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Women’s Voice In Film

Women in film has become a huge talking point for film development in recent years, partially due to the #metoo movement that outed the abusive patriarchy in film seeing women given less power both in representation and finance. A lot of discussion on the internet (from men mostly) questioning whether there truly is a problem in the first place, do the women deserve the harassment they face and most importantly, do we really need these gender swap remakes? The answers to these questions are simply: yes there is a problem, no a woman never deserves harassment and of course we need as much female representation as possible.

It’s not secret that the days of Golden Hollywood, although seemingly flawless and iconic, foresaw the way women in film were treated by their bosses (producers and directors). From the infamous “casting couch” to the manipulative studio contracts, Hollywood presented itself as a mecca of dreams but proved to be a breaking point of mental illness, drug and alcohol misuse and domestic abuse. This period sees the breakdown of many stars including Judy Garland, Marilyn Monroe and Bette Davis just to name a few. It seemed that solace could only be found at the bottom of a whiskey glass.

So what does this issue have to do with Hollywood today?

Well, to begin with, despite the elimination of studio contracts in the 50s due to the collapse of the Hollywood studio structure, it appears that female filmmaking is still viewed as a niche rather than as an equal offering. The fact that we even discuss a film as “female” or celebrate female creators and strong female characters shouldn’t be something we celebrate in the 21st century. Especially considering that we’re at a century of accessible filmmaking that has distributed across the globe. AFter everything that has happened globally regarding women’s issues such as voting rights, reproductive rights, fighting the wage gap, it’s unsurprising that the fight for the female experience through a woman’s perspective has been equally difficult. After all, film is a brilliant and affordable medium to translate issues to a global audience using visuals to gain awareness for issues. Take last year’s Oscar-winning short documentary Period. End of Sentence. that looks at female poverty in India where women are forced to quit school due to periods as they are unablt to afford sanitary products. In terms of fictional feature films, we have seen a resurgence of female driven comedies with Bridesmaids accredited with starting this trend. Other offerings in recent years have reverted back to teenage years with 2019’s Booksmart and 2017’s Lady Bird among the big fish. it’s great to see original stories created by women being given mainstream releases and have subsequently done well in the awards circuit. As well as comedies, we have also seen female-centred dramas such as Todd Haynes’ beautiful and iconic LGBT love story Carol (you can read my review here) starring Cate Blanchett and Rooney Mara, which I would argue is the best love film of the century so far. Now these Indie films do incredibly well, but why hasn’t this translated as well into mainstream films? I’ll try to break this down.

It’s known that the majority of people who will go and see an original story created and performed by women is going to be seen by women. That’s all well and good but considering that men are the majority of the cinematic audience statistically, it’s important to get men to see films created and performed by women too. This is for a number of reasons and since the film industry is a business, the most important issue is money. If more men see the films then more money is given to the filmmakers and then more films created by women can be made which would eventually make the idea of the “female film” as old and traditional as the Golden Age of Hollywood. This brings me to the gender swap remakes. If you looked at the highest grossing films in recent years, chances are that they are filled with sequels, reboots, prequels and remakes. Using this information, it is a smart idea that in order to bring a female perspective to a high-grossing film, you must incorporate strong female roles into these films. However, this hasn’t been without a share of complaints from a small portion of the male audience. Take the Marvel and DC Universes for example. Admittedly, I am not a huge fan of the Marvel Universe but I have never heard such negativity from a male audience regarding it’s iconic female characters before. It seems that every other film is released with no issue, Marvel films particularly tend to sell out every initial screening and exceed in both critic and audience circles so when they decided to do a film dedicated to Captain Marvel, this should have been a celebration for a strong female character to join the achievements of its predecessors; however, this sadly wasn’t the case. A portion of the male audience was outraged by Brie Larson’s interpretation of the role as well as her feminist statements. It’s all well and good when the male superheros want to prove their stereotyped masculinity (which is an old school trope that Marvel appear to be fighting as well by bringing vulnerability into the male characters) but when Captain Marvel doesn’t need a man to save the world and more importantly, doesn’t want a man with her to save the world, this is a major issue. It was a role that should have been celebrated but instead, while Endgame was adored for bringing its emotion to the male characters (Iron Man specifically), Captain Marvel is viewed in a negative light because she veers away from the traditional “eye-candy” trope that Golden Hollywood has been feeding the audience with for years. I hope that as these franchises expand and more female characters are incorporated into their respected universes, the male audience that openly despises the likes of Captain Marvel and Wonder Woman may be open to the idea of the strong, independent women without thinking of them as simple love interests or sidekicks rather than the leaders of their own stories. Despite this small male audience who tweet outrageously about the femalecentred films, DC is clearly proud of the overwhelming success of Wonder Woman as they are bringing Patty Jenkins back for the second film (I did actually enjoy Wonder Woman! The first segment featuring the Amazonians is astonishing direction and writing).

I am not writing this article to be negative or bash the male audience because the male audience is important to the plight of female filmmaking as well and it is only a small portion. I think that there has to be an understanding that it is much harder for a woman to get a film made than a man. Once that statement is understood and acknowledged then the discussion of female film becomes a welcome idea and celebrated. But in a world where the Indie films created by women are renowned for their originality, why do we need gender swapped films such as Ghostbusters? Do we actually need them?

As I said at the top of this article… yes, yes we do!

