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

KINDRED

Fiona Shaw     Tamara Lawrance     Jack Lowden

     It’s very difficult to write a good horror story, and Kindred serves as an example of what can go wrong. Making the story horrific and plausible where the plausibility enhances the terror is key to a successful horror film or book.  Jordan Peale’s Get Out is a prime example of success.  Even though there’s only a remote chance that any of us will come across the experiment shown, everything that led up to our realization was convincing in its normality.  Kindred, on the other hand has so many characteristics of implausibility, the viewer is immediately taken out of the fantasy.

     Charlotte (Lawrance) and Ben (Edward Holcroft) are a happily married bi-racial couple who are excitedly planning to move to Australia from England, both to get a new start and for Ben to distance himself from his over-controlling mother, Margaret (Shaw).  The first kink in their plans comes when Charlotte discovers she’s pregnant, even though they had been using birth control.  She’s not happy; her mother was not ideal, so she has doubts about her own ability to be a good mother (note:  an early set-up for later on in the plot).  The second is that Ben is killed in an accident (this is in the preview of the movie), and Charlotte is taken to Margaret’s house to recover—without her consent.

     Living with Margaret is her stepson Thomas (Lowden) whom she treats less like a relative than a servant.  And he is completely devoted to her.  Very soon, it becomes clear that Charlotte is trapped—no phone, no means of transportation, but under the control of Margaret and Thomas.

     In addition to the cheap shots with symbols of black mockingbirds (mocking-birds—get it?), we have to be convinced that Charlotte has no means of escape, that her loyal friend without any apparent reason will betray her, that the medical profession can be bought or duped, that two people as crazy as Margaret and Thomas can enlist so many people into their trust, and that…oh well, that’s enough.  There are too many elements that make the viewer think, “Oh, c’mon!”

     Although most of the actors in Kindred are not well known—except for Fiona Shaw (“Killing Eve”), they all do a credible job in portraying their characters.  Experienced Shaw is the most effective in exemplifying an outwardly noble but inwardly devious character.  A comic element is in seeing physician Dr. Richards (Anton Lesser) conspire with Margaret, as his character Qyburn did with Queen Cersei in “Game of Thrones.”  

     Beyond that—granted, a small point—there is little to recommend this film; I found it torturous to get through.

 

Kindred may only be appealing to those who like to experience fear without much thought of reason.

 

Grade:  D                           By Donna R. Copeland 

MARY QUEEN OF SCOTS

Margot Robbie     Saoirse Ronan     David Tennant     Guy Pearce     Jack Lowden

Joe Alwyn     Brendan Coyle     Martin Compston     James McArdle

     The movie reflects the views of historian John Guy in his book, My Heart is My Own: The Life of Mary Queen of Scots, which departs from previous historical accounts that were more critical of Mary and her leadership, but nevertheless won the 2004 Whitbread prize for biography.  In this version of history, Mary was betrayed numerous times, ending with her beheading by order of Queen Elizabeth I of England.  Whether it is regarded as historical truth or a biased perspective, I’m not one to judge; but as a movie it is fascinating, and contains more than a kernel of truth about human nature and the willingness to stop at nothing in the interest of personal ambitions.  Beau Willimon’s (of HBO’s “House of Cards” fame) screenplay brings excitement, suspense, and a realistic(?) view of political intrigue. As much as one can rely on Guy’s accounts, the viewer will feel better informed about   English-Scottish conflict, particularly as relates to Mary, Queen of Scots.

     Whether factual and intended, or simply a reflection of male-female relationships in general, the movie illustrates the difficulties many men have when women are in power.  In this case, both queens rely heavily on male advisors who may or may not have their superior’s best interest in mind.  It seems that men in both realms have their own agendas—which always seem to include weakening of the female power to be replaced by a male authority.

     Both queens are pressured to produce a male (or secondarily a female) heir to the throne. Elizabeth, who identifies with men, refuses to marry (because she can’t find a man willing to be a wife) and remains single throughout her life, despite her chief minister’s urging to find a mate.  There are rather comical scenes when she sends Robert Dudley, her favorite advisor whom she is sweet on, to woo Mary, as an ultimate plan to control Scotland; but Mary sends him back to England, and he is a pawn for a time after that.

     Mary takes matters into her own hands, and when the first seducer comes courting, she makes sure she will bear a child.  Unfortunately, he is Lord Darnley, a man of weak character dominated by an ambitious father, who will have undue influence on him against Mary. Nevertheless, she does get pregnant and bears a son she names James, after her father and an uncle.

     Major unrest and military encounters ensue through the years, with one side or the other winning, and always planned and executed by the men surrounding the queens.  In this account, Mary comes across as a strong military leader as well as one with sound principles (she is accepting of both Protestants and Catholics, a bitter divide at the time) and astute political sensibilities, as attested to by Queen Elizabeth herself.  Her pleas with Queen Elizabeth are eloquent, but unfortunately may be followed by what appears to Elizabeth to be insubordination.  

     The work of Saoirse Ronan and Margot Robbie are both award-worthy performances. Each captures her character’s essential elements and makes us forget the actress and “believe” in the character. They “own” this film so much that even though we get strong performances from Guy Pearce and other actors, it is really Ronan’s and Robbie’s film.  

     Kudos to Beau Willimon for the script, Max Richter for the music, James Merifield for production design, and John Mathieson for cinematography. Director Josie Rourke shows talent in this her first major film to helm, I will be looking for her work in the future.

History is presented as the amazing drama it so often actually is.

Grade:  A                                    By Donna R. Copeland