Tag Archives: Emma Stone

Battle of the Sexes – London Film Festival

In a year in which women’s sport has received more television coverage than ever before, it seems appropriate to revisit one of the occasions that made that possible. 44 years ago, tennis ace Billie Jean King took part in an exhibition match against Bobby Riggs, a match he was sure he would win, that changed the view of women’s sport and the dedicated athleticism of its players. Battle of the Sexes is an insightful look at a core moment of change not just in sport but one that marked a shift in societal perceptions of female strength and ability.

Unusually, this film crosses two established genres and Battle of the Sexes is essentially a biopic meets sports movie. While the latter tend to unpick the particular personal characteristics that create individual success in a chosen sport examining their intensity, stamina and personal drive to be the best, the new wave of biopics have eschewed the cradle to grave approach to consider crucial periods in the lives of their protagonists. At the forefront of this redrawing of the biopic boundaries was Danny Boyle, the director of Steve Jobs, a film that will only grow in stature as it ages, and it is no surprise to hear that Boyle, who has long explored the boundaries between art, technology and popular culture, was one of the originators and producer of this new film.

In 1973 Billie Jean King led a significant revolt against the United States Lawn Tennis Association when they refused to make the tournament prize money equal for male and female winners. Establishing the Women’s Tennis Association with membership fee of $1, King and her fellow outcasts quickly set-up their own tournament and it is here that Battle of the Sexes begins as King butts heads with USLT President Jack Kramer. This is significant in the context of the exhibition match because the film argues that while the televised battle with the sexist Riggs may have been all anyone wanted to talk about, the true battle of the title refers to the one she had with Kramer.

But this is more biopic that sports movie and the film’s driving force in the first two thirds is Billie Jean King’s relationship with hairdresser Marilyn, a sensitively managed and engaging story that sees the two women drawn together by an instant chemistry and the consequent effect on King’s marriage and her ability to perform on the courts. The narrative drive comes from the various pressures on King to conform in her personal life and in the management of her tennis, which are pitted against her struggles to forge a new kind of sporting equality.

And this is very much King’s story, and while the character of Bobby Riggs is given plenty of screen time and his own crumbling marriage backstory to give context to his desire for shock-value attention, he’s really a sideshow to the various dramas and events of King’s experience at this time. The famed match itself, which takes up about 20 minutes at the end of the movie, the audience comes to realise is not the point of this film (as it would be in a pure sports movie), only that the circus it created was a platform for King to be taken more seriously in her call for change at an equally pivotal point in her personal life.

Appropriately co-directed by Valerie Faris and Jonathan Dayton, the film revels in its 70s period detail but keeps the approach subtle and unshowy. Hollywood has been in love with this decade for some time and while films like the excellent American Hustle flaunted its 70s credentials, Battle of the Sexes is more restrained, sticking to a realistic look and feel without the self-consciousness of similar movies.

Emma Stone has become quite an accomplished character actor, unafraid to play less glamorous or quirky individuals, and earning an Oscar this year for the superlative La La Land (previewed at the 2016 London Film Festival). It’s always fascinating to see what an Academy Award winner does next and playing Billie Jean King allows her to throw off the rom-com heroine with ease and tackle a role that requires considerable sensitivity and the complexity of a person driven almost entirely by sport.

It’s rare that an actor makes films in the order that they’re released, but it is useful that the next big movie Stone is seen in is entirely different to her last. And the dual impact of the personal and professional collision explored in the film is one Stone manages with considerable aplomb. Her Billie Jean is by no means a timid creature, happy to go out on a limb against the Establishment to achieve her aims, and it’s clear that this determined energy and inner steel are part of the make-up of any high-ranking sporting star. Her refusal to be drawn into a war of words with Riggs, wanting her tennis skill to speak for her, signal King’s professional demeanour.

But, it is in the softer moments that Stone makes this film more than a by-numbers tale of triumph over adversity. Inwardly, she is timid, afraid of the emotions that frequently threaten to derail her and for a time affect her game. Every step forward with her sexuality is followed by guilt and self-flagellation which add to the confusion of feeling. Stone develops a believable connection with Andrea Riseborough’s Marilyn, but also a genuine care for her husband Larry and the root of her struggle is in trying not to hurt him without entirely negating her own feelings.

Steve Carell is given less to do as the self-styled ‘male chauvinist pig’ Bobby Riggs whose clown-like presence in the film adds much of the humour. With the focus on King, the relatively less time given to Bobby feels deliberate and Carell is clearly having a great time spouting his sexist nonsense and playing-up to Riggs’s cultivated public persona. But the film could have delivered more in terms of understanding his character and his constant need to prove that he is superior to the women he challenges. He’s given a crumbling marriage a love of the spotlight and a gambling problem that add some light and shade to the buffoonery, but it’s all relatively light-touch in comparison to the exploration of King’s character, so by the end of the film it’s still not really clear what his purpose was and what this added to his own sense of self-worth.

