Director: Greta Gerwig
Starring: Saoirse Ronan, Florence Pugh, Emma Watson, Eliza Scanlan, Timothee Chalament, Laura Dern, Meryl Streep, Chris Cooper
Before she made Lady Bird, the coming-of-age drama that put her on the map, Greta Gerwig had already written her adaptation of Louisa May Alcott’s Little Women. Despite there already being six film adaptations of the novel, not to mention numerous television movies and mini-series, and the knowledge that no one would back an unproven director to make it, Gerwig felt that was still something vital in the story of the Marsh sisters and a 21st century audience warranted its own telling of the tale. With Lady Bird’s Oscar-nominated success giving her the chance to prove it, on both counts it appears she was correct. Continue reading
Director: Bill Condon
Starring: Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Josh Gadd, Ewan McGregor, Emma Thompson, Ian McKellen, Stanley Tucci, Audra McDonald
In 1991, New York Times theatre critic Frank Rich declared that the best Broadway musical score of the year actually belonged to a movie. Disney’s Beauty and the Beast was a sensation. It became the first animated feature film to be nominated for Best Picture at the Academy Awards, spawned a long-running Broadway show, and arguably represents the high watermark for Disney’s animated musicals. All of which means that the latest in Disney’s run of live-action remakes of their animation back catalogue probably has the highest stakes.
The opening prologue, which is here dramatised rather than simply narrated, transports us back to provincial France where an arrogant prince (Dan Stevens) is transformed into a hideous beast, and all his staff into crockery and furniture, as punishment for his cruelty, and doomed to stay that way unless he can learn to love and earn someone’s love in return. That someone is Belle (Emma Watson), a bookish but courageous girl from a nearby town who becomes prisoner in the beast’s palace before working her way into the hearts of the staff and, ultimately, their master (leading some to cynically refer to the film as ‘Stockholm Syndrome: The Musical’). Continue reading
Director: Stephen Chbosky
Starring: Logan Lerman, Emma Watson, Ezra Miller, Mae Whitman, Melanie Lynskey, Paul Rudd
The Perks of Being a Wallflower is a coming-of-age story set in the early 1990s. Emotionally scarred Charlie has always felt invisible. He’s always been on the outside looking in. On his first day of high school he is already counting down the days until it’s over. But when he is taken in by a group of equally misfit seniors, he finds himself in a situation he has never been in before, he has friends, and through them he is able to take the first steps towards putting his past behind him.
Chbosky wrote the cult, young-adult novel of the same title in 1999, and made the rather bold decision to direct the film adaptation himself, despite his experience as a director being limited to one film almost two decades ago. However, his bold decision really seems to have paid off.
While there is a certain level of pretentiousness in their desire to be alternative, it still has an incredible authenticity. For example, the fact that Sam takes such pride in her good taste in music, yet along with Charlie spends the whole film trying to identify David Bowie’s ‘We Can Be Heroes’ seems to ring true of an eighteen year old know-it-all who despite her best efforts still has enormous gaps in her knowledge and experience. That authenticity is really important. So much of contemporary hipster culture is artifice, simply adhering to a set of conventions in order to be cool, even if they are a non-traditional set of conventions. If that was all The Perks of Being a Wallflower work was it would be an incredibly frustrating film, and this group of teens would probably come across as obnoxious and unlikeable. But it isn’t. There is an authenticity to their lifestyle. Their alternativeness doesn’t come from a desire to identify as being different. It comes from the acceptance and embracing of the fact that they are different. Whether as a by-product of their sexuality (Patrick), or as a result of childhood trauma (Charlie) or abuse (Sam), their lives have conspired against them to make them outsiders. Yet they manage to find a place with other different people (the inclusion of The Rocky Horror Picture Show as one of the group’s defining activities speaks volumes).
The performances of the film’s leading trio are fantastic. Logan Lerman’s is impressive as Charlie, providing the film’s emotional centre in a part that either makes or breaks the film. Lerman manages to make Charlie instantly likeable despite his closed off and troubled personality. As Patrick, Ezra Miller provides a fun and flamboyant character without forfeiting his humanity. Emma Watson delivers a career-changing performance which may well become her post-Harry Potter calling car – which is important for her career given that was a decade’s worth of employment she gained on the basis of being a talented ten year old.
There is one element in the story which distracted me. Charlie is a freshman (first year of high school) while the rest of his friends are seniors (final year). That is quite a sizeable age difference for a school context, but it is never really suggested in the film that this is in any way unusual. It is simply not an issue. Yet in real life it would be an issue. Why would a bunch of eighteen year olds want to hang around with a fourteen year old?
Some critics have complained that this film lacks originality, and it is true that there isn’t really anything here we haven’t seen in some form before, but a well-made coming-of-age story will find a way to connect with audiences and it is no surprise that The Perks of Being a Wallflower managed to sneak onto a few best films of 2012 lists. It’s a gem.
Rating – ★★★★☆
Review by Duncan McLean