Millie Mussett

Normal People

Review

‘So what’s all the fuss about?’

Okay, so we’ve all heard about this one. When I say all maybe I just mean the millions of middle class young men and women who nearly broke BBC iPlayer to have a peak at this modern love story set in South-West Ireland. Protagonists Marianne and Connell have been labelled the Romeo and Juliet of our time but does this TV show really measure up to its astounding success?* (follow the asterisk if you’d rather I cut to the chase).

Last summer in Mallorca I was looking for some light holiday reading and stumbled on the original novel by Sally Rooney. To be honest the aesthetic of the book cover drew me to it more than the characters or story and incidentally the cinematography of the series is just as minimal and stylish. But, encouraged by the positive reviews and having just finished wrestling my sister for the last Maxibon, I stepped outside, found a quiet spot by the pool and with my Jackie O’s (very Marianne) dived in.

Firstly, Sally Rooney is a beautiful writer, there’s no doubt about that. Her work is soft and delicate, the first person narrative transitions between Marianne and Connell seamlessly. I barely noticed her decision not to use speech marks, making it quite an accessible and intimate read. So the story follows two ‘normal people’, Marianne and Connell from High School to the end of University, as they weave in and out of each others lives, sometimes romantically, occasionally as strangers, always as ‘friends’. During High School, Marianne is the smartest girl in her class (and also the most beautiful but she doesn’t know that yet) who feels alienated by the other kids. Connell on the other hand thrives, he’s sporty, popular and has a better family life. They’re both a right pair of smarty pants who end up idyllically studying English at Trinity. To be honest, they’re pretty close to being Mr and Mrs Privileged, which to me narrows the audience and I personally find it difficult to empathise with characters who have few flaws (but maybe that’s just me being insecure). Also, in the book Marianne comes across as more entitled and shallow, yet the series presents a sweeter interpretation that dampens down her sassier traits.

What I think the book and TV series does successfully is (ironically) communicate young peoples inability to properly communicate with each other. For instance after spending a happy first year of Uni as a couple, Marianne and Connell split after he loses his job and can’t afford to rent his Uni digs over the summer. He’s too proud (has a chip on his shoulder about needing things from other people because he grew up poor) and maybe feels a little emasculated at the thought of asking his girlfriend (who would have definitely said yes the bell-end) if he could stay with her for the summer in Dublin. And so, after an awkward kitchen sink conversation, Connell backs out of the relationship without much explanation, leaving Marianne to give him the cold shoulder and to feel abandoned by him yet again. With both assuming the other isn’t really interested they spend the next few years deeply unhappy and in and out of dysfunctional relationships. I get that, I’m sure that sort of thing happens to the best of us. Why I’m not completely sure, maybe its technology that’s made our social skills so shit? What is clear to me is the ‘I don’t want to put labels on this-ship’ that more teens and twenty-somethings suddenly wake up to, after shagging their oldest friend for the twenty-tenth time. I therefore think this theme of miscommunication and not knowing what you want or who you are when you’re young is one of the core reasons for this story’s success. That and Connell’s sexy silver chain and Marianne’s fringe. And lets face it, they’re best friends who love each other in a world that isn’t really built to keep young love on a straight track. With rocky-finances, scholarships, work placements, mental illness, interrailing around the Italian coast and all the other exciting things contemporary life has to offer, something always seems to get in the way. It’s as if we’ve all become nomadic independents who are more focussed on ourselves, as we’re told less and less that we need a partner to make us whole and to just do it on our own. Both men and women are now expected to have careers, lots of interests, friends and accomplishments, with so many expectations it’s no wonder relationships crack under the pressure. That’s what Normal People’s about, a relationship come too early that crumbles, slowly pieces itself back together and then inevitably starts crumbling again.

On a slightly lighter note, Daisy and Paul look great and have a sparky chemistry and Normal People is romantic and relatable but also that’s kind of it.

If you would also like to help break BBC iPlayer by watching Normal People, Series 1 is available to view now.

*Not really, but you should follow Connell’s Chain on Instagram to inspire your weekly wank.

The Young Offenders

Review

‘It’s well funny like!’

Okay so a few honest words and a bit of self-actualisation here but hey ho…

I’ve spent a lot of quarantine thinking about how much of a useless human being I am. There were people out there risking it all saving lives in hospitals and really making a difference. I’m a creative who fannys about with images and stories. I hated myself and felt my career decisions were not really adding much value to society.

