“Far From the Madding Crowd” isn’t a Masterpiece Theatre style remounting of the 1874 Thomas Hardy novel. Instead it’s vibrant soap opera, complete with love triangles, pregnancy, suicide, love sick neighbours, crimes of passion, more marriage proposals than you can shake a chaff fork at, missed opportunities, bad decisions, broken hearts and petticoats.
Carey Mulligan is Bathsheba Everdene, the headstrong and beautiful mistress of a sprawling farm inherited from her uncle. She’s independent—“I have no need for a husband,” she says.—but also an irresistible man magnet, beating off marriage proposals like Neo in a roomful of Agent Smiths. Suitors include manly sheep farmer (and aptly named) Gabriel Oak (Matthias Schoenaerts), high-strung middle-aged landowner William Boldwood (Michael Sheen) and a dandy in a Scarlet uniform, Sergeant Frank Troy (Tom Sturridge) who uses swordplay as foreplay.
Through reversals of fortune and chance encounters Bathsheba perseveres, making her way through the world, the very embodiment of resilience and grace.
Director Thomas Vinterberg breathes new life into the story by preserving the classic themes of the novel on marriage, class and gender while not being precious about it. The film’s pacing is as bucolic as the rural English countryside setting, but the movie feels very contemporary in its approach. It’s a rom com, without much com. There’s even the 19th century equivalent of the romantic movie staple, the Run to the Airport to Declare Undying Love.
Vinterberg takes advantage of the setting, using nature to guide the lives of the farmers—each changing season brings new developments in Bathsheba’s life—and human nature to explore the relationships that make up the tale’s love triangle. It’s mannered but clever, lively direction that values the location—it was shot on location in Dorset, the novel’s setting—and text while focussing on the themes that make a one-hundred-and-forty year old story seem fresh and universal in appeal.
Mulligan and Schoenaerts generate heat in their chaste scenes, slowly building their relationship through mutual respect. He is stoic, she is grounded but wistful.
“It is my intention to astonish you all,” Bathsheba says to her collected staff, and once again Mulligan does impress with a performance that digs deep to deliver a nuanced but soulful take on the shrewd character.
“Far From the Madding Crowd” is an abbreviated retelling of the story. The last version, from director John Schlesinger and star Julie Christie, was one hour longer but Vinterberg brings a luminous energy and modern feel to an old tale.
Behind every good scandal there is a good journalist. Washington Post reporters Bob Woodward and Carl Bernstein gave us Watergate while muckraker Nick Davies of The Guardian uncovered the phone hacking scandal that proved the News of the World had ears and eyes in the cell phones of some very famous and powerful people. Lesser known is Gary Webb, an investigative reporter for the San Jose Mercury News played by Jeremy Renner in the new film “Kill the Messenger.”
When we meet Webb he’s just broken the biggest story of his career. An exposé on the inequity of the justice system’s habit of stripping suspected drug dealers of their homes and vehicles, whether they are proven guilty or not. The article attracts the attention of Coral Baca (Paz Vega), the girlfriend of a drug dealer. She contacts Webb with some the potentially explosive information that the government has drug dealers on their payroll.
Following the clues he travels to Nicaragua to meet drug lords (Andy Garcia) and crooked bankers (Brett Rice) and to Washington to meet DC insiders (Michael Sheen) to piece together the story of CIA involvement in the smuggling of cocaine into the U.S., and how that money was laundered and used arm rebels fighting in Nicaragua. His articles won him acclaim, but also started a campaign to discredit him by some very powerful people. “Some stories,” he is warned, “are too true to tell.”
Crusading journalists make good characters. They says cool tings like, “The bad guys are usually more honest than the good guys,” put themselves in peril and refuse to take no for an answer. Renner embodies the swagger necessary to play Webb the journalist and, as things fall a part for him professionally and personally, is suitably hangdog. Why then, is “Kill the Messenger” such an endurance test to sit through?
It starts off well enough, piecing the clues together, building to the aha moment when the complicated clues begin to make sense as a whole, but then loses momentum when the movie becomes more about lionizing Webb than it does following the Nicaragua story. Thrown into the mix is a sad indictment of what passes for courage in the journalism racket, which only serves to move Webb closer to the glow of the heroic spotlight.
Renner and the supporting cast, including Rosemarie DeWitt (who is good but wasted in an under-written “wife” role), Tim Blake Nelson as a lawyer whose favorite word is “allegedly” and Ray Liotta (who has an all-too-brief cameo) perform admirably but are weighed down by the script. Webb would have reported the facts and only the facts and “Kill the Messenger” would be a better movie if it took his example and stuck to the truth without the prosthetizing on journalistic ethics.
At first glance you wouldn’t imagine television presenter David Frost and disgraced ex-president Richard Nixon have much in common. Frost was a well known playboy, as famous for his off screen antics as he was for his various television shows. Nixon was, well Richard Millhouse Nixon, the only US president to ever resign the presidency. They were an odd couple who became inextricably linked in the public’s mind following an historic series of interviews that brought in the largest audience for a news interview in history. In the new film Frost / Nixon, director Ron Howard details how much alike these two men actually were. He spends time forging psychological parallels between the pair as two men from modest circumstances who rose to the top of the heap in their fields but never earned the respect they felt they deserved.
