Showing posts with label Susan Sarandon. Show all posts
Showing posts with label Susan Sarandon. Show all posts

Saturday, 2 March 2013

Cloud Atlas

Cloud Atlas is based on David Mitchell's 2004 novel and must have been a huge challenge for the filmmakers to adapt. The book has six radically different stories from six different time periods but unlike the book, the film intertwines these. This I thought would make it impossible to follow, particularly for someone like me who prefers a linear plot, but no, it is done well and works brilliantly. I have little trouble keeping track of who's who, what's what, where’s when etc, as the film cuts seamlessly from one century to another, often cleverly dropping us in a similar situation when we arrive there. 

As for the plot, well there’s a lot of it and it would be bordering on the insane to attempt to summarise it but here goes...  
 
We start on board a ship in the 19th century with a man called Adam Ewing and a runaway slave. Then we’re off to 1930’s Britain and a bisexual English composer called Frobisher who is reading Adam Ewing diary.


Then its 1970’s San Francisco where an investigative journalist called Luisa Rey meets Frobisher’s gay lover forty years on and also reads Frobisher’s letters to him.  


In present day Britain, a publisher called Cavendish receives a manuscript of a novel based on Rey's life while he is in hiding, against his will in a nursing home, from the associates of a gangster whose book he has published.

He is inspired to write a screenplay of his own story, the film of which is then watched by Sonmi, a genetically engineered fabricant in 2144 Seoul, while she is on the run. 

 
She is executed and becomes the goddess than the tribesmen worship years later, 106 winters after ‘The Fall’, where pretty much everything has fallen apart and humanity has ended up back where it started, living in mud huts and caves.
So its part science fiction, part historical drama, part romance, part comedy, part thriller and fully one big audacious idea.

There are many themes going on. Oppression, freedom, destiny, the gradual increasing dominance of the establishment over everything, the idea that our actions affect others throughout time and perhaps reincarnation. What fits in nicely with this reincarnation concept is the fact that all the principal actors play different characters in each story.

So Tom Hanks, Halle Berry, Hugh Grant, Jim Broadbent, Hugo Weaving, Jim Sturgess, Xun Zhou, Susan Sarandon, Keith David, James D'Arcy and Doona Bae appear many times. If you can spot them and often you can’t because they may have been aged, or had their race changed or even they may have changed their gender.

In the end credits, each actor's name appears with a clip of each of their roles. Everyone stopped to watch this, and some roles were so well disguised that there were gasps of amazement as the audience discovered who played whom.

Cloud Atlas will entertain you as much as it will infuriate you but that is no bad thing. Really though there's simply so much to debate about it, that you should just go see the film. Don't try to understand it, just enjoy it. I actually thought I was going to hate it going in but I was sorry when it finished.

You also would have thought this mad cap idea would have been a shoo-in for several Oscar nominations, Screenplay certainly, Editing, Makeup etc, if not for the acting roles which are good but not spectacular. Still, if Daniel Day Lewis can win for one good acting role, what award do you give the actors here, several of which put in six. Sadly, not a single nomination.

Sunday, 7 March 2010

The Lovely Bones

‘The Lovely Bones’ is based on the best selling book by Alice Sebold.

The year is 1973 and on her home from school a young girl, Susie Salmon (Saoirse Ronan), is approached by her neighbour, George Harvey. He persuades her to enter an underground den he has built. Once she enters, he attacks her, kills her and then dismembers her body before bundling it into an old safe. Meanwhile, Susie's spirit goes up into her own personal afterlife, an 'in-between' state between life and death, which looks shockingly like Windows XP world. You know those garish green grass/blue sky images from the default Windows XP backdrop. Either that or it's that hillside that features in the Teletubbies programme. At first, I thought L had sneaked me into ‘Alice in Wonderland’ instead. Except a Tim Burton film is sure to be darker and there's not much dark here.

From up high Susie watches down over the aftermath of her death, like an angel and she doesn’t seem to mind being dead. The Salmon family react as you would expect, at first reluctant to believe in what has happened and then consumed by grief. Meanwhile Harvey is not suspected by the police and gets away with the crime. Jack, Susie's father, isn’t so sure and continually harasses the police about Harvey.