Why do we need them? By remaking films with gender swapped protagonists, it gives the audience a new perspective on a femiliar setting. It’s easy to be angered when a classic like Ghostbusters is given an update with the best female comedians much like the original with men. It’s a brilliant film by itself (it obviously isn’t as good as the original) but I don’t think the intention was to “outdo” the original. I think it was to show that women could be given an ordinary role without the woman part being of any importance. I think that if Ghostbusters was remade with a male cast, there would be the usual complaints of “we don’t need a remake” but the abuse hurled at the stars of the film showed that there is sexist view from this portion of male audience. It seems to not only be that women have “taken” the roles, but that women are put in powerful positions without being the love interest. There is also an argument that representation is important and when given the opportunity to make these remakes, it’s another opportunity to put women in the driving seat which is only a positive.

Some of the films I love such as Eternal Sunshine of the Spotless Mind and Frances Ha feature brilliant female characters. Clementine Kruczynski (played fantastically by Kate Winslet) in the former and Greta Gerwig as the quirky titular character in the latter are women who have their flaws and struggles but at the end of the day, are independent and strong. Both films directed by men but show the important of strong female presence in film. Eternal Sunshine’s script won the Best Original Screenplay Academy Award suggesting that there is a demand for these female characters. Another film that is a force of nature is 2016’s Turkish offering, Mustang, about five young sisters who are forced into marriage after wrongly being accused of sexual activity with a group of boys in their class at school. Written and directed by Deniz Gamze Erguven in her directorial debut, Mustang is one of the best films I have ever seen. The film is shown through the eyes of the youngest sister, Lale, giving the audience an innocent glimpse into an oppressive world without explicitly saying so. Much like the message of the film, the writing and directing is subtle with a lot of stillness and peace in moments of chaos. Another brilliant female-led offering is 2018’s The Favourite which was hugely snubbed in the Oscars this year and has not one, not two but THREE stellar leads in the form of Olivia Colman as Queen Anne (who deservedly won an Oscar for her performance) and Rachel Weisz and Emma Stone as the women vying for the queen’s attention. It’s a complex triangle of lust, power and manipulation. This answers the question whether women can carry a film with a resounding YES!

At the end of it all, more needs to be done to finance and distribute mainstream films created by and starring women but this isn’t to say that none exist at all and the offerings we have had in recent years particularly show a huge improvement to the films of the Golden Era. Women have proven time and time again that they can create films that are both critical and commercial (when given the chance) successes.

What are your favourite films created by and/or starring women? Let me know in the comments below?

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Disney Animated Classics: Numbers 11-15 Ranking

The next bunch of films see a return to the classical format of animated offerings based on 19th and early 20th century classics (with the exception of Cinderella). This blog also looks at some of the most controversial films in the catalogue for its racist depictions of Native American Indians (Peter Pan) and Asian stereotypes (Lady and the Tramp) as well as misogynistic qualities that will sadly become even more so prevalent in Disney animations. The films, however, have stood the test of time and remain among the most loved classics in the Disney repertoire.

As ever, here are the links to previous installments:

Films 1-5

Films 6-10

Here we go with films 11-15:

11) The Adventures of Ichabod and Mr. Toad (1949)

I don’t know if there is a darker tone in the Disney catalogue than the “Ichabod Crane” segment in this collection. Consisting of two segments inspired by The Wind in the Willows and “The Legend of Sleepy Hollow”, this is the last of the segmented features found in the Disney collection. I would watch this on repeat when I was younger and “Ichabod Crane” certainly made an impression in terms of how I see films today and approach them. It taught me that you don’t always need the happy ending that is usually given in family films and can be dark without being overtly scary. I am not as fond of The Wind in the Willows segment as much but I still find it a joyful treat to watch. Telling the story of Mr. Toad, an eccentric proprietor and his friends, Ratty and Moley, who are tasked with finding him before he gets himself in serious trouble, The Wind in the Willows follows Mr. Toad as he finds himself eventually jailed for car theft despite being framed. This differs greatly to the following segment of “The Legend of Sleepy Hollow” where Ichabod Crane moves to the lazy town of Sleepy Hollow where he tries to woo Katrina von Tassel in a bid to take her family inheritance while also being bullied by Brom, the village hero who also loves Katrina. It’s a film littered with flawed characters but this adds to the suspense as the audience doesn’t know who to trust.

12) Cinderella (1950)

Probably the most iconic Disney princess, Cinderella is the classic fairy-tale about a young girl subjected to servitude at the hands of her Evil Stepmother and Ugly Stepsisters. With the help of her Fairy Godmother, Cinderella attends a ball where she meets a prince before leaving her glass slipper. The palace search for the mysterious woman who captured the prince’s heart and the glass slipper is tried on by every woman claiming to be the woman. However, Cinderella puts the slipper on and they live happily ever after. There is no doubt that this film is a classic and for good reason. It is a simple film with likable animal sidekicks and a strong moral purpose; however, I believe that there are a lot of better films that captured my imagination as a child. I always enjoy watching Cinderella but it has never been among my top favourite Disney films simply because I find that there is more development given to secondary characters than primary characters. Ultimately, we learn more about Jacques and Gus more than Cinderella herself. Her character is supremely passive with events simply happening to her rather than her actually doing anything herself. Whereas Snow White shows an achievement in the animation field as a whole, I completely appreciate that she too is a passive character but what separates it for me is that there are fantastic sequences throughout the film such as when she flees the huntsman whereas Cinderella doesn’t do anything spectacular in the animation that we haven’t seen before.

