Filed under: Uncategorized | Tags: carol todd haynes, Carter Burwell, Cate Blanchett, Edward Lachman, Jesse Rosenthal, Judy Becker, Rooney Mara, Sandy Powell, todd haynes
This is a quite magnificent exploration of sexual awakening unlike anything I’ve ever seen and directed with such a firmness of hand as to be an immediate contender for Best Director at this year’s Oscars. Fans of MTV series Mildred Pierce will see some similarities, but this is period moviemaking on a peerless scale.
Every second of screen time has a period detail that takes your breath away, so assume an Oscar will also be heading the way of Judy Becker (Design) and Jesse Rosenthal (Art Direction) as well as Sandy Powell’s costumes. Honestly, it makes Mad Men look heavy handed. That may in part be down to the gorgeous cinematography by Edward Lachman (Virgin Suicides). The music by Carter Burwell will also be in the mix come judgement day. So that’s six Oscars before we even get to the main talking point.
So; Rooney Mara or Cate Blanchett?
This movie is like watching the equivalent of the Rumble in the Jungle – the two greatest boxers of their generation, one on the ascent, the other at the peak of their powers – so too here. Marra the lady in waiting, Blanchett at a dizzying career high after last year’s electrifying Blue Jasmine performance.
As the title character you would expect her to dominate the proceedings but that wholly underestimates the abilities of Rooney Mara who often, and tantalisingly, is a doppelgänger for Audrey Hepburn. Consequently Haynes and Lachman are compelled to hold the camera, long and sure on her utterly beguiling features. Blanchett, by contrast, can only be described as both handsome and regal.
So, the story unfolds as an elder socialite, Carol, totally disgusted with her affluent but corporate married life, and a dark past as a – whisper it because the word could not be uttered in McCarthy’s 1950’s USA – lesbian, sets eye on the virginal Mara in a pre-Christmas department store. The impact on both is immediate. The sexual tension starts from that very first moment and builds and builds until finally consummated in a Motel room in the midst of a Thelma and Louise-esque road trip (albeit one that’s driven at a much slower pace).
This ‘forbidden’ love comes with significant baggage; Blanchett’s estranged husband spots it soon enough and uses their 4 year old daughter as a ransom for her to return to the familial home. This destroys Blanchett and makes the illicit relationship impossible to maintain.
It’s a beautiful celebration of love; what little sex the film contains – with an OTT BBFC statement that it contains infrequent strong sex – is both tasteful and genuinely loving.
Really it’s hard to unpick the complex and symbiotic relationship that these two women have forged on screen. One performance could not exist without the other and it is to Haynes’ extreme credit that he keeps a hold on it all and guides it effortlessly into the land of classic cinema.
Go see it before it’s too late.
Filed under: creativity, movies, Uncategorized | Tags: Best actress, best ever actress, carey mulligan, Cate Blanchett, Charlize Theron, frances mcdormand, Ingrid Bergman, Jennifer Lawrence, Jodie Foster, Judi Dench, Julianne moore, Katherine Hepburn, Maggie Gyllenhaal, Maggie Smith, marilyn monroe, meryl streep, movie actresses, Susan Sarandon, tilda swinton
If you contributed to my actors poll or nominated your idea of the best ever movie actress via Facebook I think you are going to find this a much more open field with a greater breadth of opinion than the men.
You can have up to three votes to choose which you think is the greatest ever movie actress.
Filed under: creativity, humour, movies | Tags: Alex Baldwin, Cate Blanchett, woody Allen
In his 48th movie and his 77th year Woody Allen has pulled a pearl out of the bag. Aided and abetted by Cate Blanchett, on absolute fire, Blue Jasmine is just wonderful.
The directing is effortless, the writing so miraculously real that you almost wonder if there IS a script. It feels so like real life.
It’s a story barely worth telling because the plot is really quite slight; but it matters not one jot.
Beautifully photographed by Javier Aguirresarobe (who also shot Vicky Christina Barcelona) it has a sumptuous feel in keeping with the past lifestyle of Cate Blanchett’s titular character, Jasmine.
The story centres around the attempt by Jasmine to piece her life back together with the help of her adopted sister Ginger (played wonderfully by Sally Hawkins) after her marraige to playboy Alec Baldwin (who is so cool it’s unbelievable).
Whilst Jasmine has plenty of admirers her rather less fortunate sister is also on the road to romance with a blue collar worker, played affectingly by Bobby Cannevale. But Jasmine dissaproves. In fact Jasmine pretty much disapproves of everything in her new world; working, her sister’s flat, San Fransisco…you name it.
What makes the movie really work is the central (surely to be Oscar nominated) performance by Blanchett who simply sizzles from start to finish.
It’s not often you like an absolute bitch on screen but Blanchett pulls it off in a booze and drug sozzled role that never reaches extremes and demonstrates what an outstanding acting talent she is.
Woody is working on his (unnamed) 49th movie right now. Here’s hoping he makes it to the half century because in the last five years we’ve had the aforementioned VCB and Midnight in Paris. Both absolute toppers.
This is no exception.