Something super fun just arrived in my inbox today! I was in the middle of a rather long, tedious training for my new job, but upon opening this email, a huge smile formed on my face!
Ooooh!! I absolutely adore this poster, I wish I could have it to hang on my wall right now! Wes Anderson‘s upcoming movie has The Adventures of Tintin vibe to it, the comics series by Belgian cartoonist Hergé that I grew up reading religiously as a kid.
Here’s the premise…
THE FRENCH DISPATCH brings to life a collection of stories from the final issue of an American magazine published in a fictional 20th-century French city. It stars Benicio del Toro, Adrien Brody, Tilda Swinton, Léa Seydoux, Frances McDormand, Timothée Chalamet, Lyna Khoudri, Jeffrey Wright, Mathieu Amalric, Stephen Park, Bill Murray and Owen Wilson.
What a cast!! I know lots of [thirsty] people are going nuts over ‘it boy’ Timothée Chalamet writing naked in a bath tub 🤣 – I didn’t even notice him until an article specifically mentioned about it in the headline! In any case, I wonder if he’ll actually be speaking French in the movie? The internet would probably spontaneously combust!
Upon further reading, the Tintin vibe seems intentional given Tintin is a globe-trotting reporter. Per Wiki, the film has been described as “a love letter to journalists set at an outpost of an American newspaper in a fictional 20th-century French city”, centering on three storylines.
When speaking to French publication Charente Libre last year, Anderson noted: “The story is not easy to explain, [It’s about an] American journalist based in France [who] creates his magazine. It is more a portrait of this man, of this journalist who fights to write what he wants to write. It’s not a movie about freedom of the press, but when you talk about reporters you also talk about what’s going on in the real world.”
Per tradition of Wes Anderson’s movies, it’s another awesome ensemble cast, many of whom have worked with the Texas-born filmmaker. The screenplay was written by Anderson, Roman Coppola, Hugo Guinness, and Jason Schwartzman.
Now here’s the trailer!
It’s classic Wes w/ his usual visual flair, distinct camera work and quirks! I love it!! It looks so much like Grand Budapest Hotel and I saw some of the cast are back as well. I can’t wait to step into this world of global journalism filled w/ intrigue and idiosyncrasies.
I have to confess that since I visited Paris a couple of years ago, I’ve become slightly obsessed with French history. Sofia Coppola‘s retelling of France’s iconic but ill-fated queen promises a character study of the title role instead of a historical account that led to the fall of Versailles. I have no problem with that, after all I’m not expecting a documentary of the subject. If one actually wants to learn more in depth about French history that’s also visually stunning, there’s a good three-part docs called The Rise & Fall of Versailles on Hulu.
It’s loosely based on the Marie Antoinette biography by Lady Antonia Fraser which reveal the humanity of the French icon. The film opened with the archduchess of Austria at 14, being betrothed to Louis Auguste by her mother Empress Maria Theresa to secure the fragile allegiance between France and Austria. I can only imagine what it must’ve been like for a teenage girl like her to have to part with her family, and her beloved pug, and enter a strange new world on her own. I think the film captured that sense of alienation perfectly, as well as the intense loneliness, not to mention utter bewilderment, of all the new traditions she must quickly become accustomed to. Some of the most amusing scenes pertain to the mystifying traditions at Versailles.
There’s one where the young queen had to be dressed in front of dozens of courtiers. Given that the most important courtier had to dress her, she literally had to stand shivering in the cold room waiting for someone to finally put clothes on her!
Kirsten Dunst was quite mesmerizing in the title role and being that she was Austrian, I thought she looked the part physically. There’s a playfulness as well as fragility in her performance, and despite being in her early 20s at the time, she looked quite believable as a teen. Jason Schwartzman on the other hand, seems miscast here as Louix XVI. He wasn’t given much to do here either, perhaps that’s purposely done to further the sense of estranged marriage between the two.
Some critics have said the film is style over substance and there’s certainly style in abundance. The film is lavish and absolutely gorgeous to look at. I have to admit that the first half hour or so I was marveling at the spectacular set pieces and colorful costumes, but the film grew rather tedious and repetitive that it threatened to grind it to a halt. Coppola seems obsessed with the unconsummated marriage that the scenes of Marie being frustrated in bed is played over and over again. I understand Coppola intended to create an unconventional biopic, and that’s to be commended, but it feels overly indulgent. The young queen might’ve been giddy and frivolous, but it doesn’t mean the film depicting her has to be done in the same way.
