The Butler

Director: Lee Daniels

Stars: Forrest Whitaker, David Oyelowo, Oprah Winfrey, Lenny Kravitz, Cuba Gooding Jr, Robin Williams, Alan Rickman, John Cusack

Released in UK: 15^th November

Spanning over three decades and based loosely on the accounts of real life butler Eugene Allen, Lee Daniels follow up to The Paperboy follows Forrest Whitaker’s Cecil Gaines and his experiences working as a long serving butler at the White House.

Cecil starts his life tumultuously, following the death of his father at the hands of a white plantation farmer and the mental demise of his abused mother (a blink and you’ll miss it cameo from Mariah Carey). With the help of the farm owner (Vanessa Redgrave), Cecil begins life training as a house servant, working his way up to apply for a job at the White House. Beginning at the time of Dwight Eisenhower right through to the late 80’s with Ronald Reagan, Cecil witnesses everything from the JFK assassination, Martin Luther King to the Nixon scandal, while at home his wife Gloria (Winfrey) struggles with her alcoholic demons and his eldest son Louis (Oyelowo) fights for black rights.

While it’s certainly sincere in its issues, The Butler is a heavily laden story, and something we’ve seen and heard plenty of times before. With similar hits like biopic Forrest Gump and 50’s based The Help still in recent memory, and the upcoming and highly praised Steve McQueen project 12 Years A Slave released at the end of this month, there are plenty of stories to chew over the touchy subject of slave labour, black rights and segregation. What’s a shame is that this film focuses really heavily on this, ramming it down your throat. Not very much action actually goes on at the White House, and it’s hard to feel a different and edgier story has been overlooked in favour of another film about a taboo subject. It would have been far more interesting to see more of what was happening at work during these movements, than documenting the events themselves. The plot of the film follows the events that Cecil experiences over 30 years in service, but we don’t actually get to see much of what happens.

In fact, more attention is paid to Cecil’s relationship with his family and at home, most notably that with his wife, superbly played by Oprah Winfrey dominating every screen time she has, and his son Louis, David Oyelowo shining in his role. Gloria is a suffering alcoholic feeling side lined by Cecil’s job and the hours he works. It gives the film its more intimate and touching moments and has the only character development and chemistry, though it does take away more focus that could have been spent with the presidents and Cecil on the job. The chemistry between Cecil and his son Louis is also strained, but so beautifully constructed. While his father appears to bow to every whim of his professional life, Louis is not only fighting to stop the racial injustice but also fighting against his own father’s social standing, he is in a word partly ashamed of his legacy.

Meanwhile all of the presidents sadly have very little to work with in their performances. Actors such as Robin Williams and Alan Rickman (playing Eisenhower and Reagan respectively) in particular get really short onscreen time, which is unfortunate seeing as they are the first and last presidents Cecil serves. It would have been nice to develop some form a relationship between any of them, but instead they are passed over within minutes. James Marsdan is a strange choice for J.F.K, but again we don’t really get to know him as Kennedy at all before he’s killed off. Rickman and Fonda as the Reagans certainly look the part but have very little to do, John Cusack’s fake nose is quite laughable and Liev Schreiber’s Lyndon Johnson is just plain bonkers, although he does garner a few of the films only laughs in some ridiculous moments of madness. There is no reason to like or favour these presidents in any way, because we have no chance to get to know them.

Though the subjects and events are indeed sensitive, it is Forrest Whitaker performance that is the films saving grace. As always he is superb in the lead role, as the conflicted but dedicated Cecil in a very touching and subtle way.

This was undoubtedly looking to be the big draw come award season, with the endless cast list and the fact that its based on real life and real life people, however it misses the mark. Having said all that, the acting in the film is brilliant and consistent. The storyline is dragged out, but it’s still engaging and very watchable.