13) Alice in Wonderland (1951)

The most famous adaptation of the classic Lewis Carroll novel, Alice in Wonderland follows the titular character as she delves in an absurd world filled with the unlikeliest of characters from the White Rabbit to the evil Queen of Hearts. Filled with lots of songs that have stood the test of time such as “Golden Afternoon” and “Painting the Roses Red”, it is a film filled with colour and nonsense and knows it. Disney makes the most of the bonkers plot by allowing the animators to create the most unimaginable creatures such as those found in the forest. Characters such as the Cheshire Cat and the Madhatter are also designed brilliantly with the former being among the most recognisible of Disney characters.

14) Peter Pan (1953)

Peter Pan tells the story of Wendy Darling and her brothers, John and Michael, as they venture to Neverland with Peter Pan, a young boy who never grows up. It is probably the trickiest Disney film to write about because it spawned some of the most iconic characters including Tinkerbell and the film itself is loved around the world; however, its damaging representation of Native American Indians and misogyny throughout the film make it an uncomfortable film to watch. The infamous scene I am talking about in particular is when Peter and co are celebrating the return of the Chief’s daughter, Tiger Lily in what is a highly racist collection of stereotypes with every aspect of Native American Indian culture being ridiculed. I thoroughly enjoy every other part of the film, particularly the baddies Captain Hook and Mr. Smee and a special mention to the Crocodile who I am convinced spawned my fear of alligators and crocodiles. It’s a film that I remember watching frequently and I think it sparked my imagination and writing. I love the scene when we see Captain Hook’s reaction to the Crocodile for the first time. It’s comical and terrifying at the same time but it’s the fear that keeps me going back to watch it, very much like Snow White.

15) Lady and the Tramp (1955)

Now for a film that is simultaneously classic but always understated and quite forgotten a lot of the time compared to other offerings. Lady and the Tramp is about an upper class spaniel called Lady who falls for a stray dog, Tramp and the two fall in love despite their different backgrounds. It’s a clever take on classicism during a time in which society was very much torn in the aftermath of the war. As Lady begins to venture out of her comfort zone, her character becomes three dimensional as she becomes fearless and most importantly flawed in a world that expects her to be perfect. Again, much like Peter Pan, we see another racist trope in the form of the infamous Siamese cats who are the epitome of Asian stereotypes. Their appearance and song is frowned upon in modern times and again is uncomfortable to watch. Thankfully, their appearance doesn’t last long and we are served with famous songs like “Bella Notte” and “He’s a Tramp”. With a remake in the works to be released this year, this is a love story that has stood the test of time and can melt the hardest of hearts.

So that’s films 11-15 reviewed with some of the most famous Disney films covered. As you can see, Disney appear to have fully recovered financially and critically from the segmented offerings made during and after the war.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) Alice in Wonderland (1951)

5) Peter Pan (1953)

6) The Three Caballeros (1945)

7) Pinocchio (1940)

8) Dumbo (1941)

9) Cinderella (1950)

10) Lady and the Tramp (1955)

11) Fun and Fancy Free (1947)

12) The Adventures of Ichabod and Mr. Toad (1949)

13) Saludos Amigos (1943)

14) Melody Time (1948)

15) Make Mine Music (1946)

The next blog looks at the last bunch of films made and approve before Disney died including classic favourites, Sleeping Beauty and The Jungle Book. Check it out and see where the films rank!

Do you agree with the ranking so far? What are your favourites from this blog? Let me know in the comments below!

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Disney Animated Classics: Numbers 6-10 Ranking

The next five films are a unique bunch in the Walt Disney animation collection. Created during World War II with a very limited budget, these films consist of segments inspired by music and incorporate live action in a bid to reduce animation costs. Admittedly, this makes these films difficult to rank because they are completely different medium of film in my opinion to the regular offerings from the studio. However, despite the quantity of animation, the quality is still there and makes these films worth watching.

Since there are numerous animators working on various segments, it means that the style of animation isn’t consistent as well, allowing the studio to bring a more experimental approach that attempts to push animation even further than the revolutionary Fantasia. Some of the films are a lot more successful at achieving this than others but the passion to create fun and groundbreaking animation of quality is present in all of the films.

You can read the link to the previous ranking here:

Films 1-5

And now for the discussions of Walt Disney Classic Animation Studios films 6-10:

6) Saludos Amigos (1943)

Made in an attempt to unite the two Americas in the midst of World War II, Saludos Amigos is a tribute to various South American countries such as Argentina and Brazil. It comprises of various shorts as groups of Disney animators draw inspiration from the places they visit merging the classic Disney style with South American culture. The result sees Donald and Goofy learn about the countries and it also sees the introduction of iconic Disney character, Brazilian parrot, Jose Carioca. The film heavily features live action which makes me unconvinced whether it should belong in the Disney Classic Animation collection, but the animation we view is a real treat. My main downside with this film is that the balance between educational and entertainment is heavily swayed in favour of the former with a lot of lecturing overshadowing the animation at times. Each segment shows the live action footage and pictures that they took away from their trips narrated in depth and is then followed with the animated footage with the narrator repeating the information he has already told us. The heavy use of narration sometimes distracts because there is so much information and therefore we miss some of the cultural aspects in the animation itself. I found this particularly distracting in the first segment when Donald Duck visits “Lake Titicaca”. I don’t think that narration is needed during the animated parts because we already know the information.

