quiet paws.

My humble thanks go to you Mr Anderson, for making films infused with such light and life. You give me hope that original stories and unique storytellers have a real chance for survival in the fickle world of Hollywood. I know that when I watch one of your films it will be an ‘experience’ sure to surprise, entertain and intrigue.

I have often heard people speak negatively of your films, suggesting that they have either very little storyline or an utterly incomprehensible plot. Whenever I heard people say these things I would be equal parts confused, angry and frustrated. How could these people overlook your obvious talent? How do they miss the way you use gentle humour to explore different shades of human character and family relationships?

I used to spend a lot of time trying to convince these people of your film making skills and explain to them the finer points of plot that they have failed to notice. I wanted to share your wonderful films with as many people as possible, and just couldn’t bear to be aware of anyone thinking ill of your films.

However, recognising that it is almost an impossible challenge to open the mind of an ignorant person, I decided to stop getting confused, angry and frustrated. In my rush to spring to the defence of your films, I’d neglected to see the positive in all this. For all those people that pass your films over and who have difficulty comprehending the meaning of your art, I can take their unused portion and have more to enjoy for myself. Perhaps as the days trickle by I am getting a little smarter and learning how to better apply my emotional energies.

In this spirit of positivity, I wanted to let you know some of the things that I love about your films…

I love the wonderful pool of actors your draw on to bring your characters to the screen.

I love your unmistakable style which seems to make life appear so much richer and more delicately textured than the reality.

I love the importance that you place on music, in that you make it as much a part of your art as the visual components…the one playing perfectly against the other.

I love your recurring themes of family, joy from tragedy, and the search for self which sometimes seems to happen under the strangest of circumstances.

I love how you make watching your films feel like time spent in the company of a slight odd, yet highly cherished friend. In this way you make me feel that there is someone else out there who ‘gets it’.

So I guess all I’m really trying to say is thanks for the wonder that you create in the world. I hope that I won’t be too greedy with your talent, and I will try to do my best to leave at least a little for everyone else to discover.

With the end of 2007 and the start of 2008 I thought it appropriate to reflect on some of the last things that I did in 2007. So without further ado…the last:

CD I Purchased – Rain on Lens (Smog)

Movie I Watched – The Darjeeling Limited

Dinner – Curry Lentil Pie and Roast Potatoes

Breakfast – Buttered Raisin Toast and Soy Flat White (in a mug)

Book I Purchased – Heart is A Lonely Hunter (Carson McCullers)

Book I Finished Reading – One Hundred Years of Solitude (Gabriel Garcia Marquez)

DVD I Purchased – Marie Antoinette

Live Music Event I Went to – Nick Cave (Solo) and Grinderman

Chocolate Bar – Fry’s Turkish Delight

With thumpingly modern soundtrack, vibrant candy-coloured costuming, intriguing casting and lush cinematography, Marie Antoinette presents a thought-provoking peek into the life of the young Queen of France. Following her critically acclaimed film ‘Lost in Translation’, expectations were high for Sophia Coppola to once again deliver the goods. However since its release, Marie Antoinette has met with mixed reviews and the film has been unfairly attacked for its perceived ‘historical inaccuracy’. After all this is still a movie, and while it is one based on historical events, some creative licence is surely still to be expected.

Aside from the fact that Marie Antoinette was a Queen, she was also a woman, and it is this aspect which is the focus of Coppola’s film. Like any person drawn from history, details of their character, their emotions and response to life challenges and opportunities are open to interpretation. The Marie Antoinette of this film is portrayed as affectionate, socially confident, sometimes self-indulgent, a fun-lover and someone who tends to follow her heart over her head.

In a union designed to broker a strong bond between the enemy countries of Austria and France, the fourteen-year-old Archduchess of Austria, Maria Antonia Josepha Johanna (Kirsten Dunst) is betrothed to the young Dauphin of France (Jason Schwartzman). Following a symbolic crossing-over ceremony where the Archduchess leaves behind everything belonging to the foreign court, she is reborn as Marie Antoinette.

Thrust into the Royal court in Versailles, Marie Antoinette is set adrift in unfamiliar waters. Not only does she have to contend with trying to understand the fickle traditions of French aristocracy, she must also find a respected place amongst the often shallow and vicious women of court. On a personal level she struggles to find some semblance of a relationship with her often cold, immature and indifferent husband, is dealing with her growth into womanhood, and balancing family pressure to solidify the union between Austria and France with the birth of an heir.