VERDICT: * * *

A biopic based on real life racial American history with a mighty impressive cast list, The Butler should be a powerhouse of force. Such a shame it has missed an opportunity for something different, and with so little for the other actors to do it’s hard to care about what happens. That said Whitaker and Winfrey are perfectly cast so a few award nods will likely end up their way. 

The Butler is released in UK cinemas from Friday 15th November

Saving Mr Banks

****THE 57TH LONDON FILM FESTIVAL****

Director: John Lee Hancock

Stars: Tom Hanks, Emma Thompson, Colin Farrell, Paul Giamatti, Bradley Whitford, Jason Schwartzman, B.J. Novak.

Released in UK: 29^th November

The Film Festival finally closed it doors for another year this Sunday, and the chosen film to bid it fare well was the greatly anticipated European premiere of John Lee Hancock’s Saving Mr Banks.

Its 1961, and after twenty years of resisting Walt Disney’s (Tom Hanks) desire to buy the rights to her book, P L Travers (Emma Thompson) finally agrees to leave the confinement of her cherished London home and fly out to meet the house-of-mouse King in Hollywood to oversee the screenplay for the film version of her beloved book, Mary Poppins.

It’s a clear clash of titans and while the agreeable Disney is clearly not used to being said no to, Travers is the ultimate British battle-axe stubborn to the core and very objectionable, disliking the idea of the film being a musical, and downright forbidding the use of animation! She rejects everything about the flashy lights of tinsel town, from the confectionary and lunchtime snacks, to the glorious sunny weather and with that the ‘sunny’ disposition of everyone around her, her informal ways (‘It’s Mrs Travers!’) conflicting with the overly friendly Americans.

While the chalk/cheese relationship between Disney and Travers is stretched to breaking point over the few weeks that she stayed in LA, her involvement in the early production stages of the film triggers memories of her childhood and that of her beloved, but tragic father (Colin Farrell).

To say the relationship between Disney and Travers was strained is an understatement, although she flew out to him in LA she refused to sign the rights over for weeks…like dangling bread in front of a starving man. Travers gleefully reminded Disney of this fact continually, that if he didn’t do it the way she wished, she simply wouldn’t sign and it would all have been for nothing. In a sense Travers made everything extremely difficult for the entire production team, rejecting many ideas and refusing to cave in to happy carefree ways of LA life choosing to stay totally serious and ‘appropriate.’ However she had her reasons, as this book was her baby and she was fiercely protective of it and the characters.

Director Hancock is well suited to challenging Banks, having directed a biopic before with his success with 2009’s Oscar nominated The Blind Side, so he is at ease here. The writers Kelly Marcel and Sue Smith have done an excellent job with the witty and charming script, which is why the characters come across as so lovable and engaging. Its highly unlikely it was this gloriously humorous in real life, so it’s a joy to see the actors clearly having so much fun on set with their characterisations.

The cast is wonderful. While he may not look exactly like the real man physically, Hanks was born to play Disney, bringing a warmth and kindness but with a firm arrogant persistence as Disney was in real life. If Hanks looks well enough like Disney, Thompson unfortunately looks nothing like Travers, too young and, sorry to say, attractive to be the real deal. However, she embodies her in spirit perfectly. She is just wonderful and very, very funny. She is also careful not to make her too caricature-ish, giving her Travers a human side and vulnerability no doubt the real lady would have found it difficult to show. A wonderful moment where she finally embraces the fun side of the music and dances with the script writer during their demonstration of ‘Lets Go Fly a Kite’ is a delightful little montage and gratefully received break from the stern ice-lady.

While the two leading actors are superb, it would not be half as enjoyable if it weren’t for the supporting cast who are all fantastic, and all play subtly important roles. From the staff who work at the Disney studios, including wonderfully witty turns from Kathy Baker and Bradley Whitford, to the music composing duo Sherman brothers (Jason Schwartzman and B.J. Novak), and Paul Giamatti (who has been working like a race horse recently appearing in just about everything) as Travers’ kind and friendly chauffer.

Everyone pulls their weights and makes the whole experience thoroughly enjoyable. Colin Farrell plays against his usual type performing in one of his best roles yet as Travers irresponsible and yet adoringly loving father. It was he who inspired Mary Poppins in the first place, and his memory that triggered the script change so that Travers could ‘Save Mr Banks’ in the film, where in real life she couldn’t save her father from his downfall.

The only issue comes as the film constantly flitters from the current storyline in 1961 to Travers’ childhood in the outback of Australia. While the whole story certainly benefits from a detailed background giving reason into why Travers acts the way she does, and why indeed the characters in her story (especially Mr Banks) were so precious to her, the narrative is disrupted one too many times and spoils the flow. We just don’t need so much of something that is theatrically envisioned when really we will never know the true state of what happened, it’s quite speculative. Having said that the scenes with her father are moving, and well thought out. 

There are some truly ‘magical’ moments in the film, from the moment when Travers first arrives at her ‘Disney’ enhanced hotel room, to the scene where she dances. The trip to Disneyland, where Walt manages to persuade her to hop on the merri-go-round and even gets a smile from her is charming.

There is so much joy to be had watching Saving Mr Banks, and one you will gladly enjoy again and again as it’s practically perfect in every way.

VERDICT: * * * *

A sweet, engaging and hilariously funny tale of how Mary Poppins came to be. The two central performances are superb, but the whole supporting cast adds that extra sparkle making it a truly enjoyable folly. You’ll be toe tapping along before you know it.

Saving Mr Banks closed the London Film Festival on 20^th October. It is released in the UK from 29^th November.

Inside Llewyn Davis

****THE 57TH LONDON FILM FESTIVAL****

Directors/Writers: Joel Coen and Ethan Coen

Stars: Oscar Isaac, John Goodman, Carey Mulligan, Garrett Hedlund, Justin Timberlake.

Released in UK: 24th Januray 2014

The Coen brothers have debatably rarely put a step wrong or out of line, creating some truly visually impactful storylines (No Country for Old Men) and showcasing some of the most moving performances from actors who have gone on to win awards a plenty (Fargo, True Grit). Here they are back recreating 1960’s New York in a sweet, funny and witty love song to the folk era, and when this opening at the Cannes Film festival it received glowing reviews.

Llewyn (Oscar Isaac) is a penniless drifting travelling folk artist, a man with a beautiful talent but desperately trying to recapture the musical success he once had with his now diseased singing partner, but to little avail. Occasionally getting a few gigs at The Gaslight Cafe in Greenwich’s West Village, he spends most of his time wandering the shivering cold streets of New york and bunking favours and free beds off his friends. Those little of his friends are an eclectic group of New Yorkers, some of whom have very little sympathy or tolerance for him including Jean (Carey Mulligan) a married singer whom he had a short term fling with.

In a last ditch attempt he hitches a ride to an audition in Chicago in the hopes of winning over the manager. His travelling companions consist of an opinionatedly pompous but ailing jazzman Roland (John Goodman) his silently brooding valet Johnny Five (Garrett Hedlund) and a ginger cat!

Some of the most engaging and funny moments involve Llewyn’s attachment to that pesky cat, and his attempts to try and get him back to his rightful owner. This results involve some hilarious scenarios with Llewyn lugging the poor creature half way around New York, not just on the long journey to Chicago but also on a crowded subway and in a café.

The music in the film is a crucial as the dialogue itself, and yet its not overcooked but blended perfectly within the story. Gorgeous heartbreaking melodies flow like running water, with touches reminiscent of the Coen’s previous work O Brother, Where Art Thou?

The cast are excellent. Mulligan’s constantly enraged Jean is bitchy and sharp tongued, Goodman is hilarious and his short on screen presence is missed when he’s no longer there. However this film belongs to one performance alone, Issac. His central performance is quite superb, brilliantly cast and played with a sensitivity and likeable charm that flows throughout the film, despite his character’s struggles and his capability to piss every one else off! His voice is purely beautiful, with a deeply moving sadness and reverence very much missing on our radios today.

