Tag: Jonathan Pryce

BREAKING GLASS (1980)

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Written & Directed By: Brian Gibson 

Cinematography: Stephen Goldblatt 

Editor: Michael Bradsell

Cast: Hazel O’Connor, Phil Daniels, Jon Finch, Jonathan Pryce, Peter-Hugo Daly, Mark Wingett, Nigel Humphreys, Gary Tibbs, Charles Wegner 

A rock singer is determined to rise to the top of the profession, letting nothing stand in the way of that goal.

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Don’t know how I never heard of this film before recently. As for me, this is an instant classic. The storyline resembles a star is born and even the rose no, it’s different elements, one would say more of THE ROSE, for its lead character kind of achieving theme and going a bit crazy because of it.

What makes this film so different is that it was found during the upheaval in England, so it makes it a time capsule as to the politics, and what was going on in the streets at the time, even if Over the storyline.

The other quality, and that puts it in a herd of other films of its elk is that it doesn’t really feel like there’s too much acting in this room. It almost feels like a documentary, or Lisa docudrama, as everyone is so believable and committed in their performance that it never feels fake. 

It’s one of those dark 1980s movie about the music industry and how you start out, Ernest and all the little compromise. You have to make to achieve popularity and fame while still trying to stay true to yourself and as creative as you once were but also how it’s not only changes you, but it changes the people around you.

As there is a love story of source of her falling for her manager, who believes in her and comes with her to the Fame, but he becomes too controlling, and once he’s lost control of everything, he’d rather quit, then compromise, whereas the female lead falls for more the polished producer who see something in her, but it might be more for his a claim in again to be in control over her

So the film presents an interesting conundrum, where neither of these so-called love interests or people who are supposed to care about her have really her best interest at heart they’re more interested in controlling her and the film seems like she needs that has her energy is all over the place but when she’s being controlled, at least she has direction.

As much as I enjoyed this film, I found out that I saw the American version which is a slightly different cut, whereas in the original version it shows more of her mental breakdown along the way, and in the end, spoiler alert, she ends up in an asylum here the film ends with her, giving her all during a performance in the film ends anonymously, where we don’t know what’s going to happen, or what’s next it just ends.

The songs are catchy and well written, and Hazel O’connor gives an absolute stunning performance in each, and every time she performs in the musical scenes songs in which she wrote. They are just so stellar in iconic that it’s a shock. This film didn’t do more business or is it more popular, even in cult film circles?

As it is a once in a lifetime performance, she appeared and other films and television, but nothing as strong or as big as her starring role here in which you audition, for it was chosen over 3000 others and never expected to have the League she would’ve been happy with just a smaller or supporting role in here. She ended up the lead and she gives her all dressed as a character does.

One believes that once this film is seen by more people, she will enter the lexicon of memorable, female singers in movies wAHO become disillusioned or become legends and inspirations, such as the characters in the films TIMES SQUARE played by Robin Johnson and LADIES AND GENTLEMEN THE FABULOUS STAINS played by Diane Lane and STARSTRUCK 

As with any older films, it’s fun to see certain known character actors of today play smaller, supporting roles in this film, though luckily, it doesn’t take you out of the phone, and still stays as gritty and hard hitting. Truly nihilistic to a certain degree. Though it gives off so much energy that you can’t help but have a reaction to it. It’s a musical about a band trying to make it in the 1980’s 

Surprised to find out Brian Gibson Directed this who directed musical biographies such as WHAT’S LOVE GOT TO DO WITH IT, THE JOSEPHINE BAKER STORY as well as the music comedy STILL CRAZY (My first known Bill Nighy film appearance) as well as the thriller THE JUROR. So while his other films were more well known. His best film is the one that seems to be the least known. 

Grace: B+

DE-LOVELY (2004)

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Directed By: Irwin Winkler 
Written By: Jay Cocks 
Cinematography: Tony Pierce-Roberts 
Editor: Julie Monroe 

Cast: Kevin Kline, Ashley Judd, Jonathan Pryce, Kevin McKidd, Kevin McNally, Allen Corduner, James Wilby, Keith Allen, Taylor Hamilton, Angie Hill, Natalie Cole, Sheryl Crow, Elvis Costello, Robbie Williams, Alanis Morrisette

Inspecting a magical biographical stage musical, composer Cole Porter reviews his life and career with his wife, Linda.

