Skyfall

Oh my word. Oh. My. WORD. People, I'm not even sure I know where to start talking about why I think Skyfall is basically the best thing ever, Bond at his most brilliant. Fifty years ago James Bond first appeared on movie screens in Dr. No, all Technicolor gloss, 1960's sophistication, and Sean Connery, all hard edges and devil-may-care attitude. Some incarnations of Bond have arguably been more successful than others, but always there are certain elements in place -- beautiful women, exotic locales, thrilling fight scenes, and unimaginable peril. In 2006 the franchise took the opportunity of reinventing itself once again with the introduction of Daniel Craig, the sixth actor to play Bond (in the officially licensed Eon Productions film series) -- and with a new actor, all hard angles, rough edges, and piercing blue eyes, the chance to re-align the film series with the gritty tenor of its source material. And in a post-Cold War world, where danger lurks in the shadows of cross-border ideological factions and cyberspace, it was a move that was not only smart but necessary for the series to survive and thrive in the twenty-first century.

If Casino Royale (and Quantum of Solace -- that movie seems to get a lot of flack for failing to live up to Casino, but from my standpoint anything with Craig is ten times better than a Craig-less Bond alternative) reintroduced Bond, establishing him as the dedicated agent, but one who is damaged and fallible, Skyfall returns the character to his roots -- both in respect to Fleming's text and the early years of the film series. This is Bond deconstructed, cut down, beaten but not bowed -- and reborn. A Bond who acknowledges his history with a wink and a cheeky hint of a smile while walking into a second fifty years of filmic possibilities.

Because I can't help myself, and like have NO filter when it comes to gushing about things like Bond films, this post is going to be VERY spoiler-y. This is also quite possibly going to be the longest movie post of all time, with a ridiculous number of pictures. You've been warned. I can't help myself. *wink*

And here's another one:

Skyfall opens with Bond (Daniel Craig) and fellow MI6 agent Eve (Naomie Harris) in Istanbul on a mission to retrieve a stolen hard drive -- a drive that contains the identities of every NATO agent embedded in deep cover operations with terrorist organizations around the world. The mercenary in possession of the drive, Patrice (Ola Rapace), left a room full of dead or critically injured agents in his wake. But to Bond's chagrin, M (Judi Dench) has no time for sentiment when the bodies are discovered -- the aim of the mission, the retrieval of the list, must be achieved no matter the cost. The ensuing chase through the crowded streets surrounding the Grand Bazaar is absolutely thrilling, one of my favorite moments being Bond's pursuit of Patrice via motorcycle across the roof of the Bazaar. In a suit. All spying shenanigans should involve men in such suits.

Eve and Bond have a deliciously cheeky rapport -- she is the best kind of "Bond girl" -- intelligent, smart, sassy, and more than capable of holding her own in a firefight. When Patrice and Bond take their fight to the top of a train, she stays in close pursuit. Bond's use of the back hoe ON the freight car was positively inspired, and the moment he connects the two cars, walking down the arm and into the passenger car -- and STRAIGHTENS HIS SHIRT CUFFS!! -- is BRILLIANT. Even this Bond, no matter how damaged, how emotionally eviscerated we've seen him, this is a man who is still used to winning. Who thrives on his unflappable, collected, capable image. This veneer comes crashing down when Eve sees the train -- and the fight -- about to disappear from sight through a tunnel, and from the London offices M orders her to take a shot at Patrice. But Bond and Patrice are still viciously engaged, and the shot isn't a clean opportunity. Eve takes the shot and hits Bond -- and in seconds one of M's most valuable agents is plummeting to almost certain death, and the precious list is in the wind. And that is all before the opening credits and Adele's gorgeous theme song.

I just adore Adele's theme, and against a seductive underwater backdrop, where Bond's shed blood mimics branches of coral the filmmakers give us perhaps one of the most introspective opening sequences in the franchise's history. Yes, there's the requisite silhouettes of beautiful women, but sprinkled throughout are startling images of death -- graves, falling daggers mimicking headstones, Bond shooting blindly at shadows, bleeding out all the while. Of course Bond survives the fall, but the result is perhaps a bit unexpected when taken in relative to the franchise's history. This near-death experience has left Bond in the throes of a mid-life crisis -- the once impeccably dressed, unflappable agent has traded in his designer suits for wrinkled shirts and stubble, and heavy (well heavy for him) drinking while dancing, quite literally, with scorpions.

Back in London, M is being called to account for the lost list, the endangered agents, and the death of 007. The new Intelligence and Security Committee Chair, Gareth Malloy (a very dapper Ralph Fiennes) urges M to take the opportunity to "retire with dignity" -- but M, ever the spitfire, refuses to leave until the job is finished, the list made safe. When returning to the office with her Chief of Staff Bill Tanner (Rory Kinnear -- and since I've read two of Fleming's novels, can I just say that he is perfectly cast? Also of interest, you can purchase his reading of the unabridged Live and Let Die, which is SUPERB), they receive word that their computer network has been hacked. The signal is traced to M's own machine, and when the arrive at headquarters they are stopped by a police barricade and are shocked to witness M's office blown sky-high. It's a surgical strike -- a personal attack on M and her power and influence, one that leaves MI6 and its already hard-hit leader reeling.

