Produced by: Fred Berger, Brian Kavanaugh-Jones, Julia Lebedev, Mike Makowsky, Oren Moverman, Eddie Vaisman
Screenplay by: Mike Makowsky – Based on: The Bad Superintendent by Robert Kolker
Cast: Hugh Jackman, Allison Janney, Geraldine Viswanathan, Alex Wolff, Rafael Casal, Stephen Spinella, Annaleigh Ashford, Ray Romano etc.
***MAY CONTAIN SPOILERS***
Not to be confused with Pedro Almodovar’s film of the same name — or the BBC comedy show/film, Bad Education, starring Jack Whitehall — this Bad Education (2019), is an altogether different scholastic narrative. Based on true events which occurred at the Rosslyn Union Free School District circa early 2000’s, the story centres on a massive scandal which broke involving the educational District’s managers, financiers and auditors. I am going to review this without too many spoilers, as learning the gravity of what occurred and how it happened is a major part of the film’s jaw-dropping enjoyment.
As this is a HBO TV film, there was a heightened expectation of quality on my part. I was not to be disappointed. An expertly crafted screenplay, based on an article by Robert Kolker, finds Hugh Jackman as Frank Tassone. He is a suave, vain and intelligent Superintendent who has the school staff, students and parent under a charm spell. Not only is he a smooth talker, but the exam results for the schools in his charge have improved no end. His Long Island domain has incredible returns and this ensures more middle-class families move into the area, driving up property prices. Everybody’s happy, right? Yes, for a while! Tassone is supported ably by his Financial Manager, Pam Gluckin (Allison Janney). It’s only when school reporter, portrayed impressively by Geraldine Viswanathan, starts digging deeper, that something indeed is revealed to be rotten in the district of Rosslyn High.
Directed with some skill by Corey Finley, this film is highly recommended to those who enjoy compelling dramas with a heavy dose of ironic humour. Finley’s previous film,Thoroughbreds (2017), was an incredibly dark noir character study. Bad Education (2019), on the other hand, deals with serious financial malfeasance in a lighter tone. The dialogue is very witty and full of humorous exchanges between the characters. Moreover, Hugh Jackman and Allison Janney are on top acting form in their respective roles. Jackman especially proves what charismatic and interchangeable talent he has. Indeed, it’s good to see him play a highly complex character again. Ultimately though, the almost unbelievable nature of the events portrayed, prove how bottomless human greed and corruption can become. When will we ever learn?
Written by: Sally Rooney, Alice Birch, Mark O’Rowe
Based on: Normal People by Sally Rooney
Executive producer(s): Ed Guiney, Andrew Lowe, Emma Norton, Anna Ferguson, Sally Rooney, Lenny Abrahamson
Producer: Catherine Magee
Cast: Daisy Edgar-Jones, Paul Mescal, Sarah Greene, Aislin McGuckin, India Mullen, Fionn O’Shea, Eanna Hardwicke, Leah McNamara, Frank Blake, Niamh Lynch, Kwaku Fortune, Desmond Eastwood, etc.
Cinematography: Suzie Lavelle, Kate McCullough
Original Network: BBC Studios, Hulu
***MAY CONTAIN SPOILERS***
“The course of true love never did run smooth. . .” – William Shakespeare
Love is a multi-faceted concept open to a myriad of philosophical, medical, emotional and intellectual interpretations. Conversely, an eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust? Or is it the emotion you feel for a family member or person you have bonded with over time? Is it nature’s way of tricking us into the act of pro-creation? Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors? Is it all of the above?
Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.
Love, lust and sexual desire are a big part of everybody’s lives whether they are positive or negative; indeed, the continuance of the species is very much reliant on them. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV shows, comedies and adverts! The latest excellent love story I watched was the BBC/Hulu production calledNormal People (2020). Over twelve episodes we were introduced and lured into the sweet and dark hearts of two Irish teenagers called Connell (Paul Mescal) and Marianne (Daisy Edgar-Jones). They meet, fall in lust, have loads of sex, fall in love, generally fall out with each, fight further, go to University, go abroad, grow up, fall down and then fall back in love with each with other, and so on.
