harassment at the hands of their boss, Roger Ailes, the audience follow the lives of three women at different levels of their careers are observed. At the top of the game there is Megyn Kelly (Charlize Theron), then there is recently fired anchor, Gretchen Carlson (Nicole Kidman) and at the bottom of the tier is newcomer Kayla Pospisil (Margot Robbie) who is based on a culmination of women who worked at Fox. This was not a film I thought would be as gripping or exploitive as it was but this film contains some very upsetting material that shows the trauma that women are forced to endure in order to be successful. The event that acts as a catalyst is Kelly’s encounter with Presidential candidate Donald Trump who tweets various misogynist insults her way after a challenging exchange during the Presidential debate. We see Kelly’s world turned upside down as her and her family’s livelihood is at stake at the hands of a ruthless paparazzi and a passionately threatening audience. Simultaneously, Carlson is fired from her position and seeks to sue Ailes for sexual harassment which is described as a money grab from those at Fox. Overall, it is a film that shows the hardship of women and how dangers in the workplace seep into their personal lives. Directed by Jay Roach and written by Charles Randolph, Bombshell allows its female protagonists to develop and grow while showing their vulnerability and resilience in their quest to end the patriarchal harassment that has humiliated women at Fox over the years.

Charlize Theron is so brilliant as Kelly. In the same vein as Monster, Theron transforms into her subject and manages to perfect every detail about them. Completely deserving of the nominations that she has received, Theron’s Kelly is poised, collected and observant. She is a woman who will not be messed around. This makes the scene in which she opens up about her experience with Ailes shocking considering her strength and influence in the workplace. During the conflict with Trump, Kelly doesn’t make any vengeful comments back and instead is aware that Fox’s access to Trump during the Presidential campaign is crucial. She is able to put her own motivations to the side. It is when she puts herself first that a wave of women from Fox come out and discuss their experience. It’s no surprise that Theron has garnered her third Oscar nomination for her portrayal as this controversial figure. She has this command when she is on the screen and a strength that makes it even more shocking when comments about her menstruating are used as an excuse for her challenging nature. She is constantly given a harder time because she is a woman and not taken as seriously as her male counterparts. Equally, Kelly has respect for Ailes and when the accusations come to light, she faces a struggle between her genuine loyalty to him and the truth. In the end, she realises that she must go with the latter but this isn’t a decision that comes easy or without consequence.

In terms of our supporting protagonists, we are given Margot Robbie and Nicole Kidman as newcomer Kayla Pospisil and fired anchor Gretchen Carlson, respectively. Robbie is beyond outstanding in support and continues a stellar year. The scene in which her character is harassed and forced to show her crotch to Ailes is extremely upsetting and difficult to watch. We see Robbie’s brilliantly layered expression as she is clearly distraught and uncomfortable herself at having to do this but she knows she must grin and bear it for risk of being fired. Kayla is a fictional character but the development of her character and the depth that she is portrayed with feels very real. The idea to accumulate multiple women into one has served Randolph’s script well as it allows various perspectives to be shown without confusing or overloading the audience with too many characters. Robbie gained an Oscar nomination for her portrayal and it is so deserved. Time and time again, Robbie is showing us her range and has managed to compile a really impressive filmography following her departure from Australian soap opera Neighbours. Kayla is a character who shows a side of Robbie that we haven’t been able to see before and makes it all the more exciting to see what roles she will take on in the future.

On the other hand, Kidman is definitely underused but packs a punch when she is onscreen. I understand that with three prominent protagonists, it can be tricky to prioritise whose story to go more in depth on but it would be wrong to underestimate Gretchen’s important in this narrative. She is the initial driving force and brings this story out to public knowledge. The opening scene shows other female anchors following the rules followed by a collection of clips of Gretchen being told that her outfits are lovely as well as comments on her body with Gretchen looking uncomfortable but laughing it off. She is immediately presented as an outsider from the get go. When confronted by a woman in the supermarket who tells her that her show and Fox News are a disgrace, Gretchen doesn’t understand and twists it back on the woman. The performance doesn’t require the same level of depth and development that Theron and Robbie have to bring because Gretchen is already at the stage of rebellion but Kidman loses herself in the role. We don’t see Kidman, we see Gretchen. It would also be wrong not to mention the eerie performance from John Lithgow as Ailes. It isn’t easy to play a role like Ailes as someone who seems kind and respected but so manipulative and abusive beneath the surface. Despite having limited screen time, Ailes has a horrifying and lingering presence over the whole film and that is thanks to Lithgow’s intimidating command that he has when he is onscreen. He is very much a puppet master.

Bombshell was a surprisingly intense and thrilling film to watch. The limited use of location, primarily the Fox studios makes for a claustrophobic experience that reflects the entrapped environment that the woman work in. The intriguing part about it is how the women start speaking out without really talking to one another for fear of being outed as a traitor. Thanks to its controversial subject matter and triple female protagonist set-up, it probably will have limited success at awards season but the fact that it has received nominations is a great achievement. Theron, in particular, really brings her A game and delivers her best performance in years.

What did you think of Bombshell? Let me know in the comments below!

Categories
Uncategorised

Dolemite Is My Name (2019)

Dolemite Is My Name is a brilliant look into the life of African-American icon Rudy Ray Moore played by Eddie Murphy in a career best performance. Moore is a man of many talents: acting, singing and stand-up. His comedy routines are his way into fame as he channels an alter ego Dolemite, a pimp style man of the 70s who speaks in rhyme and quickly builds up a fan base within the African-American community across the US. The film specifically follows his rise to stardom and the production of his first film Dolemite, a blaxploitation feature in which he plays his comedic alter ego. Directed by Craig Brewer and written by Scott Alexander and Larry Karaszewski, Dolemite is my Name marks a welcome return to Eddie Murphy as a leading man on the big screen and also boasts a brilliant supporting cast with Craig Robinson, Tituss Burgess, Keegan-Michael Key and Snoop Dogg. It’s brash and upfront, unafraid of its subject and showing just how far one will go for their time in the spotlight. The writing is spectacular and even the scenes where Moore isn’t speaking in rhyme almost have a poetic quality to them. Every pause and interaction has a flow that works brilliantly in the film and the characters interact naturally. You completely believe and engage with the characters and at no point are drawn away from the film. The direction is quick and sharp with eye-catching colour palettes that exemplify Moore’s even more colourful personality. Everything about this film was completely wonderful to watch.

In a sea of biopics, it would be easy to miss this one which seemed to sneak onto Netflix without fanfare but that would be your loss. Moore is a man who loves the limelight and will do anything to get it. He will do whatever it takes to become famous even if it means nudity, violence or strong language. He isn’t afraid of vulgarity and thrives on the offensive nature of his content. Who better to play such a controversial figure than Eddie Murphy? Murphy allows himself to embrace all aspects of Moore’s personality from his strong bravado to his insecurities and flaws. He has left no stone unturned in his preparation and the result is a captivating and stunning performance that does the Moore legacy proud. I hope Murphy continues releasing films like this that show his talent and range as an actor. In this film alone, he has to sing, act and perform stand-up as a man who is himself portraying a character. That is tricky to pull off and yet Murphy seems to do this effortlessly. This is a film that has a big cast list and yet Murphy is the draw and the centre of attention at all times. There aren’t many moments when he isn’t onscreen and yet his presence is anticipated and felt. Of course, this is only natural since it is a biopic on his character but it really is a magnetic performance.

