THE PERSONAL HISTORY OF DAVID COPPERFIELD

Dev Patel     Hugh Laurie     Tilda Swinton     Darren Boyd     Gwendoline Christie     Ben Wishaw

     The clue in knowing what this film will be about is all the names ascribed to David Copperfield—Daisy, Trotwood, Doady, and so on.  It’s a Monty Python-like take on the long-revered novel by Charles Dickens, David Copperfield, which offers an account of his early life, albeit with a sense of humor, just as Armando Iannucci’s film, written by Simon Blackwell is—a spoof.  

     Disturbing scenes are shown of David’s birth, his mother’s remarriage to a tyrant after his father died, and all the various neer-do-wells that he encountered during his life—many of whom he thought could save him from ruin or at least whom he felt sympathetic toward and wanted to help.  In that journey, he encounters a man trying to escape his creditors, a pal at school, an aunt who had dismissed him at birth because he wasn’t a girl, a money manager of his aunt’s who has a lovely daughter but also has a problem with alcohol, and numerous people who immediately see him as the savior of the world.

     Dev Patel does an admirable job of depicting the lost soul that David is supposed to be and his honorable intentions—as naïve as they may be.  A continuing theme of good heartedness throughout is shown by his nursemaid, Peggoty (Daisy May Cooper).  Adding color are Tilda Swinton as Aunt Betsey and Hugh Laurie as Mr. Dick.  Uriah Heep (Wishaw) is shown to be at first an unctuous character, then something less than that. 

     You may remember writer/director Armando Iannucci’s The Death of Stalin (2017) and In the Loop (2009), both political satires that were well received, along with his television work on Veep.  With his co-writer Simon Blackwell, they make the Copperfield tale more contemporary, with incisive commentary about social issues.

     The film loosely reflects author Charles Dickens’ autobiographical novel, highlighting the characters surrounding David in caricature.  Peggoty, Uriah Heep, Mr. Dick, and Aunt Betsey are all cleverly portrayed, and bring lots of chuckles; whereas stepfather Murdstone (Boyd) and his sister (Christie) successfully embody meanness and self-interest.  Another departure from the novel, making it more contemporary is the cast, which is a diverse group drawn from various cultures.

     Personal History offers a fascinating couple of hours as a top-notch cast and updated script take us on a journey in which David Copperfield’s true grit and humor keep the story fast-moving and entertaining.   

Rather than an exact rendition of Charles Dickens’ famous novel, Iannucci’s film is spiced up with humor and social commentary that will keep you engaged.

Grade:  B                                    By Donna R. Copeland

WELCOME TO MARWEN

Eiza Gonzalez     Steve Carell     Leslie Mann     Diane Kruger

Gwendoline Christie     Janelle Monae     Merritt Wever

     “Welcome to Marwen”—just know that your visit will be a strange one.  Based on a true story, this film by director and co-writer Robert Zemeckis was inspired by a 2010 documentary about the life and work of Mark Hogancamp, a man who was severely beaten outside a bar after his reference to people he was chatting with about cross-dressing.  Prior to this incident, he was an illustrator; but after his impairments (occurring after a nine-day coma and having to relearn how to eat, talk and write), he turned to photography; and to cope with the psychological after-effects, he used dolls and fantasies about them to work through his increased anxiety.

     The film begins with one of these fantasies in which the doll “Mark” (Carell) encounters German soldiers in WWII, and just when it looks like they will capture him, a group of powerful female soldiers rescue him and finish off the Germans.  This is only one of hundreds of scenarios Mark has come up with, in which he draws on the people he meets in his community for his characters (dolls).

     Mark Hogancamp is regarded as an “outsider artist”, one who has little/no educational background, but whose works become highly regarded by connoisseurs.  It’s admirable that he was able to use his remaining skills after the injuries to therapeutically work through the trauma.  Robert Zemeckis’s idea of using this material for a feature film is intriguing, but somehow it doesn’t work.  The actors are excellent (especially Carell showing the confusion and bewilderment of a troubled soul), and the special effects to capture puppets as real people are likewise impressive.  However, the alternations between reality and fantasy fail to engage.  I think another aspect of the film that doesn’t work is the attempt to portray a therapeutic approach—especially one used by an individual on his own. This is a turn-off for many viewers, who are not necessarily able to grasp the value of, for instance, an adult “playing” with dolls.  Unfortunately, I imagine that many will regard this as simply silly, even though it’s not, really.

     On a final note, it’s disquieting to see so many fine actresses wasted, such as Diane Kruger, Gwendoline Christie, and Janelle Monae.  Their roles are minimal.  Merritt Wever is perfect as a sensible, kind helper who is able to see past the weaknesses of Mark. Leslie Mann is featured more than the other actresses, but her child-like voice and manner bring nothing to the table of quality.

Visiting Marwen is likely to unnerve most viewers.

Grade:  C+                                    By Donna R. Copeland