Brooklyn (2015)

This blog has been a fan of young Irish actor Saoirse Ronan since we (ahem, I) first encountered her only a short couple of years ago in Byzantium (although of course her career stretched back some time before this, as I’ve been belatedly catching up with). It would be difficult to claim any of the films in which she takes a lead role as particularly great (I remain fond of How I Live Now, but perhaps I’m in a minority there), but these — and even the ensemble casts she’s been amongst — have all been enlivened by her facility for getting inside a character. Her latest character is Eilis, an impoverished small-town girl in early-50s Ireland who moves across the Atlantic for a chance at a better life. It’s an immigrant’s story, told with generosity and affection, as she is torn between the new life she’s making for herself and the old country. A friend of mine calls the film “low-stakes” in the sense that it becomes clear that things will work out for Eilis whatever happens — at a story level, she has a choice between two good, decent men (Emory Cohen in New York, and Domhnall Gleeson in Ireland) — but from the character’s point-of-view these choices are pretty critical, and the very fact that men and matrimony should play a central part also reflects on her society and its limitations on her own aspirations. That said, she works hard to achieve a career in book-keeping, and the film’s focus remains on Eilis and her own future, meaning it’s far from depressing. It’s also curious the extent to which it avoids any overt sentimentality (orchestral score aside, though even that is a lot more sympathetic than it could have been in the wrong hands), achieving a rich emotional register without being melodramatic. To that we can credit screenwriter Nick Hornby, a dab hand at this sort of thing, as well as director John Crowley, and the glorious images conjured up by cinematographer Yves Bélanger. But most of all, we can credit Saoirse Ronan, an actor who can improve even the patchiest of source materials, and this source is not patchy at all.

Brooklyn film posterCREDITS
Director John Crowley; Writer Nick Hornby (based on the novel by Colm Tóibín); Cinematographer Yves Bélanger; Starring Saoirse Ronan, Emory Cohen, Julie Walters, Domhnall Gleeson, Jim Broadbent; Length 112 minutes.
Seen at Picturehouse Central, London, Tuesday 10 November 2015.

Harry Potter and the Half-Blood Prince (2009)

I suppose as a reviewer you get to the point with a long-running series where you run out of useful things to really say about it, or maybe it’s just because I’ve been writing these things every other day for the past few weeks. This sixth instalment of J.K. Rowling’s teenage wizarding series is every bit as well-crafted as the previous film, and follows in much the same vein. If anything it encompasses some even darker textures, though these are counterbalanced by some of the deftest touches of humour so far in the series, and while it draws back somewhat from the previous film’s political worldview, there’s enough here that’s enchanting.

The darkness is introduced right from the outset with an attack on London, destroying the Millennium Bridge, as well as one of the shops on the hidden little Dickensian street of the alternative wizarding world. The film closes, too, with the death of a key character, and in between is all manner of demonic details occasioned by the return of Voldemort, although some are related to the book belonging to the ‘Half-Blood Prince’ which Harry discovers. The final chapters to the saga are also set up by the revelation that Voldemort has concealed his soul in seven magical items (or “horcruxes” as they are known here), which must be destroyed in order to finally defeat him.

The darkness is of a piece with the gloomily gothical world conjured up by Rowling’s fiction and which has been elaborated in all the successive films. More interesting is the appearance of rather more levity than we’ve had so far, with all manner of situational comedy and throwaway lines from the teenage leads as the sub-plots relating to their various romantic connections are played out. Ron becomes an unlikely centre of attentions to several female characters, while Harry starts to develop feelings for Ron’s sister Ginny (Bonnie Wright).

Elsewhere the acting continues to be strong, with new recruit for this episode being the bumbling professor played by Jim Broadbent, a pleasant enough caricature but without some of the depth of previous faculty staff members (he brings to mind Kenneth Branagh’s turn more than anything else). If I liked the Half-Blood Prince in the end, perhaps a lot has to do with the way it builds on the previous episodes and sets up the denouement, and with my own greater investment in this world after five previous instalments. In any case, it’s put together nicely, and carries the viewer through with the deftest of touches.

Next: Harry Potter and the Deathly Hallows Part 1 (2010)

Harry Potter and the Half-Blood Prince film posterCREDITS
Director David Yates; Writer Steve Kloves (based on the novel by J.K. Rowling); Cinematographer Bruno Delbonnel; Starring Daniel Radcliffe, Emma Watson, Rupert Grint, Jim Broadbent, Tom Felton; Length 153 minutes.
Seen at home (Blu-ray), London, Wednesday 1 January 2014.

Bridget Jones’s Diary (2001)


FILM REVIEW || Director Sharon Maguire | Writers Andrew Davies and Richard Curtis (based on the novel by Helen Fielding) | Cinematographer Stuart Dryburgh | Starring Renée Zellweger, Colin Firth, Hugh Grant, Jim Broadbent | Length 97 minutes | Seen at Penthouse, Wellington, Saturday 4 August 2001 (and at holiday apartment in Rovinj on TV, Saturday 1 June 2013) || My Rating 2.5 stars likeable


© Universal Pictures

By this point it’s well enough known that the original novel on which this film is based took its inspiration from Jane Austen’s Pride and Prejudice (though not so much by me, who had to be apprised of this fact by my wife upon expressing surprise at the similarity in both name and casting between Colin Firth here and in the BBC TV adaption of said Austen novel some years earlier). Bridget Jones is a nice middle-class girl who lives in an attractive area (in this case a scrubbed-up London, above a pub in Borough Market, rather than the countryside) with a group of dedicated single friends (rather than sisters), who dallies with chaps of much greater income.

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Richard III (1995)

As this film is based on an over-400-year-old play (itself based on even older history), the events and characters of which are pretty much embedded into Western cultural history, I trust that the usual rules of ‘spoilers’ don’t really apply in the same way. However, if you remain concerned about this, then I shall sum up my review more pithily: track down this movie and watch it. It’s worth it, even if you think you don’t like Shakespeare.


FILM REVIEW || Director Richard Loncraine | Writers William Shakespeare, Ian McKellen and Richard Loncraine (based on the play by Shakespeare) | Cinematographer Peter Biziou | Starring Ian McKellen, Annette Bening, Kristin Scott Thomas, Jim Broadbent, Robert Downey Jr. | Length 104 minutes | Seen at Paramount, Wellington, February 1997 (also at home on DVD, Tuesday 7 May 2013) || My Rating 4 stars excellent


© United Artists

I first saw this film on the big screen a few years after it was released, which is to say, 16 years ago now. My memory is generally terrible, and there are films I’ve seen that I have forgotten to such an extent that I’ve rewatched them and not even realised that I’d seen them already in my life. So it should say something that I still very clearly recalled the opening sequence of this adaptation of the Shakespeare play when I sat down to rewatch it recently at home.

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