Miss Potter
There has been an influx of really good English movies lately,
and Chris Noonan’s wonderful movie ‘Miss Potter’
is another fine example of these current top-notch British
films. I am not a big fan of Beatrix Potter. I tend to think
that it is only young soon-to-be mothers who go gaga over
children’s books full of drawings of bunny rabbits,
ducks, mice and frogs. Initially, the idea of a movie concerning
the life of Beatrix Potter would send me running for cover,
from a deluge of oversweet sentimentality and tacky twee-ness.
But. But, but, but, but, but, I cannot stress enough how delightful
the movie ‘Miss Potter’ actually is. Beginning
in 1902, when Beatrix finally gathers the courage to approach
a publisher, the movie follows the success of her children’s
books. And, as success follows success, Beatrix also finally
finds the strength to confront her overbearing Edwardian parents,
and is able to forge an independent life for herself. The
choice of an American actress to play the role of Beatrix
Potter originally worried me, for this no doubt had to do
with issues concerning international distribution and ticket
sales, still, Renee Zellweger’s brash Americanism is
just the thing that her portrayal of the character of Beatrix
Potter needed. Renee Zellweger gives a performance which is
utterly charming and endearing. Ewan McGregor is also terrific
as Beatrix’s enthusiastic publisher, and he, too, is
attempting to free himself of the influences of his own overbearing
family. Together, Renee and Ewan make a very pleasing couple
as they find that they have much in common. Emily Watson,
who plays McGregor’s burgeoning suffragette sister,
gives just the right amount of naïve enthusiasm to her
role as Beatrix’s close friend and confidant. The sets,
costumes and scenery in the movie are all superb, but, it
is the occasional touches of animation that gives the film
its magic. Beatrix Potter fans are going to be thrilled to
see their favorite characters come to life, however, most
of the movie’s plotline will soar over the heads of
young children. The film is really for adults. As a story
about early 20th Century female emancipation, the movie is
totally absorbing and enchanting.
The Curse of the Golden Flower
It is the late 10th Century in China, and the Tang dynasty
is at its peak. For reasons which are at first unclear at
the beginning of Zhang Yimou’s extraordinary movie,
‘The Curse of the Golden Flower’, the Emperor
is in the processes of poisoning his wife. Though, she is
fully aware of what is happening. As the Empress relentlessly
does her embroidery of Golden Chrysanthemums, in the seclusion
of her apartments, she is ruthlessly plotting her own revenge,
which takes the form of an incestuous relationship with the
Emperor’s son from a previous alliance, and by scheming
to make her own son the heir apparent. Renowned Chinese director
Zhang Yimou’s previous films include ‘Hero’
and ‘The House of the Flying Daggers’, and both
movies received much critical acclaim. Both movies also featured
fantastic Kung-Fu fighting sequences. Zhang Yimou’s
new movie is a more subdued work, but when the Kung-Fu scenes
come those too are spectacular. ‘The Curse of the Golden
Flower’ is a movie that is driven by its storyline,
but the only way to describe the saga is as ‘high camp’.
It is the kind of plot which belongs in a Shakespearean tragedy,
or an over zealous Wagnerian opera. The plot only works because
of the great talents of the movie’s cast, which includes
Chow Yun Fat, Gong Li and Jay Chou. The actors perform with
such brilliance that they are able to turn this sordid tale,
about the machinations of a dysfunctional Imperial family,
into believable drama. As usual, Gong Li is absolutely sublime
as the ailing Empress. However, the real strength of this
movie is the sheer scale of the work. It is a movie that has
been conceived and executed in epic proportions. Zhang Yimou’s
sets, costumes, cinema-photography, and editing, plus the
amazing choreography of his battle scenes, all combine to
create a movie that is visually astounding. The movie doesn’t
really present any challenges to the viewer, it progresses
along a fairly predictable path, but there are some twists
and turns to retain interest. The real pleasure of the movie
is watching Zhang Yimou, who is a master film-maker, create
an enduring and compelling cinematic work of art.
Volver
It is sad to say, but popular ‘arty’ Spanish director
Pedro Almodovar’s new movie ‘Volver’ is
pretty boring. The film actually starts off reasonably well.
Penelope Cruz comes home one day to discover that her lazy
husband has been killed by her teenage daughter, and Penelope
must dispose of the body. Exhibiting strong influences from
Alfred Hitchcock films such as ‘Rope’ and ‘The
Trouble with Harry’, the scene is set for an amusing
Hitchcock-like comedy, and this is where you think the movie
is headed, but, suddenly, the film takes an abrupt turn, and
it becomes something exceptionally dull. Stubborn Almodovar
fans would probably disagree with me, claiming that the film
shows all of his well-known cinematic tricks, such as his
garish use of Pop Art color, his eccentric framing, the obligatory
musical number, plus his usual investigation into women undergoing
intense emotional distress. However, in this peculiar ghost
story, which the movie becomes, Almodovar is trying for something
allegorical, but, he isn’t able to pull it off. Penelope
Cruz won oodles of European acting awards for this movie,
and it is easy to see why. She is bubbly and vivacious and
totally yummy. Penelope is like a tasty piece of Spanish Tapas,
and you want to gobble her all up. Regrettably, though, most
of Almodovar’s movie could give you a case of the Bali
Belly.
Because I Said So
Diane Keaton carries on throughout Michael Lehmann’s
romantic-comedy, ‘Because I Said So’, as if she
was still Woody Allen’s favorite leading lady. She is
not, and she should get over it. Diane plays an overprotective
mother, concerned about the love-life of one of her daughters.
Mandy Moore plays the unfortunate daughter. Mandy doesn’t
seem to know how to tackle her role, so she settles on screeching
and giggling. Diane and Mandy continually bicker about Mandy’s
choice of boyfriends, until Diane eventually goes ‘online’
to find the unsuspecting Mandy a suitable husband. This movie
is not in the slightest bit funny. It is actually more annoying
than anything else.
