Movie Review: A Royal Affair (En Kongelig Affaere)

Mads Mikkelsen, Mikkel Folsgaard & Alicia Vikander

A Royal Affair (2012)

Directed by: Nikolaj Arcel

Starring: Alicia Vikander, Mads Mikkelsen and Mikkel Boe Folsgaard

A Royal Affair (Or: How the European Enlightenment Came to Denmark) narrows in on the illict relationship between a German-born doctor and the British-born queen of the Danes. How these two came to fall passionately in love -- at great risk to themselves -- is at the heart of director Nikolaj Arcel's moving historical drama, a Best Foreign Language Film nominee at the recent Oscars ceremony.

The film opens with a voiceover from Caroline Mathilde (Alicia Vikander), younger sister to England's King George III. Caroline's narration comes in the form of a revealing letter written to her two estranged children back in 1775, in the midst of her rapid fall from power. Caroline details how she came to be the new queen of Denmark -- as a 15-year-old princess married to King Christian VII (Mikkel Boe Folsgaard), a man who at first glance appears to be so emotionally unstable to the point of outright madness. Just as Caroline resigns herself to her fate as a sidelined queen overpowered by a dominant, wild husband, the tides start to shift in her favour. When the king's council seeks a doctor to properly diagnose and address Christian's mental instability, they recruit a small-town German-born doctor named Johann Struensee (Mads Mikkelsen). Put off by the unconventional doctor at first, Caroline soon falls in love with the educated, free-thinking Struensee. The two embark on creating a series of social reforms, persistently bringing the European Enlightenment to Denmark -- a country that Caroline insists is still living in the "dark ages." They enact their reforms through the vulnerable Christian VII, who affectionately refers to his wife as "mother" and idolizes Dr. Struensee like a child to a parental figure. This strange love triangle (of sorts) scandalizes the court, causing the king's devoutly religious and conservative-minded council and his conniving stepmother, Juliane (Trine Dyrholm) to take extreme measures to bring about the utter disgrace of both Struensee and Caroline.

A Royal Affair benefits greatly from that fact that this historical event, and its bloody and tragic outcome, remains largely unknown to North Americans, in general. As a result, audiences are better able to envelope themselves in a world and situation that is unfamiliar to them -- this doesn't feel like your usual historical costume drama re-hash. 

Arcel's film also manages to breath life into its three central characters -- all are equally sympathetic in their own way. You yearn for each to find their own personal happiness, yet there's a shadow that hangs over each of their fates. It's rare to see historical figures painted in such a light -- none of the three  lead figures are perfect, far from. Nothing about their situation is black or white and, as a result, each character reveals their own grey areas: Is Caroline right to use her mentally unstable husband as a puppet king, much like his own council? Is it arrogant of Struensee to think he can change the minds of an entire nation in one fell swoop? And is Christian VII really a devious fiend as first portrayed, or is he really a lost young man not fit to be king and yearning for true friendship?

Vikander and Mikkelsen

With its lush cinematography (you'll want to book a flight to Denmark ASAP) and exquisite costumes, A Royal Affair may look like many other period pieces you've seen before, but where it truly excels is in its revelatory casting.

As Caroline, Vikander portrays the young queen as a strong-willed woman who follows her heart and bides her time before she can truly blossom into a prominent political figure. She's highly educated and is up-to-date on the latest news about Voltaire and Europe's Enlightenment. How refreshing to see such a strong central female figure and Vikander is lovely in the role. 

Mikkelsen is the brash and opinionated Struensee, a man who thinks his way is the right way -- other opinions be damned. He's drawn not only to Caroline's beauty, but her mind and strength of character. A man of the Enlightenment, Struensee strives to bring Denmark into a new world -- albeit while neglecting to realize the consequences of his actions in a country that largely doesn't identify with the European movement.

And, finally, there's Folsgaard as the irascible, yet strangely sympathetic, King Christian VII. Within the opening frames of the film you'd be hard pressed to find positive thing to say about the king. His attitude towards his young wife is appalling and his inability to effectively rule his own people is an embarrassment to Denmark. But, stick around long enough, and you see more of the person beneath the hot-headed exterior. Thanks to Folsgaard's fantastic performance, Christian goes from foul-mouthed brat to a frightened, lonely man trapped within an occupation at which he is incompetent. His reliance on Caroline and Struensee for comfort and entertainment invites a tragic element to the character of Christian and its all perfectly rendered by Folsgaard in his first film role (winner of the Best Actor award at the Berlin Film Festival, the Oscars missed out on nominating Folsgaard for Best Supporting Actor).

