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Sorry to Bother You (2018)

Another film that I have been meaning to see since its release, Sorry to Bother You is a brilliant study of capitalism in modern day America. Written and directed by Boots Riley in a fantastic debut, we follow Cassius “Cash” Green (Lakeith Stanfield) as he starts a career in RegalView, a telemarketing centre and his rise to the top after using his “white voice” to appeal to white middle-class America. His friends at RegalView, Squeeze (Steven Yeun) and Salvador (Jermaine Fowler) start a union to get basic benefits as the workers only receive commission. Cash quickly becomes a “Power Caller” and is taken to the top floor where he is tasked with selling slave labour on behalf of corrupt company, WorryFree, to large corporations around the world. In a society where money talks, we see Cash’s struggle intensify as he has to choose between security and his relationship with his girlfriend, Detroit (Tessa Thompson). The film flits between genres flawlessly, drifting from comedy to drama to science-fiction in a matter of seconds. It’s refusal to slot into a specific box and the ability to feel relevant shows Riley’s talent for screenwriting. There is so much going on in this film that adds layers and layers of subtext and it’s a testament to the racist and classist struggle that underlies modern society.

First thing to discuss is the direction and script. Despite the film being his directorial debut, Riley brings a film that looks as though he has done this for years. His vision is crystal clear right down to the colours of the doors. The film opens on Cash’s interview at RegalView as he attempts to blag his way to the entry job. He unsuccessful carries out a flamboyant lie which sees him take a huge trophy and employee of the month frame that he had made to make himself seem more impressive. From the get go, Riley establishes Cash as someone who is willing to do what it takes to achieve the American Dream. The capitalist aspect of this film is at the forefront but there are the racist undertones which are made more explicit as Cash finds himself among a rich, white society. Even at the point when he has achieved more than his colleagues on the bottom and top floors, he is still viewed as an outsider.

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This brings me onto the cast who all do a brilliant job, particularly Stanfield and Thompson. The chemistry they have is so natural and the audience feels the intensity when the relationship becomes strained. Cash’s conflict with identity and finding a purpose is one that resonates with a lot of people. He doesn’t fit in with any particular group of people and any stereotypes that society has of black people don’t fit at all. Detroit is an artist who is certain of her identity and has a clear view of the world. There is a literal divide for the characters as the morally sound people populate the bottom floor and live for pennies and the corrupt group working upstairs live extremely privileged lifestyles. We see in a matter of seconds Cash’s life shift as the material items are replaced more luxurious goods such as his car. The film’s dynamic editing is quickfire and snappy to portray the large scale changes that money can make. These material items and the apartment Cash buys detaches him further and further away from his friends. He soon begins to use his “white voice” without realising as his work persona starts to take over and change his personality. 

The point of view in the film is fairly radical in its ideas and the issues it raises are important. We see a Leftist group attempt to fight a large corporation who deal with trading weaponry and slave labour to other countries. Modern society looks at the history of slavery with disgust and yet those at the top are competing to have a slice of the pie when WorryFree’s plan for slave labour piques the interest of the powerful due to low cost and high productivity. Riley is quick to remind the audiences that the problems society had in the past haven’t truly gone away and that it merely embarks a different and more modern disguise. The idea of the call centre and sticking to the script literally brainwashes its employees and forces them to conform to an ideal that fits a white middle-class America. The Leftist group are made to look wild and are even mocked when they throw cans at the staff who try to enter the building with one particular can hitting Cash and giving him a huge cut on his head throughout the film. The wound becomes symbolic of his betrayal to the cause and the physical and metaphorical damage that has been caused by his willingness to partake in the selling of slave labour.

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Overall, this is a very strong film with a clear point of view that is important and relevant. It’s a shame that this didn’t get a wider release as I think this is a film that explores difficult themes in a unique way that pushes boundaries in a similar way that Get Out did.

What did you think of Sorry to Bother You? I’m assuming it’s positive because the film is bloody incredible! Let me know in the comments below!

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The Lord of the Rings Trilogy (2001-2003)

Continuing on in my Favourite Film series, this post looks at the films that opened my eyes to filmmaking and made me realise my passion for film. Based on the huge novel by J.R.R Tolkien, The Lord of the Rings trilogy consists of Fellowship of the Ring, The Two Towers and The Return of the King and follows Frodo Baggins (Elijah Wood), a respected hobbit who lives with his adventurous Uncle Bilbo (Ian Holm) who is forced to carry the One Ring to Mordor where he must destroy it in the fires of Mount Doom before the evil Lord Sauron claims the Ring and uses it to rule over Middle Earth. Frodo is accompanied by the Fellowship that consist of his best friend, Samwise Gamgee (Sean Astin), fellow hobbits Merry (Dominic Monaghan) and Pippin (Billy Boyd), men Aragorn (Viggo Mortensen) and Boromir (Sean Bean), elf Legolas (Orlando Bloom), dwarf Gimli (John Rhys-Davies) and wizard Gandalf (Ian McKellen), Frodo must resist the lure of the ring and cross Middle Earth in a bid to save mankind from ruin. The trilogy also features a strong supporting cast with Hugo Weaving as elf Lord Elrond, Liv Tyler as his daughter Arwen who is Aragorn’s love interest and Miranda Otto in badass form as Éowyn. I know it seems a bit unfair to cram the whole trilogy in one post but it is impossible not to consider the vast achievement and scope that Peter Jackson has achieved.

It cannot be underestimated how well these films did upon release. The trilogy well surpassed the $1 billion mark and became instantly iconic around the world with masses of people en route to the premieres at their local cinemas. All three won big come award time with Fellowship of the Ring winning four Academy Awards, The Two Towers winning seven and The Return of the King sweeping the board with eleven nominations and eleven wins, tying with Ben-Hur (1959) and Titanic (1997) for the most wins at the Oscars. All three were critical and commercial smashes and boasted a spectacle despite being a film with fairly indie roots. It was different from other mainstream films because of this and I think the story’s message of fighting for good and friendship is one that resonates with a lot of people.

The cinematic releases see the films lengths at a minimum of 150 minutes per film but the extended editions bring the total running time an amazing 12 hours and what a 12 hours it is. The film achieved critical and commercial success upon release, has dated extremely well and remains one of the best loved franchises in history. Everything about it is perfect to me. I think it is a brilliant adaptation of the books and think the changes and omissions that were made were completely justified for the big screen. I know some people have trouble with the multiple endings at the end of the third film but remember that it is the end of one extremely long epic and that the ends need to be tied nicely. I think it’s a credit to the brilliant screenplays written by Jackson, Fran Walsh and Philippa Boyens that each member of the Fellowship is loved and has their own story. The films are so spectacular and huge that it becomes an immersive experience for the viewer. Jackson contrasts this with moments charged with emotion such as Sam’s speech at the end of The Two Towers which gives the film its heart and separates it from other blockbuster films that have come before it. I couldn’t tell you how many times I have watched these films and I am still noticing new things every time. It’s such a rewarding experience to watch these films and I think Jackson’s direction captures the imagination that Tolkien gives in the novels perfectly.

