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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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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!

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Top 10 Tom Hanks Performances

It’s no secret that I am a huge Tom Hanks fan. He has been one of my favourite actors for as long as I can remember and there is a reason why he is so loved by everyone. An extremely talented actor and nice personality, Tom Hanks has built a reputation for being one of the most respected actors in history and it’s easy to see why. It was so difficult for me to pick a top 5 so I’ve gone ahead and done a top 10 instead. This list is only the tip of the iceberg for this man’s career and shows his range. We see him evolve from a kid adult to a prison officer working on Death Row to portraying Walt Disney himself.

Hanks is an actor who encapsulates his roles and is a constant draw for the box office. He’s worked with some of the best directors and actors around particularly Robert Zemeckis (Forrest Gump, Cast Away and The Polar Express) and Steven Spielberg (Saving Private Ryan, The Terminal, Catch Me If You Can and Bridge of Spies). There’s no performance that he has done that I don’t love. Admittedly, the Dan Brown films are one of my guilty pleasures even though they are absolutely ridiculous but Tom Hanks brings such an enthusiastic performance that I find them so much fun to watch, especially Angels and Demons.

Here are my top 10 in chronological order:

Big (1989)

Big is one of those films that I could watch time and time again and never get bored. Following Josh Baskin, a young boy who wishes to grow up and then does overnight. This film is made even better when he grows up into Tom Hanks. Hanks has so much fun as adult Josh in this role as he fills his apartment with everything a cool kid had in the 80s. He is the perfect mix of charming and hilarious. I mean, who doesn’t love the scene with the piano?

Sleepless in Seattle (1993)

It wouldn’t be a true Tom Hanks list without featuring a classic Nora Ephron romcom with Hanks and costar Meg Ryan. My favourite of the bunch is Sleepless in Seattle which makes my heart melt every time I watch it. Hanks plays Sam, a grieving architect whose son calls into a radio show to tell their story. In true Ephron form this film is the true epitome of the romcom genre and is a delight to watch. The climactic scene on the observation deck of the Empire State building has me screaming at the TV every time.

Forrest Gump (1994)

Possibly the most famous Tom Hanks role, Forrest Gump sees Hanks play the iconic titular character who sees the world in a different way. Bringing Hanks the Best Leading Actor Oscar for the second year in a row after the previous year’s Philadelphia, Forrest Gump propelled Hanks into a global phonenom and landed him at the top of every director’s list. His performance is not condescending nor over the top as he places a heavy focus on Forrest’s naivity rather than his disabilities.

Toy Story Franchise (1995-present)

It would have been a crime not to include these but I couldn’t pick just one. Tom Hanks’ Voicework as Woody the toy cowboy is nothing short of extraordinary and really brings the toys to life. For over 20 years, Pixar have charmed us with the story about a group of toys who watch their owner grow up. Hanks’ performance is worked up and super stressed as Woody struggles to keep his control. He’s a brilliantly flawed character who constantly makes mistakes doing what he thinks is right. The fourth installment that was released this year was revolutionary for Woody as he finally embarks on a life that he wants.

Saving Private Ryan (1998)

Hanks’ first collaboration with Spielberg is probably the most dramatic and to that point, “blockbustery” of his career. Playing Captain John H. Miller who leads a small group of soldiers to find and rescue the missing Private James Ryan (Matt Damon), Hanks made his mark as the big leading man in cinema. It’s the film that should have swept the Oscars but was beaten by Shakespeare in Love in a huge misjustice for the Best Picture gong (don’t get me started). What separates this film from other war films is that Hanks between the heart of the film and shows the emotion behind the fighting.

The Green Mile (1999)

The Green Mile is one of those films that brings me to tears every time I watch it. Following Hanks as head prison officer, Paul Edgecomb, working in the Death Row block. When a 6 foot black man, John Coffey (Michael Clarke Duncan), is jailed on the block, mysterious events begin to happen that cause Paul to challenge his morals and his faith. It’s a brilliant film that I don’t think receives the praise that it deserves, mainly due to it being the second prison based Stephen King adaptation after The Shawshank Redemption in 1994. Hanks is fantastic as Edgecomb. He is sharp, observant and has a strong moral compass. The scenes with him and Duncan make for some heart wrenching cinema as the truth behind Coffey’s imprisonment come to light.

