THE KING'S SPEECH - wonderful pantomime

In the mid-1930s, Britain was still a proud Empire that ranged from the Caribbean territories in the West, via East Africa, to India, Australia and Hong Kong. But the home country was still reeling from the Great Depression and fearful of the second Great War in living memory. The Empire needed leadership, both from its politicians who had the real political power, and from its monarchy, whose job was to inspire loyalty and imperial unity in the face of adversity. But the politicians fell grip to appeasement, and bar Winston Churchill, utterly failed to anticipate Hitler's aggression. As for the monarchy King George V was dying; and his son, David. the short-lived King Edward VIII, abdicated so that he could marry the scandal-ridden divorcee Wallis Simpson. Thus, David's younger brother, Bertie, the Duke of York (father of the current Queen Elizabeth) was thrust onto the throne as King George VI, with the task of leading his country and his Empire into World War Two. Pity then, the man, courageous and dutiful, but hampered by a debilitating stammer induced, the movie argues, by a shockingly loveless and brutal childhood.

THE KING'S SPEECH is, then, the story of how Bertie (Colin Firth) persevered through humiliation and fear to become technically more accomplished at public speaking and emotionally able to take on the burden of monarchy. He did this, the film posits, through sheer courage; the love of a good woman (Helena Bonham-Carter); and through the advice and friendship of the radically informal, Antipodean speech therapist, Lionel Logue (Geoffrey Rush). 

So here's the thing. THE KING'S SPEECH is basically a really well made and emotionally involving film. It comes to our screens dripping with critical praise and smothered with awards. Director Tom Hooper eschews the typical lavish costume drama production design and shooting style, instead trapping his King in fog-bound streets and narrow corridors. The cast give fine performances. The script is beautifully written. I was deeply caught up in the drama. But, as I write this review some days later, I am less impressed by the film. Because, essentially, I was in the realms of pantomime cinema.

Colin Firth is, after all, playing an essentially Good Man.  Firth's Bertie is understandably angry; occasionally very funny; a warm, loving father and a dutiful king. He is an under-dog hero without faults, played by an actor at the top of his game.His wife is also without fault in this film - determined to help her husband, utterly sympathetic to him, charming to commoners, but conscious of maintaining her regal authority. And even Lionel Logue is a man without fault and dripping with charm! He is wonderfully brash, believes in Bertie's essentially goodness, and constantly helps him, even when Bertie sounds off at him. Even the minor characters are basically charming and lovely.  Logue's wife (Jennifer Ehle) in a few short scenes is a picture of calm concern and wise advice.  The horribly politically wrong Prime Minister, Stanley Baldwin (a marvelous cameo from Anthony Andrews) is noble and humble in his failure.  And even Chrurchill (Timothy Spall), the towering personality who seemed to win the War single-handedly through sheer bloody-mindedness and brilliance, is humanised by the admission of a youthful speech impediment. 

And what of the villains of the piece? They too are essentially mono-dimensional. David (Guy Pierce with a pitch-perfect voice impersonation) is basically a bullying, selfish cad, utterly beguiled by the domineering Wallis. The late King George V (Michael Gambon) and his wife are distant, uncaring, bullying parents. And Derek Jacobi's Archbishop of Canterbury is an obsequious passive-aggressive arse.

So there you have it:  THE KING'S SPEECH is the ne plus ultra of feel-good movies, with the added bonus of being about glamorous royals. It comes complete with palaces and princesses - evil villains, unimpeachable heroes, the love that conquers all, the buddy movie, the under-dog story. And the biggest signal that we are in the realms of blatant emotional manipulation? The lazy use of the adagio from Beethoven's 7th symphony and the adagio from Beethoven's 5th piano sonata as we hear the King give his final, triumphant speech and wave to his adoring public on the balcony of Buckingham Palace.

THE KING'S SPEECH played Telluride, Toronto, London and the AFI 2010. It was released last year in the USA, Canada, Greece, Spain, Australia and New Zealand. It is released on January 7th in the UK, on January 21st in Estonia and Finland, and on January 28th in Slovenia, Iceland and Italy. It will be released in France on February 2nd, in Hungary on February 3rd and in Brazil and Sweden on February 4th. It will be released in Portugal on February 10th and in Germany and the Netherlands on February 17th. It will be released in Russia on March 17th.

