The Happy Prince (2018)


Titled from a tale within a collection of short stories by the famous Oscar Wilde; this film mirrors the tragic beauty of the swallow and statue. A poet, playwright and author is accounted in his later years and comes across like a touching tribute to the man.

Residing in Paris after being imprisoned for sodomy, Oscar Wilde (Rupert Everett) is a penniless man but still has friends he can depend on. The film then looks back at how Wilde came to this point and the loves and lusts he fell into along the way, none more so than with Alfred Douglas (Colin Morgan).

It’s a remarkably interesting biopic with a remarkable figure at the centre. I’ve read and studied Wilde’s plays through university and his talent is incredible, the film furthers his character and provides depth to a troubled man, pretty much ruined by society. Rupert Everett’s direction and screenplay doesn’t shy away from the grim side of destitution but revels in the lavish nature of Oscar’s behaviours too.

This makes for a mighty kind of film to watch, there are fun moments to be had but it’s quite a heavy going watch because Everett really makes us see how tough the Irish writer had it in the latter stages of his life. Some of the heavier moments make the biographical journey almost on the nose, of filling out criteria you come to expect from a film like this, plus there’s a couple of points where the film starts feeling long; the back and forth and trotting of the globe with Wilde’s past becoming a vague strain.

A stand out moment with Everett providing stand up singing prowess is a sparkling gem, gilding Wilde with the undeniable talent and attention-grabbing ease he possessed. A couple of throwbacks to a bleak time on a platform at Clapham Junction are washed out of colour, grey and therefore work in showcasing the nastier times in his existence when the people had turned on him. It’s not exactly a film constantly keeping up engagement but there’s a showy, absorbing quality to the most part.

Rupert Everett makes the playwright come alive with vivid intrigue and a Brando like touch of greatness to a role he totally inhabits. He provides a balance of desperate scrapings for love and money with Wilde’s whip smart wordsmith wizardry. Colin Morgan is very good in a role that shows off his spoilt and money orientated manner, he does well as a man almost like the villain of the play.

Oscar Wilde’s later years are documented with great care in a clear passion project from Rupert Everett. The film is also being smart in a late US release because I can see award potential from his turn as the Dublin born figure. We may know of the man and his work but this film proves there’s more to learn and feel.



Snowden (2016)


With a neat common theme of modern like gloss layered over this political drama it’s hard not to feel some moments are heightened for cinematic effect, but the true life and accounts its portraying are truly interesting, thrilling and I liked the film quite a lot.

After being ruled out of the U.S Army, Edward Snowden (Joseph Gordon-Levitt) explores his passion for computers and joins the CIA impressing Corbin (Rhys Ifans). At the same time, Snowden is developing a connection with photographer and liberal Lindsay Mills (Shailene Woodley). As his roles develop, Edward Snowden questions the ideas of these huge government groups and winds up releasing date about American security reviling him as the notorious whistleblower.

I do find that with these type of films, there is never a running jump as to who the director wants to place their chips with, leaving us to walk out mulling over our own thoughts. That for me is something annoying and at least here, director Oliver Stone makes it clear that he’s on Snowden’s side. Of course that gives this movie an obvious bias but he’s having the confidence to put his foot down and direct his own mind.

Edward Snowden was someone I’d always heard of, knew of the whistle blowing status and what he had done to a small degree, but this movie explores a lot more which is great. I liked what the whole feature had to say, as it doesn’t just shed light on this man and how not only his work changed his decisions and therefore life but gives us enough to make an opinion even if Stone is leaning us to the fact that what he did was a necessary thing to kick-start a change in American surveillance.

I too will stake my place and agree that what Snowden was for the benefit of a hopeful world, with big countries needing to be more open about their spying on everyday people. The opposite side is agreeable too, concerning how he definitely threatened pivotal date to possible terrorists and stole information but then this is why I liked the film because there’s a huge meaty conversation starter to be had about the actions of an ethical and technological 29 year old.

Structurally the movie is done as you’d imagine, starting at the most recent point in his timeline as he’s about to leak the information before jumping back every now and then with the the newest 2013 scenes interspersed from time to time. It’s never confusing or muddled and sometimes the scenes blend nicely together. There are some beautiful little touches, for example the kaleidoscope hotel corridor as Snowden walks along, almost a visual parallel to the different stands of his career.

What hit me most is when we watch him use a program that hops from a tracked person if interest and links him/her to contacts they have, then contacts those people have and so on and so on. That was an alarming realisation that I’d just ignorantly never thought to think about and it really demonstrates how mostly innocent people are being watched constantly. It’s all cleverly awash with a neon blue and ends on a graphic circle melding into a shot of Snowden’s eye before pulling out and seeing Edward watch that program unfold.

Gordon-Levitt is great, the change to his voice matches the sound of Snowden very well and he looks remarkably like him as the stubble appears. Woodley is radiant as the antithesis to her partner, she acts playfully but shows emotion too as his commitment to work affects their relationship. Rhys Ifans is a sort of formidable character, on the brink of villainy because of what he knows, this characteristic is illuminated further as his faces looms over Snowden on a screen through a Facetime call. Melissa Leo, Zachary Quinto and Tom Wilkinson aren’t in it too much but do enough to become believable intrepid allies to the cause and likewise Nicolas Cage has little screen-time but is a friendly if typically Cage-like role helping Edward out.

The very biased construction of the film, shining Snowden in a radiant light might be off-putting to some, but he is an icon whichever way you look at him. There’s plenty to think about after seeing this and for me that just outweighs the idealistic siding they’ve taken to their own hero.


Selma (2015)


I got the pleasure of seeing this at the third Odeon Screen Unseen night and it’s a powerful and utterly poignant story, in its dramatic relevance to topics going on in the world. and more specifically America today. Driven by an inspirational directing touch and a thundering presence of its lead actor ‘Selma’ is an impressive biographical feat that informs as well as engages.

This account sees Martin Luther King, Jr. (David Oyelowo) campaigning in his peaceful way to win votes for black people. He and his group of advisories stop on Selma, Alabama as the perfect place to rally a protest march to raise awareness of the mistreatment of blacks in America. President Lyndon B. Johnson (Tom Wilkinson) isn’t a road block but also doesn’t help King as much as he could and thanks to racist beliefs held by George Wallace (Tim Roth), King has a lot of trouble to face on the march to overcome prejudice.

Firstly, I must begin with the unbelievable snub that has befallen on director Ava DuVernay. The way she captures the trials and terrors of this man’s journey for equality is gripping and touching too. Bennett Miller of ‘Foxcatcher’ land, however who has spilled out a paint by numbers bio-pic that bores more than enthralls is somehow up for Best Director while DuVernay isn’t. The decision to include slow motion in this movie isn’t stupid or jarring, it in fact reinforces the horrific trauma of these people and heightens the brutality of their oppressors. The wide shots at times are well placed to breathe in the large amounts of people rallying together for King’s dream and it’s all constructed together in a neat manner to feel at once like a political thriller but also a Civil Rights drama of hope.

A few niggles are in some slow moments that rely on heavy conversations of tactics or quibbles between leading men, but then on the other hand, you could look at these scenes at constructions of character and they make the more dramatic moments of clashes that more impacting. Also, the end facts that normally come with bio-pics are not done over black screen but layered over shots of the end speech delivered by King. Which is exciting and awakening to what happened to true life people but then the speech is lost as you read what’s on screen. These are honestly the only issues I could think of and they’re minor at best.

The way each and every speech and march presented in this film is brilliant. They’re tingled with the fear of the unknown and the dread of what these innocent people are facing day in and day out. The expected retaliation is tense when it needs to be and as King and his followers rise over the Edmund Pettus bridge you really feel the apprehension of what the whites could do. While on this bridge, I must say that the way the struggles are shown is shocking. For the certification there’s a lot more brutal imagery to be seen, not visceral I must say, just chilling to see the onslaught of beatings. This is provoking though for good reasons as DuVernay doesn’t shy away from the necessity of reminding us of the equality barrier.

If there’s one certainty, it’s that this film has to pick up the Oscar for Original Song. Common and John Legend come together to write electrifying lyrics for ‘Glory’. The words are deep and resonate for the subject matter of the film but sentences in there also highlight the atrocities against black members of society nowadays. The film couldn’t come at a more relevant time in relation to the appalling treatment in Ferguson and ‘Glory’ is perfectly executed as they march, inter-cut with actual footage of the demonstration too.

David Oyelowo is a hugely stirring force in this movie. He too has been snubbed while Cumberbatch sits pretty playing a typically Cumbersome role in ‘The Imitation Game’. The mannerisms and motivating tone he delivers his lines are special to witness. He brings calm and passion to Martin Luther King, Jr and there’s a warm balance of emotion to his plight too as he sees innocents murdered for his cause, it’s also nice to see the subtle flickers of not being all perfect as he’s questioned by his wife. Oyelowo plays this silent and pause heavy scene very well.

‘Selma’ is a must see if you want to watch the test of the racial movement done in a moving way. It’s not patronising or shoving intent down the audience’s throats, the message is displayed in an artful, powerful and enlightening manner.