dolemite

As mentioned before, the supporting cast is crammed full of amazing talent. If I had to choose one that stands out from the rest, it is probably Keegan-Michael Key as screenwriter and actor Jerry Jones. Jones is an earnest playwright who makes films that explore racism in modern society. When initially approached by Moore to write the screenplay for the Dolemite movie, he is reluctant to jump onboard but is eventually taken in by the scope of Moore’s fanbase. His reactions during and after filming the sex scene for the movie is priceless. Jones is a character who is taken way out of his comfort and it initially makes him seem like the only sane person in a crazy bunch but eventually he allows himself to have fun with it. I also really enjoyed Craig Robinson’s appearance as Moore’s friend, Ben Taylor, who provides the theme song for the Dolemite movie. His role is only small but when he is onscreen, it’s wonderful to watch. The character of Taylor is great to watch as it shows his support from before Moore’s fame and ascension. The supporting characters really do support one another. It is a film that, although centred around one individual, tells the stories of multiple people. One touching story is Lady Reed (Da’Vine Joy Randolph) who is cheated on by her husband and doesn’t know what to do with her life. Alongside Moore, she stars in the film and joins him on the stage for stand-up. Although she is assisted by Moore, Lady Reed is strongly independent and isn’t afraid of sticking up for herself and her beliefs. The scene in which she thanks Moore for putting a plus size woman of colour onscreen allows Moore to realise that his project goes beyond entertaining people.

Although it has grabbed the attention of awards panels, particularly Eddie Murphy’s performance, it feels as though Dolemite Is My Name has been swept under the carpet. This could be due to Netflix’s loyalty to its other release, The Irishman, and so they have pushed that far more. In truth, I prefer Dolmite Is My Name as a film because it feels like something new and unique whereas The Irishman brings out what Scorsese does best but nothing that we haven’t seen before. I hope that if anything Murphy gets an Oscar nomination because it would be a real shame not to acknowledge the brilliant work he does on this film.

dolemite1

In a climate that has seen a rise in racism and extremist politics taking hold, Dolemite Is My Name is a film that is desperately needed. It is thoroughly entertaining and provides plenty of laughs but it equally holds no punches in its subject matter and isn’t afraid to explore the darker truths of society. It’s interesting to think that such a diverse figure such as Moore was renowned and accepted in the 70s but the struggle and work he had to put in to get there is testament to the struggles that African-Americans face on a regular basis. I hope that there are more films like this released in coming years as it is so important to present stories from all walks of life.

What did you think of Dolemite Is My Name? Let me know in the comments below!

Categories
Uncategorised

Judy (2019)

Based on the last years and concerts of Judy Garland’s life, Judy is one of the most talked about films going into this awards season thanks to the starring turn by Renée Zellweger in the titular role. Biopics have always been a popular go-to for actors who want to subvert casting types and show their range and this seems to be no exception for Zellweger who foregoes her famed reputation as the comedic gem in Bridget Jones. As an avid fan of Judy Garland, I was really interested to see whether Zellweger pulls it off and it truly is a film that revolves around the performance and acts as an Oscar lull for the actress who has mainly stayed out of the spotlight for years. Directed by Rupert Goold, a director renowned for his theatre work with a script written by Tom Edge based on the musical The End of the Rainbow by Peter Quilter, Judy is the heartbreaking reality of a faded star who longs to stay in the spotlight but is plighted by a lifetime of abuse which finally catches up with her in the form drug and alcohol abuse. Flashbacks to her youth which see Darci Shaw play a young Garland (superbly I might add) in which she is constantly berated for her appearance whilst also experiencing harassment, forced drug use and general anxieties in terms of how she must eat and act at all times.

Goold’s direction is intensely focused on its star. When we see Judy perform for the first time, the camera never leaves her, instead focusing on each movement and mannerism that Zellweger conjures up. There is a distinct use of palette used in the film as the Hollywood scenes of Judy’s youth are bright and playful whereas the London setting for her concerts in the present day is darker and drearier. The illusion of fame has long since faded which Goold brings across. The decision to bring in events that didn’t happen in real life is something that I am unsure about. A life as eventful as Judy Garland’s isn’t in need of any fictionalisation and I feel that the inclusion of these scenes detracts from the film. The main fictionalised event was the inclusion of gay couple, Dan (Andy Nyman) and Stan (Daniel Cerqueira) who wait for Judy at the stage door and have dinner with her in their flat. I understand the inclusion of these characters as it is a way to show Judy’s support for the gay community and the performances from Nyman and Cerqueira are heartfelt and sincere. My only concern is the ending scene in which they start a singalong to “Over the Rainbow” when Judy breaks down on stage. This event didn’t happen and the effect that it had as the theatre audience all joined in made it a bit cringey to watch, knowing that this didn’t happen in reality. Judy’s longing to be remembered and her final lines do pack a punch though as you feel the impending fate that awaits her as she dies 6 months after the concerts. There are plenty of moments in the film, particularly the Hollywood scenes, that are fantastically shot and Goold’s experience as a theatre director comes into play. His focus on the character’s expressions and use of light and shade is phenomenal and it’s exciting to see what he picks as his next cinematic project.