Then one cloudy afternoon during lockdown after a pretty shitty day mum asked if we could watch something good on the telly for half hour or so. I chose Young Offenders. Having already binge watched both series, I thought it was one of the best comedies to grace the screens in a long time. I pressed play. We watched and we laughed together. For a while we forgot about the world and all the painful things going on outside our door. Here we were smiling and happy. And I realised the sort of work I do is to put a smile on your face if you’ve had a rough week, to give you a bit of hope when life throws you shit. Alright, so I can’t perform brain surgery, prescribe you the right cream for that rash or analyse your blood test results. But what I can try to do is give you a different kind of medicine, love. Young Offenders can do that too.

Every episode is a shining (occasionally bogey stained) vignette that’ll make you laugh, cry and feel just a little bit better about it all. So tuck in and have a laugh with the lads from Cork. You can access series 1 & 2 on iPlayer.

Twelfth Night

Review:

‘If music be the food of love, play on!‘

The only other Twelfth Night production I’ve seen was when I was 16 and my mum took me to an outdoor show by The HandleBards at the Painswick Rococo Gardens. There were only about 4 actors who threw themselves into a dozen characters. At one point I was pulled up on stage to hold a plate in front of my face and was given lines and then told I got them wrong and I was a disgrace to the company. Although the plot baffled me, the show embodied all of what the theatre experience should be to me; chaotic, escapist, alive and stays with you long after the curtains fall.

While the current Corona climate has forced us indoors, we’re having to adapt to a few changes. It has however meant that organisations have reached out to us, I suppose to boost morale. One of these organisations is The National Theatre who are broadcasting live recordings of past shows free of charge once a week. This Thursday they presented Twelfth Night directed by Simon Godwin in a hypnotic and modernised retelling. With Tamsin Greig at the helm as the pompous and ill-fated Malvolia, a role originally written for a bloke who jumps from haughty housekeeper to a love struck fool and believes her bright yellow stockings are the key to her mistress Olivia’s heart. The show merrily skips along with an abundance of strong performances that makes use of the topical gender bending themes.

So the story, Viola and Sebastian are identical twins separated in a shipwreck. The siblings find themselves in a foreign land both believing the other is dead and set out to find work. Viola disguises herself as Sebastian in order to gain employment under Orsino who is in love with Olivia and uses Viola’s charms to help woo her. This of course back fires when Olivia falls in love with Sebastian who is actually Viola who has in fact fallen for Orsino. Meanwhile, Malvolia is in love with Olivia and is fooled by some of the local drunks who forge Olivia’s handwriting in a letter addressed to Malvolia confessing Olivia’s undying love for him, I mean her. Meanwhile the real Sebastian bumps into the group and you can imagine the confusion that befuddles them. By the end even the couples aren’t sure which twin they are really in love with, while the poor Malvolia is left loveless and betrayed. A killer performance from Tamsin, who speaks Shakespeare’s lengthy monologues with ease and draws out both the comedy and tragedy of her role in equal excellence.

Staged on a beautiful revolving set that helps break up the narrative and is accompanied by a thumping live band, transporting viewers to a delirious neon club scene, Malvolia’s naked prison cell, the fountain filled gardens of Olivia’s mansion home and on and on.

The National Theatre have really hit the nail on the head with this one, making Shakespeare accessible to contemporary viewers. Go watch Twelfth Night, it’s an experience that will have you smiling and scratching your head like an idiot in your sitting room as you plunge into the magic of theatre told at its best.

You can access the National Theatre Live streams on their Youtube channel and Twelfth Night is only available to view until Thursday 30th April, so get on with it!

Mistress America

Review

‘I’ll probably end up doing something depressing but young’ – Brooke

Filmmakers Noah Baumbach and Greta Gerwig are a bit of an it couple at the moment. With the dynamic and inspiring Frances Ha (2012) already under their belt, the King and Queen of ‘mumblecore’ bring us Mistress America, a witty screwball comedy perhaps a little self aware but non the less an entertaining romp!

Gerwig stars in the title role as Brooke, a charming but shallow spin instructor/math(s) tutor/upcoming-interior designer who becomes newly acquainted with step sister-to-be Tracy, a lonely Literature freshman. The women quickly form a tight bond, running around New York attending parties, talking future business ventures and desperately looking for something to complete themselves. Eventually Brooke finds herself seeking advice from a fortune teller when looking for her next investor for a restaurant she plans on opening in the trendy Williamsburg. A trip down memory lane ensues, as Brooke and her new college friends pitch the restaurant to her arch nemesis and wealthy ex-boyfriend for the life changing $200,000 investment. Along the way, Tracy uses Brooke’s rollercoaster lifestyle as inspiration for a short story she hopes to enter into the Lit Society whose initiations include a pie in the face at 2am and as much cheese and wine and briefcase talking you can stomach. Meanwhile, Tracy’s best friend Tony who is micro managed by his over protective girlfriend also find themselves pulled into Brooke’s turbulent adventures.

