Marie Antoinette

Director Sofia Coppola (daughter of cinema legend Francis Ford Coppola) has somewhat quietly crept up into my list of favourite film makers this year. I recently re-visited her 2003 movie, 'Lost In Translation' (starring Bill Murray and Scarlett Johansson), and this time was particularly taken by Sofia's use of music within the film. Now, having watched her 2006 movie 'Marie Antoinette' (starring Kirsten Dunst and Jason Schwartzman) 3 times in the last week, it's quite clear to me that is it this music aspect which gives her movies a clear signature imprint.

There is much that could be discussed with this movie; the lush cinematography is pure aesthetic eye-candy, the lighting and colour pallete is vibrant and 'pretty', the costumes are extraordinary, the writing is subtle and witty, and the acting is totally spot-on - a great ensemble piece, centred around a particularly adorable Kirsten Dunst (who plays the title character: a youthfully naive, yet very sweet, Queen of France in the 17th century).

All these elements are superb. But, really, what I think makes this an extra special movie is Sofia's choices and placement of soundtrack music. There is a wonderful blend of traditional orchestral, mixed with more contemporary sounds. For a 17th century period piece, the use of modern musicians such as Aphex Twin, Squarepusher, The Cure, and Joy Division allows the story to be not only relevant for today's 20-somethings, but rather wonderfully gives the whole movie a feeling of nostalgia and comfort.

Similar to Baz Luhrmann, with his 1996 interpretation of Shakespeare's 'Romeo + Juliet' (with Leo DiCaprio and Claire Danes), Sofia Coppola is another clever, contemporary director who not only keeps history lessons interesting for young audiences, but also ingeniously turns them into movies which actually define their generation.

The Piano

Well, what a special treat this 1992 movie proved to be. Holly Hunter, who plays Ada, a single mother whom has been mute following an undisclosed personal incident as a child, delivers a truly transcendental performance.

Set in the early 19th century, Ada, along with her daughter Flora (played with equal revere by an adorably radiating Anna Paquin), is sent from Scotland to New Zealand for an arranged marriage union with Alisdair (Sam Neill). The drama unfolds when an illiterate, yet very perceptive, local village man, George (Harvey Keitel), expresses a deep romantic interest in Ada - a woman who is guardedly introverted, though with a melancholic yearning to be understood, and connected, with someone.

In fact, it is the way in which Ada does communicate which gives this movie an underlying feeling of poetic resonance; Ada speaks through the deeply spiritual playing of her piano.

Most of the peripheral characters (including Alisdair) reveal their own simple-mindedness by not being able to see past Ada's disability, and hear her inner soul express just how special a person she is. Ironically, or should that be fittingly, the illiterate George is the only one who connects with her being, and what unfolds is a beautiful love story... though not without its tragedies.

As the final curtain falls on 'The Piano', the poetry of Thomas Hood is narrated in Ada's mind;

There is a silence where hath been no sound
There is a silence where no sound may be
In the cold grave under the deep deep sea

This analogy is reflected throughout 'The Piano', and it's what I most took away from the movie. Sometimes, in order to truly make a connection with someone, it is necessary to look past things of material concern, and instead listen for what the silence of the soul is loudly expressing.

A Time to Kill

Ok, so here is my first attempt at a blog and movie review all in one hit.

I have just finished watching "A Time to Kill" (1996) with a star studded cast of Matthew McConaughey *drools*, Sandra Bullock, Samuel L. Jackson, Kevin Spacey...the list goes on and on.

My opinion; good movie, good actors/acting, and once I managed to look past Matthew McConaughey with my lustful eyes I got to enjoy the movie and it's plot.
What I liked most about the movie can be summed up by the alcoholic mentor Lucien Wilbanks (Donald Sutherland):
"If you win this case, justice will prevail, and if you lose, justice will also prevail. Now that is a strange case."
If Carl Lee (Samuel L. Jackson) walks free after murdering his daughters tormentors, justice has been served. But on a second look, really, it hasn't. After taking justice into his own hands, he in turn made himself culpable and guilty. Gets me wondering whether justice in the end prevails. I am glad of the end result, but for me this is where the movie sours. The whole black/white equality theme always throws me. It always tends to be so cliche in the ultimate union of the two races and their ability to see past the colour of one another's skin and become life long friends.

One symbol/theme in the movie that has got me thinking, is the relevance of the mickey mouse tattoo on the shoulder of the Klan member. I wonder what the significance was...


It feels like forever since I have been in high school. My brain seems to have melted along with my ability to review/analyse a movie with any sense of credibility.
All in good fun though!


Cheers
ess

Introduction

Two friends tragically separated by fate...miraculously bound together by rolls of film

This is their story.....