This was a film it has taken me a while to watch. As I knew more about the soundtrack than the movie. It’s one of those I always meant to watch it eventually type of movies where you feel you have to be in a certain mood to watch or can never think of when specifically needing something new to watch. Not has it ever truly been recommended to me by anyone. So I finally decided to take the plunge.

The film feels like how I described it. It’s on and certainly entertaining and thinks of itself as smart. Though it never truly elicits any true emotions from the audience. So it never truly connects and comes across more as if you were watching a visual biography that tries to be flashy and inventive.

As the film and story are preset like Cole Porter is creating a musical of life and constantly having to deal with a director who has his own vision or wants even the harder more private stuff to be part of it. As they both look back upon his life from the director’s Chairs in the audience. 

The film is presented as a love story between Cole and his wife. Even as he is bi-sexual or more homosexual.

Kevin Kline shines in the main role. He is truly what makes the film Memorable. As he seems to go above and beyond to make it work. He already is usually one of the crowning achievements in any film. Only wished he would have had more starring roles when he was younger. Though it always seemed hard to find a place to put him in films. Which might be why he stuck more to theater over the years. He has a theatrical way of speaking at times, but so does John Lithgow, and look at how many legendary roles he held down. Though maybe only a few as the leading man. 

As they go through the numbers some are more stage-bound and others more in life outdoors. Though always feeling staged. As it stages at least half of its scenes in theaters of some kind. 

The film reminds the audience of ALL THAT JAZZ. Only that movie was based on and directed by its subject Bob Fosse. This film never quite ends up as warts and all, dramatic or hard-hitting. That film unfortunately never as inventive either. 

This film could work as a Broadway show all Its own. Though it never quite comes across as grand as it should. 

As it is based on a true story and biography. We all know what is going to happen. It telegraphs its moves at times in true dramatic cliches. Though comes across as quite elegant as a prestige film.

Irwin Winkler is the director and he isn’t bad here he just unfortunately makes the material feel basic. It never quite has the flair of the person it is based on. 

It’s a prestige project that tries to be playful. That is more meant for awards season. Yet not of that caliber. Though it is fun to see music superstars of the time period, singing classic songs. 

It’s a good presentation but never quite feels deep enough. For us to care or to be moved. Once it finally hits home and hard is at the end. You will come out of the film humming and singing and wanting to hear more of his songs.

Grade: C+

THE TWO POPES (2019)

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Directed By: Fernando Meirelles
Written By: Anthony McCarten 
Cinematography: Cesar Charlone 
Editor: Fernando Stutz 

Cast: Anthony Hopkins, Jonathan Pryce, Luis Gnecco, Christina Banegas, Renato Scarpa, Sidney Cole 

Behind Vatican walls, the conservative Pope Benedict XVI and the liberal future Pope Francis must find common ground to forge a new path for the Catholic Church.

What one would think would be a more theatrical two-hander if discussions ends up being bigger and luckily more spacious. That still involves a meeting of the two grand actors, but the films. Space is filled in with their backstories, decisions, and actions before the meetings. Even a past romance is Hinted at and a strong sense of music. 

The film just feels comfortable. We get two sides of the same issues only with different insights and different ways of believing and dealing with the issues.

The common man manages the royal assessment when it comes to the views. The film takes on issues. If not the causal conversations, ones that you wish actually happened. Which helps explain policy and gives a behind-the-scenes look.

Going in you think it is going to be more satirical but it stays more dramatic and truthful to a degree.

In the end, this is an earned film. Whose heart is in the right place, but still feels like a prestigious film above all else. 

Shocked that it is directed by Fernando Meirelles who is usually more of a visual director. Though he does make a film that could have easily been dull. Seems more alive and vivid. It feels full of life that makes you appreciative of the small details of life 

This film comes across as informative. You watch to learn more about the Pope’s practices and process, but more are here to see the performances by the two lead actors.

Though it offers a character study, a tale based on true events. That also has world events as a backdrop 

Grade: B