Derek Jacobi

Murder on the Orient Express – Eavesdropping at the Movies – Ep 18 – 14th November 2017

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murder-on-the-orient-express-poster-cast

Mike and I discuss the form of these Agatha Christie film adaptations, how Agatha Christies’s types in the novels here intersect with star personaes; we disagree about Kenneth Branagh as a film star though agree on him as an actor and director; we praise Michele Pfeiffer above all but also Johnny Depp, Lucy Boynton, Manuel Garcia-Rulfo, Derek Jacobi). Has Branagh beefed up his part at the expense of the other stars? We disagree. Is the film a successful whodunnit? Are the action scenes necessary? Is the film suspenseful? Is it too CGI? Does the end bring out moral ambiguity? We did not discuss how collective revenge in the absence of justice connects to modern times though we should have. We did agree that it’s a film we’d happily watch again if shown on ITV on a Sunday afternoon.

Jose Arroyo and José Arroyo and  Michael Glass of Writing About Film

Grace of Monaco (Olivier Dahan, France/USA/Belgium/Italy/Switzerland, 2014)

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grace of monaco

 

Grace of Monaco is the kind of movie where the star wears a billowing ballgown, races frantically through endless palace corridors and jumps into a huge bed …. to weep. Life is so very difficile; even when Maria Callas (Paz Vega) — wearing a fabulous Jeanne Toussaint panther ring —  is your bestie, warbles beautifully,and goes horseback riding with you as a show of support. Luckily there’s a ball at the end so that jewels, gowns and seating arrangements can play their role in simultaneously resolving affairs of state and of the heart.

Nicole Kidman gets an endless amount of close-ups, some so extreme that her earrings are out of focus. The whole film is designed so we can see her be beautiful and suffer nobly while she learns to say goodbye to Hollywood and all the fun of the movie star life and hello to politics, duty, and sacrifice in her new role as Princess of Monaco. Callas’ drive for artistic expression above all else is contrasted with Grace’s willingness to sacrifice art for family and country. Lubtisch was already sending up this type of material a hundred years ago. One looks on the screen in a daze that might might have been caused by the diamonds display but is more accurately attributed to  the drivel that is the story and its treatment.

Derek Jacobi is the fey and worldly aristocrat who teaches Grace protocol. Frank Langella is, I kid you not, Father Tuck, guardian of Grace’s soul. Tim Roth is Prince Rainier, the  unappreciative husband; and first glowers at Grace but then ends up giving her warm glow due to her great diplomatic skills and even greater love for the nuclear family. Grace learns how to act serenity whilst dealing with palace intrigue and other people’s selfishness. At the end Grace is so good at her new role that she gets a standing ovation for her efforts; even old grouch De Gaulle is moved to stand. It’s pure trash, very demodée but lovely to look at.

The film does have an interesting exploration on the nature of acting and performance, in life and in art. Some scenes of Nicole Kidman rehearsing her lines and her expressions would rival De Niro’s ‘Are You Looking At Me’ scene in Taxi Driver if only the film were better. As it is, I can’t in good faith recommend it to anyone  except lovers of fine jewellery.  However, I must say that if you put aside all considerations of film art and are happy to look at glossy layouts in fashion magazines, a boxed set with Madonna’s W.E., the Naomi Watts Diana and this Grace of Monaco would make for one glamorous binge.

 

José Arroyo