The happy prince

The happy prince is an Oscar Wilde biopic about the last years of his life. After spending a few years of hard labour in British prisons for homosexuality, Oscar Wilde goes to Paris where he can live without fear under the name of Sebastian Melmoth. Although Wilde (Rupert Everett) is physically weaker as a result of his time in prison where he had to endure a lot, he also retains a bloated ego. He is shown going to a French tavern, standing on tables to sing with great panache. And there’s the young male prostitute who seems to be in awe of him. At home in England, his wife, Constance (Emily Watson), won’t allow him to see his sons unless he stops seeing his lover young Lord Alfred “Bosie” Douglas (Colin Morgan). But in Paris Wilde can’t wait to be reunited with Bosie. He gets a lot of support from his ex-lover Robbie Ross (Edwin Thomas) or friends like Reggie Turner (Colin Firth). This great cast also includes Tom Wilkinson in a small if-you-blink-you’ll-miss-it cameo. As Oscar Wilde becomes weaker he starts having weird visions. In one stunning moment, a stoic Queen Victoria is staring at Wilde on his deathbed. Except for a few flashback snippets, most of the film shows Wilde at the end of life. On top of playing Rupert Everett playing Oscar Wilde, he also wrote the screenplay and directed the film. The film is all over the place and needed a bit more focus, but it’s excusable as Wilde had a big over the top persona. And Everett plays a complex, multifaceted character. One moment joyous, then depressed and depressing, jumping on tables to quietly singing a love song to some boy (it’s surely Bosie) or later self-pitying. The production values are excellent. What’s not to like?

Rémi-Serge Gratton

 

The happy prince

 

Directed by:
Rupert Everett

Screenplay by:
Rupert Everett

Starring:
Rupert Everett
Edwin Thomas
Colin Morgan
Colin Firth
Benjamin Voisin
Emily Watson
Tom Wilkinson
Béatrice Dalle
Anna Chancellor

105 min.

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Colette

Gabrielle Colette (1873 – 1954) was one of the most important female writer. Wash Westmoreland’s exquisite Colette smartly sticks to the facts. She was born in the small country village of Saint-Sauveur-en-Puisaye, Burgundy. Gabrielle’s father was a war hero who lost one of his leg in battle. At the time she marries Henry Gauthier-Villars (Dominic West) the family is so poor that they can’t give him a dowry. Fourteen years older, Gauthier-Villars was a publisher/author. In truth, published under the pseudonym of “Willy”, his novels were mostly all ghostwritten. This enterprise is not a great success until he asks Gabrielle (Keira Knightley) to write. She writes Claudine à l’école (Claudine in school) was loosely based on her own life as a schoolgirl. It is published in 1900 under Willy’s name and becomes very popular but creates a scandal because of the lesbian themes which further boosts its popularity. It is so popular that Willy locks Gabrielle in her room until she writes a follow-up: Claudine à Paris (Claudine in Paris). Again Willy takes all the credits and squander all the money gambling or on other women. When Colette tells her husband that she’s attracted to women, Willy does not seemed concerned in the least. She doesn’t know that one of her female lover is also Willy’s lover. Over the years Colette gained more independence, became an actress, fell in love with female-to-male cross-dresser Mathilde de Morny (Denise Gough) and divorced Willy. Wash Westmoreland has a great production team (costumes, sets, score, cinematography…). It is beautiful. And Keira Knightley as strong female icon Colette has never looked better and nuanced. Bravo! Colette is much fun to watch.

Rémi-Serge Gratton

Colette

 

Directed by:
Wash Westmoreland

Screenplay by:
Richard Glatzer
Wash Westmoreland
Rebecca Lenkiewicz

Starring:
Keira Knightley
Dominic West
Denise Gough
Eleanor Tomlinson
Fiona Shaw

111 min.