Based on Sally Rooney’s extremely successful novel of the same name, the story events begin at a Sligo Secondary school. Connell is quietly spoken and from a single parent upbringing. But he is very popular with his peers, close to the top of his class and exhibits much sporting prowess. Marianne’s family is wealthier than Connell’s. In fact, the latter’s mum, Lorraine (Sarah Greene) cleans house for Marianne’s mother. The Sheridan household is not a happy one though due to a tragedy which occurred to the father. This causes Marianne to be very angry, self-loathing and outspoken. Because of this she is somewhat of an outsider at home and school. For some unknown reason Marianne’s brother and mother are very cold toward her. Yet, despite the turmoil and class difference, Connell and Marianne share a mutual attraction, which soon becomes a sexual relationship.
As aforementioned, the path of love is not smooth as the first obstacle to the relationship comes from Connell’s paralysing fear of what his school friends think. He is a complex soul and does not have the bravery to share his true feelings to the world. Marianne becomes a secret, and this angers her, causing a major rift between the two young lovers. I won’t give any further plot details away, but it is safe to say that this is not your average romantic comedy or drama. The story beats of the romance genre are present, yet delivered in a sombre, delicate and under-the-surface style. This is not surprising given the first six episodes are subtly directed by Lenny Abrahamson, a filmmaker who has a number of wonderful character-driven films to his credit.
With confident direction, acting and a serene soundtrack, Normal People (2020) is a consistently absorbing and emotional rollercoaster. What I would say it though it often feels as if you’re watching events unfold in extreme slow motion. This isn’t a criticism though, because in the stillness of the performances, the dwelling of the camera on the character’s faces and length of shots, we’re allowed the time to breathe in the joy and pain of this complicated romance. The two lead actors Phil Mescal and Daisy Edgar-Jones are both incredibly well cast. They have exquisite chemistry together in both their passionate sex scenes and when they just simply exist and talk and look and love and hurt together. One may gripe that the drama could have been achieved with a tad more pace and just a few less episodes. However, if you are looking for a truthful representation of young love, with all its angst, kinks, self-loathing, insecurities and exasperating undulations, then Normal People (2020) is definitely a worthwhile experience.
FILMS THAT GOT AWAY #10 – CAPTAIN FANTASTIC (2016)
Written and directed by Matt Ross
Produced by: Nimitt Mankad, Monica Levinson, Jamie Patricof, Shivani Rawat, Lynette Howell Taylor
Cinematography: Stephen Fontaine
Music: Alex Somers
Cast: Viggo Mortensen, Frank Langella, Kathryn Hahn, Steve Zahn, George MacKay, Samantha Isler, Annalise Basso, Nicholas Hamilton, Shree Crooks, Charlie Shotwell, Trin Miller, Elijah Stevenson, Teddy Van Ee, Erin Moriarty, Missi Pyle, Ann Dowd,
***MAY CONTAIN SPOILERS***
Have you ever thought about living “off the grid?” Maybe you already do. It’s something I have considered from time to time. Get out of the rat race and stop punching the clock. I don’t think I have the abilities or desire to do so though ultimately. Moreover, I would probably miss my television and home comforts like baths and central heating. Having said that, it’s always fascinating to watch films or TV programmes about characters or people who have tried to live outside conventional societal rules. Films like: Together (2000), The Commune (2016), Leave No Trace (2018) and Into the Wild (2007) are all excellent narratives which represent characters who, to varying degrees of failure and success, have eschewed civilization. Matt Ross’ excellent recent release, Captain Fantastic (2016), is another darkly humorous and poignant movie to add to that list.
I’m not sure why I missed seeing Captain Fantastic (2016) first time round at the cinema, but I am so glad I caught up with it on Netflix. It stars the ever-brilliant Viggo Mortensen as Ben Cash, the father-of-six children, ages ranging from seven to late teens. Their mother, Leslie, alas, has suffered long bouts of depression linked to bipolar disorder and is currently in a mental health facility. Having established Ben and the children’s unorthodox living arrangements in a forest dwelling, the script throws them the tragic curveball of Leslie’s suicide. The family leave behind their strict hunting, education and exercise routine, as well as their self-built huts, shacks and wooden dens, to drive cross-country on their transformed mobile home, a bus called Steve, to attend Leslie’s funeral.
