Film Review: Only Lovers Left Alive (2013)

Writer and Director Jim Jarmusch has made a film about love. All kinds of love. Romantic, platonic, idol, familial, eternal. Love for the places and things that feed our soul. That is one of the ways OLLA is like a rock ballad-a mighty snapshot of the things that make life worth living. OLLA follows two married vampires, Adam (Tom Hiddleston) and Eve (Tilda Swinton). Theirs is an immortal love, they are rock stars living in a bygone era with the modern world existing just outside their bubble. Adam is without hope, bowed down by technology, the predictability of humans (or ‘zombies’ as he calls us), and a lack of inspired art. His wife Eve is the ultimate cool cat, embracing life, living for love and full of hope. She is the level head in the relationship, talking Adam down from the proverbial ledge, which is where the film takes off.

Adam is described by Eve’s friend Kit Marlowe (John Hurt), the supposed true author of Shakespeare’s works, as a ‘suicidally romantic scoundrel’. He lives a solitary life in Detroit pining for Eve, who lives among her books and the exotic antiquity of Tangier with Kit for company. All the while Adam releases his music anonymously in the underground scene to great aplomb. He loves his town, the only immediately accessible thing aside from music that provides him with comfort. His melancholy brings him to the precipice of suicide. Through their contact Eve recognises that Adam needs her so she joins him in Detroit, soothing the worst of his pain. Swinton is sublimely cool and graceful- one can suppose she isn’t that much different to Eve, enjoying the moment but in control of the situation. Hiddleston is electric and captivating, dispensing his dry wit behind a mask of contempt. Adam disdains humans, yet the comedy of his situation is that his very existence depends on them.

This is highlighted by Adam’s reliance on both his dealer and fan-turned-assistant, Doctor Watson (Jeffery Wright) and Ian (Anton Yelchin). Doctor Watson works in a hospital lab. He earns extra money by supplying Adam type o- blood without asking too many questions. Twice Adam appears behind Watson noiselessly in a white doctor’s coat and surgical mask, each time going by the name Doctor Faust and Doctor Caligary. As suggested by the use of fake names, their transactions are fraught with mystery, tension and wonder but you know each will be open to trade again. Our vampires take the risk of using blood from a supplier aiming to avoid anything that may be lethally contaminated if they drink directly from humans. Blood in OLLA is clearly an allegory for drugs. In keeping with the rock and roll ethos, blood, particularly type o-negative, is consumed with reverence and need, not just as an indulgence.

Then there’s Ian, a fan of Adam’s underground music, he idolises Adam and procures any manner of worldly goods that Adam desires. Of course, the more he’s with Adam, the greater his curiosity grows, much to Adam’s dismay. An irritating reminder that there are few beings in the world he can trust and that the ground is quickly shrinking beneath his feet. Adding to his misery is Ava (Mia Wasikowska), Eve’s younger sister. Ava is a whirlwind of drama. Impetuous, playful and the centre of attention. She behaves like a nineteen year old not a centuries old immortal. She, along with the rest of humanity, is the bane of Adam’s existence. Wasikowska is a vivacious injection of life, a contrast against the philosophical stillness of the film. Out of familial obligation, Adam and Eve invariably find themselves cleaning up after her spectacular mistakes, and on this occasion also fleeing from them.

Only Lovers Left Alive is my first Jarmusch film or experience I should say. Poetic and philosophical, it is a meditation on the finer things in life: love, music, literature. Like Adam and Eve, you could exist in this nightscape forever. As if you were a part of something the rest of the world wasn’t. A rare event that only a few other eyes would see. It’s not something that you can capture but only experience. I believe that every film aspires to be an experience but bowed down by contrived formulae, mainstream cinema often falls short. Thankfully we have independent filmmakers like Jim Jarmusch. This film also reminds me of the collaborations between Australian musician and screenwriter Nick Cave and director John Hillcoat. Music and aesthetic are major components of the film. This is as true of OLLA, favouring these elements more so than plot. Things happen in this film but there is no exact beginning, middle and end to it. It’s as I mentioned earlier, a snapshot of our lover’s lives. The highs and lows that we witness are their burden that they are doomed to repeat for the rest of their lives. They will endure it however because they have each other and that is the beauty of love.

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Happy New Year, folks!

Hello everyone,

I hope that 2015 is a happy year for you all!
We are all united in the beginning of a new journey and along the way I hope you all find some measure of peace, love, excitement, inspiration and prosperity.
Often with new beginnings, there is an air of optimism, a sense that we can achieve anything we set our sights on. So set your sights high, friends and work hard so that this time next year, you can revel in your hard-earned achievements.

Kind regards,
Alysia

Film Review: Belle

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What have we come to expect from period pieces, nowadays? A heroine who is as feisty as she is pretty, a hero who is both dashing and broody, and a rocky road to love beset by rigid social conventions and a host of colourful characters. That is a checklist we can fervently tick off with Belle, however this is a period piece with a big difference.
Dido Belle Lindsay (Gugu Mbatha-Raw) was the child of a Naval Captain and a slave. At the beginning of the film, her father, Captain Sir John Lindsay (Matthew Goode) arrives at the slum young Belle has been dwelling in since her mother’s death. We see that he is a kind man who would cherish his daughter. However, due to his career and a mission requiring an imminent departure, he is not in a position to care for Belle, so he must place her in the care of his Uncle and Aunt, Lord Chief Justice, the Earl of Mansfield (Tom Wilkinson) and Lady Mansfield (Emily Watson). Their house is also home to a spinster Aunt (Penelope Wilton) as well as another nephew’s illegitimate daughter. Elizabeth’s (Sarah Gadon) father refuses to acknowledge her existence so her future is dependent on her finding a husband of means. The family is stunned by Belle, obviously not expecting the child to be black. However they are ultimately swayed to take her in by John’s desperate situation and the goodness of their heart. Her father acknowledges her as his own thereby endowing her with his name and the social standing that comes with it.