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7) The Three Caballeros (1945)

If there were doubts about Saludos Amigos position in this list then The Three Caballeros knocks it entirely out of the park. Again, featuring a more forgiving dose of live action, this film yet again focuses on Donald Duck’s adventures as he learns about South America through his friend, Jose Carioca. This film feels like a huge improvement on its predecessor and features some unforgettable songs. It feels more focused and yet isn’t afraid to be completely bonkers with a bigger than life finale. It’s a shame that Disney don’t use Jose Carioca in its cartoons or merchandise more because he’s a brilliant character. Another part of this film that I enjoy more than Saludos Amigos is that it is a fun film that isn’t as serious. Although it is a film that is educating its audience on South American cultures, it doesn’t feel like its lecturing us which as I previously said is something that Saludos Amigos does a lot. My favourite moment in this film is the brilliant inclusion of the eccentric Aracuan bird, a bird that lives in the rainforest and has a unique (to say the least) song. It is the funniest 30 seconds ever and the song he sings will be stuck in your head for hours.

8) Make Mine Music (1946)

Make Mine Music attempts to follow in the footsteps of Fantasia by creating art inspired by pieces of music. There are some brilliant segments in this film such as “Peter and the Wolf” and “The Whale Who Wanted to Sing at the Met” but the film as a whole seems disjointed and has a tendency to drag. The pieces of music don’t flow as well as they do inFantasia, perhaps this is due to a lack of narration or explanation, meaning that one minute we watch a peaceful river in the moonlight in the classically inspired “Blue Bayou” which then follows in to “All the Cats Join In”, a jazz inspired mash of 1940s adolescence. It feels that this shouldn’t be put as a feature film as it doesn’t successfully thread together. This isn’t to say that I don’t enjoy the individual segments but as a film watching experience it is rather jarring.

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9) Fun and Fancy Free (1947)

Much like The Three Caballeros, Fun and Fancy Free feels like an improvement on its direct predecessor. Rather than featuring numerous sporadic segments in one film, Fun and Fancy Free only features two stories with sandwiched narration by Jiminy Cricket. The first segment, “Bongo”, is shorter and tells the story of the titular character, a circus bear who escapes into the wilderness and his struggle to adapt. It feels like a combination of Fantasia and Bambi and manages to tell a fulfilling story without overstaying its welcome. The second segment and the focus of the film is the epic “Mickey and the Beanstalk” which is, unsurprisingly inspired by the fairy-tale “Jack and the Beanstalk”. Following Mickey, Donald and Goofy during a time of famine after a magical harp fairy is kidnapped by a giant, the three set off to get her back. It’s a lovable piece that is accompanied by the real world story of a party with renowned ventriloquist, Edgar Bergen, who is recounting the story to child actress, Luana Patten, and his dummies, Charlie McCarthy and Mortimer Snerd, in attendance also. Charlie McCarthy is quite a cynical character and his little quips here and there will have you howling.

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10) Melody Time (1948)

Featuring a starry cast and seven musical segments, Melody Time was made with no expense spared on a $1.5m budget. The segment, “Blame is on the Samba” includes my favourite character, the elusive Aracuan bird who is his usual mischievous self. It’s a welcome return and a nice surprise that Disney decided to bring him back for an entire segment. With segments running as long as 22 minutes, this sees Disney allowing the artists to push themselves further. It definitely feels as though the Disney studio is beginning to recover from the effects of the war but Disney cleverly made sure to keep a focus on happiness and hope with lots of colours and joyful musical choices. Not to mention the favourite child duo at the time, Bobby Driscoll and Luana Patten making appearances. It doesn’t quiet hit the highs of Fun and Fancy Free but the narration between segments brings a thread that is missing in Make Mine Music and it seems to flow better as a film because of this. I love the “Little Toot” segment particularly because it is charming and heartbreaking at the same time.

So with that, it’s time for the ranking. I found this particularly difficult because I have tried to balance how I felt watching the films when I was younger with how I feel about them now.

Without further ado, here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Bambi (1942)

4) The Three Caballeros (1945)

5) Pinocchio (1940)

6) Dumbo (1941)

7) Fun and Fancy Free (1947)

8) Saludos Amigos (1943)

9) Melody Time (1948)

10) Make Mine Music (1946)

That’s it for this post! It’s been interesting looking at films made during and after the war because Disney clearly felt that the studio should focus on lighter entainment rather than anything with dark undertones such as Bambi. Films 11-15 see a return to well-loved classics such as Cinderella and Peter Pan which I promise will be up much sooner than this one.

As always, let me know in the comments below whether you agree or disagree with my rankings so far? What would be your number 1?

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The Man Who Knew Too Much (1956)

On hearing the news that icon Doris Day had died yesterday, my mind immediately went to some of her greatest roles like Calamity Jane (1953) and Pillow Talk (1959); however, I always found myself most affected by her brilliant performance as the mother looking for her kidnapped son in Alfred Hitchcock’s The Man Who Knew Too Much. A remake of Hitchcock’s 1934 film of the same name, this Hollywood remake stars James Stewart and Doris Day as a husband and wife whose son, Hank, is kidnapped while they are holidaying in Morocco. It is revealed that their son is being used as a pawn while the kidnappers plan to assassinate an important ambassador during his visit to London. It’s a film that shows the importance of family in a time of politically turmoil that feels just as relevant in its post-war 1956 as it did in pre-war 1934.

The Man Who Knew Too Much is my favourite Hitchcock film and much of it is attributed to Doris Day in her role as Jo Conway McKenna. The role is clearly tailored for Day as she plays a professional singer. This may not seem like a stretch as we watch her beautifully sing the Oscar-winning song “Que Sera, Sera (Whatever Will Be, Will Be)” but this changes the moment Hank is kidnapped. Day effortlessly brings an emotional depth to her character that she hadn’t really displayed earlier in her career, showcasing her talents as a dramatic actress. In particular, her acting in the final act of the film shows an explosion of all these emotions and her distress and longing to see her son are brought to her heart-breaking final performance of “Que Sera, Sera” that seems worlds away from the performance at the beginning of the film.

