THE LAST FIVE YEARS

The Last Five Years is a rare breed. It is an (off) Broadway Hit Musical that has been very successfully adapted as a movie and avoided the disastrous transition from stage to screen that usually ruins most of Broadway's exports. The simple story explores a five-year relationship between Cathy, a struggling actress, and her boyfriend Jamie who is a new novelist destined for big things. The show bravely tells Cathy's story starting at the end of their marriage and working backwards, whereas Jamie's is told in chronological order.

With very little dialogue this two-hander is a series of songs with the couple singing to each other about their romance as it takes off and then falls apart, and in fact there is only one number in the middle of the movie when they sing a duet.  So Cathy starts with her sad lament 'Jamie it's Over' whereas Jamie's exuberant first song 'Shiksa Goddess' is about when they first meet and he totally falls in love with her and declares she can be anything, but preferably not Jewish as his Orthodox family had pressured him for years.

As the title gives away the young couple meet, fall in love, marry and then part all in five years. Cathy gets stuck midway doing Summer Stock Theater in Ohio (!) whilst Jamie's literary success makes him the toast of Manhattan. Evidently so closer based on composer Tony Award Winner James Robert Brown's own life that he had to change one of the original songs after his actress ex-wife threatened legal action. 

It is completely enchanting and although sometimes the songs are a tad more passionate than the actual relationship, the infectious score and the very witty lyrics make this movie such a sheer delight.  Credit too for a rather wonderful performance from rising star Anna Kendrick who showed in 'Into The Woods' recently that she can sing as well as she can act.  She is teamed with handsome Jeremy Jordan (from TV's Smash) who is obviously a seasoned musical performer.

The original stage show was first produced in Chicago in 2002 before setting in off-Broadway and picking up a few Awards.  It has aged well with time, and this movie adaption from director Richard LaGravanse ('PS I Love You') will appeal to people beyond the usual musical aficionados.

★★★★★★★★

INTO THE WOODS

Hollywood has a knack of bungling the adaption of hit Broadway musicals when it tries to capture the same magic for the silver screen. Just think of the turgid 'Les Miserables' in 2012, or the excruciatingly painful 'Nine' in 2009.  However when they get it right as with Tim Burton's take on 'Sweeney Todd', or discovering Jennifer Hudson in Bill Condon version of 'Dreamgirls', then the results are wonderfully entertaining. Of the two musical movies vying for our attention this Christmas, one at least is as good as it can get, and something that its original writer and composer Stephen Sondheim can be relieved and even happy about.

'Into The Woods' is a wonderful mix of classic light and dark fairy tales that Sondheim uses to weave around an original story of his own.  It's the tale of a Baker and his childless wife who have been cursed by a witch after the Baker's late father had stolen her magic beans.  To enable them to break the spell so that they can conceive a baby, the witch sets them a list of things they must acquire for her before the 3rd midnight.  It includes a cloak as red as blood, that they 'relieve' Red Riding Hood of; a cow that is milky white which they barter with Jack of Jack & the Beanstalk; the slipper as pure as gold that they get from Cinderella as she is running from the Prince; and the hair as yellow as corn which is snipped off Rapunzel after she lowers it out of the window of the tower she is imprisoned in .

As the Baker and his wife go about encountering all these characters we get a slice of each of their stories.  Jack egged on by his mother steals from the Giant who lives at the top of the Beanstalk, and when he is pursued, kills him only to have the rage of the Giant's wife inflicted on the whole village. Cinderella gets to go to the Kings Festival thanks to her Fairy Godmother, but when she is eventually tracked down by the Prince, she discovers he is not quite as wonderful as we thought. He quips in defense 'I'm meant to be charming, not sincere!' Rapunzel is pursued by the Prince's younger brother but when her mother (the witch) discovers the lovers she blinds him.  Luckily Rapunzel's tears give him back his sight.

The real magic though is in Sondheim's outstanding music in what is probably one of his best ever scores. Director Rob Marshall opens the movie with a long take of the sing 'I Wish' which cleverly introduces all the major characters and sets the storyline up from the start. It establishes a pattern for really making the extraordinary songs a much more integral part of the story than usual.  What Marshall has added to some pieces is a campy touch of humor that may offend real Sondheim elitists, but in most instances, as in the case of the two Princes so brilliantly mugging their way through the song 'Agony', it will surely provoke a spontaneous round of applause from the audience as it did last night when I saw it.

The stage musical has been revived many times on Broadway and on London's West End and the role of the Witch has been played by a whole slew of the cream of musical theater.  In the movie however, The Witch is played by Meryl Streep who really adds much more dimension to the part in what is one of her best performances for years.  She is both funny and scary and proves that she can really deliver a song with more nuance and power than most.  

