Brooklyn

Based on Colm Tóibín's novel with screenplay by Nick Hornby, Brooklyn tells the story of Ellis Lacey (Saoirse Ronan), an Irish lass who emigrates from her home in Enniscorthy, County Wexford to New York in 1950s. She goes at the behest of her sister Rose, who she leaves looking after her mother (Jane Brennan), in search of a life with better prospects.

Ellis arrives in New York seasick and bewildered. She works as a salesperson in a department store and takes night classes in accounting as advised by Father Flood (Jim Broadbent). Initially she misses home but gradually adapts to her new environment.

At an Irish dance she meets Tony Fiorello (Emory Cohen), an Italian plumber who admits he is partial to Irish girls. Tony turns out to be not only persistent and an avid baseball fan but also quite charming. The new and improved Eilis finally starts to enjoy life in Brooklyn.

Then tragedy strikes back home as her sister dies and Ellis is suddenly heading back to Ireland. Tony is smart and a bit cheeky in that he gets her name on a marriage certificate before she leaves in hope that this will ensure her return.

Despite intending that her return to Ireland would be brief, her stay extended to include a friend's wedding and she reluctantly settles back into life in Enniscorthy along with its small-town mind set. She gets offered a job and another husband, as she is pursued by an old friend in Jim Farrell (Domhnall Gleeson).

The film tries to have us believe that she is torn between the familiarity of her old life in Ireland and the excitement of her new one in Brooklyn. That is as well as being torn between the two men in her life, one of which she’s already married to. Unfortunately while the film presents a pretty solid case for Brooklyn, the Irish case is far from convincing and, quite rightly, Ellis eventually legs it back to America. Anything else really wouldn't have been believable.

Overall though the film is excellent, nothing flash just good old fashioned filmmaking of the kind that a lot of film makers seem to have lost the ability to produce without resorting to special effects and multiple plot twists.

It is without doubt Ronan’s film although kudos to Julie Walters, who as Ellis’s landlady Mrs Kehoe gets to deliver most of the best lines of the film around the dining table of her boarding house.

The Program

I had my doubts about Stephen Frears' film about Lance Armstrong but thought it was worth a look anyway. Personally I think it was way too soon to make this film as no one is in charge of all the facts yet but I suppose cashing in on the Armstrong saga made it necessary to be made now. They’ll probably be plenty more to come.

You probably know the story by now but if you don’t then this will be a real eye-opener. Basically, the massively competitive Armstrong (Ben Foster) doesn’t like losing at anything and is so determined to be the best that he enlists known dodgy doctor Michele Ferrari (Guillaume Canet) to chemically assist him. Before long Armstrong is destroying everything in his path - rival cyclists, testicular cancer and anyone or anything else that gets in his way. With his seven Tour de France victories and his cancer charity he is an inspiration to millions but Sunday Times journalist David Walsh (Chris O'Dowd) was unconvinced from day one but Walsh stands almost alone in his pursuit of the truth.

The story is pretty much taken word for word from Walsh's excellent book ‘Seven Deadly Sins’ and the film is very true to the book. It doesn't however make for a very coherent story as Frears tries to cram thirteen years of events into the film by presenting a checklist of Armstrong's life. He also decides to use the first half hour of the film to big up Armstrong before shooting him down as if to give a balanced view of the man. I don’t think that was at all necessary.

The film fails to do much more than skim over the surface and never really goes after Armstrong with any real gusto probably because it daren't speculate on what we don't yet know. There are now numerous documentaries that go much deeper than this film does and I'm sure even they haven't got to anywhere near the bottom of this murky saga.

Unfortunately Ben Foster isn't terribly believable as Armstrong, he’s not nearly as intimidating enough for a start, but then I'm not sure who could have pulled that off.

Despite its shortcomings, The Program is largely entertaining and informative but not particularly outstanding.

Bridge Of Spies

Bridge Of Spies is a historical drama 'inspired by true events' which tells the story of a spy swap during the Cold War. It sees Steven Spielberg in collaboration with the Coen Brothers in collaboration with Walt Disney. Quite a combination.

In Brooklyn in 1957, Rudolf Abel (Mark Rylance) is arrested under the suspicion of being a Soviet spy. James Donovan (Tom Hanks) is a mere insurance lawyer who is asked to defend Abel in order to show the world that the American justice system is just and fair, even though the public have already convicted him.

Donovan may be defending the most hated man in America but he wants to do right thing, legally, by his client. That isn’t easy when even the judge has already reached his decision.

When Abel is convicted Donovan has the foresight to persuade the judge not to send him to his death. He foresees a time when having a Soviet spy in your jails could be useful.

Donovan is vindicated when an American U-2 spy plane is shot down over Soviet territory and the pilot, Francis Gary Powers (Austin Stowell), fails to destroy both the plane and himself, as ordered. The Soviets capture Powers, convict him as a spy, and send him to prison.

