Showing posts with label director: Lone Scherfig. Show all posts
Showing posts with label director: Lone Scherfig. Show all posts

Thursday, June 1, 2017

BOOK VS MOVIE: Their Finest Hour and a Half/Their Finest

There have been countless pieces of fiction set during wartime. Sometimes it's the creators recalling their own experiences, other times the setting's merely for the sake of adding drama. But what of those stories that don't take place on the battlefront?

Nine times out of ten, tales about life on the home front will feature women waiting anxiously for the men in their lives (be it family, friends or lovers) to return home alive and in one piece. Obviously some of those were written by men with a faint grasp on how the fair sex thinks and behaves; more often than not, there were women who wanted to contribute to the war effort any way they could.

Lissa Evans' Their Finest Hour and a Half focuses on a woman doing just that. Catrin Cole goes from working at an advertising agency to co-writing a movie based on real life (albeit loosely) to boost the country's morale. As the novel follows Catrin and other people associated with the film, Evans paints a portrait of a looming war and how it affects those living in that time.

Condensing the plot (and title) to something more manageable, Lone Scherfig's Their Finest resurrects a bygone era, something the director had done previously with An Education. Featuring an embarrassment of riches amongst the cast, it depicts how the passing of time affects some people and benefits others. (Though it does get a bit sentimental towards the end.)

So which is better: Evans' novel or Scherfig's film? While it's refreshing to see women beyond their expected domestic roles, was the romantic subplot that necessary? (It feels like it was put in to attract a bigger audience.) Because honestly, that's just another blatant way of saying someone's life isn't complete without a significant other. That said, it's nice to have a story set during a war that doesn't have women worrying for their men overseas as their sole purpose.

What's worth checking out?: Both.

Saturday, May 21, 2016

Italian for Beginners

It's true that sometimes a woman-directed film solely gets recognition if they're of a raw, gritty and brutal nature. (The films of Kathryn Bigelow, Lynne Ramsay and Andrea Arnold usually apply.) But it's frequently the lighter woman-directed films that tend to get overlooked.

Lone Scherfig's Italian for Beginners for instance tends to get lost in the shadow of her later film An Education. (The latter film isn't darker per se but it isn't a bed of roses either.) But earlier in the decade, she made a charming little film about people trying to change their mundane lives.

Italian for Beginners focuses on a small group of people in a Danish suburb whose sole connection is a class of Italian lessons done mainly for a temporary shift in their weekly routines. Their lives are remarkably ordinary outside the classroom but something changes once they've stepped into it.

Scherfig's film was also a stark contrast to other titles of the Dogme 95 movement. Compared to the dark works of Lars von Trier and Harmony Korine, Italian for Beginners is a breath of fresh air, a deviation from the frequently grim nature of European cinema. (Just a casual observation, mind you.)

Anyway, Italian for Beginners is a deeply charming film. Much like the other entries of the Dogme 95 movement, it doesn't need any big spectacle to maintain its image. It only needs a good script and a keen eye, and Scherfig provides both.

My Rating:

Tuesday, March 16, 2010

An Education

It's always interesting to see a rising actor's career. Now and then, the actor will either become an Oscar winner or the biggest name in Hollywood. Case in point, I'm reviewing the movie that got Carey Mulligan attention, An Education.

Jenny Miller (Mulligan) has dreams of attending Oxford and going to Paris. But her parents Majorie (Cara Seymour) and Jack (Alfred Molina) are rather restrictive when it comes to her own free time. Enter David Goldman (Peter Sarsgaard), an older man who gives Jenny a lift home. He charms Jenny's parents into giving her less restrictive rules, and David and Jenny form a relationship.

I really liked Mulligan's work, leaving me hoping this won't be the last we see of her. Molina managed to steal every scene he's in, which makes me wonder why he wasn't recognized more. The movie overall was solid.

My Rating: ****