The drama around All the Money in the World proves more interesting than the film, if I’m honest.
“We look like you, but we’re not like you”
Perhaps unfairly, All the Money in the World will be more famous for events around it rather than for the film itself. For at the heart of the #MeToo maelstrom, director Ridley Scott took the decision to remove and recast Kevin Spacey out of a major supporting role barely a month before it was due to open.
Christopher Plummer stepped into the shoes of John Paul Getty at the last minute, delivered in nine days of reshoots and has been rewarded with an Oscar nomination for his pains. The result though. is a rather uneven film in which his performance seems at odds with those around him. Continue reading “Oscar Week Film Review: All the Money in the World”
“I’ve seen many things, my friend. But you’re right. Nothing’s quite as wonderful as the things you see”
So as David Tennant’s Ten regenerates into Matt Smith’s Eleven, Doctor Who also changed showrunner/lead writer/executive producer/oddjob man as Steven Moffat took over the reins from Russell T Davies. The pressure was on both to deliver – the relatively unknown Smith had low expectations, Moffat had sky-high ones due to his much-garlanded writing – and I don’t think you can argue that they didn’t. Smith revealed an impossibly ancient soul to his youthful frame with a Doctor unafraid to be as angrily dark as hyper-actively quirky. And Moffat constructed a complex series, introducing the depths of new companion Amy Pond slowly, and building to a multi-stranded timey-wimey finale that makes the head hurt just to think about it.
Elsewhere, the overused Daleks returned in multicoloured format, the Weeping Angels were much more successfully reprised in a stonking double-header, the Silurians also came back, and Arthur Darvill’s Rory grew in stature to become an effective second companion as opposed to a third wheel. Oh, and Helen McCrory stole the show, but then you knew I’d say that didn’t you 😉 Continue reading “Countdown to new Who: Doctor Who Series 5”
“I wasted time, and now doth time waste me!
Well I didn’t really waste time, I just prioritised. Over the many ways in which Shakespeare’s 400th death anniversary was celebrated and fitting in something of a social life, the Globe’s Complete Walk – specially commissioned bitesize films of each of his 37 plays – just felt like a step too far, plus there was always the assumption (or should that be presumption) that the films would resurface in a more accessible way. And so it seems to be coming to pass, with three of them now available on the BBC’s iPlayer.
My favourite of these three was Antony & Cleopatra Starting with a plethora of snippets from both Rome and Egypt from Jonathan Munby’s 2014 production starring Eve Best and Clive Wood, leading up to a stunning adaptation of Cleopatra and Iras’ final moments filmed at the Red Pyramid at Dahshur in Egypt. Beautifully shot with real restraint from Mark Rosenblatt and gorgeously spoken by Eleanor Matsuura and Katy Stephens respectively, the superb musical accompaniment written and performed by Norwegian violinist Bjarte Eike with his baroque ensemble Barokksolistene combine to spine-tingling effect.
Another film to combine Globe productions with the new was Richard II
, Bill Buckhurst getting to film inside Westminster Hall at the Houses of Parliament for its added piquancy. There we find uber-present James Norton’s monarch surrendering his crown to Dominic Rowan’s Bolingbroke, spliced with Simon Godwin’s 2015 production at the Globe
with Frederick Neilson and Charles Edwards as the monarch at the beginning and end of his reign. I could watch Norton and Rowan for days, this only faded a little in comparison with the wonders from the Pyramids.
Oddly enough, the most formally interesting of the trio – Hamlet – was the one that stirred me the least. Though filmed at the Danish castle at Kronborg, Elsinore itself, the location didn’t actually bring too much to the table for me. And the format from Dominic Dromgoole, passages from the play fragmented into 4 voices, didn’t spark as much as I thought it would, even though those voices belonged to Michelle Terry, Alex Jennings, Nikesh Patel, and Ashley Zhangazha.
“Of course he has a knife! I have a knife. We all have knives. It’s 1183 and we’re all barbarians!”
It was more morbid curiosity that drew me to this 2003 TV movie remake of The Lion in Winter than anything, its most recent appearance on a London stage hardly setting the world alight, but a cast list that included John Light and Rafe Spall as well as the more luminary lights of Glenn Close and Patrick Stewart (taking the roles made famous by Katharine Hepburn and Peter O’Toole in the 1968 film) added to the appeal. What was interesting though was how much I’d forgotten about James Goldman’s approach to this dynastic struggle, as humourous as it is historical.
So though it might appear dry – Henry II’s determination to overrule his estranged wife Eleanor of Aquitaine in naming their son John (of the Magna Carta) as his successor rather than the older Richard (of the Lionheart) – it’s actually a spiky family comedy-drama as the brothers, completed by Geoffrey the other one, duck and dive through the political machinations of their parents and the ever-present threat of Philip II of France whose sister Alais is contracted to be betrothed to whoever will be heir and is currently Henry’s mistress. Continue reading “DVD Review: The Lion in Winter (2003)”
“You want me to respect the law? Then make the law respectable”
Directed by Sarah Gavron and written by Abi Morgan, Suffragette offers a rather striking perspective on the women’s suffrage movement, inventing a working class character and following her political awakening at a key moment in the fight for women’s rights. Carey Mulligan’s Maud Watts is a dutiful wife and mother, working long, thankless hours at a Bethnal Green laundry whose chance encounter with a riotous group of suffragettes slowly rouses something within her.
