Archive for the ‘DIFF’ Category

White Bird in a Blizzard

Director: Gregg Araki

Cast: Shailene Woodley, Eva Green, Shiloh Fernandez, Thomas Jane, Angela Bassett, Christopher Meloni, Gabourey Sidibe, Dale Dickey

The Descendants star Shailene Woodley gives an impressive performance as a sexually charged teenage girl, Kat Connors who discovers her blossoming confidence just as her gorgeous yet unstable mother, Eve, wonderfully played by French actress Eva Green, (The Dreamers, Casino Royale) mysteriously disappears.

Mysterious Skin director Gregg Araki’s startling yet uber cool Eighties drama White Bird in a Blizzard is a bit like Whatever happened to Baby Jane? with a massive twist at the end. So audiences should expect the unexpected.

Assembling a rock star cast including Christopher Meloni as the clueless father, the sumptuous Shiloh Fernandez (Red Riding Hood) as the sexy boy next door, Phil, Gabourey Sidibe star of Precious as Kat Conner’s best friend Beth along with Angela Bassett and Thomas Jane as the grizzled yet carefree police detective. Watch out for a cameo by Sheryl Lee star of the hit TV series Twin Peaks.

White Bird in a Blizzard as seen at the 36^th Durban International Film Festival DIFF subverts everything seemingly domestic about the average American life and turns a seemingly mysterious occurrence in suburban California into something far more sinister and ripe with Freudian references.

On every level, this is a bizarre yet highly amusing film, superbly cast with excellent performances by Woodley and Green as they embark on a tortuous mother-daughter relationship which ignores what is primarily occurring under their noses, undermining their own vanities and exploring hidden agendas from all involved. Eva Green is fabulous as the hip mother who receives little attention from her absent-minded husband while envying the sexual exploits of her beautiful teenage daughter, brilliantly played by Shailene Woodley, who proves she is an actress to watch.

Woodley’s distinct ability to hold her own throughout such a bizarre film is testament to her ever expanding talent which is sure to flourish in years to come. Araki’s frames each shot in the film with an ironic pathos assisted by a nostalgic and cool Eighties soundtrack which includes Depeche Mode.

Everything about White Bird in a Blizzard is wrong in a seriously dysfunctional way. This is a highly entertaining family drama about one young girls’ slow realization that those people surrounding her are certainly not what they claim to be.

Araki’s film is perverse, fabulous and definitely recommended viewing for those audiences which like their narratives as twisted as the intricacies of the most complex of human relationships.

White Bird in a Blizzard is like a Patricia Highsmith novel on acid with a retro Eighties soundtrack. 

Boychoir

Director: Francois Girard

Cast: Dustin Hoffman, Eddie Izzard, Debra Winger, Kathy Bates, Josh Lucas, Kevin McHale, Garrett Wareing

Oscar winner Dustin Hoffman (Rain Man, Midnight Cowboy) teams up with Oscar winner Kathy Bates (Misery, Titanic, Midnight in Paris) along with the rarely seen actress Debra Winger (Shadowlands, The Sheltering Sky) in a heart warming tale of an 11 year old boy Stet, superbly played by Garrett Wareing who after the death of his young mother and abandonment of his cold hearted father Gerard, played by Josh Lucas (A Beautiful Mind, The Lincoln Lawyer) is sent to an exceptionally Boychoir school to study singing, an American version of the Drakensberg Boys Choir set in Connecticut on the East Coast.

Hoffman plays the hard edged choir master Carvelle who recognizes the shimmering talent in Stet and soon after a series of missteps, casts him as the solo lead in a Choir Concert by Handel that the travelling Boychoir is performing in in New York city. French Canadian director Francois Girard’s  (Silk, The Red Violin) nuanced film Boychoir which premiered at the 36^th Durban International Film Festival DIFF is an absolute treat of a film and will be highly appreciated by audiences that enjoy beautiful music and singing of an elusive scale.

Boychoir is a scaled down version of Dead Poets Society, a brilliant portrait of one man, Carvelle who is desperate to catch the singing talent that these boys have before they reach puberty and of a boy, Stet, who struggles to survive in a hostile yet ultimately rewarding environment who eventually wins back the affection of his estranged father.