judy4

Now onto the star of the show. Renée Zellweger is nothing less than stellar as Judy. The Judy she plays is one that looks back on past fame and fortune whilst dealing with the reality that she does not have the same financial luxury or influence she once did. The only way she is able to keep herself financially afloat is by performing in London where her fan base is loyal. Garland is a character with many layers and Zellweger manages to communicate this with a melancholy glance. The physicality of the role may not seem demanding at first but particularly when performing, you see the physical struggles Judy has. Zellweger’s Judy is one who cares about her impact and legacy, wanting to ensure that she will be remembered. Her motivation is ensuring financial security so she can spend time with her children who are living in the US with their father, Judy’s ex-husband Sidney Luft (Rufus Sewell). There are so many scenes that are captivating and it’s mainly when she is on stage. The passion that Zellweger throws into the role is spilled out heart and soul into the songs. Offstage, Judy is disabled by her mental health and increased alcohol consumption. Her anxiety overrides everything causing a huge lack of confidence and yet she longs for validation and the applause. Her refusal to allow her younger children to enter the world of showbiz only demonstrates the hatred for her own upbringing and eventual rise to stardom. She longs for the normal life but can never truly have one now.

The supporting cast is led by Michael Gambon and Jessie Buckley as theatre owner, Bernard Delfont and assistant Rosalyn Wilder, respectively. It’s always nice to see veteran actors acting alongside rising stars and both do a wonderful job. At the end of the day, their roles are to support Zellweger’s starring turn. This is a film that has an intense focus on Judy. There are very few scenes that don’t have Judy in them meaning that this makes it hard for other people to truly shine because she does grab the attention. But as I said, in a film like this, we’re not meant to focus on these supporting roles. That being said, there is a scene between Judy and Rosalyn that is particularly fiery when the latter tries to encourage the former to go onstage. Judy lashes out and claims that Rosalyn doesn’t care about her which to an extent is true. She may seem that she does care but at the end of the day, Judy’s wellbeing comes second to her concerts. Rosalyn’s job is to ensure that Judy makes the concerts on time.

judy-garland-renee-zellweger.jpg

Judy is a film with its flaws but much like the film’s subject, it certainly puts on a show. Zellweger has made herself a serious contender this awards season and definitely could walk away with Oscar number two. I think it’s a film worth watching just for the performance but the direction should not be overlooked either. In a post #metoo world, it’s horrific and tragic to see how Judy was treated from a young age as she was verbally and physically abused and forced to fit an ideal that she did not naturally conform to. She clearly despised and reviled any attempts to change her and yet was forced to hate her background. Comparing the two Judys we see in the film, we see that culmination of abuse from all angles in Zellweger’s.

What did you think of Judy? Let me know in the comments below!

Categories
Uncategorised

Mustang (2015)

A gem of a film you may have missed this past decade comes in the form of this Oscar-nominated Turkish-French film. Mustang is the debut feature by filmmaker Deniz Gamze Ergüven and follows five young sisters who are forced into arranged marriages after they are caught innocently playing in the sea with male classmates. Told from the perspective of the youngest sister, Lale (Güneş Şensoy), Mustang shows the struggles of being a woman in an oppressive society, the loss of innocence and the importance of sisterhood. Ergüven’s direction and script is drawn from aspects of her own life and this authenticity and knowledge can certainly be felt. The film uses limited locations which exemplifies the situation the sisters are in. The opening scenes show them leaving school and the freedom on the beach as they play. When their activities are discovered, they are trapped within the family home and forced to practice chores expected from women such as cooking and cleaning. The house is in the middle of nowhere and the girls are allowed limited access into the town due to the shame that they brought to the family. What Ergüven does so well by showing the film from Lale’s perspective is making the space seem bigger than what it is.

