Tag Archives: Eileen Atkins

2002 Films, Allison Janney, Claire Danes, Drama, Ed Harris, Eileen Atkins, Jeff Daniels, John C. Reilly, Julianne Moore, LGBTQ+ Drama, LGBTQ+ Films, Margo Martindale, Meryl Streep, Miranda Richardson, Nicole Kidman, Stephen Daldry, Toni Collette

The Hours-2002

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The Hours-2002

Director Stephen Daldry

Starring Nicole Kidman, Julianne Moore, Meryl Streep

Scott’s Review #803

Reviewed August 17, 2018

Grade: A

The Hours (2002) is a film containing the ultimate in acting riches. With names like Nicole Kidman, Meryl Streep, and Julianne Moore associated with the film this is not surprising.

Not solely belonging to the ladies, however, Ed Harris, in particular, is dynamic in his role as are all the other males who appear in the film.

Told in three different sections in chronological order, but going back and forth, the stories all share connections via the novel Mrs. Dalloway, written by Virginia Woolf.

One of the best films of the decade!

Each segment of the film takes place within a single day, but decades apart. Wisely, director Stephen Daldry switches between the stories frequently leaving sort of a cliffhanger, making the drama more compelling and spicy.

In 1923, a depressed Virginia Woolf is portrayed by an unrecognizable Nicole Kidman in a role that won her the Best Actress Oscar.

Woolf resides outside of London and struggles to complete her novel amid nervous breakdowns and the watchful eye of her husband, who is aware of her mental pain.

In 1951, Laura Brown (Julianne Moore) seemingly has it all, living the “American Dream”. Residing in a nice neighborhood with a loving husband, she is pregnant with her second child, spending the days at home raising her young son, Richie, whom she is very close to yet does not understand.

After a fleeting lesbian dalliance with a neighbor, Laura goes off to a hotel with bottles of pills, intending to kill herself. She changes her mind after reading Woolf’s novel and dozing off, deciding instead to make a different decision.

Finally, in 2001, Clarissa (Meryl Streep), is bisexual and in a same-sex relationship. She lives with Richard (Harris), whom she dated in college, now the best of friends. He is gay, stricken with the AIDS virus, and close to committing suicide as he plans to jump out of a window.

This story (present times) is crucial to the film because it involves two characters from the 1951 story. These characters intersect with others in a touching and heart-wrenching way.

The greatest parts of The Hours are the brilliant acting and the richly written storytelling. Arguably, Kidman, Streep, and Moore all could have won Oscars for their performances, and I must mention that as brilliant as Kidman is (she is the sole Oscar recipient), and Streep is just universally good, I would have given the Oscar to Moore- the standout in my opinion.

Glamorous and intelligent, warm to her son, she makes a monumental and controversial decision. The character should not be sympathetic- yet she is. This is a testament to Moore’s infusing the character with confidence, reasonable thoughts, and even some empathy. We finally understand why she does what she does.

May I boast for a moment about Harris’s performance? Richard, once known as Richie as a kid (this will give something away), has lived a difficult life.

Abandoned, wounded, and suffering much loss, he is a tragic figure, pained beyond belief. His suffering is so monumental that we almost welcome his demise, and Harris offers so much of himself in this difficult role. He is both physically and emotionally hurt and Harris portrays this in spades.

Uniquely, all three stories work independently of each other. Yes, characters from one appear in another, but they are like well-crafted vignettes. Similarly, they each begin with breakfast, then involve the planning of a party or celebration of some sort, and culminate in sadness.

Yet, the film does not feel like a downer or preachy in any way, but rather, good, solid, humanistic story-telling, which I adore.

Sure, the film is considered a drama, but it also contains multiple gay or bisexual characters and therefore must be included in the chambers of LGBT filmmaking.

With an A-list cast, the film helps lead the charge (successfully so) to bring more rich LGBT films to center stage and garner mainstream audiences.

The great aspect of The Hours is that it is a mainstream film- a good solid drama.

Based on a Pulitzer Prize-winning novel by Michael Cunningham, The Hours (2002) does not try to draw parallels with each story or necessarily connect them in an obvious fashion.

Rather, the film version provokes thought both with LGBT and feminist approaches. Each female central character lives in a world run by men, as Woolf argues in her novel.

The film brilliantly adapts the novel and brings it to large audiences in a fantastic, riveting fashion.

Oscar Nominations: 1 win-Best Picture, Best Director-Stephen Daldry, Best Actress-Nicole Kidman (won), Best Supporting Actor-Ed Harris, Best Supporting Actress-Julianne Moore, Best Adapted Screenplay, Best Original Score, Best Costume Design, Best Film Editing

2004 Films, Drama, Eileen Atkins, Gabriel Byrne, Jim Broadbent, Julian Fellowes, Period Drama, Reese Witherspoon, Rhys Ifans, Romantic Drama

Vanity Fair-2004

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Vanity Fair-2004

Director Mira Nair

Starring Reese Witherspoon, James Purefoy

Scott’s Review #772

Reviewed June 12, 2018

Grade: B

An adaptation of the classic 1848 novel written by William Makepeace Thackeray, Vanity Fair (2004) softens the traditionally unlikable and roguish character of Becky Thatcher quite a bit.

This proves not to be the smartest move as the character, now more of a heroine is watered down and forever changed, as is this film adaptation.

Reese Witherspoon (Becky) drew harsh criticism for her starring turn, but I do not think she is so bad, and the costumes and set designs are wonderful and quite the highlight of the resulting period piece.

In 1802 England, we meet Becky Sharp, a young woman who has just graduated from a School for Girls and been sent to work as a governess. Because her father, a talented painter, is impoverished, Becky is cast aside as lower class and deemed undesirable to anybody upper class- the men she is most interested in.

