Posts Tagged ‘Tobias Menzies’

CTVNEWS.CA: “THE CROUSE REVIEW LOOKS AT “THE SNOWMAN” & MORE!

A weekly feature from from ctvnews.ca! The Crouse Review is a quick, hot take on the weekend’s biggest movies! This week Richard looks at Andrew Garfield’s romantic medical drama “Breathe,” the ice cold crime drama “The Snowman” and the controversial “Una.”

Watch the whole thing HERE!

RICHARD’S WEEKEND MOVIE REVIEWS FROM CP24! FRIDAY OCTOBER 20, 2017.

Richard and CP24 anchor Jamie Gutfreund have a look at the weekend’s new movies including the Nordic Noir “The Snowman,” the romantic medical drama “Breathe” and the controversial “Una.”

Watch the whole thing HERE!

RICHARD’S CTV NEWSCHANNEL WEEKEND MOVIE REVIEWS & MORE FOR OCTOBER 20.

Richard sits in with CTV NewsChannel anchor Marcia MacMillan to have a look at Andrew Garfield’s romantic medical drama “Breathe,” the ice cold crime drama “The Snowman” and the controversial “Una.”

Watch the whole thing HERE!

Metro Canada: Una touches upon a very topical nerve of sex abuse.

By Richard Crouse – Metro Canada

Based on the play Blackbird by Scottish playwright David Harrower, the new film Una is an uncomfortable look into an uncomfortable subject.

“In the theatre it is kind of like a verbal boxing match,” says Una’s director Benedict Andrews. “You are trapped in the same room with the two protagonists as they face each other off. There is a profound shift that happens once it becomes cinema. After living with the film for a while I think the film hurts a lot more than the play ever did.”

Rooney Mara plays the title character, a 20-something who takes action after seeing a picture of Ray, played by Ben Mendelsohn, in a magazine. The two have a past. Fifteen years earlier, when she was 13 and Ray was a middle-aged man, he seduced her, a crime he paid for with four years in prison.

Convinced his actions put her in a downward spiral, she goes to his place of work to confront him. He’s re-established himself with a new name, wife and job. She demands to know why he did what he did, and why he abandoned her when they were about to make a run for it and leave England to start a new life together.

Andrews first directed the play in November 2005 but had no interest in revisiting his previous work.

“There will continue to be fine productions of the play because it really is one of the best chamber plays of this century,” he says.

“It is rich material for actors and provocative and rich material for audiences. Neither of us wanted to make a well-made version of the play. It had to become distinct. I sometimes see them as two children coning from the same DNA. In many ways I’m trying to respect and amplify the core of the play.”

What might have been a straightforward story of a search for answers defies preconceived audience expectations with the ethical landmines Andrews and Harrower (who also wrote the script) plant along the way. In its most startling turn Una asks the audience to consider the interaction between Ray and Una, the abuser and the abused, as some kind of love story.

“This is about two people who see each other after 15 years,” he says, “the chemical charge of that meeting and their encounter is a profoundly cinematic idea. I was interested in how the camera might be able to pursue a special intimacy, the scar tissue opening up again between these two characters, and being able to microscope in on that scar tissue.”

Although the play was first performed 12 years ago, Andrews calls it “prescient” in the wake of recent events that have shone a light on sexual abuse in Hollywood.

“Part of the intelligence of the play is the way (Harrower) unpacks the moral problems of the survivor and the abuser relationship,” Andrews says.

“Thankfully that silence is breaking in journalistic and legal ways. We’ve seen that over the course of the week with the dam bursting about the systemic abuse of actresses within the Harvey Weinstein story. From my point of view it wasn’t necessarily a conscious thing although I think the play absolutely touches a raw nerve now and is part of a conversation that needs to happen about a topic that was kept in silence.”

UNA: 3 ½ STARS. “a controversial, painful story that offers no easy answers.”

Based on the play “Blackbird” by Scottish playwright David Harrower, “Una” is an uncomfortable look into an uncomfortable subject.

Rooney Mara is the title character, a twenty-something who takes action after seeing a picture of Ray (Ben Mendelsohn) in a magazine. The two have a past. Fifteen years earlier, when she was thirteen and Ray was a middle-aged man, he seduced her, a crime he paid for with four years in prison. “You wanted to be treated like an adult,” Ray says. “That’s what children say.”

Convinced his actions put her in a downward spiral, she goes to his place of work to confront him. He’s re-established himself with a new name, wife and job. She demands to know why he did what he did, and why he abandoned her when they were about to make a run for it and leave England to start a new life together.

What might have been a straightforward story of a search for answers defies preconceived audience expectations with the ethical landmines Harrower (who also wrote the script) plants along the way. In its most startling turn “Una” asks the audience to consider the interaction between Ray and Una, the abuser and the abused, as some kind of love story. Rooney and Mendelsohn, both very good in difficult roles, explore the thin lines the story draws between abuse and love, between right and wrong, between desire and guilt. It’s complicated and messy as Ray is forced to confront a past he’d rather subvert while Una looks for answers. “I don’t know anything about you except you abused me,” she says.

“Una” lurches headlong into controversial territory, unflinchingly presenting a painful story that offers no easy answers.