Sunday, February 17, 2013

Anna Karenina

This week we'll be screening Anna Karenina, a film which I missed while out on general release, but which was definitely on my "must see" list.

Here are my notes:


Anna Karenina

 UK 2012                      130 minutes

Director:                      Joe Wright

Starring:                        Aaron Johnson, Keira Knightley, Jude Law, Domhnall Gleeson, Matthew MacFadyen


Awards and Nominations

  • Nominated for four Oscars (including Cinematography and Soundtrack)
  • A further eight wins and 19 nominations (including BAFTA nomination for Best British Film)

 “Wright's movie is a dazzling affair, a highly stylised treatment of a realistic novel, superbly designed by Sarah Greenwood and edited by Melanie Ann Oliver, with rich photography by Seamus McGarvey, sumptuous costumes by Jacqueline Durran and a highly romantic Tchaikovskian score by Dario Marianelli, all previous Wright collaborators.”
Philip French

Anna Karenina (Keira Knighley) is an aristocrat in Russian high society at the end of the nineteenth century.  When she meets the affluent Count Vronsky (Aaron Johnson) she enters into a love affair that has life-changing consequences.

There have been numerous TV and film adaptations of Tolstoy’s novel, with actresses as diverse as Greta Garbo, Vivien Leigh, Jacqueline Bisset and Nicola Pagett all having played the title role, and the resulting adaptations have borne a greater or lesser degree of fidelity to the original story.  Tom Stoppard’s objective, as he worked on his adaptation of the  800 page novel,  was to produce a script that would “deal seriously with the subject of love” as it applies to several pairs of characters: not just the relationship of Anna and Vronsky, but also Anna’s relationship with her husband (Jude Law) as well as the parallel shy relationship between Levin (Domhnall Gleeson)   and Kitty (Alicia Vikander) which Tolstoy himself intended to run as a quiet counterpoint to the passion of Anna’s affair.  Joe Wright filmed the script that Stoppard had written, but having failed to find authentic locations for the Moscow and St Petersberg scenes, decided to set these scenes within a dilapidated 19th century Russian theatre which became a large-scale image of the upper-class tsarist society amongst which Anna and Vronsky carried on their affair.

After beginning his career in television Joe Wright made his name in the cinema with an adaptation of Pride and Prejudice (2005) which won him a BAFTA for Most Promising Newcomer and which starred Keira Knightley as Elizabeth Bennet.  He worked with Knightley again on the multi-Oscar nominated Atonement (2007).  The Soloist (2000), the true story of a homeless classically –trained musician, marked a clear change of direction.  His previous project was another change of direction: Hanna is the story of a 16-year-old girl, raised by her father to be the perfect assassin, who is dispatched on a mission across Europe, while being pursued by a ruthless intelligence agent and her operatives.  Following Anna Karenina Joe Wright is about to make his debut as a stage director with a production of Pinero’s Trelawney of the Wells which is about to open in London.

Here's the trailer:

Thursday, February 14, 2013

Oscar Winning Films


I wouldn't ordinarily link to The Daily Mail, but this article, which shows the Oscar for Best Film redesigned to reflect the content of the winner for Best Film each year, is rather good:

http://www.dailymail.co.uk/news/article-2278046/Tribute-Best-Film-Academy-Award-winner-shows-movie-given-unique-Oscar.html

Tuesday, February 12, 2013

The Best 49 British Films Of All Time

Barry Norman has produced a typically idiosyncratic list of the best 49 British Films of all time.

After reading the list I carried out a quick calculation and realised that I had seen 34 of them.  Many of the others are on one or other of the many mental lists I have of films that I've read about and would like to see at some point - perhaps a long trawl through the DVD section of eBay and some quiet nights in could help me boost my score.

The Daily Telegraph has produced a BAFTA special photo gallery covering all the films:

http://www.telegraph.co.uk/culture/culturepicturegalleries/9848319/Bafta-special-the-49-best-British-films-of-all-time.html

In truth I wouldn't mind seeing any - or all - of them again.  the real challenge would be to nominate the fiftieth film.  Possibly something by John Boorman?  Excalibur?

Tuesday, February 5, 2013

The Intouchables (Intouchable)

This week's film is our first with subtitles in a midweek slot for quite a while.  Does The Artist, as a silent film, really count?   Before this I can only think of Let The Right One In, and that was several years ago.

Anyway here are the notes:


The Intouchables (Intouchable)

France 2011                 113 minutes

Director:                      Olivier Nakache and Eric Toledano

Starring:                        Francois Cluzet and Omar Sy

Awards and Nominations

  • Nominated for Golden Globe (Best Foreign Language Film)
  • A further 13 wins and 31 nominations including Best Actor Award for Omar Sy in the Cesar Awards in France
“The premise of Olivier Nakache and Éric Toledano’s comic drama is not unlike The Diving Bell and the Butterfly, and it, too, is based on a true story. Unlike Julian Schnabel’s rarefied exploration of paralysis, however, the film itself is as broad, accessible and trombonishly unsubtle as a subtitled Driving Miss Daisy.”

Robbie Collin

Philippe (Cluzet), a quadriplegic Parisian millionaire hires a strapping black immigrant from a broken home in the bainlieues as his live in career and the men strike up a mischievous camaraderie.

The film is based on a the true story of Philippe Pozzo di Borgo and Abdel Sellou depicted in the documentary film A la vie, a la mort.  

The Intouchables was an enormous box office and critical hit in France where Omar Sy unexpectedly won the Cesar for Best Actor rather Jean Dujardin for his role The Artist.  In September 2012 it was announced that the film had been selected as the French entry for the Best Foreign Language Film for the 2013 Academy Awards, but ultimately it was not included as one of the final nominees.
 
Here's the trailer: