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. 

Blackwood

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

Director: Adam Wimpenny

Stars: Ed Stoppard, Sophia Myles, Greg Wise, Russell Tovey

Released: Showing at the London Film Festival 17^th and 19^th October

Wimpenny offers a thrilling chiller tale, filled with suspense, tension and your fun old-fashioned scares.

After recovering from a mental breakdown, Lecturer Ben Marshall (Stoppard) moves his wife Rachel (Thunderbirds’ Sophia Myles) and their young son Harry (Isaac Andrews) to an idyllic country house in the middle of the woods in a bid for a fresh start. However Ben notices a few strange things happening within the house and with his creepy neighbours (including Russell Tovey) continually trespassing on his land he starts to feel he’s made a mistake. As more than a few things start going bump in the night and as his hallucinations continue to worsen, his friends and family begin questioning his sanity.

Stoppard, who is best known for his roles on British television, including the BBC’s recent remake of Upstairs Downstairs, would perhaps be an unusual choice for leading man, but he is surprisingly at ease as he does well with the material. The character is perhaps a little clichéd, however. Recovering from a mental breakdown naturally he starts to worry his ‘hallucinations’ are meaning a relapse, while all the other character start to treat him like he’s going mad. This trick has been used a thousand times before, and it’s hardly ground breaking as the plot progresses at a predictable state but its still an enjoyable romp. The supporting cast of Myles and Tovey are great, though there is no stand out performance from anyone as the seems the cast have blended and worked well together.

There are the usual gaggle of jumpy moments, loud bangs, strange noises and the classic quiet followed by a loud musical screech scares. Its so predictable, but its still fun.

The subtle moments of Ben’s paranoia, the things and events that only he can see or hear, isolates the character further from those around him. Although this adds to the suspense, but it is a little tired. An old dog and his tricks.

The ending twist is not that original, in fact it’s reminiscent of 2008’s brilliant Spanish chiller The Orphanage (a far more superior feature). So sadly its quite easy to see it coming, however that doesn’t suggest that all the smaller elements in the build up to the finale are not clever, in fact its very intelligently written and thoroughly enjoyable. Just a shame that its been done before.

The ending itself is not really explained properly as it does suggest and lean more towards the supernatural, but the acting and script deserve more credit than your usual hash of dumb horror remakes and sequels available. Its just goes to show that throwing a lot of money at the project doesn’t guarantee a good movie, when the smaller budget films can pay more attention to detail.

VERDICT: * * *

It’s silly, fun and crammed with jumpy moments, but there is nothing particularly remarkable about this small budget chiller. Although it’s a clichéd plot with a predictable twist, its still cleverly panned out and delivered, and certainly smarter than todays Hollywood money-making horror flops.

Blackwood is showing at The London Film Festival today and on the 19^th October. The official release date is still to be confirmed.