The Great Gatsby

"So we beat on, boats against the current, borne back ceaselessly into the past."

New York in the glitzy 1920s is intoxicated by decadence and glamour.  The mysterious and allusive Gatsby (Leonardo DiCaprio) throws the most amazing parties, but his heart is desperately ensured by the beautiful woman across the water whom he once lost.

F. Scott Fitzgerald's classic novel of desire and deception is bought to life in a cascade of pearls and sequins.  The production design and costumes are absolutely gorgeous, as the filmmakers draw upon the exquisitely fine details of the novel.  Leonardo DiCaprio steals the film in a flawless performance as Jay Gatsby, perfectly capturing the depths underlying his character.  He presents an intriguing and engaging character who is driven by hope and absolute idealisation.

The artistic direction and editing of the film though felt at times somewhat flawed.  Sequences felt hasty as Baz Luhrmann's shots cavort.  However, while this worked to a stylish effect in Moulin Rouge, it felt slightly ill-suited to a story as classic and sophisticated as The Great Gatsby.  The deliberate use of 3D, particularly during the title sequence, felt unnecessary and at times undesirable; tarnishing the otherwise divine aesthetic film.

An iconic story, intoxicating setting and enticing characters come together to create a gorgeous film, albeit under slightly flawed direction.

Cirque du Soleil: Worlds Away

A young woman visiting a circus is enchanted by an aerialist.  When he suddenly falls, she follows him into a dreamlike world of surrealism, where the boundaries of science and imagination are defied.

Visionary filmmakers James Cameron and Andrew Adamson produce a film that captures the exhilarating and sophisticated feats of the awe-inspiring Cirque du Soleil.   With a stunning score and little dialogue, the film's emphasis is firmly placed upon the incredible, visual talent of the performers.  The film's narrative, however, was subsequently weak: constantly lost amidst the dramatic, yet incongruous, Cirque du Soleil displays.  Moving from one show to another, the film was constrained by the tents in which the characters moved: never allowing you to forget that you are watching a pre-existing scene from one of the Cirque du Soleil shows, obstructed by support wires.  While the circuses are undoubtedly stunning in their own right, it is difficult not to help thinking that an amazing opportunity to deliver an original cinematic story, through new and specifically-choreographed scenes, was greatly missed.

Cirque du Soleil: Worlds Away therefore provides a great introduction into the daring and visually-stunning world of Cirque du Soleil for new audiences.  Seasoned fans, however, may leave disappointed, craving something more...

Les Misérables

"I had a dream my life would be so different from this hell I'm living"

Revolutionary France is gripped by hunger, heartbreak and desperation.  Jean Valjean, imprisoned for a minor offence, seeks his freedom from the inspector Javert who is obsessed with recapturing him.  Rescuing a young girl named Cosette, they confront a society that is struck by injustice.

Hugh Jackman delivered a great performance as the protagonist; capturing both the strength and vulnerability of an honourable man who is unable to outrun the shadows cast over him by his past. Anne Hathaway, who won the Academy Award for her performance as Fantine, was also particularly stunning through 'I Dreamed a Dream' - in which her character breaks down as the song tumbles from her lips.   The artistry of the make-up and hair was excellent, as it depicted the social and physical disintegration of the characters.

However, there were aspects of the plot that were strikingly contradictory.  While the revolutionary ideology conveys that the working class should be identified with, the depiction of this class is largely grotesque; from the mascara streaked prostitutes to Helena Bonham Carter and Sacha Baron Cohen's comical turn as dishonest and degraded thieves.  The landscape of the film was unfortunately further flawed by the obvious computer-generated visual effects, as well as the overbearing camera angles that Tom Hooper cast on his characters.  The film stylistically, therefore, would have perhaps faired slightly better under different direction.

While the impossibly great expectations imposed on Les Misérables, after it's highly successful West End run, were always been difficult for the film to meet, the cinematic adaption does produce some strong acting and successfully captures the musical's most iconic songs.

Silver Linings Playbook

"You have to do everything you can, you have to work your hardest, and if you do, if you stay positive, you have a shot at a silver lining."

Silver Linings Playbook is a film about obsession, love and the delusions of reality.   Pat (Bradley Cooper) is released to his parents from psychiatric care, after the violent discovery of his wife's lover.  He meets Tiffany (Jennifer Lawrence), a beautiful but damaged young woman, and with her aid he is determined to win back the love of his wife.

The script delves into the tensions between optimism and negativity, and the implications that are produced both psychologically and physically.   Cooper and Lawrence's performances are perfect: portraying two strong and distinct leads who are constructed through their flaws.  Lawrence approaches Tiffany with sophistication; portraying her character with maturity and depth.  Cooper, meanwhile, perfectly captures the psychological turmoil of his character; the emotional extremes and the explosive tendencies of his fragile state of mind, as he clings blindly to the ghosts of his past.  Together they bring humour and humanity to their damaged characters; allowing the flaws of the human condition to be embraced.

