After his father (Jude Law) died in a fire, Hugo Cabret (Asa Butterfield) lives and works with his uncle (Ray Winstone) at the clock tower at the train station in Paris. He is trying to stay under the radar of the station inspector (Sacha Baron Cohen), for fear of being taken away as an orphan. The boy tries desperately to fix an automaton which could write, because he believes it would send him a message from his father. However, while trying to steal parts from a toyshop owner Papa Georges (Ben Kingsley), Hugo gets caught and his notebook is confiscated. Later, Papa Georges tells him that he's burned the book.
But Georges's goddaughter Isabelle (Chloe Grace Moretz) tells Hugo that Papa Georges didn't burn the book. In fact, he's very sad for some reason. Hugo and Isabelle become fast friends. When she tries to help him find the notebook, they discovers Papa Georges is hiding a secret -- he has a box full of fantastical drawings. In solving the mystery, Hugo and Isabelle find out that the automaton is linked to Papa Georges.
Asa Butterfield (Nanny McPhee Returns) has the tremendous responsibility as the titular character. He more and less have to carry the film on his shoulders (with the help of veteran actors, of course). He does a good job. While he may not be as skilled and talented as an actor like some of his contemporaries, his performance is good enough to make us care about Hugo. Chloe Grace Moretz (Let Me In) is also good, but she plays it safe here, and we miss her edgier roles.
The veterans help lift the performances to a high level. Ben Kingsley (Prince of Persia: The Sands of Time) is particular great as Georges. His range is amazing and reminds us why he is one of the best actors of our time. Sacha Baron Cohen (Bruno) is all right as the station inspector, but his performance is rather a caricature. Emily Mortimer (Shutter Island), Christopher Lee (Alice in Wonderland), Ray Winstone (Lost in Italy) and Jude Law (Sherlock Holmes) all have small but affecting parts. Helen McCrory (Harry Potter and the Deathly Hallows) is extraordinarily charming and graceful as Mama Jeanne.
Adapted from Selznick's award-winning novel, the screenplay by John Logan (Rango) follows the original story rather faithfully. The story and plot, however, have the trappings of a children's story -- it's rather simplistic at times. The multiple subplots and threads seem irrelevant sometimes, even though the characters are endearing. The main thrust of the story is basically a mystery, but it feels more like an extended character study. There's nothing wrong with it, and we like the characters just fine.
However, at times the plot does seem to drag, and the pace a bit slow. The story explores certain serious themes such as loss, desperation, and generosity. But for many of its target young audience, these themes may be lost on them.
What is fantastic is the production. Director Martin Scorsese (Shutter Island) gives us a beautiful world, rendered mostly with CGI, set in a romantic time period. The art direction is amazing, and the production sometimes too gorgeous to behold. Scorsese also makes the best use of the 3D technology, and this is a film you must see in 3D. His use of camera angles, sets, perspectives, field of depth, etc. accentuates the effects of 3D. It's truly a feast for the eye.
While it is technically and artistically superior, and with good performances, I can't help but feel somewhat let down by the movie. Perhaps I was expecting something a bit more fantastical or other-worldly. Instead, we get a rather simple story with a simple mystery.
Why is J. Edgar Hoover (Leonardo DiCaprio) the "most powerful man in the world"? He will tell you: because he knows everyone's secret. Even as a youth, Edgar is driven and focused and meticulous. He has sharp observational and analytical skills, and a talent to see through people. While fighting Communists, whom he considers the true evil that could bring down America, he quickly rises up the rank and becomes Director of the FBI before he is 30 years old.
Edgar's strict and iron-fisted approach to reshape and reorganize the FBI earns him both admiration and revilement. A complicated man, Edgar relishes the spotlight while he is sensitive to criticism, and when he's hurt, he lashes out. One of his ways of getting even and protecting himself is by digging up dirt on others, including the seven presidents he has served under. While outwardly a staunch moralist, Edgar is a man of contradiction and double standards. He exaggerates his own merits while belittling others for their shortcomings.
Behind closed door, however, Edgar's personal life is full of secrets that could easily ruin his reputation and end his career. He is a mama's boy, for example -- his devotion to his mother (Judi Dench) borders on codependency. I mean, he lives with his mother until he's way into middle-age. Strange for a man with so much power. He once pursued unsuccessful Helen Gandy (Naomi Watts), who later becomes his most trusted assistant. Most important, he hires Clyde Tolson as his "right hand man" (Arnie Hammer) even though he doesn't qualify for the job. The relationship between Edgar and Clyde suggests something more than professional.
