My Cousin Rachel

The reviews for this film were excellent and I was looking forward to seeing it at the cinema, but unfortunately it disappeared from general release pretty quickly.

I finally saw it on DVD over the Christmas holidays and suggested we screen it, but the curse of the best films that you didn't see seems to have struck again: our screening clashed with the arrival of the Beast from the East and we had an audience of just seven - and three of us were committee members.


My Cousin Rachel

UK 2017          106 minutes

Director:          Roger Michell

Starring:            Rachel Weisz, Sam Clafin, Iain Glen and Holliday Grainger

Awards and Nominations

• Nomination for Best Actress (Rachel Weisz) at the Evening Standard British Film Awards
• One win and three further nominations

“My Cousin Rachel is a highly enjoyable mystery thriller of the sort that modern communication and the internet have made impossible to set in the present day. Based on the 1951 novel by Daphne du Maurier and adapted and directed by Roger Michell, it is a fantastically preposterous psychological drama featuring a lush score from Rael Jones and a tremendous lead performance from Rachel Weisz – who is mean, minxy and manipulative. Her sheer charisma persuades you to overlook one or two plot glitches. I can only describe this film as the roistering missing link between The Talented Mr Ripley and Far from the Madding Crowd.”

Peter Bradshaw

Philip (Sam Clafin) plots revenge against his late cousin’s mysterious wife Rachel (Rachel Weisz), as he feels that she is responsible for his death while he is recuperating in Italy after an illness. However when Rachel returns to the family estate in Cornwall Philip finds himself falling for her charms.

The film appeared at number fifty in The Guardian’s list of the Best Films of 2017 as well as featuring in its list of the Best Films of 2017 That You Didn’t See.  In this latter list Benjamin Lee was particularly impressed by Rachel Weisz’s performance:

“If this were a just world, and 2017 has proved that it most definitely is not, then Rachel Weisz’s name would be frequently heard throughout this year’s awards season. Her performance in Roger Michell’s curiously ignored My Cousin Rachel, the second adaptation of Daphne du Maurier’s 1951 novel, is one of her best: a compelling, fiery take on a spell-bindingly unknowable literary femme fatale, disarming and enigmatic, charming and bewitching.”

Daphne du Maurier’s novel was published in 1951 although the story is set in a Hardy-esque nineteenth century. The novel was an international success and this led in 1952 to a film adaptation directed by Henry Koster and starring Olivia de Havilland and Richard Burton, his first role in a US film. George Cukor had originally intended to direct the film but both he and du Maurier found the screenplay unfaithful to the novel, although on its release critics felt it was a worthy adaptation. Many of du Maurier’s other novels and short stories have also adapted well to the cinema: Hitchcock filmed Jamaica Inn (1939) and, far more successfully, Rebecca (1940) as well as the short story The Birds (1963), while Nicholas Roeg adapted another short story for his classic Don’t Look Now (1973).

Roger Michell began his career as a stage director working at the Royal Court and the Royal Shakespeare Company. His first work for TV was an adaptation Hanif Kureishi’s autobiographical novel The Buddha of Suburbia. His first film as director for cinema was Notting Hill (1999), and his cinema films since then have included The Mother (2003) written by Hanif Kureishi and starring Daniel Craig, Enduring Love (2004) and Venus (2006) once again from a script by Hanif Kureishi. In 2006 Michell was in negotiations in 2006 to direct Daniel Craig as James Bond in A Quantum of Solace, but the talks fell through.

Here's a link to the trailer:

Their Finest

The less "official" work I have to do, the more my day seems to fill up with other urgent matters: hence there is less time for me to keep this blog up to date.

Thus although we have finished our screenings for the Christmas period I am behind with posting my notes, so here we go with the first catch-up session.

Their Finest was my recommendation after having seen it at the cinema. It was good to see that it went down well, I enjoyed it even more at a second viewing and I was delighted to see that Peter Bradshaw in The Guardian has nominated the screenplay as one of the best of the year.

Here are my notes:

Their Finest

UK 2016          117 minutes

Director:          Lone Scherfig

Starring:            Gemma Arterton, Sam Clafin, Bill Nighy, Jack Huston and Paul Ritter

Awards and Nominations

• Nominations for Best Debut Screenplay (Gaby Chiappe) and Best Effects at the British Independent Film Awards
• One other win and one other nomination

“You’d need a heart of stone and a funny bone of porridge not to enjoy this sweet-natured and eminently lovable British film – a 1940s adventure, with moments of brashness and poignancy. It’s all about the love that flowers in the ruins of blitz-hit London and in the dusty offices of the Ministry of Information’s film unit as various high-minded creative types use the magic of cinema to keep the nation’s pecker up.”

Peter Bradshaw

 

During the London Blitz Catrin Cole (Gemma Arterton) is recruited by the Ministry of Information to write scripts for propaganda films that the public will like, and investigates a story of two young girls who supposedly piloted a boat to help with the evacuation at Dunkirk. The story turns out to be not entirely true but it provides the basis of a feature film that the MoI team decide to make. They cast veteran actor Ambrose Hilliard (Bill Nighy) in a supporting role and as the film goes into production they constantly have to revise the script to meet government requirements, including the unexpected addition of an American character to the beaches of Dunkirk so that the film will help the appeal to the US to join the war on the Allied side.

The film is one of several recent releases – Dad’s Army (2016), Darkest Hour (2017), Dunkirk (2017) and Churchill (2017) – that cover an earlier period in British history which involved certain difficulties relating to events in mainland Europe. Perhaps this focus on Europe reflects current political pre-occupations, although the government’s approach to the Brexit negotiations seems to be far closer to the Home Guard of Walmington-on-Sea rather than to Churchill, as depicted in Darkest Hour, who as a newly appointed Prime Minister in the summer of 1940 used his eloquence to persuade the Cabinet to continue to fighting Hitler and the Nazis rather than seek some form of negotiated settlement; this was the decisive event which saved the country and which Simon Schama has rightly described as “the first great battle of the Second World War”.

In his enthusiastic review of the film Peter Bradshaw focuses on the filmmaking part of the story rather than its historical context and compares the film with Truffaut’s La Nuit Americaine (1973):

“It’s a film unashamedly and cheerfully in love with the conjuring tricks and artifice of cinema. There’s a showstopping matte shot of massed troops on the Dunkirk beach, painted on to glass, and a demonstration of how dubbing and editing can create an illusion of physical presence. Truffaut talked about la nuit americaine – here’s a film about la nuit britannique, a very British kind of film magic. In an earlier scene, Amanda Root plays an actress wearing a hat that recalls Celia Johnson in Brief Encounter, and later there’s a scene next to a mocked-up third-class railway carriage.”

Lone Scherfig began her career in Denmark before making her name internationally with the Oscar-nominated An Education (2009). Her subsequent work has included One Day (2011), an adaptation of the novel by David Nicholls, and The Riot Club (2014), a filmed version of Laura Wade’s play Posh.

 Here's a link to the trailer: