As Caitlin Jenner graces the covers of magazines and films her own reality show, “The Danish Girl,” takes us back to a time when doctors prescribed “treatment for perversion” for transgender pioneer Lili Elbe (Eddie Redmayne).
Based on David Ebershoff’s 2000 novel, when we first meet painter Einar Wegener (Redmayne) it’s the mid-1920s and he’s married to struggling portraitist Gerda Wegener (Alicia Vikander). They’re happy and supportive, but a shift occurs when he dresses in female clothing to pose for one of Gerde’s paintings. It’s a playful moment and they even create an alter ego for the model, Lili Elbe. For Gerde it’s a lark, for Einar a revelation. Years of confusion come into sharp focus as he realizes he was born into the wrong gender and takes extreme steps to become the person he knows he should be. “It doesn’t matter what I wear,” he says, “it’s what I dream, they are Lili’s dreams.”
Health professionals suggest locking him up and electro therapy to “cure” him. “Do you keep a lock on your wardrobe?” asks one doctor. “You must not encourage this kind of behaviour.” Hope for the life she always dreamed about comes from a German sexologist who offers risky experimental sex reassignment surgeries. “God made me a woman,” says Lili. “The doctor is healing me of the sickness that was my disguise.”
“The Danish Girl” is Redmayne’s movie. It’s a delicate, studied performance but one that reveals the character’s inner strength. Lili lives in hope, hope for the life she was meant to live, hope that she will get to live it. Redmayne is sensitive and sensual as he sheds Einar’s affectations to become Lili.
Vikander has a less showy role, but holds the screen as the film’s emotional core, a woman who valued her relationship regardless of the changes that came her way.
The film itself hits the emotional notes, but feels a bit too glossy overall. Director Tom Hooper’s camera caresses every scene, luxuriating in the finely wrought period details giving a “Downton Abbey” sheen to the whole thing when a more raw approach would have lent some urgency to the story. The quietly melodramatic presentation showcases the actors but lessens the story’s impact.
“The Danish Girl” is a zeitgeisty movie that gives a “Masterpiece Theatre” veneer to a timely and important story.
Daniel Craig suits up again in the latest Bond flick, taking his fourth spin as the super spy in Spectre. The film’s overseas reviews have been very strong and it will likely dominate the weekend’s box office but who among us would call Craig the best Bond?
I have a theory that the Bond nearest and dearest to your heart is the first 007 you saw projected on the big screen.
Popular consensus tells us that Sean Connery, who played the role in six films spanning 1962 To 1971 and then once again in 1983’s non-officially sanctioned Never Say Never Again, is the best Bond. As cool as Connery was he isn’t my top of the pops. Dr. No, the first 007 movie, came out before I was born and Connery more or less permanently parked his Aston Martin around the time I entered grade two.
The Bond that made the biggest impression on me was Roger Moore. I know critically speaking he wasn’t the most beloved Bond. Pauline Kael once wrote about him, “Roger Moore is dutiful and passive as Bond; his clothes are neatly pressed and he shows up for work, like an office manager who is turning into dead wood but hanging on to collect his pension.”
I also know that hardcore spy fans considered Moore too well-mannered and pleasant to be effective, but he was my first, and I guess the first cut is the deepest because I still have a fondness for his breezy take on the super agent.
But that’s just me.
To get a broader picture I did a highly scientific Double-Blind Bond Peer Reviewed In House Clinical Trial (in other words I asked my Facebook and Twitter friends) to determine the world’s favourite 007 portrayer.
The contenders were Connery, George Lazenby, Moore, Timothy Dalton, Pierce Brosnan and Craig — everyone who has played Bond in one of the 24 officially sanctioned 007 movies.
Several contributors brought up others like Barry Nelson, who played James Bond in a 1954 television adaptation of Casino Royale. Also mentioned were David Niven’s turn as Bond in 1967’s Casino Royale and another actor who has never played 007. “Clive Owen,” suggested one poster, “once they get around to casting him in the next one.”
After eliminating the unofficial 007s and non-Bonds a team of experts (OK, it was just me reading through the posts as Live and Let Die played on the TV behind me) sifted through the results.
Pollsters said Brosnan Is Not Enough to ’90s Bond Pierce Brosnan who came in dead last with just 1.9 per cent of the vote.
“I liked Pierce Brosnan because he embodied all the others combined,” wrote one positive poster. “Charm, humour, ruthlessness, cunning.”
Timothy Dalton earned 3.9 per cent with one respondent saying, “If there really was an agent who was an assassin with a licence to kill … it would be him.”
At 9.8 per cent, George Lazenby fared better than Brosnan and Dalton even though he only made one 007 film.
My favourite Bond came in third with 15.6 per cent, just behind Daniel Craig’s 21.5 per cent. “Craig gets me wanting to watch whereas the others are placeholders,” wrote a Facebook friend, “Sorry.”
