Tag Archives: Helen Mirren

2006 Films, Biography, Drama, Helen Mirren, James Cromwell, Michael Sheen, Political Drama, Stephen Frears

The Queen-2006

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The Queen-2006

Director Stephen Frears

Starring Helen Mirren, Michael Sheen

Scott’s Review #1,253

Reviewed May 8, 2022

Grade: A

Before the Netflix series, The Crown (2016-2023), loudly stomped into existence and took the world on a historical journey through the trials and tribulations of British royalty there was The Queen (2006).

Starring Helen Mirren, the film is a quiet telling of the life and times of Queen Elizabeth II, especially immediately after the death of Princess Diana and the conflict and contention that took place.

Ironically, The Crown was created and primarily written by Peter Morgan, who also wrote The Queen. He created The Crown because of The Queen so there is an instant correlation between the two brilliant projects and the handwriting is very similar.

Stephen Frears, who also directed Judi Dench to an Oscar nomination for Philomena (2013) is at the helm and won himself an Oscar nomination for directing as well as scoring a win for Mirren.

The Queen is a terrific film across the board and Mirren is phenomenal in her portrayal of the grand dame. She cleverly fuses stiffness and stoicism with subtle warmth and humanity few see from the queen, at least publicly.

Layers of complexity are provided to an already mysterious public figure.

Following the death of Princess Diana in a fiery auto accident, Great Britain’s Queen Elizabeth II (Mirren) and Prime Minister Tony Blair (Michael Sheen) struggled to reach a compromise on how the royal family should publicly respond to the tragedy.

The family’s need for privacy and the public’s demand for an outward show of mourning are in the balance. This causes mayhem and drama behind the sacred walls of Buckingham Palace.

The acting of Mirren and the direction are what make The Queen pure magic and a standout among the many royalty-themed films to emerge since the beginning of motion pictures.

First of all, Mirren looks like the part of Queen Elizabeth II and this goes way beyond wearing glasses and a sweater or having the same hairdo. She encompasses the role and this is no small feat.

The mannerisms, the speech patterns, and the lowkey attitude are the amazing nuances that the actress can somehow channel.

It feels more than Mirren dressing up like royalty and showing up scene after scene. She does something much more with the unspoken looks and inner workings of the queen that become apparent to the viewer.

Frears chooses to include many closeups of characters, mainly of Mirren, which only encircles what each character is thinking and pondering.

The film is very subdued with a lovely musical score adding texture and appeal to each frame. The inclusion of archival footage is powerful realism.

Merely nine years after the real-life death of the uber-popular Diana the event was still so fresh in the minds of viewers that releasing The Queen at this time was a stroke of genius.

It’s no secret that while Queen Elizabeth II is respected she is worlds away from wildly popular Diana and emits a coolness that baffles the public.

Thanks to Mirren, the public gets a glimpse into the heart and soul of a mysterious person and that’s a good feeling indeed.

However, Mirren couldn’t have delivered fully if not for the talents of Michael Sheen as Prime Minister Tony Blair. Generations apart and with differing views they spar and respect each other, slowly forging a friendship of sorts.

The Queen (2006) hardly needs bombs, bombast, or quick editing to get its point across, though speaking of editing, a fantastic job of it with family scenes of Diana.

The film lures the viewer into its web and makes them feel like an insider amongst the walls of royalty.

Oscar Nominations: 1 win-Best Picture, Best Director-Stephen Frears, Best Actress-Helen Mirren (won), Best Original Screenplay, Best Costume Design, Best Original Score

1973 Films, Comedy, Dark Comedy, Helen Mirren, Malcolm McDowell, Musical, Musical Comedy

O Lucky Man!-1973

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O Lucky Man! -1973

Director Lindsay Anderson

Starring Malcolm McDowell, Ralph Richardson, Helen Mirren

Scott’s Review #1,174

Reviewed September 1, 2021

Grade: A-

O Lucky Man! (1973) is a satirical black comedy that mixes musical songs with a message of capitalism by the driven protagonist. Like a great fine wine, the film has aged well and is still relevant decades later.

The film is a slow build but by the end of the lengthy running time of nearly three hours, I was enamored and hummed the title song repeatedly.

I’m still humming it as I write this review.

Suggested is to watch O Lucky Man! in two or three segments for full appreciation. One sitting would be incredibly tough since some of the events require some level of reflection and thought.

An ambitious young British man, Mick Travis (Malcolm McDowell) is determined to be successful at all costs. Debuting as a coffee salesman, Mick is quickly promoted within his company. Events take a series of bizarre turns when Mick is abducted by a military agency.

Later, he becomes smitten with the gorgeous Patricia (Helen Mirren) and winds up working for her father, sinister executive Sir James Burgess (Ralph Richardson). As Mick’s tale continues, his experiences get progressively stranger.

The clever aspect is that just when you think Mick’s life is dour and drab he rebounds more successful than ever. Hence the title of the film. So, there is an element of adventure and romance amid the capitalist plot.

Lindsay Anderson, who directed O Lucky Man! re-casts McDowell again in the same role he first played as a disaffected public schoolboy in his first film performance in Anderson’s film If… (1968).

I did not realize this at the time I watched O Lucky Man! and I think this knowledge would have made me catch on to the events and the subtexture even more.

Now, I need to rewatch If…

I did however ruminate constantly on McDowell’s other iconic role in A Clockwork Orange (1971) as Alex. The characters are quite similar save for Alex being a juvenile delinquent instead of a rising corporate guy like Mick is.

This is in large part due to McDowell’s looks and acting style. His trademark sneer and bright blue eyes make him mesmerizing in both roles.

I even spotted an actor who played one of the infamous droogs!

A plus to the film is that several actors appear in multiple roles, some difficult to distinguish. Part of the fun is trying to figure out who’s who.

There isn’t a whole lot of chemistry between McDowell and Mirren but it’s interesting the shifting characteristics of the characters. And Patricia is fascinating. When she inquires why people work so hard for things instead of just taking them we realize that she places no value in things because she’s never had to work for them. She’s a rich, daddy’s girl.

There are reasons not to like her but I still did. When she winds up in a homeless lot it’s shocking. And I also loved the character of Mick and his epic journey. He is imprisoned and then reformed in a humanistic way just like Alex was in A Clockwork Orange.

But the best part of O Lucky Man! is the music. Anderson takes periodic breaks from the drama to simply treat his audience to a musical number all performed by Alan Price.

It’s comforting to sit back and enjoy the unforgettable tunes that pepper the film. One could argue that the songs almost usurp the main action but I found them, great companions, to the other.

As if there was any doubt, the soundtrack was widely lauded and was a huge financial success.

A surreal effort, sometimes happy or tragic but always insightful and oftentimes delightful, McDowell, Price, and Anderson are at the top of their respective games.

O Lucky Man! (1973) is a terrific watch brimming with good juices if one just has the patience to let events marinate.

1981 Films, Adventure, Fantasy, Gabriel Byrne, Helen Mirren, John Boorman, Liam Neeson, Patrick Stewart

Excalibur-1981

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Excalibur-1981

Director John Boorman

Starring Nigel Terry, Nicholas Clay, Helen Mirren

Scott’s Review #1,108

Reviewed February 4, 2021

Grade: B+

John Boorman, most famous for directing a 1972 disturbing classic film Deliverance returns to the fold with steamy fantasy rich with lavish sets, visual treats, and an incredible atmosphere.

This is where the film succeeds.

We are taken to a medieval world where we embrace jealousy, sex, and schemes.

Boorman not only directs but produces and co-writes the project along with the screenwriter Rospo Pallenberg.

Excalibur (1981) retells the legend of King Arthur, a British leader from the fifth and sixth centuries mostly told by folklore, and the Knights of the Round Table, based on the 15th-century Arthurian romance Le Morte d’Arthur, at behemoth length, by Thomas Malory.

The table is symbolic because it implies that there is no head and therefore a democratic forum.

This telling is quite adult and not suitable or comprehensible for children.

Famous legends like Merlin (Nicol Williamson), Lancelot (Nicholas Clay), Queen Guenevere (Cherie Lunghi), and Morgana (Helen Mirren) appear alongside Arthur (Nigel Terry) in a furious battle for control.

In a flurry of handsome European actors who would later become famous, Patrick Stewart and Liam Neeson both appear.

Most of the male cast are masculine, hunky, and very handsome. These traits cascade to how good they look in full body armor, shields, and swords doing bloody battles with each other.

Homoerotic scenes exist just as they did in Deliverance. Lest we only focus on the male cast, Helen Mirren is delightful as an evil seductress who oozes sex appeal.

The magical sword of Excalibur starts in the hands of a British lord Uther Pendragon (Gabriel Byrne) and then, years later, finds its way to his bastard son, Arthur, who is destined to become king but doesn’t realize why.

Merlin helps Arthur fulfill his fate by bringing together the Knights of the Round Table at Camelot and unifying the country.

Years later Arthur faces greater tests ahead in pursuit of love, the Holy Grail, and his nation’s survival as some attempt to steal the treasure for their advantage.

Excalibur had me with the visuals and I was able to immerse myself in the spectacular style and artistic set design with gorgeous sequences.

Several creative and glimmering shots of someone either emerging from or submerged underwater are featured. They are startlingly beautiful.

I pretended I had been whisked away to an otherworld of enchantment that I could sit back and enjoy.

The knowledge that the entire film was shot in Ireland captured and enraptured me. The breathtaking greenery and waterfalls are dreamlike. When Lancelot beds Guenevere in the forest they both appear nude. Their pale white flesh against the green is both magical and seductive.

And a treat for one’s curious eyes.

The story is overly complicated with reality mixed with either dreams or fantasy and some of the plots confused me. I finally got to a point where the intricacies became too much for me to comprehend especially against the stunning backdrops.

The plot became too jumbled and messy so it is advisable to drift off and take it all in rather than trying to make sense of everything.

A visual marvel Excalibur (1981) will delight the apt film fan. I fantasized about how the picture would look and feel on the big screen but I wasn’t that lucky.

The story is obviously far-fetched and ludicrous at times, but somehow that doesn’t matter and didn’t hinder my enjoyment of it.

I was treated to good-looking people in armor, unique costumes, and various states of undress. And that’s just fine with me.

2003 Films, Comedy, Helen Mirren, Independent, Independent Comedy, Jay Leno, Julie Walters, Patton Oswalt, Penelope Wilton

Calendar Girls-2003

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Calendar Girls-2003

Director Nigel Cole

Starring Helen Mirren, Julie Walters, Penelope Wilton

Scott’s Review #1,090

Reviewed December 11, 2020

Grade: B+

A clever female version of The Full Monty (1997), the middle-aged bordering on senior citizen characters, nudity comparisons notwithstanding, Calendar Girls (2003) has standard similarities.

The film is a light-hearted affair, charming and fun with positive and inspiring messages about friendship and helping with cancer research.

How can a film like this not bring a smile to the viewer’s face? It did to mine.

That said, it’s hardly high drama or material that requires much thought or dissection. I’d wager to say you only need to see it once. There lies a situational or clichéd theme as the women face the standard and guessable awkward moments, but the film entertains in style.

Calendar Girls is based on a true story adding merit, appreciation, and an endearing quality. It’s a feel-good film if there ever was one which is just fine in this case.

The film was a box-office smash, and why not? It’s a comically robust experience.

A likable group of “women of a certain age” conspire to launch a calendar, bearing their best assets for all to see. Before this sounds too scandalous or corny, the ladies do it for a good cause and not for any titillating pleasure.

The women are British and, while attractive, are average-looking gals with womanly figures. These tidbits lead to humorous and embarrassing situations as some of the women are more modest than others, especially parallel to the conservative and crusty town they live in.

This leads to shocks among the prudish townspeople.

Chris (Helen Mirren) and Annie (Julie Walters) are best friends. When Annie’s husband dies of leukemia, they conjure up the idea of creating a nude calendar, where women pose while doing traditional duties like baking and knitting. The proceeds will go to research for the deadly disease.

Unexpectedly, Chris and Annie, along with others from the Women’s Institute in which they are members, achieved worldwide success even invited to Los Angeles to appear on television’s The Tonight Show with Jay Leno.

The women clash due to their success and differing lifestyle directions, before reconciling and deciding that their ordinary lives aren’t so bad. They happily resume their nice lives away from the spotlight.

The comparisons to The Full Monty (1997) must be mentioned because they are obvious. Whereas the men in The Full Monty strip on stage, the women prefer more modesty, nestled behind calendars for safety, but both groups hail from the English countryside and are regular folk.

Since nudity is the word of the day, both groups possess average bodies and champion worthy causes. Like it or not, this setup produces giggles.

The “calendar girls” are a relatable group that is a marketing genius and allows the film to achieve much merit. Who would care if a bunch of supermodels posed nude while baking cookies?

No, the everywoman factor is sky-high, allowing the film to be appreciated and savored.

Because Mirren and Walters, two respected British actresses appear in Calendar Girls, there is an added respectability.

After all, would either choose a project less than credible? The obvious answer is they make the film better than it might have been. Penelope Wilton does too.

There is a classiness the ladies bring so that we can sink into our theater seats and revel in the good-natured comedy, assuring ourselves we are seeing something of quality too.

Calendar Girls (2003) is so like The Full Monty that they ought to be watched back to back. Perhaps a naughty night in, with a bottle of wine and some cheese, ready to embark on delights and jolly laughs.

2009 Films, Biography, Christopher Plummer, Drama, Helen Mirren, James McAvoy, Kerry Condon, Michael Hoffman, Paul Giamatti, Romantic Drama

The Last Station-2009

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The Last Station-2009

Director Michael Hoffman

Starring Christopher Plummer, Helen Mirren

Scott’s Review #569

Reviewed December 28, 2016

Grade: A-

The Last Station (2009) is a wonderful film.

It contains many worthwhile elements- history, culture, good drama, and great acting. Starring seasoned veterans such as Christopher Plummer and Helen Mirren, the fantastic acting is as good as it gets.

The film tells the story of the final year in the life of famous Russian author Tolstoy and the relationship he has with his family- specifically his wife, Sofya, and his disciples.

The year is 1910 and Tolstoy is ailing. He has had a stormy yet passionate relationship with his wife for decades, which is explored in the film.

The film’s main point is greed and in-fighting for control of a great literary figure’s legacy and money.

The main strong point of The Last Station is the relationship between Tolstoy and Sofya- both characters are headstrong and opinionated, but also madly in love, which leads to many sessions of battle.

This is a film of substance.

Director Michael Hoffman also mixes some humor with the heavy drama.

In conclusion, you might need to use some hankies.

Oscar Nominations: Best Actress-Helen Mirren, Best Supporting Actor-Christopher Plummer

Independent Spirit Award Nominations: Best Feature, Best Director-Michael Hoffman, Best Female Lead-Helen Mirren, Best Supporting Male-Christopher Plummer, Best Screenplay

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