“Qu’ils mangent de la brioche,” (Let them eat cake)
As a character study, I feel that Coppola didn’t really go deep enough into the titular heroine. Marie Antoinette is depicted as a friendly, vivacious and sweet, though like most teen, she has a penchant for gossip and spectacular parties. ‘The Party That Started A Revolution’ one of the film tagline says, and well, the queen sure gave some ridiculously opulent parties in a time where the French citizens were starving. Whether she actually uttered the heartless remark ‘let them eat cake’ had been largely disputed, but she did say that line in this film. There’s perhaps a good five minutes or so devoted to the Revolution, there’s not even a mention of the Guillotine anywhere in the film. By the time the crowds had seized Versailles and the royal family escorted to Paris to await their doomed fate, I felt a tremendous sympathy for the characters, but more because of what I’ve learned in history about them, not necessarily due to their depictions here.
The supporting cast was filled with actors who’ve become quite famous of late, especially Tom Hardy who had basically a cameo here as one of the French aristocrats. The other pretty boy was Jamie Dornan as a French soldier who became Marie Antoinette’s lover Count Axel Fersen. There’s also Rose Byrne as Duchesse de Polignac, the queen’s best friend. Rip Torn played Louis XV here, a role which was apparently offered to French actor Alain Delon, which I think would’ve been perfect. According to IMDb trivia, it has been speculated that Delon did not have confidence in the young American director to do justice to a film on this period of French history.
In any case, the star of this film is definitely Dunst, who carried the film with her charisma. She’s able to convey a variety of emotions throughout and make me sympathize with her despite her obvious flaws. The feeling of total isolation and tremendous pressure of having to produce an heir seemed so unbearable and she conveyed those emotions convincingly.
Technically the movie is a marvel. The cinematography by Lance Acord is simply stunning, a *decadence porn* displaying the most extravagant aristocracy lifestyle in history. I also like the use of contemporary music, as I quite like anachronism in period films when it’s used well. I think Sofia Coppola has been known for having good soundtrack in her movies. This one called Fools Rush In is one of my favorites:
Overall I think Marie Antoinette is a pretty shallow affair, an incomplete and rather unmoving character study that could’ve been much tightly-edited. The film tends to only focus on certain aspects of the character and leave others out, for example the infamous diamond necklace affair that forever tarnished her reputation wasn’t mentioned here. I do think the second half of the film is a bit more interesting as the revolution drew near. I’d still recommend this if you’re into this genre and anything to do with French history. I’d also still applaud Coppola for taking a novel approach to the subject, even if it’s far from being a superior work.
Check out my full 2016 lineup by clicking the graphic below
Well, have you seen Marie Antoinette? Well, what did you think? …
A year after their father’s funeral, three brothers travel across India by train in an attempt to bond with each other.
To say it’s a quirky movie is an understatement, you’ve come to expect that from Wes Anderson, but I think this one felt extra kooky as it has a bit of a fish-out-of-water tale on top of being a road movie. Peter (Adrien Brody), Jack (Jason Schwartzman) and Francis (Owen Wilson) play a trio of brothers on a *spiritual* journey in India a year after their father’s funeral. Despite not looking at all alike, the three actors actually look pretty believable as a family and the peculiar dynamics among them is pretty fun to watch, at least initially.
The *spiritual* aspect journey is not really there, as it’s used a pretext to the actual reason for the road trip. Francis didn’t tell Peter and Jack about the real reason until later in the film. Apparently a motorcycle accident where he said he nearly died made him want to reconnect with his brothers, and he planned the trip meticulously with the help of his assistant. The title refers to the train that they’re riding on, and it serves as some kind of metaphor. I’m not quite sure what that is, but it could be symbolic to each of the character’s life? Now I really want to LOVE this movie but I feel like I never felt quite invested in the story for whatever reason, and the constant bickering of the tree boys sometimes get tiresome instead of amusing.
About halfway through, I noticed my hubby nearly falling asleep watching this. Though I was more engaged than him, I could understand why he tuned out. Nothing rarely happened in this movie, it was simply one kooky scenario after another along their journey, i.e. Peter buying a small cobra in a box (and later losing it), Francis having one of his very expensive shoe stolen, a weird ceremonial burying of a peacock feather that I have no clue what it’s about, etc. I think the only truly memorable scene, which is the most emotional one of the entire 1.5 hour running time, is the time the three brothers rescued three Indian young boys who fall into a river. It’s a moment of benevolence for all three of them that seemed quite life-changing.
Some of the metaphors range from obscure to obvious, but since I don’t really connect with the characters, it’s lacking emotional resonance for me. The Louis Vuitton luggage set with their dad’s initial on them represent an emotional baggage of some kind, though I still have no clue just who their father was other than he must’ve been well off. Towards the end, their mother (Anjelica Huston) entered the picture. I wouldn’t spoil it for you but that experience also changed the way they look at their lives and each other. By the end, their relationship had a 180-degree turn from being reluctant siblings who couldn’t stand each other. “I wonder if the three of us would’ve been friends in real life. Not as brothers, but as people,” Jack asked halfway through, and I think the ending answered that question for us. I do like that the story is primarily focused on these three characters from start to finish. Bill Murray‘s cameo as a businessman felt like it was well, obligatory, as I don’t think there’s really a point to his appearance.