By far and away, Sean Connery was the winner with a whopping 39.2 per cent of the vote. This comment seems to sum up the reason why people like him. “Sean Connery because Sean Connery!”
Who is your favourite Bond? Chime in at @metropicks.
For many of us James Bond has been a constant. For more than 50 years a series of actors have taken on the role over the course of twenty-four officially sanctioned movies. He has been, by times a killer, a clown, a lover, a sinner and a saint. In “Spectre,” the latest edition of the Bond Follies, he is all those things and more.
The new film opens just days after the events of “Skyfall.” M (Judy Dench), Bond’s boss and confident, has been killed and 007 (Daniel Craig) is fulfilling her last request. He’s in Mexico City (just the first of many exotic locations in “Spectre’s” travelogue) to assassinate an Italian mobster through a crowded Dia De Los Muertos parade. It’s a wild scene—involving thousands of extras, helicopters, exploding building and a serious fall broken by a well-placed sofa—that sets the tone for the rest of the film; Big, loud and slightly silly.
Information gathered from the mobster’s widow (Monica Bellucci) leads Bond to Rome and a meeting of the super-duper, top-secret terrorist organization SPECTRE (Special Executive for Counter-intelligence, Terrorism, Revenge and Extortion) led by evil genius Oberhauser (Christoph Waltz).
Back in London the new M (Ralph Fiennes) is defending the 007 program from C (Andrew Scott), a bureaucrat who snidely says, “We’re going to bring British intelligence out of the dark ages and into the light.” In other words, on-the-ground agents and their licences to kill are about to be replaced with drones and high tech surveillance and security. The plan is to unite the defence systems of the world and dispense with Bond’s human touch.
Meanwhile Bond is still globetrotting, now with Madeleine Swann (Léa Seydoux) on his handsomely tailored arm. She’s the daughter of a former SPECTRE member and just might hold the key to infiltrating the organization.
“Spectre” is worth a look for the scenery alone, and no, I don’t just mean Daniel Craig’s Tom Ford suits or Monica Bellucci’s jewels. From Rome to Tangiers to Mexico City and beyond the movie is a parade of beautifully shot tourism brochure-ready landscapes.
The stuff that happens in front of those landscapes is worth a look too. Director Sam Mendes keeps the pedal to the metal, tossing out implausible plot twists and action scenes with great regularity. City blocks blow up, airplanes chase automobiles and, of course, the classic ticking bomb makes an appearance. As usual the body count is high and there’s even a wild areal fight sequence before no more than four lines of dialogue have been spoken.
There’s all that and a lighter tone then the other Craig Bonds. The grim-faced 007 has been replaced by a slightly-less grim faced Bond. Craig isn’t channelling Roger Moore or anything quite so broad, but there are laugh out loud moments as “Spectre” simultaneously plays up to and satirizes Bond stereotypes. In one scene Dr. Swann and Bond fall into a surprise embrace. In any other Bond movie they would kiss and tumble into bed. Here she says, “Don’t think for a moment this is where I fall into your arms,” effectively satirizing the Bond as lady-killer stereotype and making strides for Bond Girls everywhere.
Too bad there’s no such reinvention of the Bond villain. As Oberhauser Christoph Waltz is a bit of a dud. His backstory is interesting and he certainly has evil intent, but he comes across here more as a bully than a supervillain. Waltz doesn’t come close to the menace he brought to “Inglourious Basterds’” Col. Hans Landa. He’s barely in the film but casts a long shadow… a long shadow that could have been much darker.
If there is a message in “Spectre” it has to do with new versus old. C represents a dangerous future where drones and surveillance put enemies at arm’s length. M and Bond represent tradition, a more gentlemanly form of killing where you have to look into the eyes of the person you’re about to off. It seems to be asking if James Bond is of the past, a dinosaur. I’d say no, not as long as the 007 movies are as entertaining as this one.
There’s a noise I hear in my head when I’m watching dryly-presented historical dramas. It’s a faint scratching sound that always reminds me of sitting in Mr. Parkers history class, listing to him write thousands of words on the chalkboard before saying, “Copy this into your scribblers and read chapter 3 by tomorrow.” I was reminded of the sound during a recent screening of the new Carey Mulligan film “Suffragette.”
Set in 1912 London, the movie stars Mulligan as Maud Watts, a young wife, mother and laundry worker. It’s a tough life for the twenty-eight year old, who has worked at the laundry since she was a little girl. Long hours leave little time for her family, husband Sonny (Ben Whishaw) and son George (Adam Michael Dodd), but they are a loving trio, at least until she meets Violet Miller (Anne-Marie Duff), a disciple of Emmeline Pankhurst (Meryl Streep), Britain’s leading suffragette.
