Tag Archives: Bill Nighy

Emma

PG, 125 minutes

All Canberra cinemas

4 Stars

Review by © Jane Freebury

Emma Woodhouse, created by the 19th century novelist Jane Austen, is blessed with beauty, intelligence and personal wealth. At 21 years of age she is mistress of her household, has an inheritance of £30,000, wealth that is all her own, and only her doddery old dad to look after.

Since her mother died when she was very young, and her older sister left home to marry and have children, and her beloved governess left to marry a neighbour, Mr Weston, she has been alone at home with her father.

Mr Woodhouse (Bill Nighy), obsessed with his minor ailments, is not great company. ‘Do you feel a draught about the knees?’ is the perennial question to companions in the drawing room. Nighy, who hardly speaks a word here and is all the funnier for it, is the perfect choice for the role.

The classic novel Emma, a comedy of manners, has been made and re-made countless times as theatre, film and television. Back in 1996, Gwyneth Paltrow, a relative unknown at the time, was cast as Emma in a new film by writer-director Douglas McGrath. That Emma knew how to shoot an arrow from a bow, like Cupid the mischievous, meddling matchmaker, and the willowy American actor has defined the character ever since.

This new version of Emma takes more risk with this possibility of another side to Emma, a side that may even be a little bit cruel. While developing her novel, Austen acknowledged that she might be the only person who would much like this protagonist.

A 23 year old newcomer, Anya Taylor-Joy, makes for a terrific new Emma in this new film directed by Autumn de Wilde. It is the first feature for this director who has a background in photography and short film.

Taylor-Joy is an interesting casting choice. Though she  has a track record in horror film, she makes a feisty, prickly Emma, totally convincing in the role. She also has the long neck you need to look good in bonnets and Empire-line dresses. It’s a clever casting choice, that hints at a side to Emma that Paltrow’s sunny smile could chase away.

The peppery screenplay, a considerable improvement on the screenwriting in 1996, is the work of Eleanor Catton, the young New Zealander, a Booker prize-winning author.

In 2020, the character of Emma is clearly as compelling as ever. Lively and charming company on one hand, but opinionated and arrogant by her own admission, sometimes insensitive on the other.

No doubt, these traits are the reasons why she lives on 200 years after her character was born. The nuance, insight, wit and wisdom of Jane Austen the author who created her probably has something to do with it too.

Emma has declared she has no interest in marrying. She says she can’t see the sense in it when the married women she observes aren’t half the mistress of the household that she is.

She has convinced herself instead of her talent for matchmaking on behalf of others. Harriet Smith (Mia Goth), a young local woman, comes into Emma’s orbit and becomes devoted to her, following her advice in all manner of things, including choice of husband.

The local vicar comes a courting, a handsome young farmer drops by as well. Emma doesn’t encourage Harriet’s interest in either man, getting things very wrong on her best friend’s account and ultimately her own.

Lightning strikes: Emma (Anya Taylor-Joy) and Mr Knightley (Johnny Flynn) Image courtesy Box Hill Films – © 2019 Focus Features, LLC

Will no one set her straight? Only close family friend, neighbour and brother-in-law, Mr Knightley (Johnny Flynn) dares criticise her behaviour. When everyone else tell Emma she is perfection, he reminds her of her faults and shortcomings. Their combative relationship is very entertaining.

With its grand manorial interiors, picturesque village and rolling green fields, de Wilde’s film looks gorgeous. On that score it meets the standard for English period film, but a light, mocking tone is anything but traditional. Emma 2020 is a delicious send-up of the Regency upper classes and their silly manners. In this sense, it reminded me of another recent period drama, The Favourite, directed by Yorgos Lanthimos.

In recent weeks, a snappy, funny trailer has announced this new Emma on our screens. Like its protagonist, the latest Emma shows a deft hand, is sharp, good to look at, and confirms once again that she is a timeless heroine.

First published in the Canberra Times on 15 February 2020

*Featured image: friends Harriett (Mia Goth) and Emma (Anya Taylor-Joy)

Sometimes Always Never

PG, 1 hr  27 mins

4 Stars

Dendy Canberra Centre, Palace Electric New Acton

Reviewed by © Jane Freebury

Words, words, words are at the heart of the matter in this offbeat tale of a fastidious man, a retired tailor who has lost one of his sons. He is a fiend at Scrabble who can get a triple word score but he is at a loss with people he cares for.

In the striking opening scene, Alan (Bill Nighy), still as a statue, gazes out to sea. He is dressed in a suit, holding an umbrella, and as solitary as the other iron men statues at Crosby Beach near Liverpool that are scattered across the shore.

For many years, Alan has been searching for the elder son who stood up from a scrabble game one evening and left, over a word dispute, never to return. His other son, Peter (Sam Reilly, so great in Control), is the one who stayed behind in Liverpool, married, lived a steady life and now has a son of his own, teenager Jack (Louis Healy).

However, Alan is forever gazing into the blue yonder, on the lookout for the prodigal that got away, failing to appreciate what he has. This elision and under-appreciation has turned his son Peter a touch sour.

Things get going with a trip to the morgue, of all places, where there’s a body that might be the missing Michael, and just when that macabre movement of revelation seems about to occur, the film pulls back. Sometimes Always Never is like that, skidding across those hard and difficult surfaces while keeping the tone light, making the film an unexpected pleasure.

a family album of dysfunction and healing delivered with an oblique, jaunty eccentricity

When the body proves to belong to someone else, Peter and Alan continue their trip together to follow up more leads. At a hotel, the indefatigable Alan the chance to rip a bloke off at Scrabble and somehow, we don’t see how exactly, make a pass at the mans’ wife (Jenny Agutter). The interlude brings into the focus the gap between father and son.

The search is quickly abandoned and on their return home, Alan is politely offered a place to stay. In no time, Jack has turfed Jack out of his bunk bed and taken over his computer, the gateway to a world of Scrabble partners online. Peter is very put out but his wife Sue (Alice Lowe) doesn’t seem to mind that much and Alan, sartorial snob that he is, has a transformational impact on his grandson.

what’s with these adverbs of frequency?

Laced with observations on the English character and sensibility, Sometimes Always Never is a family album of dysfunction and healing delivered with that an oblique, jaunty eccentricity that only the British can manage without cloying sentimentality. An accomplished balancing act.

The film is a quest to find the prodigal becomes a quest to find what’s missing in the ones who are left behind. Based on a short story by Frank Cottrell-Boyce and illustrated with wonderful, imaginative production direction by Tim Dickel, it is superbly well directed by first-timer Carl Hunter.

So what’s with these adverbs of frequency in the title? Are they rules for life? It’s something along those lines, but the lesson takes an unexpected turn, which is one of the many gentle surprises and delights on offer here.

Jane’s reviews are also published at the Canberra Critics Circle, the Film Critics Circle of Australia, and ArtSound FM 92.7