Made with a large Hollywood budget, Hitchcock makes use of multiple locations across two continents and yet somehow, the murder scene that place in the open market of Marrakesh feels equally as claustrophobic as the climatic orchestral scene in the Royal Albert Hall. Hitchcock never allows the audience to let their mind wander in his films as we are quickly assured not to trust anyone. One of my favourite locations used is a small Taxidermist’s shop and the struggle James Stewart has escaping the workers is tense as he is almost stabbed by a swordfish. Another intense scene that is recreated in the remake is the chapel scene in which the protagonists discover that the kidnappers run a local church. As the mass is under way, they clear stand out in the congregation and it is only a matter of time before they have their confrontation with the criminals. Everything about this scene in both the original and remake is brilliantly done because Hitchcock ensures that everything is directed slowly. There isn’t much physical movement as the mass takes place, the hymns are slow and droll with the speaker calm and paced in his sermon. The suspense is driven up until the moment everyone has left and they are the last visitors in the church.

It would be a true crime not to talk about the music in depth. Aside from its Oscar-winning hit that became synonymous with Day throughout her life, music is also integral to its film because it is used for the climatic moment during the assassination attempt. As in the original, it is the clash of cymbals that signals the shot. The kidnappers play the piece on a record player beforehand so the audience knows the moment. This is a clever move on Hitchcock’s part because we then know the moment when the shot will occur. Opposed to the suspense of the chapel scene, the Albert Hall scene is faster paced as the music quickens and the camera shifts between the gunman, Day, the ambassador and the orchestra. I feel that Hitchcock improved on this scene from the original as he used the same musical piece but it feels that the suspense is really played out and the production feels bigger as a whole which I feel the original lacked.

It’s a shame that this film isn’t discussed as much as some of Hitchcock’s other films because although it’s not a horror in the traditional sense of the word (ie. Psycho and The Birds), it still contains elements of horror from the writing and directing. I think it is a film that shows Hitchcock not only pushing boundaries on filmmaking but also showing how he is willing to improve on his own work.

What is your favourite Hitchcock film? Let me know in the comments below!

Doris Day, 1922-2019

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Carol (2015)

One of the best films of the 21st century so far and a defining mark of LGBT+ cinema, Todd Haynes’ Carol is a film swimming in emotion as it explores the realities of a lesbian relationship in the 1950s. Adapted by Phyllis Nagy from Patricia Highsmith’s controversial novel The Price of Salt, Carol tells the story of Therese Bellevet (Rooney Mara), a young twenty-something trying to find her way in 1950s New York. Whilst working as a Christmas temp in a busy department store, Therese has a love at first sight encounter with Carol (Cate Blanchett), an older soon-to-be divorcee who is a darling to New York society. Much like the Christmas backdrop, the film is a present revealing more layers with every watch.

Haynes pulls out all of the stops for this production, playing all of his cards as a visionary. He managed to take the words on the page and create a universe that seems to belong to Carol and Therese. From the costumes by Sandy Powell to the music by Carter Burwell, the film is orchestrated by a beauty that stays throughout the film. What made the novel so controversial on release was its happy ending which was unheard of for stories regarding homosexuality and Haynes wanted to keep that. He wants the audience to know that this is their world and it is a beautiful one. The film appears traditional on the surface and yet groundbreaking in subtext. I think it is a huge mark in LGBT filmmaking.

The script by Phyllis Nagy is nothing short of phenomenal and is brilliantly faithful to the book. The changes that are made from the book are minimal but also crucial as I think the right choices were made to tell this story onscreen. My favourite scene in the film is when Therese agrees to go to lunch with Carol and the two get to know each other. It is natural and intimate with the sexual tension cutting through the undertones. Nagy makes every word linger and makes sure that no line is wasted. The film is fantastically paced, feeling like a slow train chugging forwards towards the inevitable climax that causes their bubble to burst. The sharp focus on the women themselves makes their love appear literally timeless, as if the world around them doesn’t matter. When the outside world does interfere and threaten them, it is done so that the audience is jolted back into reality from the dream that the women’s relationship had given.

Cate Blanchett’s performance as the titular character is glamorous to look at but tinged with the pain that has fallen on her and her family as her relationship with her husband, Harge (Kyle Chandler) has broken down. Carol has been known for her relationships with women, namely her best friend Abby (Sarah Paulson), who has remained a constant in her life after their romance ended. Blanchett takes control of the screen and is so captivating with every glance and word. There is an inevitable sadness that surrounds Carol even as she embarks on her love affair with Therese as she knows that the chances of their relationship surviving against the 1950s society isn’t likely. Her maturity and knowledge of the world allows her to be a mentor of sorts towards Therese as she knows how she is feeling.

Rooney Mara’s performance as Therese is the audience’s way into the events of the film as hers is the primary perspective throughout the film save for one or two scenes regarding the custody of Carol’s young daughter. Mara won the Best Actress Award at Cannes Film Festival and it’s easy to see where. Therese is at a very conflicting time in her life. Where Carol is assured and secure in her own sexuality, Therese doesn’t quite know what she wants or even understand her feelings at first. As the film unfolds, Therese becomes more confident and independent, breaking off her relationship with partner, Richard and focuses on her career and blossoming relationship with Carol.

Overall, I really recommend you check Carol out if you haven’t seen it. I can’t count how many times I have watched it despite it only being a few years old but I always found something new to focus on whether that is the score or set design. A film that was sorely overlooked by the Academy when it came to the Oscars, Carol will no doubt be a film that critics and film buffs will be looking back on fondly.

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

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91st Academy Awards – Technical Awards

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My last blog on this year’s Oscars concludes with the Technical awards. This year has seen a huge number of large scale blockbusters that heavily use CGI to achieve their vision as well as smaller films that rely on using what they have. Both methods take imagination and it’s great to see films recognised across this spectrum.
Just in case you want to read my other blogs on this year’s Oscars, I’ll put the links below here:
Acting Awards
Creative Awards – Part 1
Creative Awards – Part 2
Creative Awards – Part 3
Here is my roundup of this year’s technology award winners!

Best Visual Effects
It seemed that Black Panther was the favourite to take this award home but the team for Neil Armstrong biopic First Man won. I feel that this film was deeply overlooked in various categories, particularly sound editing and this one throughout awards season but to see it recognised for its terrifically executed effects was deserved. I don’t think I have ever felt so claustrophobic watching a film before but this film managed to accomplish this from the first scene. Although the cast was the main talking point for this film on its release, I think that the visual effects were the standout feature of this film.

Best Sound Editing
I was happy to see First Man nominated in this category but given that it was up against box office smash Bohemian Rhapsody, I knew that it would lose. Personally, I feel that First Man should have taken this home but Bohemian Rhapsody is a film that relies heavily on its sound editing. I think that First Man used sound in a way that I hadn’t expected or seen before.


Best Sound Mixing
Again, Bohemian Rhapsody was the expected winner here and didn’t disappoint. I was happy with the win considering how they utilised mixing the Rami Malek’s vocals with Freddie’s so it wasn’t simply a case of Malek lip syncing his way through the film. It helped enhance Malek’s amazing performance and I think the win in this category was thoroughly deserved.

Best Editing
A lot of wins for Bohemian Rhapsody in the categories in this blog and this is the one of the film’s wins that I strongly disagreed with personally. I think that my main problem with the film as a whole was its editing. There were scenes that consisted of numerous cuts that made the film jittery. The film on the whole doesn’t flow well because it is badly paced and the editing is one of the main contributors to this problem. I thought that Hank Corwin should have won this category for his brilliant editing in Vice. It was innovative and unexpected, keeping the audience in a state of discomfort as we didn’t know what would happen next. The editing in Vice reflected the erratic nature of its subject and I think it conveys this fantastically.

Best Cinematography
Without a shadow of a doubt, this was Alfonso Cuaron’s for the taking and he won it completely deservedly for Roma. He manages to convey the problems of a Mexican classist society by keeping the focus solely on protagonist Cleo. Cleo becomes an embodiment of the working class female and the struggles of living a life that seems to be against her. Her story is told in black and white but the film is anything but. It teeters on a spectrum of emotions as we see Cleo in her darkest moments as well as her happier times as she navigates a pregnancy. Cleo’s friendship with her employer is beautifully conveyed as well as the two women bond over their mutual struggles.

That’s it for my Oscars roundup! What did you think of this year’s ceremony? Leave your comments below!

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91st Academy Awards – Creative Awards (Part 2)

Continuing my roundup of this year’s Oscars, I will be discussing more of the Creative awards handed out on Sunday night. In my first blog I spoke about the acting awards (here) and the following posts looked at the creative awards (here). The array of topics from the winners and nominees show just how varied this year has been internationally. Without further ado, here’s my take on Best Animated Short, Best Live Action Short, Best Short Documentary, Best Documentary, Best Animated Feature and Best Foreign Film.

Best Animated Short Film

It was obvious that this gong would go to Pixar short Bao. The first Pixar short created by women, it tells the story of a mother-son relationship between a woman and a dumpling. It is a beautiful metaphor that shows the ups and downs of family life as Bao grows up and eventually starts to make questionable life choices. This film wasn’t for everyone and it’s understandable why but I loved it and thought it was a very touching and maternal piece of work. It brought something new to the table at Pixar, whose repertoire as of late has consisted of sequels and prequels and showed why audiences fell in love with it in the first place by injecting the passion and originality voiced by the animators and artists who work there.

Best Live Action Short

The winner of this award was Skin, a story of modern day racism in American which follows a Neo-Nazi who is kidnapped by a group of African Americans after organising a racial attack of his own and he is then tattooed completely black. The win in this category shows the importance to tell stories about the racial divide that still exists today.

Best Short Documentary

Nothing felt better for my feminist heart than seeing a crowd of women fill the stage to accept an Oscar for a film about menstruation. Period. End of Sentence explores women living in India whose education had been cut short due to their periods due to a lack of access to sanitary pads. A group of women team up and begin to manufacture sanitary pads so young girls and women can go to school and worship at temples. It is a brilliant insight into global inequality and puts to rest the patriarchal belief that gender equality exists. It also opens the gate for non-white female filmmakers to talk about subjects that are considered taboo in the same vein as Pakistani filmmaker, Sharmeen Obaid whose film, A Girl in the River: The Price of Forgiveness that explores the so-called honour killings in her home country previously won an Oscar in the same category three years ago. The bravery that these women have to exploit these issues shows how powerful the medium of film is in communicating these topics to a society that tends to cover it’s ears to the problem.

Best Documentary

Free Solo follows rock climber Alex Honnold as he attempts to free climb El Capitan in Yosemite National Park. The filming itself proved to be a challenge as the production team had to ensure that Honnold was in no way hindered by bulky microphones or other film equipment. To do this they had a sound technician who knew how to rock climb and climbed alongside him. This is shows real innovation in filmmaking and brings a unique angle on this story rather than just having cameras at the top and bottom of the mountain.