A Royal Affair is a beautifully lensed, powerful historical drama. And while its history is absolutely fascinating, it's the characters that will make you want to stay for the long haul.

FINAL GRADE: A-

Classic Film Review: Good News

Good News (1947)
Directed by: Charles Walters
Based on the play by: Lew Brown et al.
Starring: June Allyson and Peter Lawford

Chances are, if you are looking for a good old-fashioned musical from the 40s and 50s, your first stop would be MGM -- the major studio that produced Singin' in the Rain, The Wizard of Oz, West Side Story, Meet Me in St. Louis and Showboat, among others.

For every Gene Kelly pirouette and Judy Garland solo, there are those lesser-known gems from MGM that would otherwise be completely forgotten if not for specialty channels like TCM. 

And, considering the DVD is next to impossible to track down, TCM may be the only way classic film buffs can view (and own) director Charles Walters' thoroughly enjoyable adaptation of the college-set musical, Good News.

It's a familiar premise, one we've seen in countless musicals and romantic comedies over the decades: A college football captain named Tommy Marlowe (Peter Lawford) falls head-over-heels for the campus' beautiful, wealthy "it" girl, Pat McClellan (Patricia Marshall). When Pat rejects Tommy's advances, he discovers her passion for the French language and vows to become fluent himself in an attempt to woo her. He enlists the help of brainiac Connie Lane (June Allyson), and she sets aside time from her busy schedule to tutor him in French. And then, wouldn't you know it, Connie finds herself smitten with the star athlete. It's your standard tale of (seemingly) unrequited love set to bouncy music, vivid technicolour and show-stopping dance numbers.

All musicals require a suspension of disbelief, arguably even moreso than any other genre. People, often complete strangers, are liable to break out into a perfectly synchronized song and dance routine -- only to resume their everyday activities the moment the song reaches its concluding notes.

However, Good News unintentionally requires its viewers to suspend their disbelief even further with one particular gaping plot hole and a couple of contrived situations that strain plausibility.

The gaping plot hole? Well, that would be the fact that the film claims it's set in the 20s when, in actual fact, all the costumes and hair-styles are very clearly contemporary (i.e. circa 1947). And the plot contrivances? It would be too long-winded to list here but, in a nutshell, Tommy finds himself torn between winning the final football game of the season and proposing to Pat after the victory or losing the game on purpose to win over the affections of the bookish Connie.

Peter Lawford and June Allyson

Regardless of these quibbles, it's hard not enjoy this rousing musical. The songs are surprisingly catchy considering the film has fallen off the radar when people talk about movie musicals. You'll find yourself humming "Lucky in Love" well after the end credits. And, while "The Best Things in Life are Free" is no doubt viewed as the film's romantic highlight, keep an eye out for the amusing exchange between the charming Allyson and Lawford when they duet on "The French Lesson."

In terms of genuine show-stoppers, however, there's only one that comes to mind: "Pass the Peace Pipe", an infectious song-and-dance number led by Joan McCracken (professional dancer and ex-wife of Bob Fosse).

But what it all comes down to in the end is the two charming leads. While Allyson and Lawford both have their detractors, I'm not one of them -- they are both a joy to watch. While they may not have the greatest singing voices they try their darndest to really belt it out. Where they do both excel is in their onscreen presence and overall likeability -- and both are fully capable of burning up the dance floor as they prove in the closing number, "The Varsity Drag."

For pure, unadulterated musical entertainment, Good News proves to be just that.

FINAL GRADE: B+

Movie Review: Amour

Emmanuelle Riva

Amour (2012)
Written & Directed by: Michael Haneke
Starring: Jean-Louis Trintignant and Emmanuelle Riva

An elderly couple returns from a classical music concert to find that someone had attempted to break into their beautiful apartment while they were away. Little do they know, something far more sinister than some petty thief is about to come along and shatter their comfortable lifestyle.


So begins German-born Austrian filmmaker Michael Haneke's quietly devastating portrait of old age and unconditional love.

This French-language gem avoids all the melodrama usually associated with films centred on old age and the loss of a loved one. Anyone who has witnessed the cruel ravages of dementia or Alzheimer's -- or old age, in general -- can attest to the raw authenticity in which Haneke captures the decline of this elderly French couple.

Anne (Emmanuelle Riva) and Georges (Jean-Louis Trintignant) have been married for more than 50 years. Their past -- and their familiarity with one another as longtime companions -- is slowly revealed to us through the little stories they share with one another and the little affectionate gestures with which they communicate. Whether Anne is flipping through an old photo album, commenting on the beauty of life, or Georges is recounting a film that moved him to tears as a child, their marriage and comfortable companionship is a testament to their love for one another. Despite the passage of time, you can see glimpses of the young lovers they once were.

But then Anne suffers a stroke as a result of a blocked carotid artery and the unsuccessful resulting surgery leads to her eventual rapid decline. Georges struggles to care for his wife, resolutely refusing to hand her off to a nursing home.

Jean-Louis Trintignant

Anne suffers the indignities of aging as gracefully as can be expected under such circumstances. She lightly teases her husband as he hovers next to her bed, watching her read a book -- yet, her voice can be quick to sharpen if she feels he's doting on her too much and infringing on her own capabilities.

To watch Georges grapple with decisions and question his actions is equally as heartbreaking to watch as witnessing Anne's slow deterioration and suffering. It's enough to emotionally shatter even the most cynical viewer.

Haneke, as both screenwriter and director, is at the helm of what is arguably the most realistic portrayal of old age ever captured on film. His assured, confident direction and touching dialogue allows his two lead actors to shine. Riva and Trintignant, both acting legends in their native France, are absolute powerhouses here. Riva is absolutely devastating to watch, while Trintignant's subtly nuanced performance as the struggling spouse is just so full of truth that you can literally feel the gravity of his situation. They are beautiful performances, both.

While the film presents you with things you'll fear later in life, it also provides hope that we'll all experience the same unconditional love and support from a spouse, friend or relative that will guide us through advanced age's crueler moments.

Beneath the tragedy of watching a loved one slip away, Amour is an intimate, powerful look at advanced age -- but it's ultimately, above all, a love story.

FINAL GRADE: A

What my dream Oscars would look like...

We all do it: Compile a list -- in our minds or on paper -- of our favourite films of the year and decide which movies and performances we'd like to see nominated at the Academy Awards.

Overall, 2012 wasn't my favourite year for film (Will any of the 2000's ever be as good as 2007?). However, there were some notable films and beautiful performances -- many of them recognized by the Academy, others sadly overlooked.

Here's how my Oscars would have played out (based on what I've seen)...

Best Picture
Amour
A Royal Affair
Beasts of the Southern Wild
Django Unchained
Life of Pi
The Master
Moonrise Kingdom
Zero Dark Thirty

Best Director
Paul Thomas Anderson for The Master
Kathryn Bigelow for Zero Dark Thirty
Michael Haneke for Amour
Ang Lee for Life of Pi
Quentin Tarantino for Django Unchained
Who I'd choose: Ang Lee

Best Actor
Daniel Day-Lewis for Lincoln
John Hawkes for The Sessions
Dwight Henry for Beasts of the Southern Wild
Joaquin Phoenix for The Master
Jean-Louis Trintignant for Amour
Who I'd choose: Joaquin Phoenix

Best Actress
Jessica Chastain for Zero Dark Thirty
Jennifer Lawrence for Silver Linings Playbook
Emmanuelle Riva for Amour
Quvenzhane Wallis for Beasts of the Southern Wild 
Rachel Weisz for The Deep Blue Sea
Who I'd choose: Emmanuelle Riva

Best Supporting Actor
Mikkel Boe Folsgaard for A Royal Affair 
Samuel L. Jackson for Django Unchained
Tommy Lee Jones for Lincoln
Philip Seymour Hoffman for The Master
Christoph Waltz for Django Unchained
Who I'd choose: Mikkel Boe Folsgaard

Best Supporting Actress
Amy Adams for The Master
Sally Field for Lincoln
Kara Hayward for Moonrise Kingdom
Helen Hunt for The Sessions
Isabelle Huppert for Amour
Who I'd choose: Helen Hunt

Movie Review: Zero Dark Thirty

Jessica Chastain

Zero Dark Thirty (2012)
Directed by: Kathryn Bigelow
Starring: Jessica Chastain, Kyle Chandler, Joel Edgerton, Jennifer Ehle and Jason Clarke

Right from the earliest scenes of her latest political thriller, director Kathryn Bigelow proves  her skill at displaying raw human emotion in even the most heart-pounding sequences.

Working again with screenwriter Mark Boal, who penned the script of her Oscar-winning The Hurt Locker, Bigelow has crafted one of the finest cinematic experiences of 2012.

Despite the swirl of controversy over the torture sequences -- an issue that hangs over the film like a wet blanket -- Zero Dark Thirty combines an investigative political thriller with a complex character study.

The film slowly unfurls over a span of 10 years; the length of time the in-depth manhunt for the whereabouts of Osama bin Laden took to reach its conclusion. While the subject is obviously derived from a true story, many will question its accuracy considering the shroud of secrecy that cloaked the government reports. However, although Bigelow and Boal insist they interviewed pivotal figures involved in bin Laden's death, the debate over whether or not the film is entirely based on reality is ultimately irrelevant.

What Bigelow has created is a plausible scenario that has scenes of action, interrogation and government verbal battles that all brim with complex decisions made by people who are neither good nor evil. Nothing is black and white in Zero Dark Thirty and every action can be called into question.

At the centre of the investigation is Maya (Jessica Chastain), a new CIA recruit sent to close in on bin Laden and bring the world's most wanted man to justice. Along the way she is faced with government suits (led by Kyle Chandler as U.S. Embassy chief in Pakistan, Joseph Bradley) who shoot down her theories and suppositions on the whereabouts of bin Laden. Her frustration is palpable at times, but her steely resolve pushes her through to the end.

As played by Chastain, Maya displays a remarkable composure that only falters a few times. Her perseverance and insistence on acquiring intelligence through investigative techniques -- her face displays her open revulsion at torture tactics -- forces others to follow her direction. Chastain gives one of the years best performances, subtly conveying each and every emotion that Maya struggles with -- whether it's the death of a close colleague or her frustration at the lack of support from her higher-ups.

Zero Dark Thirty plays out like a documentary, all of which is told from Maya's point of view. While we do eventually meet the Navy SEAL team that ultimately take down bin Laden, it's all through shadows and night-vision goggles.

Whether or not Zero Dark Thirty walks away from the Oscars as a big winner still remains to be seen, but there's no denying its smart script and note-worthy performances, all of which speaks to various important issues we confront in our news on a daily basis.

FINAL GRADE: A

Movie Review: Life of Pi

Suraj Sharma

Life of P (2012)
Directed by: Ang Lee
Starring: Suraj Sharma, Irrfan Khan, Adil Hussain and Tabu

"I suppose in the end the whole of life becomes an act of letting go, but what always hurts the most is not taking a moment to say goodbye."

Life of Pi is a visual feast, and the power of oral tradition is alive and well in Ang Lee's masterful Oscar contender.

Based on the novel by Yann Martel, and adapted for the screen by David Magee, Lee has culled together all the difficult narrative threads from the original source and crafted a beautiful film from a novel that was once deemed unfilmable.

Life of Pi opens in Montreal where an older Pi Patel (Irrfan Khan) meets with a young writer (Rafe Spall) interested in hearing his life story. In flashbacks, we are taken back in time to young Pi's youth in India. Born a Hindu, Pi's insatiable desire for knowledge and understanding leads him to take a deep interest in Catholicism and Islam. Armed with a complete faith in all three religions, Pi confronts his father (Adil Hussain), a man of science who rejects tradition and openly embraces a new India. "If you believe in everything, you end up not believing in nothing at all," his father cautions. When a teenage Pi (Suraj Sharma) is forced to leave India along with his family at his father's request, the youth struggles to come to terms with an event that he has no doubt will change his life forever. While packed on a Japanese cargo ship headed for Canada where Pi's father and mother (Tabu) hope to start a new life in Winnipeg, a torrential storm upends the ship, leaving Pi stranded in the middle of the Pacific Ocean with a zebra, hyena, orangutan and a tiger named Richard Parker. Lost at sea for an astonishing 227 days, Pi is forced to reevaluate his earlier notions of fate and the universe as his faith is put to the ultimate test.

Suraj Sharma

The meandering plot could easily have alienated viewers in the hands of a lesser director. Lucky for us, Lee has a knack for making even the quietest moments resonate with an emotional power. Life of Pi stays afloat thanks to lead actor Suraj Sharma, who carries the entire weight of the film on his young shoulders. It's a career-making performance that will undoubtedly put Sharma on the map.

