January 27, 2013
Greetings again from the darkness. The latest entry into the gray cinema genre is also the directorial debut of Dustin Hoffman. Oddly, Mr. Hoffman chose a British play for his first film. Ronald Harwood adapted his own play for the big screen and it certainly benefits from some giants in the acting world.
Beechum House is a retirement home for retired musicians and performers. It’s a beautiful home with a stunning property ideal for long nature walks, croquet or simply taking tea on the patio. Many details of the movie probably worked better on stage, but Tom Courtenay, Billy Connolly, Maggie Smith and Pauline Collins are wonderful as renowned singers famous for their rendition of Verdi’s “Rigoletto”.
In a convoluted plot mechanism, Beechum House needs a cash infusion to keep its doors open, and the answer comes from a hoped for reunion of the above mentioned quartet in this year’s fundraising gala. Convoluted seems like the right word because, of course, the house gets “saved”, but there can’t be more than 50 people in the audience … some of which are the students Mr. Courtenay teaches in his music class. It seems doubtful this crowd would have generated enough money to save the house from financial ruin.
Anyway, this isn’t meant to be an in-depth character study. It’s just a simple, sentimental, and even sweet story of some aging, talented performers who are struggling with the pains and insecurities of old age. Michael Gambon wonderfully captures the pomposity of a once-great director who still thrives on what little power can be grasped at Beechum House.
This one is not near the level of last year’s The Best Exotic Marigold Hotel, though it’s enjoyable enough for light-hearted and well-meaning entertainment. The gala also features a wonderful aria performed by famed opera singer Gwyneth Jones. Take this one for what it is … a pleasant movie experience.
SEE THIS MOVIE IF: a pleasant, light-hearted movie with likable characters is what you are after
SKIP THIS MOVIE IF: you are seeking something with a bit more insight into the aging process
watch the trailer:
January 30, 2012
Greetings again from the darkness. We are accustomed to movies with men posing as women for comedic effect … Mrs. Doubtfire and Tootsie come to mind. Watching an extremely serious, even bleak, film with a woman (Glenn Close) posing as a man is quite rare, and I will say, downright uncomfortable. When Albert Nobbs is described by his co-workers as a strange little man, they have no idea!
The film is based on a novella by George Moore, and has been a pet project of Glenn Close since she starred in the off-Broadway play in the 1980’s. Her dream has been realized in this film directed by Rodrigo Garcia. The film has an extremely talented cast including Brendan Gleeson as a doctor, Bronagh Gallagher as Mrs Page, Mia Wasikowska, Aaron Johnson and Brenda Fricker as hotel staff, Pauline Collins as the hotel proprietor, and Jonathan Rhys Meyers as a frequent hotel guest. The song over the closing credits (co-written by Ms. Close) is sung by Sinead O’Connor.
Beyond that fabulous cast, the only thing that really makes the film worth watching is the curious performance of Ms. Close as Albert Nobbs and the much more colorful and lively turn by Janet McTeer as Mr. Page … the only one (we know of) who can understand what Albert is going through. Both are nominated for Oscars. During the film, we get the personal story from each of these characters on why they made their choice, but Albert’s story is a bit muddled. He/she seems to have just fallen into the life and been unable to stop for the past 30 years. Now, Albert has a dream that can only be achieved through the wages earned as the non-descript, efficient waiter in an 1890’s Dublin hotel.
There are many painful scenes to watch, but none moreso than Albert courting Helen so that he can have a partner for his new business. He has no idea how a real relationship works or why people are attracted to each other. Albert just sees Helen as a means to an end, and is following the blueprint set by Mr. Page. Some will enjoy this much more than I, as the thought of pretending to be someone you aren’t for 3 decades is just more than I can even comprehend. When Gleeson’s doctor spouts that he has no reason why people choose to lead such miserable lives, I concur whole-heartedly.
SEE THIS MOVIE IF: you want to see how little joy would be had spending one’s life pretending to be someone else OR you don’t want to miss two Oscar-caliber performances (Close, McTeer)
SKIP THIS MOVIE IF: misery in 1890’s Dublin holds no more interest for you than misery in any other era or locale
watch the trailer:
October 10, 2010
Greetings again from the darkness. Sound and fury signify nothing. The narrator begins the film by reminding us of Shakespeare’s words. I can’t decide whether or not this was a confession by Woody Allen that he realized the movie fits that phrase. I have followed Mr. Allen’s film career since the early 70’s and have learned that sometimes disappointment follows. Of course, there are also times when pure screen magic occurs, making the journey worthwhile. Unfortunately, there is no magic here, just sound and faux-fury.
Here is a convoluted recap of the story: Elderly woman Helena (Gemma Jones) is dumped by her doesn’t want to admit he’s aging husband Alfie (Anthony Hopkins). He tries to be a swinging bachelor and ends up marrying a gold-digging call girl named Charlamaine (Lucy Punch). Helena looks for guidance from Cristal (Pauline Collins),a fortune teller referred by Helena’s daughter Sally (Naomi Watts). Sally is married to Roy (Josh Brolin), a morally bankrupt one-hit wonder in the novel-writing business. She works at a very successful art gallery run by Greg (Antonio Banderas). Sally and Roy yell at each other a lot and Sally has eyes for Greg, who instead has eyes for Iris (Anna Friel), a painter Sally discovered. Roy has peeping eyes for Dia (Freida Pinto), whom he can see from his bedroom window.
So, you get the idea. It is actually a set-up that fits perfectly with a Woody Allen film. A madcat story where no one is happy with their life and they each seek proof of their worth. Interesting that they seem to have some security with their current partner, but it’s just not enough. The cast is stellar, and London makes the perfect setting. However, nothing really clicks. Manly Josh Brolin just doesn’t wear neurosis well. I didn’t enjoy watching Naomi Watts yell at people. Anthony Hopkins’ character is such a pathetic re-tread that it really annoyed me. Mr. Allen obviously finds Freida Pinto appealing because her character gets perfect lighting and comes across as a victim, despite dumping her fiancé.
Despite all the turns in these sub-plots, only one of the stories really has any finality to it. Now I don’t mind endings that leave much to the imagination, but I do get irritated when it appears the filmmaker just lost interest. Even when that filmmaker is Woody Allen.
SEE THIS MOVIE IF: you believe Woody Allen only makes timeless classics OR listening to Leon Redbone sing “When You Wish Upon a Star” is worth $10 to you.
SKIP THIS MOVIE IF: you are susceptible to the directives of fortune tellers OR you just can’t take one more film about a struggling writer, a lustful senior citizen or a career woman whose biological clock is ticking.