Uncle Boonmee Who Can Recall His Past Lives, a strange and intriguing title if ever there was one, and it certainly earns that bold title. Arriving on DVD with a monumental critical success to back it up, including winning the prestigious Palme d'Or award at the Cannes Film Festival, the film has a lot to live up to. And even though it's hard to judge the film in that sort of way I would it does live up to what it sets out to do.
Firstly it must be said that this isn't a movie for everyone. If you're a movie casual viewer who is just looking for an enjoyable movie with a plot that's easy to follow then you might want to look elsewhere. Uncle Boonmee is a tough movie to sit through sometimes, with its lingering shots of meditative emptiness (not unlike the work of director Terrence Malick), and plot that's as confusing as its is strange, that will test the limits of most viewers. But the film has a lot to it that makes sticking with it worthwhile. Admittedly there will be times when you are, to be frank, unspeakably bored but for every moment of that sort Thai director Apichatpong Weerasethakul provides five others that are beautiful, inspiring, mystical and magical in ways that words can't really describe - you really have to see it to truly appreciate its wonders.
The film contains all manner of unforgettable imagery that I have never seen before, the most iconic of which is the peculiar "monkey ghost" with its piercing red eyes staring out at you through the darkness. And if any one memorable visual doesn't cut it, the film has a general air of wonder about it that is rarely seen in movies nowadays. It also has some wonderful performances that may seem amateur on the surface but which really work together to convey a sense of simplicity. The film understands that in life the simplest of moments are often the best.
Not for everyone but Uncle Boonmee Who Can Recall His Past Lives is a movie unlike any other you are likely to see for a long time, with some of the most unusual yet stunning imagery of recent years. Take a chance on this peculiar little film, you never know it might just affect in a way you never thought possible.
One of the best dvd's on the market at the moment, especially for those who enjoyed the Riverdance shows... go out and get it. You won't regret your purchase! It's dvd to be enjoyed by young and old alike - even if you have never heard of or watched a show.
Highly recommended.
A wonderful celebration of an extraordinary man. However much the Planets dominates anything to do with Holst, it IS a terrific piece of music, but so is almost everything he wrote. A knew some pieces in the Tony Palmer film a lot I didn't. Hooray to the BBC for devoting two and quarter hours of absolute magic to this genius.
Twenty-eight years after the dramatic success of the original Tron film, which has developed a substantial cult following over the years, Walt Disney Pictures have brought us a sequel that not only lives up to the original's standards, but utterly outstrips both the original and all expectations. It is not often that a sequel outdoes an original, but Tron: Legacy is utterly brilliant, and is worthy of all of the successes it has garnered since its release at the end of last year.
There are some films that just simply have to be watched in the upgraded Blu-Ray format, with its exceptional High Definition quality, and Tron: Legacy ranks very high up on that list. If you have a Blu-Ray player, it is certainly worth the additional few pounds to purchase the Blu-Ray copy of the film over the DVD; you will not be disappointed, that is a guarantee.
Set in a futuristic world, known as The Grid, hidden within the present day world, this film is unlike anything you will have ever seen before. With a budget of $170 million, Disney placed an enormous amount of both faith and money in the film, and with a return of just shy of $400 million at the box office, it seems their faith was well deserved. The movie is one of my personal Disney favourites, and that includes their wealth of animated features in decades gone by. Tron: Legacy is a fantastic film, simply brilliant on all fronts.
Thanks to the incredible advances in technology, the graphics from the original Tron film are made to look like child's play in comparison to the ingenuity of the CGI in Tron: Legacy. These graphics are one of the reasons why it deserves to be seen in High Definition; if you want to truly appreciate the beauty of the film, it has to be watched in the best quality possible.
The filmmakers picked a relatively unknown actor, Garrett Hedlund, to fill the role of the lead character, Sam Flynn (the son of the character Kevin Flynn from the original). Picking an unknown actor is always a gamble with such a big film, but they made absolutely the right choice. Hedlund is one of the best young actors in recent years, and plays the role so convincingly as to draw you into the world of Tron: Legacy. The calibre of his acting is one of the finest I have seen in young actors in a long time, and everything he demonstrates in this film shows that he has already achieved so much, with a brilliant future lying ahead of him. His performance is flawless.
I think one of the best decisions the casting crew made whilst making Tron: Legacy was to bring back two of the original actors, Jeff Bridges and Bruce Boxleitner, to reprise their roles. It works entirely seamlessly in the plot, and it instantly provides the story with a successful background to inherit; in short, it gives it credibility to have two incredibly fine actors return to a film they made when they young. It is as if they are passing on the torch to the new age of rising acting talent in the form of Garrett Hedlund, and the female lead starring opposite him, Olivia Wilde.
Wilde's performance, just as much as Hedlund's, is exceptional. Of all of the roles in the film, I think hers was the hardest to do well, and the fact that she was able to do it so believably is a real testament to her worth as an actress. This is Wilde at her best.
One of the most talked-about aspects of the film is that the filmmakers decided to go in a different direction with their choice of score composers than most films do. Rather than go straight to a well-known and well-received composer, they choice instead to have the score composed by the French electronic band Daft Punk. The choice was inspired. Their score is one of the most innovative soundtracks I have ever heard, working utterly symbiotically with the film; they both truly enhance each other.
There is not a single fault I can find in this film. Everything about it emanates utter cinematic genius. Whilst I am well aware of the adage that says, 'Nothing is perfect,' I hasten to add that its speakers are undoubtedly made up of those who have not seen this film. From the moment the film begins, you will find yourself completely absorbed by Tron: Legacy, immersed in this new futuristic world that you are being presented with. It draws you into the very same quest its lead character, Sam, is on, in search of answers he has been waiting for for over a decade. It is exhilarating, it is brilliant, it is moving. Most importantly, it is worth watching. I cannot recommend it enough.
Lost is my favourite television show and I have never been hooked to a programme like I have been to Lost. Each episode brings something new and there is always a cliff-hanger at the end of each episode to make you want more. Although the plot can become disjointed in places and some aspects seem far-fetched, it is definatelty worth the dedication. I see the programme as more or a character study and what lengths people go to and what bonds form when people are put in impossible situations. This is an original fast paced show and I would recommend it to everyone.
A fascinating insight to the life of pablo escobar as told by his son.
brilliant
Sweary Beast
Scripted by the duo who brought you (the, to my mind, over-rated) SEXY BEAST, and with some of the same cast, viewers expecting more of the same will be disappointed because with so much of the action taking place in a single drab room, this is less a British gangster film and more a poor man's Pinter play, and one with dialogue by the ghost of Peter Cook in full 'Derek & Clive' mode!
I don't know if the excessive profanity is meant to be amusing or shocking/hard-hitting, but either way it fails because it just comes across as awkward and unconvincing (the usually reliable Tom Wilkinson seems particularly ill at ease with some of the lines he has to deliver).
Of the rest of the top drawer British cast, Ian McShane and Steven Dillon seem to enjoy themselves (more than I did, anyway), Ray Winstone suffers admirably, and Joanne Whalley is suitably alluring as the cause of all this misplaced machismo (misogyny?), but only John Hurt really manages to create a convincing character - albeit a totally unlikeable one - and consequently gives by far the best performance, one worthy of a far better script/film (mind you, that's something you could say about half the films on his CV!).
But they're all acting in a vacuum - if the set-up feels like it came from a Pinter play then a more accurate/honest title (44 INCH CHEST? Why??) could've been taken from a Pirandello play: SIX CHARACTERS IN SEARCH OF AN AUTHOR.
So ulitmately recommended for Winston, Whalley and Hurt completists only...
At first glance Tangled may be mistaken for a typical fairy tale, a wistful story of a helpless princess and a gallant hero. Let me assure you, this is a refreshingly original, bold, fresh adaptation of the much loved Brothers Grimm fairy tale.
The story is loosely based on the original story, with main plot elements such as Rapunzel's hair having magical attributes. Without giving too much away, the plot basically follows her on a quest with a dashingly goofy young man named Flynn Rider. The pace is perfect, keeping the attention of younger children but also taking time to allow character development. Flynn breaks all conventional moulds of a knight in shining armour, the scene where he attempts to serenade Rapunzel with the line "how you doing?" shows how Disney have wisely given this film a modern twist to make sure they connect with audiences which may be more familiar with shows such as "Hannah Montana".
The animation is gorgeous, every movement is fluid, bursting with life. Rapunzels eyes widen in curiosity (Flynns sparkle with mischief), her brow furrows in frustration, the audience will have no trouble believing that she is really experiencing the adventure of a lifetime. Tangled was reportedly in production for around six years, but the final result shows it was worth every day. The visuals are absolutely stunning. Disney have been known to have a painstakingly dedicated love to their films, and this is no exception. The three dimensional painting technique Disney spent years refining has truly paid off. Tangled has the warmth of a hand drawn marvel but also flaunts the 3D depth and detail that make it worthy of accolades. Tangled is a pleasure to watch, with sharp and witty dialogue running alongside the slick animation.
Tangled provides a laugh a minute, and although some jokes may fall flat with older members of the audience, the sheer hilarity of watching Flynn bumble through a forest running for his life makes this an entertaining film to watch.
Tangled isn't all laughs though, there are deeper messages and elegant meanings within the plot. Themes such as love, freedom and betrayal all feature too, showing that Disney has not lost any of its original magic.
As with any worthy Disney movie, there are several songs scattered throughout the film. These serve well to entertain the younger viewers, (watch out for a murderous villain banging away on a piano) and also help the films pace and plot. The musical score is impressive, it is evident that Disney have not rushed this film at any stage. What really makes this film sparkle is the connection the characters on screen have with their dialogue. Rapunzel and Flynn have definite chemistry on screen together, which is an impressive feat considering both of them are animated. No detail has been overlooked in Tangled, it exudes the love and nurturing nature that has helped Disney capture so many hearts.
Tangled may be seen as predictable at times, but as with any Disney film, there are certain parts that will be generic. Some adults will pick apart the films plot and poke holes in the story, but the job of this film is to entertain, it's not a deep thinker. Tangled's fast paced, witty humour keeps everyone engaged, the bold and modern stance Disney have taken will sit well with most viewers.
Disney have set the bar very high with their first CGI fairy tale, its fast paced plot, witty exchanges and true hilarity, mixed with more poignant and touching moments make it a real gem and definite to watch. Clocking in at around one hour forty minutes, this will be 100 magical minutes for anyone who loves a happily ever after.
An animated marvel that will captivate and delight children whilst drawing a playful grin from even the most stolid adults.
Entertaining nonsense that ought to be seen on two conditions: 1) You have to be a Nicolas Cage fan and 2) Enjoy medieval thrillers with a supernatural twist. I can't emphasise the first point enough, for what fans would call 'Vintage Cage', the majority of the movie going public would simply deem 'Horrendous overacting'.
'Season of The Witch' sees the likeable duo of Nic Cage and Ron Perlman as disillusioned crusaders who return to Europe; only to stumble upon a town ravaged by a mysterious plague. They're soon tasked on pain of death, to deliver a suspected teenage witch (Claire Foy) for trial in a distant monastery. Accompanied by an edgy priest, an eager upstart, a sullen knight and an untrustworthy merchant; this motley crew of medieval misfits soon realise they've bitten off more than they can chew; as the wily minx begins to use their darkest secrets against them.
Hollywood hack Dominic Sena ('Gone In 60 Seconds', 'Swordfish') punches above his weight to present a well paced movie, that's chockfull of spooky goings on and rip roaring adventure. A lot of the visual work is left to cinematographer Amir M. Mokri ('Lord Of War', 'Fast And Furious') whose use of natural light and depth creates an atmospheric, perilous vista riven with danger and darkness.