Cast Away (2000)

If I had to pick one Tom Hanks performance to put at the top of my list, this would be the one. It’s iconic, it’s fantastic and it should have earned Hanks his third Oscar. Hanks plays Fedex driver, Chuck Noland, who survives a plane crash and becomes stranded on a desert island for year. The premise is simple but the film is anything but. Hanks goes all out to deliver a career best performance that sees Chuck removing teeth with an ice-skate blade, catching fish with a spear and finding companionship with a volleyball called Wilson. What makes this film truly standout is Hanks’ ability to keep the audience’s attention by himself for the film’s 143 minutes.

Catch Me If You Can (2002)

This fun flick sees Hanks reunite with Steven Spielberg for the chase of a century as Hanks plays FBI agent, Carl Hanratty on the hunt for Frank Abagnale Jr (Leonardo DiCaprio), a young conman across the globe. It’s a brilliantly entertaining film to watch as Hanks fails time and time again to capture Abagnale. Hanks and DiCaprio are an odd pairing for leads but it works really well and you can tell that both are having a good time.

Captain Phillips (2013)

This gem of a film is a stellar thriller that showcases Hanks’ timelessness as an actor. Playing the titular character whose cargo ship is overrun by Somali pirates, Hanks works brilliant alongside Barkhad Abdi who plays Somali pirate, Abduwali Muse. Most of the cast in this film are fairly unknown and it’s nice to see that although Hanks is the lead, that others are given the chance to shine, particularly Abdi, who won a BAFTA for his performance. Hanks isn’t an actor who has to hog the spotlight every time he is onscreen.

Saving Mr Banks (2013)

Tom Hanks as Walt Disney. Do I even need to say more? It’s one icon playing another and it is perfect casting. I absolutely adore this film and am always watching it when it is on the TV. Following author P L Travers (Emma Thompson) as she is pursued relentlessly by Disney who wants to adapt her famous Mary Poppins books into a film, we see Travers enter a world she has no interest in. Hanks is truly magical as the big man himself and lights up the screen everytime he appears.

So there you have it! We have journeye through the highlights of this legend’s career. With a deserved life achievement Cecil B Demille award on its way from the 2020 Golden Globes, Hanks’ career is far from over. I am excited to see his upcoming films.

Which Tom Hanks performances are your favourites? Let me knows in the comments below!

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Unpicking the Witch: Suzy and Rose in Retrospect

When watching Dario Argento’s horror classic Suspiria (1977) and its thematic sequel Inferno (1980), it’s understandable that the mind would instantly capture the bright cinematography and bloody violence that occurs throughout the film. What Argento doesn’t receive credit for, however, is the portrayal of its female protagonists, Suzy Bannion (Jessica Harper) and Rose Elliot (Irene Miracle). Both characters are artists with Suzy a student a prestigious ballet school and Rose an aspiring poet. Both find themselves living within the confines that house demonic and powerful witches who create darkness and chaos and delight in killing and torture. I love both of these films (I have written reviews on both which you can read here and here) with both leaving a lasting impact on how I view horror films. The writing is fantastic and the cinematography is highly creative but it was the portrayal of these women thrown into impossible circumstance and their determination and strength that stood out to me. Compared with the trend of horror films at the time where we see women portrayed as the damsel in distress and in need of a man to save them, Argento omits men almost entirely in Suspiria and the protagonist, Mark in Inferno is far from the traditional “strong men” that you tend to see in films.

Starting with Suspiria, Argento’s big breakthrough into English-language horror was a technicolour masterpiece filled to the brim with fake blood and guts. Following aspiring dancer Suzy, a new student at a prestigious dance school, as she begins to investigate mysterious disappearances of other students and staff alike. We first see Suzy leaving the airport in Freiberg into a torrential storm. The cuts and use of music when the automatic doors of the exit are opening and closing brings that otherworldly atmosphere to the film. Her introduction to the staff sees her intervene in an interview with the police when they enquire about a missing girl. What transpires is an environment in which Suzy becomes even more of an outsider than before as her bids to fit in make her stand out to the witches that run the academy. Naturally, Suzy is reluctant to believe the stories that her friend Sara tells her but as people begin disappearing one by one, Suzy becomes resourceful and finishes the mission that Sara started. Suspiria only has a handful of male characters with the bulk of the cast being made up of the female staff and students.