Rated 14A

Don’t worry, he won’t get far on foot

Gus Van Sant’s new film is a biopic of paraplegic, alcoholic, politically incorrect cartoonist John Callahan (Joaquin Phoenix). At 21, after a day of drinking with his new buddy Dexter (Jack Black), Callahan’s life is changed forever by an auto accident. The cruel irony is that Dexter (real name? don’t know), who was driving Callahan’s car and fell asleep at the wheel, comes out of the accident without a scratch. At the hospital Callahan has a hard time facing the news that he won’t walk again. The only thing that calms him is physiotherapist Annu. Rooney Mara is Annu, and the way Gus Van Sant films her (in close-up, surrounded by sunshine and pastel colors) she looks more like a dreamy angel than a physiotherapist. Once out of the hospital and in a wheelchair, Callahan resumes his drinking and his whining. Most of the time he’s in a state of self-pity because his mother gave him up for adoption, and he drinks. A lot. That’s until he goes to an AA meeting at age 27 and stops drinking. His sponsor is Donnie, a gay, AA’s 12 steps guru. With a beard, hippie-like long blond hair and having lost some weight, Jonah Hill gives the best and most surprising performance of his career. After sobering up, Callahan starts his career as a cartoonist. Some of his cartoons were called racist by some while others found them funny. He also made fun at the physically disabled, and sometimes himself, as can attest the title of this film (also the title of Callahan’s book). It’s not an entirely satisfying movie experience. The screenplay and Van Sant’s direction makes it impossible to follow. It is confusing because it goes back and forth in time. Is it before he joined AA or did he relapse? A scene where he is sober is followed by one where he is drunk without any clue for the audience. It’s a shame. But you can still enjoy the superior performances from Joaquin Phoenix, Jonah Hill, Rooney Mara and Jack Black. You could not find better casting.

Rémi-Serge Gratton

 

Don’t worry, he won’t get far on foot

 

Directed by:
Gus Van Sant

Screenplay by:
John Callahan
Gus Van Sant
Jack Gibson
William Andrew Eatman
Based on Callahan’s memoir

Starring:
Joaquin Phoenix
Jonah Hill
Rooney Mara
Jack Black

114 min.

Rated 14A

Gauguin: Voyage to Tahiti (Gaugin – Voyage de Tahiti)

Gauguin: Voyage to Tahiti is about Paul Gauguin’s first trip to Tahiti. Gauguin (Vincent Cassel) left Paris in 1891 in the hopes of coming back a rich man. But soon after he gets there he becomes very sick. The doctor (Malik Zidi) orders him to stop smoking and change his diet. He doesn’t, but instead he falls for a local girl, and with her parents consent, they move together in a small hut. And with her love he is now cured. The girl is known today as Tehura, Tehamana or Teha’amana. In the film she is played by Tuheï Adams. Tehura will become one of Gauguin’s most important Polynesian model. (his painting D’où venons-nous? Que sommes-nous? Où allons-nous? is thought to be his most beautiful Polynesian work) But Gauguin is unable to sell his paintings and they get so poor that they can’t feed themselves. So he goes to seek work. By that time Tehura is in love with Jotépha (Pua-Taï Hikutini), a boy closer to her age. Gauguin is jealous and he locks her in the house while he’s gone to work. I found the film to be too slow and, beside the splendid French Polynesian landscape, it did not have anything interesting to say. In doing my research I learned that Tehura, who really existed, but in the film is probably a composite of all of Gauguin’s Polynesian “wife”, was only 13 years old, while Gauguin was 43, and all his companions were about the same age. While it is probably consistent with the mores of Tahiti at the time, today that information is not good material for a biopic. The filmmakers knew it and there is no mention of Tehura’s age. Neither did they tell us that Gauguin suffered from syphilis, probably a deadly disease at the time. In the film the disease is diabetes. I found the filmmaker to be dishonest. Was Gauguin a great artist? Yes. Should his paintings be seen by more people? Yes. But there is no reason to mask the truth. We should see a person for what they are and were, warts and all. Plus the film is a bore.

Rémi-Serge Gratton

Gauguin: Voyage to Tahiti (Gaugin – Voyage de Tahiti)

 

Directed by:
Édouard Deluc

Screenplay by:
Édouard Deluc
Étienne Comar
Thomas Lilti
Sarah Kaminsky

Starring:
Vincent Cassel
Tuheï Adams
Malik Zidi
Pua-Taï Hikutini
Pernille Bergendorff

102 min.