Limiting the story to the group and their trek towards the monastery is a good decision, and makes the film feel a bit like a 1970's Hammer horror. Claire Foy does well as the witch, who manipulates her captors from behind bars and keeps you guessing till the end. And Nicholas Cage is...well; Nicolas Cage.
'Season of The Witch' isn't a great film by any stretch of the imagination, but its not dull either. Let down by some dodgy CGI and B-movie dialogue, it's still a watchable romp and worth seeing once.
If I had to choose one movie that best summed up the life and career of the late / great Elizabeth Taylor, then 'Cleopatra' would be that film: Epic, self-indulgent, OTT and very nearly a train wreck of monumental proportions. 'Cleopatra' (1963) was Hollywood's last hurrah in terms of grand spectacle, for Anthony Mann's 'Fall Of The Roman Empire' (1964) would tie a Gordian knot in the genre, one that would remain bound until Ridley Scott's Gladiator (2000) cut it open.
Veteran director Joseph L. Mankiewicz ('Guys & Dolls', 'The Quiet American') does well to capture the scale and pageantry of the era whilst keeping a close eye on the love triangle between Cleopatra, Mark Anthony (Richard Burton) and Julis Caesar (Rex Harrison). The mise-en-scene can't be faulted, the sets are as good as anything you'd see in a DeMille picture and the stars act up a storm with bombastic, often hammy, larger-than-life performances. It could've done with more battles, but those familiar with what went on behind-the-scenes, won't be at all surprised to learn that they'd already spent themselves into a stupor and simply couldn't afford another big moment.
'Cleopatra' also marked the beginning of the Burton / Taylor love/hate relationship and though there's really no good reason as to why they couldn't have just followed the Shakespeare play in terms of the script, it's still a good 4 hours of solid entertainment. Fans of the epic will rejoice, modern audiences accustomed to a snappy pace will wonder what all the fuss was about.
Less accepting critics and 'No-men' alike may think that this film was a typical 'rom-com' with a predictable ending, but - in my opinion - the quirkyness of the characters , cast and upbeat modern soundtrack make this film great, even if Carrey is 'supposedly' past his sell-by date. The fun script and storyline will have you chuckling regardless. Director Peyton Reed isn't too experimental with the cameras thus 'Yes-Man' being your basic, but bold, comedy. If you need a good time say "Certainly" to this funky YEScapade!
Jim Carrey says "Yes!" to life in this bright and positively brilliant comedy. When negative Carl (Carrey) bumps into an old friend outside of his 'dead end job he's had for years'; he is thrown into the world of the 'Yes-Man'. With the help of Terrence Bundley (Stamp) he learns to say 'yes' and meets the indie-queen of his dreams - Alison (Zooey Deshaniel). Things begin looking up... until the cops arrive.
A young science genius creates a cloninig machine, but when he accidently clones a beautiful young girl, he and a friend relise that the cloned girl is a like a blank canvas, and can be influenced on how to behave.
However their plan goes fine at first, but then takes an unwanted turn with very funny consequences.
This film is from the producers of American pie 1 & 2, and the comedy is often what you might expect , but with a Sci-Fi twist.
I think this is well worth a watch if you enjoy this type of geeky far fetched sci-fi tongue comedy.
I do and find my self watching this again and again.
A Typical science geek comedy farce, with double trouble
i think the show and the dvd is brilliant and i think dani harmer is a brilliant actor and cant wait for the new one next year as it my favortite tv programme i love the bit when mike as cus where he stood and he said in my bedroom i love the dvd to bits and i been watch the dvd none stop it that good and funny i also think the one that plays lilly and carman is brilliant at acting too no other tv programme could take the place of tracey beaker
Professor Brian Cox has become somewhat of a television celebrity in recent years. His enigmatic style, coupled with a clear enthusiasm and passion for what he does, has thrusted him into the limelight much like a shooting star. Even though he has worked in the media for many years, the two series that we find in this pack have done wonders for his career (excuse the pun).
"Wonders of the Solar System" first aired in 2010, and was hailed as one of the most fascinating and best-looking educational programmes that the BBC had ever produced. Certainly on the BBC HD channel (and indeed this Blu-ray release), the settings looked just as good as other factual shows like "Planet Earth" and maintained the highest quality we have come to expect from the network. Cox is arguably to Physics what Attenborough has been to nature for many years now, someone to not only lend a familiarity and warmth to the topic at hand but, more importantly, making it accessible and interesting to all. Science no longer has to be a 'geeky' topic at school, but one that can be discussed out in the open with a much wider audience.
The "Solar System" series comprises of five 60 minute episodes, each dealing with a different wonder - from the Sun, through various planets, and different environments. These are covered in an impressive depth, never feeling overwhelming or boring, but instead offering a slightly different spin on what you would expect. Cox himself seems to thrive on demonstrating his knowledge in various ways, seeminly intent on showing as much as he can without ever losing the audience. You can't help but admire him and be drawn into the subject, as he talks like each fact is the first time he's explored the subject matter.
Disappointingly the 2011 follow up, "Wonders of the Universe," only has four episodes. By the time you really get into it, it's already finished. It's a testament to Cox and his team that he actually makes you want more, but they really could have made the series longer. On TV it's not so bad, but when you're paying £15+ for a Blu-ray you expect slightly better value for money. BBC Blu-rays are of the highest quality, but they're certainly not the cheapest when first released. "Universe" examines the wonders in a much wider scale, which again would have lent itself to a longer series, but what we are provided with is just as good as "Solar System" if not moreso. And viewers will be pleased to hear that "Wonders of Life" is coming in 2012.
In terms of purchasing this on Blu-ray over a DVD release, I can wholeheartedly recommend doing so. If there's one thing the BBC prides itself on, it's delivering an amazing audio and visual experience, and one that needs to be seen in the best quality possible. Colours are vibrant, outside scenes are remarkably sharp, and the soundtrack is suitably bombastic and as passionate as those involved. Yes, we are given very little on the actual releases, but this is the best you will ever see these shows and they are certainly worth your money - even if you choose to wait for a little discount first!
Whether you're an enthusiast already, or someone who is experiencing it for the first time, everyone should enjoy this release. A tricky subject ends up having a mass appeal without ever being dumbed down, with stunning CGI graphics mixed with on-location shots from all around the world. For all the information about the world and the universe, Cox keeps things grounded in reality and makes it all feel far more real to the average person. You'll be left with a remarkable understanding, and a thirst for more. 2012 can't come soon enough.
Professor Brian Cox brings physics to a wider audience.
Without a shadow of a doubt, The Town was one of my Top Three films of 2010. Its placement there is easily justifiable; from the moment it begins, there isn't a single thing that is wrong with it. It is simply perfect.
The film is Ben Affleck's second time in the director seat. 2007 saw his directorial debut with Gone Baby Gone, with Affleck's brother Casey taking the lead role, and it demonstrated that Ben is not just an excellent actor, he's also got a great eye for making movies too. The three years since Gone Baby Gone have clearly just improved Affleck's directorial finesse, because he has somehow managed to exceed the excellence of his debut, bringing utter brilliance to The Town. And not only is it an amazing success in that sense, but it is twice as impressive given that Affleck also takes the lead role and is truly incredible in it.
Alongside Affleck, actor Jeremy Renner was acclaimed for his performance in the film, and rightly so, being nominated for Best Male Supporting Actor in last month's Academy Awards. The entire cast's performances were absolutely flawless, from John Hamm's determined FBI agent through to Blake Lively's drug addict, everyone truly shined from start to finish.
Going straight to Number One at the U.S. Box Office, the film has gone on to profit more than $100 million, from a $37 million budget, which is beyond admirable for a director's second film. Affleck clearly shows he has nothing to prove.
The film's Blu-Ray release is quite simply spectacular, and is certainly worth investing in to add to your collection. It comes with the extended edition of the film as well as the theatrical release, and both the picture and sound quality are stunning in High Definition. It is truly a must-have, with something in it to appeal to almost everyone.
Based on the novel 'Prince of Thieves', by Chuck Hogan, and is based on the fact that the town of Charlestown, Boston was once the setting for endless numbers of bank robberies and armoured car robberies. This is its premise. But it moves beyond just the typical crime film genre to incorporate aspects of other genres too, and ultimately achieves something that transcends them all.
It is this transcendence that truly marks it as something special, and it is for this that it rates so highly in my favourite films to be released last year. The cast and crew have created something instantly memorable and entirely eye-opening with this film, and it deserves to be ranked amongst the highest tiers of your favourite films of all time, as it does in mine.
'We've got a truck on fire. We have a man on the ski-lift; we're unable to find the switch to turn the lift off. We can't stop the dancing chicken. Send us an electrician, we'll be standing by,' says a perplexed policeman - just arrived at the scene - into his radio in request of further assistance, and so ends Stroszek in a weirdly anarchic and unpredictable ending perfectly apt for all which had preceded it.
To read of the life of Bruno S. - the actor playing the protagonist in this 1977 Werner Herzog directed film - is to read of a life born into an extremely antagonistic world. As an unwanted child he was subjected to frequent beatings and on one occasion was beaten so severely that he became temporarily mute. So peculiar was his character considered to be that much of his formative life, from childhood to young adulthood, was spent in psychiatric hospitals; and yet, according to Herzog - who befriended Bruno S. having first cast him in the 1974 film The Enigma of Kaspar Hauser - he was not a man suffering the affects of a psychological disorder but was rather a man of unique, if unconventional, character shaped by a society unfailingly indifferent towards him.
It is of little wonder then that a film described by Herzog as a monument to the actor whom he once called 'the unknown soldier of German cinema' is one of the oddest, yet strangely poignant, films I have seen, a film that is at times bleakly humorous and yet never without a latent feeling of sadness; a film which, though purely fictional in terms of narrative, has much that is based on the true life of the lead actor; a film which is, at its heart, a portrait of the real human suffering faced by a man hopelessly adrift in a world beyond comprehension; a man who has long been expecting his dreams to falter and, when they ultimately do, can only watch on in silent disbelief.
Stroszek, for me personally, is among the best and most moving of Herzog's work.
Now, when District 9 came out at the cinemas in 2009 I wasn't to keen to go and watch it I thought, "OK another mediocre alien movie, what's it going to offer me which the next alien genre film can't", well I'll tell you, a lot. Firstly, the cast was relatively unknown with Sharlto Copley playing the lead role of Wikus van de Merwe, but trust me Neil Blomkamp and Terri Tatchell got it spot on. Basically Wikus is a seemingly clumsy character who tries his best to please everyone, he is a alien affairs worker who is based in Johannesburg, South Africa, and his role is to relocate 1.7 million aliens to a new location outside Johannesburg city.
Now, I don't want to give too much away but the plot behind this film is second to none, it's gritty and dark which is what I like from films like this. Although in my opinion the introduction is quite slow it more than makes up for that with the sheer genius special effects and soundtrack used. It fully submerges you into the action making you feel like your part of the fight.
Overall, District 9 is a great take on the sci-fi genre and is a worthy contender to be included in anyone's film collection.
With three seasons already in the bag, AMC's incomparably classy drama series continues with its fourth season, arguably its best, thrusting things forward into the mid sixties and out with the familiar, perhaps safe, environment of Sterling-Cooper as Don Draper - along with Peggy Olson, Pete Campbell, Roger Sterling, Bert Cooper and Lane Pryce - are forced to form a new company. The aptly named Sterling-Cooper-Draper-Pryce provides new opportunities but also presents new problems for the "Mad Men" of Manhattan. Just as it brings a freshness to the proceedings (both for the characters within the show and for us as an audience) it also means that they have to virtually start from scratch with their client list, the trouble there being that they are officially a new agency and companies aren't exactly knocking down their door with offers, with only the monumental Lucky Strike account to keep them afloat thanks to Roger's contact and/or charms.
Still, while we are out of the familiar and comfortable surroundings Sterling-Cooper, the newly created agency still is business-as-usual for the show. The writing is still top notch, with a subtelty that's rarely matched on any other show right now but still somehow manages to be edgy and apt. Even though the series showcases important and significant historical events - Marilyn Monroe found dead, JFK being assassinated to name but a couple - it also comments on life in our society today through themes such as family life and dysfunction, the importance people place on having a steady job and responsibilities as a human being. The show has a knack of bending, often dark, emotion with sardonic humour. It can go from one extreme to the other episode-to-episode, or even scene-to-scene. For example, in the series high episode "The Suitcase," emotions and home-truths come rising to the surface when two key characters effectively face off against one another. Yet in the earlier episode "The Chrysanthemum and the Sword," it focuses on a humorous rivalry between Don and someone at a rival agency, as well as Roger's cultural intolerances. These episodes, and pretty much all of season 4, demonstrates the shows' uncanny ability to present a mixed back of things to get something out of.
There is a danger with drama shows that they get to a certain point and then start going downhill in quality, whether that be down to laziness on the writers' parts or there simply isn't anywhere else to take the show thematically. Thankfully that isn't the case with Mad Men. Its fourth season has the show at a level as good as its always been, still providing the excellent writing, acting, production design and general air of class that has made it such a hit with audiences and a critical success. Can they keep things riding high with the confirmed season 5? There is nothing in the shows past four seasons to suggest otherwise.
The King's Speech has already been richly awarded at the BAFTAs, the Oscars and countless other award ceremonies across the world. It would be easy to dismiss such a high-flyer as deliberate award bait - the Academy do love a royal drama, especially if you throw a 'succeeding against the odds' story of bravery and determination into the mix. But let's not get too cynical. This is a superb film, and a deserved winner of the accolades thrown its way both here and in the States, whilst still entertaining audiences in cinemas across the globe. I'm sure the Blu-ray disc and DVD will sell by the Royal-carriage-load.
King George VI, known as Albert or Bertie amongst his family, suffered from a speech impediment. He stuttered and faltered when he talked, and from a young age found it hard to get all his words out. Before he became king, his wife decided to seek guidance from a speech therapist. His name was Lionel Logue; an Australian who had built up a quiet reputation by using unorthodox methods in treating impediments such as Albert's.
This little known aspect of the King's life makes for stirring cinema, as it allows the audience to empathise with the Royal family without normalising their very different way of life. Stephen Frears's film The Queen in 2006 was also successful in this endeavour, although The King's Speech, directed by Tom Hopper (whose other credits include The Damned United and Prime Suspect), is perhaps a more personal look at the royal family. We certainly feel involved in Albert's struggles as Dr. Logue (played by the wonderful Geoffrey Rush) tries to smooth out the stammers that plague his public addresses.
Within minutes of seeing Albert, Logue has him reading a section from Shakespeare's Hamlet absolutely flawlessly, without one stammer or stumble. This is achieved by playing music through headphones which Albert listens to so he cannot hear his own voice. Though consistently sceptical and unconvinced about Logue's methods, Albert eventually submits himself to Logue's treatment, and the film beautifully depicts the complicated and at times strained friendship that develops between the two men. David Seidler's sparkling script offers up some refreshing humour via sharp banter, particularly when Albert is advised to try using expletives as a way of fending off impending stammers in his sentences (something which the movie initially received a 15 certificate for, though this was changed to a 12A after the studio appealed). The pivotal moment in the film, and the one the title refers to, is the King's 1939 speech to the nation when war is declared on Germany, and although some may have heard recordings of the speech before, the way it is presented in the film, and the moments leading up to it, renders it immensely and refreshingly powerful.
Helena Bonham Carter as Queen Elizabeth, recently seen as the bonkers Bellatrix in Harry Potter, is as much a revelation as Firth, and with her matter-of-fact and forthright manner she provides a nice contrast to Albert's sense of inferiority and insecurity. Her reaction to her immature brother-in-law's house parties is delicious to watch, and when he abdicates, leaving Albert to take the thrown, she dutifully and tenderly supports her husband during his darkest moments of trepidation.
Further touches of genius in this splendid picture come from Alexandre Desplat's sublime music score. Similar to his compositions for The Queen, his score is subtle but majestic, calm but powerful, and probably his best soundtrack since his sumptuous work on the second Twilight film. It is a shame he did not take home the Oscar for Best Original Score.
The King's Speech is rousing, inspiring and richly rewarding. Millions of people have flocked to see it in the cinemas, and by buying a copy of the Blu-ray or DVD you will not only have a piece of compelling entertainment to put on the TV, but you'll also own the film that further proves that Britain is still a world-class force in the cinema industry. Buy it. Your country needs you.
Being unable to see or hear is beyond comprehension for many people and while cinema cannot possibly express it, Black at least shows the joy of life and ambition that we all owe ourselves, regardless of who we are. It is a truly gorgeous film, typical in many ways of Bollywood fare except one. It isn't a musical.
I stress that point for those who don't like musicals and avoid Bollywood as strongly as I once would! There are no show tunes in Black and that is very important because in a story like this, a dance number can only undermine the emotion.
It is a gorgeous story, unashamedly sentimental at times in the best Capra-esque tradition and at least told in the manner of a musical; passionate and theatrical, with broad themes allowing dramatic scenes to almost become set-pieces in an exuberant, almost intoxicating production. This could be a curse as much as a blessing, for despite the incredible performance by Rani Mukherjee as Michelle, whom you importantly never feel sorry for, the central character of any biographical film is rarely an easy one for the viewer to follow. Watching Michelle deal with and conquer her disability from a child to a young, proud woman, is humbling and inspiring, but it lacks the singular purpose demanded by drama. A natural problem for any life story like this is that it has to dip in and out of the life it is most interested in, creating that frustrating set-piece style that is cathartic at best.
And so that dramatic arc has to be found elsewhere and in Black we have several, which is just brilliantly clever! It isn't just Michelle that forms the real story, but that of the relationship with her teacher that lasts a lifetime. The film opens with an adult Michelle discovering that he has returned after a long absence, but he is suffering from Alzheimer's. Her determination to help him reconnect with the world so he can share her success forms a focused framing device, but the bulk of the film is told in flashback as we see how he devoted his life to making her connect at all.
The impressive Amitabh Bachchan grabs your attention as the larger than life teacher, Mr. Sahai, playing him like a triumphant conjurer, which suits this strange musical without music. He is a conductor in search of an orchestra! He hilariously bullies the wild child Michelle into having some sort of purpose and dignity, even when her father demands he leaves, but he doesn't stop there. Michelle becomes determined to graduate from university and he devotes his life solely to helping her do so. It is this unlikely and beautiful relationship that we can identify with more than anything and it is an exhilarating experience that I highly recommend. It becomes a love story of sorts and there is a sub-text about faith too, that Sahai at least wants his life to mean something. His lonely return despite illness at the start of the film is a touch of fantasy that asks us to believe in miracles. Of course, this is especially poetic as Michelle is a living, breathing miracle herself.
Director Sanjay Leela Bhansali's inspiration was the real-life deaf-mute miracle Helen Keller, but he wisely lets the research inform the background through Mukherjee's committed performance and concentrates on leaving the stage free for the double-act that is Michelle and Sahai. He makes it a very handsome film, with help from Monty Sharma's enchanting theme and Ravi K. Chandran's crisp and adaptable photography. There are lots of details that add a little something to the performances without detracting from them. There's a lovely moment where Michelle predicts rain, or where Sahai demands she walks alone and she ends up waddling with her cane past a Charlie Chaplin poster! That isn't the only moment inspired by cinema, another trait of Bollywood. And the touches of romance remind me of another love affair with film in Cinema Paradiso, also a story of an unusual friendship.
I'm reviewing this wonderful film almost with a sense of desperation. A search on FindDVD reveals it is virtually unavailable and out of print. It's very sad when such magnificent world cinema disappears relatively quickly, but I hope many of you make the effort to keep it in mind should it reappear.
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