Rose Elliot in Inferno is much like Suzy in her ways. The film opens with her reading about The Three Mothers, three witches who use their dark powers to control the world. She is warned off the subject by a male antiquarian but she goes ahead with her investigation regardless. What follows is a fantastic scene in which Rose dives into a pool to retrieve a lost necklace. Upon swimming into a corpse, she is understandably frightened but still pushes on with her investigation and writes to her brother Mark, asking him to return to New York to help her. Rose’s mission doesn’t end happily and Mark ends up getting the credit but his findings are based on his sister’s research without whom he wouldn’t have figured out the mystery. Rose’s contribution to the film can be felt throughout despite her absence in the second half. Her character also seems more developed and intriguing than Mark which is odd for a genre that (at the time) excluded strong women from their narrative.

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Both women are also artistic as discussed before and their talents not only add to their character development but these skills assist them in desperate times. Suzy’s curious nature inspires the witch to attempt a physical injury by inflicting a hemorrhage on her during class causing her to become bedridden. This fails to slow down her investigation, however, and the loss of best friend Sara inspires her to get to the bottom of things. The same could be said of Rose whose love of books and research adds to her observant nature and her ability to attune her focus on figuring out who owns the building.

I really enjoy both performances because the characters don’t come across as reliant even when they ask for help. They are indifferent to the male heroes we see in horror films. Argento also doesn’t sexualise the protagonists  which is refreshing to see as women in horror are usually subject to appearing in demeaning scenes such as unnecessary nudity and rape scenes. There’s a reason why his films are timeless and even watching now they feel current and progressive, showcasing his real talent for filmmaking.

What do you think of Argento as a filmmaker? Which film of his is your favourite? Let me know in the comments below!

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High Life (2018)

As part of an initiative to bring lesser-known films to Wrexham, 73 Cinema aim to show a variety of films that would otherwise have required a trip to bigger cities to view. Based in Ty Pawb, the second chosen feature was High Life (2018), Claire Denis’ first English-language project starring Robert Pattinson in the lead role as a death row inmate who is sent to space with other inmates in order to conduct experiments for those on Earth. Their major mission is to venture to the far ends of the Solar system and the minor mission is to attempt reproduction in space. Denis is a filmmaker who refuses to follow the rules and the brilliant use of non-linear structure reflects this. The film opens with remaining survivor, Monte (Pattinson) repairing the ship as his baby daughter, Willow, cries hysterically, causing him to lose a piece of equipment. There are moments of deep isolation in Monte’s eyes that are soon swept away when Willow starts to laugh and play. Willow becomes his driving force to survive.

Denis’ direction is outstanding and the film is beautifully still. The use of one major primary location is genius because it allows us to feel the claustrophobia. What is brilliant is how small the ship looks from the outside but it seems so big inside with each segment of the ship looking as though it is in an entirely different space. It’s difficult to believe that the same ship contains the garden that grows their food also contains the aptly-named “Fuck Box”, a room where the passengers go to obsessively masturbate. Monte is the only passenger who avoids the room, choosing to lead a celibate life and making him appear alien to the others. Pattinson knocks it out of the park with his performance. Monte is quiet and subdued, allowing the action of the film to be carried out by the more extroverted characters but he is also the most resilient of the bunch. Despite his crime, he has a strong moral compass and doesn’t lend himself to the violence easily. Pattinson carries this film and his performance as Monte appears natural. It’s a role that he was born to play.

The supporting cast are also strong with stellar performances from Juliette Binoche as the sinister Dibs, the ship doctor who is determined to complete the reproduction mission for her moment of glory and Mia Goth as troubled passenger, Boyse who is reluctant to participate in the experiment. Dibs is a character who can never be trusted and her presence onscreen immediately brings unease. She is unapologetic for her actions and what she does to Monte and Boyse is hugely upsetting and she shows no remorse. She is aware of her crimes and the monster she is but chooses not to linger on it with the exception of an emotional scene between her and Boyse in which she confronts her crime. It’s a moment in which Dibs becomes human and seems equal to the others. On the other hand, Goth is an actress who has shown much promise and fearlessness in her film choices since her debut in Lars von Trier’s sex-fuelled Nymphomaniac (2013). Her performance as Boyse shows a clear growth from her earlier work and I predict that she will have a long career. The scene in which she escapes in a ship to enter a blackhole is deeply disturbing and makes for one of the craziest death scenes I have ever seen in film.

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As ever, the screenplay is what I pay attention to the most and the film has so many qualities that I admire. Written by Denis and Jean-Pol Fargeau, the film could be described as a sci-fi horror set in space and yet is one of the most human features I have seen. It’s a claustrophobic study of human nature and the strength to survive in unknown conditions. As discussed, it is hugely intense and the script relies heavily on the actions rather than the dialogue. A lot of the time, the physicality and expressions of the character take us through a scene rather than what they are actually saying. Like the mission, the script also takes us into the unknown with twists and turns at every scene and motives change or emerge. There are only a couple of scenes based in Earth to give us a contextual glimpse into the background of the mission and the ship is used a primary location.

It is important to note that High Life is not a film for everybody. It doesn’t hold back in its grittiness with excessive violence, explicit rape scenes and suicide but it’s also a film that creates an intricate study into the human mind when thrust into impossible situations, demonstrating just how far people will go to ensure their legacy. Even in the vacuum of the universe, there is an obsession throughout the film with the idea of legacy and being heroes but in the end, it doesn’t matter. It is Monte’s refusal to engage with such ideals that has meant he is the last survivor. The final scenes between him and teenage Willow (Jessie Ross) bring the film to its hopeful conclusion as they venture into a black hole.

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

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Scanners (1981)

Another film that I watched on a whim on BFI player is one that has been on my list for years. Scanners is a sci-fi horror directed and written by David Cronenberg and follows a sub-species of humans called Scanners, people who can control others with their minds. When one Scanner, Daryl Revok (Michael Ironside), goes rogue and starts to hunt down other Scanners in order to take over the world, security system corporation Consec uses social outcast, Cameron Vale (Stephen Lack), to infiltrate the community to bring Revok down. Assisted by the allusive Dr Paul Ruth (Patrick McGoohan), Cameron must hone his powers in order to face Daryl whose powers are much stronger than the other Scanners. He teams up with the powerful Kim (Jennifer O’Neill) and they work together to bring Daryl down.

The plot itself is linear as Cameron goes from social outcast to leading the fight against Daryl. We see him come out of his shell and become stronger than the Scanners until he is strong enough to fight Daryl. The climactic scene between them is fantastic and unexpected. Relying on the actors’ physicality and strong use of gory special effects, the scene is larger than life but also extremely simple due to its setting and the focus on the actors. Cronenberg knows that he doesn’t have to go above and beyond to create an effective fight scene and therefore brings no distractions. The focus on facial expressions also adds to the intensity of the film. I personally like that the film throws you into the situation and we are introduced to the world of Scanners through Cameron’s own realisation and experience.

The most iconic scene in this film is definitely the head explosion where we first meet Daryl in which he violently kills a fellow Scanner by causing his head to explode. Very few scenes in films make me jump and this one truly did. The brilliance of the physicality of the Scanning process is highly intense and the build-up in this scene had me on edge the entire time. I also think that the character of Daryl is one of the films highlights for me. He is an interesting character who was clearly distressed and reactive to the environment around him. He is relentless in his quest for world domination, even attempting and succeeding to violently kill other Scanners in order to do so. This contrasts with Cameron who is hugely reluctant to join his cause and has no inner conflict to do so. The two Scanners are polar opposites on the sides of bad and good.

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I really like the style of the film. It’s sci-fi but doesn’t feel like it due to its realistic setting. The Scanners themselves look like regular humans and the Scanning effect is very physical and relies on the actors rather than the special effects which are bring the results. The special effects are one of the strong points and are brilliantly gory. It is not a film for the faint of heart. There are exploding heads, charred bodies and plenty of guts throughout. Even the scenes that don’t have gore are full of horror as we see the affect that the Scanners have on other humans. It doesn’t feel like a horror in the traditional sense, however, because of its sci-fi aspects so it’s a film that sits in its own genre.

Cronenberg’s long time collaborator Howard Shore provides a score that really brings the film to life. The Scanning process is enhanced by Shore’s score with it’s use of futurstic sounds and abnormal tones. Being an avid fan of Peter Jackson’s The Lord of the Rings Trilogy (2001-2003), one of my favourite aspects is Shore’s revolutionary score so listening to this soundtrack made me realise what a great talent he is. He captures the tone and unease of the film perfectly that it seems that the film is shaped by the score at times, particularly those intense scenes when the Scanning is reaching the climactic point.

Overall, Scanners is a film that brings special effects in abundance but also asks a lot of its actors and the result is a great film that revolutionised the horror genre. It’s a film that showcases Cronenberg’s brilliant mind and imagination and his reluctance to follow trends and put himself in a box.

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

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Fleabag (Live Screening, 2019)

“He’s so bony… it’s like fucking a protractor”

Over the past few years, live viewings of National Theatre productions have increased in popularity with sold out screens all over the globe. Admittedly, I have never attended (mainly due to the price) but when I saw that Phoebe Waller-Bridge’s brilliant one-woman show Fleabag was going to be screened live from the Wyndham’s Theatre, I knew I had to go. As an avid fan of the show and Waller-Bridge, I have been counting down the days to see this and I was wasn’t disappointed. Fleabag follows a young woman as she navigates a life filled with heartbreak, relationships and a lot of sex. She is the sole owner of a guinea-pig themed café after her best friend, Boo, accidentally-on-purpose commits suicide. This run of performances marks Waller-Bridge’s last venture as her iconic creation and all tickets sold out within minutes making it one of the most anticipated theatre trips of the year. Sadly, I was unable to get tickets but I took this opportunity to see it immediately as I knew I would regret it instantly.

Fleabag herself is gritty to the extreme. She’s unfiltered, unapologetic and always thinking and talking about sex but she’s also complex, smart and relatable. I think this is why the character is universally loved. The character is a brilliantly rounded portrayal of the 21st century woman. A true modern feminist hero (even if in one hilarious slip, she admits that she would trade 5 years of her life for the “so-called perfect body”). She’s brutally honest, hilarious and riddled with bad habits such as excessive drinking, smoking and masturbating while her partner sleeps beside her. It’s as if Fleabag breaks every rule in the book and is a walking taboo.

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Waller-Bridge’s script and Vicky Jones’ direction are impeccable. Every move and expression is calculated and enhancing the dialogue. It’s compact and tight with every segment executed perfectly. The setting is minimalist to the extreme, Fleabag and a chair in centre stage but the performance Waller-Bridge brings is anything but. Dressed in a red jumper and jeans, Waller-Bridge transports us to various locations around London, acting out different characters such as her sister, a job interviewer and regular café customer, Joe. I was interested to see if I would be as invested when watching it on a screen rather than in the theatre itself and I found myself transfixed. The camera work was brilliant and the sound was impeccable.

Compared to the BBC series, the stage production is grittier and sadder than its counterpart. The first episode covers the show with the revelation of the first season finale so a lot is added into the TV series. Fleabag seems even more unfiltered and unhinged in the stage production which I didn’t think was possible and it was great to see some familiar moments that I recognised from the show.

I wasn’t too sure what to expect but it was a brilliant experience and I hope to go to many more National Theatre productions. The atmosphere was great and everyone in the theatre audience and cinema audience were completely invested in her story. I expected to laugh which I did in abundance but I wasn’t expecting to cry as much as I did. A heartbreaking segment with Fleabag and Hilary, the café’s mascot guinea pig, is horrific to watch and brought an array of gasps and tears from both sets of audiences. There’s an encore screening in October and I recommend that you book tickets as soon as possible. It’s a brilliant and refreshing piece of theatre that shows how a simple production can create a complex experience.

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Inferno (1980)

Dario Argento’s second feature in his Three Mother’s trilogy transport us from the Freiburg set Suspiria (1977) to New York where a young writer, Rose (Irene Miracle), is suspicious of a curse within her building. After reading an antique book titled The Three Mothers, she finds that the apartment block she lives at was once occupied by one of the Mothers. The Three Mothers rule the world with sorrow (Mater Suspiriorum who lives in Freiburg), tears (Mater Lachrymarum who lives in Rome) and darkness (Mater Tenebrarum who resides in New York). With Mater Suspiriorum meeting her demise in Suspiria, we now see Mater Tenebrarum face off those who rebel against her rule in New York. Tenebrarum is the cruelest of the sisters and the deaths in this film definitely reflect that.

Directed and written by Argento, Inferno carries on the themes explored in Suspiria but on a seemingly bigger scale. The stronger scenes are those based in the Mother’s domains as their presence can be felt at every corner. Argento’s love for the dramatic is also carried on in this film with lingering suspense and exaggerated deaths. Upon a traumatic discovery in the cellar of her apartment block, Rose writes to her brother, Mark (Leigh McCloskey), who is studying music in Rome and begs him to come and help her solve the mystery. From the moment Rose posts the letter, deaths begin to happen to whomever the siblings come across with Mark dealing with Mater Lachryrum during his time in Rome. Like Susie Banyon (Jessica Harper) in Suspiria, Rose is a strong and independent female character which is refreshing to see in classic horror films. Romani Albani is brought on as cinematographer and does a brilliant job of bringing Argento’s vision to life by bringing contrasts throughout the film from the surreal apartment that Rose’s sickly neighbour, Elise (Daria Nicolodi) lives in to the gritty sewers of Central Park. It feels like visual growth from Suspiria.

The film is filled with suspense from start to finish with a breathtaking scene in the cellar as Rose tries to search for the clues to lead her to the mysterious owner of the building. When her necklace falls into a deep pool, she is forced to dive and founds an underwater ballroom in a scene that sets the tone for the rest of the film. Argento never allows the audience to feel settled and the only scenes that don’t contain scares or violence tend to be those where background story is given in Argento’s signature fairytale way. Even the introduction begins with Rose reading an excerpt from The Three Mothers aloud in a way that makes it seem like an adult fairytale. Much like Suspiria, the experience of Inferno is heightened by the amazing soundtrack with a score composed by Keith Emerson who does a brilliant job. He combines new electronic sounds with dramatic operatic pieces to add to the unbalanced ambience that the film creates. It’s a striking score that I think is overlooked due to the iconic association that Argento has with The Goblins who composed the stellar music for Suspiria. What Emerson does is create an entirely different film with his unique sound.

My favourite scene comes near the beginning of the film when we are first introduced to Mark who is attending a classical music session. As he tries to read Rose’s letter, he is distracted by Mater Lachrymarum who is disguised as a beautiful student (Ania Pieroni). He can see that she is mouthing something at him and he feels pain. It is an intense scene as the wind picks up and he is visibly uncomfortable. When he snaps out the pain, she has mysteriously disappeared and he accidentally leaves the letter behind. It’s a brilliant scene that uses the classical music as the main force of emotion as the gradual crescendo coincides with his building pain.

Although the film overall isn’t as tight as Suspiria, I think it is highly underrated. I think that Suspiria is a stronger film because it focuses on the first witch but Inferno brings in the remaining witches with the first act showing killings in Rome before travelling to New York. I think the short running time of 90 minutes means that we don’t spend much time in either place. On release, this film was critically panned but over the years has developed much love in retrospect. In some ways I find this film more interesting than Suspiria because it brings in the legend of The Three Mothers. Much like Suspiria, the aesthetic of the film is beautiful as well with Argento’s signature use of bright contrasting colours to set the mood of the scene and plenty of gore and blood throughout. There is clearly a lot of passion that was put in this film and it’s a shame that the film did badly on initial release. It’s a horror film that I think will only get better with time.

What do you think of Inferno? Did you like it or loathe it? Let me know in the comments below!

You can my review on Suspiria here!

