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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!

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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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Lips of Blood (1975)

I came across this film by chance on BFI player and without knowing anything about it or the director, thought I’d give it a watch (which I rarely do truth be told). Made by horror director Jean Rollin, it follows Frédéric (Jean-Loup Philippe), a 30-something man who is haunted by a childhood memory that is triggered when he gazes at a photograph of a château while at a perfume launch. The memory is immediately shown in which he encounters a young woman, Jennifer (Annie Belle, credited as Annie Briand), in the doorway of the château. His mother was always adamant that he imagined the woman but when the woman starts to appear to him, he knows that the only way he can figure out the mystery is by facing his childhood demons. Released in its native France as Lèvres de Sang, Lips of Blood is a film that provides violence, blood and sex where the vampires walk around in sheer dresses that billow in the wind.

The screenplay written by Rollin and Philippe is tight and compact making the pace of the film nice and fast. I found that this added to the suspense of the film, however, as we see Frédéric’s descent into madness and despair in his search for Jennifer. This contrasts with Rollin’s direction which tends to linger at points with brilliant use of close-ups and scenery, allowing the audience to become immersed in the location. It makes the film an entirely sensory experience which is elevated by Jennifer’s speech towards the end of the film where she explains that her spirit has wandered the landscape without leaving. There are also some questionable choices that Rollin brings to the film, the main scene being one where Frédéric locates the woman who photographed the château who we see photograph another woman who is fully naked and masturbating in front of the camera. It’s a scene that is entirely gratuitous and does not enhance the plot in any way but is clearly reflective of Rollin’s experience as a pornographic director. Again, the costume designs for the four vampires (particularly the two dressed in sheer sheets) screams sex. It’s bizarre to watch because these vampires are walking around public streets absolutely naked and it seems that no one bats an eyelid or even questions this.

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Philippe’s performance as Frédéric brings a mix confusion and distrust as each situation proves even more bizarre than the last. He doesn’t stop to question anything and instead pushes on with his mission. Frédéric’s acceptance of the situation allows the audience to become invested in the plot with no doubt. There’s a huge shift as Frédéric is torn between his God-fearing mother and the demonic vampires in the final act. This is the moment when it seems to come to a stand still as physically and mentally, Frédéric has pressed forward without thinking for much of the film. His one fixation appears to Jennifer throughout but it is only his mother who has the ability to stop him. On the other hand, there is Jennifer who is played beautifully by Annie Belle who subverts the traditional vampire trope and makes the character ethereal and (ironically) angel-like. Rollin allows the costumes to also speak for the characters with Jennifer dressed in shades of white and off-white with various textures and layers to illuminate that not all is as it seems contrasted with the single sheered material that the other vampires wear demonstrating a freedom and fearlessness.

It’s a film that I would be interested in watching again to see what else I could take from this film. This time around I really took in the use of location, costume and the cinematography but I could see the huge amount of detail given in the props in the background. I think that there is more to this film that meets the eye, particularly with the characters of Jennifer and La Mère de Frédéric (Nathalie Perrey). On researching this film on the internet, it seems that it is a fairly unnoticed film overall so I’d be interested in watching more Jean Rollin films (the horror ones that is!) and seeing how this one fits into that collection.

Have you seen this film? Let me know your thoughts 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!