Silver Linings Playbook balances upon the perfect edge between psychological drama and comedy, as it delves into the complexities of emotion.  This produces a film that, despite the underlying darkness, is at once greatly engaging and enjoyable.

Camelot (1967)

The legendary story of love, honour and justice is bought to the screen through beautiful designs and exquisite visuals, based on the musical production.

On the eve of a great battle, a forlorn King Arthur (Richard Harris) is thrown back through his memories of the Queen that he has lost, Guenevere (Vanessa Redgrave).  Falling in love with the beautiful young woman, the King proposes a new system of justice and invites knights to Camelot to form the round table.  Among them is the virtuous and dashing Lancelot du Lake (Franco Nero), whose chivalry and vows are challenged by his heart.

Love and politics are closely interwoven throughout the plot.  "Was there ever a more inconvenient marriage of convenience?" asks Guenevere, confronted with a union with Arthur that is founded on political obligations, rather than their desires or choice.  Guenevere's youth and dreams are subsequently stolen from her, allowing the film to draw an interesting portrait of female power.  Arthur is characterised as a King who, until the arrival of Guenevere, felt ill at ease in his crown: a position that he had never desired.  Harris' vulnerability evokes the audience sympathy, perfectly humanising his character.  Torn by their duty to the kingdom and their love for one another, the characters' longings and torment are explored through musical numbers which, while not memorable, produce an intimate insight into their perspectives and hearts.  

The politics of Camelot are furthermore explored through the deconstruction of the knight's code and introduction of a new justice system, based on trial and evidence.  The concept of being "civilised" and the potency of boundaries are emphasised throughout the plot, against which the morality, conduct and corruption of the characters are explored.  "We must not let our passions destroy our dreams," Arthur advises, as his kingdom balances on the precarious divide of prosperity and destruction.

The beautiful artistry won Camelot three Academy Awards, and the film is indeed at its finest in its visual construction.  The costumes are beautiful, encapsulating the different seasons that play a profound role in symbolising the themes of love and time.  Guenevere arrives at Camelot is a hooded cloak of white fur within a snow covered wood, her heart guarded, then later skips barefoot in floating golden dresses with flowers adorning her long flowing hair in springtime, as she melts to the temptations of love.  The production design is furthermore stunning, from icicle covered forests to misty, moonlight flooded woods and a thousand flickering candles against an ominous backdrop of darkness.  

A beautiful telling of the famous medieval romance, Camelot conveys the preciousness of the past, as well as the tensions between being both a man and a King.  The unfortunate conventions of musical films at the time, which includes still frames announcing each musical interlude, punctuate the storytelling and remind the audience that the film is highly-stylized.  However, the stunning design and treatment of the narrative render a story that is at once engaging and timeless.

Mirror Mirror

Tarsem Singh's visionary adaptation of Snow White is a distant, colourful departure from the Brother Grimm's classic.

The Queen leads a lavish and indulgent lifestyle, plunging her kingdom into debt.  Seeking an attractive and wealthy solution, the Queen intends to marry the Prince, but he defies her intentions when he meets the King's beautiful daughter, Snow White.  Punished for upstaging the Queen, Snow White is sentenced to death, but is given the chance to escape and seeks refuge with a gang of bandit dwarves.  Together they embark on a Robin Hood-esque quest to restore justice to the kingdom.

Opulent and decadent, Mirror Mirror continuously borders on the ridiculous through the film's emphasis upon the excessive.  From the Queen's curious beauty treatment through to the Prince's costume at the ball, the film dismisses depth in order to indulge a younger audience.   Lily Collins stars as the royal protagonist, naturally radiating innocence and charm.  Her performance resonates of a Disney princess who has stepped straight from the classic animations, with a graceful and expressive demeanour.  Armie Hammer also gives a good turn as the Prince, who is used as a narrative leverage between the Queen and Snow White.  Supported by an enchanting soundtrack by Alan Menken, the composer of several of Walt Disney's greatest classics, the film also features a surprising cameo by Sean Bean and a Bollywood-esque ending, producing a contemporary rewriting of the classic story.

The greatest flaw of the film, however, was that it lacked a truly satisfying villain.  Julia Roberts delivers a somewhat entertaining turn as the Queen, but her continual attempts at humour prohibit her from achieving the fear that her character should inspire.  Her queen is a Marie Antoinette figure, living a life of decadent silk gowns and lavish parties; her motivations driven simply by financial deprivation.  When challenged "isn't that a trifle excessive?" she answers without hesitation that "there's no such thing."  Roberts' portrayal thus produces an indulgent and shallow woman, and little more.

A charming, contemporary fairy tale for young imaginations, Mirror Mirror fails to strike depth and resonance with an adult audience.  An innocent retelling that captures none of the original text's darkness.

Snow White and the Huntsman

Perfectly dark and enchanting, Snow White and the Huntsman presents a mature take on the classic fairy tale, by returning to the original Grimm's tale with themes of sexuality and entrapment.