Leonardo DiCapro (Inception) has played real people many times. He plays Hoover from his teenage years to his death at 77. For over 50 years, Hoover has held on to his post even under the harshest scrutiny. DiCaprio is able to portray the complicated man even though his effort is inconsistent. Surprisingly, he is most successful when playing Hoover at his old age, under layers of prosthetics and makeup. It's then that DiCapro disappears into his character. As a younger Hoover, he seems self-conscious at times.
It's mostly a one-man show, but the supporting cast is good as well. Naomi Watts (You Will Meet a Tall Dark Stranger) is marvelous as Helen Gandy. She plays Hoover's trusted assistant and confidant with grace and heart. Judi Dench (My Week with Marilyn) also shines as Edgar's doting mother. Through her strong performance, we understand her character's influence on our protagonist. Arnie Hammer (The Social Network) is the weak link here. As young Clyde Tolson, he is handsome and charming, and we can see why Edgar is smitten with him. However, Hammer falters when he plays Tolson as an old man.
The screenplay by Dustin Lance Black (Milk) is almost episodic, alternating between past and present as the older Edgar contemplating his life while dictating his biography. The structure is rather disjointed and confusing, with multiple flashbacks but no time specified. So the audience has to deduce the plot and time line via dialogue or context. It's just too much work. The real problem with the story, however, is the lack of a real arc. It covers too much ground, and too much time, without a clear character arc. Mostly it's a "who is who" and "how things came to be" type of narrative. While it's interesting, the story lacks the dramatic oomph or a strong stake. We understand who drives J. Edgar -- his pride, his work, his personal desire and insecurity -- but none of that comes through with an urgency. Mostly, the screenplay feels flat. It's a shame since Black gave us the phenomenal, Oscar-winning screenplay of Milk.
Director Clint Eastwood (Hereafter) seems to have lost his touch as well. While the production is handsome and the period details are admirable, the pacing is off. The movie feels lethargic. I mean, this is a story of a man with great power, flair, and importance. A man who has served seven American presidents and carried on a secret homosexual affair for over 50 years. Yet his life story feels so lukewarm and flat. Much of the sentiments also feel forced. Perhaps I can't really blame Eastwood -- the flaws mostly lie in the writing. Still, I think Eastwood has made some mistakes and couldn't lift the movie from the material.
As a biopic about one of the most famous men in history, the movie falls flat, and it's not due to subpar performances or technical merits (the makeup and costumes are fantastic and should garner some Oscar nominations). J. Edgar himself would have hated it.
After Edward De Vere (Rhys Ifans) sees a play penned by Ben Jonson (Sebastian Armesto), he decides to procure Jonson's service. It turns out Edward is a prolific and talented writer, but due to his status as Earl of Oxford, he can't let anyone know that part of him. In exchange for Jonson's vow of silence, Edward promises him a steady stream of money and fame.
At the end of the first production, however, things get out of hand. The play is an enormous hit, and the crowd demands to meet the writer. Jonson hesitates, and Edward is distraught. An actor, William Shakespeare, decides to claim the credit. The truth is, Shakespeare is illiterate, but Jonson and Edward continues the charade -- for Jonson, he gets to keep the money and stay out of potential political trouble (as the plays can be political risqué), and Edward lives to see his plays produced and admired.
Yet good things don't last for long. The plays stir the interest of Queen Elizabeth (Vanessa Redgrave), to the dismay of her advisor William Cecil (David Thewlis) and his son Robert (Edward Hogg). The Cecils want James of Scotland to succeed the Queen, but she wants the Earl of Essex (Sam Reid), who is a good friend of Edward and the Earl of Southampton (Xavier Samuel). The rivalry causes the Cecils to scheme against Essex.
I've always liked Rhys Ifans (Harry Potter and the Deathly Hallows), particularly when he plays peculiar characters. He plays it straight here, however, as Earl of Oxford, and it's a marvelous job. He is handsome, debonaire, refined, and intellectual - exactly what we'd expect from the person who gave us masterpieces such as Romeo & Juliet or King Lear. As Queen Elizabeth I, Vanessa Redgrave (Letters to Juliet) is magnificent in portraying the character's confusion, anguish and internal turmoil. Both are great tragic characters played by great performers.
As their younger counterparts, Jamie Campbell Bower (Harry Potter and the Deathly Hallows) and Joely Richardson (The Last Mimzy) are dashing and spirited with great chemistry together. Sebatian Armesto (Bright Star) seems a bit slight and contemporary to play Ben Jonson, but Rafe Spall (One Day) gives us a William Shakespeare we love to hate. While Armesto is somewhat too modest and passive, Spall is brash and obnoxious.