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The film is cast brilliantly. There are three main storylines when the Fellowship splits with one following Frodo and Sam, another following Merry and Pippin and the third following Aragorn, Legolas and Gimli. Each actor embodies their character personally, particularly Mortensen and McKellen as Aragorn and Gandalf, respectively. Aragorn’s transition from outlaw Strider to the King is amazing as we see him emerge from the shadows and take the lead in the Battle of Helm’s Deep in The Two Towers (I will be discussing Helm’s Deep in further detail soon). On the other hand, we see Gandalf undergo a physical transformation as we shifts from being Gandalf the Grey to Gandalf the White, giving him even stronger powers. Frodo’s development from a hobbit who has never left the Shire to crossing lands and encountering creatures that he would never have seen before. Much like his Uncle Bilbo, Frodo’s sense of what is right helps to combat his fears but his morality is tested when the manipulative Gollum (Andy Serkis) “assists” in helping him reach Mordor. The rapport between the cast offscreen is reflected onscreen and makes for great viewing in scenes such as the Fellowship’s inception and the scenes when they are forced to split up. The intensity of the Fellowship’s bond is so strong and the direction is so intricate that the audience feels as though they are going on the same journey. When watching the climactic scene of The Return of the King unfold, you can’t help but feel relieved when everything is over.

One of the aspects that also makes these films so spectacular are the special effects which are provided by WETA. Led by the amazing Richard Taylor, CGI is only used when an effect is humanly impossible. The behind-the-scenes on the extended editions are fantastic and well worth watching as we watch the creation of Middle Earth unfold. Richard Taylor is the best of the best when it comes to special effects (his multiple Oscars reflect this) and his team are super brilliant and creative. From the intricate details in the designs and the make-up, every single aspect of the film is thought out and executed beautifully. Taylor and his team tie together the make-up, the props and the special effects together that enhances the fantastical elements in the film. Even the effort that goes into collecting short sounds for sound editing and mixing and the process behind it is remarkable to watch. Seeing the passion and the heart that the crew put into the film is touching as everyone has a respect for each other no matter what job they do. Howard Shore’s score for the trilogy is also something that seems revolutionary and new in film. Somehow, he captures the tone perfectly and created that perfect violin solo for “History of the Ring” that is instantly synonymous with the film itself. My favourite piece in the trilogy is “Riders of Rohan” from The Two Towers because it captures that anticipation for battle perfectly and grandeur of marching. The use of delicate strings contrasting with a strong brass sound helps to elevate the film to its epic heights. Shore is one of the best film composers out there and he knocks it out of the park with these scores.

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I don’t think I could justify discussing these films in length and not bring up the brilliance in structure and execution of the major battle scenes. Helm’s Deep in The Two Towers is probably the best battle in film history. Everything about it is remarkable from the set design to the intricate detailing in the costumes and props and then the performances are on top form to boot. It comes at a point in the story where Sauron has managed to accumulate a large 100,000 strong Orc army thanks to the evil Wizard, Saruman (Christopher Lee). The odds are stacked against the soldiers of Rohan but they still vow to battle until the very end. The arrival of the elves from Lothlórien, led by Haldir (Craig Parker), marks a significant shift in the Middle Earth universe as elves infamously refuse to involve themselves in war but the threat of darkness forces them to fight alongside. It makes for an epic battle and one of the most devastating deaths in the trilogy as Haldir meets his end defending Aragorn. Other scenes that are remarkable include Boromir’s death in Fellowship of the Ring which I remember being the first death that I encountered in film and being perplexed that a “good guy” could die in a film. The great thing about The Lord of the Rings trilogy is that it does not patronise the audience but it is suitable for all audiences (maybe not smaller children but from around 6/7 upwards). Even the ending is bittersweet as Frodo sails off for the Undying Lands, leaving the others forever. It isn’t afraid to delve into serious topics while remaining in that fantasy universe and being larger than life.

I would be lying if I said that these films didn’t change my life and my outlook on film. I watch the extended editions every few months and fall in love more and more. There is a strong argument that they are among the greatest films in history and deserve their place one of the most renowned series for its depth and scope. I remember seeing them for the first time in the cinema and being scared and in awe at the same time. I was so captivated that I would watch them on a loop for months on end. It’s amazing to think that these films were such a huge part of my childhood but they are so important to me and I’ll never stop loving them.

What do you think of the The Lord of the Rings? Which installment is your favourite? Let me know in the comments below!

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Disney Animated Classics: Numbers 46-50 Ranking

This post has been a long one coming as I have been slow reviewing and uploading this series of posts but we are almost there. This is the penultimate post before we are completely up to date just in time for the upcoming release of the much-hyped Frozen II. After featuring Disney during its slump, we see the last of it here and begin to move forward into the era of today known as the Revival. I can’t believe we’re almost at the end but some of the films in this list, I have watched countless times.

As ever you can read the previous instalments here:

Films 1-5

Films 6-10

Films 11-15

Films 16-20

Films 21-25

Films 26-30

Films 31-35

Films 36-40

Films 41-45

With the introduction of the new era, we begin to see Disney pushing itself into the 21st century and reflecting the politics and society of today. With that in mind we begin to see a reintroduction to new Disney princesses who are more diverse and independent, inclusion of characters of different races and backgrounds. Disney has a long way to go with this as we eagerly await the first openly LGBT+ character in an animated film from them whereas other animation studios such as Laika have been more inclusive and fearless. However, the films in this list show Disney starting to go in the right direction.

Here’s the reviews for films 46-50:

46) Chicken Little (2005)

This film was everywhere on its release and marked a start for Disney beginning to incorporate computer animation more in its repertoire. The result, however, was extremely disappointing. Chicken Little sees Zach Braff as the titular character who convinces his town that the sky is falling and becomes a laughing stock. What the townspeople don’t know is that it is actually true and the town is on the brink of an alien invasion. The story itself is sweet but what lets it down is the animation, poor character development and overly tortured dialogue. The film reeks of noughties trends and tries so hard to be relevant that it becomes cringy to watch. The character of Chicken Little isn’t particularly well-rounded as he spends most of the film falling over or not communicating properly with other characters, mainly his father. Unlike Pixar, the animation doesn’t feel as modern as it should be (Pixar released The Incredibles in 2004 for comparison) and it seems that the plot is disjointed and isn’t pulled off as they imagined. The film did well commercially but not critically and I think that the team did take this on board. There’s a reason that we don’t see or hear of Chicken Little at the Disney Parks and I don’t think it’d even be considered for a reboot at any point. This definitely seems like Disney’s lowest point.