When the Soviets get in touch with Donovan, he is sent out to East Berlin to negotiate a prisoner exchange. This he has to do as a private citizen rather than an American official. Any deal is further complicated by Donovan’s wish to also release another US prisoner, a student called Frederic Pryor (Will Rogers).  

Overall it is pretty good film if you can cope with the large dose of American patriotism that it comes served with. Patriotism that attempts to paint the East Germans as clowns which I'm sure they weren't. There’s also the totally over the top (and unnecessarily so) crash scene of the U-2. This is the only nod to your typical Hollywood action movie which this thankfully isn’t. The rest of the two hours is mercifully free of any other such gimmicks.

The film seems to be largely historically accurate and the cinematography is fabulous with some great scenes of cold war Berlin such as the construction of the Berlin Wall, Checkpoint Charlie etc.

Tom Hanks is solid as Donovan but it is Mark Rylance who shines out as the star of the film. His understated performance as Rudolf Abel is pure class.

‘Bridge of Spies’ shows that the power of a good story can still stand up on its own even in modern day Hollywood.

The Lady In The Van

‘The Lady in the Van’ didn’t make a lot of sense to me but then you perhaps need to be an Alan Bennett aficionado to appreciate it. This film comes with not one but two Alan Bennetts (Alex Jennings), well actually three if you count the real one who turns up at the end.

This is apparently the real story of Mary Shepherd aka Margaret Fairchild (Maggie Smith), a woman who wiped out a motorcyclist and then went on the run from the police even though the police weren’t looking for her because it wasn’t her fault.

Bennett doesn’t know this when she turns up in a battered old van and parks in his well-to-do street in Camden. Spotting Bennett as a soft touch she worms her way on to his driveway, where she then lives in her van (or vans and always repainted yellow) for fifteen years until her death.

It wasn’t until after her death that they finally found out who she was but the film shows us, sort of, as we go along. Like how she was a gifted pianist who then tried to become a nun. How her brother put her in an institution from which she escaped. 

None of which fully explains why she acted as she did in the first place and what happened to the life she left behind. She is, it is implied, simply eccentric.

If that isn’t eccentric enough, then there’s Bennett himself or indeed the two Bennetts, Alan the writer and Alan the homeowner. Bennett the writer wrote a book about the whole thing, turned it into a play and now this film. Both of which starred Maggie Smith, who better to play a batty old woman.

The relationship between the two leads is the heart of the film but I found both of them insufferable and while I couldn’t understand the logic of her decision to live in a van, I couldn’t understand Bennett's decision to let her stay either.

So it’s all a bit too eccentric for me and that’s before we get to the graveyard scene at the end.

45 Years

Kate Mercer (Charlotte Rampling) has been married to Geoff (Tom Courtenay) for almost 45 years and their wedding anniversary is looming. Plans are well advanced for a party to celebrate when Geoff gets a letter written which reveals that the body of his pregnant former girlfriend, Katja, who fell into a glacier in the Swiss mountains in the early 1960s, has been discovered, perfectly preserved in the ice. 

Now, this to me would have triggered an immediate trip to Switzerland to pay my final respects to my ex with hopefully my partner alongside me for support but this isn’t how it plays out.

Geoff hasn’t told his wife about Katja, ever. Whoops. Not that you’d think that would matter much as the relationship was done and dusted, albeit in tragic circumstances, before he even met Kate.

However Geoff retreats into himself, reflecting back on things and contemplating how his life might turned out had she not died. It’s as if he hasn’t thought of the girl in the last 45 years, which I’m sure wouldn’t have been the case.

Kate meanwhile is green eyed with jealousy and mistrust at this girl who has accidentally discovered eternal youth. Yet Katja is dead, it's a good job he didn't get a letter about an ex who was still alive.

She goes to the lengths of digging Geoff's old photos of the fateful trip to Switzerland out in the loft and viewing them on the slide projector. The fact that these are so easily accessible sort of hints there was no big secret here but for some reason she has never bothered to look before.

The similarity of their names and the fact that the couple don't really have any photographs of themselves hints at a deeper conspiracy on Geoff's part but doesn't really convince. Isn't Kate capable of taking her own photos? Then again, probably not. 

It’s also a bit one-sided, there is no mention of any former life or lovers that Kate may have enjoyed pre-Geoff. Then again, she probably didn’t.

All this happens amidst their perfect but mundane life on the edge of the Norfolk Broads. e.g shopping trips are interspersed with Geoff's failing efforts to fix the lavatory.

I am sure had this happened to me, once I'd got over the grief, it's the sort of thing I'd have used as a chat up line. Guess what happened to my last girlfriend, she ended up in a crevasse in the Alps ha ha. I'd still be single obviously. Then I’m a great believer in fate, not matter how tragic.

45 Years is a simple slow-burning and deliberately enigmatic film which is I guess supposed to be its strength but it is also its failing. Technically this is a good, well-acted film, just not a very exciting one.