Charming, beautiful and heart breaking, yet not short on laughs what truly is inside of Llewyn is a heart of gold and certainly one of the best the Coen brothers have ever produced.

VERDICT: * * * * *

Inside Llewyn Davis is very much about the missed opportunities, of how easily a career comes and goes, and the desperate pursuit of something greater and more wonderful. Chuck in the moody landscape of bitter New York, gorgeous music and a cat, and you have a masterpiece!

Inside Llewyn Davis was shown at the London Film Festival and will be released in UK cinemas from 24th January 2014.

Adore

****THE 57TH LONDON FILM FESTIVAL****

Director: Anne Fontaine

Stars: Robin Wright, Naomi Watts, Xavier Samuel, James Frecheville and Ben Mendelsohn.

Released: 14th November (Australia). UK release date TBC

French director Anne Fontaine is known for her edgier daring work and alternative relationships, having recently released the dark drama Chloe in 2009, and here we have a very strange an uncomfortable tale of where lust overtakes reason. Originally based on a short story by Doris Lessing called ‘The Grandmothers’, Adore showcased much earlier this year at the Sundance Film Festival and opened to very mixed reactions because of the unconventional storyline.

Roz (Forrest Gump’s Robin Wright) and Lil (The Impossible’s Naomi Watts) have been best friends since childhood. Living next door to each other and working together they live an idyllic life in Australia’s New South wales splitting their time working, relaxing on the beach or with their two grown up sons Ian and Tom (Xavier Samuel and James Frecheville) who are also the best of friends. While Lil tragically lost her husband in a accident, Roz has what seems on the surface like a happy marriage to career driven Harold (Ben Mendelsohn).

Their contented life continues at a relaxed and happy pace, that is until one day Lil’s son Ian makes a move on Roz, and with the chemistry and attraction between them both clearly evident his feeling are reciprocated and the pair are soon in the throws of passion.

When Tom observes this he is consumed with mixed feelings of disgust, anger and jealousy. In a clear retaliation Tom then attempts to woo Lil, and while his initial advances are rebuffed, she too is soon tempted into a passionate affair with him, as the two couples knowingly continue to live as friends and lovers.

You don’t know whether to admire Adore for its provocative storyline or to be slightly uncomfortable and removed by it. It’s clearly trying to show a message that desire is a stronger emotion than anything else, but the idea that two best friends would try and woo each other sons’ and then continue to live that life sexually freely is rather shocking. Throughout the film we are shown the understanding and also the conflict between each character as they try to continue this unusual life, but it is really quite uncomfortable. The strangest part and the most unbelievable is that the best friends continue this life fully knowing that each one is bedding the other one’s son and are content with that. There is no discussion about the impact it will have on their relationship, although there is at first an altercation between the jealous boys. There are moments where this issue to swept over with humour too, but the underlying problem is still there; it’s just too strange.

What saves the price from turning into something quite unacceptable is the acting. Robin Wright in particular is fantastic in her role as the conflicted Roz, portraying an understanding and wisdom beyond her years. Watts’ Lil is the perfect alternative to Roz, where both actresses show depth and maturity while also bringing a softer and gentler side to a difficult concept.

Setting the story by the gorgeous tranquil and picturesque paradise is a clever concept, as if the consequences of the friend’s actions would disturb the sea itself, but the focus is very much on ageism, friendship and love between the women, the young boys being merely small pieces in the larger scale puzzle.

VERDICT: * *

You wont know whether to be entranced or disturbed by this provocative piece that focuses on uncontrollable passion, ageism and conflict. It’s a very brave storyline, but one that just misses the mark. While the setting is undoubtedly gorgeous it’s the acting that gives the film gravitas (particularly Robin Wright) in an otherwise strange and uncomfortable tale. 

Adore was shown at the London Film Festival on 10th, 11th and 13th October. It is released in Australia on 14th November. A UK release date is yet to be confirmed.