BENEDICTION

 Peter Capaldi     Tom Blyth     Jack Lowden

Simon Russell Beale     Ben Daniels     Gemma Jones

         This is not your usual war story.  It starts out in London in 1914 with a poem about war written by Siegfried Sassoon (played by Jack Lowden as the younger and Peter Capaldi as the older), the protagonist whose life is chronicled beginning with his years as a young man when he and his brother are going off to WWI.  We see him three years later after his brother was killed and he has become at the same time a decorated British soldier and an anti-war activist, based on his “Soldier’s Declaration.” He is refusing to return to the battlefield on the basis that the conditions for peace have not been stipulated by government and the powers that be are guilty of “political errors and insincerities.”  

         He is fortunate (or unfortunate, depending on your point of view) in that a mentor with influence, Robbie Ross (Beale) sees that he is referred to a hospital for traumatized soldiers in lieu of being court martialed.  He is outraged by this “help” because he had wanted to publicize his protest.  Nevertheless, he concedes, and uses his time in a military hospital to develop more insight into himself with the help of therapist Dr. Rivers (well characterized by the script and performed by Daniels).  

         The plot takes a turn after Sassoon is discharged from the army and focuses on his life thereafter when he has acknowledged his attraction to men and becomes involved in ambivalent relationships with a number of them when, after a particularly painful period, he decides to marry a woman, Hester Gatty (Jones).

         Writer/Director Terence Davies has created a moving and interesting work on the life of the poet Siegfried Sassoon, although he has chosen not to adhere strictly to historical accuracy.  Presumably his interest was more in the direction of illustrating the lives of homosexual men during that period of time not only in the military but in everyday social life as well.  And perhaps just as much to validate anti-war sentiments. His depiction captures the passion against war and the advocacy for freedom of identity, which could be seen as related causes.

         Jack Lowden seems perfectly cast in the starring role, showing the interiority of the main character with subtle charm on the outside and depth of feeling on the inside, most particularly captured in the last scene.  Peter Capaldi as the older Sassoon with obvious bitterness and closed off emotions is aptly personified.  All the cast members are well chosen and help to give us a poignant impression of the people in Sassoon’s life.

 

An unusual war story that depicts international struggles mirroring internal conflicts.

 

Grade:  B                    By Donna R. Copeland

ROCKETMAN

Taron Egerton     Jamie Bell     Richard Madden     Bryce Dallas Howard     Gemma Jones     Tom Bennett

     For such a flashy performer, it’s surprising that Reginald Dwight (aka Elton John) grew up in an emotionally bleak household, with everyone crying out for love and not getting it, which they all sing about).  Well, except for Reggie’s grandmother (Jones), who recognized and accepted who he was and was responsible for helping him get a scholarship to the Royal Academy of Music.  His father refused to hug him—ever—and his mother only expressed mild interest in him.  All this is presented to help us understand the grown-up Elton who at the prime of his fame saw no limits to his flamboyance.

     The structure of the film reflects sensitivity and psychological awareness on the part of the director, Dexter Fletcher, and writer, Lee Hall.  We see Elton first in full regalia entering into a group therapy session in which his stories of his life are seen in flashback, starting with his childhood, his entry into the music world, the acme of his career, then the inevitable slide down as his indulgent lifestyle catches up with him.  Themes reflect those early experiences of shyness, insecurity, loneliness, and the sense that everyone will leave him.  It’s only after heart-breaking experience and therapy that he begins to get insight into his own role in disappointing relationships with others.

     The thrilling scenes in Rocketman show the incredible, rapid rise of this multi-talented star in singing and piano playing, along with his glittering showmanship.  The music and the visual presentation are glorious.  Likely, as a response to the bleakness and need for love, a brilliant imagination took hold and carried Elton soaring into the intoxicating reaches of fame.

     Taron Egerton embodies Elton John ideally, in that we forget we are seeing him rather than Elton.  Taron captures the voice (perhaps not the piano playing, but it’s still convincing) and personality of Elton, in all its resplendence, recklessness, anguish, pouting, and joy. Jamie Bell’s performance as his trusted longtime lyricist, loyal collaborator, and friend works so well as a contrast to the showman, while capturing the genuineness in his feelings toward a superstar.  Other actors deserving mention are Richard Madden as the irrepressible agent resembling Elton’s father in his ultimately unemotional business self, Gemma Jones as the savior-like grammy, Bryce Dallas Howard as the self-preoccupied mother, and Tom Bennett as the step-father who gets on board and manages to contribute in a dysfunctional family.

    Musician Matthew Margeson, cinematographer George Richmond, and costume designer Julian Day and their teams contribute significantly to the artistic presentations that dazzle us and keep us entertained throughout the film.

     I’d like to recognize and applaud Elton John’s willingness to have his life portrayed in all his glory, pathos, and self-centeredness.  Only those who have achieved confidence and satisfaction with themselves could afford such a revealing picture.  It’s eloquently embodied in one of the last scenes of the film, when the adult John is finally able to embrace the child Reggie. Insight and therapy can achieve such wondrous results!

An unusual film about a major rock star who eventually finds redemption from excessiveness.

Grade:  A-                                    By Donna R. Copeland

BRIDGET JONES'S BABY

Renee Zellweger   Colin Firth   Patrick Dempsey   Emma Thompson   Jim Broadbent   Gemma Jones   Sarah Solemani

          This is the third installment of Bridget Jones, and I would have thought that after the cool reception of the second (Bridget Jones:  The Edge of Reason), that that would be it.  But, no, in this age of filmmakers’ lust for remakes and sequels (i.e., money), we get the third version:  Bridget Jones’s Baby.  Renee Zellweger remains Bridget, and Colin Firth is retained as love interest Mark Darcy.  Patrick Dempsey is introduced as Mark’s charismatic rival, TV star and professional matchmaker, Jack.  I think his character (and Dempsey is perfect in the role) adds the most refreshing addition to the plot and helps bring the sitcom-like story into contemporary times.  More about that below.

         As the film opens, Bridget is coming to terms with her life situation—over 40 and a “spinster.”  With pressure from her co-worker Miranda (Solemani, who adds additional flair and talent to the cast), Bridget decides she will become a sexy “cougar” and go to a camp festival, all the rage, and let come what may.  She ends up falling down in the mud, being rescued by Jack who just happens by and is instantly attracted to her.  One-night stand, and she skitters off.

          As happens in social circles, Bridget encounters Mark from time to time—once with his wife, then once at a family christening without his wife, when, it turns out, he is divorcing.  The old fire is rekindled and they have a significant encounter.

         Now, of course—the whole point of this movie—Bridget finds out she is pregnant.  The problem is that she slept with two men at about the same time, so who is the father?  Consistent with the zany character, Bridget used very old condoms in her encounters with the two men.  (I’m glad there was at least an attempt at safe protection!)

       It’s inevitable that the three—Bridget, Mark, and Jack—will be thrown together from time to time, with first one man and then the other professing his love for Bridget and the child.  Eventually, everyone knows that the fatherhood is unclear, and we see them struggle through the ambiguities of the situation.  The interchanges at prenatal classes are some of the funniest scenes of the movie, especially when the instructor assumes the two men are a couple and Bridget is the surrogate for their adoptive baby.  Playful Jack thinks this is great fun, and begins to relate to Mark as a lover (he is willing to role-play for fun), which only makes Mark more uneasy.  Being so proper, Mark is already having a hard time with this bizarre situation.

         The conclusion is well orchestrated by Sharon Maguire as director of the first and third versions of Bridget Jones and by the screenwriters Helen Fielding, Dan Mazer, and Emma Thompson.  (Thompson as the physician also brings wry hilarity to her scenes.) 

A rom-com that many will enjoy following the previous Bridget Jones films.

Grade:  C+                         By Donna R. Copeland