At the British Independent Film Awards, THE KING'S SPEECH won Best Film, Screenplay, Actor (Colin Firth), Supporting Actor (Geoffrey Rush), Actress (Helena Bonham Carter). It was nominated for Best Director, Supporting Actor (Guy Pierce) and Production Design (Eve Stewart). It has also been nominated for seven Golden Globes and four SAG awards.

ALICE IN WONDERLAND 3D - what is Tim Burton trying to say here?

My response to ALICE IN WONDERLAND 3D was much the same as my response to Tim Burton's Roald Dahl adaptation, CHARLIE AND THE CHOCOLATE FACTORY. The production design, costumes, and sheer visual imagery were wondrous to behold. But Tim Burton had made poor choices regarding the narrative structure, tone and very heart of the subject matter.

So let's go back to the beginning. This movie originates in the children's novels Alice's Adventures In Wonderland and Through The Looking Glass and What Alice Found There. The novels were written by Charles Dodgson, an Oxford mathematician, better known as Lewis Carroll. On one level, the novels fall into the category of nonsense literature, in the same vein as Edward Lear. When the little girl Alice chases a small white rabbit, clothed in a waistcoat, down a rabbit hole, she enters a world that is surreal, sometimes sinister and that defies narrative logic. Potions and mushrooms make you larger or smaller. Animals talk, have tea parties and smoke hookah pipes. There are riddles, logic puzzles and chess moves; wonderful explorations of mirror-ing, double-ing and mathematical concepts; satirical sketches of donnish Oxford life; references to the Wars of the Roses - but ultimately, it's all just one giant non sequitor. Anything can happen because anything can follow. For a little child, this is a wonderfully liberating, but also an extraordinarily frightening concept. (The same conflicting reaction is at the heart of the most sinister of all the very sinister late Victorian and early Edwardian childrens' novels - Peter Pan. To this day, I am shocked that this is marketed as a children's novel rather than as horror.)

The genius of the original illustrations by Tenniel was to capture that strangeness - at once captivating and repulsive. Alice with her dark eyes and obnoxious self-confidence - the stern Victorian politicians anthropomorphicised into baffling characters. Wonderland is a world where one can fear drowning in a sea of one's own tears and where power is abused by a series of tyrannical and clearly insane aristos. It's hardly Disney. Unless of course you are watching the bland saccharine Disney version of the film. As adaptations go, it was faithful in the superficial - the characters were all there as were the each of the famous scenes in the right order - but completely failed to capture the sheer oddness of the world. To that end, Jonathan Miller's BBC film is my adaptation of choice - he fully explores the concept that Wonderland is really Oxford and makes the characters there so very close to real people, Wonderland isn't "other" or "under" but sits alongside reality.

Given how dark and surreal the source material is, I would've thought that Tim Burton would've been the perfect director for ALICE IN WONDERLAND 3D. And as the publicity stills were released I got more and more excited. I loved the make-up for Johnny Depp's Mad Hatter - he looked like a psychedelic version of McAdder. Helena Bonham Carter's encephelatic head as what I thought was the Queen of Hearts looked superb. Matt Lucas, who I'll always think of as the baby on Shooting Stars, looked born to play Tweedle-Dum and Tweedle-Dee. And when you looked down the cast list you could see lots of high-class British character actors in the voice roles, from Stephen Fry as the Cheshire Cat to most surprisingly and perfectly Barbara Windsor as the Doormouse. Most wonderfully of all, I was longing to Crispin Glover - a fascinating but little seen actor - as the Knave of Hearts. I suppose my suspicions might have been aroused by the casting of Australian Mia Wasikowska as Alice - not on the grounds that she can't act - she makes a perfectly decent fist of her role - but because she isn't a child. So there was obviously some serious re-writing at hand. And then, with the very appearance of the Tweedles and the White Queen (Anne Hathaway) they were clearly conflating the two novels, most notably in the character that looks like the Queen of Hearts but is called the Red Queen.

The resulting film is a strange beast indeed, but in all the wrong ways. Script-writer Linda Woolverton (BEAUTY AND THE BEAST, MULAN, ALLADIN) has made Alice a teenager being pressured into marriage. She runs away from her fate and down the rabbithole, but refuses to believe that she has been there before, as a child, despite being haunted by recurring nightmares of talking caterpillars and smiling cats. When she reaches the Underland, which she had mistakenly called Wonderland, she finds a landscape of scorched earth, stormy skies and familiar characters suffering from post-traumatic stress syndrome. To echo LA Times reviewer, Kenneth Turan, the Mad Hatter's tea party seems to be set in a sort of ill-conceived Mordor and the Mad Hatter himself has lost his mind in reaction to the Red Queen's hostile take-over of Underland. When events get too much for him he trips into a pitch perfect Scottish accent, but this only serves to make him even more McAdderish! The loose plot sees Alice journey to the Red Queen's palace to capture the Vorpal Sword and free the Hatter. She then visits the White Queen and summons the courage to defeat the Jabberwocky on the frabjous day (calloo callay!) in a finale that would've mean more appropriate to LOTR.

Despite the lovely creations that are the Mad Hatter, the Red Queen and the lovely costumes for Alice, the movie feels rather dismal and flat. I suppose that can't be helped as this is a vanquished world, but somehow, that wasn't a problem for Narnia or Rohan. Alice is supposed to find herself but the transformation isn't particularly convincing. Back in the real world, the idea that she would then become a neo-feminist adventuress is ludicrous. I think the problem is that the movie shifts in tone rather abruptly. In the same scene, you'll have Johnny Depp playing it utterly straight as the traumatised hatter, but Anne Hathaway pastiching the idea of the pure, slightly unpractical, narcissistic White Queen, with her pure white dress but scarily black lips and nails. Both are fine, but do they belong in the same film? And the sheer ill-judgement of the 1980s dancing that the Hatter roles out in the penultimate scene defies description.

Overall, then, while I can see consistency of design, I didn't see a consistency of vision as to what this movie was really about and what it was trying to say. A fatal flaw, no matter how lovely the costumes. Burton refuses to let ALICE be a wonderfully nonsensical nonsequitor. He wants to give characters a back story and feeeeeelings. But at the same time, he doesn't take the time to actually explore them properly. Worst of all, with the exception of the rather lazy introduction of some real-world twins, nowhere do we see Alice's visions as subconscious reworkings of people she has seen in the real world.

Additional tags: Mia Wasikowska, Dariusz Wolski, Christopher Lee, Geraldine James, Tim Piggott-Smith, Frances de la Tour, Marton Csokas, Barbara Windsor, Leo Bill, Linda Woolverton.

ALICE IN WONDERLAND is on global release.

London Film Fest Day 5 - FROM TIME TO TIME

Writer-director Julian Fellowes has transferred his familiar obsession with characters trapped in the British class system to the children's adventure genre, in his faithful adaptation of "The Chimneys of Green Knowe". I must confess that I did not read the book as a child, so I take the fidelity on faith and the overall style of the film, which is "heritage" film-making in the manner of THE RAILWAY CHILDREN without any vulgar American influence. The movie looks and feels traditional and heartfelt: indeed, it got a little dusty in the theatre toward the end.

The plot occurs in wartime England, both World War Two and the Napoleonic wars, hence the unhappily vague title of the film. In 1944 a young boy called Tolly is sent to stay with his Granny in her old manor house while he waits for news of his father, Missing In Action. Granny fears she will have to sell the house, and the movie has that air of pining for a lifestyle that can no longer be maintained, a little like Brideshead. The family jewels were, you see, lost in the fire that destroyed half the house in the early nineteenth century. Tolly periodically escapes into this world and meets kind Captain Oldelknow, his lovely daughter Susan, and her helper, an escaped slave boy called Jacob. Together they fight the evil butler Caxton and Susan's resentful brother Sefton. Along the way, Julian Fellowes draws a parralel between Mrs Oldeknow of C19, shut out by her social betters, and Tolly's mother, deemed "common" by Granny.

FROM TIME TO TIME is a charming little movie, well-made and well-acted by a sterling British cast. It's not going to set the world alight, but as honest family entertainment it works just fine.