Struggling to fit within the world of France’s structured court traditions and the often overbearing behaviours required of individuals, Marie Antoinette finds solace in the luxurious excesses of gambling, shopping, hairstyling, eating and partying (where all manner of temptations are discovered). With time though she does become more inwardly focussed, finding a new sense of peace with her growing family and especially within her own private sanctuary on the grounds of Versailles, Petit Trianon.

Even though her spending is curbed, the legend of Marie Antoinette’s excessive lifestyle continues to grow and becomes a particular focus for the people of France as the gap between the privileged and the poor continues to widen. While her inexperienced husband spends more and more public money on foreign wars, Marie Antoinette becomes an easy scapegoat for all the woes of the kingdom.

The French Revolution rises into full force, with an angry mob marching from Paris to Versailles. With most of the aristocracy fleeing the country, the royal family resolves to stay. However the growing violence and frenzy of the mob forces them to abandon the palace, and it is here that we leave the story of King Louis XVI and Queen Marie Antoinette. While we see them escape unharmed, Coppola infuses these final shots with a real sense of disquiet, like the calm before a brutal and violent storm is unleashed.

Unlike the cake which Marie Antoinette is often thought to have suggested the peasants eat if they have no bread, Sophia Coppola merely offers us a single slice of the Queen’s rich life, but it is as decadent, intricate and finely served as we could hope for.

The lives of stay-at-home parents, the drama which exists beneath the peaceful surface of suburban life, and the contrasts between an ideal life and the reality of life are just some of the themes explored by ‘Little Children’. In similar fashion to his previous film ‘In The Bedroom’, director Todd Field delivers an intimate portrait of ordinary life with deep respect for his characters and free from judgement.

‘Little Children’ revolves around the lives of two married couples and the connections built between the two families. Sarah Pierce (Kate Winslet) is unhappy with her life and the way it revolves around caring for her daughter Lucy. Compounding her sense of isolation is the frustration caused by the inattention of her husband Richard (Gregg Edelman). Brad Adamson (Patrick Wilson) is a stay-at-home dad feeling like the third wheel in the relationship shared by his wife Kathy (Jennifer Connelly) and son Aaron. Failing several attempts to pass the bar exam, Brad is trying to figure out what he wants to do with his life.

Sarah and Brad feel trapped in their lives and are both struggling to preserve that part of themselves which makes them feel alive. The pair first meet at the local playground and find themselves wanting to spend more time in eachother’s company. The relationship soon develops into two distinct parts, one innocent friendship shown in public and another unspoken to the world and pursued only behind closed doors.

Further disruption to the calm life of suburbia comes in the form of Ronnie McGorvey (Jackie Earle Haley) who moves into the neighbourhood after his release from prison for indecent exposure.

The lives of all the main players are revealed against the backdrop of every day community settings – in the playground, at the local pool, on the football field, and of course in the home. The ordinary nature of these environments contrast perfectly with the heightened human emotions being experienced by the characters.

Performances of the entire cast are natural and entirely believable. Kate Winslet is once again sublime and captures perfectly the frustrations of being primary caregiver to a child and the longing for escape. Without the chemistry evident between her and co-star Patrick Wilson, the film would simply not work. Jennifer Connelly has never looked more beautiful on-screen and she delivers a perfect portrait of wife-in-control Kathy. The performance of Jackie Earle Haley as unwanted neighbourhood newcomer Ronnie McGorvey feels very real and is both disturbing and tragic.

‘Little Children’ captures intimate moments and hidden thoughts with extreme delicacy, but does not shy away from confronting us with the darker side of human nature. Aside from what we see unfold before us, clever use of narration also progresses the plot and reveals further character emotions and motivations.

It can be easy to forget that children are amazingly perceptive and are often acutely aware of what is going on around them. Children however may never see or appreciate the full picture of an event or a person. In much the same way, the main adult characters in this film only see the parts of eachother’s lives that they each choose to reveal. Without knowing the full truth it can be easy to judge or gloss over facts when looking in from the outside.

‘Little Children’ reminds the viewer that it is never too late to change our lives. Just when a path seems to be certain and secure beneath our feet, the breeze can pick up and carry away all those thoughts and dreams that were once so sure. The way before, our past is surely set and cannot be changed…but the way ahead, our future is filled with possibilities.

In life we are eternally caught at some point between two equal yet opposite extremes. With our lives stretching out from birth until death, you could say that these contrasting elements define all aspects of our lives.