There’s an interesting supporting cast led by Bill Pullman in darkly unpleasant form as Jack Kramer who not only supports Riggs, but you feel he genuinely believes every word of his attacks on women’s tennis, so every appearance on screen induces a little shiver. Andrea Riseborough is likeable as hairdresser Marilyn and a convincing love interest while learning about the sacrifices of being a sports wife. Alan Cumming has a small but humorous role as the openly gay designer who dresses King, suggesting the double standard in this era that a man can be gay in certain professions, but as a woman and a sports star King was advised repeatedly to hide herself to protect her career.

Despite its subject there is relatively little actual tennis in Battle of the Sexes and while the famous exhibition match is proposed very early on, it does take a little too long to occur. But, by the time it does, Faris and Dayton clearly show what a circus it really was, delighting in the over-the-top details including both players being carried on in exuberantly decorated sedan chairs. And while the idea of it may be ridiculous – a 55-year old who refuses to train, playing a 29-year old at the top of her game – the real battle for recognition and acceptance was happening off the court with the men running American tennis.

The parallels with women’s experience today are strong and ones which many other reviewers have commented upon. Equal pay is still far from a right, and recent tides in UK and US politics have revealed deep-rooted division and bigotry with even the current White House incumbent known for his derisive views about women. Battle of the Sexes is not a perfect film and one that occasionally struggles with its duel biopic-sports movie approach which in focusing on Billie Jean, waters down the context and some of the surrounding characters. But only a decade on since Wimbledon awarded equal prize money for champions regardless of gender, and 44 years after Billie Jean King’s stand, Battle of the Sexes is a reminder that there’s still plenty more equality to fight for.

Battle of the Sexes received its European premiere at the London Film Festival and will be released in the UK on 24 November. Follow this blog on Twitter @culturalcap1

Advertisements

Review of the Year and What to See in 2017

Image result for 2017

Very few of us will be sorry to see the back of 2016, politically and socially it’s been a tough year all round. But it hasn’t been all bad with London’s cultural output thriving in uncertain times and at the start of 2016 there was much to anticipate. While 2015 theatre was all about five big male performance, 2016 was a time for some of our leading female actors to take to the stage with powerful productions of The Deep Blue Sea at the National Theatre with Helen McCrory on devastating form as Rattigan’s desperate heroine, while The Young Vic’s Yerma cemented Billie Piper’s growing status as a very fine stage performer, and closing the year, The National’s innovative Hedda Gabler with a brutally savage turn from Ruth Wilson as the suffocated society wife.

Some other good but not perfect productions also heralded some noteworthy for roles for Gemma Chang in Jamie Lloyd’s exciting take on Pinter’s The Homecoming, for Juliette Stevenson and Lia Williams in Mary Stuart (review to follow next week), Sharon D Clarke in Ma Rainey’s Black Bottom and Amber Riley in Dreamgirls. Not to be outdone notable male performances including Ralph Fiennes in The Master Builder which was one of his finest ever stage roles, shamefully overlooked by the Olivier committee, as well as the lead in a notable Richard III at the Almeida. Later in the year Kenneth Branagh defied comparisons to deliver a moving and powerful interpretation of The Entertainer while Ken Stott and Reece Shearsmith found new depth in The Dresser, not forgetting Kit Harrington cavorting about in his pants and making a decent job of the leading role in Jamie Lloyd’s controversial but resonant Faustus. But my favourite was Mark Strong’s incredible performance in The Red Barn which earned a first professional five-star review from me.

For theatre 2017 is already promising a host of hotly anticipated male roles and having opened 2016 with another chance to see his magnificent Richard II at the Barbican, David Tennant returns to the Wyndhams stage in March for Patrick Marber’s contemporary adaptation of Don Juan in Soho which promises a great deal. Also in March Daniel Radcliffe returns to London in an Old Vic production of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead while in April star-director Ivo van Hove’s version of Obsession opens at the Barbican with film-star Jude Law. The National also revives its production of Angels in America with Russell Tovey which will be one of the big openers in 2017.  But the show to watch next year is a hotly anticipated version of Hamlet at the Almeida which opens in late February staring Andrew Scott, Juliet Stevenson, Jessica Brown Findlay and rising star Luke Thompson. Comparisons with Sherlock co-star Benedict Cumberbatch’s Hamlet are inevitable but the Almeida is a much smaller space and Robert Icke’s vision may yet surprise us.

Art and exhibitions have noted a major change in presentation and style since the 2015 Alexander McQueen show which really altered the way items are presented. Utilising the success of this the V&A called on their design experience to present a lively examination of 60s popular and political culture in Records and Rebels which you can still see a little while longer. In a similar vein Vogue celebrated its 100th birthday with an excellent exhibition of its fashion photography which emphasised its role in reflecting the changing world around the magazine, while the Barbicans show about The Vulgar collected some excellent exhibits but misused them in over-intellectualised structure. And Somerset House celebrated fan-art inspired by the weird and wonderful world of Kubrick films.

