The stage musical adaptation of Roald Dahl’s 1988 novel, Matilda, about a young girl with hyperintelligence, telekinetic powers, uncaring parents and a terrifying headmistress, premiered in 2010 and has gone on to achieve enormous popularity, as well as seven Olivier Awards and five Tonys. This cinematic adaptation features the same music and the same director as the stage version, but does it have the same magic?
We argue about a film that neither of us can possibly claim is good, but in which one of us found things to like. Hot on the heels of watching Errol Flynn’s Technicolor classic a few weeks ago, we catch the latest telling of the Robin Hood folk tale, fittingly titled Robin Hood, a desaturated, guns and geezers-inflected version that transports us to a somewhat otherworldly, sci-fi-ish version of the medieval Midlands. Church and state are in cahoots, the poor are exploited – and it doesn’t look like they have much left to exploit anyway – and with Sherwood Forest nowhere to be seen, the only green thing around is Robin of Loxley.
We can both agree that no matter the intention, the film is poorly directed, though José would decry it more than Mike, who tries to look beneath the incoherent camerawork and dull set pieces to find areas of interest, such as the tangible sense of growing revolution and the charming Black Hawk Down version of the Third Crusade, complete with shoulder-mounted arrow bazookas, why not. We have good and bad words to say about the performances in equal measure, Jamies Foxx and Dornan standing out but Ben Mendelsohn and star Taron Egerton failing to meet expectations set by their previous performances. And Tim Minchin, with the best will in the world, isn’t an actor.
Mike takes issue with the film’s conception of Robin; a character learning to become the hero is one thing, but simply being nudged and told by everyone around him how to do so makes for poor character development. Little John is so significant he’s known here only as John, José speculating that as the biggest actor in the film, Jamie Foxx had the role improved at the expense of balance. We do find common ground in praising aspects of the world and visual design, but it’s always with the caveat that the direction generally works better to obscure than exhibit it.
All this and more in an edition packed with disagreement. Arguments and quibbles aplenty!
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