Despite her reputation as a tart, Becky aspires to marry rich and frequently gets into trouble with her shenanigans and smart tongue while romance blooms with the handsome Rawdon Crawley (Purefoy).

The story is supposed to encompass Becky’s life from approximately age eighteen through her mid-thirties (though Witherspoon never appears to age) and displays her trials and tribulations, her loves and losses through the years.

We follow her from rural England to London and Belgium, eventually residing in Germany, reduced to working in a casino, where the film concludes.

The film is a treat as the various countries as they appeared in the nineteenth century, and the wars and battles occurring during this period are featured making for an interesting history lesson.

The main appeal should be Becky Thatcher since the film revolves around her, and numerous criticisms were thrown around accusing the film of casting Reese Witherspoon in the important and demanding role based on her star power at the time.

In 2004 Witherspoon was experiencing enormous film success after 2001’s Legally Blonde and 2002’s Sweet Home Alabama- admittedly fluff films- but securing her box office power nonetheless. These films undoubtedly led to her being cast in the pivotal role, but I thought the star was perfectly adequate and gave Becky appropriate humor and zest.

Based on Witherspoon’s “girl next door” persona and the fact that she just looks like a good character- perplexing the decision to cast her if filmmakers wanted to be true to the character.

Witherspoon was delicious in 1999’s Election as villainous Tracy Flick, a role of a lifetime. But that is the exception and not the standard.

But I digress- the bottom line is that while she is a capable actress, she does not give the gritty performance that many were expecting to be true to the character in the novel.

The rest of Vanity Fair is just mediocre as far as the story goes.

While the antics of Becky are both humorous and dramatic, her rooting value in the romance department does not come across in the 2004 film offers- not enough chemistry exists between the leads to warrant much support.

Opinions abound that other incarnations of Vanity Fair are far more superior and compelling than this film is, but I have yet to see any.

Compliments must be reaped on the costume department and the art direction- both are superior. Such threats are the lavish and colorful costumes and gowns that mark the time. From the classic style hats and highfalutin dresses featured in ball after ball, this aspect is nearly enough to recommend a watch over the dull story and immeasurably the highlight of the entire film.

Vanity Fair (2004) is considered a messy travesty to those well-read enough to have turned the pages of the classic novel. Since I have not yet read the book, perhaps I enjoyed the film slightly more than I should have, but alas, I did not find the casting of Witherspoon as Becky nor the overall product to be drivel as many did.

I recommend the film for the gorgeous visual treats if nothing else.

2001 Films, Alan Bates, Clive Owen, Derek Jacobi, Drama, Eileen Atkins, Emily Watson, Helen Mirren, Julian Fellowes, Kelly Macdonald, Kristin Scott Thomas, Maggie Smith, Period Drama, Richard E. Grant, Robert Altman, Ryan Phillippe, Scott's Top 100 Films

Gosford Park-2001

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Gosford Park-2001

Director Robert Altman

Starring Maggie Smith, Helen Mirren, Ryan Phillippe

Top 100 Films #68

Scott’s Review #350

60021796

Reviewed January 9, 2016

Grade: A

Somewhere between the brilliant PBS series of the 1970s and the ultra-modern cool of Downton Abbey (also PBS) lies the masterpiece that is Robert Altman’s 2001 gem, Gosford Park.

Ironic is that the creator, writer, and executive producer of Downtown Abbey, Julian Fellowes, wrote the screenplay of Gosford Park.

No wonder, combined with Altman’s direction, they created genius.

The period is 1932 and the wealthy, along with their servants, flock to the magnificent estate of Gosford Park, a grand English country home. The guests include both Americans and Brits and everyone is gathered for a shooting weekend- foreshadowing if ever there was.

Following a dinner party, a murder occurs and the remainder of the film follows the subsequent police investigation, and the perspectives of the guests and the servants as a whodunit ensues.

Many of the character’s lives unravel as secrets are exposed.

Sir William, the murder victim, is a powerful industrialist. After he announces he will withdraw an investment, the ramifications affect many of the guests so that the set-up is spelled out for the audience.

At the risk of seemingly nothing more than a plot device- it is so much more than that.

During a pheasant shoot, Sir William receives a minor wound thanks to a stray birdshot- is this intentional or merely an accident? When Sir William meets his fate that evening, the potential suspects pile up.

If there are two compelling aspects to a great film, they are a good old-fashioned whodunit and an enormous cast, all potential suspects.

What makes Gosford Park exceptional is that every character is interesting in some way and all are written well.

Secrets abound for miles in this film and are revealed deliciously. Torrid affairs, sexuality secrets, and blackmail abound as revelations make their way to the surface and Altman knows exactly how to cast doubt or suspicion on many of his characters.

The compelling relationship between American film producer Morris Weissman and his valet, Henry Denton (Ryan Phillipe), along with the domineering head housekeeper, Mrs. Wilson (Helen Mirren) are my favorite characters and dynamics.

How clever that Maggie Smith would play similar roles as stuffy aristocrats in both Gosford Park and Downton Abbey.

Rich in texture is the balancing between the haves and the have-nots and how those characters mix (sometimes in secret rendezvous!)

Typical of Altman films, the character dialogue commonly overlaps, and the actors largely improvise the script. In addition to being an actor’s dream, this quality gives a dash of realism to his films and Gosford Park is no exception.

Since there are so many characters and so many plots and sub-plots going on at once, my recommendation is to watch the film at least twice to fully comprehend the layers of the goings-on.

Gosford Park (2001) will become more and more appreciated.

Oscar Nominations: 1 win-Best Picture, Best Director-Robert Altman, Best Supporting Actress-Helen Mirren, Maggie Smith, Best Screenplay Written Directly for the Screen/Original Screenplay (won), Best Art Direction, Best Costume Design