47) Meet the Robinsons (2007)

This was an interesting film for me to watch as I had only just seen it the once previously. Following orphan Lewis whose inventions prevent him from being adopted, he invents a machine to help him remember his mother’s face. At a science fair to debut this project, he is encountered by Wilbur Robinson, a teenager from the future who tells Lewis that the future is in jeopardy if his machine is stolen. Inspired by Tomorrowland at Disney’s park and using Disney’s philosophy “keep moving forward”, the film has a beautiful story and message but sadly it is overwhelmed by one dimensional characters and a strained first act. On rewatching, I did like the film a lot more than the first time but to me it is on the lower tier of Disney films. This is only because there is an abundance of characters and none of them feel really well-rounded. The animation is also problematic at times although a big improvement on Chicken Little. Scenes such as the incident with his peanut butter and jelly gun looks out of place and doesn’t match the aesthetic of the film.

48) Bolt (2008)

It seems hard to believe that Bolt was released a year after Meet the Robinsons. The animation looks so much more advanced and it feels like Disney going back to its original formula while pushing the studio into the future with the critical success that they had hoped for Chicken Little. Bolt (voiced by John Travolta) is a Hollywood stunt dog with his own TV show with his owner, Penny (voiced by Miley Cyrus). When he is mistakenly shipped to New York, he must team up with Mittens the cat and Rhino the hamster to reunite with Penny in Hollywood. The plot is a simple road movie and Disney goes back to using a big star ensemble to draw in the audiences but it works. It’s a film that shows that Disney are capable of bringing quality and heart to their films and starts to mark their presence in the 21st century in a computer animated dominated landscape. The soundtrack is another highlight for this film with the closing song “I Thought I Lost You” sung by Travolta and Cyrus a nice ending and ridiculously catchy.

49) The Princess and the Frog (2009)

After a few unsuccessful attempts at computer animation, Disney returned to hand-drawn animation for this seemingly classic retelling of The Princess and the Frog. Set in 1920s New Orleans, waitress Tiana kisses Prince Naveen, a talking frog, and is ultimately turned into one herself. Together, Tiana and Naveen have to figure out how to undo the curse before they run out of time and become frogs forever. This film was a significant step in Disney history as it features Disney’s first black princess. Unlike the previous films of the 2000s, the film feels sincere and harks back to the classic fairytales and yet sits nicely in a 21st century landscape. The soundtrack is standout and Facilier is one of the scariest villains in Disney history. The animation also feels traditional with its bright New Orleans carnival colours mixed with the Bayou landscape. It’s a gorgeous film that is a true testament to Disney getting itself back on track. There’s great character development and a nice cast of characters who are also developed, particularly friendly firefly, Ray and the jazz loving alligator, Louis.

50) Tangled (2010)

My favourite film on this particular post, Tangled is a quirky retelling of Rapunzel, a princess with long hair who is locked away in a tower. In this film, Rapunzel (voiced by Mandy Moore) is an anxiety-ridden young woman seeking adventure who, along with her sidekick, chameleon Pascal, heads on a quest to visit the “floating lights” with outlaw Flynn (voiced by Zacahary Levi). The animation is fantastic, the soundtrack is beautiful and the film as a whole knocks it out the park. It’s a shame that this was released the same year as Toy Story 3 which outshadowed every animated film that year. Fortunately, Tangled has succeeded in maintaining a legacy and a loyalty among fans with merchandise constantly updated and appearances by the characters in the parks. I think that “I See the Light” is one of the best songs and scenes in Disney history. Everything about it is perfection and brings what we love about Disney films to the surface. The animation of the lanterns and the accompanying scenes in the kingdom are amazingly detailed and filled with texture. It’s one of the most popular modern DIsney films for a reason and deserves more than one watch.

That’s the end of the penultimate post with one extended post to go for films 51-57. We’re deep into the Revival now and the next post features the first non-Pixar Disney films to win the Best Animated Feature Award at the Oscars showing that they are at the height of their game. The next post sees Disney venture into reboots, sequels and originals that vary in topics such as friendship, love and isolation.

I promise I will try to be quick with uploading the next post so I can be up to date and ready to see where Frozen II will slot into the list.

Here is my ranking:

1) Snow White and the Seven Dwarfs (1937)

2) Fantasia (1940)

3) Beauty and the Beast (1991)

4) Sleeping Beauty (1959)

5) Bambi (1942)

6) The Many Adventures of Winnie the Pooh (1977)

7) The Lion King (1994)

8) Mulan (1998)

9) The Little Mermaid (1989)

10) Tangled (2010)

11) Alice in Wonderland (1951)

12) Aladdin (1992)

13) The Aristocats (1971)

14) One Hundred and One Dalmatians (1961)

15) The Emperor’s New Groove (2000)

16) The Hunchback of Notre Dame (1996)

17) Lilo & Stitch (2002)

18) The Princess and the Frog (2009)

19) Peter Pan (1953)

20) The Three Caballeros (1945)

21) Pinocchio (1940)

22) Pocahontas (1995)

23) Tarzan (1999)

24) Dumbo (1941)

25) Hercules (1997)

26) The Black Cauldron (1985)

27) Atlantis: the Lost Empire (2001)

28) The Great Mouse Detective (1986)

29) Treasure Planet (2002)

30) Brother Bear (2003)

31) The Jungle Book (1967)

32) The Sword in the Stone (1963)

33) Cinderella (1950)

34) Bolt (2008)

35) The Rescuers (1977)

36) Robin Hood (1973)

37) Oliver & Company (1988)

38) Lady and the Tramp (1955)

39) The Fox and the Hound (1981)

40) Fun and Fancy Free (1947)

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

42) Saludos Amigos (1943)

43) Melody Time (1948)

44) Fantasia 2000 (2000)

45) The Rescuers Down Under (1990)

46) Make Mine Music (1946)

47) Meet the Robinsons (2007)

48) Home on the Range (2004)

49) Dinosaur (2000)

50) Chicken Little (2005)

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

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Top 5 Viola Davis Performances

A reigning Queen of the Silver Screen, Viola Davis is a titan of acting who shows us time and time again that she really is among the best of the best. She is also the first black actress to receive the Triple Crown of Acting. She is renowned for her grace and poise, she fights for what she believes in and only takes on roles that she wants. She is an icon in a number of different ways but for me, it is her passion for acting and determination to get to the heart of her characters that really stands out for me. You can tell that she truly loves what she does and that she puts herself into the characters whether it be an FBI agent in Suicide Squad, the mother of a missing child in Prisoners or a woman broken by a society that cripples her family because of the colour of their skin in Fences. I can’t even begin to say how much I love VIola Davis as an actress and activist

As ever, these posts delve into film performances so even though her inputs in projects such as the TV series How to Get Away With Murder are incredible, they won’t be added in the list. This also makes it a bit easier when picking the performances for my list.

Here are my top 5 performances in chronological order:

Doubt (2008)

The breakthrough performance that cemented Davis’ career onscreen, Doubt is a star-studded film that features iconic stars Meryl Streep, Amy Adams and Philip Seymour Hoffman, who all received Oscar nominations for their performances. Following Sister Aloysius (Streep) and Sister James (Adams) as they plot to bring down Father Flynn (Hoffman) who is suspected of molesting the school’s first black student. What was the most heartwrenching scene to come from this film was the performance from Viola Davis, an actress who had made her name on TV and the stage but had not broken into the film industry just yet. Her performance as Mrs. Miller, the mother of the abused child, is small but captivating as she struggles with the truth and her faith. It’s a pained performance that holds its ground against three of the best actors in modern times. Davis’ character admits that she would overlook the abuse if it meant that her son could still attend the school and escape from the socioeconomic background that he would be subjected to were he not attending. In one scene she becomes a parent torn by the abuse of secular and religious authorities. She knows that it is a world where they cannot win without suffering and the heartbreak of that realisation sits with you for the duration of the film.

The Help (2011)

Now for the film that solidified Davis as a leading star and should have won her an Academy Award (let’s not even get into that one). I am aware that The Help is a controversial film to put in here and it is completely understandable. The film sadly follows white saviour tropes as Emma Stone’s character, Eugenia “Skeeter” Phelan, helps to expose the abuse that the black maids in Jackson have received. The maids that she initially speak to are Aibileen Clark (Davis) and Minny Jackson (Octavia Spencer) who both provide brilliant performances. I know that sadly these kinds of roles feed into prejudice perceptions of non-white actors who are often delegated to subservient characters. I remember watching this film for the first time and absolutely loving the characters and how much they fight back. The film definitely has its flaws but both Davis and Spencer shine and earn their acclaim. Both characters are brilliantly developed and the scenes with the two of them in are fantastic. Davis has such a presence and says so much with a facial expression. Her performance as Aibileen is a masterclass of acting and only serves as a small step in a huge career.

Prisoners (2013)

This may be an unexpected inclusion into the list but I enjoyed this film a lot. Serving as Denis Villeneuve’s English-language debut, I went into thinking it would be a typical action drama but it was so much more than that. Davis plays Nancy Birch, a woman who’s daughter is kidnapped with her best friend. It’s a film that plays out every parent’s worst nightmare and the lengths one will go to to bring back their child. Davis is maternal, fierce and conflicted when Kevin Dover (Hugh Jackman) who’s daughter also went missing finds a suspect, locks him up and begins to beat him. Nancy is a character who refuses to play by others’ rules and does what feels right to her. Although this is a supporting role, Davis still maintains that strong presence onscreen and brings her A-game in a cast that includes Jackman, Terrence Howard and Jake Gyllenhaal to name a few. Much like the conflict Davis brought in Doubt, it’s hard not to feel affected by her performance. Whereas Jackman and Gyllenhaal fit a traditional “masculine” trope, Davis is the maternal heart but brings a strength that is not often given to women in thrillers. Her involvement shows her desire to work with respected directors and actors and also shows her perseverance to choose roles that help progress to women’s roles in films.

Fences (2016)

The one that brought her all the gongs, Fences is an adaptation of August Wilson’s 1985 play of the same name and directed by her co-star, Denzel Washington, who also brings a career best. Washington refused to divert from WIlson’s script meaning that Wilson is credited as screenwriter and received a posthumous Oscar nomination. Admittedly, Washington’s reluctance to divert from the script does make the film feel a bit too stage-like at times but there is no doubt that this is Davis’ film. I honestly think that they should have gone for the Best Leading Actress awards and she would have won it but the Supporting seemed a “safe” category. She plays Rose Lee Maxson, a woman whose life revolves around satisfying the desires of her husband and their son whose goal is to play baseball. Living in a rundown neighbourhood in a deeply racist society where the odds are stacked against them, Rose does not give up and fights while her husband Troy Maxson delves deeper into madness in his failure to succeed in his American Dream. It’s a highly emotionally charged film that sees Davis go into a different league of acting that is rarely seen. She refuses to be put down by the men she takes care of despite their physical intimidation. Rose is another strong woman that Viola can add to her extensive repertoire.

Widows (2018)

The last blockbuster that Viola starred in saw her take the lead as Veronica Rawlings in Steve McQueen’s fourth feature, Widows which follows four women who plot to carry out a heist after three of their husbands died in a botched job. Veronica is the group leader who draws together the plan using a notebook that her late husband, Harry (Liam Neeson) left in a safety deposit box. The other three women played by Michelle Rodriguez, Elizabeth Debicki and Cynthia Enviro and the four together have great characterisation and rapport. It’s a film built on the strength on its performers and Davis leads with ease. It’s refreshing to see such a strong action-based role which would traditionally be taken by a white male instead being portrayed by a black woman. The film is fearless and knows its strength. Veronica is one of the best female characters in recent years. She’s deeply complex as a grieving widow, a mother who’s son was wrongly murdered due to racism in authority and a woman who knows what she has to do to survive. She shields her fragility and fuels the operation with her persistence.

I am so excited to see where Viola’s career will go next. Even in films like Suicide Squad, she was a shining star to me. She’s an actress who is consistent, likeable and bankable. She is one of the key figures to pushing for more strong female characters in film and constantly talks about the importance of women in film.

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

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Adapting Roald Dahl

There are few people who manage to capture the imagination of a global audience in the way that Roald Dahl does through his stories. Over the years we have seen numerous adaptations in a wide variety of mediums and genres through the eyes of a huge spectrum of visionaries. From directors including Danny DeVito and Tim Burton and genres stemming from Mel Stuart’s musically charged classic to Wes Anderson’s progressive stop-motion animated masterpiece. The scope of adaptations made to date only adds to the genius of Dahl’s creativity and highlights the strength of the imagination the man in the shed conjured. Watching the 1971 adaptation, Willy Wonka and the Chocolate Factory feels just as timeless as Tim Burton’s take in 2005 despite the films bringing a polar opposite aesthetic to the novel.

Originally, I was going to try and list my favourite adaptations but much like the films of directors such as Kubrick or Paul Thomas Anderson, each one is unique for particular reasons and I found it impossible to come up with a reasonable list that sums up my love for Dahl’s stories. Netflix announced in November 2018 that they were going to adapt a number of his works and the excitement and hype ever since has been astrominical. Anne Hathaway is rumoured to have been cast as the Grand High Witch (who was brilliantly played by Anjelica Huston in the original film) in their production of The Witches. This particular remake is being directed by Robert Zemeckis to boot showing the demand around these projects.