When news breaks of the attack, Bond returns to London and unceremoniously shows himself into M's home. It is a stroke of genius, making the attack so personal. Of course there are wider ramifications (i.e., the endangered agents), but at fifty if a series is looking to prove its relevance, what better way to do so than to tear down the two most recognizable figures at its center -- M and her favorite "blunt instrument," the ever-faithful, always capable, James Bond. So Bond, broken and bruised, rehabilitates himself for field work. And this is where the script is just genius -- every ache is acknowledged. Craig pushes himself to the brink but keeps going, all with a wink and a groan and a long-suffering sigh. It's perhaps as "real" as this film is going to get -- but given Bond's historic oft-times seeming invincibility, it's a nice touch.

So that's the set-up -- and the balance of the film sees M and Bond proving their relevance and testing their mettle, seeking the mastermind behind the theft of the list and the bombing of MI6 headquarters. Taking a bit of a break from the play-by-play to look at what that does for the characters and storyline -- a veritable treasure trove for long-time Bond fans. MI6's temporary headquarters are in the old tunnels beneath London utilized by Churchill during the Blitz -- very literally taking the service back in time, back in history. Along with the "new digs" comes a new Q (Ben Whishaw), the Quartermaster in charge of equipping Bond for field work. Their first meeting was PRICELESS -- the wary Bond, representing the MI6 "old guard" and the floppy haired, thin as a rail Q who, much like his predecessor, refuses to be over-awed by Bond's brusque manner.

Q was played by Desmond Llewelyn for nineteen of Bond's twenty-three films, first appearing in From Russia with Love. When the film series is at its craziest, Q is responsible for equipping Bond with the most outlandish of gadgetry and weaponry. The rapport between Q and Bond, the former always exasperated by Bond's inability to return equipment unbroken is a long-standing story beat within the film series. Thanks to smart scripting, Whishaw and Craig have some fun with Q's history -- when he's given "only" a pistol (a Walther PPK/S -- I nearly squealed seeing Bond's sidearm of choice restored to him, with the added bonus of a grip coded to recognized only Bond's palm print) and a radio, Bond half-heartedly bemoans the lack of "bells and whistles." But by bringing the Walther PPK back into the spotlight as Bond's firearm, the film acknowledges it's history while maintaining a certain welcome level of street cred. *wink* And I nearly DIED when Q tells Bond to bring everything back in good working order -- of course that goes up in flames when a casino thug in Macau is dragged into an alligator's lair with Bond's pistol. When Bond hops on the alligator's back to escape their pit -- well I'll just say I wasn't expecting a nod to Roger Moore's escape from  Mr. Big's alligators in Live and Let Die.

When Bond's would-be assassin and thief behind the stolen agent list is identified, Bond follows Patrice to Shanghai with orders from M to discover the identity of his employer and then to eliminate him. Their fight, against the neon-lit backdrop of Shanghai's skyline, is just spectacular -- all struggling shadows, punctuated by gunfire and the glitter of broken glass. A gambling chip found among Patrice's belongings lead Bond to a casino in Macau, which of course got me to thinking about The Man with the Golden Gun. The casino is a classic Bond set piece, all rich reds and brilliant gold tones -- and it is there that Bond meets Sévérine (Bérénice Marlohe), the beautiful companion of Silva, the man behind the plot to discredit M and reveal the identities of the undercover agents. Sévérine fits perfectly within the canon of classic "Bond girls" -- as I'm learning from reading the novels, Fleming had a penchant for penning women as damaged -- or worse -- than his master spy. A study in that subject alone could prove very illuminating, to say the least.

With Bond's promise of help, Sévérine arranges to take him to Silva's location, a nearby island that Silva appropriated for his own purposes through fear-mongering and carefully-placed intel. Raoul Silva (Javier Bardem) is in many respects the other side of the coin when it comes to Bond -- the once-favored, capable agent, gone completely off the rails and turned cyber-terrorist. Silva, it turns out, blames M for his capture and torture at the hands of the Chinese years earlier. He's a curious, creepy mix of careful, precise manners masking a completely unhinged interior. Bardem makes Silva a megalomaniacal villain of the first order, in the best tradition of Bond villains -- only better (and by that I mean more disturbing) in that his focus is SO personal vis-a-vis M and Bond and the Service in general. He really reminded me of Christopher Lee's Scaramanga in Golden Gun -- not only the Macau setting, but the precision with which he approaches his work -- even their "duel" over a glass of 1962 Scotch (the year of Dr. No's release) placed atop the bound Sévérine's head for target practice (ending in her death, of course, because it is inevitable that at least one Bond girl dies per film). (Arguably among the most effeminate of Bond villains, some reviewers have pointed out similarities between Silva and other Bond bads such as Louis Jourdan in Octopussy or Wint and Kidd in Diamonds Are Forever, comparisons that likewise have much merit.)

With Silva's capture, all seems well -- and M heads to a public hearing on her leadership in office with the supposed win in her back pocket. But people, that would be all too easy -- for it was Silva's plan all along to be captured and brought within the confines of M's protected domain. With Q's backup (which was a brilliant balance of humor and tension), scenes of Bond chasing Silva through the London Underground and intercut with scenes of M in many respects on trial for her life, her very legacy at stake (interrogated by an Member of Parliament played by Helen McCrory, a.k.a. Mrs. Damian Lewis, the lucky woman). This is how much I get into this film series -- when she quoted the following lines from Tennyson's "Ulysses," I nearly cried:

Though much is taken, much abides; and though
We are not now that strength which in old days
Moved earth and heaven; that which we are, we are;
One equal temper of heroic hearts,
Made weak by time and fate, but strong in will
To strive, to seek, to find, and not to yield.

I loved seeing Mallory win Bond's respect during the ensuing firefight when he proves his mettle as a former field agent and takes a bullet in his should saving M's life. That wink of Craig's, oh that killed me. :) They win a temporary reprieve, and Bond takes M on the run, leaving Q and Tanner to spread a virtual trail of breadcrumbs for Silva to follow, culminating in a do-or-die face-off. (Mallory also wins their respect when he gives his stamp of approval to their unsanctioned, unorthodox scheme.) In a surprising and poignant move, Bond takes M to Scotland and Skyfall, which turns out to be the name of his old family home -- in the original Aston Martin DB5, first seen in Goldfinger. I knew that car was coming and STILL when it was revealed I could barely contain myself. 

I cannot begin to articulate how much I LOVED THIS TWIST. The novels hint at James's backstory and life as an orphan following his parents' deaths, but never, ever have we seen the childhood home, met the crotchety caretaker who new James as a child (Kincade, played with aplomb by Albert Finney). This was a storytelling stroke of genius. Not only has this film made multiple nods to Bond's antecedents, forced himself to re-evaluate his life and worth as an agent, but it takes us quite literally to where it all began -- the desolate moors and a home worthy of playing a setting in a Bronte novel. 

The final fight is a spectacular affair, seeing Bond, M, and Kincade face-off against Silva and his thugs, resulting in Bond's childhood home getting torn to PIECES. That hurt. But seeing no other recourse, when Bond chooses to set the fuse that literally blows his past sky-high -- that was a fantastic, layered moment. For while this entire film is in many respects a homage to Bond's past, by his willingness to burn his final tie to his childhood bond becomes a literal phoenix, rising reborn from the ashes, refined by fire. I loved the dichotomy between Silva and Bond's relationships with M here. The wounded M barely has the strength to withstand Silva, who reveals in full his complex emotions toward M, his "mother" -- issues that eerily reminded me of Norman Bates in Psycho. But it is Bond who proves true -- and on the land containing his parents' graves Bond saves M, only to have her die in his arms -- losing another parental figure (though neither would admit to it, I'm sure) on land positively saturated with painful memories. That scene just about killed me -- though Bond was soaked from his previous battle in the lake with one of Silva's henchmen, I have to choose to think those drops hitting M's face were a few hard-won tears. At his childhood home, Bond proves to be M's greatest legacy, the one thing she got right. (The water imagery from the aforementioned lake fight -- the idea of rebirth and renewal through this fight is really powerfully done, especially in light of the scenes immediately following with M.)

The final ten minutes or so of this film is a brilliant, BRILLIANT set-up for the movies to come. Having come through the fire and been reborn multiple times (three in this film alone by my count) Bond and MI6 are renewed and ready for duty. These last ten minutes -- oh it was like CHRISTMAS to my James Bond-loving heart. From the moment atop HQ where Eve gives Bond his bequest from M (a Royal Doulton Bulldog figurine painted with the Union Jack -- a possible nod to Bulldog Drummond as a proto-Bond figure), with the sun shining and the flag in the background -- which would be lovely enough, but IT GETS BETTER. Then Bond follows her below into her new office, where she's agreed to serve as Mallory's executive assistant -- and the moment I saw the coat rack I nearly fell out of my chair, and could barely contain myself from screaming oh no they didn't!! For Eve's last name, you see, is Moneypenny. Best character reveal EVER -- their rapport, their banter is going to be priceless in the coming sequels. And then to have Tanner open that familiar leather-covered door with a "he's ready to see you, sir" and Bond to enter to find Mallory behind the desk and say "reporting for duty, M" -- I am smiling SO HARD typing this as I relive that moment it is ridiculous. But I can't help it. In an uncanny fashion Bond has come full circle, always the same yet entirely made new.

Director Sam Mendes and team have delivered a Bond adventure that skates the delicate balance between embracing tradition and prepping for the next phase in the storied spy's career. After seeing this film, I'm thrilled to learn that screenwriter John Logan has already been contracted to pen the scripts for the next two films that will see Craig through his current Bond commitment. This is a smartly scripted action flick filled with humor, and daredevil thrills -- the bar is set extraordinarily high, for this Bond flick is very nearly perfect. I'm a shameless score junkie, and I was pleasantly surprised by the caliber of Thomas Newman's score for this film. A Bond flick seems a bit out of his norm, but he adroitly incorporates the notes of the original John Barry theme and its David Arnold adaptation while wrapping it in a lush, orchestral score with exotic flourishes reflecting the film's globe-trotting canvas. (I LOVED the moment when Silva destroy's Bond's car, and the look on Bond's face coupled with the notes of his theme was absolutely DIVINE!)

Skyfall is slick, spy-caper storytelling at its finest -- this, can this ever get old? I think not. *wink* If I missed any nods to the Bond canon, please chime in with a comment -- obviously, I can talk about this subject endlessly. :) 

upcoming films...

So I took the afternoon off and went to the movies this afternoon (more on that a bit later), and was pleasantly surprised by three trailers that look very promising --

Salmon Fishing in the Yemen



Ewan McGregor! Emily Blunt! SALMON! Color me intrigued. According to the IMDB, the film is slated to open in the US March 9th -- though I suspect that is a limited release date.

The Best Exotic Marigold Hotel



Isn't this cast amazing? Judi Dench, Maggie Smith, Bill Nighy, Tom Wilkinson, Penelope Wilton!? Did I mention BILL NIGHY?! According to the IMDB, this is slated to open May 4th.

W.E.



This film has been on my radar for a while now thanks to my interest in the history. But this film - James D'Arcy is playing Edward, LAURENCE FOX is playing his brother Bertie, and the rest of the cast of the historical portion of the film is equally pedigreed. I could care less about the Madonna connection...but with D'Arcy and Fox in this film I'm so there. :) According to the IMDB this one opens February 3rd, probably in limited release first.

Jane Eyre

I feel as though I've been looking forward to the release of the new Jane Eyre film for ages, and the much longed-for and highly-anticipated release finally, finally arrived yesterday. People, this Jane Eyre was worth the wait, and when it finally expands into wide release, for goodness' sake go! Sure to appeal to die-hard Jane Eyre fans, this film is also a wildly accessible introduction to anyone not familiar with the beloved story.

I'm a huge fan of the 2006 Masterpiece Classic miniseries version of Jane Eyre, starring Toby Stephens as Rochester and Ruth Wilson as Jane. With a script by the brilliant Sandy Welch, that version of Jane Eyre has the luxury of a four-hour runtime wherein the intricacies and detail of Charlotte Bronte's classic novel can be explored on-screen. With a roughly two-hour timeframe with which to work for this new theatrical release, some detail is necessarily sacrificed. But similarly to Focus Features' success in bringing another classic near and dear to my heart to the big screen - Pride and Prejudice in 2005 as compared to the (in my mind, anyway) definitive miniseries from 1995 - this film retains the heart and soul of the novel, the critical story beats necessary to successfully bring Jane's story to life.

For any story detail that might be sacrificed for the sake of a manageable theatrical runtime, director Cary Fukunaga more than makes up for that by retaining the mood and atmosphere of the novel. There's a heavy reliance on the gothic elements Jane Eyre's story. This is aided by the structure of the film. Where most Jane Eyre adaptations are told in a linear fashion, following the structure of the novel from Jane's childhood to her time at Thornfield, this film is largely told in flashback. The movie opens with Jane fleeing Thornfield and Rochester following the revelation of Bertha's existence, and getting lost on the moors until alone and sick she stumbles on the home of the Rivers family. From there, as she recovers, we see her childhood with the Reeds, time at Lowood School, and arrival at Thornfield told in flashback as she recovers. It's an unusual structure, but given the limitations of the film's runtime I think it's an effective way to include as much of Jane's past as possible.

The success of any Jane Eyre adaptation rests, for me, on the casting of Jane and Rochester. More than anything else, more than any other character, more than the setting, I have to click with Jane and Rochester. I have to become as emotionally invested with their love story on-screen as I do when reading the novel. Happily, I absolutely love Mia Wasikowska as Jane and Michael Fassbender as Rochester. Wasikowska first came to my attention when I saw her play Alice in Tim Burton's gorgeous re-imagining of Alice in Wonderland (my review). At 22, she is perhaps the closest in age to Jane in the novel than any other actress who's brought the character to life on-screen. She handles the role masterfully, balancing Jane's youthfulness and maturity with seasoned aplomb. Her best scenes are perhaps the proposal - her transition from disbelief, anger, and frustration with Rochester gradually gives way with glorious abandon when she accepts that he loves her - and the moment when Rochester on his knees is begging her to stay, and she refuses. The strength and emotion with which Wasikowska infuses that scene is breathtakingly powerful. She's definitely an actress to watch.

I loved Michael Fassbender as Rochester. He doesn't quite knock Toby Stephens' portrayal of Bronte's enigmatic leading man from the top spot in my Rochester ranking, but that's in large part due to the fact that he has less screen time to work with. What I wouldn't give to see Fassbender and Wasikowska in a sprawling, four hour version of Jane Eyre. *sigh* The possibilities, oh the possibilities. :) For a piece that relies on atmosphere as much as this film does, Fassbender embraces his turn as a tortured, Byronic hero with relish. His Rochester has an edgy, dangerous, unpredictable edge, and in his all-too-brief scenes with Jane (I just wanted more...those scenes could've gone on forever), Fassbender has an intense, eager quality, latching onto Jane's every word. She's a puzzle he's desperate to solve, and the energy Fassbender brings to those scenes imbue Rochester's interactions with Jane with a subtlety and a romanticism that I quite simply adored. And of course it didn't hurt that the man has a fabulous voice. The script does him a HUGE favor by retaining much of the novel's most well-known and beloved dialogue, and hearing Fassbender bring that to life worked for me on every level imaginable. :) And Fassbender can say more with his eyes than most actors could do with pages and pages of dialogue - well played sir, very well played.

It was such a treat to see Judi Dench as Thornfield's housekeeper, Mrs. Fairfax. Dench brought a wonderful warmth to her scenes opposite Wasikowska. Her Mrs. Fairfax is loving, loyal, and capable - and quite long-suffering when it comes to putting up with Rochester's capricious moods. My favorite scene is probably when she meets Jane in the burned-out shell of Thornfield at the end of the film. She's so clearly grateful to see Jane alive and well, and her apology of sorts - assuring Jane that she didn't know Rochester was married, that she would've helped Jane leave Thornfield - was extremely well-played. Though brief, Dench plays Mrs. Fairfax's relationship with Jane with more of a mothering quality than I can recall seeing in prior film versions that I really liked. Who wouldn't want Dame Judi in your corner? :)

Sally Hawkins was a surprisingly terrifying Mrs. Reed. It's hard to believe that just a few years ago she was playing a romantic lead in the Masterpiece Classic version of Persuasion (my review). I don't know if it was the costumes and hairstyle, or if Hawkins has lost some weight, or a combination of factors, but her face had this awful cadaver-like look that nicely played into disliking the character of Mrs. Reed (as if a viewer needs any help doing that). Speaking of Jane's youth, I will go ahead and mention that Amelia Clarkson's turn as the young Jane was really well done. Not only was she a passing good match for a young Wasikowska, but she was quite impressive as Jane the child. Her strength was wholly believable, and in Jane's scenes at the Reed home and then Lowood, Clarkson had an arresting screen presence. She could definitely be an actress to watch as she grows up and matures.

The Rivers family was made up of a trio of familiar faces. Sister Diana was played by Holliday Granger, who has appeared in everything from Merlin to Any Human Heart. But most memorably for me, she was largely responsible for one of the best Guy-centric episodes in Robin Hood - the season three ep "A Dangerous Deal" (my review). Sister Mary was played by Tamzin Merchant, whose first film role, interestingly enough, was as Georgiana Darcy in the 2005 film version of Pride and Prejudice. The largely thankless role of their clergyman brother St. John Rivers falls to Jamie Bell. Poor Jame. *sigh* I'm a huge fan of his work - he's made memorable appearances in everything from Nicholas Nickleby as Smike, to brother Asael Bielski in Defiance, to Esca in The Eagle. But even he in all his fabulousness can't make St. John any less...well, odd comes to mind. It was interesting to observe the audience's reaction to St. John's high-handed speeches to Jane and expectations of her future in his missionary work. Goodness, even when you know what's coming the urge to smack St. John upside the head is nearly overpowering.

There's one or two more casting point I simply must mention - Bertha's brother, Richard Mason, is played by none other than Robin Hood's own Harry Lloyd, the one-time Will Scarlett. Goodness did he ever look awful and half mad himself like his poor on-screen sister. I also thought that Imogen Poots did a fine job with the role of Blanche Ingram. I cannot TELL you how refreshing it was to see a Blanche who is a brunette - it seems that she's always portrayed as a blonde in film versions of Jane Eyre. Poots may look familiar to fans of the film Me and Orson Welles, where she played Lorelei Lathrop, or Miss Austen Regrets, where she took on the role of Fanny Knight.

The entire film crew, from the art department to the cinematographer to the wardrobe department deserve major kudos for bringing director Fukunaga's moody, absorbing vision of Jane Eyre's world to life. I especially loved all of the Thornfield Hall scenes - this may be my favorite Thornfield ever captured on film. With its rich, dark wood panelling and twisting hallways, this film gives us a worthy gothic setting for Bertha's cries in the night and Rochester's dark moods. And the use of darkness and shadow and light - oh my, every frame of this film is carefully constructed to set the mood and help tell the story.

Dario Marianelli contributed the score, and people it is BRILLIANT. Marianelli also wrote the scores for Atonement and Pride and Prejudice, and given that track record and the work he produced for Jane Eyre, I wouldn't be surprised at all if he wins a third Oscar for his work on this film. He'd better at least be nominated! Instead of featuring piano solos (as he did in Pride and Prejudice), for Jane Eyre Marianelli showcases the violin, which for the record may be my favorite instrument. I don't think anything else could be more suited to bring musical life to Jane and Rochester's world, with its ability to be gorgeous, poignant, and moody, tugging on the heartstrings with every note. This soundtrack features performances by violinist Jack Liebeck, who could easily give Joshua Bell a run for his money after hearing his work on this film. You can purchase the soundtrack on CD or MP3 download through Amazon - if you're a fan of gorgeous film scores as I am, it's a must-have!

I have to talk about the ending of this film, which was definitely unexpected. After obtaining Rochester's location from Mrs. Fairfax, Jane arrives to find him sitting alone and looking suitably moody, with only his dog Pilot for company. I loved the fact that Fassbender's hair was long and wild, and that he sported a beard for the scene - it was an extra touch that made him look rougher and more unkempt than many other Rochesters have played the reunion scene. When Jane tells him she's returned, and they embrace, the moment is gorgeous, shot through with the tension of romantic hopes at long last realized. When Rochester wonders if he's still dreaming, there's this heartbeat of a moment where I swear I didn't breathe, then Jane bids him wake - and the film ends. Unexpectedly abrupt, and the more I've thought about it, the more I have to give the director credit for making such a bold choice to end the film in such a way. That whole last scene was beautifully executed, from Wasikowska and Fassbender's tender performances to the breath-taking use of lighting. It's as if we're finally witnessing Jane and Rochester awake from the tortured dream of life that's conspired to keep them apart - and past that moment everything is left to the imagination of the viewer.

I'm currently re-reading the novel for the first time in several years. Sadly I was unable to get that accomplished prior to seeing this film, but since I plan to see the movie again in theaters if at all possible, hopefully I will have finished the book by then so I can have the entire novel fresh in my mind for further comparisons. Shocking, I know, that I'd be willing to see this film more than once... *wink*

I desperately hope that this ridiculously long, picture-heavy post will inspire you to rush out and see Jane Eyre the second it opens in your area - it is SO worth the ticket price. And thanks to everyone who commented on my last post, kicking off the All Things Jane celebration - I hope I'll be able to spotlight some books and films old-time and new fans of Jane Eyre will enjoy. :)

Jane Eyre 2011 trailer!

Thanks to Renee for posting the trailer - looks like it just debuted this week! In addition to providing us with a terrific look at Michael Fassbender as Rochester and Mia Wasikowska as Jane, we also get glimpses of Judi Dench as Mrs. Fairfax, Jamie Bell as St. John, Imogen Poots as Blanche Ingram, and Sally Hawkins as Mrs. Reed. Enjoy!

March 2011 can't come soon enough. :)

Return to Cranford, part 2

Spoilers...

I was so, so impressed with the conclusion of Return to Cranford. My only complaint about this second series is that is wasn’t longer. Here’s the brief episode summary of part two from the Masterpiece website:

William Buxton's big news is not warmly received by his father. William, in turn, decides to strike out on his own in an apprenticeship with Captain Brown on the railway. But the work is difficult, and his separation from Peggy problematic.

The social scene of Cranford becomes the center of focus when Mrs. Jamieson's sister-in-law Lady Glenmire arrives. The women of Cranford eagerly anticipate some interactions, but are seemingly spurned by their friend Mrs. Jamieson. Lady Glenmire, with the encouragement of Captain Brown, takes matters into her own hands, and plans a party.

In the meantime, Miss Galindo is concerned about Harry Gregson, who has disappeared from school. Worse still, it becomes clear he has a very good reason for running away.

The friendships in Cranford are strained when a surprise wedding shocks everyone. But no one can know the tragedy and challenge that await and will threaten the ties of the close-knit Cranford community, putting the women to their ultimate test.

As I mentioned in my review of part one, my favorite storyline in Return to Cranford is the romance that develops between William (Tom Hiddleston) and Peggy (Jodie Wittaker). I didn’t see how it would be possible, but this storyline gets oh so much better in part two when the stakes are raised. When William makes his intentions known regarding Peggy, his father (Jonathan Pryce) erupts in anger, since marriage to a woman of Peggy’s standing does not fit with his plans for William’s political future. Thankfully, William tells his father just what he can do with his plans (in a very respectful, 19th-century manner, of course – LOL), and goes to work for the first time in his life as an engineering apprentice to Captain Brown (Jim Carter), who’s overseeing construction of the new railway. William and Peggy become Cranford’s star-crossed lovers, the town’s own version of Romeo and Juliet, only much less annoying than those two and thankfully, with happy ending after much heartache. There is something so incredibly romantic watching William and Peggy’s relationship grow through secretly exchanged letters, and watching William struggle to establish himself as an engineer and prove that he can support himself, and a wife, without his father’s patronage. Tom Hiddleston is just swoon-worthy here – I loved every moment.

Since I mentioned Captain Brown, I’m going to backtrack here and discuss his surprising courtship and marriage, which resulted in some wonderfully funny and poignant scenes. Brown has mellowed out considerably since he first came to Cranford, learning to see the merits of Cranford’s slower pace of life, thanks to residents like Miss Matty. When the pretentious Mrs. Jamieson’s (Barbara Flynn) widowed sister-in-law, Lady Glenmire, comes to visit, the rumor mill starts wagging since she’s titled. Mrs. Jamieson offends everyone when she makes it known that the women of Cranford need not bother her illustrious relative (played by Celia Imrie). Brown intervenes when the newcomer is snubbed, resulting in an especially hilarious scene when Lady Glenmire takes Mrs. Jamieson’s dog for a walk near the railroad construction, and the dog apparently nearly dies or something and has to be “revived.” It was so funny to watch them “consult” over the proper course of treatment. When their friendship results in a whirlwind surprise marriage, it’s fascinating to watch the social ramifications of so “rash” an action play out in the small town atmosphere. Those obsessed with social status are horrified by the impropriety of such a match involving two people from very different social backgrounds, while others (like Miss Matty) love seeing a romance between two people “their own age” play out right before their eyes. The latter group breaks your heart just a bit, because you know these characters can’t help but relive their pasts and wonder what might have been.

Harry (Alex Etel) had returned to school at the end of part one. Several months later, his advocate in Cranford, Miss Galindo (Emma Fielding), is horrified to discover that he’s run away from school due to abuse suffered at the hands of his classmates. Though we only hear about these events after the fact, this is one more way in which this miniseries brings to light class distinctions during this time period and how incredibly hard it was to change one’s circumstances. When Harry runs away again, he sets in motion a chain of events that will bring great tragedy to Cranford – a fiery train wreck. This wreck is cause by, of all things, Mrs. Forrester’s pajama-wearing cow wandering onto the tracks. Honestly, and I promise I’m not overstating things here, the cow’s death is probably one of the most shocking things I’ve ever seen in a BBC period drama. I was quite traumatized. :P Anyway, after this near death experience, Harry receives the happy ending he’s longed for – a home with Miss Galindo and the chance to attend school closer to Cranford. These two are bonded together by a shared love and admiration for Mr. Carter, Harry’s benefactor, and it brought a tear to my eye to see the two of them form their own little family.

The train wreck also proves to be the making of William and Peggy’s happiness, after a very close call of course. Throughout this series, Peggy’s been on a character-building fast-track, learning to stand up to her domineering mother and brother, and proving her mettle to William’s father. She also receives some romantic encouragement from Miss Matty (Judi Dench), who tragically had her own romantic hopes thwarted twice. When Matty informs William that Peggy is taking her embezzling, worthless brother out of the country, he races to intercept the train. And yes, maybe the whole racing-to-stop-the-train thing is clichéd, but I loved every moment of it. William really seizes the moment here and becomes even more of a romantic hero by rescuing Peggy from the overturned railcar – and then he nearly gets himself blown up. I could barely stand the drama, people!! The two are only reunited after William spends several weeks convalescing, and Peggy remains a faithful visitor even while being denied entrance to the house. The moment when they’re finally united, after months of hardship and separation, is oh so sweet.

Tom Hiddleston as William Buxton

Jodie Wittaker as Peggy Bell

Since the heart of Cranford is Miss Matty and her dearest friends, it’s only fitting that this series ends with Miss Matty using her savings to renovate the neglected assembly rooms and bring in an exotic magician for a Christmas performance. Along with Mrs. Jamieson, Mrs. Forrester, Miss Pole (Imelda Staunton), and Miss Tomkinson (Deborah Findlay), Miss Matty restores Cranford’s assembly rooms to their former glory, and the entire town is brought together to celebrate the power of community following the devastating shock of the train wreck. It’s touching and humbling, in a sense, to watch these women relive past glories through this process – but they don’t dwell on the past. No matter what happens, this core group of friends has always learned to look forward. I have to mention Tim Curry as Signor Brunoni, the visiting magician. He’s perfectly cast in the role, and the fact that Miss Pole is quite taken with him just adds to the fun. While much has changed in Cranford over the course of this series, the importance of family and friends has, if anything, only been amplified. Again, this show nearly made me cry when Miss Matty receives the best present she ever could’ve wished for – Martha’s daughter Tilly, and her now-widowed husband Jem have returned to Cranford for good. Though change can be indescribably difficult, it’s heartening to witness how the residents of Cranford have weathered the storms that come their way. I only hope that maybe, just maybe, we’ll get to visit this town again in the future.

Return to Cranford, part 1

Spoilers...

My intention to blog about the return of Masterpiece Classic in a timely fashion went up in smoke (obviously). Blame the long-awaited (and awesome) return of Chuck and 24 on the last two Sundays. But I do intend to catch up. :) Here's the brief synopsis of episode one of Return to Cranford from the Masterpiece website:

New life is charmingly apparent in Cranford as Matty Jenkyns enjoys sharing her home with Tilly, the daughter of her maid Martha and carpenter Jem Hearne. Familiar faces including Miss Pole, Mrs. Forrester and Mrs. Jamieson surround Miss Matty in a loving community.

Some new faces have arrived as well — Mrs. Bell, her daughter Peggy and son Edward. Mr. Buxton and his son William have returned to town after years away. Young William eagerly aspires to be an engineer, while his father is grieving the loss of his wife.

The railway has crept closer to Cranford, but has been halted several miles outside the village. For it to move any further, Lady Ludlow would have to sell part of her land. Captain Brown is determined to make progress for the railway, but meets resistance from the village residents.

An unexpected and alarming shift signals yet more change in store for Cranford. Can Matty and the women of Cranford muster support for what inevitably awaits?

The original Cranford was a stand-out miniseries for the way in which it documented and relished the triumphs and tragedies of everyday life. Unlike many shows that keep characters around forever, for fear of losing an audience, no one is "safe" in Cranford, because changed, partings, and death are as much a constant of life as births, marriages, and the promise of new beginnings.

The heart of Cranford is Miss Matty Jenkyns, wonderfully played by Judi Dench, and her close circle of friends - Mrs. Jamieson (Barbara Flynn), Mrs. Forrester (Julia McKenzie), Miss Pole (Imelda Staunton), and Miss Tomkinson (Deborah Findlay). These women hold the traditions of village life near and dear to their hearts, but when Cranford is "threatened" by change - in the form of the highly contentious railway plans seen in the first series - they must decide if the bonds of friendship and the values forged in Cranford can survive the progress of industry that's changing the country.

This installment of Cranford contains a good balance of beloved, familiar characters (see above) and several new faces for the women of Cranford to interact with in their own special ways. I absolutely loved seeing Miss Matty play grandmother to her beloved maid Martha's (Claudie Blakley) first child. After all the heartbreak Miss Matty endured in the first series of Cranford, it's wonderful to see her so happy - for a while, anyway. Because it seems that in Cranford, happiness is all to often tempered with a healthy dose of heartbreak. The scene when Martha passes away giving birth to her stillborn second child absolutely broke my heart. And witnessing the women of the village come together to prepare her body for burial brought tears to my eyes. I was reminded of my grandmothers, and others, who over the course of their lives have lost so many who were near and dear to them - and I wonder and marvel at the strength they found to keep going. That's just one of the reasons I think Cranford is such a powerful little show, because it taps into the tried-and-true emotions and experiences of life that are timeless. Everything changes, yet some things stay the same, you know?

Another familiar face to Cranford fans is Lady Ludlow, played with an icy strength and dignity by the marvelous Francesca Annis. Can I just tell you, I had no idea Annis could play someone at death's door quite so well. The great tragedy of Lady Ludlow's character was always her refusal to see that her son, Septimus (Rory Kinnear) was such a freaking loser. All things considered, it's probably best she passed away before he returned to wreck her estate. Septimus's selfishness has grave ramifications for another favorite character - young Harry Gregson (Alex Etel), who benefited from the mentorship and generosity of Lady Ludlow's now-deceased estate manager. Harry's innocence and sense of responsibility towards Cranford and his inheritance makes him an easy mark for Septimus's machinations, and he stands to lose most of his promised inheritance unless his only advocate, Miss Galindo (Emma Fielding) can help. Whether or not they will be successful remains to be seen.

The romantic in me loved the Cinderella-esque romance that blooms between newcomers William Buxton, an aspiring engineer played by Tom Hiddleston, and Peggy Bell, played by Jodie Wittaker, who is constantly dumped on by her needy, controlling mother and pretentious brother. Hiddleston is a Masterpiece veteran, having played in Miss Austen Regrets and the Wallander mystery series, as the character Martinsson. I can't decide if I like him because he's a good actor, or because he's a dead ringer for an old favorite of mine - Sam West. *wink* I'm loving watching their romance play out.

I was quite pleased to see the return of Miss Matty's dear friend Mary Smith (Lisa Dillon). Mary's now engaged to some guy who owns a button factory, apparently. What I love about her character is that she's a sort of bridge between the past, and the traditions Miss Matty and her generation hold dear, and the future. It's Mary's support that helps Miss Matty muster the courage to reconsider her point of view on the advisability of the railroad entering the idyllic Cranford. I also loved little touches like seeing the return of Mrs. Forrester's pajama-wearing cow (Julia McKenzie's humor in this role is wonderful to see all the way around). Imelda Staunton is also absolutely hilarious as the gossipy, somewhat pretentious Miss Pole, especially once she acquires a rather exotic pet. :) There are also a few other familiar faces that I won't go into detail about here. This show is quite literally bursting at the seams with wonderful characters and interwoven storylines.

My review of part two will be coming shortly. So, if you watched Return to Cranford, did you enjoy it? Do you prefer the previous miniseries to this one? Chime in with your thoughts in the comments! :)

Masterpiece Classic returns!

After what seems like an interminable wait, the new season of Masterpiece Classic begins this Sunday with part one of Return to Cranford, the sequel series to the fabulous Cranford miniseries, based on the works of Elizabeth Gaskell. Here's just a bit about what's in store:

This Sunday, January 10, revisit Cranford — the sleepy English village that captured the hearts of MASTERPIECE viewers in 2008. In Return to Cranford, the distinguished cast is back, including Judi Dench, Imelda Staunton, Julia McKenzie and Francesca Annis, as Cranford continues to come to terms with wrenching social change against the backdrop of a close-knit community. Return to Cranford is based on the works of Victorian-era writer Elizabeth Gaskell.

Isn't this cast fantastic? Judi Dench, Imelda Staunton, Julia McKenzie, and Francesca Annis are just a few of the familiar faces due to appear in this production. I don't know about you all, but I for one am very excited about Masterpiece Classics posts returning to the blog. :)