Some people believe that where we lie between these two extremes is something which is under our control, that if we work hard enough or demonstrate enough commitment we will achieve all that we hope for. On the other hand some believe that the path of our lives is not set by our own hand, instead accepting that external forces such as luck or destiny exert ultimate control.

Woody Allen’s Match Point is a film which explores the impact of chance encounters, the often harsh realities of pursuing illogical love, and the consequences of surrendering control.

The film centres around four main characters who are linked through the bonds of family and love. We encounter Chris Wilton (Jonathan Rhys Meyers) working as a Tennis Club Pro where he meets the wealthy and respected Tom Hewett (Matthew Goode) who is keen to improve his game. Discovering that the two have much in common, a firm friendship is forged. Chris catches the eye of Tom’s sister Chloe (Emily Mortimer) who begins to charm him at her family’s country estate. Wandering the house alone Chris encounters another weekend guest, the smouldering Nola Rice (Scarlett Johansson) who he is instantly and irresistibly attracted to. However he soon discovers that Nola is already in a relationship, and is in fact the fiancé of Tom.

The relationship between Chris and Chloe grows in predictable fashion from friendship to love, and with Chris agreeing to tow the family line they soon settle into a comfortable and luxurious life together. However all is not so rosy for Nola, the other family outsider from the wrong side of the tracks, who sticks resolutely to her own path. This staunch independence only adds to her appeal, with Chris doing whatever he can to keep her in his life.

The music and theatre of opera are constant presences throughout the film, deliberately bubbling to the surface from time to time. Traditional operatic tragedy could be seen to follow a formulaic series of events – boy meets girl from a different class structure, they fall in love and then a terrible event occurs with often fatal consequences. Match Point retains echoes of this classic structure, playing out in dramatic and sometimes disturbing fashion.

Lust vs Love. Can the heat and magnetic pull of lust ever coexist with love? In Chloe, Chris sees sweet kindness, innocent beauty and the dependability of a loving heart. However he feels powerless to overcome his attraction to Nola’s unattainable sensuality and comfortable sexuality. Surrounded by such complex romantic dilemmas Chris may think he is blessed, but soon enough it seems he is more likely to be cursed.

Passion vs Security. Should we choose between spontaneous connections and the predictable pattern of a relationship? Chris connects with Chloe in traditional form – they meet, they fall in love, they marry. With Nola, passion is played out in secret under the direction of an urgent need; a decidedly potent and addictive concoction. The deceptive freedom of a hidden affair is balanced against the structured pressure of family responsibility.

Rich vs Poor. Given the chance to live within the privileged and protected world of the wealthy could we choose to leave it all behind? We first meet Chris as someone trying to find his place in the world. As he becomes more and more a part of the Hewett family, his place is determined for him. He welcomes this comfortable lifestyle free from financial stress, believing that he will be buying himself a form of freedom. In reality he becomes impossibly trapped within a prison of his own making.

Life vs Death. At critical moments can we trust ourselves to preserve life no matter what the personal cost? As humans we have the ability to both create and take life, a power which most of us rarely reflect on. Chris is one who does reflect on this power, believing that he can save himself in the process. While he may convince himself that his actions are altruistically focussed, reality reveals the truth of his selfish motivations.

Match Point is superbly acted and the characterisations are entirely plausible for the roles being fulfilled. The performances are helped by wonderful chemistry between cast members and the precisely written, natural sounding dialogue.

Allen uses the environment beautifully in this film with interiors perfectly matched with the feelings they are intended to convey. Take for instance the warm cluttered shabbiness of Nola’s apartment, and the intimidating and cold organisation of wealth displayed by Chris and Chloe’s home. Likewise exterior shots are masterfully set and used to ground the characters in reality. Just like in life, sometimes it rains and sometimes the sun shines, and while it may be cold outside it can still be hot inside.

The film flows comfortably, with events played out over a pleasing period of time. Tension is built up subtly as the characters move towards an ultimately frenetic conclusion. Loose ends are tidied away but we are kept wondering until almost the last moment as to whether Chris will be lucky in the end.

As to be expected 300 deals in war, blood and political intrigue, but below the surface other linkages are revealed. While love may not have been on Frank Miller’s mind when he penned his graphic novel, themes of love are explored on many levels.

300 is a lush cinematic production which provides a grandiose feast for the eyes. The film’s texture is vivid to the point that it can almost be felt beneath the fingertips. The use of light and stylised imagery is stunning and truly captivating. Combined with some wonderfully dramatic and full-bodied performances from the cast which includes King Leonidas (Gerard Butler), Queen Gorgo (Lena Headey), and Dilios (David Wenham), it is the kind of movie you want to savour, not missing a single scene or a single moment.

