Having this year been watching almost solely the output of female directors, I’ve become used to seeing on screen a certain level of budget (something nearer to the $0 end of the spectrum, let’s be fair). And then you watch something like this, just a grand, gorgeous staging with the sets! and the costumes! and the art design so elaborate and intricate you worry it’s all going to get in the way of, oh, the acting, the characterisation, that kind of thing. (I gather some critics feel that it has.) Now, I don’t deny any of Guillermo del Toro’s talent; he’s clearly done a lot of legwork to get to the stage where he can make something like this, and I think his great films like Cronos and El laberinto del fauno have given him a peerless sense of what works filmically. Because that stuff comes effortlessly here, especially when he’s marshalling all the tropes of the horror genre — the depth of field in staging shots, the creepy sound design, flashes of spectral presences, and then the full-on gory costumework. Because yes, there’s a lot of gore here, whether explicit or suggested: much of the latter part of the film is set in a house whose walls and foundations seem to literally ooze blood. Within this, it seems like a canny choice to go for actors like Mia Wasikowska, Jessica Chastain and Tom Hiddleston, all of whom have previous in this kind of enterprise — portraying doomed lovers in a period setting — so all of them look quite at home in what is a Victorian-era gothic romance hat-tipping visually to Hammer horror as mcuh as to Italian giallo, not to mention a bit of Kubrick’s The Shining too. It does in the end all feel a bit oppressive, and it should of course, but it’s a bravura piece of filmmaking and it hits all the right notes, honouring its sources without condescending to them.
NEW RELEASE FILM REVIEW Director Guillermo del Toro | Writers Guillermo del Toro and Matthew Robbins | Cinematographer Dan Laustsen | Starring Mia Wasikowska, Tom Hiddleston, Jessica Chastain | Length 119 minutes || Seen at Cineworld Wood Green, London, Saturday 31 October 2015
NEW RELEASE FILM REVIEW || Seen at UGC Ciné Cité Les Halles, Paris, Friday 4 July 2014 || My Rating good
Whenever I visit Paris, I seem to get the opportunity to see an English-language film somewhat ahead of its release elsewhere in the world, and my experience has been that these films have probably been a bit too weird to find mainstream success. Such was the case with Anne Fontaine’s Adore (aka Perfect Mothers, 2013), and it’s certainly the case with this, the latest David Cronenberg film. It’s not the setting and the atmosphere that are unusual — this vision of family dysfunction amongst the hermetically sealed-off homes and egos of Hollywood is familiar from films like Robert Altman’s The Player (1992) and, more recently, Sofia Coppola’s The Bling Ring (2013). Nor is it strange for the way it seems to share a spiritual kinship with that other twisted North American David’s Mulholland Dr. (2001) at the level of its unsettling atmospherics. What’s most disconcerting about the film (admittedly partly the reason it brings Lynch to mind) is in the melodramatic dynamics that are in play amongst the film’s protagonists — ageing diva Havana Segrand (Julianne Moore), infomercial guru Stafford Weiss (John Cusack), his neurotic wife Cristina (Olivia Williams) and their brattish movie actor spawn Benjie (newcomer Evan Bird), and mysterious stranger Agatha (Mia Wasikowska) with her enigmatic burn scar and initial apparent fascination with Hollywood homes. It’s all beautifully and antiseptically shot, and it’s one of those films that impresses with the density of its ideas upon later reflection, but the experience of watching it is odd and unsettling enough that I remain unconvinced. There’s a recurring incest metaphor that expresses itself in the arc of several characters, primarily the bond between Havana and her mother Clarice, who died many decades earlier, while still in the bloom of youth. We see some (rather unconvincing black-and-white) footage of one of Clarice’s films, and she appears as a waking nightmare to Havana at several points, as do other dead presences to other characters. But this is only one way in which the past haunts the present characters. The strangest is the repetition throughout the film of a poem by French symbolist Paul Éluard. It’s spoken in the old film of Clarice’s, it’s recited as a mantra, it’s even being memorised by Benjie in his trailer. The poem, “Liberté”, was written in 1942 as a riposte to the Nazi control of France, which already loads it with a history to which the film doesn’t always seem equal. But this is, after all, a film in which characters are trying (not always with great success) to free themselves from the burden of the past. If it sets itself out to be a map of the interrelationships between these Hollywood players, then it’s clearly one that people should be wary of following.
CREDITS || Director David Cronenberg | Writer Bruce Wagner | Cinematographer Peter Suschitzky | Starring Julianne Moore, Mia Wasikowska, John Cusack, Robert Pattinson, Olivia Williams | Length 111 minutes