The Sapphires (review)

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I absolutely see why they term it the Aussie Dreamgirls, but it truly is something else entirely, and in many ways - it is deeper and darker than its American predecessor. 

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The Sapphires is a sassy, energetic and charming little musical grounded by an endearing cast of raw, earthy performances. Chris O'Dowd, the quirky cop from Bridesmaids, gives us a charismatic and soulful leading man. Sure he's a little drunk here and there, but it all adds to the allure, and his eccentric character keeps us laughing hysterically. O'Dowd's natural delivery heightens the film's liveliness, and even though the script is bumpy - he hustles the story along quite smoothly; and to complete his dynamic duet is the fiery Deborah Mailman.

 He calls her the Mama Bear, and boy does she live up to it. With her wildly precise verbal jabs and commanding presence, she is utterly refreshing, but her brilliance extends beyond this. The moments that I cherish most are the quiet moments of her grief, and gut-wrenching pain. She's a loose cannon with a broken soul and a big heart, and we adore her.

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Needless to say, Jessica Mauboy, with her exuberant smile and flawless vocals, is the musical's focal point. Her inspired rendition of Who's Lovin' You deserves a standing ovation. To think of it, the film has seamless musical coherence, and every number, may it be soul or jazz, adds to the audience's enjoyment. 

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This film is a real crowd-pleaser, and ultimately a feel-good production. From the moment I saw the trailer, I knew The Sapphires would under-exploit the politics of its setting, and I promptly thought to myself Who cares? This film presents a string of intriguing relationships, which is more than I can say for Dreamgirls, and whilst it doesn't fully realise the cruelty of racism or brutality of war - it is also not sickeningly sappy. In fact, the intense scenes dealt some serious blows - giving the film the dark nuances for which I yearn. 

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Jessica Mauboy's angelic and emotive voice is key to the film's soul and entertainment, but for me, it is O'Dowd and Mailman's performances that brought it all together. I would be more than happy to grant a score of 9, but The Sapphires misses one thing, and that is an out of this world musical number. You know, the song that won Jennifer Hudson an Academy Award (I'm Not Going) or the one Catherine Zeta Jones used to snatch her Oscar (All That Jazz), or even a duet that shatters your soul and tears your heart. Of course I'm referring to McGregor and Kidman's Come What May. 

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Anyhow, Mauboy's Who's Lovin' You is pretty damn good, so let us settle with an 8.

P.S. Jennifer Hudson is the reason why I watch and re-watch Dreamgirls, and since when did my reviews get so darn long! Love y'all.

Julianne Moore, Far From Heaven

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Far From Heaven is a timeless, beautiful and haunting drama, and no other description could be more apt. The sets are lusciously decorated and the cinematography is flawless. The devil is in the details... and the saturated colours! May it be the falling Autumn leaves, yellowed with age, or the distraught expression of a woman trapped in time, the director gives us a holistic view of the scenario. We can appreciate a scene, from many angles, and I'm not just referring to the visuals.

 These visuals are accompanied by Bernstein's heavenly score. The film begins with this score, its soft melodic moments are contrasted with crashing crescendos, and even before the first leave falls, we know we're in for heartbreak.

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 The film encapsulates the look and feel of any great '50s picture. This is an ingenious artistic decision, because this glossy and glamorous superficiality reflects the *perfect* '50s lifestyle. We see a wealthy little couple with their perfect little kids in their splendorous little garden with their decadent little parties. This is Heaven. Then the director peels back the layers to reveal their hidden turmoil. The characters are torn - engrossed by their inner darkness and despair. They are alienated and disorientated by the social stigma towards their course for true love. In every sense of the word, they are trapped.

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 Perhaps we have grown since then, and now we can openly discuss these stigmas, but they still exist, and let's be honest, the glossy and glamorous superficiality is still prioritized. The only difference is that now we can artistically explore what lies beneath. Actually, generally, we're a lot more accepting as a society, but I despise any remotely optimistic thought. Nevertheless, the demons that we keep hidden and our instinctive desire for love are intrinsically human, and that is why this film is entirely deserving of the label timeless.

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Needless to say, Julianne Moore's portrayal of the *perfect* '50s housewife is superb; she is a loving mother and wife, she spends her days wearing gorgeous gowns, planning events and grooming her family. She is  devoted to her husband, and is the epitome of the hospitable hostess. Many actresses could portray these elements of the character just as successfully, but not many would be able to convey the longing and pain that burdens her soul. Julianne Moore can do this with one look. No wonder she was nominated for two Oscars in that one year.

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Dennis Quaid gives an equally empathetic and nuanced performance, and yet the Academy chose to snub him, wonder why? Far From Heaven is an evocative drama of victims, Haynes' detailed vision transports us to a world of prolonged secret sufferings - a place Far From Heaven - and I thank him for that.

 Love y'all.

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Great Expectations, a touch of Harry Potter (2012)

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With the names Helena Bonham Carter, Ralph Fiennes, Robbie Coltrane consecutively flashed across the screen, could you blame me for feeling Potter-nostalgia? Oh yes, and to top it all, Mike Newell is at the helm of production; for those who aren't Potter experts, I don't know why you wouldn't be, he directed The Goblet of Fire. Then again, he also directed Prince of Persia, but we shall overlook that.

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I am a fan of Charles Dicken, I have read and re-read A Christmas Carol countless times, and I had a minute supporting role in a school production of Oliver! Yes, it was the highlight of my career. Away from the limelight of [my] life, Mike Newell gives us his modern take on the classic Great Expectations. The trailer brags a beautifully haunting, gothic setting, and the unnerving score and shades of grey promise endless intrigue. The mysterious crime-esque element never fails to compel me, especially when coupled with broad artistic strokes and shots that caress expansive horizons.

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I actually haven't read Great Expectations. Oops, shouldn't have said that, now everyone will think I have retired my Charles Dicken obsession for badly written erotica. Anyway, I simply wish to share this new trailer with you all, and express my delight in the casting. If you don't cast Helena Bonham Carter as the creepy, lonely, vengeful old bride, then you should be taken out back, and beaten with volumes of Dickens.

I despise being cliche, but now I have some rather Great Expectations. Love y'all.

An actually creepy shot of Ms. Havisham, the other one makes her seem a little too calm.

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Blow Me (One Last Kiss) [P!nk's MV]

For the most part, P!nk's new music video is a noir French film with a classy, glossy feel. The contrast of the blinding white light and the various shades of black and grey creates a hazy, dream-like atmosphere. We know that this is a whimsical dream that is about to be shattered, and we're eagerly awaiting the shattering.

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The quirky video comes to a colourful climax. P!nk attends the white wedding in black, and what can I say, hell hath no fury like a woman's scorn and I LOVE that. A pink heart hovers over the party, before it bursts and showers the wedding red. 

It's exactly what an effective and inventive MV should be. It gives us a simple story to accompany the up tempo song, and heightens our, for want of a punny word, engagement in the liveliness of the lyrics. Then again, I might be blindly biased, winged flying bicycles have never failed to arouse me. 

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Okay that should be enough dissecting for one day, let's wrap this UP. Even in an era where most music videos provide stunning and stylistic visuals, this one doesn't fade into the crowd. In the last few days, my inspiration and flair, if I possess any, seemed to have dried up. I'm grateful for this wake-up call. That close-up where the dripping blood paints those delicate white petals red, somehow, re-ignites my lust for cinematography and love for cinema.

So don't you dare blow me one last kiss. Love y'all.