So back to love…

Love of country. King Leonidas is raised to honour and respect the land of his birth. With ferocious intensity young Spartan men are taught to fight and strip away the layers until the core of the warrior within is revealed. If these challenges are survived, the young men are proven to be worthy defenders of a country which is more than just a place to live, it is a home. A home built on tradition, uncompromising passion and the sacrifices of those who have come before. No piece of ground or drop of water shall be offered to those who disrespect this history or the people who hold true to it.

Love of a woman. Queen Gorgo avoids the cringingly stereotypical and downright offensive characterisations of women in film, and instead she is portrayed as strong, powerful, intelligent and beautiful. Her beauty though comes from more than physical beauty, it comes from the way she carries herself and in the way that her inner strength and pride shine strongly through. In other words, she is the perfect partner and equal for King Leonidas. While not always conveyed with words, their love is one of deep feeling and is held together by something more meaningful than pure emotion.

Love of a brother. In this sense, brother refers to that bond between men in battle, father and son, or Queen and councillor. A love based on mutual respect and a shared goal. Being that the film centres around the Battle of Thermopylae this comradeship and unity become critical factors in the King’s efforts to win the war. There is also the unspoken love and admiration which exists between Captain Artemis and his son Astinos. While the battle is being fought, back in Sparta the Queen enlists help from a loyal Councillor and together they work towards a common cause, for love of country and love of King.

Love of freedom. This is the critical element which underpins the entire film. Without the desire to uphold the spirit and essence of what it means to be free, there would be no battle to fight. King Leonidas and his 300 show that some things are worth fighting for, even if all that can be achieved is a statement made in principle rather than the claiming of a definitive battle victory.

So there you have it. Just as love can appear under many guises in life, such realities have been keenly represented in the threads which weave together to create the rich tapestry that is 300.

This is a movie for anyone that has been ‘there’. If you’ve been there you’ll know exactly where I mean. Whether you’ve been to that dark and depressing place at some time of your life because of a lack of money, love, educational standing or career direction, you will appreciate the tale told with this film. Based on a true story, the film is steeped in the reality of ordinary problems which can destroy hope and sometimes tear families apart.

The Pursuit of Happyness is primarily a story of one man’s often courageous and sometimes foolhardy determination to pursue a happy life. The man in question is Chris Gardner (Will Smith), and he is struggling along with his wife Linda (played by an almost unrecognisable Thandie Newton) and their son Christopher (played by Will’s son, Jaden Smith).

We join the Gardner family facing a mounting pile of bills, working too hard for too little, and desperately trying to not lose hope. Financial pressures in particular though can get in the way of the best intentions and the family ties which are already strained threaten to give way completely. Clearly not happy with his place in the world, Gardner decides to take action and pursue a better life for himself and his family. Rather than accept a crummy job with little chance of providing properly for his family’s future, Chris aims for something better; he wants to be a broker.

With an ambitious goal in sight, Chris somehow finds the courage and determination to keep fighting for a better life after numerous setbacks. Picking himself up, dusting himself off and dealing with the battle scars that appear when life keeps throwing obstacles in your way, Chris endures. While money may not necessarily buy you happiness, it does allow people to take care of primary needs like shelter, food and clothing. When these primary needs are not met, humans suffer.

Will Smith brings an underlying strength and unaffected charm to the role of Chris Gardner, with his emotional responses always carefully weighted. This is not to say that he is a saint. Sometimes impatient, sometimes letting the bitterness of his situation flow to his son, and at times wavering on the edge of desperation, Chris is constantly faced with the reality of only having a few dollars to his name. Despite this he is often a calm presence in a world which brings him no end of chaos.

Changes of scene throughout the film very effectively highlight the gross inequities which exist in the world and contrast the widely different experiences of those that have money and those that don’t. It also presses the importance of not judging people from what appearances suggest as we can never really know what is truly going on in their lives.

Travelling along at a pleasant pace, this is a movie that will help you trust in yourself and accept that some dreams really are worth fighting for.

Exploring the consequences of spontaneous decisions and human actions, Babel takes seemingly disparate threads and gently weaves them together, creating a loose blend of stories. The word ‘Babel’ is defined as a scene of noise and confusion; a meaning which fits well with this story. The chaotic and confusing events which unfold are triggered and connected by a single gunshot.