This is where Morgan and Gavron’s approach pays dividends, in seeing the movement through working class eyes away from the privilege and relative freedom of the leaders. Even on a shop-floor full of much-put-upon women, suffragette is spat as a dirty word and in the close-knit neighbourhoods too, the leap that Maud has to make to merely stand up for what she believes is right is that much more difficult, more life-changingly dramatic and Mulligan is truly superb in tracing this transformation. Continue reading “Film Review: Suffragette”
“I wasn’t expecting all this hoopla…”
It’s not been the easiest of births for The Hudsucker Proxy – an incident in the dress rehearsal left two actors hospitalised, fortunately both have now been discharged and are recuperating at home, and the decision was made to forge ahead with the show, recasting where necessary. The show is certainly an interesting prospect – a co-production between Nuffield and Liverpool Everyman & Playhouse in association with Complicite, and the first ever theatrical adaptation of a Coen Brothers film too – and its doors are now finally open in Southampton, ahead of a trip to Liverpool and then an international tour in the near future.
And you can see it succeeding. The show uncovers realms of theatrical influences in the Coen Brothers’ work but also adds in much of its own, to create a dizzying screwball comedy that is frequently laugh-out-loud funny. It would be churlish to give too much away but there are some inspired moments of staging in Simon Dormandy and Toby Sedgwick’s staging, especially concerning the window of the 44th floor office in which much of the drama is set. The physical work here is explicit too, the company relying on their own bodies as much as Dick Bird’s magnificent art deco-inflected set design to create constantly imaginative sequences. Continue reading “Review: The Hudsucker Proxy, Nuffield”
“This is the excellent foppery of the world”
Considered one of the defining roles for actors, there never seems to be a lack of King Lears on our stages and in 2012, it is Jonathan Pryce’s turn to wear the crown in this Michael Attenborough production for the Almeida. Such is the potential for great quality at this North London theatre that when they get everything right, there’s a beautiful marriage between the epic and the intimate (as advertised) and this is largely what we get here.
Pryce’s Lear is a father first and foremost, and losing some of the distance that accompanies an overly regal bearing results in a rather effective focus on the emotions of the man rather than the monarch. Thus the rage, the tenderness, the regret, the pain that he feels – elucidated with some masterful re-readings of the text – is always accessible and persuasive. The look in his eye during ‘I know thee well enough…’ cuts to the very core; his bantering relationship with his Fool borne of a genuine connection between the pair, Trevor Fox’s native Geordie accent a perfect fit to the riddle-me-dees and sharp observations and really demanding full attention. Continue reading “Review: King Lear, Almeida”
“Wherever I come from, it’s where you come from too”
Eduardo De Filippo’s 1946 play Filumena starts off with the title character on her deathbed, finally having married the man with whom she has lived for the last 27 years. But all is not as it seems: he’s a wealthy businessman but she’s been his mistress, a former prostitute who has inveigled him into nuptial promises after seeing his attention waver elsewhere. And upon the deal being sealed, she makes a miraculous recovery and reveals that she has three sons who need taking care of. As truths spill out from all sides, we see the sacrifices that women are willing to make for their children and the ingenuity they need to play men at their own game.
Michael Attenborough takes on the directorial duties here at the Almeida in this new colloquial version by Tanya Ronder which sits a little at odds with the 1940s Naples setting but it is structurally where the play really feels somewhat curious. The first act plays out well, setting up the story and building up the necessary drama, but then we return after the interval to a very short second act which has jumped 10 months into the future and feels rather disconnected from what has gone before. The tone of the play shifts away from the darkness suggested by the social realism into an easy comic mood which does a disservice to the people working so hard to unearth an emotional depth here. Continue reading “Review: Filumena, Almeida”
“Make yourself ready in your cabin for the mischance of the hours”
Very occasionally I see a play which saps the life of my desire to write about all the shows that I see. Good ones are great, bad ones are fine as they often provoke much thought and opinion, but some are just so crushingly dull that they simply inspire nothing. Trevor Nunn’s production of The Tempest at the Theatre Royal Haymarket was such a play and what is worse, I already knew that that would be my response to it due to the feedback from people who had already gone. Fortunately, I was gifted the ticket for services rendered so there was no financial cost but things can tax you severely in other ways.
Mainly it is due to the extreme lack of pace, the play is stretched out laboriously over more than three hours for no discernible reason than to fill time, there’s no reason contained within the interpretation that justifies this lack of speed and it becomes painfully obvious that we’re in for the long haul from the outset with precious few sparks of life animating events onstage. As Prospero, Ralph Fiennes was actually better than I was anticipating, the sole beneficiary of my lowered expectations, with a vocal performance that was colourful and commanding. Continue reading “Review: The Tempest, Theatre Royal Haymarket”