In 1912 women were considered to not “have the temperament or the balance of mind” to take part in the political affairs. Following years of peaceful protest for equal rights the suffragettes begin a campaign of civil disobedience.
“You want to respect the law?” says Violet Miller. “Then make the law respectable!”
Maud becomes involved with the cause, helping Edith Ellyn (Helena Bonham Carter) blow up a Member of Parliament’s house and winding up in jail. Prison time was a badge of honour for the suffragettes, but Sonny wants nothing to do with it and soon Maud is separated from her family. With no legal recourse to get custody of her son she throws herself into the movement, fighting to get the vote and rights for women.
For a movie about rebellion “Suffragette” contains very little rebellious spirit. It’s a straightforward retelling of the story, a piece of history right out of Mr. Parker’s class. The only thing missing is the sound of Mr. Parker writing it out on the chalkboard.
It is a well-intentioned retelling of an important and still timely story but director Sarah Gavron leans too heavily on the kitchen sink drama—and a dull visual palette of beiges and reddish browns—for the broader story of the fight for women’s rights to have the impact it deserves.
“It’s deeds not words that will get us the vote,” and Gavron shows us the deeds—including the infamous mailbox bombings and a truly hard to watch prison force-feeding—but by the time the end credits roll there are story threads dangling all over the place and while we’re left impressed by the performances, the story telling itself is less impressive.
When John Bennett (Mark Walhberg) was a small, lonely child he wished for just one thing—a best friend. His wish came true and Ted (voice of Seth MacFarlane), his trusty teddy bear, came to life. The pair became “Thunder Buddies” for life and the subject of two movies, Ted and this weekend’s Ted 2.
Ted isn’t your usual teddy bear. He smokes pot, swears—imagine rooming with Tommy Chong and Charles Bukowski—and has trouble holding down a job.
In the new film Ted is married to a human woman but under the eyes of the law he is seen as property and not a person. When the couple decide to adopt a child he faces a court battle helmed by a young lawyer (Amanda Seyfried) and a renowned, civil-rights attorney (Morgan Freeman).
Ted may be the rudest and crudest teddy bear to ever star in a movie, but there are loads of other talking teddies that are cool bears and not Teddy Bores. Remember Lancelot from Labyrinth, or the bear in AI: Artificial Intelligence who tells the young robot that 50 years is not such a long time and Winnie the Pooh? Here are three more cinematic bear necessities:
“I’ll never be like other people, but that’s alright,” says the star of the delightful Paddington, based on the much-loved children’s books by Michael Bond, “because I’m a bear. A bear called Paddington.”
The story of Paddington (voiced by Ben Whishaw) the cuddly, orphaned Peruvian bear picks up when he, armed only with a “worrying marmalade problem” and his distinctive red hat, lands at Paddington Station in London. There, a family adopts him and learns to love the little bear, even though chaos follows his every step. The film’s co-star Hugh Bonneville says the Paddington character is so popular he is, “part of the DNA of the UK.”
The movie presents Paddington in his iconic blue duffel coat and red hat but not the usual Wellington Boots because they were not part of the bear’s original design. Manufacturers added his red Welly’s so the toy teddies were able to stand upright.
As voiced by Ned Beatty, Lots-o’-Huggin’ Bear is a Southern accented, strawberry scented teddy who looks cuddly, but is anything but. When a misunderstanding threatens to separate the toys, Woody (Tom Hanks), Buzz (Tim Allen), Jesse (Joan Cusack) and the gang take matters into their own tiny hands but when they meet the huggable but evil Lotso the garbage dump or the attic begin to look good.
“The guy may seem plush and huggable on the outside,” says Buttercup the Unicorn, “but inside he’s a monster.” His habit of throwing toys that don’t please him into “the box” is so evil he’s even been compared to the wicked Governor on The Walking Dead.
Unlike Ted Fozzie the Bear doesn’t work blue. The fuzzy brown jokester has been a big screen star since 1979’s The Muppet Movie where he was discovered by Kermit the Frog doing stand-up comedy in a dive bar. In the film Fozzie drives a Studebaker, but how, exactly, does a puppet manoeuvre a car? The film answers the question—“Where did you learn to drive?” Kermit asks. “I took a correspondence course!”—but the real answer is that the real driver hid in the trunk and drove the car by remote control, using a television monitor to guide his steering.
There are eight million stories in the naked city, and the story of Paddington the cuddly, orphaned Peruvian bear is one of them.
Based on the much-loved children’s books by Michael Bond, “Paddington” begins in “darkest Peru” as jaunty English explorer Montgomery Clyde (Tim Downie) discovers Lucy and Pastuzo (voices of Imelda Staunton and Michael Gambon), a family of super intelligent, anglophile bears. Before heading back to old Blighty Clyde teaches them the Queen’s English, introduces them to marmalade, gifts them a floppy bright red hat and an invitation to stop by should they ever find themselves in London.