Dahl wrote both children and adult books but is probably more known for the former. However, it was his experience and openness to discuss an array of topics (including his autobiographies Boy – Tales of Childhood and Going Solo) that allows him to approach his writing with a fearlessness, bringing a new and exciting perspective to literature. Even when creating his own universes and language, Dahl never patronises the reader and I think this is what has translated so well into the film adaptations such as Nicolas Roeg’s The Witches (1990) and Danny DeVito’s Matilda (1996). Both are great examples of films that are primarily aimed at children but are perfectly suitable for adults as well. No one is excluded from a Dahl tale. Also, the nostalgic draw also undoubtedly contributes to the hype as adults of today probably read his books as children. Dahl has become synonomous with Western (particularly British) childhoods.

I am hugely excited to see what these Netflix adaptations bring as they promise to show a more faithful and darker side to the Dahl bibliography that perhaps has been left out in previous adaptations. Not that has is a bad thing as each adaptation has brought something unique in the way that Dahl has in each of his books but it’ll be interesting to see The Witches with its original ending and a Charlie and the Chocolate Factory with the right balance of book loyalty and darkness (the Tim Burton one slightly overdoes it in my opinion). I am mainly looking forward to The BFG however as that is the one that captured me most as a child. I found the giants absolutely terrifying and I am looking forward to seeing how Netflix adapt it. I enjoyed both adaptations but I feel that the Steven Speilberg take was a bit sillier than it needed to be (although I completely appreciate that The BFG as a character is rather silly). I would probably say that if pushed to choose, my favourite films adaptations would be either Willy Wonka and the Chocolate Factory (1971), The Witches (1990) or Matilda (1995) which is odd because none of the films are 100% faithful but the final cut doesn’t compromise Dahl’s vision and that is the most important thing.

Which is your favourite Roald Dahl book and/or film adaptation? Let me know in the comments below!

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Who’s Afraid of Virginia Woolf? (1966)

Based on the Edward Albee stageplay of the same name and marking Mike Nichols’ directorial debut, Who’s Afraid of Virginia Woolf? follows older couple, Martha (Elizabeth Taylor) and George (Richard Burton) as the cracks in their relationship between to crack and crumble with the arrival of newlywed couple Nick (George Segal) and Honey (Sandy Dennis). Very much like the stage production, the film itself is minimalistic and relies on the strength of the actors’ performances which is provided in spades. Elizabeth Taylor who gives her best performance since her Tennesee Williams duo with Cat on a Hot Tin Roof (1958) and Suddenly, Last Summer (1959).

The screenplay is nothing short of amazing. Adapted by Ernest Lehman and there are only minor differences to the film, largely due to location. The Albee play is set only in Martha and George’s house whereas the film gives us a short break in a local roadhouse. It’s not a change that creates any detriment to the film and makes for an opportunity to see how these characters act outside of the comfort of the homely setting. Martha and George’s son is given a name in the film, Nick, in the film adaptation but does not have a name in the play. Again, this is an understandable change as it creates a more emotional charge for the audience as it feels more “real” and relatable when giving him a name. This is similar to the narrator in Truman Capote’s novella Breakfast at Tiffany’s who is given the name, Paul Varjak, which probably makes it easier to confirm especially when protagonist Holly Golightly refers to him as “Fred” after her brother. Changes as small as these don’t compromise the vision of the film and in Lehman’s case, it brings a different dimension to Albee’s play and enhances it in some ways.

Taylor had had her fair share of turbulance with the press and public as her lifestyle and general sexuality was judged and she was seen as a poor role model but this film allows us to see that she isn’t afraid to “deglamourise” and get gritty when needed. She has always been a brilliant actress as previously proven but portraying Martha gives us a chance to see the darker side as Martha manipulates and instigates. She is such an unlikeable character but Taylor has such a presence that it is impossible to feel Martha’s power as she dominates with her physicality. She manipulates the audience into feeling how she wants them to feel, gaining sympathy when needed and repulsion when required. Her performance is nuanced and showed that her career was far from over.

Richard Burton on the other hand plays the oppressed husband waiting to explode as Martha provokes again and again. One of the best actors of the Golden Age of Hollywood, Burton was seriously undervalued during his lifetime and found himself without an Oscar despite seven nominations under his belt. This was indeed one of those performances and despite his brilliance, this really is Taylor’s film. That isn’t to say that his performance isn’t excellent because it is among his best of the best and shows the potential that he was capable of being succombing to alcoholism.

The supporting actors, Segal and Dennis shine as the young couple seemingly in love. The longer they spend time with the miserable elders, they start to see parallels in their own relationship. Sandy Dennis is particularly eyecatching as Honey, the initially subdued housewife who then begins to disagree with her husband. It captured the Academy’s attention as well who award her with the Best Supporting Actress gong. The arrival of the young couple gradually means that the film becomes a game of Chinese whispers as secrets are thrown around to the wrong people and conflicts happen every five minutes. It’s a spiderweb of the complexity of relationship and ultimately seeks to find the foundation of their relationship and destroy it. The ending then leaves the question of what happens next as their years of marriage and lies lay bare in front of them.

The film is a great example that plays can be adapted successfully to the big screen without making big compromises. The film allows the actors to bounce off each other rather than blending into a spectacle. Seeing Taylor and Burton onscreen is always a treat as well and to see such volatile performances makes the film raw and honest. It’s a film that feels enormously progressive for its time as the couple grieve over the death of their son, deal with their bad habits and open up about their tumultuous marriage. The characters are not trying to be likeable because they react as their character would react rather than catering to a Hollywood audience as the big studios would play it.

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

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Top 5 Daniel Day-Lewis Performances

When it comes to listing the greatest actors in history, it would be pretty arrogant to not throw Daniel Day-Lewis’ name into the mix. The man puts the method in method acting and is renowned for his ability to truly become his characters. His refusal to break character offscreen or follow the typical hollywood lifestyle brings a sense of mystique to this genius who clearly has a passion for acting. Famously selective about his roles from early on in his career, he may not have the most extensive filmography but what is there is only the best and is full of brilliant collaborations with the best actors and directors.

He is the only actor to have won the Best Leading Actor Oscar three times and remains a titan in acting, even if he has retired (he has “retired” before and returned so who knows if this retirement will stick). Day-Lewis is in a league of his own when it comes to actors working today (the closest would probably be Joaquin Phoenix or Gary Oldman).

It’s been hard to pick top 5 but I have managed to do so. Here is my list of top 5 performances in chronological:

My Beautiful Laundrette (1985)

This early entry in Day-Lewis’ filmography is perhaps one of his most controversial. Made in 1985, Day-Lewis portrays Johnny Burfoot, a white Londoner who embarks on a romantic relationship with Omar Ali (Gordon Warnecke) who is struggling with his identity as a British-born gay man of Pakistani descent in volatile, racist Britain. The eeriness of this film comes in how relevant it feels today 35 years on. Stephen Frears refusing to bow to stereotype in this film, creating characters that are rounded and break the mould. In a general landscape that isolated homosexuals, My Beautiful Laundrette shows a relationship filled with adventure and excitement. The chemistry between the two leads is magnetic and it’s great to see a film about a gay couple that has a happy ending, something that is notoriously refused in the majority of mainstream LGBT+ cinema.

