Compelling snapshot of a genius
Sunday November 29 2009
Me and Orson Welles
Cert 12
The 1941 release of Citizen Kane cemented the status of its first-time director, the 25-year-old Orson Welles as a bona fide American icon.
The fact that Welles also took the starring role gives an indication of the prodigious nature of his talent.
A compelling snapshot of this artistic force of nature comes courtesy of director Richard Linklater's scintillating period piece, Me and Orson Welles. The action revolves around Welles' legendary production of Shakespeare's Julius Caesar in New York's Mercury Theatre circa 1937.
Based on Robert Kaplow's novel of the same name, the story is told through the eyes of a young wannabe, Richard Samuels (Zac Efron -- High School Musical), who gets a dream role in the production after a chance meeting with Welles (Christian McKay) outside the theatre where the play is to be staged. Welles is initially well disposed to Samuels but complications soon arise. Not least the fact that Samuels attracts the affection of backstage babe Sonja Jones (Claire Danes), who just happens to be one of Welles's many squeezes.
Boasting a script peppered with memorable one-liners and a host of terrific performances from its ensemble cast, Me and Orson is required viewing for anyone who is passionate about theatre or quality cinema.
Linklater's fly-on-the-footlights approach works brilliantly in conveying the heightened stress levels as the fateful first night looms with Ben Chaplin hilarious in this regard as a venerable English thespian fighting a losing battle with the demons of self-doubt. McKay is simply immense in the central role and bears an uncanny resemblance to the younger Welles.
PMcK
Me and Orson Welles opens on Friday
Situations Vacant
Cert 15A
Short of Thierry Henry scoring the goal that wins France the 2010 World Cup, it's hard to imagine a spectacle less likely to add to the gaiety of the nation than the set-up that inspires the latest Irish comedy Situations Vacant. The clue is in the title. Some day it might be possible to bang a little humour from the current jobs crisis but this feature, directed by Lisa Mulcahy, adds significantly to the suspicion that now is not the time.
The story revolves around a trio of Dublin-based buddies and their search for gainful employment, a scenario which seems, due to the fact that there are jobs available, decidedly dated. David Bracken (Diarmuid Noyes) sees his dream job, a place where babes are at his beck and call, only when he dreams while attempts by painter and decorator Vinnie (Shaun Dunne) to be upwardly mobile are stymied by his lack of a union card.
The third in this trio of hapless hombres is Tom (Sam Corry). Tom is employed but the sense of desperation is palpable. Light at the end of the tunnel comes from Whack (Brendan Conroy), the resident boozehound at their local, who offers a homespun antidote to their problems.
Unfortunately, the hoped-for hilarity fails to materialise. Strong visuals and decent central performances create a package that can't be faulted for technical quality. But these attributes don't compensate for unfunny setups, lame supporting characters and a script that could out-Botox Botox in leaving you stone-faced.
PMcK
Situations Vacant opens on Friday
The Box
Cert 15A
IN 1976, a couple (Cameron Diaz and James Marsden) are facing financial difficulties when they receive a mysterious delivery. The disfigured Mr Steward (Frank Langhella) explains that they have 24 hours to make a choice. If they accept the box and push the button, they will receive a million dollars but someone they do not know will die. Or, they can decline and continue to live as they are.
The moral dilemma of the Adam and Eve opening defines the film, albeit in a somewhat erratic way. The constant conundrum over choosing good over evil, selfishness vs selflessness mixes with redemption and responsibility. Spread too thinly, such big themes get fluffy. Richard "Donnie Darko" Kelly expanded a short story and subsequent Twilight Zone episode to make the film. He also directs. The performances aren't bad, Diaz has more presence than Marsden but they are equally pretty. Indeed, overall, the film looks good, although the Seventies setting is largely irrelevant. It's also interesting to see a couple face a dilemma together instead of being torn apart by it.
Unfortunately, the story just doesn't hold together very well. Far-fetched narratives need to be well crafted, as most of us struggle to fill in gaps in stories with portals. The gaps do up the suspense, however.
The score, by some Arcade Fire members, contributes to the atmosphere, but The Box is all over the place, reminiscent of other things, from The Abyss to The Ice Storm with a dusting of old-fashioned sci-fi and existentialism. The Box is grand, inoffensive and perfectly watchable, but it could have been better.
AO'C
The Box opens on Friday
Cracks
Cert 15A
WITHIN the rarefied world of an English boarding school in 1934, the swimmiing team's hierarchy is well established. Di Radfield (Juno Temple) is top girl, and top adoring acolyte of teacher Miss G (Eva Green), who, beautiful, stylish and charismatic, encourages her girls to be like her, convention-defying and full of desire. The arrival of Spanish aristocrat Fiamma (Maria Valverde) upsets the balance when she refuses to be bullied, and steals the top spot with Miss G. And it is the depths, and nature, of Miss G's affections that prove most destabilising.
A first film by Jordan Scott, daughter of Ridley, and using some of his long established crew, Cracks looks great and achieves an impressive sense of atmosphere. There are also strong performances -- Temple is especially good.
Like a hybrid love child of The Prime of Miss Jean Brodie, Heavenly Creatures and Lord of the Flies, Cracks captures both the determination and vulnerability of teenagers. A story rather than an analysis, it offers ideas and not insight, and often this works. In the scheme of events, does Miss G's hinted-at backstory really matter? Which is in itself an interesting theme. It is very much a moment in time, no one's history is discussed or brought to play.
Given the film's topics, the title is odd, and part of me was uncomfortable with the tone of the occasional sex scene.
Shot in Ireland, there are many familiar faces and voices from your favourite ads. It's an impressive debut for Scott, the pacing is a little uneven and the score is overwrought and overbearing in places, but fans of the period, and atmospheric rather than action-packed drama should enjoy this film.
AO'C
Cracks opens on Friday
- PADRAIC McKIERNAN, AINE O’CONNOR
Originally published in