I don’t know the book so I’m probably not in a good position to comment. Although I’ve read a synopsis of it and L has filled me in on details as well. So I was expecting an intricate story and a disturbing one, dealing with difficult issues, but we didn’t get it. In fact we didn’t get much at all. I kept waiting for something to happen but nothing did, for ages. This was not edge of the seat stuff.

Perhaps Peter 'Lord of the Rings' Jackson was the wrong person to be handed the reins to this film. His liking for the visual effects side of film making has been used to full effect and to make room for all that, they’ve had to dispense with the plot, or perhaps all the computer generated stuff is to try and distract you from the fact that somewhere along the line they forgot what the plot was.



The film also has some celebrated actors in it. Rachel Weisz is the distressed mother and Susan Sarandon plays her alcoholic mother. While Mark Wahlberg plays the devastated father well and there is an excellent performance from Stanley Tucci, who is menacing as the murdering neighbour.

There are a few good scenes but not enough of them. Suzie was supposed to be trying to influence things from beyond the grave but there is little of this. It kind of got exciting when Susie's sister Lindsey grew suspicious and finally breaks into Harvey's house where she discovers information that implicates him. He discovers her there but fails to catch her. Then comes an unbelievable scene where she takes an age to hand the information over to her family, as if it wasn’t that important after all. In the meantime, Harvey, knowing the game is up, disappears. Although he eventually gets his comeuppance when he is killed by an icicle...



It’s a very empty film and an incoherent one, which perhaps thinks it’s a murder mystery but a poor one at that. The murder is after all revealed early on but we still get the suspicion that, that is what the film is all about. It has no flow at all and it’s hard to see who the finished product is aimed out. Perhaps they asked Jackson to Disney-fy the story but how can you do that to a story about a girl who has being attacked and murdered.

Sunday, 16 December 2007

Enchanted

I've been tempted by the good reviews of what really isn't my type of film and we go see 'Enchanted'. At least it can't possibly be as bad as the 'Golden Compass'. Made by Disney studios, the film starts in animated form, that is proper animated not CGI, in 'Andalasia' where Giselle (Amy Adams) is desperate to be rescued by her Prince Charming. The animated sequence goes on a bit but eventually Edward (James Marsden) duly turns up and saves her from a troll and consequently they are set to be married. But Edward's wicked stepmother (Susan Sarandon) does not approve and throws Giselle into a portal that leads to hell.


Hell turns out to be New York, where she climbs out of a manhole cover in full princess regalia. A pessimistic divorce lawyer (Patrick Dempsey) gives her a room for the night where she makes herself clothes out of his curtains. While he introduces her to the 'real' world, he is intrigued by Giselle's attitude towards love and her belief in living 'Happily After Ever', usually in a huge castle, which contradicts his own real life experiences and the modern day notion of getting to know someone first.




When he walks in on her taking a shower and subsequently ends up in an embarrassing clinch on top of her, with her in just a towel, just as his fiancée walks in. He finds himself resolutely dumped. Giselle helps him out by sending round a few doves and flowers, which works a treat and his fiancée forgives him for having a half-naked girl in his apartment because she trusts him. I shall remember that one. Women are strange.


Her prince follows her down to 'hell'. Where he stabs a bus after mistaking it for a monster then gets run over by cyclists in the park. I can sympathise with the cyclists, bloody pedestrians.

As Giselle enjoys the New York experience she realises that her Prince Charming is not the right man for her and instead falls for her lawyer. Of course, it all ends happily ever after, albeit after an overblown scene with a dragon. Giselle is put in to a deep sleep only to be rescue by her lawyer's 'True Loves Kiss' and they all lived happily ever after...


HELLO? This rat you've just run off with has just dumped his long-term fiancée for you, a girl who he's only known for a day or two and who crawled out of a sewer. Love lasts forever? Clearly it doesn't. His ex gets the booby prize of the dopey Prince Edward.


I went into Enchanted not expecting too much and therefore was not disappointed. It was actually better than I had expected, although very cheesy and full of clichés. Timothy Spall does a good turn as the henchman Nathaniel, and an animated chipmunk called Pip puts in a star performance. Another fluffy bunny of a movie.