…together, stays together, as the great Khloe Kardashian has said before.
If Leni Riefenstahl directed FDR, Hyde Park on Hudson would be that movie. I wrote about it on Entertainment Maven. The link is below. Anyway, that is the closest I’ll get to referencing Adolf Voldemort because God forbid, I write his real name and I’m breaking some ineffective, Regeanite internet rule.
Hyde Park on Hudson omits a lot historically, making it seem like President Franklin Delano Roosevelt (Bill Murray), the greatest one from the Democratic Party, look like a guy who got the job through nepotism – he’s probably related to Theodore, the crazy one who likes hunting bears – and spends his time in his summer mansion like a Manchurian aristocrat. The movie show a dumber version of his affair with his sixth cousin, Margaret ‘Daisy’ Suckley (Laura Linney), who lived next farm to him. With a last name like that, how in hell did this woman survive middle school? Anyway, I am not cool or rich to know my sixth cousins. I can only trace my family five generations back from my father’s side and I only know my second cousins and their cousins by affinity, none of whom I’ve had affairs with. I used to live with my first cousin, while the second cousins would visit. It is not legal in most of the western world to marry your siblings which is why no one south of Dixie is allowed to live here. However, it is legal in most of the western world to marry your first cousin, which is great because again, even if Suckley is Roosevelt’s sixth cousin, his wife Eleanor (Olvia Williams), is his fifth cousin whom he apparently met an another relative’s wedding or something.
Also, there’s been a recent interest in cinematically depicting the British Royal Family. Previously we had the quippy bromance known as The King’s Speech, a movie that some film writers want to redirect and is the movie of choice of high school football players, beary gay bartenders and old people. We also had the W.E., which has the best scene of a woman getting slapped by another dead woman. Hyde Park on Hudson is the third that confirms the trend in the official sense, a movie that wastes all five of its great cast members. But I’ll be nice and cast the British Royal Family Supermovie. Paul Bettany, Olivia Colman, Michael Gambon, Claire Bloom, Andrea Riseborough, James D’Arcy. And fine, let’s invite the Americans with Murray and fake American Williams, the latter by the way, was better as Vronskaya in Anna Karenina and is entitled to a Katharine Hepburn biopic that will never be made. Speaking of which, instead of comic book adaptations that are pitched before even a script is made why not biopics? Oh, because there would be more movies like this one, that’s why.
- Hyde Park on Hudson Review (Paolo Kagaoan) (entertainmentmaven.com)
Hanna (Saoirse Ronan) converses with her father Erik Keller (Eric Bana) in Teutonic accents and commits to combat training from him in the forests somewhere in the immediate south of the Arctic. Telling her father that she’s ‘ready,’ and tiring of the isolation that Erik has inadvertently put her, she flicks a switch that emits a signal so her hunter, agent Marissa Viegler (Cate Blanchett), can ‘find her.’ He flees, she gets captured, she escapes and finds herself on a rocky desert and meets a British faux chavette her age named Sophie (Jessica Barden), who suddenly prattles on about God knows what.
I highlight this part of Hanna’s journey just to say that I love Jessica Barden, who seems like a cherub in the trailer but she plays a precocious character as she did in Tamara Drewe. And she almost steals the show from Ronan, as she talks about MIA and other topics in breakneck speed, without caring if Hanna can understand her. She’s the comic relief with her bodily non sequiturs. But when it comes down to it, watching the latter kill full-grown men, she stands paralyzed, teary-eyed, knowing that she cannot copy what her new-found friend is doing in front of her.
Both girls are worldly in their own way, Hanna through the encyclopedias and languages that her father teaches her, Sophie by actually visiting [laces and immersing herself through the culture. One complements the other. What, then, does the film say about teenage girls’ relationships with each other and the overwhelming possibilities of the outside world? Or the independent, free-love parenting that Sophie’s mother (Olivia Williams) tries as an experiment towards her daughter, who probably isn’t turning out to be what the former exactly wanted? Or the dangers of the outside world that they have to face?
But it doesn’t need to think about those things while it’s offering to show us parts of the world. Hanna breaks a Fake Marissa’s neck and takes out armed guards, escaping a CIA prison facility. She beats up guys on a pier while loaders are driving around her. CIA operatives surround Erik in a Berlin U-Bahn – he kills them all, the audience applauds. Hanna combines snowy forests, Northern African country and city, Germany’s inner-city and abandoned amusement parks. But director Joe Wright, a trickster with his long takes and spinning cameras, doesn’t shoot those locales and the actors filling them with any slow-paced art film pretension. There’s wilfulness in making’ this mainstream action film, these locations thus making the movie more real.
That doesn’t mean that the film is just 110-something minutes of limbs hitting bodies, as it shows the character’s pain and its psychological effect as the outside world, intentionally or otherwise, attacks. Hanna ironically becomes overwhelmed by the stimuli of household appliances of a cheap, Moroccan hotel. Marissa uses one of her electric toothbrushes until her teeth bleed.
Marisa hires an assassin (Tom Hollander) to find her, but when that doesn’t work, these fractured women – Marissa can also be seen as Hanna’s other mirror/double – eventually meet and know that their survival depends on ensuring the other’s death. 4/5
This is my second time doing this. And this was the second thing distracting me during that little movie Al was in. I keep drawing from the well, aren’t I?
I hope I get this posted before actual negotiations between real people happen, and no matter what happens in the real level, and I hope they do a better job than I do, my fantasy Lear will always exist in my head and on the internet.
Lear – Al Pacino. Nothing we can do about that yet.
France – Guillaume Canet. I saw L’Affaire Farewell and he can stand his ground with someone like Al.
Burgundy -Ben Whishaw. I want someone younger for Burgundy but has good chops. And he’s played the not so smart young’n in Layer Cake, which is not the same thing but it’s a type.
Cornwall – Mark Ruffalo. He’s gonna be as explosive in this as he was in that one scene in You Can Count on Me.
Albany – Ewan McGregor. Like Ruffalo, he can interpret his character as either villainous or a goof. As long as the direction doesn’t make the characters too extreme.
Kent – Ray Winstone. He’s played the bad best friend, and Kent is a bit like that, getting into fights to prove his loyalty.
Gloucester – Jeremy Irons. He’s just a little younger than Pacino and they’ve worked together for The Merchant of Venice.
Edgar – Paul Bettany. He’s played benevolent characters before. And Edgar’s gonna be misunderstood, and Bettany can make Edgar duplicitous if he wanted to.
Edmund – Cillian Murphy. He’s known to make a lot of out secondary roles and he’ll be good as a juicy little villain and seducer. And there’s something in his eyes that makes him look like Bettany’s brother.
Fool – Diane Keaton. Emma Thompson’s played Fool against Michael Gambon’s Lear. And this will be a reunion and this will be fun.
Goneril – Kristin Scott Thomas. If there’s anyone who knows how to confront men, it’s her.
Regan – Olivia Williams. She was the perfect ice queen in The Ghost Writer, and I can’t wait to see her do another femme fatale.
Cordelia – Keira Knightley. She’s learned the silent defiance in Atonement and can bring Cordelia’s pain to screen without making her look like a weeper.