While grief and sadness hang heavy over the family unit, Matt Ross’ brilliant screenplay structures the film around that great American film genre — the road movie. As the bus, Steve, carries them away from the wilderness into civilisation, the clashing of the Cash’s alternative lifestyle and socially eccentric behaviour with society, provides a rich vein of comedic and dramatic moments. For example, Viggo Mortensen eating breakfast naked at a campsite while people pass by, and oldest son, Bodevan (George Mackay), romantically declaring his love to Claire (Erin Moriarty), who was just expecting a random hook-up, are both hilarious scenes. Similarly, Ben and Leslie, having tutored their kids at home quite impressively, have not factored in their apparent lack of socialisation in the outside world. Lastly, Ben’s candidness in matters of sex is shocking too and he conflicts with his sister, portrayed by Kathryn Hahn, who believes the children should have a more “normal” life.
Amidst the humour and hilarious culture clash punchlines, the director, Matt Ross, expertly weaves some heartfelt drama in their too. Ben fights with his father-in-law, Jack (Frank Langella) over Leslie’s funeral arrangements. Jack then attempts to take the children off him via legal means. Throughout all this Viggo Mortensen’s majestic acting performance anchors the film with searing emotional depth. His character must deal with the death of his wife and whether he has made the right decisions for his family. I mean, the kids have cuts and bruises from hunting exploits, possess strange invented names, wear unconventional clothes and do not celebrate Christmas at all. Furthermore, they eschew all organised religion in favour of celebrating academic philosopher, Noam Chomsky’s birthday. With the death of his wife and pressure from her family, it’s no surprise Ben feels cornered. However, Matt Ross’ film, Captain Fantastic (2016), lives up to the positive title and overall gives us a sense of warmth, community and love, proving that family unity is often an impossible bond to break.
ALL 4 TV REVIEW – DERRY GIRLS (2018 – 2019) – SEASONS 1 & 2
Created and written by: Lisa McGee
Directed by: Michael Lennox
Cast: Saoirse-Monica Jackson, Louisa Harland, Jamie-Lee O’Donnell, Dylan Llewellyn, Nicola Coughlan, Tara Lynne O’Neill, Siobhan McSweeney, Tommy Tiernan, Ian McElhinney, Kathy Keira Clarke etc.
Original Network: CHANNEL 4 – (Available on ALL 4 and Netflix)
**MAY CONTAIN SPOILERS**
There have been many dramas over the years on the stage and screen about the “Troubles” in Ireland. For decades, civil war had divided the Catholic and Protestant people of Ireland, precipitated by the English occupation of Northern Ireland. Many lives were lost in the fighting and the tragedies. It unsurprisingly drew attention from writers, artists and dramatists. Recently though Lisa McGee created and wrote a comedy called Derry Girls, which was also set during this era; and very funny it is too.
Set in Derry (also known as Londonderry) in the 1990’s, Derry Girls introduces us to four teenage girls, their families and friends during these difficult times. The main characters are: the vocal and passionate Erin (Saoirse-Monica-Jackson); the voice of reason Clare (Nicola Coughlan), often crude, anti-authoritarian, Michelle (Jamie-Lee O’Donnell); and detached eccentric Orla (Louise Harland). Joining them is James (Dylan Llewellyn), an English kid who has to join the girls’ school for fear of what the Irish boys may do.
As well as the British army’s occupation of Derry and the divide between Protestants and Catholics providing a backdrop to the girls’ everyday lives, they also manage to find themselves in loads of other trouble too. Episodes centred around: family squabbles, romance, sex, music, drugs, school projects, religious artefacts and holidays create a relatable familiarity to many episodes. The events and energy evoking the girls’ school days reminded me especially of another Channel Four hit comedy, The Inbetweeners.
While the performances by our lead protagonists are very good, scenes are often stolen by the older supporting cast. Siobhan McSweeney as the deadpan and jaded Sister Michael is really funny. As is one of my favourite stand-up comedians, Tommy Tiernan. His downtrodden Dad tries to keep the peace, but often finds himself at the butt of abuse from Ian McElhinney’s contemptuous remarks. Nonetheless, the humour is always good-natured and not nasty, especially toward faith or authority figures.
Overall, Derry Girls is a fast-paced and very funny situation comedy. It’s well written, acted and directed comedy, with loads of fun and eccentric characters to enjoy. While not overtly political in its representation of the “Troubles”, it uses that situation intelligently as part of the narrative and wider social context. Above all else, however, it shows through many fine comedic episodes, that despite the ongoing divide within the country, humans will strive to overcome adversity through friendship, family, community and humour.