My Left Foot (1989)

The one that propelled Day-Lewis to stardom. Portraying disabled artist Christy Brown, Day-Lewis went full method for the role and refused to break character offscreen to channel the struggle of Brown’s experience with cerebral palsy. It brought Day-Lewis a global audience and his first Academy Award nomination and win. Christy is mischievous and hilarious, aiming to live his life to the fullest. A supporting cast led by Fiona Shaw who plaus Dr. EIleen Cole, Christy’s carer and Brenda Fricker as Bridget Fagan brown, Christy’s mother (who also won a Supporting ACtress Oscar for her performance) brings an authneticity to this low-budget Irish production. The film relies on the performance of its actors and refuses to use any Hollywood flares or special effects. This is a great introduction into the career of Daniel Day-Lewis and shows how capable and fearless he was from early in his career as well as providing an insight into what will become a flourishing and groundbreaking filmography.

Gangs of New York (2002)

The film that paired Day-Lewis up with Martin Scorsese for an epic that explores the conflict between Irish and Italian Americans. Based on a true story, it’s a film that explores what it takes to be a “true” American. In this nativist vs. immigrant plot, Day-Lewis plays William “Bill the Butcher” Cutting, a cruel leader of the nativist gang who refuse to allow the Irish settlers ownership on American land. Leonardo DiCaprio plays Amstardam whose father Vallon (Liam Neeson) dies at the hands of Bill in the opening scene and seeks his revenge years later under his new alias. The film itself falls short of its potential due to its odd pacing and the overall scope of the film feeling too big for its three hour running time but Day-Lewis’ performance elevates it and makes it worth the watch. Bill is maniacal and devious with no redeeming quality but he is also extremely charismatic. It’s flamboyant and subtle at the same time. Only Day-Lewis could pull the performance off in this way.

There Will Be Blood (2007)

The role to end all roles. The character of Daniel Plainview is nothing short of iconic. Day-Lewis is on fire in this role as a greedy prospector who soughts to purchase land that sits on oil. The film deservedly won him his second Best Actor Academy Award and for good reason. It’s a brilliant performance that shows the true greed of mankind and how much they are willing to destroy in order to gain more power. This film marks his first collaboration with Paul Thomas Anderson and serves as a definite high point for both of their careers. They are a duo who click together so well with Anderson’s penchant for brilliant character development and Day-Lewis’ commitment to character is unlike any other. It’s the movie that gave us “I drink your milkshake” in what can only be described as one of the best film endings. Add Paul Dano to the supporting cast and you have one of the best combinations of a director/writer and cast seen in 21st century film.

Phantom Thread (2017)

Day-Lewis’ “final” role sees him reunite with Paul Thomas Anderson as a renowned couturier, Reynolds Woodcock, inspired by a culimation of designers including Charles James. He’s a man with an inpenetrable exterior that is soon challenged by a chance encounter with waitress, Alma (Vicky Krieps) who becomes his muse when his creativity wanes. They spark a professional and romantic relationship and his business starts booming again as Reynolds finds his inspiration to design. Always watched over by his eagle-eyed sister, Cyril (Lesley Manville), we see the highs and lows of Reynolds’ career and the challenges he faces when the sparks begin to fade. The character contrasts greatly with the previous Anderson outing. Reynolds is a more subdued character who can say just as much with a simple grimace or flourish of the hand in the same way that Daniel Plainview used his persuasive chat to manipulate. Day-Lewis was deservedly nominated for the major awards in what is a beautiful swansong to a brilliant career.

As you can see, there are many brilliant performances that didn’t make the list, in particular In The Name of the Father (1993) and Lincoln (2012), the latter of which won him his third Best Actor gong. It’s always difficult choosing my favourite performances but how do you do it when pretty much every performance is perfect? There really is no wrong answer when it comes to Daniel Day-Lewis as it is likely that you will feel impacted by his performances.

Which film is your favourite from Daniel Day-Lewis? Let me know in the comments below!

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Joker (2019)

I don’t know if there has been such a hype around a film with added polarisation to boot. Todd Phillips’ origin take on iconic villain in Joker shows how Arthur Fleck, a failed stand-up crippled with mental illness who rebels against a system that seems rigged and only rewards those born into riches and fortune. Arthur struggles to navigate his way in Gotham City which has gradually become more violent as the rich continue to cut public funding. I previously did a Top 5 Joaquin Phoenix performances post which you can read here in anticipation for this film. As I predicted, Joker would easily slip into the best of the best from an actor who can’t do any wrong. Joker also won the Golden Lion at Venice Film Festival which is unheard of for a franchise superhero film because of its groundbreaking venture and reluctance to fit in with a particular aesthetic that audiences and critics are used to.

Todd Phillips shows his talent for direction with this film. Taking inspiration from some of the best directors in history, mainly Martin Scorsese, Phillips achieves in making an epic based not on a superhero franchise but on a character. This film is rich in character development that it would weirdly fit in with the films of Paul Thomas Anderson. It’s refreshing to see someone venture into a different genre of film despite his ridiculous motive. An obvious element to point out would be that the film is told from Arthur’s perspective in contrast to the numerous Batman films that only see the Joker from Bruce Wayne’s point of view. Phillips allows us to not necessarily sympathise Joker’s actions but to understand his view of a city that ignored him for years and stomped on him daily. Phillips throws us into a specific period of his life rather than showing us his life thus far. What we learn about Arthur’s background is varied and unreliable so it becomes hard to grasp Arthur as a person. What we do gain is that he has lead a life that has pulled him in all sorts of uncertainties and directions but when he is dressed as a clown, he feels comfortable behind the guise.

As expected, Joaquin Phoenix is nothing less than extraordinary and this role will almost certainly bring him an abundance of award wins I think. He is arguably the best working actor today. This may be his time to win a long overdue Oscar (he should have won for The Master really) but that’s not to say that it wouldn’t be deserved if he won for this. Arthur Fleck is a deeply complex character. His mental illness leaves him extremely vulnerable as seen in the opening scene when a group of teenagers take his sign and subsequently beat him up, he’s physically malnourished with Phoenix losing 50 pounds for the role. There are so many layers and sides to this character that he becomes increasingly unreliable and the uncertainty in his actions makes for a terrifying experience. There’s no predicting his motives or what he will do next. If I had to draw comparisons from another Joker, it would have to be Jack Nicholson’s particularly in the chat show scenes but that’s only a glimmer as Phoenix has managed to pave a way for his own Joker. Phoenix is an absolute powerhouse of acting and even those who dislike the film have respect for his portrayal. It’s a performance that shows the physical and mental consequence to actions made by those seen as “higher” and “superior” than himself.