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Midsommar (2019)

As Summer is coming to an end, I thought it would be apt to write a post on my favourite film of the season. Unsurprisingly enough, it comes in the form of a summertime nightmare with Ari Aster’s second feature Midsommar. Following on from his brilliant debut, Hereditary (2018), Aster has managed to surpass expectations and once again brings us a new and refreshing take on traditional horror. The film follows college student, Dani (Florence Pugh) who joins her boyfriend, Christian (Jack Reynor) and his friends: Mark (Will Poulter), Josh (William Jackson Harper) and Pelle (Vilhelm Blomgren) on a trip to Sweden to observe a rare festival among Pelle’s familial commune. Things quickly turn sour as members of the group begin to disappear without a trace. It’s easy enough to expect a film in the same vein as The Wicker Man when introduced to the pagan style life the commune leads in the Swedish woods.

Florence Pugh’s leading turn only helps to further push her presence as an actress to watch. Dani is one of the most complex female characters to arise from modern cinema. We see her shift from the Westernised world that she lives in where there is no hope for her to the cult where she begins to feel belonging. It’s a haunting portrayal of depression and anxiety and is shown in an explicit way that hasn’t been explored before. The events in the film happen due to other’s people actions but they are always directly in relation to Dani and her welfare. Pugh’s acting chops are really highlighted in the dance scene where she becomes so absorbed in the competition that she finds herself speaking Swedish fluently with her competitors. The scene is transformative for Dani as she allows herself to be open to the ceremony and the community.

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The supporting cast also knock it out the park with their performances. Will Poulter in particular gives a career best as the ignorant Mark, who literally and figuratively pisses all over the commune’s celebrations. Whereas Dani’s demons are hidden below the surface, the male characters’ flaws are on show for all to see. Whereas Dani is ridiculed for her struggles in US, the tables are turned for the men in the commune as women dominate the landscape. The film’s goriest scenes are mainly at the cost of the ignorant visitors and yet it doesn’t feel like a slasher film. The audience, like the characters, are outsiders but they are invading the ceremony and evoke little sympathy from the audience because of their ignorance and greed. Jack Reynor also excels as Dani’s emotionally distant boyfriend, Chris. He has allowed himself to become so detached to Dani that he acts emotionless and unsympathetic when tragedy strikes at the beginning of the film. He is unwilling to see how wrong he treats her as she struggles to fight for his love and repair things. During the film, we see Christian’s confidence shaken as he becomes targeted by the cult.

As expected, Aster’s script and direction showcase his talent as an original voice in film and his fearless approach to filmmaking. He isn’t afraid to explore taboo subjects or make the audience uncomfortable. One such scene is during an ättestupa ceremony where two elderly people jump from a high cliff. Aster doesn’t allow the camera to turn away as we see the bodies hit the ground. The reactions that Dani and co feel become all the more real because Aster forces the audience to experience it as well. It’s a film that demands the attention in details from its audience. Every aspect of the costumes and set have been well thought out and serve a purpose that pay off later in the film. The use of striking visual sets make it a memorable film and the immaculate beauty of the cult’s village make the strict lifestyle all the more terrifying. I think this film shows a growth in directorial vision from Aster’s standpoint as he really allows the audience to get into Dani’s psyche. The true brilliance of this film is Aster’s ability to contrast Dani’s claustrophobic feelings to the open space that the commune live in so effectively.

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Another aspect I loved about the film was the use of costumes. Not only the ethereal and fresh qualities the commune colours have which seem refreshing when we first see the village. The standout costume, however, comes in a brilliant floral creation worn by Dani in the films final scenes. In any other film, it would seem ridiculous but it makes sense in this film. It both stands out and blends in at the same time and plays a big role in the terrifying climatic scene.

If it were up to me, this film would be a safe contender for various mainstream awards but I am aware that it is too violent and “out there” for some. It is not a film for the faint of heart or easily offended. Between the subtle cannibalism, male frontal nudity and graphic sex scenes, this isn’t a comfortable film to watch but that is what makes it such a brilliant piece of cinema.

What did you think of the film? Did you like it as much? What was your film of the summer? Let me know in the comments below!