As one of the big cinematic releases here in the UK this autumn, Suffragette goes back to a fertile period of modern history — the 1910s shortly before the outbreak of World War I — tackling a story that’s certainly well-known to people at least in passing, if rarely thus far attempted on the big screen. Partially that may be due to the rather limited scope of the so-called ‘suffragettes’, being the militant wing of the campaign for women’s suffrage (voting rights); they were, after all, engaged in a domestic form of terrorism, albeit directed at manifestly unjust laws (not even all men had the vote in this period). Moreover it’s debated amongst historians quite how effective their campaign was, and it’s suggested that women’s involvement in work during World War I was more decisive in swaying political opinion on the matter (in 1918 women over 30, along with all men over 18, were awarded voting rights). However, that doesn’t change the fact that this is a stirring story of a small number of women who campaigned passionately for something they believed in enough to suffer abuse and imprisonment (and in some cases even death), and which continues to have resonances today, judging from the list that ends the film of when various countries finally allowed women the vote. It’s unquestionably a handsomely-mounted piece, with plenty of detail in the costumes and setting, and although most of the central characters are fictional creations, they are in some cases (most notably Helena Bonham Carter’s militant pharmacist) based on some aspects of real life figures, while there are effectively cameos from the movement’s leading lights (including Meryl Streep as Emmeline Pankhurst, and Natalie Press as Emily Wilding Davison). However, in some ways the film’s real achievement is in focusing on one working-class family woman (Carey Mulligan’s Maud, married to Ben Whishaw’s Sonny), rather than the upper middle-class ladies who are usually the linchpin of such stories. It’s her realisation of the importance of political representation, as effectively contextualised within her unfavourable working environment in an East End laundry, that moves the narrative along, and all the details of her working life are the most persuasive aspects of the drama. There are indeed many more stories of this type to be told about women in history — the past hundred years of cinema has provided rather a surfeit of tales of chauvinist political machinations — and Suffragette should be welcomed as a big-budget evocation of an important, if under-represented, story.
NEW RELEASE FILM REVIEW Director Sarah Gavron | Writer Abi Morgan | Cinematographer Edu Grau | Starring Carey Mulligan, Helena Bonham Carter, Anne-Marie Duff, Ben Whishaw, Brendan Gleeson | Length 106 minutes || Seen at Cineworld Wood Green, London, Thursday 22 October 2015
NEW RELEASE FILM REVIEW || Seen at Genesis, London, Monday 9 June 2014 || My Rating very good
Tom Cruise has made a bit of a career in recent times at the thoughtful big-budget science-fiction genre. Perhaps he wanted to be in Inception and is trying to make up for it? In any case, while he’s very much front and centre in Edge of Tomorrow (or “Live Die Repeat” as the trailers and the, er, hashtag prefer to call it), the real standout hero is Emily Blunt as Sgt Rita Vrataski. She holds the key to unlocking the mystery of Cruise’s Major Bill Cage and his ever-recurring present (think Groundhog Day but with less comedy and more guns and violence), and she also proves herself the emotional centre of the piece. The film may not advance the genre, but it fills its generic shoes with uncommon concision and, much like the first Bourne film by the same director, makes for reassuring pleasures. Major Cage starts as a battle-shy media relations man in the Army at a time when the world is battling a shape-shifting seemingly invincible monster and has a great (and humorous) scene-setting tête-à-tête with Brendan Gleeson’s General in charge of all the world’s forces. If the media collage opening, with its glimpses of current-day political leaders intercut with Cruise, Gleeson and others in Starship Troopers newsbite form, seems to stretch credulity, it also hints that the film takes place in an alternate universe – or should that be “multiverse”, given the repetition at its heart. Cage is soon busted down to Private, and it’s here that the interplay between Cruise and Blunt takes over, to excellent effect. From thereon in it’s all fairly straightforward, with a few subtle shifts of setting that serve to keep the audience engaged, and a redemptive finale that doesn’t overstay its welcome.
CREDITS || Director Doug Liman | Writers Christopher McQuarrie, Jez Butterworth and John-Henry Butterworth (based on the novel Oru Yu Nido Izu Kiru by Hiroshi Sakurazaka) | Cinematographer Dion Beebe | Starring Tom Cruise, Emily Blunt, Bill Paxton, Brendan Gleeson, Noah Taylor | Length 113 minutes
FILM REVIEW || Director Mike Newell | Writer Steve Kloves (based on the novel by J.K. Rowling) | Cinematographer Roger Pratt | Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Brendan Gleeson, Ralph Fiennes | Length 157 minutes | Seen at home (DVD), London, Saturday 28 December 2013 || My Rating good
As the series has progressed, there’s been a definite move towards darker textures and emotions. The possibility was always hinted at by the looming gothic architecture of the main locations, but now that the leads are in the midst of adolescence, one gets the sense that the filmmakers feel safer venturing into rather more disturbing territory. Hence the presence here of the “Death Eaters”, a cult-like fraternity dedicated to the resurrection of the spectacularly creepy Lord Voldemort (played appropriately by Ralph Fiennes), as well as far more terror and peril than the previous instalments allowed — even the otherwise more assured Prisoner of Azkaban — reflected in its higher classification (a 12 certificate rather than PG for the previous films).