The rest of the cast is excellent. David Thewlis (Harry Potter and the Deathly Hallows) is superbly sinister and secretive as William Cecil, while Edward Hogg (Alfie) is creepy and broody as Robert Cecil. Xavier Samuel (Eclipse) and Sam Reid (All Saints) play Earl of Southampton and Earl of Essex, respectively, as two frat boys -- they are somewhat too contemporary for my taste.
The screenplay by John Orloff (A Mighty Heart) follows a nonlinear storytelling structure with multiple flashbacks, sometimes flashback within flashback. Not to mention the unnecessary bookends. The structure can be confusing at times. Also, the plot threads don't necessarily connect until later. The main plot, of course, is the true identity of the writer behind the works of William Shakespeare, but we get more than we bargain for. We also get a political drama based on the Essex Rebellion, and a series of conspiracies.
The problem is, the plot and subplots become cumbersome after a while. I have some problem keeping track of all the relationships and secrets and who is doing what to whom. In truth, the main plot of "who is William Shakespeare?" takes a backseat to the conspiracy and political scheming. Certainly that is more thrilling (who doesn't like dirty politics and mayhem?) but it starts to lose the charm and intrigue. It also takes the focus away from the brilliance of and reactions to Edward's work.
Also, by wrapping the story around historical events such as the Essex Rebellion, we come to expect the outcome, and the intrigue becomes one of alternate reality and theory, instead of true mystery. Besides, once we know how it's going to end, there is no positive payoff. Tragedies are fine, but there still needs to be certain payoff to make the experience worthwhile: Romeo and Juliet's deaths result in the resolve of their families' feud, for example. The ending of Anonymous, in comparison, is all too depressing.
Roland Emmerich's (2012) direction is effective and powerful, however. Emmerich's departure from sci-fi or fantasy is also interesting, and surprisingly he has a good eye for the period. The production is lush and gorgeous, and he uses the special effects to create certain epic and poetic feel. Over all, he's succeeded in giving us something fantastic to behold.
Jacob (Hal Holbrook) wanders from the old folks' home and ends up the circus that has just given its last performance in town. Jacob goes on to tell them a story when he briefly worked for the Benzini Brothers Circus which, we're told, did not see the end of 1931. As a young man, Jacob (Robert Pattinson) is once a promising veterinarian student at Cornell until his parents die in an accident, leaving Jacob penniless. Looking for a job during the Great Depression is not an easy thing, but Jacob lucks out when he gets on the Benzini Brothers' train.
The ringmaster and owner, August (Christoph Waltz), is a charismatic but brutal businessman. He almost throws Jacob, a trespasser, off the train until he learns that Jacob is a vet. He needs Jacob just as much as Jacob needs him. August's beautiful wife, Marlena (Reese Witherspoon), is also the star performer. But when Jacob, out of mercy, euthanizes the star-attraction horse, August succumbs to an uncontrollable rage as his debts continue to pile up and he's on the verge of bankruptcy without a star act.
Luckily, a miracle happens and August is able to acquire a 15-year-old elephant named Rosie. Desperate for Rosie to perform, August is cruel to the elephant and that puts a rift between him and the kind-hearted Marlena. Meanwhile, Jacob takes care of Rosie and develops a crush on Marlena. When Jacob realizes Rosie responds to Polish, August's mood changes. The circus is saved, and Jacob is welcome into the inner circle. All goes well until August begins to suspect something is going on between Jacob and Marlena.
As young Jacob, Robert Pattinson (The Eclipse) is handsome and mild-mannered enough to secure his matinee idol status. However, his character is rather passive, and Pattinson underplays the role. What comes across is a lackluster performance and a character who more often only reacts. Reese Witherspoon (How Do You Know) is miscast as Marlena. Her slight, contemporary looks are a distraction, and her performance lacks the authenticity to pull of the larger-than-life character. Furthermore, she and Pattinson lack chemistry and heat together, especially with their age difference. Their onscreen courtship is unconvincing.
Christoph Waltz (Green Hornet) is perfectly cast -- if not too well cast -- as August. I'm afraid Mr. Waltz is now officially typecast. But he simply does these over the top bad guys so well. In fact, his character is so colorful and bigger than life that we kind of wish August is the hero, and not the passive Jacob.
The large supporting cast includes Paul Schneider (Bright Star) as, amiably, the modern-day circus owner. Jim Norton (The Eclipse) is wonderfully warm as Camel, the man who gave Jacob a chance. Mark Povinelli (Broadwalk Empire) is affecting as Jacob's reluctant bunkmate. Hal Holbrook (Into the Wild) steals the show as old Jacob. But who really steals the show is Tai, the beautiful elephant that plays Rosie. He's the best thing of the entire movie.
