Showing posts with label Helen Mirren. Show all posts
Showing posts with label Helen Mirren. Show all posts

Thursday, August 22, 2013

hitchcock's true romance

Last week was Alfred Hitchcock's birthday. One of my all-time favorite filmmakers, Hitchcock was funny, talented, and more than a little bit quirky. This past year two films attempted to tell behind-the-scenes stories of the man and his films. A made-for-cable movie, The Girl, premiered on HBO and focused on Hitch's obsession with actress Tippi Hedren during the filming of The Birds. Not to diminish what Hitch may have put Ms. Hedren through, but it was not a great film, focusing on hearsay of the most prurient kind. Also released this year was Hitchcock, based on Stephen Rebello's book, Alfred Hitchcock and the Making of Psycho. The film does include some fun peeks into the making of the famous horror film, but the true center of the story is the relationship between Hitch (Anthony Hopkins) and his wife, screenwriter and editor Alma Reville (Helen Mirren).

Alma Reville
Helen Mirren as Alma
Hitchcock is a far better film than The Girl (which isn't really saying much). But true Hitchophiles may wish for a bit more "making of" footage than the filmmaker's inserted dream sequences, where the great director talks to Wisconsin serial killer Ed Gein, the inspiration for the book by Robert Bloch and the film. Film buffs will enjoy being reminded how completely unusual Psycho was for its time. Because of its graphic subject matter, Hitch's studio, Paramount, wouldn't finance the film, so the director (and his wife) had to put up the money. Hitchcock used his television crew from Alfred Hitchcock Presents to film Psycho. When the studio would only releas the film to a very limited amount of theaters, Hitchcock countered with some brilliant publicity gimmicks — buying up all copies of the Bloch book, so that no one would know how the story ended, and by decreeing that absolutely no one would be allowed into the theater after the movie had started.

Hitch swears the cast and crew to secrecy on the set of Psycho - L-R: Jessica Biel as Vera Miles, Scarlett Johansson as Janet Leigh, and James D'Arcy as Anthony Perkins
Hopkins may not look exactly like Hitch, but he does a great job with his voice, especially his over-enunciated speech. He could have slowed down some of his phrasing even more. Mirren gives a wonderful, acerbic performance as Alma. She may not closely resemble Mrs. Hitchcock, but she captures the frustrations involved in being married to a man who always had to have a "Hitchcock blonde" standing by. The pair bicker and try to one-up each other throughout the film, but they also manage to convey their great love for one another. Alfred Hitchcock and Alma Reville were married 54 years, from 1926–1980, when Hitch died. Alma died two years later, in 1982.

Hitchcock and Alma on vacation
Alma (Mirren) helps Hitch (Hopkins) edit Psycho
Hitchcock tries to amp up the drama by having Alma indulge in a flirtation with fellow screen writer Whitfield Cook (Danny Huston) who wrote Stage Fright and Strangers on a Train. Their collaboration on a new project while Hitch is working on HIS film inflames Hitch's jealousy and inspires his rage, which he channels into the famous shower scene. Maybe. It's pretty well-known that the shower scene was completely story-boarded and not a spontaneous expression of Hitch's personal rage on the set. What the film does do is underline how essential Alma was to Hitch and his films. It may slightly overplay her contributions to Psycho, but it does show how her discerning eye and opinion was Hitch's absolute first and last stop during his creative process.

Although the film and romance belongs to Hopkins and Mirren, the supporting cast does a good job with their interpretations of well-known actors. Jessica Biel especially stands out as Vera Miles, a woman, who like Tippi Hedren, was being groomed to be a star, a Hitchcock blonde, but who fell out with the director after becoming pregnant prior to his starring her in Vertigo (the part then went to Kim Novak). James D'Arcy is an uncanny Anthony Perkins. Scarlett Johannsson tries to charm as Janet Leigh, but apart from her figure, doesn't really suggest the actress or the era.

Janet Leigh (Johansson) and Vera Miles (Biel)
Quibbles aside, Hitchcock is an entertaining peek into the relationship between Hitch and Alma and Hollywood's first slasher film. After viewing this biopic one might want to screen the original and reflect on all that went into making this black and white horror classic.
Enhanced by Zemanta

Friday, September 02, 2011

re-watching prime suspect

Article first published as DVD Review: Prime Suspect Series 1 and Series 2 on Blogcritics.

