Mr. Turner


DIR/WRI: Mike Leigh  PRO: Georgina Lowe  DOP: Dick Pope  ED: Jon Gregory  DES: Suzie Davies  MUS: Gary Yerson  CAST: Timothy Spall, Dorothy Atkinson, Marion Bailey, Karl Johnson, Lesley Manville

The great Mike Leigh returns to our screens with a pleasingly eccentric look at the later period in the life of the great British painter JM Turner. The film focuses mainly on Turner’s relationship with various people – his father, the house maid who he has curious, carnal exchanges with and Sophia Bush, a widow who Turner strikes a fondness with when lodging in her house in Margate.

Present along with these are the subtle but integral presence of Turner’s strange relationship with his own daughters. Turner, on the surface, has no interest in them. There’s a brilliant scene when his aunt tells him of a tragedy involving them. With the camera facing his back, Turner does not express any emotion forthrightly, however, his hand gestures tell a different story, expressing a hidden pain. Turner is depicted as a complex, frequently decent, sometimes animalistic force of nature. The strangeness of his relationship with his children is perhaps summed up in another sequence in which Turner tells another artist that he should not inflict his own problems on his loved ones. Hints at Turner’s estranged mother and curious goings-on with her in his youth, add further richness to him as a character and to the film as a biopic. Leigh here makes points on the irreconcilable differences between an artist and his work and the inability of people, no matter who they are, to communicate with their loved ones. Leigh goes a step further in suggesting that no matter how close one is to a person, they will never really know them or understand them fully.

As is always the case with Leigh, the performances are outstanding. In painting such a comprehensive yet mysterious picture of Turner, Leigh needed the extraordinary ferocity, vulnerability and humanity that Spall brings to the role. His pervasive sighing and grunting sometimes turns into robust, borderline violent sex, with the aforementioned housemaid or sometimes into maniacal laughing, joy and generosity of spirit. Spall deservedly won best actor at Cannes in May for his stunning work here. The supporting players are all impressive as well. As the house maid, Atkinson finds the perfect balance between the weariness of her day to the day life and the subtle, honest expressions of fondness she exhibits for Turner. Bailey too is impressive. Her character of Sophia Bush comes across as similar to many other characters seen in films before. She is in many ways a sort of quintessential mother figure – kind, gracious, modest, loving, naive – yet Bailey and Leigh strive and succeed in making her into something new and fresh and ensuring there is a genuine believability to her character.

The honesty and complexity with which Leigh paints his characters, be they real as here or fictional as in others, is one of the key facets of his work. Dick Pope’s cinematography is quietly beautiful while Gary Yershon’s score adds a further level of oddness to proceedings. With Mr. Turner, Leigh once again confirms his status as a genuinely unique British filmmaker. While it may not quite reach the heights of his very best work, it remains a rich, engrossing and very moving piece of work.

Highly recommended.

David Prendeville

12A (See IFCO for details)

149 minutes

Mr. Turner is released 31st October 2014
Mr. Turner – Official Website




DIR: Robert Stromberg • WRI: Linda Woolverton • PRO: Joe Roth, Scott Murray • ED: Dylan Cole, Gary Freeman • DOP. Dean Semler • DES: Chris Lebenzon, Richard Pearson • MUS: James Newton Howard • CAST: Angelina Jolie, Elle Fanning, Sharlto Copley, Sam Reilly, Imelda Staunton, Juno Temple, Lesley Manville

‘Star power’ is a curious thing these days, selling more gossip magazines than movie tickets. In an era when franchises, reboots, prequels, sequels and spin-offs dominate the box office, established characters are more important than established actors in producing a hit. While Maleficent seems consistent with this trend at first, retelling the familiar story of Sleeping Beauty with the antagonistic dark fairy as protagonist, the film’s marketing tells another story. ‘Angelina Jolie is Maleficent’ scream the teaser trailers, with posters, banner pop-ups and bus panels solely focused on her name and darkly-horned, chiselled white head. Jolie, whose biggest role in recent years has been a voice in the Kung Fu Panda movies, could not make a more visible return to the big screen than as Maleficent, a larger-than-life presence with an iconic costume and an unmatched capacity for throwing shade.

Taking obvious cues from Wicked, with a nod to Snow White and the Huntsman and marching to the same beat as the phenomenal Frozen, Disney’s Maleficent capitalises on a desire for alternate perspectives on well-known stories, as well as a concurrent trend for difficult, anti-heroic protagonists whose chaotic evil ultimately restores the balance of a difficult world. The film opens with a young, spirited Maleficent ruling over an enchanted moor, the idyllic home of many a magical creature. When invading forces from a nearby kingdom threaten the harmony of her land, Maleficent’s forceful retaliation ultimately results in a devastating betrayal, triggering the chain of events familiar to audiences from Sleeping Beauty. The film recasts the evil spell cast on Princess Aurora (Fanning) as an act of revenge by Maleficent against the king (Copley), and follows the aftermath of this curse on Maleficent herself, the princess and her three fairy guardians (Staunton, Manville, Temple), and the princess’ father, King Stefan.

Maleficent is directed by Robert Stromberg, better known for his Oscar-winning work in visual effects and production design – his talents neither wasted nor unnoticed in how beautifully-rendered, shot and designed Maleficent is throughout. The world of the film, from the colourful, lively moor of Maleficent’s childhood to the grey, thorny forest after Stefan’s betrayal, is well-realised, and simpler moments like the ‘True Love’s Kiss’ are as quiet and visually simple as the battles or Maleficent’s spell-casting are over-the-top. Maleficent’s reveal at the christening, as well as her later appearance to Aurora in the forest, are glitteringly gothic and breathtakingly lovely, emphasised by Jolie’s cool performance and dangerous, velvety tones.

Jolie is pitch-perfect, in every wicked smile, agonised scream, and expression of concern, ranging from dispassionate to urgently needful. Her glowering at the adorable baby Aurora and later curt dismissal of her affection are highlights, with the growing affection she feels towards the child subtly progressed and played, even if it is loosely-motivated by the script. The film plays with her image too, with Jolie’s ground-sweeping gown inexplicably transformed into a catsuit by the time the action scenes roll around; and a curious line about how the man who loves her is willing to cast off the ring he wears just to hold her hand is interesting in the light of how she met her current beau.

Elsewhere, Elle Fanning is cheerful, bubbly and pretty, perfect for a princess, if rather vacant – the fairies wished for her to be beautiful and happy, but couldn’t they have wished for a personality, too? Speaking of the fairies, even if all three were combined into one fairy character, she’d still have little to do, but Imelda Staunton, Leslie Manville and Juno Temple  regardless do their best to be funny and charming. Sam Reilly as Maleficent’s shape-shifting minion, Dioval, is quietly impressive, while Sharlto Copley as Stefan (with, for some reason, a Scottish accent replacing his native South African tones) makes for an enjoyable villain. Not quite as deranged as his last bad-guy role in Elysium, Copley’s paranoia and blinkered bloodlust is convincing, if never very well-developed.

Credited to Linda Woolverton, with ten ‘based on’ credits from other sources, the greatest issue is the rather weak script. An inconsistency within the tone, structure, even the language used suggests either a great deal of revision or poor attention to detail.  Many threads feel unfinished or disorganised – the third fairy never grants Aurora a wish (no excuse for that lack of personality I joked about above); The fairies are sometimes interchangeably referred to as ‘pixies;’ and the motivation behind several key moments appears to serve the visuals rather than the plot. Most bafflingly, the final battle between Maleficent, Dioval and the King’s men takes place at an utterly needless time, when what they are fighting for is no longer really an issue, except the film needs an impressive climactic set-piece, and nobody pays to see peace in 3D.

Rather like Frozen, the ending of Maleficent contains a welcome, well-intentioned appeal to female solidarity and sorority, which is just grounded enough in the world of the film to succeed where other plot points fail to take hold. Even if the structure and focus of this film and its characters are easily confused or sacrificed to the visual splendour of its production, its premise and performances are strong, the lead performance particularly transcendental: Jolie really is magnificent as the malevolent Maleficent.

Stacy Grouden

PG (See IFCO for details)
97 mins

Maleficent is released on 28th May 2014

Maleficent – Official Website