In the Moroccan desert we join Susan (Cate Blanchett) and Richard (Brad Pitt) as they travel through the area on a tourist bus, intermittently talking around their marital problems in a very foreign world. Their children are being cared for back in America by their nanny Amelia, who is making plans to attend her son’s wedding back home in Mexico. She holds strong loyalties to both her blood relatives and also to her two young charges. Back in Morocco we are introduced to a local family of goat herders, the two young sons of which have the role of defending the grazing goats from predators.

Changing locations to Tokyo we meet Chieko (Rinko Cucuchia), a deaf-mute girl who is struggling with both her mother’s death and her own sexual development. In a world that often ignores her, she feels like somewhat of an outsider, a feeling which prompts her to take drastic action.

Spread across different countries the connections within Babel are not instantly visible but they slowly rise to the surface as the movie unfolds. Using splintered time sequences throughout, it’s interesting to see how the different sequences reveal themselves and ultimately fit against eachother.

While Babel deals with several complete and self-contained stories, each geographically unique sub-story explores similar themes such as what people are willing to sacrifice for others, respect for the value of human life, tolerance of violence, different concepts of family units, and cultural frictions. All of the characters experience elements of the displaced ‘alien’, whether it is in their experiences, their surroundings or their lifestyles.

The film is superbly acted; stand out performances for me coming from Rinko Cucuchi, Brad Pitt, Cate Blanchett and Adriana Barraza. Tightly shot, the film often relies on close ups to capture each emotion and reaction which passes across the actor’s faces, creating powerful connections with the audience. The film is not fast paced in an action sense, it meanders through the lives of the different families, exploring different dramatic circumstances which impact on each. The film ultimately reaches a conclusion which leaves all the character’s lives forever changed; some for the better, some for the worse.

It’s easy to like Rocky. He’s an average guy who came from nothing to become something and be someone for a while. He had a wife he loved deeply, he is surrounded by people he cares for, he always tries to do the right thing and the man is kind to animals. But beneath this gentle exterior still lurks a steely grit and the heart of a warrior.

Rocky Balboa sees us return to Rocky’s life after the fighting glories have faded away to nothing more than legendary stories of times long past. While still well known in the community, he lives a simple existence without his wife and somewhat disconnected from his son. While Rocky seems happy enough, it soon becomes clear that something is lacking. He is searching for some sense of peace and closure.

After making a decision to get back into the ring and fight once more he realises that while he prepares to face other fighters, the real battle is inwardly focussed against his own inner demons. The movie is warmly shot and successfully contrasts the drama and spectacle of ‘the fight’ with the simplicity of everyday life.

Trying to create the perfect blend of fight action, adrenalin soaked training, touching family and ‘nice guy’ moments, it feels like Sylvester Stallone has perhaps dipped a little too generously into the sentimentality bag. Nevertheless this is an entertaining and inspirational movie and offers a fitting close to the Rocky franchise.

Combining elements of courtroom drama and comedy, ‘My Cousin Vinny’ is a delicious and very fun film experience. Unlike some comedies from this era, this 1992 film actually has a coherent plot which provides a firm anchor for the comedy throughout.

Two college friends are arrested as they drive through Alabama after evidence suggests that they are the prime suspects in a first degree murder case. Given that Billy (Ralph Macchio) and Stan (Mitchell Whitfield) can’t afford a lawyer to defend them during the trial, Billy’s cousin Vinny (Joe Pesci) is called in to help. The shakily qualified Vinny is a personal injury lawyer from New York who has no trial experience. When Vinny and his fiancée Mona Lisa Vito (Marisa Tomei) arrive in town they are readily identified as outsiders and consequently can’t help but stir things up.

Given that the prosecution’s case is built on circumstantial evidence and a series of miscommunications with Billy and Stan, hilarity of course ensues. Joe Pesci is in his element as the attorney with attitude who immediately gets the Judge offside with his manner, lack of courtroom procedure and unique wardrobe choices. Marisa Tomei is also entertaining as Vinny’s fiancée with marriage and children constantly on her mind. In fact, she won a Best Supporting Actress Oscar for this role in what has often been viewed as a controversial decision.

Lack of sleep takes its toll on Vinny as he struggles to find decent accommodation in town. With a defence case built around the time required to properly cook grits, matching tyre marks and car models, it makes for interesting viewing. The relationship between Lisa and Vinny interestingly also becomes critical to their case, with Lisa’s in-depth knowledge of cars (gained from growing up in a household of mechanics) coming to the fore.

For those who enjoy good honest fun movies which offer many laughs, this completely fits the bill. It is a great movie to return to on a lazy Sunday or during the end of year holiday period.