Prime Suspect, starring Helen Mirren as DCI Jane Tennison, originally came out in 1991. It was ahead of its time, as both a show with a woman at its head, and as a gritty police drama focusing on one difficult-to-solve case. Twenty years later, it is still as absorbing and shocking as when it first came out.

Current American police shows may be gritty, but they rarely capture the bleak lives that British policiers seem able to do so effortlessly. Prime Suspect shows London as most have never seen it, the fringes of the city and the people that inhabit it.

The gritty squad room where Tennison works has more in common with the look of ‘70s movies like Serpico and The French Connection than modern police dramas. Prime Suspect also doesn’t shirk from showing the battered bodies or detailing the perversions of a serial killer, yet there is no dwelling on the murders. They are presented in almost documentary fashion, which makes shows like CSI seem positively prurient yet strangely antiseptic. That isn’t to say that the deaths depicted in Prime Suspect aren’t shocking. They are.

While watching Prime Supect it becomes clear how much computer work has changed since the early ‘90s. Television heroes have changed, too. Tennison drinks and smokes incessantly. Every cop at the station seems to have a dependency on nicotine and afternoon visits to the pub. It's a realistic depiction, as the officers need some stress relief in such a dangerous and often thankless job.

Mirren portrays beautifully how Tennison has been overlooked time and again, always being told that male officers won’t want a female boss. When DCI John Shefford (John Forgeham) suffers a sudden and fatal heart attack she quickly makes her move and asks her superior DCS Kernan (John Benfield) to put her in charge of his case, a major murder investigation. The squad, and especially DS Bill Otley (Tom Bell), Shefford’s close friend, are at first resistant and then go all out to try and get her replaced.

Tennison tries to not let the sexism interfere with her work as she investigates the rape and murder of a young woman, a presumed prostitute. The prime suspect in the case, George Marlow (John Bowe), may have been falsely accused. As Tennison continues to investigate, she discovers that the case may involve police corruption and be just one in a series of serial murders.

Tennison just wants a little respect from her team:
Tennison: So what do you think? 
DI Frank Burkin (Craig Fairbrass): About what, sir? 
Tennison: My voice suddenly got lower, has it? Maybe my knickers are too tight. Listen, I like to be called Governor or The Boss. I don't like Ma'am - I'm not the bloody Queen. So take your pick. 
Burkin: Yes Ma'am.
Mirren’s Tennison is a difficult character. You cheer for her to fight the old boy’s sexist network at the Metropolitan Police, or as it more commonly known, Scotland Yard. But you also cringe as she pushes her way to take charge of an investigation just hours after Shefford keels over in the station. She must trample others to get ahead, and she shows no hesitation in doing so. Tennison is fantastic at her job, but she lacks empathy. Her dedication to her work and her ambition eventually drives away her current lover (Tom Wilkinson), but her tough-as-nails approach to the case and her determination to get the right man slowly earns the respect of her fellow “lads.”

All of the acting is top-notch. Besides the now well-known Mirren, Zoë Wanamaker and Tom Wilkinson, a young Ralph Fiennes turns up in a small but powerful part as a murdered girl’s boyfriend.

Wanamaker is amazing as Moyra, suspect Marlow’s common-law wife. She’s hard as nails and funny as hell when she catches one of Tennison’s detectives poking through her laundry basket:
Moyra: And you can put that laundry back, sonny! Unless you're a perverted crotch sniffer. Those are my dirty knickers! And I know how many there are! 
Tennison: How'd you feel about your boyfriend picking up prostitutes? 
Moyra: I love it! Gives me a night's rest!
But underneath her tough-talking exterior, Moyra is vulnerable. And scared. She stands by her man, but she must have lingering doubts. Has he just cheated on her by picking up a prostitute, or could he be guilty of murder as well? Prime Suspect doesn’t just take place in the police squad, but shows us Marlow and Moyra at home, how they live — their hard-scrabble life and the tensions and pressures created by the police’s frequent visits to determine his guilt or innocence.

