Tag Archives: Alexandre Desplat


“Suburbicon is a rather disjointed hotchpotch of ideas and concepts, like a mis-matched outfit thrown together by an owner racked by indecision whilst going through something of an identity crisis.”

Wayward Wolf.

I’d love to wax lyrical about the merits of a George Clooney-directed film based upon an original Coen Brothers script with all of the sort of gushing praise that those particular ingredients should probably warrant.

But I can’t. It’s just not possible. And considering that I was entirely convinced by the film’s superbly enticing trailer, this therefore represents something of a significant disappointment.

Suburbicon is a tale of dark deeds and whole-scale unrest that occurs on an idyllic housing development in 1960’s America. It follows the exploits of up-standing pillar of society and middle-class family man, Gardner Lodge (a fine performance from Matt Damon it should be said), whose life is suddenly rocked by the death of his disabled wife; an event instigated by a couple of ne’er-do-well hoodlums whilst carrying out a bungled burglary / hostage scenario at Gardner’s family home.

Friends and relatives understandably all rally around during such troubled times, and Gardner decides that in the interest of maintaining some sort of home-life stability, his wife’s identical twin sister, Margaret, should move into the family home for a while.

But things are not quite what they seem in this land of neatly-kempt lawns, white picket fences and twitching curtains, and with the cat threatening to bolt clean out of the bag, Gardner’s life begins to unravel, descending ultimately into outright chaos.

The basic premise of Clooney’s film is a fairly simple one – a tale of dodgy insurance claims and bungling mafiosi, and whilst it’s perhaps not a tale representing any great sense of originality, it certainly contains sufficient substance and intrigue from which to fashion something perfectly watchable.

Certainly Suburbicon‘s cast all put in dependably solid performances. Damon, as mentioned already, is excellent and is ably supported by Julianne Moore in her twin roles as both Gardner’s wife (Rose), and her twin sister (Margaret). Credit too to Oscar Isaac and his portrayal of wily insurance claim investigator, Bud Cooper, which is something of a highlight.

Yet, in spite of such a stellar cast, mysteriously, Clooney’s Suburbicon succeeds only in underwhelming, bringing to mind Ridley Scott’s 2013 hugely disappointing, The Counsellor. It too was a film boasting an impressive who’s-who of top acting talent with a big name director on board, yet ultimately absolutely stank the gaff out.

Suburbicon is a rather disjointed hotchpotch of ideas and concepts, like a mis-matched outfit thrown together by an owner that’s racked by indecision whilst simultaneously experiencing something of an identity crisis. And I’m still trying to work out the true relevance of the the story’s race-related sub-plot which felt both peripheral and largely irrelevant in the grand scheme of things.

Add in the usually reliable Alexandre Desplat’s dreary omnipresent score splashed lavishly and unnecessarily all over the place, and Clooney’s film – one which threatened to be something of a devilishly dark comic romp, on paper – is one that’s probably worth giving something of a wide berth.












“…director Vincent Perez – resisting the temptation to pad things out with dubious filler or the concoction of unnecessarily distracting back stories…”

Wayward Wolf.

The death of their only son in combat has driven a German couple to risk their own lives in defiance of the Führer himself.

Provoked by a combination of deep-set grief and simmering resentment, Otto Quangel (Brendan Gleeson), is determined to make a stand against what he perceives to be an unjust, brutal Nazi regime. His wife, Anna (Emma Thompson), refuses to allow Otto to do such a thing alone, and by association, therefore becomes the accomplice to his plans.

Painstakingly Otto begins the laborious task of disguising his handwriting in order to create almost 290 cards, each of which is emblazoned with a strong anti-authoritarian message of defiance, something he refers to as “Freie Presse” (free press). Each of these he then deposits in strategic public locations around the city of Berlin, hopeful that his anarchic messages will incite some form of radical response from a down-trodden German public.

No matter their impact on the psyche of the German people, it transpires that all but eighteen of these cards will ultimately be turned in to the authorities by a public too frightened not to do so.

Predictably, Otto and Anna’s actions soon prompt something of a manhunt in the City.

Brendan Gleeson and particularly Emma Thompson put in fine performances as a couple riddled with sorrow and driven to the point where they no longer have anything to lose, but it is arguably Daniel Brühl’s performance as the rather weasel-ish police detective, Escherich, that steals the limelight here. His persual of “the threat” posed by Otto and Anna becomes something of an obsession. Frequently out-thought or wrong-footed in his endeavours, he is willing to betray anyone, and do literally anything to solve a case which threatens to get away from him; particularly once the SS get involved, ramping up the pressure to close the net on the elusive pair of renegades.

Although nicely shot and well-paced, Alone in Berlin is a fairly straight forward premise, and judged on such criteria, there’s perhaps not enough to really make it stand out from an historically long and illustrious back catalogue of Second World War-themed film-making. That said, Alexandre Desplat’s soundtrack is memorable and worthy of mention. Suitably evocative, it successfully conjures up a bleak mood of despair with its refreshingly traditional use of  both recurring themes and motifs, embellishing the film significantly and substantially.

On balance, Alone in Berlin delivers well. Both engaging and suspenseful, one can put this down to a number of factors, but primarily owing to director Vincent Perez resisting the temptation to pad things out with dubious filler or the concoction of unnecessarily distracting back stories, allowing instead a refreshingly concise and to-the-point retelling of Otto and Anna’s fraught, daring and ultimately fool-hardy act of resistance against a wicked ideology.

Well worth a watch.