Boychoir also stars Eddie Izzard (Valkyrie, Ocean’s Thirteen) and Kevin McHale from the hit TV series Glee and is a highly recommended film sure to warm any viewer’s perceptions of a child prodigy struggling against endless adversity.

The Hundred Year Old Man who

Climbed out the Window and Disappeared

Director: Felix Herngren

Cast: Robert Gustafsson, Georg Nikoloff, Cory Peterson, Kerry Shale, Alan Ford.

Definitely one of the highlights of DIFF 2014 http://www.durbanfilmfest.co.za/ was the film adaptation of the Swedish novel, The Hundred Year Old Man who Climbed out the Window and Disappeared. A hugely entertaining and entirely Scandinavian tale about a pyromaniac pensioner Alan Karlsson delightfully played by Robert Gustafsson who after blowing up a foxhole near his home in rural Sweden, is untimely placed in a seemingly secure retirement village.

On his hundredth birthday, Alan decides that this confinement is for the birds and literally climbs out the window and misses his hundredth birthday party. So begins a marvellous adventure in which Alan gets mistakenly mixed up with a gang of Neo-Nazi criminals, an elephant, an undecided student and a mischievous train station manager who are all after a suitcase filled with loads of cash.

Based on the internationally bestselling novel by Jonas Jonasson The 100 Year Old man is a delightful subtitled film as the audience follows the sweet natured Alan who whilst going on his escapades also reminisces about his life as an explosives expert, who happens to quite literally cross paths with some of the 20^th century’s most ruthless dictators including Spain’s General Franco and Russia’s Stalin.

Through espionage and countless subterfuge, Alan also becomes involved with the Manhattan project about the building of the nuclear bomb by the Americans, gets drunk with President Franklin D. Roosevelt and even receives an invitation to the Atomic Energy Commission by the Swedish prime minister.

The 100 Year Old Man is truly a cinematic gem and a clever statement and parody on Sweden’s apparent neutrality throughout some of the last centuries most brutal, menacing and socially disruptive geo-political conflicts including the Spanish Civil War, World War II, the Cold War and even the 1968 counter-culture youth rebellion in Paris.

This is recommended viewing and whilst some of the jokes would miss an English speaking audience, the 100 Year Old Man is a definite must see and certainly totally different to the dark Swedish thriller trilogy starting with The Girl with the Dragon Tattoo.

The 100 Year Old Man is a charming, hilarious and poignant journey through a century by a naïve likable character who keeps things simple by blowing things up or dancing with dictators. A must see Swedish comedy featuring lovable characters with a clever script and a highly amusing plot.

Million Dollar Arm

Director: Craig Gillespie

Cast: Jon Hamm, Alan Arkin, Suraj Sharma, Bill Paxton, Lake Bell, Aashif Mandvi, Maddhur Mittal

Disney’s take on baseball meets Danny Boyle’s Slumdog Millionaire comes in the form of the charming sports film, Million Dollar Arm featuring Mad Men’s Jon Hamm teaming up with Life of Pi’s Suraj Sharma and Alan Arkin from Argo.

Set in India and Los Angeles, director Craig Gillespie’s Million Dollar Arm premiering at the Durban International Film Festival 2014 – http://www.durbanfilmfest.co.za/ tells the true story of a down on his luck sports agents J. Bernstein, played by Hamm who while channel surfing flicking between Britain’s Got Talent and cricket in India on late night TV, comes up with an epiphany to travel to India to find the next big baseball player.

The only problem is that in India, once the jewel of the British colonial empire, the main sport is cricket as it in the rest of the Commonwealth and the general male population there do not play baseball. With the help of a shady Chinese business investor Chang played by Tzi Ma, J. B. Bernstein travels to chaotic Mumbai to discover a world so alien and different to his lavish and ordered Californian lifestyle, one in which he was a once successful sports agent.

