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Archive for the ‘Jamie Bell’ Category

Jane Eyre

01 May

Jane Eyre – Directed by Cary Fukunaga. Gothic Melodrama. A governess is duped by the lord of the manor. 120 minutes Color 2011.

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All the nighttime interiors are filmed like de la Tour: candles both glamorize and mortify the faces. Outdoors the sun never seems to shine. And this captures the lugubrious inner climate of Victorian fiction, with the doom of death, which we find in Dickens, in Tennyson, and here, where a wedding is the next best thing to a funeral, the first being the white prelude to the black childbirth demise of the second. All this the director has realized. And so has the costumer Michael O’Connor, and so has everyone on the technical side, with one exception, the casting director. For it is perfectly clear in the novel and it is perfectly clear in the screenplay that Jane and Rochester are homely people, yet they have been cast with handsome people. ‘Do you find me handsome?” asks Rochester at one point, and when Jane says “No,” we must suppose that she is, for the first time, lying, or that she is as blind as Rochester will one day become. The novel has the great advantage over films of this story in that we never see these two. But films of this story lie to us over and over, in version after version. Joan Fontaine, even in her wan drab stage was pretty, and Orson Welles was infernally magnificent. Without their being homely, the entire story is baffling nonsense, for the entire story is that of honesty cutting through all levels of fine and proper appearance: of wealth, of religion, of position, of gender, of face, of figure, of sexuality and even of physical deformity, since Rochester ends up blind. As it is, all you’re left with in this version is that you have got to be blind to get married. I prefer Rebecca, which is its most famous duplicate. Or I prefer the 1998 Masterpiece Theatre television version. This one is a movie; it’s too short. This one leaves out how much Jane enjoyed running the school she founded; it even leaves out that Rochester’s ward is infuriating and is actually his illegitimate child. It leaves out how come Jane starts out as a girl of high temperament and becomes a teenager of no temperament whatsoever. The 1998 TV version also has at least an unusual looking Jane. This one, however, has Judi Dench, quite fine as Mrs Fairfax the housekeeper, and it has the great Sally Hawkins as the wicked witch Mrs Reed, and it has our own Billy Elliot, Jamie Bell, as St. John. In the TV version the characters are more fully rounded, St. John, for instance, because the material is a big Victorian novel, and two hours cannot compass the long vital surgery it performs, the first layer of which is the meaning and meaninglessness of the want of beauty in its principals.

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The Chumscrubber

21 Apr

The Chumscrubber — Directed by Arie Posin. Community Satire. Teenagers create their own adventures among oblivious parents. 108 minutes Color 2005.

* * * * *

It unreels like a perfect film and maybe it is. 19 year old Jamie Belle, who beguiled us dancing through Billy Elliot, is the driving force of this picture, no particular of whose story shall I reveal to you. The perfection of the film can be accounted for by excellent direction, a marvelous screenplay, and by the playing of its senior actors, each one of whom seizes on the tone of the screenplay and plays each part brilliantly. I’ll simply name them: the great-hearted Allison Janney, the virtuoso actress Glenn Close, William Fitcher, Ralph Fiennes, John Heard, Carrie-Anne Moss, Rita Wilson — all of them, some of them acting scenes with one another without even seeing one another, carry the satire all the way to the store and back — each one playing a present but distant parent, in this film in which everyone, parents and children alike, are all slightly mad. The director/writer Arie Posin and Zack Stanford had beginner‘s mind and luck. And with James Horner, they even had a great musical score On the small screen, the Chumscrubber leitmotif is lost, as are other details, but it does not matter because the script is so strong. Here the utopian suburbia becomes a dystopia in which justice cannot be done and whose poison pellet is a certain boy madder than the others, but the dystopia of the post apocalyptic world of The Chumscrubber TV cartoon, which everyone watches to the exclusion of everything else, actually presents a utopian dystopia, where justice is done instinctually. Never mind that. Just see it. You’ll rejoice.

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