If Prime Suspect had Tennison battling sexism in the police force, the focus of Prime Suspect 2 is racism in London and in the police force. Tennison is now enjoying success since her first case, but she is still incredibly ambitious. As DCS Kernan looks forward to a promotion, Tennison immediately asks him if she can have his job.

She was willing to sacrifice her love and family life for her career. She may be ambitious, but it comes from having to constantly battle the inequities of how the work world is constructed. A man could put in as long hours as Tennison and his marriage might be shaky, but it wouldn’t necessarily fall apart. But when Tennison focuses on her career she has to discard the more traditional female roles of wife, mother, and even girlfriend. She may ultimately be successful, but it is lonely at the top.

When she meets Sergeant Robert Oswalde (Colin Salmon), someone as ambitious and headstrong as herself, they quickly have an affair and then just as quickly clash. And when he turns up in her squad room as a new member of her team the sparks really fly, and not romantically.

Tennison’s new case centers on the body of a young girl which has been unearthed in a primarily Afro-Caribbean neighborhood of London. Tennison must not only determine if her prime suspect, David Harvey (Tom Watson), is actually responsible for the crime, but also to try and defuse the tensions between her officers and the neighborhood's residents. Oswalde finds himself conflicted by the rising racial tensions and his own career ambitions.

Oswalde is questioned during a trial about a suspect in the case that he arrested and who died in police custody:
You had an exemplary record, Sergeant. Could it be that in some subtle way you were being tougher — harder — on this black suspect because you too are black? 
Oswalde: I'm afraid your question is too subtle for me.
Besides the racial tensions, Tennison must deal with insinuations about her relationship with Oswalde, which she refuses to acknowledge. Again, a female is being judged more harshly than a male in a similar position.

Tennison dresses fairly conservatively, as befits her rank as a detective chief inspector. Her uniform is a crisp white shirt with a usually drab-colored skirt or pant suit and the ubiquitous London overcoat. She is not overly feminine, but she is all woman and has sexual relationships. She (and Mirren) can’t help but exude her female attractiveness, which has probably weighed against her in her quest for the top.

Prime Suspect 2 is as fascinating as the first installment, as we watch Tennison continue her journey to make an arrest, earn respect, and get to the truth. Mirren is fantastic and DCI Tennison is a classic television hero.

Both DVDs have scene selection and subtitles available as extras.
Enhanced by Zemanta

Saturday, September 25, 2010

lord of the owls strike back at the nazi empire

“The crow wished everything was black, the owl, that every thing was white.”—William Blake


I guess they give us a clue when the first scene of Legend of the Guardians: The Owls of Ga'Hoole shows a beautiful owl soar through the air and then deftly grab its prey, a cute little mouse, in 3D close-up—this is not your ordinary kid movie. In fact, after seeing the lushly animated movie I'm still puzzled exactly who is the audience for this movie. It is very dark, and there is ton of slow-mo fighting a la 300 (same director).

Hardly akin to the innocuous Happy Feet, as the poster tries to hard sell.

The animation is top-notch. The feathers on the owls are downy and fluffy and the settings are for the most part, beautiful. The personalities of the main characters are engaging, Aussie accents and all. In fact, all that needed to be done was shifting the focus to the "good" owls and a bit more comic relief. Although Geoffrey Rush tries valiantly to inject his wise old owl with wacky charm. It didn't need to become cutesy-fied, but there is too much time spent on the "bad" owls and their dungeon-like lair without ever satisfactorily explaining why they're bad and what exactly is their shiny secret weapon. Helen Mirren's Nyra does manage to come across as beautiful and deadly.

"The Owl and the Pussy-Cat went to sea
In a beautiful pea-green boat,
They took some honey, and plenty of money,
Wrapped up in a five-pound note."—Edward Lear

The original series of fifteen books on which it is based was quite popular. It's completely set up as ready for a sequel, although only time and box-office receipts will tell. For me, the film had rather too obvious dashes of Lord of the Rings, Star Wars and Nazistoo referential for me to want to explore the books or read them to my daughter. I'm afraid that even with its drop-dead gorgeous animation the "owl movie" is only mildly diverting, with a little too much drop-dead-ing going on for comfort.

“He respects Owl, because you can't help respecting anybody who can spell TUESDAY, even if he doesn't spell it right.”—A. A. Milne
Enhanced by Zemanta