Now, I’m glad I finally saw this as even a so-so Wes Anderson film and despite its flaws, it’s still fairly entertaining. I quite like the music here by The Kinks, The Rolling Stones and the French song in the finale Aux Champs Élysées seems to fit the mood of the scene perfectly. That said, I don’t consider this one my favorite amongst Anderson’s work. In fact, it’s just not something I’m keen on watching again, unlike The Fantastic Mr Fox, Moonrise Kingdom, or his latest one, The Grand Budapest Hotel. Stay tuned for my review of that on Friday!
Right away with the vintage 1960’s Disney opening, I knew this film was going to be something special. Giving a nod to the beloved classic, the film opens in the sky and adds the perfect amount of mysticism with a haunting piano melody of “Chim Chim Cher-ee,” accompanied by Collin Farrell’s recitation of, “Winds in the east, mist coming in, like something is brewing, about to begin, can’t put my finger on what lies in store, but I feel what’s to happen, all happened before.” Based on a true story about the life of P.L. Travers, known for creating and penning the beloved Mary Poppins children’s book series, and Walt Disney’s 20 year struggle to purchase the rights, this film has something to offer everyone.
It’s 1907 and clear that Ginty, Mrs. Travers’ nickname as a child, and her father (Colin Farrell) have a very special relationship. She absolutely adores her father, and he encourages her to daydream, write and think outside the box, much to the dismay of her mother (Ruth Wilson). The family moves from an opulent home in eastern Australia to the rugged, secluded, outback of Queensland, Australia. The children see this move as an adventure, but it soon becomes evident the family is struggling to make ends meet. It’s slowly revealed that Ginty’s father is an alcoholic and is the cause of why the family had to move from means to meagerness in order to find work. While the tension between her parent’s marriage grows more palpable, Ginty continually chooses to see no wrong in her father.
Jump to 1961 and Mrs. Travers (Emma Thompson) is now a formulaic, stubborn and priggish woman. Almost bankrupt with no current plans to write additional stories, she begrudgingly agrees to meet with Walt Disney (Tom Hanks), in L.A. for two weeks, to be part of the script writing and approval process, something he never promised any other author before, in exchange for the rights to Mary Poppins. The film travels back and forth between Mrs. Travers’ childhood in Australia, and present, amidst her battle between the writers and Walt for how the film will be presented. Mrs. Travers has strong opinions about what Disney represents and wants nothing to do with the outlandish, larger-than-life animated characters and musicals Disney was known for at the time.
Thompson absolutely dominates in this film and plays her character to a T. She’s calculating, a perfectionist and clings to routine and archaic methods. As the film reveals more about Mrs. Travers’ past, it’s hard to believe Ginty and Mrs. Travers are the same person. One is full of such hope, optimism and creativity, while the other has grown up to be a begrudgingly cynical, cold and controlling woman. The Sherman brothers (B.J. Novak and Jason Schwartzman), Don DaGradi (Bradley Whitford) and Walt are thrown for a loop as Mrs. Travers makes her expectations clear for what Mary Poppins will and will not become. What ensues is a hysterical game of cat and mouse. Along the way, your heart will warm when you hear the beginnings of popular tunes such as “Supercalifragilisticexpialidocious,” “Feed the Birds” and you may even have a tear in your eye when “Let’s Go Fly a Kite” is finally presented.
I absolutely loved the relationship between Mrs. Travers and her driver, Ralph (Paul Giamatti). Every day, Ralph, embodies the bright and sunny Californian disposition and struggles to chip away at Mrs. Travers icy exterior. Only after they find common ground do you finally understand Mrs. Travers’ sometimes callous motivations. Without giving too much away, the film surprises you by dealing with very real, complex and adult content: loss, atonement and redemption.
In all honesty, watching Saving Mr. Banks will give more background to the hows and whys of the fantastical world of Mary Poppins and will make you want to re-watch the classic. And, now that I’m older, I would argue that Mary Poppins was created to be just as much of an escape for adults as it was a whimsical world for children.
Disney gets is right with Saving Mr. Banks. I’d highly recommend adding this film to your roster of movies to see over the holidays. The acting was superb, the score beautifully accompanied the emotions and themes of the film and it gives you insight into how the magical classic was made. Be sure to stay in your seats during the credits, as you’ll get a glimpse of the real P.L. Travers.
4 out of 5 reels
Thoughts on Saving Mr. Banks? Would love to hear what you think!