Cut to decades later. In the grand tradition of kid’s stories, an orphaned child (voice of Ben Whishaw)—in this case the marmalade-obsessed grandson of Lucy and Pastuzo—is forced to take a great journey to safety. The cub, armed only with a “worrying marmalade problem” and the distinctive red hat, lands at Paddington Station in London. Instead of the warm welcome he expected, he’s met with indifference.
“Keep your eyes down, there’s some sort of bear over there.”
After a long wait, Mr. and Mrs. Brown (“Downton Abbey’s” Hugh Bonneville and Sally Hawkins) and kids Judy and Jonathan (Madeleine Harris and Samuel Joslin) take pity on the polite little bear and bring him home, but only for one night. Of course, one night turns into a longer stay as the Browns learn to love the little bear, even though chaos follows his every step. Adding drama to the story is an ursophobic neighbor (“Doctor Who’s” Peter Capaldi) and a crazed taxidermist (Nicole Kidman).
Warm, funny and as eccentric as a movie about a talking bear should be, “Paddington” is great family entertainment. Director Paul King keeps up the pace—this is not a teddy bore!—but never allows the film to become frenetic. The action scenes are fun, yet gentle, amusing and inventive. Paddington’s unintentional takedown of a pickpocket is a wonderful, silly gag that captures and updates the spirit of the old “Paddington” books with an up-to-date look and feel for a new generation.
Laugh out loud funny—for kids and parents—“Paddington” also offers up a message of tolerance. “In London everyone is different,” says Paddington, “so everyone can fit in.” It’s a big idea, washed down with a giant melting-pot of marmalade, but also a timely one.
The first ever big screen mounting of the Evelyn Waugh novel Brideshead Revisited comes with great expectation. The book was chosen by Time as one of the “All-time 100 Novels” and the 1981 mini-series placed tenth in the 100 Greatest British Television Programs by the British Film Institute.
In the new version Matthew Goode is Charles Ryder, the role previously taken by Jeremy Irons in the mini-series. He is a middle class man from London drawn into the rarified world of the British upper class after he befriends the charismatic, but troubled Sebastian Marchmain (Ben Whishaw). At Brideshead, the luxurious Marchmain family estate, Ryder meets Sebastian’s younger sister, the beautiful Julia and his domineering mother (Emma Thompson), and his life is changed forever. Over the next decade Ryder learns first hand about the poison that lies beneath the prim and proper façade of the British upper crust as he, Sebastian and Julia try to bridge the deep rooted spiritual and social traditions that divide them and complicate their lives.
The new movie, ten hours shorter than the mini-series, compresses the 368 page novel into a tidy 135 minute film which plays fast and loose with the source material. Fans of the book will be pleased to know that Aloysius the teddy bear makes an appearance, and the ideas about repression, aristocracy and religion remain in place but may be less happy with other liberties taken by the filmmakers. Compressing the novel into feature length forced some changes to the time line of the story as presented in the book, but the core of the book remains untouched.
Handsomely translated for the screen—the film was shot at the grand Howard Castle, also the location of the mini series—the cinematography is lush, the period clothes suitably glamorous, the sets beautiful. More than just a Masterpiece Theatre treat for the eyes, the new Brideshead is wonderfully performed by a troupe comprised of British newcomers and old pros.
Goode plays Ryder as a low key, but unfailingly polite social climber with a conscience. Once he enters the gates of Brideshead he knows that he will never again be happy unless he is embraced by those who live within. The tragedy of his life is that while the upper crust inhabitants may love him, he will never truly be one of them. Goode slowly allows the complexity of his character to surface as he is drawn back to Brideshead year after year in his search or meaning in his life.
As Sebastian, the spoiled British eccentric—at one point he sends a telegram to Ryder saying he is near death, when in fact he only “broke a bone in his foot so small it doesn’t even have a name”—Ben Whishaw appears so fragile, both physically and emotionally, that the the weight of his responsibilities to his family and his religion seem ready to break him in half.
Hayley Atwell’s take on love interest Julia is dignified and yet sultry, but it is Emma Thompson as the formidable Lady Marchmain who dominates the screen. Hers is a supporting role with a relatively small amount of screen time, but Thompson makes the most of her scenes and walks away with the picture. With her starched delivery and arched eyebrows lines like, “Mr. Ryder, what form do your pleasures take?” or “Vulgar is not the same as funny,” become the verbal equivalent of a slap across the face.
Brideshead Revisited is sourced from material that is more than sixty years old and features spats, snoods and Model Ts but its themes of religious fundamentalism, pursuit of individualism and happiness, sexual tolerance and class are as current as anything on screens at your local multi-plex.
