I cannot remember if I saw the original 1984 movie directed by David Lynch. The trailer does not look familiar, but that was thirty seven years ago. The new Dune is directed with style by Denis Villeneuve but, despite being two hours and thirty five minutes long, it is only Part 1. I felt as if there were definitely parts that could have been cut out but the director wants us to wallow in the sets. These are obviously very impressive as is much of the hardware and CGI. But they do at times overwhelm the story. The script was better than I expected and the cast were all excellent, even Rebecca Ferguson is almost good. When I saw this in Cineworld's IMAX screen, I was a little alarmed when the aspect ration of the screen changed between IMAX and normal widescreen where it left a gap at the bottom of the screen. That was weird.
Wes Anderson is at his best (weird, wacky and wonderful) with The French Dispatch. The one hour forty minutes seemed to go in a flash. The three stories are not obviously a dramatic choice, but it is what is shown on the screen that is so wonderful, full of colour, brilliant sets, fabulous costumes (both a shoe in for Oscars). The high class cast are all on form including Anderson favourites such as Bill Murray, Tilda Swinton, Benicio Del Torro and Frances McDormand. Again there are switches in aspect ratio as the picture changes to black and white and the academy 1.37.1 size favoured by old French movies. I never have been a fan of heavy narration, but I got used to it. Some of the dialogue is very fast and so is the editing. So I need to see it again. For the sets, go to elledecor.com - "6 Design Secrets: hollywood reporter".
I wondered why Last Night in Soho was given an 18 certificate. Still not sure if the "strong bloody violence" deserved it. When I found that half the film is actually set in 1965 I knew I was in for a treat, I was actually twenty in that year and the film brought back so many memories. I had deliberately avoided any mention of the 60's soundtrack as I wanted to be surprised during the film. And what wonderful surprises. My favourites are all in the first half of the movie, but I will write a separate post on all the songs, and sights of London.
We know from early on that Eloise is particularly attuned to certain emotions, her mother died when she was young and she is prone to sometimes be overwhelmed. So starting out on her own as a student of fashion design in London would always be strange. But it is her dreams at night that are so vivid as she follows Sandie through her 1965 experiences in the more squalid parts of the West End, almost being Sandie. Dreams seem to melt into reality as Ellie becomes more unhinged. As the review on polygon.com puts it "the message that nostalgia is just a pair of rose-tinted goggles, obscuring darker realities hidden beneath the glitzy surface."
This is not a comfortable tale of London in the Swinging Sixties, increasingly more a seedy and revolting as the story unfolds. But a good story nonetheless and terrific dialogue. Some of the sets are dazzling, the colour palette is turned up to high. Edgar Wright is one of my favourite directors and he does not disappoint. His cast is mainly excellent. Thomasin McKenzie (so great in JoJo Rabbit) is so vulnerable and believable as Eloise and Anya Taylor-Joy (brilliant in Emma) is wonderful as Sandie. So are Rita Tushingham as Ellie's mother, Terence Stamp and I particularly liked Diana Rigg (in her last screen role) as Ms Collins, Ellie's landlady. The only poor casting was Matt Smith as Sandie's greasy manager. There was also a tiny part for Elizabeth Berrington as Elly's fashion teacher, known in our house for Paula in Stella. Next up the soundtrack.
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