Film Stars Don’t Die in Liverpool (2017)

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This was a film that likely would have passed be my; I hadn’t seen a trailer or knew anything about this, but I’d call it a hidden gem because it’s just wonderfully made harking to the Hollywood of old.

After falling ill before a stage performance, former silver screen actress Gloria Grahame (Annette Bening) wishes to stay at the house of Peter Turner (Jamie Bell) and his kin. Turner and Grahame had been in a relationship for the last two years or so and we see their up and down romance throughout the movie.

Based on a memoir from Peter Turner himself, this romantically themed drama is extremely engaging. Firstly I must comment on the utterly believable relationship between Bening and Bell. This old/young romance never feels wrong, strange or make believe, there’s a genuine affection and attraction built between the actors that helps the film along. The film delves back and forth between her at the house in 1981 and her meeting Turner in 1979, the transitions to and from these moments in time are quite clever and give it an almost one take theatrical vibe as if moving scenes forward on a stage.

For my sins, I had no clue that the glamorous performer in question was actually based on a real actress from the heyday of Hollywood. This only made the story more impacting as I came to realise the true account running through the narrative. I liked to think I know Oscars and actors but I obviously need to brush up on the glitz of 40’s/50’s stardom. It’s this pizzazz and studio based ideal of talent and fitting into a mould to sell pictures that gives Gloria real depth and vulnerability as you see her clinging on to youth and wanting to be loved.

There are some aspects in the film that are predictable and you know what someone may say or what characters will do and a sequence you see from one perspective gets re-shown from the other side with a healthy dose of melodramatic strings rising and clear emphasis on trying to make you emotional, almost cheesy I could say. There’s clear green screen in use for places like New York and beaches of California but they’re apt in a way for this film about acting, gifting the whole feature a movie look as if we’re seeing their memories as glances on a film reel.

Annette Bening better get recognised come awards season, if she’s not up for an Oscar then a Golden Globe at least because she is sublime in this. The mannerisms and the way she talks are an almost sweetly yet seductive Marilyn Monroe quality and she carries confidence and false confidence in equal measure. She completely buries herself into the role and I bought her turn as Grahame hook line and sinker. Jamie Bell gives Turner great care and love, you buy into this man that isn’t much of anything, a success or triumph but a funny, interesting and kind guy who cares deeply for this enigmatic presence in his life. He plays opposite Bening with convincing ease and they’re both fantastic together. It’s great seeing Bell reunite with Julie Walters who dons a Scouse accent rather well and brings that expected and needed heart and comedic touch. I also want to comment on the much too short but almost scene-stealing turn from Frances Barber who plays Gloria’s sister. The icy stares and sharp tongue were brilliant.

This is a film that doesn’t seem to acknowledge the intelligence of its audience with predictable moments and repeated scenes driving home points we’d already gathered but it’s a special movie with a fragile soul beautifully illustrated by the exceptional performances from Bening and Bell.

7/10

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Snowpiercer (2013)

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This is just a straight up brilliant movie that feels different and exciting. There are elements that make you think of other films but on the whole this sci-fi bleak future environment we’re presented with has the genius charm of being fresh and interesting. The reliance on a uprising rebellion makes for a dramatic and engaging narrative and the action mixed into this concoction of style and wonder adds that extra wow factor.

Directed by Bong Joon-Ho the plot of the movie begins with a brief point letting us know that an action to try and prevent global warming has in fact left the whole world blanketed in ice and snow. The only population left are surviving in class systems on a train that cycles round a track year after year. The story here finds Curtis (Chris Evans) working with an elder leader, Gilliam (John Hurt), his friend and second in command Edgar (Jamie Bell) and others from the rear of the train to revolt against the better off members from the front of the train.

The dystopian landscape that we see settles the film into that worrying oppressive mood needed to run alongside the story of back vs front. The snowy mountains and ice covered buildings look good but unlike other films that may rely on the CGI of this world, this movie has its heart in the midst of the shuttling train. It likes to focus on the work of the characters moving forward and I love it for focusing on this more than the action and special effects it could have centred on. The train becomes a symbol of order, of twisted beliefs of ecosystems to have weak seen as the feet and the upper classes seen in colourful attire as the head. It’s an obvious way of setting up differences but it works and there’s more grounded harsh realities for Curtis and the others to face as they try and upturn this preordained structure.

A story written by Joon-Ho and based on a French graphic novel by Jacques Lob, Benjamin Legrand and Jean-Marc Rochette lets the audience uncover moments of shocking truths with the characters from the tail of the train. A harrowing past concerning Curtis and how he came to know Edgar and see Gilliam as the wise giving leader is hard to hear but makes for meaty backstory and gives Curtis that flaw needed to help him become a more rounded character to empathise with, if he becomes too perfect as this leader taking them to the front then it doesn’t work. This history of his comes at the right moment to understand more of the man. The protein blocks are a jello like grot that hide a secret, passed back metal tubes with secreted messages become a tool of aide but mystery too. It’s a film of layers leading us to get into the story more as the plot unravels.

There’s a true weird haunting touch to the proceedings as the higher up figures speak of order and the almighty Wilford as a god. The scene in the school segment of the train is especially odd. The teacher is brilliantly played as the sweet young friendly type but her message echoed creepily by the children becomes unnerving as they join in chorus of praising Wilfred and saying ice is death. There’s a steady stream of violent action as Curtis and his troop make their way but obviously numbers dwindle and he comes across enemies attempting to take him out. Uses of power become a bloody tool for the higher up figures to get what they want and that builds up the weird vision of this train further.

Action does come in a decent flow and the fight scenes feel even more cool in the changing sections of the train, moving from gardens to aquariums and from saunas to a nightclub this train offers up a massive treat of visuals all still with that hint of uncomfort as we know the powers that be on this train are crazed in treating the back lot like animals. The yellow tinged fight in the sauna room is moody and brilliant and it comes with the needed tension of who is behind doors and who will survive? The action all comes to a concerning end as a slowed down rabble of party goers in steampunk-esque costumes face down the Kronol obsessed Namgoong Minsu and Yona, a father/daughter team imprisoned in metal drawers and addicted to a green blocky drug. The near end is slightly alarming as a moment of welcomed alone time for Curtis could leave him coming around to the ideas of Wilfred and the hum of the engine starts turning into a symbol of his mind working as he contemplates what to do.

Chris Evans can of course play the stocky hero type and he does that here but he plays a more damaged hero and the weakness he shows when divulging his boarding of the tran to Namgoong Minsu is a vulnerable streak that gives his performance a boost of three dimensional edge. John Hurt is the perfect casting choice for the smart leader seeking to do the best though his character later on becomes a more complex one too as we hear more about him. Tilda Swinton who plays Mason a minister and high in command subject of Wilfred is amazing. She gets into any character she plays and the kooky nature of her in this makes her even more grotesque and deranged. It’s a great performance that you can’t help but enjoy. The reveal of Wilfred is another sublime casting decision but I won’t comment on this further just incase you don’t know who plays the engine watcher. It’s a film stuffed full with cast that help elevate the look and feel of the film and they work together masterfully to create a unique tale of revolution.

It’s a fantastical movie that arrives with a damning new ice age and the sci-fi angle of a harsh future and dangerous new world aboard a train makes for a fascinating hybrid of genres. You can definitely tell the plot is based upon a graphic novel which is never a bad thing. Of course the film may not be overly gentle in telling us what is going on and the moving forward revolt is an easy enough story momentum but it makes for a fun, dark sequence of events. I’ve seen so much of this film being reviewed lately and it deserves the wide release it hasn’t got so far. It’s one of the best movies I’ve watched this year, honestly. Even though it comes with a vague ‘Hunger Games’ set up of divided fractions and a ‘Raid’ like upheaval of getting around one place it feels refreshing to see a destroyed Earth movie and humanity tale done so effectively.

A debut majority English speaking film for the South Korean director that delivers on suspense, thrills and spectacle. A film shining in doing something unlike the same gunk that Hollywood churns out.

8.5/10