As ridiculous as the plot turns into, the film is peppered with playful dialogue that has a distinct sense of rhythm. It’s like watching jousting matches but with words instead of pointy sticks; a credit to the actor’s clean comedic timing, as well as the obvious writing talent. Overall, a fun and likeable cast with some interesting retrospects on life that never quite dives deep enough to really connect with. However if you’re looking for something unique and light hearted, Mistress America is a great choice and is currently being streamed on Netflix (UK).

Emma (2020)

Review

‘An utter delight!‘

An angelic bubble of 19th century high society where Jane Austen’s vivacious lead plays match-maker in this pretty comedy adaptation of a British classic.

More light on it’s feet than Greta Gerwig’s Little Woman (2020) but perhaps lacking the substance and feminist themes of Austen’s novel. Albeit, the film is extremely enjoyable and is framed by gorgeous cinematography that transports the viewer to a romantic utopia, as well as featuring humorous performances from the ensemble. Although supported by well known actors including Bill Nighy and Miranda Hart the film is adorned with the future faces of British cinema talent. Most notably, Anya Taylor Joy who plays Emma with grace and a sparkling charisma, while Mia Goth charms the pants off you as her character Harriet evolves from an ugly duckling.

Probably the most digestible of Emma adaptations and will enchant audiences young and old.

Due to lockdown the film has been pulled from cinemas early but is available to watch on Amazon Video, Sky Store, Google Play and is the perfect Easter treat to huddle in front of with a hot cuppa.

Midnight Cowboy

Review

‘An anti-American love story‘

A 70s cult favourite and deservedly so, Midnight Cowboy is a critique on capitalist America, as well as a sentimental love story between two men who are running after the unobtainable American dream.

After my first screening of the film I read some reviews that described the two main characters Joe Buck (John Voight) and Ratso/Rizzo (Dustin Hoffman) as “losers”, which upset me as the pair are victim to a greedy and unjust city. In this way, the movie is very effecting and will lead audiences to consider what kind of world we are living in; a place that marginalises the poorest and most vulnerable people in society. Following the journey of wannabe street hustler Joe and Jewish con-artist Rizzo, the protagonists fall in and out of a consumer society and occasionally into the bed of the elite. At one point while ambling through a colourful but vapid “hip” New York party Ratso pick pockets the drugged up “it” kids who think because they take LSD and own a film camera they are artists and have something important to say. While in reality Ratso or Rizzo as his preferred name stashes ham from the buffet under his trench coat for a later, hungrier hour, just before the cold sets into his bones and the last cigarette has dropped to the dirt ground in his deserted back alley home. All the while, a young starry eyed and baby faced John Voight rides the high of a quick fix and a taste of the dream he had so long hoped for. By the time the party dries up and his customer has had her fun, Joe is shooed away with 20 bucks in his back pocket and returns to the one constant pillar in his world. This is a film that is anti-American, in all senses of the word. It exposes a dark underworld, resembling the dystopian fiction we so often see in the movies but so rarely exposed in naturalist cinema. It is a visually striking and emotionally poignant story, about two friends stumbling through the pain of poverty, riddled by loneliness and use the odd gag to deal with it all.

For all the sex in the film and the indication of a past love the tragic heroes’ relationship seems the only thing that resembles any real human connection, even if deviated with their tough guy fronts. Whilst Rizzo and Joe are haunted by past traumas and constant push backs, they never lose sight of what the American dream promises but ultimately fails to deliver them. Because let’s be honest, what else do they really have to live for? As a story that rings true today, Midnight Cowboy remains essential viewing for both social and cinematic reasons.

The picture is celebrating 40 years since its release and has been visually restored and set for screening in a cinema near you this coming Autumn (UK). Don’t miss it.