In fact Marshall could not have selected a more perfect ensemble cast than he did.  Brits James Corden and Emily Blunt had remarkable chemistry together playing the central characters of The Baker and his wife; Anna Kendrick was sublime as Cinderella, as was the ever-fabulous Christine Barenski as her Wicked Stepmother; a welcome return  to the screen for Tracey Ullman as Jack's mother; Chris Pine and Billy Magnussen played the handsome Princes; and in two scene-stealing roles wonderfully talented Lilla Crawford was Little Red Hood and young Daniel Huddlestone was Jack. Plus lest I forget a brief cameo from Johnny Depp as The Wolf.

Using the line from one of the best songs ('Children Will Listen') the adverts for the movie warn 'Be careful what you wish for'. If you are a Sondheim fan or just like musicals, then you'll learn too that after you see this movie that wishes do come true though, and in many ways.

★★★★★★★★★

TOPSY TURVY

In 1884 when 'Princess Ida' their latest Operetta for the D'Oyle Carte Company fails to ignite audiences like their previous hits it looks like the celebrated duo Arthur Sullivan and W.S. Gilbert's run of success may be finally over. Sullivan, although newly knighted by Queen Victoria, is depressed and ill decamps to Europe vowing never to compose light opera piece again, whilst Gilbert his stubborn partner presses on writing another libretto for their next piece.  

When the two meet again there is a stalemate in their discussions as neither will change his mind about writing another 'topsy turvy' scenario where the world always ends up being turned upside down. Meanwhile Gilbert's much-neglected wife who is always looking for ways to get some small attention from her inconsiderate husband, drags him along to an Exhibition of Japanese Culture being staged.  This is quite a novelty in Victorian London and an eye-opener for the rather staid Gilbert and it inspires him to break his traditional writing pattern, and pen what will become known as 'The Mikado' and his and Sullivan's most successful operetta ever.

The rest of the movie is about the setting up, rehearsals and all the back stage dramas behind the presentation of this musical play about an exotic Japan mounted by some very decidedly un-exotic turn-of-the-century English theater people. It's a wonderful true story and as it has been interpreted and embellished by the acclaimed Brit filmmaker Mike Leigh you know it was evolved through improvisation and collaboration as is his style. One of the hallmarks of his movies is that you know that the very talented British cast have rehearsed for months until they were literally totally immersed in their parts which in this instance in particular really makes this whole ensemble piece such a sheer delight.  It's a rich period in British musical theater and Leigh extracts all the comedy and pathos of Victorian society with such glorious relish.

The fun-loving pleasure-seeking ladies man Sullivan is desperate to be recognised as a composer of serious music (which is never going to happen) is played by veteran actor Allan Corduner. Whilst the austere righteous WS Gilbert who appears for the most part impervious to anyone else feelings, especially those of his wife's is equally brilliantly played by Jim Broadbent ( who would go on to win a Oscar 2 years later).  In fact the entire very large cast (including a glorious Timothy Spall as The Mikado) ..... chorus and all, are completely splendid.

I re-watched this movie from 1999 as it has always been one of my favorite Leigh movies, but I am evidently in a minority on this  When it opened it received favorable reviews but didn't really find its audience especially in the US where it won 2 Oscars (for costume + make up design) but never fully recovered its production costs.  That is an immense shame as not only as this has appeal to aficionados of British period costume dramas and also those of musical theater too, it is a magnificent production of a deliciously funny movie.  

★★★★★★★★

NINE

The story of Nine is loosely based on Federico Fellini’s  (masterpiece) movie ‘8 ½’, which itself is even more loosely based on Snr. Fellini’s own life.  At middle age, the Italian filmmaker found himself with a bad case of writer’s block, and whilst the words wouldn’t come, a lot of memories about the women he slept with did.  Thinking about the women was much easier than working on a script, but ultimately after his struggles with all his turmoil he eventually gets back to the mistress he loves the best, his work.

This star-studded cast film version of the Tony Award winning musical had all the potential of being the smash hit of the season, but it is in fact one of the biggest duds.  From the miscasting of Daniel (I’ve-got-to-ham-it-up-for-another-Oscar) Day Lewis (they should have kept to first choice of Javier Badem) to a galaxy of so many superstars who are giving little chance to develop any characters at all, and the hackneyed choreography that the NY Times so aptly described as a Victoria Secrets Lingerie Show, but without the class. 

A wasted opportunity of a good idea, and the only thing that redeemed this movie was the presence of Marion Cotillard as the director’s put on wife.  She shines even in this mess.

(reproduced from my original 2009 review)

Available from Amazon

UNFINISHED SONG

Marion whose poor health has already left her debilitated is now told that the cancer has returned and that she should focus on enjoying the rest of the time she has left.  To her that means singing in the community choir with all the other local retired Seniors.  It also means relying more on Arthur her husband of some 50 years, who unlike her, is a grumpy old sod who never gets any joy out of life at all. Except he is devoted to his wife and this latest news has left him feeling both helpless and angry.

The Choir ... called 'The OAPz' ... have been entered into a Competition by Elizabeth their perky 30 something old leader, but first they must pass an audition to see if they are indeed up to scratch.  One of the pieces they perform is a solo rendition by Marion of Cindy Lauper's True Colors and not only does it insure that they are selected, but it also has everyone (including you the viewer) reaching for the Kleenex.