Best Animated Feature

This year saw a welcome departure from the usual Disney win with Spider-Man: Into the Spider-Verse winning the gong. It proved to be hugely popular mainly due to its inclusiveness in narrative as well as the animation itself which differs from the usual large-eyed computer animation that we have become accustomed to. This year also saw Wes Anderson’s return to animation with Isle of Dogs which was absolutely brilliant. Although not as strong as Fantastic Mr. Fox, Isle of Dogs gave the most star-studded cast from any of this year’s films and injected it into a tale about the love between a young boy and his dog.

Best Foreign Film

This category was one of the big competitions of the night. The pundits rightly put their money on Mexico’s entry, Roma, but it would be wrong to ignore the ferociously strong competition from Poland’s Cold War and Japan’s Palme d’Or winning Shoplifters. This year was a tremendous year for international film and I think Roma’s popularity specifically proves that mainstream audiences want to see non-English language films. There’s been a lot of debate on whether Roma should even qualify for awards season given that it is a Netflix film but I personally feel that using streaming it on Netflix means that millions of people will have a chance to watch a film that they may not ordinarily watch. I do think this debate played apart to its loss in the Best Picture race as I feel that the Academy may have felt that the Best Foreign Film win would suffice; however, there is no doubt that Roma was one of the most discussed films of the year and it won’t easily be forgotten.

That’s it for my second Creative awards roundup. My next post will look at the last batch of Creative awards: best song, best score, best costume design, best makeup and best Production design.

What do you think of the winners? Do you agree? Let me know in the comments below!

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91st Academy Awards – Creative Awards (Part 1)

For this segment of my Oscars 2019 roundup, I am looking at the four “big” categories in the creative department – both adapted and original screenplays, director and best picture. I have previously discussed my thoughts on the acting categories here. The screenplay categories are my favourite categories in the whole of awards season and this year provided an array of offerings from industry veterans and newcomers alike but ultimately we saw the veterans win the day.

Best Adapted Screenplay

Blackkklansman was one of my favourite films of this awards circuit. I knew it didn’t really stand a chance against the other Best Picture nominees that appeared to be more popular so seeing this great film recognised for its killer script was a great feat and to see the genius Spike Lee win an Oscar in competition was one of my personal highlights of the ceremony. This truly was his moment and although set in the 70s, the script seemed as though it could have been set this year. The timelessness shows not only his skill as a filmmaker but also breaks the illusion that we live in a society that is “equal” or “more equal” to make ourselves feel better. Spike uses this film as a vehicle to hold the mirror up to society through techniques such as combining footage from the news today with racist propaganda film The Birth of a Nation. The protagonist is the only black policeman in his unit so we get to see how he is treated within the African American community as well as the white men in power.

This script was my pick by far for the adapted screenplay award so I am thrilled that it won.

Best Original Screenplay

This winner was both a surprise and a disappointment in my personal opinion. Peter Farrelly won for the script for Green Book which was a very mixed film for me. My main issue with the film was its script. The story was lifted by the charisma of the actors rather by being lifted by the words they were saying. Viggo Mortensen and Mahershala Ali did a fantastic job of carrying the film but sadly it seemed that they were driving a cardboard car rather than a real one.

My pipedream is to one day win the gong in this category so it tends to be the one I follow the most. My vote would have gone to The Favourite. The humour and depth of all three leads is unlike anything I have seen and to see a film treat three women with such vigour and respect was really refreshing. In my eyes, this was one of the major robs of the night.

Best Director

There was no doubt that Alfonso Cuaron would take the trophy home for Best Director. Whether or not Roma was to everyone’s liking, it cannot be doubted that this was the film Cuaron was born to make and could only be made by him. The vision was truly his as he took over practically every aspect of production including cinematography (which he also won) and co-editing. It’s rare that a film brings a first time actor award attention yet Cuaron created a star in the form of film lead Yalitza Aparicio, a recently graduated teacher who had no plans to enter acting and happened upon the audition by chance. Within the last six Academy Awards, Mexican filmmakers have won this gong with this being Cuaron’s second win in this category. In an industry where diversity still has a way to go, those statistics show good promise for the future of film.

Although Cuaron undoubtedly deserved his win, my personal pick would have been Yorgos Lanthimos for The Favourite but I knew Cuaron would take the gold and I am really happy for Roma’s success. Also, considering Lathimos had been largely left out of the director races for other awards, I was thrilled that he received a director nomination at all.

Best Picture

Now for the big one! We know the eventual winner of the big prize (Best Picture) went to Farrelly’s Green Book which some have viewed as deserving but others have already deemed will go down as one of the biggest mistakes in the Academy’s history. I think it’s too early to see whether it’s one of the biggest mistakes in the Oscars history but I do think it was the wrong choice. Usually this category tends to be a race between two (sometimes three) films but there was an array of films that had a chance this year all for different reasons. Green Book was among these but given that it was being consistently recognised for Mahershala Ali’s performance which I think is a huge bulk of its eventual win in this category, I didn’t think it would actually take it. I do feel strongly that this award should have gone to Roma or The Favourite because these films were experimental and yet had a lot of heart and love in them. I’m not sure I felt the same way about Green Book. As I said above, the script was too bland for my liking but also the context of production put me off. The fact that the film has all white male producers, director and screenwriters is already problematic. How do you make a film about the black American experience without a major black figure of authority behind the camera? I know I speak from a white female perspective but it just seemed so strange to me when you had other films in the mix such as Blackkklansman and Black Panther which proved to be popular with audiences and critics alike. On another note, I really feel that If Beale Street Could Talk should have been included in the nominees and considering films like Bohemian Rhapsody were included, there’s no reason why it was omitted.

I would have loved to see The Favourite or Roma take this award. I felt more of a connection with them. Both were films that stretch the imagination and remind me why I love films so much.

That’s it for this post. My next blog will look at another batch of creative awards including Best Animated Feature, Best Documentary Feature and Best Foreign Film as well as the shorts.

What did you think of the winners and losers in these categories? Do you agree? Let me know in the comments below!

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91st Academy Awards – Acting Awards

So Sunday night was the 91st Academy Awards and as usual, I stayed up for them so suffice to say I am still recovering!

The night was full of expected wins (here’s looking at you “Shallow”) and even more surprises. Given that there is a lot of debate regarding the awards (particularly the Best Picture winner Green Book), I thought I would give my opinion on some of the awards. In this post, I will be discussing the acting awards.

Best Supporting Actress
By this point in awards season, it appeared to be Regina King’s Oscar to lose and she didn’t disappoint, claiming the Best Supporting Actress gong for her nuanced turn in Barry Jenkins’s brilliant adaptation of James Baldwin’s If Beale Street Could Talk. It was a performance that allowed King to shine as the matriarch who is determined to fight for justice for her daughter’s partner in jail. It was nice to see this film recognised because it was wrongly snubbed in major categories including Best Picture which had rightly caused a furore on social media.

This category was full of strong competition, particularly from Rachel Weisz’s incredible performance as Lady Sarah in The Favourite. She had won the BAFTA a couple of weeks ago and personally, she would have been my first choice for the award. That being said, it is wonderful seeing King being recognised in film after a long absence from the big screen.

Best Supporting Actor
Much like King, this was Mahershala Ali’s for the taking. Having won the same award two years ago for his stellar turn in Barry Jenkins’s Moonlight, his acting talents are still very much fresh in Hollywood’s mind and he continued his winning streak as the genius Dr Shirley in feel-good piece Green Book. Admittedly, I didn’t really get on with this film as a whole (I will explain more later) but the performance Mahershala gives cannot be ignored nor his win argued. He is brilliant playing the pianist touring the deep south chauffered by Tony, a white New York Italian security guard who proves to be Dr Shirley’s polar opposite performed brilliantly by Viggo Mortensen. Ali brings such an elegance and grace to his performance showcasing the struggle of Dr Shirley.
Having swept every supporting actor award, this was one of the expected wins; however, I can’t not mention Richard E. Grant who has been charming the globe with his enthusiasm this season and bringing a much needed injection of joy that the film industry needs during the politically turbulent backdrop. That being said, Mahershala was my choice to win and he has continued to cement his status as one of the greats.

Best Leading Actor
Like the two previous awards, this gong also had a clear frontrunner in the form of Rami Malek for his performance of Freddie Mercury in the audience favourite Bohemian Rhapsody. I have been a fan of Rami’s since his supporting turn in The Master and knew it was only a matter of time before he achieved even more success which came from his appearances on TV in Mr Robot. His performance as Freddie was clearly no easy feat as the film had a very troubled production due to allegations against director Bryan Singer. I have to be honest, I wasn’t a fan of the film as a whole. I wish I loved it because I am a huge fan of Queen and Malek but the script was poor and pacing was all over the place. I do believe that it is Malek’s performance that carries the whole film and the charisma that made it so enjoyable for audiences.

I do think that while this performance was a huge hit with critics and audiences, there were other performances in the same category that I feel were more deserving. I also feel that we’re going to see Malek in even better roles in the future. Personally, my vote would have gone to Bradley Cooper for his performance as fading country star Jackson Maine in his directorial debut, A Star is Born. Not only is it his best performance to date, it is a turn that proves how timeless the film’s plot is while discussing current themes in the 21st century.

Best Leading Actress
My favourite category of the night (pun intended). The best surprise of the night saw Olivia Colman win for her portrayal of Queen Anne in Yorgos Lanthimos’ phenomenal The Favourite. I can’t even begin to explain how much I enjoyed this film. It was flawless in every way from the script to the make-up and of course, the cast particularly the three leading ladies (Olivia Colman, Rachel Weisz and Emma Stone). Olivia was my pick for the gong the whole way through awards season. As much as I love Glenn Close, I felt that giving her the award would be more of a celebration of her entire career rather than her performance in The Wife specifically. Of course, Close doesn’t ever put a foot wrong, there’s a reason why she has led such a successful career but this felt that it was more about her previous Oscar losses in the past. What was even better was Colman’s reaction and speech. She was clearly just as shocked as everyone else at her win but she showed exactly why she has captured everyone’s heart. It’s so wonderful to think that “Sophie from Peep Show” has become a Hollywood Leading Lady.

Now as I said, Colman was my choice for this award. She is flawless in every role she takes whether it is a small British sitcom or a big Hollywood film. She brings a nuanced humour that also has a depth to it and makes even the smallest character three dimensional. I am so excited to see what she does next. I am also certain that Glenn’s big Oscar moment will come eventually and it will be for a performance as memorable as Fatal Attraction. I also feel like I should give a shout-out to Melissa McCarthy’s career defining turn in Can You Ever Forgive Me? which showcased McCarthy’s range and allowed her to break out of the comedic trope that she is known for.

That’s it for my acting awards roundup. What did you think of the acting award winners? Let me know in the comments below!

My next blog will look at the original and adapted screenplays, director and Best Picture awards.