A beautiful woman tricks her way into power with a phantom army, murdering the King and entrapping his daughter, Snow White.  Her poisonous reign enslaves the kingdom in darkness and death.  When she learns that Snow White's pure heart will allows her to achieve eternal beauty, she commands a huntsman to capture the girl who has fled her clutches.  The huntsman, however, defies her and is swept into a rebellion with the young princess against the Queen's reign.

Stunningly beautiful and deadly, Charlize Theron is perfectly cast as the wicked Queen Ravenna, visually drawing a contrast against Snow White.  Entrapped by her status as a woman, Ravenna is emancipated through dark magic and the manipulation of beauty.  The audience are enticed to engage with her as more than a mere villain, but as a woman constructed through sorrow and circumstance.  Her great insecurity is exposed in her calling of the mirror, which she indulges in to mask her suffering.  The physicality of the mirror as a figment of her imagination adds to the unsettling and sinister tones of her character.  She is thus at her most dangerous when her voice is soft, exposing the vulnerability, and subsequently desperation, of her character.  The Queen's beauty, which allows her to manipulate men and accomplish power, poses a potent symbol of corruption and strength.

Kristin Stewart at first won my reservations and mixed feelings in her portrayal of Snow White.  At times she perfectly portrayed a classically beautiful and courageous princess, at other moments she was clouded by her iconic sullen teenager countenance.  She successfully captured the sorrow of her character and was most evocative in moments of silence, but disappointingly was unable to effectively portray true grief.  However, by the end she delivered a reasonably strong performance as a tortured princess who draws strength from her purity and courage.

The Huntsman (Chris Hemsworth), a physically strong character, was surprisingly vulnerable.  Haunted by heartbreak, he flits between charm and uncertainty, producing a man that is at once confident and lost.  It was refreshing to also see the Prince, William, in a role that expands beyond a fleeting romantic endeavour.  William is a character consumed by guilt, who is driven to passionately pursue the ghosts of his childhood.  Sam Claflin plays him with grace and dashing heroism, despite continuously facing the threat of being overshadowed by the new, titular male protagonist.  The dwarves, similarly, have a less pronounced but equally engaging role.  Depicted as a band of gritty, stalwartly and likeable rogues, they are led by a cast that include Ian McShane, Ray Winstone and Bob Hoskins.

Told in a beautiful and rich landscape, from dark forests to floating lakeside villages, the production design is perfection, drawing audiences into a truly divine world.   This is adorned by the fitting choice of British accents, beautiful costumes and stunning cinematography, which draws on a vivid use of black and white.  The unfortunate scandal surrounding the film, however, will tragically prohibit the satisfying sequel that is desired, leaving the film to end on a flicker of romantic ambiguity.

A classic fairy tale, retold and embellished with depth through visually-divine cinema, in a rich landscape.

Anna Karenina

A desolate theatre, where the stalls are stacked high the discarded fragments of a lost past. Joe Wright sets Anna Karenina, his latest and most beautiful film to date, in a theatrical landscape, as he delves into the darkness and decadence of forbidden love.

Anna Karenina is a beautiful woman in Russian aristocracy, committed to her marriage to her uninspiring yet devoted husband, until she falls into the path of a seductive young cavalry officer. Set in the opulent world of Russian high-society, their scandal threatens to tear it apart, as the principles of righteousness and desire are challenged and overturned.

At once breaking the fourth wall and drawing you deeper into the stylised and elegant world of old Russia, the story unfolds across the stage, through the stalls and high in the rafters of the ruined theatre. The cast dance gracefully through their scenes in divine costumes, blurring the artistry between cinematic and theatrical performance. The synchronised, rhythmic stamping of clerks introduces the Atonement-esque soundtrack by Dario Marianelli, which is at once powerful and mesmerising. The costumes, sets and cinematography are beautiful and capture a story that is rich with symbolism. The socio-historical context of Russia is subsequently played out by the writer Tom Stoppard through the visual and emotional tensions between rural and urban, with devotion and betrayal. Trains cast in ice roll into smokey stations, while opulent balls mask tempestuous desires. In particular, the sequence at the ball is divinely stunning and evokes the complexity of socio-politics and of the heart.

Although there were moments where the plot was difficult to follow, and it would have been no loss if another leading lady had been cast in place of Keria Knightley, the film maintained a strong and captivating pace. Knightley, at times painfully wooden and unoriginal in her role, eventually grows into her character as Anna grows steadily darker and more tormented. The film stars strong performances from Aaron Taylor-Johnson. Matthew Macfadyen and Jude Law, who bring alive a cast of intense and iconic characters.  Newcomer Alicia Vikander and Domhnall Gleeson particularly shone in the film's second love story, as the misled belle of Russia and the lovestruck Levin, perfectly capturing the vulnerability of being in and losing love.

A divinely cinematic piece, Anna Karenina is the outstanding product of Joe Wright's beautiful artistry and cinematic vision.