Tag Archives: biopic

COLETTE (2018) – CINEMA REVIEW

COLETTE (2018) – CINEMA REVIEW


Directed by: Wash Washmoreland

Produced by: Elizabeth Karlsen, Pamela Koffler, Michel Litvak and Christine Vachon.

Screenplay by: Richard Glatzer, Rebecca Lenkiewicz and Wash Washmoreland

Cast: Keira Knightley, Dominic West, Eleanor Tomlinson, Denise Gough etc.

**CONTAINS HISTORICAL SPOILERS**

In a coincidental twist of cultural fate I only recently became aware of turn-of-the-century novelist, libertine, bohemian and society trailblazer that was Sidonie-Gabrielle Colette. I’d been listening to a brilliant audio-documentary by Adam Roche, which was about Audrey Hepburn’s early life prior to becoming a Hollywood star. Interestingly, it was an elderly Colette who spotted the then unknown Helpburn filming a supporting role in Monte Carlo. Furthermore, it was Colette who insisted Hepburn was, despite her lack of stage experience, the ideal person to portray her famous creation Gigi on Broadway. Thus, even in later life Colette was to the fore of the cultural aesthetic; both a major talent and celebrity ripe for respect and admiration.

From her Claudine (1900) novels, to La Vagabond (1910) to Gigi (1944), Colette was a prolific writer of many books and short stories. She was also an actor, dancer and mime, who seemingly delighted in confronting the stuffy middle and upper classes of French society. Unashamed by on-stage nudity and choice of sexual parters, Colette had love affairs with both men and women. Not only did she break down sexual taboos, she also furthered gender equality and would be nominated for the Nobel Prize for Literature in 1948.

Denise Gough stars as Missy and Keira Knightley as Colette in COLETTE
Credit: Robert Viglasky/Bleecker Street

The cinematic version of her life finds Keira Knightley portraying the titular character with a committed energy, verve and magnetism. Knightley has never been the most nuanced of actors but she is a striking movie star, delivering a fine performance here. Likewise, the ever reliable Dominic West is on excellent form as Henry Gaulthier-Villars – AKA ‘Willy’ – Colette’s first husband. West represents him as a charismatic cad with an insatiable lust for women, gambling and booze. While able to wow publishers with his sales pitches he relies on others to do the writing, while happily wasting the advances and royalties.

Willy sweeps the naive country girl Colette off her feet and introduces her to the artistic and literary circles of Paris. As such it is his connections which enable Colette to gain her first publishing success. However, it is Willy who takes all the plaudits, publishing under his own name. This authorial switch inevitably creates a dramatic schism as Colette fights for her name to be on the books. Willy refuses, highlighting both his own egomania and the sexist prejudice of the day. Like the similarly plotted biopic Big Eyes (2014), this film illustrates the nefarious nature of dominant masculinity; however, it also made me consider whether the artists would have been successful if it HADN’T been for these dastardly blokes. Who can tell? One would hope the talent of said artists would shine through come what may.

Structurally, Colette is very linear representing a “greatest hits” of how Colette progresses creatively, romantically and sexually. As aforementioned Knightly gives a fearless performance and the period setting is beautifully evoked within an excellently directed production. My only criticism is a fair amount of time was spent on Colette’s sexual exploits when I would have preferred more drama relating to her authorship battles with feckless Willy. Nonetheless, as period biopics go the film stands as a stylish and admiral tribute to a trailblazing feminist and literary icon.

Mark: 8 out of 11

Gary Oldman shines in DARKEST HOUR (2017) – Cinema Review

DARKEST HOUR (2017) – CINEMA REVIEW

Directed by: Joe Wright

Produced by: Tim Bevan, Lisa Bruce, Eric Fellner, Anthony McCarten, Douglas

Written by: Anthony McCarten

Starring: Gary Oldman, Kristin Scott Thomas, Lily James, Stephen Dillane, Ben Mendelsohn

171130_MOV_WinstonChurchill.jpg.CROP.promovar-mediumlarge

What makes human beings want to go to war?  What is it that determines thoughts and actions which will lead to the death of another human being? Is it: a genetic trait; a tribal desire; a psychological defect; financial gain; jealousy; boredom; passion; political chicanery; religion; greed; anger; revenge; or quite simply madness. Taking a life is something I have never understood. I mean, unless you are forced to defend yourself against a foe hell-bent on your destruction why would you wish to harm anyone else?

So, Adolf Hitler has a lot to answer for because, even accepting the political and social reasons for the rise of the Nazi party and his desire to repair national pride after the first World War, what the hell gives a nation the right to invade and conquer other countries. If you choose to go down that road you are signing the death certificate of a generation men and women and children. It’s not just Germany either. The British Empire, Roman Empire, Vikings, Mongols, United States of America, France and many more have waged war against humanity down the years. Will it ever stop? Sadly, I doubt it.

darkest_4

In times of war what is needed is obviously bravery, steel, fight, intelligence and more than a little luck. You need hearty human beings to stand and be counted and to die on the battlefields and in the air and in the sea. You also need leaders; figureheads who can rally the troops and galvanise that last ounce of fight in order to repel the enemy. During World War II, with the country on its knees and backs to the walls we had many leaders, but Winston Churchill, above all else, became synonymous with victory.

darkest_2

As portrayed in Joe Wright’s beautifully shot microcosmic epic, Darkest Hour, Churchill is presented as a flawed-pink-pyjama’d-cigar-chuffing-blustering-iconoclastic-functioning-alcholic prone to fits of rage, melancholy and depression. He also happens to be devilishly intelligent, full of energy, with a wicked tongue and talent for brilliant oration. Much of the plaudits must go to Gary Oldman, and his make-up team, for creating such a wonderfully human portrait. Indeed, Oldman owns the screen with his damned-near perfect impression.

darkest_3

Anthony McCarten’s fine script centres on a finite number of days during World War II when Churchill became Prime Minister. Aside from one emotionally effective yet historically grating symbolic scene on the London underground, is it well written with fantastic one-liners and Churchill’s greatest verbal ‘hits’. Joe Wright is a talented director (the mis-guided Pan (2015) aside) and he evocatively conveys the shadow of looming defeat. Wright traps Churchill and ensemble in cars, lifts and in underground chambers. Shafts of light also pin the characters to the corners of the screen; pushing them toward the darkness. But through the spirit of Churchill’s never-say-die attitude we fought back against the Nazis and eventually stole victory from the jaws of defeat. War is hell. War is madness. But sometimes it is unfortunately a necessity to prevent the bullies from winning.

Mark: 8.5 out of 11