Brave

Brave is the latest release from Pixar/Disney, a stunningly-rendered fairy tale of a film. Set in 10th-century Scotland, Brave is the story of Merida (Kelly Macdonald), a princess in the kingdom of DunBroch, the only child of King Fergus (Billy Connolly) and Queen Elinor (Emma Thompson). Merida is as beloved as she is feisty and independent-minded (the latter much to her mother's chagrin), the latter quality given a life-changing outlet when, on one birthday during a hunting party, her father gives her the gift of her own bow and arrows. The celebratory mood is interrupted when their camp is attacked by Mor'du, a fearsome and legendary bear. The royal family escapes, but during the battle Mor'du robs Fergus of one leg, giving rise to family legend and a promise to one day kill Mor'du and avenge the loss of limb.

Years pass, and Merida is now a graceful young woman of (to her mother's mind) marriageable age, older sister to three incorrigible and hilarious brothers -- Harris, Hamish, and Hubert. Merida barely tolerates her mother's lessons in royal decorum, living for the moments when she can escape the castle on the back of her beloved horse Angus and ride and shoot to her heart's content. Elinor doesn't understand why her daughter is so reluctant to accept her fate and the behavioral rules and expectations that brought Elinor to where she is today. For her part, Merida cannot understand why her mother is so hide-bound by tradition, why she cannot see that she isn't her mother and, if she has anything to say about it, never will be. Thus, it's the ages-old conflict between a parent and child that lies at the heart of Brave -- and that being said, it could be argued that this is both Pixar's safest film (in how it steps into traditional Disney "princess" territory) and perhaps most relatable film (in how it addresses parent/child relationships).

Merida has barely tolerated her mother's tutelage, and is so absorbed in bucking tradition that she is shocked when her parents break the news that at the upcoming clan gathering, the lord of each clan will present his son to compete for the honor of Merida's hand in marriage. But Merida sees a loophole in her parents' plan -- the eldest of each clan will compete to determine Merida's fate, and so she choose her strength -- archery -- as the method of competition. When Merida steps onto the archery green, breaking years of tradition to seize her own fate, she sets in motion a chain of events that threatens to rupture her family and destroy the kingdom. Events that will test the headstrong Merida's mettle and force her to look deep within to find the courage and bravery to make her own destiny.

I saw Brave in 2D, and once again -- as per the norm with Pixar films -- I was completely blown away by the film's artistry, gorgeously rendered on-screen. The rich greens of the Scottish highlands, the blues of the sky, each tendril of Merida's untamed mass of red hair, all is fully realized on-screen, so richly and completely rendered that it seems as though you could step into the world of the film. From the shimmering fabric of Merida and Elinor's gowns to each character's expressive eyes -- I hope, oh how I hope that I never lose my wonder over this type of filmic artistry. And when it is coupled with strong characters and compelling storytelling, so much the better.

Merida's "unseemly" display at the archery competition brings the simmering conflict between mother and daughter from a spark to a full-blown flame. And this is part of the genius of Pixar's storytelling -- no matter what characters are used as vehicles (human or toy), these filmmakers are able to distill human relationships to their essence, bringing the raw emotional truth of human experience to life on-screen. What person cannot point to some instance of conflict between themselves and one or both parents? The rupture of Merida and Elinor's mother-daughter bond is extraordinarily painful to watch because it feels so real, bringing to life the terrible truth that we oft-times have the greatest power to hurt those closest to us.

Enraged at the fate her parents -- particularly her mother -- are trying to force upon her, Merida determines to become mistress of her own fate. Wandering into the woods she follows the blue will-o-the-wisps to a witch's cottage -- only the witch in question (voiced by Julie Walters), is reluctant to own her identity as a sorceress, preferring to masquerade as a prolific woodcarver. It was easy to see the erstwhile Molly Weasley in the character of the witch, and Walters' vocal performance married to the visuals is a comic joy to watch. When Merida convinces the witch she can pay for her services, she requests a spell to change her mother so she can be free. It's a telling moment, brilliantly executed that reveals the teenage Merida's selfish certainty that there is absolutely nothing she can learn from her mother's experience.

Merida's impulsive, selfish request unleashes a spell that threatens to not only rupture her family permanently, but threatens the future of the entire kingdom. With the future of her world hanging in the balance, Merida and her mother embark on a quest to undo the thoughtlessly conjured spell and repair a fractured and precious familial bond before the curse becomes irreversible. I loved the scenes that follow, where Merida and Elinor come to an uneasy truce of sorts, and then re-learn to appreciate and enjoy each other's company, and -- most critically of all to this storyline -- learn from each other's experiences, and recognize the value within. The script gives equal weight to Elinor learning to hear her daughter and see her perspective, while Merida learns to appreciate her mother's wisdom and experiences. Like all parent-child bonds, the delicate dance of learning balance -- of what to take forward, and what to release, coupled with one's own experiences and preferences -- is critical, and Brave is a very honest exploration of the oft-times tumultuous, but universal, life experience.

This is a beautiful film with lots of heart, following in the Pixar tradition of appreciating and holding sacred the bonds of family and friendship. I loved the humor in the film, especially the scenes involving Merida's rambunctious younger brothers -- they were hilarious! And the scenes where Fergus and his fellow clan leaders jockey for power and position are action-packed but underscored with a strong vein of good humor, particularly when Elinor and Merida in turn manage to "calm the storm" with little more than a simple regal look.

As I've mused on the film for the past few days, it's power as a beautiful story of family has been reinforced in my mind. Merida and Elinor's relationship is perhaps one of the most genuine and honest, accessible explorations of the ups-and-downs of mother-daughter relationships I've ever seen on-screen. The tumult of their relationship is punctuated by moments of, for lack of a better term, violence on-screen when frustrations reach a boiling point. The emotional impact of those scenes is as powerful as honest as the gradual detente mother and daughter reach through near tragedy and danger, renewing an appreciation and resolve in each other to listen, learn, and share their hearts.

Supported by a beautiful score from Patrick Doyle (one of my favorite composers) -- seriously, it's gorgeous -- highlighted by tin whistles, fiddle, and harp -- Brave is another Pixar winner. At first blush, while I thoroughly enjoyed the fast-paced, humor and action-filled storyline, I felt the movie to be wanting ever-so-slightly -- and I think that is because the "princess-avoiding-arranged-marriage" plot felt very familiar in a Disney fairy tale-ish kind of way. But though it utilizes the familiar princess storytelling trope, Brave is a finely crafted tale of the complex, complicated bond that exists between mothers and daughters.

If you've seen the movie I'd love to hear your thoughts! I've attempted to leave this post somewhat spoiler-free, which is highly unusual for me, LOL!

The Song of Lunch on Masterpiece

This Sunday Masterpiece Contemporary premieres The Song of Lunch, starring Alan Rickman and Emma Thompson. I have it on good authority (hi Lori!) that this is a pretty good program -- any thoughts? Here's a bit about the story:

When a middling copy editor/failed poet meets his former lover for lunch 15 years after their affair, he finds that everything — and nothing — has changed. From the tablecloths to the wine to his former lover, wealth and success now gloss the surface where kitsch and passion once held sway. He is bitter, petulant and increasingly inebriated; she is glamorous, generous, and eventually provoked. A dramatization of Christopher Reid's acclaimed narrative poem, The Song of Lunch stars Alan Rickman (Harry Potter films) and Emma Thompson (Sense and Sensibility, film version) in the unnamed roles of He and She. Waiter, I'll take the nostalgia special with a side of recrimination and finish with regret, for a lunch that celebrates love and ambition with poignancy, humor, and affection.

Nanny McPhee Returns

Friday I went to see Nanny McPhee Returns with Kaye and Lori. And while I expected to enjoy the film, I was surprised by exactly how much I did so since going into it, I wasn’t entirely sold on the idea that the first Nanny film required or merited a sequel. Nanny McPhee came out five years ago (already?! – my, how time flies!), and was a wonderful, magical adventure from start to finish. I absolutely loved seeing Colin Firth as the loving but completely overwhelmed father of the wild, irrepressible Brown children. The film also featured several noticeable guest stars, including Angela Lansbury, Imelda Staunton, and Derek Jacobi, who gave the production some added gloss. With a sparkling predecessor like that, I really had my doubts that a sequel could bring anything new to the table. Happily, I was wrong on all counts – I never should’ve doubted the brilliant Emma Thompson’s work.

Nanny McPhee Returns jumps about 60 years or so into the future, taking the story to the 1940s. Anyone who has read this blog for any length of time knows that I love studying pretty much anything to do with the World War II time period, so this setting was most welcome. This time around we’re given a harried, stressed mother as the main character, one Isabel Green – here played by Maggie Gyllenhaal. I have to say I was quite impressed with her turn as a young British mother struggling to keep her children in line and keep a roof over their heads while her husband is away at war. She exhibited a very creditable British accent, and she really was completely believable as the young mother of three barely treading water during a most difficult time. Gyllenhaal just has a look that fits the clothes and mannerisms of the 1940s surprisingly well, and the glimpses she gave of the pain and concern she carried for her little family were quite moving.

Her wild trio of children is anchored by son Norman, played by Asa Butterfield. He looked so familiar, but I couldn’t place him while I was in the theater. Thankfully Kaye set the record straight – Butterfield is also known as the unbelievably creepy young Mordred in the television show Merlin! I’ve got to say it was really quite nice seeing him play a sympathetic kid for a change, LOL! Norman’s nemesis for the first part of the film is his cousin Cyril, played by Eros Vlahos. Cyril and his sister, Celia (Rosie Taylor-Ritson), were sent from London to live with their poorer cousins in order to escape the German bombs – and their culture shock is extreme, to say the least! Norman’s two siblings are Megsie (Lil Woods) and Vincent (played by an absolutely adorable Oscar Steer). When these five children are first thrown together, they are in desperate need of structure, guidance, and Nanny McPhee’s “five lessons” (though they would be loathe to admit it!). I really feel like this group of children got their act together a lot faster than the children in the first film. This felt appropriate to the time (even though they are just kids, they are very aware of the war and its affect on their lives), and true to the trying situation the children found themselves in through no fault of their own. This turnaround was anchored by Norman and Cyril coming to terms with each other and working to discover the whereabouts of Norman’s missing father. I really, really liked how those scenes played out – these kids matured fast and did it well.

As with the first film, this movie is full of humor and magic, with perhaps an even greater reliance on Nanny McPhee’s magical abilities than the first movie (though it’s been ages since I’ve watched that one, so I could be forgetting some scenes). These movies just feel like wonderful storybooks come to life with their vibrant, eye-popping colors, quirky sets and costumes, and gorgeous music. James Newton Howard provides an appropriate magical-sounding score, taking the reins from the great Patrick Doyle’s work on the first film. Howard’s work feels like a natural extension of Doyle’s, though not a carbon copy, full of his own flourishes and unique take on Nanny McPhee’s fantastic world. I also liked how the filmmakers used period songs two or three times throughout the movie – it was a nice touch that added to the 1940s atmosphere.

Nanny McPhee Returns is just as much of a who’s who of British acting talent as the first film. Rhys Ifans plays Isabel’s wastrel brother-in-law Phil. While Phil is definitely the villain of the piece his misadventures also provide some of the movie’s funniest scenes as he attempts to placate debt collectors, the delightfully named Misses Topsey and Turvey (sort of a whacked out Tweedledum and Tweedledee). Ralph Fiennes makes a brief appearance as Cyril and Celia’s father, the imposing Lord Gray of the War Office. (I could go off on a tangent here and discuss how far Ralph Fiennes has fallen role-wise in recent years – Voldemort notwithstanding, and honestly I do question if he was the best candidate for that role – but I will refrain.) I’ve saved the best two for last, though – Maggie Smith gives a sweet and hilarious turn as Mrs. Green’s employer, shop proprietress Mrs. Docherty. Mrs. Docherty has an unexpected connection to Nanny McPhee, and if you’re like me the reveal will bring a tear to your eye – very sweet and very well played. (The presence of Fiennes and Smith, along with Thompson, make this a mini Harry Potter reunion…and it makes me wonder why they could appear in this movie and the final Potter films, and Thompson bowed out. Granted, Nanny McPhee was her “baby” as far as projects go, and Smith and Fiennes’s scenes were limited…but still, I would’ve loved to see her return as Professor Trelawney. Oh well, c’est la vie!) And finally, Ewan McGregor makes a surprisingly and thoroughly welcome appearance as Mr. Green, the beloved husband and father away at war. I think he had something like two lines between his two scenes, but I just cannot begin to tell you how perfect those moments were – he was ideally cast as the family’s devoted husband and father.

If you enjoyed the first Nanny McPhee movie, I feel safe in whole-heartedly recommending this sequel as a thoroughly enjoyable way to spend an afternoon. In many ways, thanks to the setting and war-centered storyline, I think I may end up preferring this sequel to first in the long run. The acting chemistry between the kids also help sell the movie – this time around this group gelled really, really well and I loved watching them overcome their differences and come together as a family. I have to commend Emma Thompson for once again a job well done bringing Nanny McPhee to life – she’s so good as this character. There’s something so heartbreaking when you stop to think about McPhee’s role in the lives of her young charges – she can only stay when she’s needed, but not wanted - and when she’s finally wanted, that’s when she must go. It’s really a powerful reminder to treasure the relationships that matter in one’s life through thick and thin, especially parental relationships, I think. Between Thompson’s energetic script and elegant on-screen presence (warts and all!), Susanna White’s fast-paced direction (she’s behind Jane Eyre and several Bleak House episodes), sparkling sets and costumes, and wonderful acting, Nanny McPhee Returns is heart-warming, not-to-be-missed fun. With a sequel this good, I say bring on a third installment…

An Education

Fall is here, which means it's the best time of year for Oscar-bait films and - drumroll, please - foreign indie films! Woo-hoo! ;-) After Lori brought this movie to my attention several weeks ago, An Education FINALLY opened in my area today (have I mentioned lately how much I HATE limited release schedules?!). I wasn't sure what to expect from this film, exactly - after all, this May-December romance had the potential to end very badly for our heroine. But based on the cast, strong reviews, and the almost complete & utter lack of anything that I think is worthwhile actually paying to see in the theater, I knew this would be a must-see for me.

The verdict? I was incredibly impressed and thoroughly enjoyed this movie. Carey Mulligan, a Masterpiece veteran from productions ranging from Bleak House, Northanger Abbey, and My Boy Jack to one of the best Doctor Who episodes ever ("Blink"), wows with tour-de-force turn as Jenny. If she's not a serious contender for a Best Actress Oscar, I will be completely shocked & disappointed. I've enjoyed her past work, but this performance was a revelation - I didn't know she had it in her to so convincingly play an innocent yet incredibly saavy and worldly-wise teenager on the cusp of adulthood. Mulligan fits into the 1960s time period perfectly, and more than once channeled Audrey Hepburn quite convincingly with her delicate balance of innocence and maturity.

Alfred Molina and Cara Seymour (I totally didn't recognize Seymour from her turn as Gillian in You've Got Mail until I looked her up on the IMDB) are perfectly cast as Jenny's parents. Molina especially was fantastic in this movie - he was funny and sincere and touching, all rolled into one. Jenny's parents are an interesting couple to watch - kind of caught in the middle of the traditions of their parents and the feminist movement - they push Jenny to meet her potential, create a future for herself by going to college - but it's a future that will be easily set aside the second suitable husband material comes along. I wouldn't be at all displeased to see Molina get a Best Supporting Actor nomination for his performance in An Education - he had this tendancy to steal his scenes. :)

Peter Sarsgaard plays David, the December to Jenny's May, and oh is he a smooth operator. He positively oozes charm and it's easy to see why Jenny would fall for him. And when he plays her parents - those scenes were priceless! I thought the evolution of his performance was interesting to watch - he begins so smoothly, so confidently, and then that confidence begins to crack a bit as he realizes he doesn't want to let Jenny go. Only when a certain secret comes to light does the worldly facade crumble and you see David as he truly is - a shallow, selfish little boy who never quite grew up character-wise.

Also worth mentioning are the other two members of David's "fast" set - Helen, played by the always lovely Rosamund Pike (a.k.a. Jane Bennet in Pride and Prejudice 2005), and Danny played by the brooding, dangerous-looking Dominic Cooper (a.k.a. Willoughby in Sense and Sensibility 2008). Pike fits this era perfectly - the clothes, the mannerisms, are all pitch-perfect. I had no idea she could play vapid and empty-headed so well, or come across as so funny! Likewise Cooper fit the role of David's friend and co-conspirator well. This wasn't a role that really stretched his repetoire IMO, but I like him well enough and I have to say, he looked good in the suits. ;-) I should also probably call out Emma Thompson and Olivia Williams' appearances. If this movie is any indication Thompson is a lock to play Margaret Thatcher in any upcoming biopics. ;-) While I have to call Thompson out because she's one of my favorite actresses, Olivia Williams definitely plays the more interesting and critical role in my view. If you look at her IMDB page, she's had quite a varied career, but I have to say that her turn as Jenny's teacher is one of her most striking and memorable. She's definitely channeling "average" here - and it's interesting to see how driven she is, perhaps because she hopes to see some of her unfulfilled dreams live out in her most capable pupil? Thoughts to ponder...

I HAVE to mention the look of the film - the sets and costumes are simply gorgeous! Each frame of film is chock-full of glorious period detail and authenticity. The scenes in Paris, where Jenny sports the fantastic gown seen in the above poster, are like something straight out of Roman Holiday or Sabrina. Those associations only reinforce any Audrey Hepburn/Cary Mulligan comparisons too. And the music - the music was just fantastic. I love it in period dramas like this when the music, whether it's score or songs, is an ideal partner to the action on-screen. The songs - from classics by Mel Torme and Brenda Lee to new recordings by Beth Rowley and Melody Gardot - are sublime. The whole pop/jazz sound of the movie is tailor-made to appeal to my musical sensibilities (Thank you, smart filmmakers! LOL!).

Jenny's story is actually told quite powerfully, and the hope in this story is an element I wasn't quite expecting. Let's face it, Jenny's "education" by the much older David could have ended very badly for her. But she's a girl who doesn't have it in her to simply give up and accept a situation. She's blessed with really supportive, very understanding parents, but what I liked best was how she had to choose to pull herself up by the bootstraps, so to speak, and to use the time she spent with David & his friends to make her stronger. Things could have ended very unpleasantly, or bitterly, but Jenny is a character who makes the conscious choice to learn from all experiences and mistakes - and while that certainly doesn't negate the pain the life throws one's way, it just struck me as a great reminder of the power of choice.

Just a note on the rating - for a coming-of-age film made in today's Hollywood, I thought An Education showed some surprising restraint as far as the intimate side of Jenny and David's relationship goes (a fact I appreciated - you know what happens, but this isn't a gratuitous or exploitive film in that regard).

An Education is a smartly scripted, fast-paced, funny, heart-wrenching, thought-provoking little film - I'm so glad I FINALLY got the chance to check it out.