tel: 07773 322854 | email: bryan@bryanmatthew.co.uk

Goodbye Hermione

It’s the perennial problem for stars of hit  films  or TV series, especially of the so call called ‘child stars’- that is how to successfully move away from something that has been both familiar to them but also very successful- and to avoid that awful tag of being ‘type cast’.

The problem has tended to be that writers, producers, the media especially but also the public have that one great role associated with the actor or actress and are not as welcoming when they do something else. You can think of ‘Dr Who’ actresses in particular who have struggled to convince in other roles and child actors like Tatum O’Neil, Kristy McNichol and Macaulay Culkin who have (so far) not made the transition into fully fledged adult performers.

It’s a dilemma and a challenge that the Harry Potter actors are actively taking on at the moment. It’s true that Rupert Grint (‘Ron’) is perhaps the least ambitious of the Potter trio and he has yet to be seen in any major productions although it was hoped that his anti-war picture ‘Into the White’ would change that but it is still waiting a major release.

The most successful so far has been Daniel Radcliffe who both in between  and after playing ‘Harry’ won critical acclaim in taking on stage starring roles in ‘Equus’, and more recently ‘How to Succeed In Business Without Really Trying’, and even squeezed in the Australian movie’ December Boys’. His real post Potter breakthrough role though was in the hugely successful film version of ‘The Woman In Black’ with more projects in the pipeline.

Now it is the turn of the person who I have always thought was the most impressive of our magic trio-Emma Watson who enthralled people with her performance of the real backbone of Potter-Hermione. She showed her acting credentials almost instantly when at the age of barely 11 she strode into the carriage of the Hogwarts Express and said those immortal lines: “Has anyone seen a toad? A boy named Neville’s lost one”. Potter apart, Emma Watson has become something of a fashion icon (the youngest person to appear on ‘Teen Vogue’ and she became the ‘face’ of Burberry)  had  starring roles in the BBC film ‘Ballet Shoes’, opposite Victoria Wood, was ‘voice talent’ for the animated ‘The Tale of Despereaux’, acted opposite Eddie Redmayne and Richard Branagh  in ‘My Week With Marilyn’ and now stars in the critically acclaimed ‘The Perks of Being A Wallflower’.

In it, Watson- for the first time- puts on a (very effective you have to say) American accent as she plays Sam who with her step brother (played by Ezra Miller) and new adopted friend (Logan Lerman) play as eccentric but authentic school chums as is possible. It’s a kind of ‘Breakfast Club’ for the 1990’s told through a series of letters Lerman writes to a ‘friend’. ‘Wallflower’ was a signficiant novel for US Youth and like ‘Breakfast Club’ it says something poignant and true about teenage years, the importance and perils of friendship and why they are the greatest time ever.

In it, Emma Watson pretty much nails the character of Sam with her doubts about whether she gets the love that she ‘deserves’ and doubts about her academic skills (very non Hermoine) but she shows a maturity in her acting that bodes well for the future. ‘Wallflower’ had a limited release in the USA but a much fuller one in the UK so it will be good to see how successful it is not just in monetary terms but in developing peoples’ views of Watson as a non-Potter performer.  Certainly she seems to be choosing well in terms of who she works for. Up next is Sofia Coppola’s ‘The Bling Ring’, Seth Rogan’s ‘The End of the World’ and Darren Aronofsky’s ‘Noah’, currently filming in Iceland.

'Hope springs' - Naughty but not ...

The story of how I got to see ‘Hope Springs’ is an interesting one. I had been having lunch with a couple of close girlfriends and one of them mentioned that she and another friend had seen ‘Hope Springs’ but that her other friend was quite shocked by it – to the degree that the friend actually said that in her eyes it was ‘pornography’ – which I thought was quite strong. But looking at the various reviews for the picture there were several comments from people who had seen it that for something rated as ‘12A’ it was very strong and in one case someone walked out with their 12 year old because of its reference to talk of oral sex, sexual fantasies and ‘graphic re-enactment involving bananas” and got a refund too boot.

So, I thought I would see it to see whether it was as strong as some have made out. ‘Hope Springs’ has a fairly checked history as it was originally to be made with Meryl Streep and Jeff Bridges playing opposite each other and it was to be directed by Mike Nichols. But then Bridges dropped out with other names such as James Gandolfini and Phillip Seymour Hoffman mentioned but then they and Nichols left. In the end while Meryl Streep remained in the lead female role, in came in Tommy Lee Jones and the project itself was directed by David Frankel who helmed Streep’s ‘The Devil Wears Prada’.

As written by Vanessa Taylor, it is on the face of it a simple tale of Kay  (Streep)  and Arnold Soames (Tommy Lee Jones) as a middle America couple who have been married to each other for 31 years, whose children have grown up and moved out and who have grown apart. Physically, their relationship has dissipated. He doesn’t touch her, it’s been 4 years since they actually had sex with each other and whilst he has his head in the sand (or falling asleep whilst watching Golf on ESPN), Kay wants to save her marriage and be loved and touched again and books the two of them in with an intensive marriage counselling course with Dr Bernie Feld (a very dry and droll Steve Carell) in a out of the way costal town in Maine.

Now whilst Kay wants to be there, Arnold does not in a really, really big way. His reasons range from the cost involved, to the kind of ‘quack’ that he thinks Feld is, to the kind of place they have to travel to. Underneath it all, he just doesn’t see that there is a problem in his marriage and just wants to carry on and deny that their lack of a sex life is a problem. Through various stages of the counselling, Feld gets Kay and Arnold to open and discuss what their sex life has consisted of, what they want from being physical with each other, what their fantasies are, and without giving anything away, these creates all kind of challenges especially to the oppressed Arnold.

To begin with, it is not to my eyes or ears ‘Pornography. It is very Adult though and for a ‘12A’ it is definitely pushing the boundaries as to what is acceptable for someone under 12 with a parent or over 12 on their own to view in a cinema. There are frequent sexual references and it is certainly not for those with prudish views as the language is quite explicit but very funny. The movie works on two levels for me- it is funny to see how the oppressed Arnold Soames (a brilliantly squirmy turn by Tommy Lee Jones) explains what he misses with sex whilst Meryl Streep is the heart of the picture whether it is as the wife who has been forgotten about by her dry husband or the woman who realises that she cannot turn on her husband. Streep is a remarkably attractive actress but here she is as dowdy and down beat as you could expect.

Steve Carell puts in a hugely restrained and controlled performance as the therapist who guides the married couple through their frustrations and resists the temptation to jazz it up too comically. The other angle to the picture is what it says about some marriages where after a while someone loses interest in sex, the other person gets used to that and that physicality does not return. It is at its best when looking at how reluctant men can be in discussing their needs and why so many find it easier not to address the problem and deal with it another way- Golf or other activities…

You also feel as good as the picture is that there is another movie trying to get out. There are shockingly short scenes involving two major Hollywood players in Mimi Rogers and Elisabeth Shue (go the toilet during the picture and you will probably miss them)  but what there is is still hugely entertaining but don’t take that maiden aunt of yours…….

The film that time forgot ...?

One of the delights of living close to London is that you can unearth or on this occasion, revisit, movies that you have seen in the past and allow you to re-evaluate them.

This last week, together with a very enthusiastic audience at the British Film Institute’s National Film Theatre on the South Bank, I enjoyed again The Land That Time Forgot' (1974). It was being shown as part of a short ‘Amicus at 50’ season. Amicus was Amicus Film Productions, established at Shepperton Studios by Americans Milton Subotsky and Max Rosenburg and you could view them as a kind of poor man’s Hammer Studios. Their output of movies from 1962-1980 were mainly low budget horror or adventure stories (Dr Who and the Daleks, The House That Dripped Blood, The Beast Must Die etc).

However in the mid-1970’s Amicus produced what I think was their best stuff in a trio of fantasy adventures ‘At The Earth’s Core’ (1975), ‘The People That Time Forgot (1977) and the film that started it all of – ‘The Land That Time Forgot.

Based on the Edgar Rice Burroughs book of the same name (1918) it starred reliable Western star Doug McClure, as action man Bowen Tyler travelling on a merchant ship during World War 1 and along with female companion Lisa Clayton (a pre- ‘Bouquet of Barbed Wire’ Susan Penhaligon) and sailor Mr Bradley (Keith Barron) are torpedoed by  a U-Boat captained by German John McEnery (although actually dubbed by stalwart Anton Diffring) and his nasty second in command Anthony Ainley. There are various attempts to take over the U-Boat but the party end up in a unchartered land off the South Atlantic where dinosaurs and ancient tribes still live.

As you might expect from such a scenario, much of the film is taken up with the Brits, the American and the Germans coming together (most of the time) to fight off the wild inhabitants of the land and try and get back home to safety.

For 1974, the special effects are, as I remember them, pretty first-class – bearing in mind that, as Keith Barron mentioned in an entertaining question and answer session after the screening, much was filmed in a quarry in Leatherhead. The special effects team of Derek Meddings and Roger Dicken would later go on to work on the original Alien, a number of Gerry Anderson productions as well as the Superman and Roger Moore Bond pictures

It’s true that in places the film plods by 2012 standards, some of the scenes are quite ropy but its hugely entertaining and the central trio of Doug McClure, Susan Penhaligon, and Keith Barron make for great chemistry. The movie is bookended by a great opening and poignant conclusion and it was a surprise ‘sleeper’ hit back in 1975 when it was released in UK cinemas and it still holds up today. Keith Barron in his post-screening interview was very funny, whether it was about Doug McClure’s on-screen drinking, his genuine regret about not making the one Hammer film he was offered or what kind of wine goes with a plate of plesiosaurus. The DVD for the remastered edition of the film is released on 30 July.

I'm back and so is Sally ...

Well Hello again! It’s been a month more or less seen my last blog and the only excuse I can give is that I have been busy moving home- I’ve not moved far and I am still in Princes Risborough in the heart of the Chiltern Hills but I am slowly making my new residence ‘home’. Huge thanks to those people who helped me unpack boxes, drive unneeded stuff to the skip, re-design my home, find places to stick stuff that should never squeeze into that space- you all played your part immensely and your reward/punishment was a bryan.matthew.co.uk corporate gift, so that serves you right! You know who you are but if not, take a bow, David, Nigel, Jonathan, Carol & James….

OK, back to ‘business’ and it isn’t just me making a return this week. Another – and more important one – was that of Sally Owen, personal assistant to Ian Fletcher, Head of Deliverance at the Olympics Deliverance Committee (ODC). If this means nothing to you then you really need to catch up with the second series of BBC Two’s superb Olympic mockumentary ‘'Twenty Twelve' now nearing the end of its run.

The series is like ‘The Office’ before it, so feasible and close to the bone that you can really believe that the real-life London Organising Committee of the Olympics and Para-Olympics Games (LOCOG) is run as portrayed in the series – especially in light of the current G4S security guarding fiasco.

What marks it out as being so special? I think it’s the mixture of the absurd (but highly likely) scenarios and the collection of rich and vivid characters as written and directed by creator John Morton that keep you laughing and trying to stifle your embarrassment.  Who can the forget the plan to unveil outside Tate Modern an Olympics countdown clock that goes backwards, the coach trip to the Olympics park where the driver gets lost, the plan to open an equestrian centre that backfires on the ODC with a horse load of manure dumped on their front door, and that is just for starters. Hugh Bonneville plays Ian Fletcher as ‘Head of Deliverance’  who is as close as the fictional ODC  gets to having someone reasonably competent. Going through a messy divorce he is confronted by idiots and dysfunctional staff who obstruct any chance of getting the games run successfully. His personal assistant is the hugely impressive Sally Owen (Olivia Colman), who may be of modest beauty but she is hyper-efficient and is carrying a serious candle for her boss. Ian Fletcher is ‘aided’ although that should really be ‘harmed’ by his senior management team of Siobhan Sharpe (Jessica Hynes) as Head of Brand from PR company ‘Perfect Curve’- try and keep a straight face I challenge you when she utters “OK guys, this is what we are going do, Ok? Cool, Totally!”- anyone who has dealt with a Management Consultant will get her.

Kay Hope (Amelia Bullmore) is Head of Sustainability and the running joke throughout the series is the difference between ‘sustainability’ and ‘legacy’ (but don’t think about it too hard)  with Graham Hitchens (Karl Theobald) as Head of Infrastructure suggesting that you could ease air traffic by getting competitors to fly in over nuclear reactors to reduce the burden on Heathrow (nice). A degree of common sense is offered by straight talking northerner and Head of Contracts Nick Jowett (Vincent Franklin).

It’s an incredibly funny, dangerously realistic satire on the Olympics process but like most great comedies at its heart is something more poignant and that is the relationship between Ian Fletcher and Sally Owen. He depends on her and is probably the only reliable person in his personal and office life- there is something between them- certainly an unrequited love at present, and the interplay between Hugh Bonneville and Olivia Colman is a master class of emotional understatement. But, Sally has been missing for most of the second series and she/Olivia Colman have been missed and truth be told, the series has suffered for it. But a sneak peak of the last episode of this run showed her return, holding flowers for a overwhelmed and injured Ian Fletcher. What can this mean? Will she finally be able to express her true feelings, will Ian return those feelings or will he be more concerned about how the 2012 Security Committee Special Catastrophisation Unit is performing. Tune in next week to find out but welcome back Sally!