Tag Archives: Miranda Richardson

STRONGER

“…Tatiana Maslany’s depiction of Erin Hurley is one of genuine sentiment and a warm almost tangible sense of goodness.”

Wayward Wolf.

In many ways, Stronger is one of those ten-a-penny ‘triumph over adversity’ films that have been such a mainstay of cinema over the years.

However, what separates David Gordon Green’s tale from most are the superbly powerful performances of the film’s principal characters.

Owing to Jeff Bauman’s erratic nature and inability to turn up when he’s meant to, his relationship with Erin Hurley is something of an on and off affair. At the time in which Erin is due to run the Boston Marathon, their relationship is firmly in the off position, yet Jeff is clearly still obsessed with ‘his’ girl-next-door, Erin, and in a chance meeting at their local bar, Jeff, in a grand gesture aimed at winning her back, not only encourages the bar’s many patrons to sponsor Erin, but vows himself to cheer her on at the finish line.

Home-made banner in hand, for once Jeff just about sticks to his word, but it’s a decision that will dramatically change his life forever as he falls victim to the cowardly bombings of April 2013.

Surrounded by many well-meaning friends and family, in theory Jeff has the support network in place to help him overcome his disability. But with his alcoholic mother and good-time friends’ better judgement so frequently blighted by the bottle – not to mention having to live in a tiny room in his mother’s pokey apartment that is entirely unsuitable for the needs of a a disabled person – it soon becomes apparent that if Jeff is going to have any chance of coming to terms and indeed being at peace with his now drastically changed existence, it’s going to have to be down to him.

If it weren’t for Erin, that is.

Erin, a girl so sweet and caring, will prove over time to be an absolute rock of dependability, ensuring that Jeff’s road to some form of recovery may not be quite so fraught with problems after all.

Little is made of the actual bombings themselves in Green’s film, with only a hint of politicising events or finger pointing at suspects. Instead, the focus turns to Bauman’s psychological struggles in coming to terms not only with his disability, but with the expectation of a city positively tripping over itself to laud him as being some kind of hero, to be wheeled out in public at every given opportunity.

“Boston Strong” is the mantra of the city’s people as its population closes ranks and comes together in the face of adversity.

But Jeff’s life fast descends into a circus of celebrity revolving around rather anodyne acts of flag waving at Bruins matches or tossing first pitches at Red Sox games, not to mention a proposed visit to Jeff’s home from the TV Queen of all-American sentiment, Oprah Winfrey.

It’s understandably all too much.

The one ray of light throughout though is the wonderful Erin. But Jeff’s innate unreliable nature combined with the psychological scarring of recent events threatens to undermine everything good that this girl undoubtedly brings into his life.

Stronger boasts decent support performances most notably from Miranda Richardson who is a good piece of casting as Jeff’s well-meaning but troubled alcoholic mother, Patty, but it is the film’s leading pair who predictably steal the show.

Jake Gyllenhaal is tremendously visceral in his portrayal of Jeff Bauman whilst Tatiana Maslany’s depiction of Erin Hurley is one of genuine sentiment and a warm almost tangible sense of goodness. Together the couple demonstrate the most solidly believable on-screen chemistry as they attempt to navigate their way through the most harrowing scenes of tension and heartbreak.

Just how much of David Gordon Green’s film has been embellished for cinematic purposes only Jeff and Erin themselves will know, but as a cinematic spectacle, Stronger stands alone well as an engaging, thought-provoking film absolutely brought alive by way of some truly memorable performances.

 

 

 

 

 

 

 

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CHURCHILL

“…David Higgs has worked some magic here, conjuring  up some of the stand-out cinematography of the year to date.”

Wayward Wolf.

A few years back a statue of Winston Churchill that stands outside the Houses of Parliament in London, was desecrated by protestors. I forget why. It was nothing personal against him if memory serves sufficiently, and the perpetrators were swiftly rounded upon by most of British society.

Let’s face it, whether you concur or not, it’s a very sticky wicket that you’ll bat upon if you decide to disparage anything relating to that particular period of British political history, let alone the seemingly Teflon wartime Prime Minister himself.

But this protective attitude, or rather a slight reversal of it, is what makes Churchill such an intriguing biopic.

The film focuses on the tail end of World War II, a time in which Churchill’s usefulness as a military tactician was fast being called into question. It was after all the minds of General Bernard Montgomery of the Allied forces and General Dwight D. Eisenhower of the U.S army that were overseeing the implementation of the impending pivotal Operation Overlord.

Churchill, in comparison, whilst undoubtedly committed to the last, was perceived now as something of a dinosaur; increasingly out of touch with the technology and methods of modern warfare, despite his insistence that there was much that could be learned from the lessons of World War I.

At least that is how he is portrayed in Jonathan Teplitzky’s piece.

A stubborn, sometimes belligerent old man, he is portrayed wonderfully well by Brian Cox. Rarely without twin props of cigar and tumbler of Scotch in hand, he shuffles about from here to there, insistent upon being at the centre of everything and having a decisive say in all matters. It becomes increasingly clear, however, that owing to his age, this can no longer be the case. He is depicted as a proud man struggling to accept that he is nearing the time when perhaps he has outstayed his usefulness as a fully hands-on Prime Minister. Instead, with King George VI in agreement (James Purefoy), a new era is ushered in; an era of Winston Churchill ‘The Statesman’ – whether he likes it or not.

His long-suffering wife, Clementine (the excellent Miranda Richardson), is portrayed as a woman somewhat battle-hardened from a life duelling with an unshakeably headstrong husband. Theirs seems to be a union of respectful support and dependability above anything else.

Although Teplitzky’s film veers away from any temptation to depict the conflict itself, the heightened emotions and sense of trepidation of impending battle are brilliantly captured through the interplay between Churchill (Cox), Eisenhower (John Slattery) and Montgomery (Julian Wadham). We are left in no doubt of the sheer gravitas of the situation that confronts the three men, all of whom acknowledge – to varying degrees – a duty of care to minimise potential troop fatalities, whilst still appreciative of the need for strong, single-minded decision making for ‘the greater good’.

It’s visually a most seductive film that leans heavily on the use of sweeping vistas, some beautiful staged ‘stills’ and the use of striking silhouetted imagery. Certainly David Higgs has worked some magic here, conjuring  up some of the stand-out cinematography of the year to date.

Quite how historically accurate a portrayal of Winston Churchill this is, might well be open to debate, but it makes for an intriguing study of a much revered historical figure in a guise that perhaps won’t be entirely familiar to all.