When we first meet Frost (Michael Sheen) he’s a successful talk show host in Australia. His American show had been recently cancelled and he longed for another chance at fame in the US. “Success in America is unlike success anywhere else,” he says. Meanwhile Richard Nixon is about to resign the presidency following the Watergate scandal. When Frost—and 400,000,000 other people worldwide—watched Nixon’s resignation Frost saw a chance to rehabilitate his reputation. He understands that Nixon’s Shakespearean fall from grace would make great television, and he knows how to make great TV. He plans a series of four ninety minute interviews with Nixon covering a variety of subjects, including Watergate and the subsequent cover-up. Nixon signs on, for a price, seeing the interviews with the lightweight Frost as the perfect venue to mend his battered political status.
Based on a play by The Queen screenwriter Peter Morgan Frost / Nixon is one of the rare plays that actually works better as a film. Howard opens up the story taking us to places and events that are only talked about in the stage show. His work here is enlivened after the turgid DaVinci Code, with a quick pace that keeps the wordy script moving along at a fast clip.
There’s no action to speak of, save for the verbal sparring between interviewer and interviewee in their fourth and final televised meeting, and it is here that sparks fly. Sheen, best known to North American audiences for his portrayal of Tony Blair in The Queen, gives a flamboyant performance as the showy Frost but this is Frank Langella’s movie.
In Langella’s hands Nixon, one of the most vilified public figures of the last fifty years becomes almost sympathetic and not because he is handled with kid gloves. Quite the opposite; Howard often shoots Nixon peering out from the shadows to subtly imply that he is a shady character and the script has great fun portraying the president as a money grubbing opportunist. He becomes sympathetic through Langella’s humanizing portrait. A man so often remembered in sound bites is shown here, in a commanding performance, as a real person, warts and all. He isn’t, by his own admission in the script, a likeable man, but Langella’s carefully calibrated performance unveils previously unseen aspects of his personality. In the film’s final half hour—the events leading up to the final interview and the interview itself—Langella delivers tour de force work that could win him the Oscar for Best Actor.
The timing of the release of Frost / Nixon is interesting. Obviously a December release date puts it squarely in line for Academy consideration but beyond that it is an interesting look at the sad post Oval Office life of a president who left office with a very low approval rating. George Bush, take note.
“30 Rock,” the beloved but low rated comedy is gone now, having passed on to the great boob tube in the sky, but Tina Fey fans can get their fix of her trademarked brand of witty and wise humor in “Admission,” a “mom com” co-starring Paul Rudd.
Fey is Portia Nathan, a mildly compulsive Princeton admissions officer—they jokingly call her their “golden retriever” because of her record of recruiting a-plus students—who leads a quiet, ordered life with professor Mark (Michael Sheen). They share a love of poetry, hatred of kids and not much else. Her well ordered life is thrown into disarray when John Pressman (Rudd), a free-spirited former classmate and now teacher at an alternative school, introduces her to Jeremiah Balakian (Nat Wolff), a brilliant young man who may be the child she gave up for adoption seventeen years ago.
Fey didn’t write “Admission,” but it is firmly in her wheelhouse. Like “30 Rock” before it, “Admission” takes a recognizable style and subverts it with smarts. It’s a female driven romantic comedy, but there isn’t a rom com clichés in sight. Instead there are René Descartes jokes and Bella Abzug sight gags, but what else, exactly, did you expect in a movie set at Princeton?
But it also more than that. It’s a big studio comedy—the first half-hour is hysterical and then it evens out, although Lily Tomlin as Portia’s militant mom is hilarious throughout—that has all the laughs but none of the vulgarity (unless you’re offended by the line, “You’re not the only one who smells of cow placenta”) of the recent Hollywood amusements.
Fey fans will remember “Baby Mama” and the late season “30 Rock” motherhood storyline, so Portia’s maternal development completes the trilogy of motherhood movies, except, that like in those other stories, not everything works out exactly as planned.
As a recruiter Portia uses the line, “What’s the secret to getting in? I can’t tell you—you have to find out for yourself,” in her pitch to students. Those words also echo her character arc—she must find independence to find herself. That’s a heady concept for a rom com and pretty much the opposite of every romantic comedy plotline every written.
There she goes again subverting the genre.
“Admission” is familiar enough to not jar the sensibilities of undemanding rom com fans, but there is more here than immediately meets the eye.
“Far From the Madding Crowd” isn’t a Masterpiece Theatre style remounting of the 1874 Thomas Hardy novel. Instead it’s vibrant soap opera, complete with love triangles, pregnancy, suicide, love sick neighbours, crimes of passion, more marriage proposals than you can shake a chaff fork at, missed opportunities, bad decisions, broken hearts and petticoats.