Toy Story 4

Review

‘They didn’t ruin it… I promise!‘

“They’re making another one” my brother sighed when Pixar announced its 4^th addition to the flawless Toy Story universe. My heart sank at the thought Toy Story 3’s perfect ending was about to be tainted by an unnecessary sequel. As one of cinemas most beloved film series, my apologies Pixar, I should have had more faith in you. What Pixar delivered was not just a great addition but a great stand-alone film that avoids regurgitating past plot lines with an original story and exceptional character development. For instance, Bo-Peep returns as a kick arse heroine (I’m sure the evolution of Bo-Peep will have sparked a video essay or two), while Woody battles an inner conflict in the hopes to prove his worth to new owner Bonnie. With the help of Buzz, the original gang band together to keep Bonnie happy at all costs; even if it means rescuing a spork from an army of ventriloquist dummies. For me, this film was a bit of a tear jerker, maybe because I grew up with the series, maybe because I was on my period. What I do know is that the film frames a heartfelt story with spectacular visuals and really throws you into the Toy Story stratosphere we all know and love. Once again Pixar prove they are masters of storytelling and will never fail to bring a tear of laughter or nostalgia to the eye.

Overall as the warmest addition to the formidable franchise, Toy Story 4 beams with humour, detailed action, some surprises and a trade mark soulful message.

Stanley Kubrick Exhibition

Review

‘Enter the world of an eccentric genius‘

Kubrick is often cited as one of the greatest directors of the 20^th century, his films have gathered both critical acclaim and cult status. This unique showcase offers a window into the world of an eccentric genius whose films tastefully defy convention making it an exhibition not to be missed.

Situated in Kensington’s Design Museum, the gallery is devised into a neat assortment of props, miniature set recreations, behind the scene facts and snap shot screenings of his 8 major pictures; A Clockwork Orange (1971), Lolita (1962), Dr Strangelove (1964), The Shining (1980), Spartacus (1960), Full Metal Jacket (1987), Barry Lyndon (1975), Eyes Wide Shut (1999) and 2001: A Space Odyssey (1968). One of my favourite BTS facts I accumulated as I wandered through the various artefacts was how Kubrick went to extreme lengths to make his films in England. This included building the torn down city of Hue for Full Metal, where it is estimated the director flew 200 palm trees to his London studio. I remember thinking, Kubrick’s desire to have things done on his own terms is commendable but also verges on being just a bit mental and he probably wasn’t the ideal co-worker; poor Shelly Devall. Anyway, the major focuses of the exhibition are on these design elements, which showcased Kubrick’s ability to collect the very best actors, cinematographers and screenplays (often adapted from literature) into stylish, yet explosive cinema with top notch set design. A miniature model of the control room featured in Dr Strangelove along with bold charcoal sketches of this set was a lovely addition to the gallery and for me reinforced the importance of set design in film. Furthermore, the gallery highlights the director’s ability to turn his hand at any genre and execute a masterpiece. From the heavenly detailed renaissance stylings in Barry Lyndon to the poetic language of A Clockwork’s Droogs, Kubrick is able to strike a fair balance between style and substance and I believe it is this that makes his work so timeless.

Overall, the exhibition offers a richly detailed insight suitable for film buffs, designers and engineers who appreciate the technicalities of the filmmaking process. I will end on saying that the Kubrick exhibition is an insight into the films and not the man himself, so if you are looking for a more personal exploration of the director then this is not the gallery for you… although as I said he did seem a bloody nightmare to work with!

The exhibition runs until 15^th September 2019 at the Design Museum, London England.

Bitter Wheat

Review

‘An underwhelming production that leaves a bitter taste’

John Malkovich stars in the highly anticipated Bitter Wheat, written and directed by Tony nominated playwright David Mamet. What is essentially a semi-biographical portrayal of the Weinstein scandals, Barney Fein played by Malkovich is a narcissistic Hollywood tycoon with the power to make or break aspiring careers. It is Malkovich’s well characterised performance that holds together an un-polished production that lacks a well-developed supporting cast and any tonal change. It seems Barney is the only character that holds any depth, with his one-dimensional counterparts fading into the background; their only purpose to inform Barney of his schedule or remind him to take his Viagra. For all its faults, there is still some potential in Mamet’s writing. Although the show felt rushed and clumsily put together the script carries flashes of genuine humour, darkness and suspense. This was particularly evident in the exchange between a young actress who is invited to dine with Barney. The scene is increasingly uncomfortable to watch, as the protagonist tries to cover his monstrous intentions with self-deprecation in order to get the actress in bed. This was the only scene that worked, and represented a seed of potential in this half-baked production. Overall a disappointing and forgettable piece that is a lesson learnt in what a bad play looks like.