Spurred on by his tenant, Brenda played by Lake Bell, J. B. Bernstein travels the length and breadth of India in search of a cricket player with a million dollar arm. He is helped by a retired baseball talent spotter Ray wonderfully underplayed by Alan Arkin (Little Miss Sunshine) who discover two young men Rinky and Dinesh, played by Suraj Sharma and Maddhur Mittal respectively who each possess a million dollar arm, or an above average ball throwing speed.

Part of the enticement for these two young players is the opportunity of traveling to the United States and play a game that they have never played before. Leaving the rural confines of Lucknow, India, they are suddenly transplanted in University of Southern California’s baseball fields where they are coached by the cautious yet optimistic coach Tom House played by Bill Paxton.

Naturally as a Disney film, director Gillespie in Million Dollar Arm aims for a general feel good sports film while making insightful observations about the massive cultural differences between India and America and highlighting each society’s similarities.

Jon Hamm is excellent as the exasperated JB Bernstein supported by a great cast especially Oscar winner Arkin and the always amiable Lake Bell, along with Aashif Mandvi as Aash while Suraj Sharma and Maddhur Mittal make the most of their roles as young Indian boys caught up in an essentially American sporting dilemma. Watch out for a superb musical score by A. R. Rahman (Slumdog Millionaire).

Unlike the very specific baseball films Moneyball or Field of Dreams, Million Dollar Arm is enjoyable family viewing and will appeal to sporting enthusiasts both in America and the commonwealth highlighting Hollywood’s increasing desire to deliver more international fare. A thought provoking and fascinating film about the increasing globalization of sport and the desire for all people to achieve seemingly impossible dreams. Like Indian hockey players trying out for the American National Baseball league. Recommended viewing especially as it is a true story.

Frank

Director: Lenny Abrahamson

Starring: Michael Fassbender, Maggie Gyllenhaal, Domhnall Gleeson. Scoot McNairy, Francois Civil, Tess Harper

Director Lenny Abrahamson’s quirky film Frank which premiered at the Durban International Film Festival examines the pressures of belonging to a rock band and the celebrity status attached to its lead singer. The fact that this lead singer Frank wears a giant false head for three quarters of the film is both alienating and annoying and serves its point about the underlying pressures of mounting celebrity facing a bands lead singer or frontman. Take Adam Levine of Maroon 5 or Harry Styles from One Direction for example. Except with these bands unlike Frank’s bands obscure name, at least the music is palatable, not to mention commercially viable.

Frank as a film was so bizarre and utterly random as the narrative follows Jon played by Domhnall Gleeson (Anna Karenina, Dredd, True Grit), son of Irish actor Brendan Gleeson, an aspiring songwriter who becomes the keyboardist and journeys with the band from a remote Irish location to the hippie South by South West music concert in Austin Texas. The band members are all clearly deranged and part of some grand lunatic fringe reinforced by the irrepressible Clara, wonderfully played by Maggie Gyllenhaal (Hysteria) and by the lead singer Frank played by Fassbender, which clearly begs the question what was he thinking after being attached to such prestigious films as 12 Years a Slave, Shame and Jane Eyre.

Although parts of the film are hilarious and very funny, other parts are equally irritating and stupid which just goes to show how Youtube got such a massive following so quickly. Post any ridiculous video online as a social media experiment and there will always be a plethora of bored American teenagers waiting to watch it on Youtube. Then maybe that is the point of this film.

Only towards the films end are explanations given as to why the lead singer is wearing this massive false head as seen in the poster after Jon tracks him down to his parent’s home in Bluff City, Kansas and Frank’s mother played by indie star Tess Harper explains the singers childhood trauma which lead to some deviant form of mental obsession.

Frank is well executed as a film about band members on the road, but too bizarre to be taken seriously and lacks the visual punch of Paolo Sorrento’s spectacularly weird road trip film This Must Be the Place. Viewers will differ in opinion regarding Frank, as there was much laughter coming from the cinema auditorium at a DIFF http://www.durbanfilmfest.co.za/ screening.

Director Lenny Abrahamson’s Frank will have a very limited appeal, not helped by the onscreen presence (or lack there of) of Gyllenhaal and Fassbender, whose chemistry together is pointlessly obliterated and nullified by a giant false head. Frank will definitely not be everyone’s cup of tea, but will have comic appeal for those that appreciate deadpan humour and the effortless blending of banal social media.

Cold Harbour

Director: Carey McKenzie

Starring: Tony Kgoroge, Deon Lotz, Fana Mokoena, Yu Nan

South African actor Deon Lotz first came to prominence in Oliver Schmidt’s award winning impressive film Skoonheid. The actor is now back starring in Cold Harbour a noir thriller about nefarious Perlemoen trading in Cape Town along with Tony Kgoroge (Mandela, Long Walk to Freedom) as conflicted detective Sizwe Miya and Fana Mokoena as the Cape gangster Specialist.

South African director Carey McKenzie film Cold Harbour which premiered at the Durban International Film Festival http://www.durbanfilmfest.co.za/ Should really take a leaf out of the more sophisticated 1985 Michael Cimino film The Year of the Dragon which dealt with the infiltration of Chinese Triads in New York.

It seems the Chinese have been painted as one of the bad guys along with a host of morally dubious characters in this ominously lit film Cold Harbour which in true film noir tradition there is no clear cut hero versus villain, especially in McKenzie’s uneven and contrived portrayal of the Cape Town crime world.

McKenzie’s version of Cape Town as depicted in Cold Harbour is another reason not to visit the mother city in winter as she paints the supposed design capital as a bleak and unsettling city with unfinished highways surrounded by the freezing and unforgiving Atlantic Ocean. The director does not even give the much celebrated Marina del Gama complex in Cape Town near Muizenberg a forgiving depiction, a place where Lotz’s character Venske resides.

Cold Harbour is an unevenly scripted and confusing crime drama with several characters muddling through an unforgiving landscape and not really coming to any cathartic release.

Instead it’s a mismatch of cultures and characters speaking a range of languages from English, Afrikaans, Xhosa and Chinese without the subtitles being removed once, so even when the characters spoke in South African English subtitles still remained on the screen? This must be to hopefully market Cold Harbour to American audiences who will surely not find any comfort in this thriller and reaffirm the international notion that South Africa is indeed a nation ravaged by crime, poverty and corruption.

As a film about illegal international Perlemoen trading, Cold Harbour had great potential but unfortunately got muddled in its film noir aspirations. Not recommended viewing.

Boyhood

Director: Richard Linklater
Starring: Ethan Hawke, Patricia Arquette, Ellar Coltrane, Lorelei Linklater, Marco Perella, Jamie Howard

https://www.youtube.com/watch?v=Ys-mbHXyWX4

Texan director Richard Linklater’s 12 year cinematic achievement, Boyhood comes to life in a 164 minute film which seamlessly blends the course of existence for Mason from aged 6 to aged 18 is both fascinating and compelling. The fact that the director used the same four actors to make up the quasi nuclear family is equally impressive.

Ellar Coltrane plays Mason, the central character in Boyhood along with the director’s daughter Lorelei Linklater who plays Mason’s on screen drama queen sister Samantha and Hollywood veteran actress Patricia Arquette as his struggling unpredictable mother along with Linklater favourite Ethan Hawke (Before Sunrise, Before Sunset) as Mason’s drifter musician father Mason Senior.

In that rambling talkative style which has become a trademark of Linklater’s films, Boyhood as seen at the Durban International Film Festival is shot all over the director’s home state of Texas from Houston to Austin and even rural parts of the state, as the journey from innocence to experience for Mason as he along with his sister is dragged by his mother to many step-families with a variety of equally unimpressive stepfathers from the cruel and vicious psychology lecturer to the Afghanistan war veteran.

As the children change schools as the mother moves around in search of a better life and career opportunities, cinema goers gradually see the development of the central character as he charts the difficult teenage years, while Linklater provides a fascinating socio-political commentary of American daily life, from the effect of foreign wars on the average population, to the financial crisis, to the usurping influence of technology on the children’s lives as they become teenagers.

The three sections of the film is separated by the family or one of the family members making road trips signifying a different phase of their average but equally interesting lives. The viewer follows Mason’s school years as he succumbs to peer pressure, discovers the mysteries of the opposite sex to eventually having his first sexual experience in his sisters college dorm room.

Despite the length of Boyhood, Richard Linklaters script remains pertinent and fascinating as he provides an insightful analysis of the cultural cornerstones of American 21^st century society from religion to guns to politics and even to the environment. Fans of Linklaters triptych, Before Sunrise, Before Sunset and Before Midnight, will be in familiar territory and will surely acknowledge that this is the directors most significant and ambitious cinematic achievement especially because of his lack of any aging makeup or special effects, the mere fact that this film, Boyhood was imagined and conceived in real time makes it even more remarkable, one of the reasons that Richard Linklater won the Best Director prize at the 2014 Berlin Film Festival.

Patricia Arquette (True Romance) and Ethan Hawke are clearly competent actors to hold their own in such a cinematic canvas as are the two child leads with Ellar Coltrane’s nonchalance clearly perceived at every transformation of Mason’s character as he goes from childhood innocence to young adult experience. Boyhood is highly recommended art house viewing and a dynamic cinematic tribute to American socio-political commentary, while remaining a classic Richard Linklater masterpiece.

Cosmopolis

Director: David Cronenberg

Cast: Robert Pattinson, Juliette Binoche, Matthieu Amalric, Paul Giamatti, Samantha Morton, Sarah Gadon, Jay Baruchel

Published in 2003, American writer Don DeLillo’s philosophic diatribe on the randomness of contemporary American culture showcases a society on the brink of paranoia, valueless violence and dysfunctional oligarchs, Cosmopolis was originally praised by literary critics as a prediction of a truly unpredictable urbanized consumer society which thrives on wealth and more inherently lack of wisdom. Naturally the book is set in Manhattan, New York, the site of the 9/11 terror attacks on the Twin Towers and the heart of Wall Street, where corporate greed has run riot, a metropolitan pantheon of the perverse.

Cosmopolis focus on the young,  vain, egotistical and hypochondriac billionaire Eric Packer who trades in all the world’s fluctuating currencies from the comfort of his sleek, multifaceted stretch limousine. A vehicle, where he can have sex with his financial advisor, have his prostate examined while predicting the currencies in Asia, pour a vodka and unemotionally view the thronging masses rhythmically rioting on the Manhattan streets as they protest job losses, raising inflation and an impending economic meltdown. DeLillo’s post 9/11 novel, almost predicted with certainty the 2008 financial crisis of Wall Street rupturing the entire American Capitalist system as the collapse of the subprime mortgage lending schemes which crippled international banks and caused contagious economic havoc.

Enter Canadian director David Cronenberg (The Naked Lunch, A History of Violence), whose claustrophobic film version of Cosmopolis starring Twilight’s Robert Pattinson as the deadpan, psychotic bored billionaire Eric Packer along with a host of briefly seen international stars from Juliette Binoche (The English Patient), Matthieu Amalric (The Diving Bell and the Butterfly) and Samantha Morton (The Libertine) who are all captured in a series of sporadic dialogues with Packer which ultimately serve no purpose whatsoever emphasizing DeLillo’s dissatisfaction with contemporary discourse and the apparent random rhetoric attributed to contemporary language, making for a quirky and unintelligible script, purposefully devoid of significance.

Whilst as a novel, DeLillo crisply conveys the descent into chaos and violence that Packer’s journey across downtown Manhattan will lead to, all in the search of a haircut, the novel’s perilous message is lost on the big screen. Cronenberg’s Cosmospolis does not convey many exterior shots of New York but like the novel confines the action mostly to the limousine and the diner, inherent symbols of American excess and corporate convenience: a dystrophic society ready to consume itself.

Cosmopolis is difficult to watch, almost uncomfortable from the random and bloody violence to the prospect of seeing Pattinson cooped up in a Limo for most of the film, and unlike Mary Hatton’s brilliant film adaptation of Brett Easton Ellis novel, American Psycho, does not make use of the Manhattan skyscraper iconography. Unlike American Psycho, Cosmopolis comes across onscreen as a pretentious film without much substance, but then that is conveyed more accessibly in DeLillo’s slim and scathing prosaic prediction of an American society consumed by greed, vengeance and mistrust.

Best part of Cosmopolis is the final scene between Robert Pattinson and Paul Giamatti (Sideways, The Hangover Part II) who adds an uncharacteristic level of deviousness to an otherwise thinly plotted but ultimately vacuous narrative.

Audiences should not expect stunning visuals or any cathartic release, after all this is pure Art House Cinema Cronenberg returning to eccentric cinematic form and not intent on delivering  a more substantial mainstream thriller like his brilliant Russian gangster film Eastern Promises.

The Reluctant Fundamentalist

Director: Mira Nair

Cast: Kate Hudson, Kiefer Sutherland, Liev Schreiber, Martin Donovan, Riz Ahmed, Om Puri

Indian director Mira Nair’s elegant and gripping film adaptation of the brilliant Mohsin Hamid novel, The Reluctant Fundamentalist is a riveting tale of cross cultural clashes which occur when a wealthy Pakistani Changez, played by Riz Ahmed goes abroad and studies at Princeton and then pursues a cutthroat career in global economics at a prestige New York firm, Underwood Samson.

Hamid’s novel takes place as a dialogue between Changez confessing his love affair with America  to a yet unidentified man at a cafe in Lahore amidst growing tensions in the wake of 9/11 and America’s war on terror in Afghanistan and neighbouring Pakistan. It is an elegant and evocative tale of how Changez, was offered the American dream on a platter and then see it disintegrate before his eyes under the horrific aftermath of the Manhattan terror attacks. In the midst of his shifting view of the American dream, from being strip search at JFK to being humiliated in America’s corporate and artistic worlds, Changez’s embarks on a cross cultural relationship with a liberated Upper East side conceptual artist Erica.

Nair’s well crafted film version of The Reluctant Fundamentalist differs in parts to Hamid’s novel, exploring the inherent dangers of pursuing a Capitalist dream in a Western society which turns its back on you, in the wake of a Terrorist attack and the resulting shifts in American and Pakistani  perspectives. The film delicately portrays the backlash suffered by many American Muslims living and working  in the US, particularly New York in the aftermath of 9/11.

Changez as one of the bright young stars, recruited directly out of Princeton for the international corporate fixer agency Underwood Samson by the sexually ambivalent Jim Cross as his mentor, gorgeously underplayed by Kiefer Sutherland (Flatliners, The Sentinel), is sent on global excursions from Manila to Atlanta to Istanbul to assist companies in downsizing their labour force and maximizing profits with their corporate maxim being focus on the fundamentals.

At the start of his professional Manhattan career, Changez meets the dynamic and liberated Erica and soon embarks in a passionate affair. In Hamid’s novel , this complex romance is evocatively  told as part of Changez’s confessions to a supposed stranger at the Lahore cafe. In Nair’s film version this doomed relationship reaches a climax in a particularly poignant scene at a swish Manhattan gallery opening when Erica’s displays her vision of conceptual art and inspired by her own relationship with Changez through the title: I slept with a Pakistani once.

I slept with a Pakistani once.

Erica, awkwardly played by an auburn haired Kate Hudson (Nine, The Skeleton Key), unburdens her own guilt by embarking on a rebound affair, as a way of dealing with the sudden death of her boyfriend Chris of which she was the supposed cause. While the relationship between Changez and Erica is not as well sketched out in the film, the ambivalent dialogue in the Lahore cafe is fully realized in the scenes between Changez and Bobby Lincoln an experienced CIA operative played by Liev Schrieber (Defiance, Salt and the excellent TV series Ray Donovan) who is trying to get vital information out of him about a suspected Al Qaeda kingpin operating in Pakistan, whilst also suspecting him of masterminding an established or imagined terror network.

The Reluctant Fundamentalist expertly delves into the disillusion of the American dream from a Pakistani perspective. Like other Mira Nair films always with a flair for the dramatic most notably Vanity Fair and the award winning Monsoon Wedding has stunning  production values, compliments this visually rich film with a wonderfully evocative soundtrack.

The film’s script by Ami Boghani intelligently explores the common ties of humanity despite different cultures and the journeys of self discovery required to fully appreciate the fundamentals of a fulfilled existence. The Reluctant Fundamentalist is a an ultimately flawed but brilliantly told international thriller which is better appreciated if viewers have first read the novel. Recommended viewing.

Great Expectations

Director: Mike Newell

Cast: Jeremy Irvine, Ben Lloyd-Hughes, Holliday Grainger, Helena Bonham Carter, Jason Flemyng, Ralph Fiennes, Sally Hawkins

Charles Dickens published Great Expectations in 1860 just ten years before his death in 1870 at the height of his literary fame. Naturally over the past half century there has been several film versions of this classic realist novel, but Four Weddings and a Funeral director Mike Newell has captured the essence of Dickens in the new film version of Great Expectations starring Oscar nominated British actors Helen Bonham Carter (Les Miserables, Wings of a Dove) and Ralph Fiennes (The English Patient, The Duchess) as Miss Havisham and Abel Magwitch respectively.

Newell’s triumph in this version of Great Expectations is capturing the essential British aspect of the story about Pip, a poor orphan who is rescued from the fate of becoming a rural blacksmith and elevated into London’s fashionable high society by a mysterious benefactor whose fate he is inextricably entwined with right from the beginning.

The other great triumph of this version of Great Expectations is the superb casting of energetic young and gorgeous actor Jeremy Irvine as the twenty-something Pip who has to negotiate rite of passage in London’s high society inevitably through his men’s club the Finches with the help of his tutor the practical solicitor Mr Jaggers beautifully played by Robbie Coltrane.

Pip through the eccentric Miss Havisham, eternally bedecked in a spidery wedding gown, wonderfully played by Helena Bonham Carter is first introduced to her ward Estella, who soon grows up into a magnificent young woman, wonderfully played by Holliday Grainger and over the course of the two hour film, Pip and Estella’s lives interlink through past connections and present repercussions.

Besides Alphonso Cuaron’s 1998 version of Great Expectations modernized and set in Florida and New York starring Ethan Hawke and Gwyneth Paltrow, the previous version of this novel was filmed by the great director David Lean back in 1946. With the current trend for traditionalist entertainment especially in light of the success of British TV series Downton Abbey, director Mike Newell’s significant decision to leave Great Expectations in its rightful Victorian setting is an important and ultimately shrewd choice. From the gorgeous sets to the fantastic male costumes of the young Victorian dandies, enough to inspire a flamboyant range of Vivienne Westwood menswear collection, this version of Great Expectations will make all period purists rejoice at its elegance and simplicity.

Naturally in line with similar Dickens novels Great Expectations is populated with an eccentric and unique range of delightful Victorian characters one of the reasons which have made his novels so evocative and enduring. Pip is surrounded by his simple country Uncle Joe Gargery played by Jason Flemyng and Mrs Joe played by Sally Hawkins and in London is guided by Mr Jaggers’s generous assistant Wemmick played by Ewen Bremner of Trainspotting fame. The alpha male in the young gentleman’s club, the Finches of Avery Square and Pip’s nemesis is the ruthless Bentley Drummle played by Ben Lloyd-Hughes.

Great Expectations like any rags to riches story, similar to Vanity Fair and My Fair Lady places its narrative arc firmly in the tough lessons of Life and Etiquette and is essentially a wonderful coming of age story of a young person who is mysteriously placed in opulent circumstances only to discover the sinister motives behind such an unexpected social elevation. The costumes are superb, the acting brilliant, helped especially by Fiennes and Bonham Carter and made more palatable by the enthusiasm of screen newcomer Jeremy Irvine who embodies everything the hapless handsome hero should be: innocent, impressionable and ultimately fated to discover his true origins.

The only criticism of Great Expectations is that the first part of the film is severely dark and also the editing and cinematography could be better, whilst the narrative and rich characterization makes this version of the English literary classic worth watching on the big screen, hopefully reintroducing 21^st century film audiences to the wonder of Dickens as its never seen before.