One Day, Great Movies Will Be Appreciated...
One of the greatest movies made in recent times: and one that went completely unnoticed, quite obviously too! One Day stars the acclaimed Anne Hathaway and little-known, in North America, British actor Jim Sturgess. It is based upon a vest-selling novel (now, the words ''best-selling'' never were directly synonymous with quality, no matter what some lit crits will say: it is all, as in so many other fields, but a popularity contest and, in this particular domain, it pertains to whoever has blended all the right familiar ingredients once again, the most pleasant way for the majority to, if not entirely appreciate, at least take note. However, having stated all this, it must be reiterated, too, that even though the themes are all-too familiar, this story is very touching from the very beginning and the treatment it was given on celluloid is masterful.) and was masterfully handled throughout its transition from written tale onto (not-so silver) big screen (anymore) two short years ago.
FOCUS FEATURES, Random House Films and FILM 4 presented a COLOR FORCE production of a Lone Scherfig film off a David Nicholls novel, which he adapted himself into screenplay format back in 2011; and it is a gem of a film that went under the radar way too fast. For there is a truly classy film, beautifully shot and edited, one that weaves a modern tale which makes one and all reflect about life, love, time passing... Such a thing can be said to be rare nowadays, as the trend leans towards either Tinseltown blockbusters or bizarre indie pictures. This story sifts through the late 80s, naughty 90s and onto present-day chaos, referencing along the way many forgotten gems as well; as this film is one already, as we've stated previously, quite ironically. Paris, London and other great locations are well-rendered by the director of photography, Benoît Delhomme. The director is one lady well-known throughout the industry for her talent for subtle characterization and knack for sweeping sagas that cohesively pull together a myriad elements into one single stunning tapestry. It is not surprising at all, therefore, that this story moves, amuses, ultimately stuns; for you do not see the end coming - at all - unless you've previously read the novel, that is! A story that will make you pause and consider what is most important in life. It is a great film, worthy of all the honors - and, yet, it gathered none whatsoever, to my knowledge. Is it because of the flaws of the original treatment, the problems of the transition onto film or the fact that, though originally written by a man, this became a women's picture when directed by a female director and scored by a female composer, in Rachel Portman? Too difficult to answer this one; hence, we shall not try here! Suffice it to say: this is a romantico-tragico film, like they used to make them back in the golden days of Hollywood: but with that modern pizazz. It is, therefore, quite the ''date movie'' or a girl's film; even the aforementioned photography of the locations, though done by a guy, do not impeded that; au contraire, they enhance this considerably.
And, here is this great movie - for as long as YT will allow it to be there or here, that is:
Enjoy!
FOCUS FEATURES, Random House Films and FILM 4 presented a COLOR FORCE production of a Lone Scherfig film off a David Nicholls novel, which he adapted himself into screenplay format back in 2011; and it is a gem of a film that went under the radar way too fast. For there is a truly classy film, beautifully shot and edited, one that weaves a modern tale which makes one and all reflect about life, love, time passing... Such a thing can be said to be rare nowadays, as the trend leans towards either Tinseltown blockbusters or bizarre indie pictures. This story sifts through the late 80s, naughty 90s and onto present-day chaos, referencing along the way many forgotten gems as well; as this film is one already, as we've stated previously, quite ironically. Paris, London and other great locations are well-rendered by the director of photography, Benoît Delhomme. The director is one lady well-known throughout the industry for her talent for subtle characterization and knack for sweeping sagas that cohesively pull together a myriad elements into one single stunning tapestry. It is not surprising at all, therefore, that this story moves, amuses, ultimately stuns; for you do not see the end coming - at all - unless you've previously read the novel, that is! A story that will make you pause and consider what is most important in life. It is a great film, worthy of all the honors - and, yet, it gathered none whatsoever, to my knowledge. Is it because of the flaws of the original treatment, the problems of the transition onto film or the fact that, though originally written by a man, this became a women's picture when directed by a female director and scored by a female composer, in Rachel Portman? Too difficult to answer this one; hence, we shall not try here! Suffice it to say: this is a romantico-tragico film, like they used to make them back in the golden days of Hollywood: but with that modern pizazz. It is, therefore, quite the ''date movie'' or a girl's film; even the aforementioned photography of the locations, though done by a guy, do not impeded that; au contraire, they enhance this considerably.
And, here is this great movie - for as long as YT will allow it to be there or here, that is:
Enjoy!
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Following, the official review as it appears on IMDB...
Following, the official review as it appears on IMDB...
A wonderfully well-crafted film that spans a lifetime for its two main protagonists (the tagline isn't ''twenty years, two people'' for nothing; although, technically it is eighteen years. And, in reality, a few extra years are thrown in as the movie was released in 2011, the main story takes place between 1988 and 2006 but does reach 2011, too... Just saying...) - this ''One Day'' has been grossly undervalued by both film critics and moviegoers alike.
Anne Hathaway is splendid, as usual - her role here is central, as it should be, and the English accent she uses here is so close to genuine *this* is the role she should have won an Oscar for - not Les Misérables avec faux accent Français! (Even though a French accent is easier to fake than an English one - right, Anne? Which is doubly ironic here when you know that the original ''Anne Hathaway'' was actually Shakespeare's wife!) Granted, many were the critics that actually said that her Yorkshire accent in this one was inconsistent at best; but those are just technicalities, I say!
Her co-star is a genuine Brit: Jim Sturgess. He becomes increasingly credible in his role as the movie progresses: but that is due, alas, to the fact that he is a most unlikable character throughout three-quarters of this. Not his fault: it's the way he was written! David Nicholls adapted his own novel that spanned decades in the lives of its two central characters, two characters who love each other but aren't sure they do, most of that time... They do wind up married at one point - but there is no happy ending here. Enough said about that. Nicholls digs out many cultural hallmarks in the movie that he could barely use to full effect in the novel: one character handles a copy of the Watchmen trade paperback, specific songs play throughout the film, pinpointing to greater effect each new era evoked. The one thing perhaps deplorable in all this: the character's names seem to be evoking TV icons of two very different eras: two that don't belong together at all! Hathaway's Emma (Peel - of the Avengers: hey, she was Catwoman too, afterwards, so why not tackle that part as well, indeed?) and Sturgess' Dexter (he might have been less obnoxious here if he had been a serial killer too!) - they might be Nicholls' favorite TV memories, distant and recent, but why bring them together in this totally different setting? But I know, David: as an author, sometimes the most difficult thing is not ''finding the suitable ending'' but quite simply christening your main characters appropriately...! I sympathize!
Of note is the cameo here by one Matt Berry (The Third!) of either I.T. Crowd fame or London Dungeon renown - your pick! Matt is always amusing everywhere he appears and, here, as the bearer of bad news for Jim's character (again, I prefer Jim to Dexter) he transforms what would have been an uneventful scene into something much more than that... Great job, Matt; true to form.
One Day met with stiff reviews and so-so performances in box-offices worldwide: it was not a complete flop, but it was far from being the success it could, perhaps should have been. It is a touching tale of unrequited or, more precisely, uneven love: basically, she loves more than he does. Time passes. He realizes his (many) errors: and there is still time for them, however...
Watch it and make abstraction of all the annoyances (fake accents, odd choices for time capsules, obnoxious male lead) - and you will appreciate this overall effort, essentially due to the original tale, which comes from the novel's main plot. Schefig is a great director, too. Her director of photography here, Delhomme, made both London and Paris look better than they have looked, lately... And the music by Rachel Portman eclipses anything Hans Zimmer has ever done or will ever do - no, really!
Anne Hathaway is splendid, as usual - her role here is central, as it should be, and the English accent she uses here is so close to genuine *this* is the role she should have won an Oscar for - not Les Misérables avec faux accent Français! (Even though a French accent is easier to fake than an English one - right, Anne? Which is doubly ironic here when you know that the original ''Anne Hathaway'' was actually Shakespeare's wife!) Granted, many were the critics that actually said that her Yorkshire accent in this one was inconsistent at best; but those are just technicalities, I say!
Her co-star is a genuine Brit: Jim Sturgess. He becomes increasingly credible in his role as the movie progresses: but that is due, alas, to the fact that he is a most unlikable character throughout three-quarters of this. Not his fault: it's the way he was written! David Nicholls adapted his own novel that spanned decades in the lives of its two central characters, two characters who love each other but aren't sure they do, most of that time... They do wind up married at one point - but there is no happy ending here. Enough said about that. Nicholls digs out many cultural hallmarks in the movie that he could barely use to full effect in the novel: one character handles a copy of the Watchmen trade paperback, specific songs play throughout the film, pinpointing to greater effect each new era evoked. The one thing perhaps deplorable in all this: the character's names seem to be evoking TV icons of two very different eras: two that don't belong together at all! Hathaway's Emma (Peel - of the Avengers: hey, she was Catwoman too, afterwards, so why not tackle that part as well, indeed?) and Sturgess' Dexter (he might have been less obnoxious here if he had been a serial killer too!) - they might be Nicholls' favorite TV memories, distant and recent, but why bring them together in this totally different setting? But I know, David: as an author, sometimes the most difficult thing is not ''finding the suitable ending'' but quite simply christening your main characters appropriately...! I sympathize!
Of note is the cameo here by one Matt Berry (The Third!) of either I.T. Crowd fame or London Dungeon renown - your pick! Matt is always amusing everywhere he appears and, here, as the bearer of bad news for Jim's character (again, I prefer Jim to Dexter) he transforms what would have been an uneventful scene into something much more than that... Great job, Matt; true to form.
One Day met with stiff reviews and so-so performances in box-offices worldwide: it was not a complete flop, but it was far from being the success it could, perhaps should have been. It is a touching tale of unrequited or, more precisely, uneven love: basically, she loves more than he does. Time passes. He realizes his (many) errors: and there is still time for them, however...
Watch it and make abstraction of all the annoyances (fake accents, odd choices for time capsules, obnoxious male lead) - and you will appreciate this overall effort, essentially due to the original tale, which comes from the novel's main plot. Schefig is a great director, too. Her director of photography here, Delhomme, made both London and Paris look better than they have looked, lately... And the music by Rachel Portman eclipses anything Hans Zimmer has ever done or will ever do - no, really!
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Labels: cinema, hollywood, YouTube videos
posted by Luminous (\ô/) Luciano™ at 7:08 AM
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