All five sisters have their own distinct personalities and outlook on life. As each one is married off one by one from eldest to youngest, we view their differing circumstances. This is mostly noticeable in the wedding scene where we see the two older sisters wed their husbands. Older sister, Sonay (İlayda Akdoğan) marries a man of her own choice and dances happily but second oldest sister Selma (Tuğba Sunguroğlu) sits forlorn at the table as she is forced to marry someone she does not care for. There isn’t a heavy focus on either sister as we are viewing this from Lale’s perspective and so the attention flits between various partygoers as well as Lale’s grandmother and Uncle. The writing in this scene is absolutely phenomenal and poignant as it marks the last time the five sisters are altogether and alive. It is in the wedding scene when you realise the seriousness of the plot. It is one thing for underage and arranged marriage to be discussed but it is an entirely different scenario when you see it actually happening. Especially the aftermath scene in which Selma’s bedsheets are inspected for blood the morning after and her in-laws claim she isn’t a virgin. The life-threatening undertones make this one of the terrifying scenes in film. The protagonist of the film, however, comes in the form of the youngest sister Lale. Şensoy brings a fantastic performance that is fearless and powerful. Lale isn’t afraid of what others think nor is she afraid of angering her elders when they are in the wrong. Her natural ability to resist is evident throughout the whole film and the concluding rebellion that she carries out with her sister, Nur (Doğa Doğuşlu) only shows how brilliant a character she is.

hero_Mustang-2015

One of my favourite parts of this film is the score by Warren Ellis who does a stellar job of capturing the sisters’ struggle. It’s a quiet and soft score that grows with intensity as the time to find Lale a husband looms. It’s an underrated score by all accounts and should have brought Ellis an Oscar nomination at least. The score is such an important part of a film that can really enhance the overall experience and I think that Ellis captures the heart of the film and the bond between the sisters. The combination of classic sounds with traditional Turkish music used in the wedding scene blurs the lines between the reality and the movie.

One of the best scenes in this film comes when the sisters sneak out of the house to attend a football match where adult men are banned. They are caught on camera during the match and in a bid to avoid their Uncle from seeing, the Grandmother swiftly turns the power off. It’s a small gesture but in this moment, the audience realises that the Grandmother has her sympathies for the girls and doesn’t want them to get into any further trouble. Ironically, the football match is where the girls feel safe and have fun as they are in a stadium surrounded by fellow women and watching men as a spectacle rather than being a spectacle in a male dominated world themselves. They have regained their power as individuals with individual identities in this scene and it is empowering to watch. Another scene which is a standout for me is the downfall of middle sister, Ece (Elit İşcan) who ends up committing suicide when the pain becomes too much. After waiting to be married off, she is molested by her Uncle but keeps this from her sisters so as not to upset them. The burden becomes overwhelming and she eventually takes her own life. This moment brings the trauma from the outside world into the supposedly “safe” confines of the family home. The brief glimpse that Lale sees of her bloodied sister is all the audience see before we are whisked away for the men to get rid of the body.

mustang-clip-superJumbo

Foreign language films always bring the best out of cinema whilst seemingly pushing the envelope in ways that English-language films seem reluctant and scared. Films like Mustang help lift the lid and raise awareness on important issues without caring about their opposing sides feelings. They have a clear point of view and they are films that make the audience think. The year this came out was an extremely strong year in film as you also had the revolutionary Hunagrian Holocaust feature Son of Saul which follows life of a man subject to working the gas chambers. Son of Saul was the film deservingly selected to walk home with the Oscar on awards night but any other year and that would have easily belonged to Mustang. It is a film that brings strength and hope to its female protagonists and also sheds a light on the injustice thrust upon young women in modern society.

What do you think of Mustang? Let me know in the comments below!