Rating: MMMMM

Clint Eastwood’s latest film, Invictus tells the story of the true events that followed the 1994 election of Nelson Mandela as President of South Africa, and Mandela’s subsequent attempt to unite his fragile and divided country with the help of South African rugby captain, Francois Pienaar.

Director: Clint Eastwood
Starring: Morgan Freeman, Matt Damon,
Running time: 133 mins

Based on John Carlin’s bestselling book, ‘Playing the Enemy: Nelson Mandela and the Game that Changed a Nation’, Invictus begins just after the release of Nelson Mandela from prison – with one scene in particular capturing the separated nature of the country, presenting two playing fields bisected by a long road – on one side white schoolboys play rugby, on the other black children play football. In this scene along with many others (and coupled with the use of real archive footage) Eastwood clearly and simply presents South Africa as a culturally divided nation torn apart by apartheid, but one that Mandela (Morgan Freeman) aims to rebuild.

Following the dissolution of the apartheid system and the oppressive politics that went with it, there is feeling in the country that all symbols and remnants of white Afrikaner power should be disbanded in order to build a new South African identity. However, Mandela recognises that this could potentially deepen the cultural rift between whites and blacks. While attending a Springboks rugby match, Mandela realises that uniting the country behind the national team would be a great foundation on which to build the new South Africa. President Mandela therefore enlists the help of the Springboks’ captain, Francois Pienaar (Matt Damon) and the two work together to make the rubgy team an emblem of national unity and one that all South Africa could support.

From the outset, Invictus is a warm, intelligent, inspiring film that presents its vision of hope with impressive conviction and overwhelming power. The film boasts a great script, (which is in fact surprisingly funny as Freeman is given some charmingly pithy one-liners as Mandela) great performances and a wonderful spirit that will win over those not au fait with rugby, sport or knowledge of the period in South African history. Eastwood has delivered a beautiful film that combines wonderfully directed personal scenes (those between Mandela’s security team are great, as are those between the President and Pienaar), emotional and haunting moments (where Pienaar visits Mandela’s cell on Robben Island is wonderful) and fast-paced adrenaline-charged rugby sequences.

In a role he was seemingly born to play, Morgan Freeman is completely convincing as Nelson Mandela, possessing all the gravitas and presence needed to play the man who has become such a symbol of greatness and goodness around the world. While Freeman’s accent does falter at times, this is a minor problem in a performance that is otherwise pitch perfect – Mandela is never presented as all-knowing and godlike, but a man struggling with his own problems, living apart from his family and estranged from his wife.

Matt Damon is also very good as captain Francois Pienaar, lifting what could have been (in the face of the Mandela character) a fairly dull and quiet role into the realms of inspiration, particularly in the Robben Island sequences and the closing stages of the rugby world cup final between South Africa and the fearsome New Zealand All Blacks.

Invictus is a wonderful, charming and uplifting film that will satisfy sports fans and newcomers alike. Eastwood has produced a piece of work filled with moments of sheer joy that will have you misty-eyed and a sense of hope that will stay with you long after the credits have rolled. One of the best films of 2010 so far, just fantastic.

Rating: MMMMM

Review of Frost/Nixon first published in a January 2009 issue of Spark*, the newspaper of Reading University Students’ Union.

Director: Ron Howard
Starring: Michael Sheen, Frank Langella, Kevin Bacon, Sam Rockwell
Running time: 122 mins

Admittedly I haven’t seen Peter Morgan’s original play, but it really is hard to imagine any medium other than celluloid for which to present the drama played out between Richard Nixon and David Frost in their 1977 televised interviews. The film opens with newsreel footage of the social and political conditions of 1974 and the resignation of President Richard Nixon, then in disgrace following the discovery of the Watergate scandal. For those not familiar with this period in American political history and the events that preceded and followed it, there is helpful narration from characters which form the support teams of both Frost and Nixon. Three years later, Frost embarks on an ambitious project to interview the hated former President.

Before the interviews take place, there are some excellent moments of comedy and drollery, surprisingly more often than not in the form of witty one-liners from Nixon (Frank Langella), delivered with perfect deadpan humour. Sam Rockwell is refreshingly cast against type as James Reston, Jr. researcher keen to uphold the ideals of democracy and freedom, to ultimately procure a confession and apology from the man who he sees has shamed and degraded the presidency. Michael Sheen is very good, mimicking David Frost’s voice and mannerisms exactly. It is Frank Langella’s film though, putting every last ounce of energy into arguably what will be one of the best performances of the year.

Director Ron Howard, it seems, has lost much of the self-indulgent tone displayed in earlier work such as Apollo 13 and A Beautiful Mind, subsequently rendering Frost/Nixon all the more potent and tense as a result. And tension is the unmistakeable motif here, seen from start to finish. Sexual tension seen early-on between ‘playboy’ Frost and new flame Caroline Cushing (Rebecca Hall), economic tension for the financing of the interviews (Frost practically financed the interviews out of his own pocket), and the most important tension of all: that between a disgraced and crooked President and the misled American public that he deceived. At the climax of the fourth interview, we see the broken image of a man, bitterly depressed with self-loathing finally and desperately apologise to the country he lied to – and what a mesmerising moment that is.

Rating: MMMM

Rating: MM

Review of “W.” first published in November 2008 issue of Spark*, the newspaper of Reading University Students’ Union.

Director: Oliver Stone
Starring: Josh Brolin, Elizabeth Banks, James Dreyfus, James Cromwell
Running time: 129 mins

Oliver Stone’s long anticipated biopic of President George W. Bush, simply titled “W.” is finally here. I’d like to be able to say that its worth the wait, but sadly it just isn’t. From the get-go “W.” just doesn’t feel right, with a sense of uncomfortable awkwardness lurking in the background like Sarah Palin on Obama’s victorious election night. The film’s first proper scene has all the ingredients of a snappy opening salvo, yet the cast’s efforts simply fall flat. Stone hasn’t been able to get the tone right, with the film seeming like it just can’t make up its mind what it wants to be (an eerie echo of Bush’s early life and career), an out-and-out mocking indictment of the bumbling President we all love to hate or a more insightful and sympathetic drama telling his life story. In light of all the pastiches of Dubya that we have been exposed to over the years, it would have been far more interesting to watch a Frank Darabont-style portrait of the President’s life (although this again would have been hard to stomach and would arguably been shamelessly partisan). Stone instead presents us with an amalgam of the two that just doesn’t work.

Having said this, the cast do well with what they’re given. Josh Brolin in the title role is very good (he even has Bush’s walk uncannily spot-on), as is Elizabeth Banks as First Lady Laura Bush. Thandie Newton, although having a small role is so convincing as Condoleezza Rice that I thought at first it really was her. However, James Cromwell as George Bush Snr. is a let-down, seemingly pulling the same pained expression of paternal disappointment when addressing his son throughout the entire film. This though, the sense of disapproval and constant disapproval from his father that Dubya lives with does inspire some sympathy. It seems all he wants to do is make ‘Poppy’ proud of him, try to be the perfect son and move out of the shadow of his older brother Jeb. It is from this, and some other genuinely poignant scenes that we see Bush as just a simple guy, way out of his depth, trying to do the right thing but getting things very very wrong. In Stone’s presentation of this we find the most uncomfortable scenes of the film which, simultaneously are the funniest – but then that’s not saying much, as the only comedy to be found is in the gaffes made by Bush or the dark irony of the ill-judged foreign policy cabinet meetings. And these meetings in fact, despite a few witty remarks were very uncomfortable to watch, seeing an inept and falsely elected government take steps to effectively legalise torture (evidential in the treatment of the prisoners of Abu Ghraib and Guantanamo Bay) and start an illegal war for oil and empire on false grounds without a second UN resolution and with no exit strategy whatsoever. Disappointingly it must be said that Oliver Stone, a director who has in the past dealt with lives of Presidents (Richard Nixon, JFK) with flair and intensity has really misfired with this one.

Rating: MM

Review of the first season of hit US television show ‘The West Wing’, article first published in October 2008 issue of Spark*, the newspaper of Reading University Students’ Union.

If you thought ‘political drama’ was the veiled attempt at a Labour party leadership bid, or the exhaustive BBC coverage of the Labour party conference, think again. Despite it being almost straight-jacketed into the aforementioned genre label, The West Wing is far removed from those dull notions. Poignant, thought provoking, thoroughly engaging and often hilarious, this is drama at its best. It just happens to be political.

The show’s pilot episode, ‘Premiere’ sets the tone, atmosphere and verbal pace for the rest of the series – and it is this, the verbal exchange that is the jewel in the crown of The West Wing. Aaron Sorkin’s whipcrack dialogue and clever verbal sparring fires from the mouths of his exceptional characters, making for witty repartee rarely seen on primetime television: “the President, while riding a bicycle on vacation in Jacksonhall came to a sudden arboreal stop” – how White House Chief of Staff Leo McGarry (the superb late John Spencer, who in fact sadly died during filming of season 7) describes how the President rode his bike into a tree. Although at times the lines are hard to keep pace with and the policy acronyms too copious (‘POTUS’, ‘DEA’, ‘DNC’, ‘ATWA’ etc), these are minor drawbacks in the face of such compelling viewing.

The primary reason for the show being so compelling (razor sharp dialogue aside)?  The characters. Each one, from aide Charlie Young (Dulé Hill), through to Deputy Chief of Staff Josh Lyman (Bradley Whitford) is exceedingly well cast, bringing humour, pathos and genuine humanity to the screen. Richard Schiff as Communications Director Toby Ziegler shines particularly in the episode ‘In Excelsis Deo’ where a winter coat he gave to charity leads him to organising a funeral for a homeless Korean War veteran. Even the supporting roles (Mrs Landingham, Admiral Fitzwallace) are played to perfection. And with the ‘Leader of the Free World’ himself, President Josiah Bartlet being so well portrayed, US citizens could indeed be forgiven for exclaiming “don’t blame me, I voted for Martin Sheen!”

Unafraid to tackle controversial issues (and matters which still hold sway in Presidential election campaigns), The West Wing pulls no punches. Early in the series, members of the religious right meet with staffers in an attempt to procure an apology for an on-air insult (“Lady, the God you pray to is too busy getting indicted for tax fraud”), and consequently enter into a bargain exchange for a crackdown on pornography, condoms in schools (they say it like it’s a bad thing!) and the implementation of school prayer. Unluckily for the representatives of ‘The Lambs of God’, they don’t get too far:

Reverend: “If children can buy pornography on any street corner for $5, isn’t that too high a price to pay for free speech?”

President Bartlet: “No. On the other hand, I do think that $5 is too high a price to pay for pornography”.

Pure genius. Accused by some for being too liberal (causing the show to be dubbed “The Left Wing”) and criticised for glorifying all things American, you can see how the tone might grate after a while. But with drama this good, you’re too engaged to care!

Rating: MMMMM