Growing up in a convent Emma (Mia Wasikowska) was always a little different from the other girls. Whatever she was supposed to be doing Emma would be doing her own way and dreaming of the day she could leave. Madame Bovary starts with Emma getting her wish and marrying country doctor Charles Bovary (Henry Lloyd-Hughes). In theory by becoming Madame Bovary Emma is setting off to live her dream life of luxury and excitement but the reality is much less glamorous. Charles turns out to live a simple life in a modest house with a single servant. He is a kind man but dull and unambitious. While Emma yearns for the bustle of the city Charles is quite content to live out his quiet life in the countryside. Left alone in the house for most of the day Emma soon finds herself becoming less the grateful wife and succumbing to the dual temptations of material goods and extramarital romance.
Emma’s life is lived through the visitors she receives at her house and one of the more frequent faces she sees is Monsieur Lheureux (Rhys Ifans). Lheureux is a merchant who offers to sell Emma her every heart’s desire. From furniture to clothes and from jewellery to silverware there is nothing that Lheureux will not supply the Bovary couple and he happily allows Emma to rack up a mountain of debt. Another face who regularly pops by is Leon Dupuis (Ezra Miller) a young aspiring adventurer. Leon takes a shine to Emma and though she rejects his romantic advances he reawakens her sense of adventure and before the story is told Emma has taken her fair share of lovers. From a humble upbringing Emma learns to live a life of decadence and self-indulgence at the expense of her mild-mannered husband. Naturally Emma can only spend money she doesn’t have, and toy with the hearts of many, for so long before her life starts to unravel around her.
Much like the titular character Madame Bovary is beautifully presented but mostly empty on the inside. The costume and set designs are sumptuous, detailed, and presumably accurate and the film as a whole is greatly aesthetically pleasing. The acting, led by the always impressive Mia Wasikowska, is top-notch and everyone involved throws themselves into their roles with gusto. The ingredients are all there but the end result is somehow unsatisfying. While being a relatively enjoyable film Madame Bovary never quite manages to find its stride and events seem to plod on rather than move forward. Even when the situation becomes dire for our protagonist it is hard to sympathise because not one of the characters are especially sympathetic.
Emma is a selfish young woman who comes across as spoiled and ungrateful, Lheureux is a greedy, manipulative, and selfish man, and Emma’s various lovers are heartless and weak in equal measure. The only character who might stir up sympathy in the audience is poor Charles Bovary but the wet small town doctor is portrayed as pathetic enough to not really warrant our support. With nobody to root for the stakes never rise and the outcome of the film is difficult to care about. Despite the best efforts from a quality cast the script from Felipe Marino and director Sophie Barthes doesn’t put enough meat on the bones of the story. Though enjoyable enough I just didn’t care about what was going down on-screen.
Madame Bovary is a lack-lustre period drama that is less than the sum of its parts. While I must admit to being unfamiliar with the source text this adaptation leaves solid performances lost in a bland melodrama.
Madame Bovary has no UK release date yet.
Mary Poppins is a special film for me; it is one of those childhood films that I have watched countless times and so holds a special place in my film-loving heart. Because of this a film about the creation of the classic musical is not going to have to try very hard to win me over. That said I wasn’t expecting Saving Mr. Banks to get to me so much that I’d have to start keeping a tally of just how many times I had cried. From the opening moments when a piano played the film’s overture to the closing credits I was a mess.
Saving Mr. Banks covers the period in Disney’s development of Mary Poppins when the original novel’s author P.L. Travers (Emma Thompson) reluctantly travelled to Disney studios to work on the script and decide whether or not she would finally be willing to relinquish the rights. Travers did not want any singing or animation in the film and generally disapproved of any attempt to Disney-fy her book so screenwriter Don DaGradi (Bradley Whitford) and songwriters the Sherman brothers (B.J. Novak and Jason Schwartzman) were given a hard time by a woman who was not afraid to speak her mind. Walt Disney himself (Tom Hanks) was heavily involved in the project as if he couldn’t get Travers to sell him the film right he would be breaking a promise he made to his daughter decades earlier.
Alongside the story of the making of the film we see flashbacks to Travers’ childhood and meet the inspiration for Mr Banks, her father Robert Goff Travers (Colin Farrell) and for Mary Poppins herself (Rachel Griffiths). While the scenes at Disney are mostly fun and played for laughs, as Travers’ British bulldog nature comes to clashes with the cheery American sensibility of Disney and friends, the childhood scenes gradually turn from lighthearted antics to an all more serious nature. By the end of the films things have all gone a little bit tragic as we see the real reason Travers wrote the book and why she is so defensive about any changes Disney wants to make.
This being a Disney film about Disney they obviously don’t come out too badly but they are brave enough to poke a little fun at themselves and their overly cheery nature. In one scene Travers says to a stuffed Winnie the Pooh bear “Poor A. A. Milne” which shows they aren’t censoring the real writer’s disdain for Disney adaptations. As for the cast, everyone is firing on all cylinders as Emma Thompson once more manages to break the whole audience’s heart simultaneously with a single subtle look, and even Colin Farrell pulls of both comedy and pathos convincingly. Worth noting that Paul Giamatti rounds out the cast as Travers’ chauffeur who slowly wins her over with his sunny charm.
The combination of the dramatic childhood scenes, the heartwarming period at Disney, and my own personal connection to the original film of Mary Poppins proved to be a little too much for me to handle. At five separate occasions I found myself welling up in spite of myself and tears were frequently falling down my cheeks. In the scene when Let’s Go Fly A Kite is first performed all three elements combined together and left me an emotional wreck. I consider myself as someone who very rarely cries at films but that one scene had me weeping like never before in a cinema. I just hope none of the other critics saw.
Would this film be of any interest to someone who hasn’t seen Mary Poppins? Probably not but as someone who considers the film and integral part of their childhood it is a completely subjective masterpiece that hit me in just the right spot to have me making a spectacle of myself in public.
One star for every moment I got all weepy.
Saving Mr. Banks is in UK cinemas on 29th November 2013.
Slavery is not quite a taboo subject but is certainly not one that is dealt with seriously in cinematic terms very often. At the start of 2013 we were given Tarantino’s Django Unchained which tackled slavery in a stylised fashion with bloodshed being the main method of emancipation and without me ever really getting a sense of the brutality of life as a slave. With Tarantino at the helm the film felt all too fictional to have an effect. Within just the first few minutes of Steve McQueen’s 12 Years a Slave I felt like I could finally comprehend just how slaves were seen in pre-Civil War America in the eyes of their masters. These were not human beings, they are a commodity and closer to cattle than anything deserving basic rights.
Chiwetel Ejiofor stars as the free black man Solomon Northup who is kidnapped and sold back into slavery while his wife and children are left behind to assume him dead. More used to a life as a relatively respected gentleman and musician Solomon finds himself stripped of everything he owns down to his name and struggles to retain his dignity and sense of self. After being sold on to a relatively kindhearted plantation owner, played by Benedict Cumberbatch, Solomon struggles to keep his head down and after rubbing up an overseer (Paul Dano) the wrong way is sold on to a brutal new master called Epps (Michael Fassbender) and his equally cruel wife (Sarah Paulson).
It is on this second plantation that Solomon suffers the most as he gradually loses all hope of ever returning to his civilised life and more importantly his family. His learned past does not do Solomon any favours as his intelligence frequently threatens to leave him out of favour with his master and therefore suffer at the thin end of a whip. The only slave sticking out more than Solomon is a young woman Patsey (Lupita Nyong’o) who has caught the amorous eye of Epps and with it the scorn of Epps’ wife. Patsey brings about some of the most graphic violence in the film which hits home, hard.
The plot of 12 Years a Slave is not a complicated one as we stick with Solomon throughout his years spent enslaved. The day in, day out barbarism that surrounds him is displayed without glamorisation by McQueen in a film that is beautiful to behold but positively painful to watch. Here the violence is not cartoonish and the audience is made to feel every lashing delivered by the whip and you are never sure when the next beating will come. The whole 2+ hours were a hard-hitting experience and while I would never suggest that I enjoyed the film as such it truly is a masterpiece that manages to be powerful and intimately epic.
Ejiofor may be surrounded by more recognisable names (other than those already mentioned Brad Pitt and Paul Giamatti also pop up) but he more than holds his own as he takes the substantial weight of the film on his shoulders. It is Ejiofor who leads us on this journey with every grimace and wince his detailed performance brings with it. He is nothing short of magnificent which will be no surprise to anyone who has seen any of his work to date.
12 Years a Slave is a searing film that takes its weighty subject seriously whilst not scrimping on cinematic artistry. I cried for the second time this week and the audience of press applauded the film which is not a common occurrence. Expect to be hearing a lot about this film when the Oscars come around.
12 Years a Slave screens at the festival on the 18th, 19th and 20th October and is in UK cinemas on 24th January 2014.
Mild Concern was founded because on the 11th January 2010 I felt the need to say 73 words about the fact that Spider-Man was being rebooted. Since then the film gained the director of (500) Days of Summer (one of the films I most often force other people to watch) Marc Webb and the sexy young acting talents of Emma Stone and Andrew Garfield. The resulting film was… well… better than its predecessor and certainly seemed to be setting up for something we haven’t seen before. Admittedly I watched half of the film on a pirated DVD bought from a Turkish market which stopped playing halfway through so perhaps I am not the best judge.
All this aside there are new rumours that joining Amazing Spider-Man 2 are character actor extraordinaire Paul Giamatti and the one and only Felicity Jones – a woman for whom this blog acts as a temple as we wait patiently for her to make a five-star film. Giamatti is said to be playing The Rhino, not just any old rhino, while Jones has no confirmed role beyond attractive young lady who will win an Oscar one day even if I have to make her one myself.
This is exciting news if true and will mean that I will actually go and see Amazing Spider-Man 2 in the cinema and not be a Korsan Kaan which is what I have translated as the Turkish version of a Knock-off Nigel. You’re welcome Turkish Anti-Piracy Committee.