Who knew that watching a teen boy grapple with religion, contemplate the meaning of life and bond with a vicious tiger could result in one of the finest film experiences of 2012?

Life of Pi is a fable, a film that revels in the art of storytelling. Through a combination of Magee's deft adaptation of a complex novel and Lee's lush visuals, Life of Pi is the kind of spectacle that proves even big-budget films with blockbuster-level CGI can be a thought-provoking work of art at it's very core.

FINAL GRADE: A 

Movie Review: Django Unchained

Christoph Waltz and Jamie Foxx

Django Unchained (2012)
Written and Directed by: Quentin Tarantino
Starring: Christoph Waltz, Jamie Foxx, Leonardo DiCaprio, Kerry Washington and Samuel L. Jackson

Revenge is a dish best served cold and, when it comes to revenge, no one doles it out quite like Quentin Tarantino.

In recent years, Tarantino has endowed his central characters with ample opportunities to get even in instances where they have been painfully wronged -- whether it's The Bride exacting revenge on the man who tried to kill her or a group of Basterds on the hunt for Nazis.

Tarantino, with his almost unnatural ability to understand the plight of those who were once downtrodden and his evident love for the world of cinema, has crafted his maturest film to date with Django Unchained.

Riding high on the coattails of the much-lauded Inglorious Basterds (2009), Tarantino's latest blood-soaked  tale sets its sights on the years leading up to the American Civil War. When we first meet a chained Django (Jamie Foxx) he's a recently purchased slave who is unexpectedly freed by a personable German bounty hunter by the name of Dr. King Schultz (Christoph Waltz). Schultz makes plain his motivation to a thoroughly stunned Django -- he's on the hunt for Django's previous owners and requires his help in pointing out their faces in a crowd. However, as with all Tarantino films, the opening 40 minutes merely scratches the surface of the plot.

The real draw is in Django's search for his wife, Broomhilda (Kerry Washington), now under the ownership of the brutal Calvin Candie (Leonardo DiCaprio) -- a man so villainous that he forces slaves to battle one another to the death in what he calls "mandingo fighting."

Schultz and Django devise a way to work their way into Calvin's good graces, earning a place at his dinner table under the guise of slave traders wanting to offer him money for some of his "mandingo" fighters.

With a nearly three-hour run-time, Django is on par with Tarantino's previous films with regards to longevity and plot twists. However, those coming into Django expecting the usual clever, dialogue-heavy flair that has become the director's staple will be surprised that such extended scenes of jabber are lacking this time around. But that's not necessarily a bad thing. And that's not to say that Tarantino's dialogue has lost its bite. As amusing and scathing as Tarantino's conversations can be, Django involves far more character development and explosive (not to mention extremely violent) action sequences.

Leonardo DiCaprio

And while Tarantino, as writer-director, is a draw in his own right, his bang-on casting choices are always guaranteed to pack the threatres.

As the titular anti-hero, Foxx has the right intensity -- his anger on slow-burn, brimming just beneath the surface before it erupts in spectacular fashion. It's undeniable that Foxx fits comfortably in Tarantino's universe. While Django is less showy than some of Tarantino's previous creations, Foxx excels in the role with a quiet, subtle and touching performance.

However, it's Waltz as Dr. King Schultz, DiCaprio as the vicious Calvin Candie and Samuel L. Jackson as Candie's loyal house slave, Stephen, that all vie with each other to steal the show. In a smaller supporting role, Jackson gives arguably his best performance in years. As Calvin, DiCaprio is genuinely terrifying, shattering any remaining comparisons he may still encounter with his earlier roles in Titanic or Romeo + Juliet. He's all fire and brimstone and some of his best exchanges occur alongside the equally wonderful Jackson.

But it's Waltz, once again, who nearly steals the film right out from under his co-stars. As he did with Basterds, Waltz savours Tarantino's dialogue, using his unique cadences to give his director's words even more meaning and intensity. He's so suited for Tarantino's hyper, ultra-violent homages that the two will undoubtedly continue to work together for years down the road. His Schultz is the perfect mentor to Django and, part of why the film excels, is because of their palpable chemistry.

Django is a whole new venture for Tarantino; more mature, violent and controversial than any of his previous films. But there's no denying that this auteur still has the goods and his work packs a punch few other American directors can get away with -- or would even risk trying.

Once again Tarantino goes big and delivers -- his critics be damned.

FINAL GRADE: A