From July the anniversary of the Battle of the Somme offered two of London’s most successful shows focused on very different aspects of conflict. The Science Museum’s Wounded: Conflict, Casualties and Care was an eye-opening and well researched examination of a little known aspect of the First Wold War, while the Imperial War Museum comes very close to show of the year with its excellent Real to Reel exhibition on war movies. That accolade actually goes to the Royal Academy for its Painting the Modern Garden show which collated so many beautiful paintings that wandering from crowded room to crowded room was never less than a joy.

Looking ahead and the headline show for 2017 is the Tate’s David Hockney retrospective from February which is set to unite his UK and US work for the first time. After a stunning 2012 show at the Royal Academy, a proper examination of Hockney’s work is long overdue and this is sure to be a big hit for Tate Britain after their disappointing Paul Nash and Empire shows. This will be followed by a show on the impressionists in London from November.

Meanwhile other American art comes into focus with big shows on post-1930s art at the Royal Academy from February and Pop Art and the American Dream at the British Museum from March. In February Kensington Palace opens a guaranteed money-spinning crowd-pleaser with a showcase of Princess Diana’s dresses set to run for two years, while at the tail end of next year the Queen’s Gallery launches its examination of Charles II’s art.

London’s 2016 Film Festival was once again lived up to anticipation and seems to be going from strength to strength. As well as the Amy Adams double bill of linguistic sci-fi adventure Arrival and Tom Ford’s stylishly dark morality tale Nocturnal Animals which have already opened in the UK as well as Andrea Arnold’s superb American Honey, the Film Festival also showcased a number of significant films due to open here in the early part of 2017. Best among and them already earning countless award nominations is Damien Chazelle’s La La Land which is in cinemas from 13 January and is an exceptional clash of the classic Hollywood musical and modern grittier experiences of trying to make it in LA. It is beautifully realised and its stars, Emma Stone and Ryan Gosling, have never been better.

Out in the same week is Kenneth Lonergan’s Manchester by the Sea (review to follow shortly), a sensitive portrayal of grief and guilt with its stars Casey Affleck and Michelle Williams certain to dominate the acting honours in February. Although full release dates are not yet announced theatre director Benedict Andrews’s adaptation of David Harrower’s play Blackbird, now retitled Una and starring Rooney Mara deals with the difficult issue of abuse and its consequences. Although the film’s approach does undermine its purpose to a degree it will create talking points on release, and a review will follow when that date is announced. Finally Adam Smith’s first film Trespass Against Us, starring Brendan Gleeson and Michael Fassbender is scheduled for 3 March, with both playing members of a Gloucestershire traveller community, replete with local accents, who account for much of the local crime rate. Premiering at the Film Festival, it offers some impressive low-budget car chases and great black comedy moments, as well as fine performances from its top-notch cast.

So as we swiftly kick 2016 away it may not have been a great year but it has offered a number of cultural highs. With plenty of potentially excellent theatre, exhibitions and films in the works, there’s much to look forward to in the year ahead.

Reviews are posted every Monday at 12.30pm.Follow this blog on Twitter @culturalcap1.


La La Land – BFI London Film Festival

la-la-land

The London Film Festival is now well underway, and La La Land is one of the most anticipated films being previewed here, having already won huge acclaim and prizes at the Venice and Toronto Festivals, as well as plenty of Oscar buzz. And all of that praise is absolutely spot on, because it is a film that beautifully combines the dazzle and flair of 1950s musicals that you watch with a smile on your face, with the moving intimate drama of a relationship that cannot work in which its central couple, an aspiring jazz pianist and an wannabe actress fall in love and then fall apart.

Director Damien Chazelle’s film is a constant conversation between past and future, where styles, themes and visual effects don’t just merge seamlessly but violently collide together to create a vibrant and engaging spectacle of a film that is at the same time full of heart; in short a love letter to a different kind of LA. As Chazelle explained during the Q&A which accompanied the UK Premiere of this film, he actively wanted to showcase less shiny areas of LA, which burst onto the screen immediately with an opening song that takes place in a huge motorway traffic jam as shiny-faced hopefuls queue not just to get into town but for their shot at fame. It takes a few minutes to adjust to the contrasting hyper-real style and mundane locations but it’s soon utterly absorbing.

But it is a film of two halves, the first the pure Hollywood romance of dreams and aspiration, and the second half the melancholy decline of love as careers takes precedence. Having encountered each other briefly on the motorway, we initially follow Mia’s story (Emma Stone), working in a coffee shop on a Studio lot serving the famous people she hopes to become, while running off to auditions, or attending parties with her 3 female flatmates. Everything in her world is full of hope, and in homage to the classic musicals, it is a Technicolor dream of jewel colours and blurred parties. Suddenly a piano refrain cuts through this extraneous noise and everything slows as she hears Sebastian playing in a restaurant.