Marion dies, and an increasingly isolated Arthur who has always been an awkward father, tells his only son to stay away for good. Arthur takes to hanging outside the Community Hall where the choir practices and mopes around just smoking and generally feels sorry for himself. One night after Elizabeth gives him a lift home he reveals he can sing too.

OK .... you don't have to be much of a genius to work out the rest of the plot from there ..... I'm just kind of surprised that the screenwriters didnt also throw in a romance between the lovelorn Elizabeth and Arthur's single son just to insure that everyone in this story lived happily ever after.

The only reason that I saw this cloying saccharine movie is because someone had the good sense to cast Vanessa Redgrave and Terrence Stamp as the two leads and rescued this from being just another 'Lifetime for Women TV Movie'.  In fact they raised it so much more than that, and Ms Redgrave imbued her part with such sensitivity and dignity rather than play up the to heavy sentimentality attached to Marion's passing.  Likewise Mr Stamp subtly insured that instead of being angry at his obstinacy and his grumpiness, we were willing him to let the warmth he had suppressed for years finally break through. 

They both were such a joy to watch as they put some real substance into this lightweight story .... but then again, one wouldn't expect anything less from these two who have been acting their hearts out for at least half a century each.  I must confess that I still cannot get my head around that this grumpy working class man was once the dashing (very young) Sergeant Troy in 'Far From The Madding Crowd' back in 1967.

The other fact that I am having trouble taking on board is that this movie was written and directed by Paul William Anderson whose previous three movies have all been Horror Flicks.  Hmmmm. 

The fact that the music Elizabeth chooses for these old people to sing is Hip Hop and Rock with rather raunchy lyrics, will draw obvious comparisons with the 2007 Award Winning stunning Documentary 'Young@Heart' about a real choir of Seniors in Massachusetts that sang pop music to great acclaim. If you liked the earlier movie, then you will like this one, even though it is hardly in the same league.

In Movie theaters in the US now

★★★★★★ 

THE SAPPHIRES

An indigenous Aboriginal girl group performing in some shanty town in the Australian outback are spotted by a washed-out Irish pianist down on his luck who perceives that the girls are talented and could be his ticket out of there.  Not by singing their dreary country music at which they are addicted too, but by becoming soul sisters.  It is the 1960's after all and they are (almost?) black. 

They get themselves a gig touring US Military Bases in Vietnam where these young country girls dodge a few bombs, find themselves, and discover true love  can be just as hazard as working in a war zone.

This highly enjoyable crowd-pleaser of a movie is just like an Aussie 'Dreamgirls'. Except the girls aren't quite so black, or can sing quite so well, or are even as glamorous, and rather than going off to Miami to see their fame and fortune, they settle for a few dive bars in Saigon.  But the lead singer does get demoted to back-up girl, and she does fall in love with the Manager ....so the similarities are definitely there. There is a darker side to the story as racism is rife and the girls and their families are still forced to suffer the bigotry and oppression that was so prevalent from white Australians.

Chris O'Dowd (currently in TV's 'Girls') is wonderfully perfect as the Manager (and he really is Irish too), and the four girls, Deborah Mailman, Jessica Mauboy, Shari Sebbens and Miranda Tapsell may not be scene stealing Jennifer Hudson, but they are great fun to watch and listen too.  And there is that wonderful foot-tapping music that you have to sing along too.  Well, I did!

I often complain that I never find enough light-entertainment that I really enjoy and actually watch to the end  .... but here's one that really did put a big grin on my face.  Its now out in theaters in the US (and also in DVD in the UK ) so look out for it. It is great FUN!

★★★★★★★★★

SEX & DRUGS & ROCK & ROLL

This unlikely film is about an unlikely Punk musician who was an eccentric and wild performer and whose music with its bizarre lyrics was an unforgettable presence on the Brit music scene until his untimely death at the age of 57 in 2000. Ian Dury’s childhood polio my have left him physically disabled but it seemed to strengthen his resolve to both rebel and succeed in life.  Sadly, it’s not really clear from this somewhat confusing biopic if he actually did.  True his larger than life personality combined with a remarkable talent eventually gave him hit records and a lavish lifestyle, but he was so dysfunctional that he was unable to forge any sort of meaningful relationship with his wife, girlfriend, son or even his many band members.

The movie is too patchy to do this fascinating man justice.  I am the least likely punk rock fan ever, but I do remember Mr. Dury’s manic appearances on Brit TV at the time with great affection and admiration: he was wonderfully unique, and in the words of one of his songs, he was in fact some ‘Reasons to Be Cheerful.’

The redeeming feature of the movie is the sublime performance by Andy Series (yep, the same guy who plays Gollum in 'The Lords of The Rings’).  His insightful portrayal is totally electrifying, and makes an otherwise somewhat middle of the road movie a joy to watch.   Who knew he could act as brilliantly as this outside that tiny rubber suit?

★★★★★★★