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As far as other characters go, we have a supporting role led by Robert De Niro who is making a welcome return from a few years of very questionable choices in film as Murray Franklin, Gotham’s most popular talk show host. Arthur idealises this man but what he doesn’t realise is that Murray is a product of the society that threatens to marginalise him further. He broadcasts a portion of Arthur’s failed stand-up routine for the whole of Gotham to see and isolate him further. Arthur appears oblivious to Murray’s behaviour initially and eagerly accepts and invitation to be on his show in which he is ridiculed further but Arthur isn’t as vulnerable as it seems and his appearance on the show makes for one of the most intense scenes in film this year. I hope De Niro keeps this up and with The Irishman coming out later this year, I am hoping this marks a return to the actor that we loved before Dirty Grandpa.

My favourite scene would have to be the Bathroom Dance scene in which Joker finds his way to a grimy public bathroom and dances with himself. The combination of Phoenix’s whimsical nature and the dark, vibrant score that provides an undertone for what had occurred in the previous scene. Hildur Guðnadóttir’s award-winning score for Joker was one of my major highlights aside from Phoenix. It feels that the score and the character are connected as the score weaves its way through Arthur’s movement. In this scene, the two are combined as one and it is as if this is the music in his mind. If any scene could be used to sum up the film, it’s this one. The Joker is known for his violent outbursts but this scene sees him literally celebrating a triple murder. It’s a different side that we see for a character who had thus far been victimised and pushed down.

I was excited for Joker since I am a huge Joaquin Phoenix fan but, to be honest, the hype surrounding the film made me less and less excited and I was unsure whether I would enjoy. However, I was not let down and thoroughly enjoyed the film from beginning to end. As someone who has experience with mental illness, it was refreshing to see mental illness portrayed in a way that seemed unfiltered and honest. Of course, the character of Arthur Fleck isn’t one to aspire to but the film shows a picture of how those less fortunate are left to fend for themselves when thrown into difficult situations. Joker is a film that lends itself well to the DC franchise but also as a standalone in its own right. It’s depiction of a broken character who becomes even more fragmented is unafraid and undoubtedly a reflection of society today. The film feels progressive and risky while also remaining loyal to a character that has been well-loved for decades.

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“I have nothing left to give”: Anxiety in mother! and Midsommar

As I have discussed in a previous post, horror seems to the genre that directors are turning to to discuss important issues that may be seen as taboo. One topic in particular is mental health and in particular, anxiety, has be woven into the genre but in a way where it is more than a character worrying about monsters. Darren Aronofsky’s 2017 mother! and Ari Aster’s summer smash Midsommar both explore anxiety through the eyes of a female protagonist thrust into the centre and horror of a cult. They have a lot of similar traits but are shown in completely different ways. Both protagonists are 20-something white women in volatile relationships who are trying to create homes for themselves and find their purpose.

Both films are essentially about place and belonging. Home is integral and is the (literally in mother!) heart of the story. This is more explicitly so in mother! as we see the titular character (Jennifer Lawrence) renovating her house right before it descends into chaos at the hands of her husband, Him (Javier Bardem). Aronofsky’s brilliance as a director shines in this film as we never leave mother’s side. The house becomes a metaphor for mother and the anxiety that she feels is felt by the house itself. As the camera follows her, we get a literal female gaze of her home from being a place that she has literally and figuratively built to the remnants as it bursts into flames and destruction. mother’s anxiety comes from the claustrophobic portrayal as the home becomes increasingly invaded. It’s a heavy film that builds all of its emotion like the foundations of the house. We never leave the house because mother never leaves the house. She is physically and emotionally trapped by the relationship she is in. Building and renovating the house gives a false sense of control but Him has been pulling the strings the entire time. When she falls pregnant and becomes increasingly stressed, the shots become longer and strained. The film is an unflinching look at the invasive nature of anxiety and the struggle that it brings. It’s a not-so-subtle allegory for the Bible but it elevates this experience and becomes an unhinged tale of manipulation and control resulting in a climax that spirals out of Him’s control and becomes bigger than the vision he planned. This is due, in part, to mother’s reluctance to go along with his plans and the insistence she has on keeping her baby to herself. She is the closest creation he has to perfect, but in the end it isn’t enough. Her fears are realised and much like the house, she succumbs to the loss.

Midsommar by comparison is a much more straightforward film. The second feature by Ari Aster (full review can be read here), has a simple linear beginning, middle, end but that is where the simplicity ends. Following Dani (Florence Pugh) as she ventures to Sweden with her estranged boyfriend, Christian (Jack Reynor) and his friends to partake in a Commune’s ceremony, Midsommar also provides an unflinching portrayal of anxiety through its protagonist. Damaged by the tragic loss of her family, Dani’s life is forced to a standstill as her boyfriend becomes emotionally distant and she becomes more isolated. After he reluctantly offers her a space on their trip to Sweden, Dani accepts in the hope of finding adventure and distraction from her life. Unlike mother!, Dani’s anxiety was already ingrained as her sister’s bipolar grew more severe as time went on. Her opening scene sees her debate whether to actively respond to her sister’s troubling emails which in turn then results in the tragic murder/suicide of her sister and parents. If mother! showed an implosion of anxiety, Midsommar is an explosion. Dani’s anxiety gradually blooms during her time in the commune as she embraces the traditions unlike Christian and the others. In a similar way to mother!, the camera shakes with the anxiety as Dani experiences her panic attacks. When she is in the Commune, her anxiety is sympathised with in a way that seems alien to her. She becomes comfortable and relaxed in a way that we do not see beforehand. Much like the mural that is presented at the start, Dani’s journey is like the seasons as we start in the harsh winter in America to the open Spring in Sweden. Using pathetic fallacy may seem on the nose and perhaps it is, but in this film it enhances the experience and adds texture. The environment becomes reflective of Dani’s experience. The drug trips are a great example. When she takes drugs at the Commune entrance with Christian, she experiences a bad trip paralleling her confusion and alienation from the others. Compare this to the dance competition later on where she becomes open among the other women and begins speaking Swedish shows a completely different person.

It’s no surprise that we are seeing an increase in films that explore mental health so explicitly. With more people being open about their experiences, it has become an important talking point and naturally films become reflective and reactive to the social climate. Films like mother! and Midsommar provide a different perspective by adding those horror elements and unflinching narrative. The results are, ironically, a realistic portrayal of the inner struggle of anxiety by turning the characters inside out, their emotions become the visual canvas for the films. By no means am I suggesting that mental health has never been explored in films but it’s interesting to see it being explored in such a unique way that doesn’t see the protagonist immediately thrown into a psychiatric unit. The characters of mother and Dani are deeply complex. They have their own needs and desires and struggle with remaining an outsider to their peers. mother! shows a failed attempt whereas Midsommar goes down a route that is more successful but not in a way that would be deemed acceptable by those who did isolate her in America.