In French and some Polynesian languages with English subtitles

The young Karl Marx

After his powerful documentary I am not your negro, Haitian director Raoul Peck seems to be happy taking difficult and arduous topics. Case in point is this biopic about Karl Marx, the father of communism. We first meet journalist Marx (August Diehl) in 1844 at 26, fleeing German censorship to go to Paris. It’s there that Marx and his wife Jenny (Vicky Krieps) meet Friedrich Engels (Stefan Konarske). Engels is coming from Manchester, England where he reluctantly helps is father run a textile factory. Engels can see that the workers are exploited, overworked, underpaid and he decries the child labour. at the factory. Together, with the help of Jenny and Engels’ companion, Mary Burns (Hannah Steele), they will write The Communist manifesto. That means lots of meeting with socialist philosophers. Since I know nothing about the birth of the movement, I’ve never heard of them. Two of the most well-known at the time seems to have been Pierre Proudhon and Wilhelm Weitling. The young Karl Marx is a most talkative film. Although the acting from the four leads and the production values are excellent, the subject matter makes this film, unless you are familiar with the subject matter, a bit of a boring affair. Still, it’s intriguing. Your choice.

Rémi-Serge Gratton

The young Karl Marx

 

Directed by:
Raoul Peck

Screenplay by:
Raoul Peck
Pascal Bonitzer

Starring:
August Diehl
Stefan Konarske
Vicky Krieps
Olivier Gourmet
Hannah Steele

118 min.

In German, French and English with English subtitles.

Final portrait

In 1964 Swiss painter and sculptor Alberto Giacometti wanted to paint a portrait of his American friend and biographer James Lord, and asked Lord to pose for him. Lord met Giacometti in his dirty and dusty studio in Paris. Lord (Armie Hammer) thought it would only take a few days, but Giacometti (Geoffrey Rush) only paints a few strokes, stops, looks at what he’s done, swears at it and smears the painting with some white paint. So he has to start again. And that’s not all. Giacometti’s private life is complicated by his love for his wife, Annette (Sylvie Testud) and his model, Caroline (Clémence Poésy), who is also a prostitute. Lord has to cancel his flight back to America several times, hoping in vain that Giacometti will be able to one day finish the portrait. Happily he has Alberto’s brother, Diego (Tony Shalhoub), to keep him company. Final portrait is a mess. Where do I start? Australian actor Geoffrey Rush, as always, is overacting and repetitive. When Giacometti is swearing at his canvas, you would expect a good actor to do some variations. But Rush says the same swear word the same way every time. That action is replayed so many times during the film that it becomes annoying. And several scenes of Giacomett and Lord walking in what looks like the Père Lachaise cemetery are also repetitive. The film is ugly. Everything looks gray (dirty and dusty?) and I could not believe we were really in Paris. And lastly, I found the whole film and the story to be uninteresting. To avoid!

Rémi-Serge Gratton

Final portrait

 

Directed by:
Stanley Tucci

Screenplay by:
Stanley Tucci

Starring:
Geoffrey Rush
Armie Hammer
Clémence Poésy
Tony Shalhoub
James Faulkner
Sylvie Testud

90 min.

Rated 14A

In English, Italian and French with English subtitles.

Film stars don’t die in Liverpool

In Film stars don’t die in Liverpool, Annette Bening plays Gloria Grahame, a Best supporting actress Oscar winner in 1952 for The bad and the beautiful. The film is based on the memoirs of Peter Turner (Jamie Bell), a young British actor who became Grahame’s lover in the late 70s. There was close to 30 years difference between them. In 1981, soon after their break-up, Turner gets the news that Grahame is ill. She collapsed in her dressing room as she was about to go on stage in The glass menagerie. Turner goes to see her and he learns that she refuses to go to the hospital and does not want chemotherapy. All she wants is to go to Peter Turner’s house in Liverpool where she knows that Peter’s family will take care of her. Peter’s parents, Bella and Joe (Julie Walters and Kenneth Cranham) are happy to help their friend Gloria but, along with Peter’s brother, Joe Jr. (Stephen Graham), they think that she should call her children and her doctors in New York. As Peter is making the decision to call them, he remembers the beginning of their love affair. Director Paul McGuigan’s flashbacks are so compelling. It’s like Turner sees his memories. He peeks through a door and peeks, literally, into his remembrance. You don’t often see the “young man in love” as very compelling characters. Those are usually the most boring characters. But there is such an emotional investment, both physical and intellectual, from Jamie Bell that we can’t help cheering for Peter Turner. The film is conceptually quite beautiful. I was surprised to see several scenes with rear projections matte paintings, methods that were in use in movies until the 1960s. It’s as if McGuigan wants to underline that Gloria Grahame was a 40s and 50s movie star. In 1981 her best year are behind her, that’s true. But the way Bening plays her, she’s still a star. Actually, Bening is a star playing a star. Whether she’s dancing disco with Peter or dying of cancer in bed, Gloria Grahame was a star. At some point Matt Greenhalgh’s screenplay switches the flashbacks from Peter’s point of view to Gloria’s. At that moment Annette Bening becomes a tragedienne. A tour-de-force acting from both Bell and Bening.

