THE ELECTRICAL LIFE OF LOUIS WAIN

Benedict Cumberbatch     Claire Foy     Andrea Riseborough

Adeel Akhtar     Olivia Colman     Tory Jones     Taika Waititi

Based on a true story of an exceedingly eccentric man, The Electrical Life of Louis Wain is about a British man living in the late nineteenth century who made a remarkable living out of his cat pictures.  The electrical part is what he feels when he is around cats—inspiration, perhaps?—which he conceptualizes as electricity.  He does talk in the beginning about patents for electrical inventions, but when he strokes a cat and talks about electricity, he senses something of importance, which he attributes to “electricity.”  Who could have predicted that his drawings would promote the habit of having cats as pets—something not done in the 1800’s in Britain.

For most of his life, Louis lives with his overbearing sister Caroline (Riseborough), four other sisters, and his mother.  He seems to have his head in the clouds most of the time—even though he becomes the family breadwinner at age 20—but is stabilized by meeting and eventually marrying his sisters’ governess Emily (Foy).  Their eccentricities fit together well, and she has an uncommon understanding of him; however, their happiness will be short-lived, but his story goes on.  He earns enough money from his drawings, and his art becoming so popular, he is able to support his family—until he discovers a significant mistake and his own mental health deteriorates.

Benedict Cumberbatch and Claire form an appealing and most interesting pair in telling this story.  There is clearly chemistry coming through that I presume reflects the real couple’s attraction.  Cumberbatch is excellent in portraying a befuddled character, and Foy easily slips into a supportive, bolstering role, which is just what Wain needs to ground himself.  As Wain’s sister, Riseborough’s constant yelling in reaction to threats to her control are grating, but most likely realistic.  Much more endearing is Tory Jones’ Sir William, consistently recognizing Wain’s talent and providing him with the kind of support that not only boosted his ego, but helped him (saved him at one point) financially.

The subject is one of fascination for me, so I thoroughly enjoyed learning about Louis Wain’s life, sad as it was.  The movie is illustrated by sepia-toned cinematography that one would see at the time (Cinematographer Erik Wilson and production designer Suzie Davies in their element), which reflects old photographs and art from that period.  It’s a film for those who lean toward the quirky and artistic, who can appreciate its refreshing creativity and appreciating the foresight in director Will Sharpe’s and his co-writer Simon Stephenson’s recounting of the story of a beautiful soul, showing how genius may be compromised by the practicalities and demands of life.  

None of the reviews of the film seems to appreciate the lovely conversations between Emily and Louis in their efforts to talk about and consider his life after her death.  Those scenes are ones that—while disturbing at an unconscious level for some—provide something extraordinary in the beauty of this film—and could serve as a model for those anticipating an untimely death.

 

An account of the life of a beautiful soul, appreciated by some, reviled by others, but one with a clever eye for making drawings of cats that expressed volumes.

 

Grade:  B                          By Donna R. Copeland

MANDY

Nicholas Cage     Andrea Riseborough    Linus Roache    Ned Dennehy      Olwen Fouere     Richard Brake

     Barbarism reigns supreme in this gory tale about a horrific brutality for which Red (Cage) is determined to avenge wrongs that have destroyed his idyllic existence.  He and Mandy (Riseborough) are blissfully happy in their country abode when a pack of crazy cultists named “Black Skulls”, who get their kicks from torture and destruction, descends upon them.  Actually, their cult leader Jeremiah (Roache) considers himself a god ever since The Chemist (Brake) mixed up a drug that instantly evokes in the coterie all their burning rage and hatred.  They dress in black, ride black motorcycles, and travel at night to wreak their devastation on unsuspecting souls.

     The film contains many acts of agonizing, bloody violence which, although I’m inclined not to care for such horrors, are, paradoxically, beautifully expressed in Benjamin Loeb’s cinematography, accompanied by Johann Johannsson’s score, and realized in Hubert Pouille’s production design and Ilse Willocx’s sets.  Panos Cosmatos, writer/director, has taken a fairly simple story about revenge and displays it against a backdrop of rich colors, design, and special effects.  A bit of humor is included during a battle of chain saws (of course, the second one pulled out is much more phallic than the first one) and a scene in which Red literally squeezes a head until the eyes and brains pop out.

     There is little character or story development; Mandy is primarily a series of vicious acts that are nevertheless artfully presented.  Nicholas Cage is at his peak in showing indignant rage about his loss (yelling and sobbing uncontrollably about the senselessness of the crime while downing a full bottle of vodka) and fierce determination to hunt down the perpetrators and exact his own punishment.  In contradiction to some of his recent work (e.g., The Humanity Bureau, Inconceivable), this role proves once again his acting talent and skill.  

Mandy is for diehard horror fans who thrill to see blood-gushing wounds, severed body parts, and dreadful vengeance.

Grade:  B-                                    By Donna R. Copeland

THE DEATH OF STALIN

Adrian McLoughlin     Steve Buscemi     Jeffrey Tambor     Michael Palin     Simon Russell Beale

Paddy Considine     Olga Kurylenko     Andrea Riseborough     Rupert Friend     Jason Isaccs

       This is a film that is likely to pass right over the heads of most Americans, whose knowledge of the history of Russia during the 1950’s is meager at best.  In my own case, I was unable to catch the satire and the rolling out of gags and slapstick that so many critics, by their reviews, have obviously enjoyed.   Curiously, instead, I was constantly reminded of the chaos reigning in our current U.S. government, which detracted majorly from the humor I might have enjoyed if I had seen the film three years ago.  (Another time; another place.  But not now!).

        The Death of Stalin deals with the death of a ruthless leader (played by McLoughlin) who tortured, had shot, and sent to Siberia millions of innocent people.  I guess it takes a special kind of British humor by co-writer/director Armando Iannucci to make it into a political satire that juxtaposes Stalin-era atrocities and comical bureaucratic dysfunction at his death. The production is originally based on a comic book, “The Death of Stalin”, by Fabien Nury and Thierry Robin. 

         The filmmakers have chosen to allow the cast to speak in their usual accents, which range from regional British Isles to American (no feigning of Russian language), so the viewer unfamiliar with history and the characters has a lot to keep track of. 

     This is an outstanding cast, especially Steve Buscemi, who looks nothing like Kruschchev, yet is able to be convincing.  Jeffrey Tambor (Malenkov), Michael Palin (Molotov), Simon Russell Beale (Lavrenti Beria) as head of the Russian secret police, Jacon Isaacs (Field Marshal Zhukov), Andrew Riseborough (Svetlana Stalin), and Rupert Friend (Vasily Stalin) all play their roles exactly as prescribed and lend generous entertainment. 

British humor juxtaposes Stalin’s atrocities and comic dysfunction at his death among bureaucrats.

Grade:  B                                               By Donna R. Copeland

BATTLE OF THE SEXES

Emma Stone     Steve Carell     Andrea Riseborough     Sarah Silverman     Bill Pullman     Alan Cumming     Elisabeth Shue

      This was a full-blown battle, made more public by the macho boasting of Bobby Riggs for weeks beforehand.  It was a contest with a winner-take-all prize of $100,000.  By the time the match between him and Billie Jean King took place, they had an audience of 50 million in the U.S. and 90 million worldwide, with 30,472 present in the Houston Astrodome.  King was passionate in proving that women’s tennis was just as important/entertaining/professional as men’s, and that they should be paid the same.  Male chauvinism was common in the 1970’s, so men were aghast that women should expect such a thing, saying men were stronger, faster, and better than women who were weaker and “couldn’t stand the pressure.” 

     All this seemed to spur King on even more; she was still stinging from Jack Kramer’s (a former tennis star and radio commentator, smoothly played by Bill Pullman) banning women from a major tournament when they demanded to be paid on the same scale as the men.  Later, when Riggs and ABC wanted Jack to be the commentator for the Riggs/King match, King protested, and threatened to withdraw from the contest unless they hired someone else, reasoning that Jack did not believe in women’s tennis.  “Either he goes—or I go.”  She got her way.

     The match is filmed extremely well by cinematographer Linus Sandgren, starting out slower so each lob is carefully shown, and gradually speeding it up to real time, and the music is well chosen by Nicholas Britell.  With a filmography that includes movies about Red Hot Chili Peppers, R.E.M., and Smashing Pumpkins, the directors Jonathan Dayton and Valerie Faris likely had some informed input for the music as well.  Although I enjoyed the music immensely, it was often too loud for my ears, overpowering the drama and dialog.

     Emma Stone and Steve Carell demonstrate their considerable talent in portraying two colorful characters.  Carell’s Bobby is as obnoxious and full of himself as he is supposed to be, which is in stark contrast to Carell as I’ve seen him in real life.  I was especially moved by King as she is shown in the film and beautifully exemplified by Stone; always dignified, magnanimous enough to initiate the arms-around-the-shoulders exit at the end of the match, and keeping her cool amidst rude taunts and tense negotiations. 

     There were a couple of scenes that made me shake my head (a last-minute hair fix just before the major event and Billie Jean King by herself at the end of the match), and sure enough, these seem to be Hollywood elaborations on the real story.  They are unnecessary veneers to a story that is already sufficient in itself.

Battle of the Sexes exemplifies the ongoing struggle between males and females, but in an entertaining manner.

Grade:  B                                    By Donna R. Copeland