Both directors also wrote the scripts and their visions show a consistency with their own portfolios. Aronofosky is more experience and tends to write from the perspective of the outsider striving for success whereas Aster’s debut Hereditary follows a female protagonist who struggles to feel motivated when she emotionally finds herself spiralling downwards in a similar way to Dani. Both scripts are claustrophobic with Aronofsky opting to create a claustrophobic setting with an isolated cast. Even their names are unknown as they become known by their societal expectation whereas the characters in Midsommar are assigned their societal roles by the Commune at the end of the ceremony.

In conclusion, it’s clear that these are films that have a lot to say about society as a whole and what really makes an individual an outsider. Can an outsider ever truly fit in? Even then, is fitting in even the best solution? As shown in mother!, fitting in equates to chaos. The Commune in Midsommar hides its unspeakable actions behind the guise of ceremony and Dani becomes accomplice to this by accepting the events that occur. I am interested to see whether both directors further this narrative in future films and to see how mental health is portrayed in films in the future in general in a social climate that is becoming more and more uncertain each day.

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Top 5 Audrey Hepburn Performances

Known as one of the leading ladies in the Golden Era of Hollywood, Audrey Hepburn epitomised glamour and class in the way she conducted herself onscreen and off. A lady who could do no wrong, there is a reason why Hepburn is truly a cultural icon and this goes beyond her striking features. Winning and Oscar for her debut performance in Roman Holiday as a rebellious princess, Hepburn made her mark in Hollywood instantly carving out a career that shows how consistent and rounded she is as an individual. Even if you haven’t seen her films, you know her face. Ingrained as one of the most important legendary of 20th century cultural icons, Hepburn has become synonymous with the classic Hollywood actress.

Hepburn led a varied career to her showcasing acting, singing, dancing onscreen and then fashion muse, model and UNICEF ambassador offscreen. She has been one of my personal inspirations for many years and one of my favourite actresses of all time.

In celebration of a brilliant and legendary career, here are my top 5 films for the one and only, Audrey Hepburn!

The list (as always) is in chronological order:

Roman Holiday (1953)

The one that started her career off with a bang and an Oscar. Hepburn plays Ann, a Princess who is visiting Rome as part of her royal tour who escapes in the middle of the night to experience life as a normal person. She stumbles across cynical journalist, Joe Bradley (Gregory Peck) and the two spend a day visiting the famous landmarks across the city. Despite being filmed in black and white, the film manages to show us the colourful world of Rome. It’s a film that feels very revolutionary in many ways. From filming on location in Rome (sacrificing a full colour film) and Peck’s insistence that Hepburn receive an equal billing for her performance. Roman Holiday is the perfect film to watch when feeling nostalgic for Old School Hollywood. The chemistry between Peck and Hepburn is evident from the get go and it’s great to see Hepburn playing such a rebellious character who is hugely reluctant to slot into her role as a Princess.

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Sabrina (1954)

This is not by any means a popular film beyond the costume designs. It received mixed reviews upon release and tales of the troubled production mainly at the hands of leading man Humphrey Bogart who was consumed by his alcoholism but there is something that is magical to me with Hepburn’s performance in this film. Playing the titular role in this Billy Wilder romance, Hepburn is the daughter of a chauffeur who lives within the estate of a wealthy Larrabee family. She is shipped off to Paris to learn cookery and comes back glamorous and catches the eye of the two wealthy Larrabee sons, the older serious brother, Linus (Bogart) and the young and handsome David (William Holden). It’s a classic Cinderella-esque story with a bit of Pygmalion thrown in and I really love the result personally. I won’t deny that the costumes play a big role because of the history that it sparked the beginning of Hepburn and Hubert de Givenchy’s lifetime friendship and collaboration although Edith Head ultimately received credit for the designs and received the Academy Award for Best Costume Design. But ultimately it is the simplicity and elegance of this film that draws me to it and I am a big fan of Wilder’s direction.

Breakfast at Tiffany’s (1961)

I don’t think it would be possible not to include this on the list. A film that gives not only one of Hepburn’s best performances but also a revolutionary and cultural shift in modern cinema. Based on Truman Capote’s novella of the same name, Hepburn plays protagonist Holly Golightly, a socialite who leads her life carelessly as she shimmies down the street and eats pastries at the windows of Tiffany’s & Co. The film carries a different tone to the book as Holly’s prostitution, alcoholism, drug-use and bisexuality are shunned almost completely and are very briefly referred to at various points. Hepburn’s portrayal of Holly is far from the Marilyn Monroe figure that Capote had pictured in mind when writing the novella but it works for the film. It may not be a faithful adaptation as far as characterisation goes but it captures the struggle to achieve the American Dream beautifully and shows a woman who is willing to do what it takes to achieve security in a world that is cynical and shut off from those who aren’t afforded it at birth.

Charade (1963)

Hepburn is teamed up with Hollywood superstar Cary Grant in this thriller that sees Hepburn play Reggie Lampert, a woman whose life is thrown into chaos as her estranged husband, Charles, is murdered and her belongings are sold off. She is pursued by three criminals who are seeking revenge after Charles stole money from them years before. With the help of Peter Joshua (Grant), an American whose brother was also killed by the same men, they embark on a search for the money. The film becomes a spiral as Peter reveals identity after identity and Reggie becomes less and less sure who to trust. It also shows another side of Hepburn as she hasn’t done many thriller or action films before. As Peter is telling us of his many identities, Reggie keeps her cards close to her chest with Hepburn giving an equally layered performance.

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My Fair Lady (1964)

This may be a controversial choice as it’s widely known that Hepburn didn’t sing in her role as Eliza Doolittle in this musical adaptation of George Bernard-Shaw’s 1913 play Pygmalion that follows the working-class Doolittle as she is taken under the wing of linguist, Henry Higgins (Rex Harrison) who is convinced that he can teach her to talk “proper” and introduce her into high society. There is something remarkable about seeing some so polished as Hepburn playing someone like Eliza which is so different to her other roles. Many critics were disapproving of Hepburn having her singing dubbed but the role of Eliza is much more than her voice, ironically. Hepburn truly becomes Eliza, her physicality and poise is spot on and who can forget the iconic racetrack scene. It’s a film that shows Hepburn’s skill in a more comical film than her other roles and you can tell that she is having a lot of fun in the role.

There are so many other brilliant performances that I haven’t had the chance to include but in a career that is so fantastic, it really was a challenge.

Which Audrey Hepburn films are your favourite? Let me know in the comments below!