Adapted by Richard LaGravenese (P.S. I Love You), the script has all the epic elements and sweeping historical drama, but it can't overcome the innate cliches and melodrama of the source material. The subject matter is fascinating, and in fact the screenplay shines the brightest when it focuses on the circus itself. However, when it shifts to the romance between Jacob and Marlena, the plot falters and sinks into sappy melodrama. The sole villain, August, is overwritten and cliched (Christoph Waltz is able to save the day with his stella performance). The plot is contrived (and filled with coincidences whose explanations are either coyly done or ignored). The dialogue is cheesy at times. Worst of all, the relationship between Marlena and Jacob is boring and almost an after thought.
The story comes to life when LaGravenese focuses on the hardship and absurdity of circus life, but he doesn't do enough. There's a wealth of characters and situations to explore, but he focuses on the August-Marlena-Jacob triangle instead. The climax feels particularly rushed and anticlimactic.
Francis Lawrence's (I Am Legend) direction is rather good, however. The cinematography is lush and rich. The sceneries beautiful and historically appropriate. The costumes are great, and the production is gorgeous. It is a beautiful film. But even Lawrence's direction can't save the slogging, predictable plot, which isn't all that bad if not for the bland leading man and a miscast heroine.
That's just too bad. I was expecting to see a rich, epic romantic drama. Instead, I get a beautifully shot and produced shell of a cliched melodrama. No water for this elephant.
Prince George (Colin Firth) has a speech impediment: he stammers, especially during public speech. He constantly lives in the shadow of his more charismatic brother, Edward (Guy Pearce), who is heir to the throne and favorite of their father, King George V (Michael Gambon).
To help him get over his stammering and fear of public speech, George's wife Elizabeth (Helena Bonham Carter) enlists speech therapist Lionel Logue (Geoffrey Rush). Lionel, promising the prince his utter privacy (Lionel doesn't even tell his wife about "Bertie," his new patient), is known for his unorthodox methods. While he is successful in helping the prince improve, his antics and lack of personal boundary enrage Bertie, who eventually quits the treatment.
After King George V dies, Edward becomes King. Unfortunately, King Edward VIII is more interested in throwing parties and his relationship with an American divorcee than ruling the empire. Soon, Edward abdicates so he can marry Wallis Simpson. Bertie is thrust onto the throne, and he desperately needs Lionel's help or else he would become the laughing stock throughout the empire. As WWII approaches, King George VI must give one of the most important speeches in his life, and only Lionel can help him deliver.
Colin Firth (A Single Man) is brilliant as Bertie/King George VI. He shows great arrogance, temper, and vulnerability as the unwilling king who lives in the shadows of his father and brother all his life. Firth's performance is vibrant, affecting and mesmerizing. You can't help but root for him even though at times he could be such an ass. Geoffrey Rush (Elizabeth: the Golden Age) is equally impressive as Lionel. Rush successfully portrays a man who finds his calling, despite the lack of formal training, after his failure as an actor. The chemistry between Firth and Rush is undeniable, and that makes the relationship between their characters so much more believable and enjoyable to watch.
Helena Bonham Carter (Harry Potter and the Deathly Hallows) finally gets a chance to stretch her dramatic ability again. As Queen Elizabeth ("The Queen Mother" as we know her), she is quietly strong and supportive, and she never passes a judgment and always treat people with respect. Derek Jacobi (Endgame) is effectively creepy as the Archbishop. Michael Gambon (Harry Potter and the Deathly Hallows) is regal and mean as King George V, and through him we get to understand Bertie's emotional trauma. Guy Pearce (The Road) eerily looks older than Firth (who is 7 years older than Pearce) and is a dead-ringer for King Edward VIII. The weakest link is Timothy Spall (Harry Potter and the Deathly Hallows) as Winston Churchill -- his imitation is very distracting.
Written by David Seidler (The King and I), the screenplay is very play-like and dialogue-heavy. As a movie, it is a bit threadbare. That said, the dialogue is well written, and there is plenty of conflict. The characters are well developed, with a lot of tension. The plot may have been simplistic, but the execution is fluid and unfolds nicely. The little bit of history, with WWII as the backdrop as well as seeing Queen Elizabeth II as a precocious little girl, (especially about Edward's abdication) is fascinating. Best of all, it's the unlikely relationship between a common man like Lionel and the future king that is so well written.
The performances are stellar in general, where Rush and Firth will most likely get their Oscar nominations. Under Tom Hooper's (The Damned United) direction, the film has a steady, almost nostalgic feel. The color tone is muted, and Hooper makes effective use of the simple sets. Hooper also focuses on the performances, with a lot of close-ups and steady shots that feature the actors' expressive faces.
The result is a well made character-driven personal story during one of the most interesting times of modern history. Firth and Rush should start practicing their acceptance speeches.
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