Rémi-Serge Gratton

Film stars don’t die in Liverpool

 

Directed by:
Paul McGuigan

Screenplay by:
Matt Greenhalgh
Based on the memoir by Peter Turner

Starring:
Annette Bening
Jamie Bell
Julie Walters
Vanessa Redgrave
Kenneth Cranham
Stephen Graham

105 min.

Breathe

With the syrupy and bubbly Nitin Sawhney score and Robert Richardson’s Hallmark card cinematography, it was almost enough to dismiss Breathe as another one of those feel-good, manipulative tear-jerker. But I was wrong. Yes, it is a feel-good manipulative tear-jerker, but one fuelled by a cast of subtle players, and the joyful direction by Andy Serkis (yes, that Andy Serkis, the Gollum Andy Serkis from The Lord of the rings trilogy) in his debut as director. Breathe stars Andrew Garfield as Robin Cavendish. In 1958, at only 28, Robin was diagnosed with polio. Claire Foy (TV’s The crown) plays Robin’s wife, Diana. The early scenes shows Robin, a vibrant young man, being overtaken suddenly by the disease. It can happen to anybody. Robin Cavendish was paralyzed, unable to breathe on his own and was only kept alive with the help of a respirator. Beside the opening scenes and a few dream sequences, Garfield is immobile from the neck down for the remainder of the film, playing only with his head. At first, Cavendish was told that he only three months to live, and that he would have to spend his last days in a hospital bed. But when Diana saw that her husband had fallen into a deep depression and that he refused to see their newborn son (Jonathan Cavendish is producing Breathe), she decided to bring him home. The doctors warned her that she would not be able to manage. But Diana did manage and Robin Cavendish died in 1994 when he was 64. Furthermore, with his friend Oxford University professor Teddy Hall (Hugh Bonneville), Cavendish developed a wheelchair with a built-in respirator. They build more wheelchairs and made available to other polio patients, insuring their independence and a better quality of life. Andrew Garfield’s performance is more than a tour-de-force. Well, it is a tour-de-force, but throughout the film, Garfield is very careful to never overplay the dramatic situations. This is a film of survivals. I think that Claire Foy is even more restrained. We never know what Diana is thinking, but oh boy, if you tell her what to do, she’ll stay silent, then do what she wants, what she feels is right. Diana Cavendish must have been quite a lady. The other player of note is Tom Hollander as Diana’s twin brothers, Bloggs and David Blacker. With the help of excellent special effects, Hollander is duplicated on the screen for most of his scenes. I first thought that the twins were played by real twin actors, but I was surprised to find out that it was Hollander alone. There is a scene that best define what the film is about. The family is traveling to Spain when the respirator’s motor blows up. The truck has stopped on a country road, and Robin is given air through a manual respirator, while they are waiting for Professor Hall to fly to Spain and fix the broken respirator. By the time of Hall’s arrival, a crowd has gathered around Robin and his family. There are tables full of food and wine, musicians, people are singing and dancing. When the respirator is repaired, the crowd applaud. This is a fiesta. A celebration of life.

Rémi-Serge Gratton

 

Breathe

 

Directed by:
Andy Serkis

Screenplay by:
William Nicholson

Starring:
Andrew Garfield
Claire Foy
Tom Hollander
Hugh Bonneville

Rated Parental Guidance

118 min.

Django

I knew of Django Reinhardt as the inventor of ‘Jazz manouche’ (aka ‘Gypsy jazz’). But, in reality I knew next to nothing about the man. Django centers on Reinhardt’s experiences during World War II in occupied France. It is estimated that the Nazis killed half of Europe’s Gypsy population. Being a Romani, Reinhardt could be in great danger. But he was a popular musician. The Nazis wanted him to play for them. His agent Charles Delauney (Patrick Mille) already agreed that Reinhardt and his musicians, the Quintette du Hot club de France, will tour Germany. But Django Reinhardt (a solid Reda Kateb) does not want to go. Why? Well, the Nazis did not like Jazz, they tolerated it for a while. But if they toured Germany, the group would have to follow ridiculous rules. Like no tapping of the feet while they played, not to play swing and solos could not be longer than 5 seconds. If Reinhardt refused he and his family would certainly be sent to the camps. Upon the advice of Louise de Klerk (Cécile de France), a friend and lover, he escapes with his pregnant wife (Beata Palya) and his feisty mother (Bimbam Merstein, much fun to watch) to a house in the country, in the hopes that they can cross into Switzerland. This is based on a novel rather than being a factual biopic. Some of the story may have been invented, but the film never claimed to be a documentary. Django is quite suspenseful and tense. Director Comar knows how to sustain the dreadful menace that was probably part Django’s life. I did not know that one of Reinhardt’s hands had been injured in a fire and that he could only play with two fingers from that hand. The hands are provided by Jazz guitarist Christophe Lartilleux. The film is good, but the real draw is the music. This beautiful Jazz manouche is played by the Rosenberg trio. And there’s the troubling Mass for the Gypsies at the end of the film. Unfortunately, that piece composed by Django Reinhardt has been lost. Only a few pages have survived. It’s a shame.

Rémi-Serge Gratton

Django

 

Directed by:
Étienne Comar

Screenplay by:
Étienne Comar
Alexis Salatko
Based on Salatko’s novel Folles de Django

Starring:
Reda Kateb
Cécile de France
Beata Palya
Johnny Montreuil
Bimbam Merstein
Patrick Mille

117 min.

Rated Parental Guidance

In French, German, and Romany with English subtitles.

Churchill

As Winston Churchill walks on the beach, he has visions of death. The water is red with blood, and it gets bloodier and bloodier. His wife, Clementine, calls him back. But the nightmare is not over. As he walks back, the beach is strewed with dead soldiers. The young men who died on the beaches of Gallipoli in 1915. But it’s June 1944 now, and Churchill is the British Prime Minister. As preparation for D-Day is underway, Churchill (Brian Cox) is afraid that the Allied forces are about repeat the same mistake. It is estimated that over 50,000 allied soldiers were killed, 34,000 of them British, in the disastrous 1915 Battle of Gallipoli. Churchill took much of the blame as one of its political and military engineers. So Churchill, 70 years old in 1944, is determined to stop the Normandy landings. He is coming undone. Even more frustrating for him is the fact that nobody seems to agree with him. His assistant, Field marshal Jan Smuts (Richard Durden), is trying to reason with him. His frequent confrontations with American General Dwight D. Eisenhower (American actor John Slattery from TV’s Mad men) and British Field marshal Bernard ’Monty’ Montgomery (Julian Wadham) are only makes him look like an old fool. Even King George VI (a stuttering James Purefoy) visits Churchill and tells him to stop his campaign. D-Day will happen. His wife, Clementine (Miranda Richardson) won’t let her husband out of her grips. Especially when he drinks too much or angrily yells at a young new secretary (Ella Purnell). She forcefully tries to avoid a mental breakdown from happening. But it seems unavoidable. The production values (sets, costumes, photography, score) are tops here. I am not being an expert on the historical accuracy of the story. But screenwriter Alex von Tunzelmann is also a historian, so it may be only a small footnote in history that gave her a cue write this intriguing concept. But the real draw of Churchill is the excellent performances of the two leads. After last year’s disastrous film The carer, it’s nice to see Cox finally find a part worthy of his considerable talent. In Churchill, Cox is in every scenes. He is the symphony orchestra conductor, setting the rhythm and the nuances, making sure the balances of every details are right. Quite a feat. Richardson’s Clementine Churchill is cold, calculating and fierce. She is not to be messed with. But later on she can also be committed to loving her husband no matter what. Soon to come there will be another film called Darkest hour with Gary Oldman and Dame Kristin Scott Thomas as Winston and Clementine, and Ben Mendelsohn as King George VI. And maybe a soon battle royal at the Oscars. Who knows?

Rémi-Serge Gratton

 

Churchill

 

Directed by:
Jonathan Teplitzky

Screenplay by:
Alex von Tunzelmann

Starring:
Brian Cox
Miranda Richardson
Richard Durden
John Slattery
Julian Wadham
Ella Purnell
James Purefoy

98 min.

Rated Parental Guidance