Belle is raised as an aristocrat, yet her skin colour sees her on the fringes, not quite belonging anywhere. The family comes to accept Belle, none more quickly than Elizabeth, with the two girls seeing themselves as sisters. As they become eligible women, the girls are then encouraged to seek husbands, especially Elizabeth, who has no money but better chances of success compared to her mixed-race cousin. Lady Ashford (Miranda Richardson) and her two sons, James (a typecast Tom Felton) and Oliver (James Norton) soon home in on the cousins, both ultimately in the pursuit of wealth not love. Oliver is taken by Belle’s beauty as well as her wealth and has his eye fixed on her.
Enter John Davinier, a clergyman’s son and an aspiring Lawyer (Sam Reid) who gains the tutelage of Mansfield. He is an Idealist, passionate about social change, however there is friction between himself and Belle from the moment they meet. She is arrogant and brash, behaviour he reciprocates through their initial encounters, yet they are drawn to each other. Mansfield, who is presiding over a case that has the potential to end England as he knows it, is beset by opposing forces. On one side, influential men who want England to stay as it is, and on the other, the passionate idealism of John, trying to make the world a better place. On that same side is the inescapable frustration and sadness of Belle whom he has come to love as his daughter. Mansfield ends John’s tutelage and bans Belle from seeing him after John explains the horrendous details of the case to Belle. Now the pair must meet in secret. They surprise each other with their nature; she is an intellectual concerned with the world around her and he is ahead of his time, dedicated to defending the rights of his fellow humans. Despite both being in unwanted engagements, they soon find themselves falling in love.

Belle muses to John that she has been ‘blessed with freedom twice over’, on account of her station in the Mansfield household as a person of colour and as a woman who has inherited a fortune after the untimely death of her father. She has largely been spared being subjected to prejudice due to the protection of her wealthy family, and as an heiress she has been afforded the freedom of not having to marry for money. However, she is encouraged to marry Oliver lest she ends up a spinster as her colouring makes her unlikely to receive any offers of marriage. Yet it is John who inspires her to want more from life, telling her that she should be treasured by her equal.

This debut feature by director/writer Amma Asante is a thing of aching beauty. It is a coming of age story where, despite her privileges, the fate of our heroine is at the mercy of the people around her due to her gender and colour. However, it is through love that Belle finds the courage to challenge society and prove she is capable of making her own fate. The magnetic chemistry between Mbatha-Raw and Reid is all you could hope for in a love story. They, and the drama of the film is supported by an exceptional cast, which of course is supported by an equally exceptional script. Each character is rich and flawed, with their own unique set of problems relative to age, gender, race and class. Belle shows us that we have the power of overcoming our problems ourselves if we have the will to fight them.

Film Review: Dylan Dog: Dead of Night (2011)

imagesKevin Munroe’s Dylan Dog is based on the celebrated comic books by Italian writer Tiziano Sclavi. The noir comic’s original London setting has been swapped for a New Orleans that is as seedy as it is sultry. Superman Return’s Brandon Routh is solid as the jaded eponymous detective beset by problems, both human and supernatural.

After the murder of his wife and his subsequent revenge rampage against the vampire elders he held responsible, Dylan Dog has endeavoured to leave his nightmarish past behind him by working as a regular P.I. He now spends his days spying on cheating spouses and playing the oboe in his down time, which he has plenty of. Despite his best efforts however, his past catches up with him.

The father of a young woman named Elizabeth (Anita Briem) is murdered by a werewolf and a valuable ancient relic is stolen. She enlists the help of Dylan and his assistant Marcus (Being Human’s Sam Huntington) who is oblivious to the existence of supernatural beings in the world around him. Once again, Dylan is drawn into the world of werewolf meatpackers, vampire nightclub owners, and zombie morticians, resuming his former task of ensuring justice for the “monsters” of the world and preventing a war between the werewolf-vampire clans of New Orleans.

Whilst not the most faithful adaptation of source material, the film still manages to be entertaining. You just have to kinda, vaguely, sorta like this type of thing. File it in the rom-zom-com genre and you’ll know how to take it. There are a few decent laughs, plenty of gore and a cool soundtrack to get you by but the dynamic between Routh and Huntington as tried in Superman Returns is undoubtedly the backbone of the film. Two buddies somewhat out of their element; our hero is a little rusty with the game after his hiatus, the other getting to grips with becoming irrevocably apart of a world he didn’t believe in until it literally took a bite out of him 24 hours ago. Huntington brings a frenetic energy to Marcus, he is the comic relief to the competent, brooding anchor that is Routh’s Dylan. Anita Briem brings a sense of mystery and her own competency to Elizabeth. She’s a damsel not-quite-so in distress.
Rounding out the cast with their star power is Taye Diggs and Peter Stormare. Diggs brings sexy back to vampires (kudos to him as Twilight made it a tough hill to climb) as the vampiric head honcho with a plan to take over the world. Peter Stormare plays the irascible Gabriel, head of the Cysnos werewolf clan and frenemy of Dylan.

I feel with Dylan Dog, that the joy lies in the journey not necessarily the ending, which is equal parts predictable and odd. The SFX at the end felt on par with Ghost Busters and Raiders of the Lost Ark. Not a good thing for a film made in 2011 but if you can get past that and a few other flaws, Dylan Dog is well worth the watch.