Meanwhile Sebastian’s world is somewhere much darker, a rundown flat, jobs he hates and dreams to open his own pure jazz club that he cannot fulfill. A surly young man in the model of James Dean – a Rebel Without a Cause is one of the films repeatedly referenced – he is disconnected from the world and having encountered the more enthusiastic Mia a few times, he’s sure they wouldn’t fit together. But in one of the film’s more enchanting scenes, one magical night after a party they tap dance their way into each other’s hearts as they contemplate the sunset over LA.

A series of fairy-tale dates follow including a trip to the Griffith Observatory where they find themselves on cloud nine, dreamily dancing among the stars. One of the joys of Chazelle’s work here is how seamlessly these set-piece moments are integrated into the main story, and unlike the 50s musical, characters don’t just burst randomly into song, these sequences either explain the emotions of the protagonists or represent the fantasy world of their relationship.

But that’s only half the story and while Sebastian and Mia may be perfect for one another, they both have dreams that begin to drive a wedge between them. Again Chazelle manages the tone change perfectly and it is in this section that as an audience you begin to realise quite how much you’ve invested in these characters, and watching them moving in different directions becomes quite affecting. By the end of the film as you discover what happens to them and their dreams of ‘making-it’, the whole thing you realise is both an elegy to the people they were, and, in a magnificent alternative reality sequence – right out of the fantasy moment in Singing in the Rain and others – to the people they didn’t become.

These are first rate performances from Stone and Gosling, who have probably never been better, and have a particular fizz on screen. Stone’s Mia in some ways is her usual loveable slightly goofy heroine, but here she adds a considerable understanding of the old Hollywood style. In particular there are two key places where she uses a single look to convey a great deal of information; first when she hears Sebastian’s tune in the restaurant, Stone shows not just the weariness of her current life and appreciation of this new music, but also you see her enchantment with him. This is beautifully mirrored later in the film when she’s in the crowd at Sebastian’s concert, hearing his new band for the first time, and realising he has sold-out, her face falls as she tries to contain her disappointment both for him and herself, which signals the shift in their relationship.

Gosling too is excellent as the perhaps less idealistic Sebastian, who, in his relationship with Mia, finds both encouragement to pursue his own dreams and a pressure to reroute them to be the man she deserves. One of the more engaging aspects of the film is seeing the compromises he is forced to make to achieve a form of stardom far from who he wanted to be, and what this has to say about the Hollywood machine. It questions what the price of fame is worth, and for Sebastian it may cost him both his integrity and his relationship. Yet, it is clear how much he loves Mia and while his choices may stifle him and take him away, he makes them for her which means their pain is all the more poignant for the audience.

Chazelle’s film is an extraordinary clash of past and future explored in several ways throughout the film. Not just the merging of 50s musical styles and imagination with grittier visuals from modern LA where beautiful old cinemas and clubs are left to rot, but of the purity of Sebastian’s love of jazz ‘infected’ by new styles of music, and how the personal past and future of the characters plays out. I referred to it earlier as a violent collision of styles and Chazelle keeps control of these elements very nicely often allowing a fairly hum drum moment to erupt into a beautiful fantasy sequence, or conversely punctuating too much dreaminess with intrusive blasts of car horns or fire alarms, forcing reality to come between Mia and Sebastian once more.

Linus Sandgren’s cinematography gloriously emphasises this clash of styles and he’s given each of the leading characters their own visual tone – a simpler, washed out look for Sebastian, to emphasise the life he’s living in his small and plain apartment, while Mia gets vibrant jewel colours and plenty of soft Hollywood glow around the leading lady. Some of the best work is of course in the stunning musical sequences, whether imagining the life they could have had or an emotional Sebastian walking along the pier at sunset still forming that tune that would become his signature, Sandgren has painted incredible pictures that will make you smile.

La La Land is then a film about fate and destiny, bringing people together for a time and then understanding that love is not always enough; they may only be able to really fulfil their dreams apart. We learn later in the film, that destiny would always bring the two of them to certain places at certain times, but the sadness lies in what happened in between. Justin Hurwitz’s music manages to be a whole extra character adding just the right balance of romance and melancholy while being a celebration of the soundstage musical. Sublime, moving, delightful, exquisite and joyous, if la la land is a fantasy place for dreamers and fools, then in Chazelle’s magical film it is a place you long to be.

La La Land was premiered at the BFI London Film Festival on 7 October after screenings at Venice and Toronto. It will be released in the US on 16 December and in UK on 13 January 2017. Follow this blog on Twitter @culturalcap1.


%d bloggers like this: