Suffragette: Mini-review


Share This Article: Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedinby feather

Return to Silver Screen Central Home page

 

 

Carey Mulligan gives Suffragette its emotional impact

B-While the civil rights movement in the United States has been the subject of many movies over the years, few, if any, films depicted women’s struggle for equality. Now, director Sarah Gavron and screenwriter Abi Morgan attempt to remedy that shortfall in Suffragettea movie that sacrifices historical accuracy in favor of sometimes overwrought melodrama. Fortunately, a solid performance by Carey Mulligan rescues the movie,

Suffragette tries to depict the women’s suffrage movement in early 20th century England largely through several fictional characters, primarily Maud Watts (Mulligan), a laundry worker. Maud is recruited into the movement by fellow worker Violet Miller (Anne-Marie Duff) primarily in an attempt to get better working conditions for women, However, once she is picked up by the police, events spiral, and she loses her job and her husband (Ben Whishaw). Edith Ellyn (Helena Bonham Carter), a suffragette leader, provides shelter for Maud and involves her more heavily in the group’s activities, which soon turn from protest marches to setting off bombs. 

Suffragette suffers from a problem common to docudramas of historical events; namely, it loses track of the history in emphasizing the drama, or, in this case, melodrama. Only a couple of its secondary characters are real, most notably movement leader Emmeline Pankhurst, played by Meryl Streep in a one-scene cameo. The occurrences depicted in Suffragette are real, including the forced feeding of women involved in hunger strikes and rampant sexual harassment of working women. However, the movie loses its perspective by turning all these outrages into Maud’s personal travails. Worse, Suffragette  pulls its dramatic punches by making Maud a woman who stumbles into activism only after continually being in the wrong place at the wrong time. Fortunately, Mulligan delivers a powerful performance, especially when she has to cope with the loss of her family. The filmmakers also rely on the audience’s unfamiliarity with the suffrage movement’s history to successfully build suspense during the climactic sequence involving Maud and another woman attempting a very public protest in front of King George V at the Epsom Derby. Those bits and pieces of history that Suffragette does depict, along with Mulligan’s powerful lead performance, make the movie worthwhile, but the full story of the women’s suffrage movement remains to be told. 
Continue reading on Suffragette: Mini-review »

Follow Us: FacebooktwitterlinkedinFacebooktwitterlinkedinby feather

Tags:
Categories:

Learning to Drive: Mini-review


Share This Article: Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedinby feather

Return to Silver Screen Central Home page

 

 

Patricia Clarkson

Patricia Clarkson sparkles in a rare lead role

BMovies starring actresses with a trace of gray in their hair who aren’t named Meryl Streep or Julianne Moore are quite rare today. So are movies about serious platonic relationships between heterosexual couples. So, Learning to Drive provides some seldom-seen delights for viewers interested in more serious, well-written fare.

The movie’s platonic couple are Wendy (Patricia Clarkson) and Darwan (Ben Kingsley). She’s a writer and literary critic in New York whose husband of some 20 years (Jake Weber) has just left her for a younger woman. He’s a Sikh driving instructor and taxi driver, granted political asylum in the U.S. so he can’t return to his native India, even for a visit. What starts as an effort to get some order in her life and simply a part of his job winds up blossoming into a real friendship.

Learning to Drive is a small, rather brief movie that is content to have its characters take small steps rather than solve all their life problems in less than 90 minutes. Clarkson is particularly radiant here, but the film makes it clear that radiance wasn’t always on display during her marriage. Kingsley has mastered this dignified sage role, but his Darwan too has a dark side, a temper and imperiousness that shows in his relation with his new wife (Sarita Choudhury), the product of a marriage arranged by his mother. For a movie this short, Learning to Drive never seems rushed. Instead, the script lets the relationship between Wendy and Darwan develop naturally. In part that’s because the script requires them to spend considerable time two feet apart in the confines of a car, a situation that encourages eventually revealing confidences to one another. Also, director Isabel Coixet wisely decides not to waste time with lame attempts at supposedly funny, bad driving set pieces. Even so, by the end of Learning to Drive, viewers feel they want to see more of Wendy and Darwan than the film allows. But Learning to Drive is a movie about minor accomplishments, and a successful film of that nature is actually a major accomplishment nowadays. 
Continue reading on Learning to Drive: Mini-review »

Follow Us: FacebooktwitterlinkedinFacebooktwitterlinkedinby feather

Tags:
Categories:

Ricki and the Flash: Mini-review


Share This Article: Facebooktwittergoogle_plusredditpinterestlinkedinFacebooktwittergoogle_plusredditpinterestlinkedinby feather

Return to Silver Screen Central Home page

 

 

Meryl Streep

Oscar won’t come calling for Meryl Streep after this role

B-At some point a little more than halfway into Ricki and the Flashdirector Jonathan Demme and screenwriter Diablo Cody apparently ran out of story ideas right around the time the audience gets to see Meryl Streep with a large American flag tattooed on her back. So, they decide to rely on Streep carrying the rest of the movie on her tattooed back using her singing rather than her acting. Streep’s certainly a good enough singer to pull it off, but the results aren’t what viewers probably expected given the talent involved in Ricki and the Flash.

Streep is the title character, Ricki Randazzo, lead singer for a bar band at a third-rate California nightclub. Years earlier, she walked out on hubby Pete (Kevin Kline) to pursue her singing career, which proved a nearly complete flop. Now, Pete asks Ricki to return to her old home in Indiana and help guide their daughter Julie (Streep’s real life daughter, Mamie Gummer) through the breakup of her own marriage. 

As far as dysfunctional families go, the Brummels of Ricki and the Flash don’t hold a candle to Streep’s last troubled fictional clan, the Westons of August: Osage CountyBut screenwriter Cody does a good job of sketching out the characters and pitting them against each other. However, after a key confrontation with another character, Ricki literally packs her bags and goes home, and the film never recovers its dramatic or comic footing. Demme finds ways to pass the time with several musical numbers featuring Streep, Rick Springfield (playing Ricki’s boyfriend and band guitarist) and the other band members (all played by real life rockers). Make no mistake; Streep and company are lots better than any bar band I’ve ever seen, and I could easily listen to another hour of their music. Still, the filmmakers have shortchanged viewers by creating a reasonably entertaining family dynamic and then abandoned it abruptly in favor of letting music heal all, Good as Streep’s pipes are, a lot of singers can do what she does fronting a very talented back-up band working their way through a series of oldies covers. Not many could do as good a job she could have fronting an even more talented acting ensemble working their way through a series of family predicaments. Ricki and the Flash, like Ricki’s fictional career, winds up being nothing more than a flash in the pan.
Continue reading on Ricki and the Flash: Mini-review »

Follow Us: FacebooktwitterlinkedinFacebooktwitterlinkedinby feather

Tags:
Categories: