David Mitchell's novel Cloud Atlas consists of six stories set in various periods between 1850 and a time far into Earth's post-apocalyptic future. Each segment lives on its own the previous first person account picked up and read by a character in its successor creating connective tissue between each moment in time. The various stories remain intact for Tom Tykwer's (Run Lola Run) Lana Wachowski's and Andy Wachowski's (The Matrix) film adaptation which debuted at the Toronto International Film Festival. The massive change comes from the interweaving of the book's parts into one three-hour saga — a move that elevates the material and transforms Cloud Atlas in to a work of epic proportions.
Don't be turned off by the runtime — Cloud Atlas moves at lightning pace as it cuts back and forth between its various threads: an American notary sailing the Pacific; a budding musician tasked with transcribing the hummings of an accomplished 1930's composer; a '70s-era investigatory journalist who uncovers a nefarious plot tied to the local nuclear power plant; a book publisher in 2012 who goes on the run from gangsters only to be incarcerated in a nursing home; Sonmi~451 a clone in Neo Seoul who takes on the oppressive government that enslaves her; and a primitive human from the future who teams with one of the few remaining technologically-advanced Earthlings in order to survive. Dense but so was the unfamiliar world of The Matrix. Cloud Atlas has more moving parts than the Wachowskis' seminal sci-fi flick but with additional ambition to boot. Every second is a sight to behold.
The members of the directing trio are known for their visual prowess but Cloud Atlas is a movie about juxtaposition. The art of editing is normally a seamless one — unless someone is really into the craft the cutting of a film is rarely a post-viewing talking point — but Cloud Atlas turns the editor into one of the cast members an obvious player who ties the film together with brilliant cross-cutting and overlapping dialogue. Timothy Cavendish the elderly publisher could be musing on his need to escape and the film will wander to the events of Sonmi~451 or the tortured music apprentice Robert Frobisher also feeling the impulse to run. The details of each world seep into one another but the real joy comes from watching each carefully selected scene fall into place. You never feel lost in Cloud Atlas even when Tykwer and the Wachowskis have infused three action sequences — a gritty car chase in the '70s a kinetic chase through Neo Seoul and a foot race through the forests of future millennia — into one extended set piece. This is a unified film with distinct parts echoing the themes of human interconnectivity.
The biggest treat is watching Cloud Atlas' ensemble tackle the diverse array of characters sprinkled into the stories. No film in recent memory has afforded a cast this type of opportunity yet another form of juxtaposition that wows. Within a few seconds Tom Hanks will go from near-neanderthal to British gangster to wily 19th century doctor. Halle Berry Hugh Grant Jim Sturgess Jim Broadbent Ben Whishaw Hugo Weaving and Susan Sarandon play the same game taking on roles of different sexes races and the like. (Weaving as an evil nurse returning to his Priscilla Queen of the Desert cross-dressing roots is mind-blowing.) The cast's dedication to inhabiting their roles on every level helps us quickly understand the worlds. We know it's Halle Berry behind the fair skinned wife of the lunatic composer but she's never playing Halle Berry. Even when the actors are playing variations on themselves they're glowing with the film's overall epic feel. Jim Broadbent's wickedly funny modern segment a Tykwer creation that packs a particularly German sense of humor is on a smaller scale than the rest of the film but the actor never dials it down. Every story character and scene in Cloud Atlas commits to a style. That diversity keeps the swirling maelstrom of a movie in check.
Cloud Atlas poses big questions without losing track of its human element the characters at the heart of each story. A slower moment or two may have helped the Wachowskis' and Tykwer's film to hit a powerful emotional chord but the finished product still proves mainstream movies can ask questions while laying over explosive action scenes. This year there won't be a bigger movie in terms of scope in terms of ideas and in terms of heart than Cloud Atlas.
In the dialogue-free opening sequence of Shame director Steve McQueen introduces us to Brandon (Michael Fassbender) a handsome New Yorker who goes through a morning routine tackles the responsibilities of his high profile day job socializes with co-workers and all the while struggles with an insatiable desire for sexual pleasure. As the strings of composer Harry Escott's score swell we see Brandon in two scenarios: holding back from advancing on a beautiful young subway-rider and succumbing to carnal instinct with the help of a prostitute. It's a powerful setup for Fassbender's breathtaking performance which ranks among the best of the year.
Shame forcefully declares that sex addiction is just as tangible devastating and perplexing as any drug or alcohol problem but does so without didactic lessons or over-the-top indulgences. Fassbender's Brandon is on the other end of the spectrum from Nicolas Cage's crazed alcoholic character in Leaving Las Vegas with McQueen breaking long stretches of repression with harrowing moments of emotionless lust. The film works as a character portrait following Brandon as he finds himself falling deeper and deeper into the rabbit hole and witnessing the effects of his descent on the people around him. Picking up women isn't a problem for the dashing gent—he does so with ease on many an occasion—but when he tries dating the one woman he has feelings for he's void of sexual stamina. Unfortunately even in the sprawling city of New York there's no outlet for Brandon to confide in—his work buddies are all looking for an easy lay and his sister Sissy (Carey Mulligan) who shows up at his door one inopportune day has a heap of her own problems.
McQueen shoots Shame with precision that never feels staged each scene camera angle and directorial choice amplifying Brandon's dizzying situation Whether Brandon's entranced by Sissy's passionate rendition of "New York New York " working off his own sexual frustration with a quick jog or seducing a barfly's girlfriend at a hole-in-the-wall joint Fassbender and McQueen work in perfect tandem to bring the audience into the struggle. You will feel the raw power of Brandon unleashing his sex drive and you will feel the sadness behind Fassbender's face as he drifts alone through the city streets. Both moods are powerful moving and true.
Shame doesn't have an easy-to-swallow narrative a real beginning or an end. When you expect things to align into a traditional structure McQueen and screenwriter Abi Morgan subvert expectations—as life often does. What keeps us engrossed is Fassbender who can pull off the balancing act of suave and broken without tipping us off that he's acting at all. Shame received an NC-17 rating because of its racy imagery but the real maturity on display in the film is the bare bones depiction of human behavior.
The film's producers, Iain Canning, Emile Sherman and Gareth Unwin, were awarded the Darryl F. Zanuck Producer Of The Year Award at the ceremony.
The movie, starring Colin Firth as the stammering British King George VI, was among 10 nominees including The Social Network and Black Swan.
Other winners at the 22nd annual PGA Awards, which took place at the Beverly Hilton Hotel in Los Angeles, included Toy Story 3 in the Best Animated Picture category and Waiting for 'Superman' for Best Documentary.
The producers of Modern Family landed the Best TV Comedy Series trophy, while Mad Men was named the Best TV Drama.
Sean Penn also picked up the special Stanley Kramer Award in honour of his humanitarian work in Haiti, while director James Cameron received the Milestone Award.
The British Academy of Film and Television Arts has released its list of nominees for the annual BAFTA Awards, also known as the British Oscars or the only big awards show with a category just for British only. Surprise, surprise, the Brits have come out on top; the historical drama, The King’s Speech swept the noms with 14 in total. Close behind is Darren Aronofsky’s surprising thriller, Black Swan with 12 total nominations. The British Film category that comes in addition to the BAFTA’s “Best Film” category gives a second chance to 127 Hours, which doesn’t make the top five in the overall category but has the chance to take the top Brits-only honor. Also of note, 14 year old Hailee Steinfeld, who’s blowing audiences away in December’s True Grit, merits the grownup honor of a nomination for best lead actress for her role in the film (mini fist pump!).
While the awards will be broadcast exclusively on BBC One, sorry America, it’s still worth knowing which films made the cut.
And the nominees are:
• Black Swan - Mike Medavoy, Brian Oliver, Scott Franklin
• Inception - Emma Thomas, Christopher Nolan
• The King’s Speech - Iain Canning, Emile Sherman, Gareth Unwin
• The Social Network - Scott Rudin, Dana Brunetti, Michael De Luca, Céan Chaffin
• True Grit - Scott Rudin, Ethan Coen, Joel Coen
Outstanding British Film
• 127 Hours - Danny Boyle, Simon Beaufoy, Christian Colson, John Smithson
• Another Year - Mike Leigh, Georgina Lowe
• Four Lions - Chris Morris, Jesse Armstrong, Sam Bain, Mark Herbert, Derrin Schlesinger
• The King’s Speech - Tom Hooper, David Seidler, Iain Canning, Emile Sherman, Gareth Unwin
• Made in Dagenham - Nigel Cole, William Ivory, Elizabeth Karlsen, Stephen Woolley
Outstanding Debut by a British Writer, Director or Producer
• The Arbor - Director, Producer - Clio Barnard, Tracy O’Riordan
• Exit Through The Gift Shop - Director, Producer – Banksy, Jaimie D’Cruz
• Four Lions - Director/Writer - Chris Morris
• Monsters - Director/Writer – Gareth Edwards
• Skeletons - Director/Writer – Nick Whitfield
• 127 Hours - Danny Boyle
• Black Swan - Darren Aronofsky
• Inception - Christopher Nolan
• The King’s Speech - Tom Hooper
• The Social Network - David Fincher
• Black Swan - Mark Heyman, Andrés Heinz, John McLaughlin
• The Fighter - Scott Silver, Paul Tamasy, Eric Johnson
• Inception - Christopher Nolan
• The Kids Are All Right - Lisa Cholodenko, Stuart Blumberg
• The King’s Speech - David Seidler
• 127 Hours - Danny Boyle, Simon Beaufoy
• The Girl With The Dragon Tattoo - Rasmus Heisterberg, Nikolaj Arcel
• The Social Network - Aaron Sorkin
• Toy Story 3 - Michael Arndt
• True Grit - Joel Coen, Ethan Coen
Film Not In the English Language
• Biutiful - Alejandro González Iñárritu, Jon Kilik, Fernando Bovaira
• The Girl With The Dragon Tattoo - Søren Stærmose, Niels Arden Oplev
• I Am Love - Luca Guadagnino, Francesco Melzi D’Eril, Marco Morabito, Massimiliano Violante
• Of Gods And Men - Xavier Beauvois
• The Secrets In Their Eyes - Mariela Besuievsky, Juan José Campanella
• Despicable Me - Chris Renaud, Pierre Coffin
• How To Train Your Dragon - Chris Sanders, Dean DeBlois
• Toy Story 3 - Lee Unkrich
• Javier Bardem – Biutiful
• Jeff Bridges - True Grit
• Jesse Eisenberg - The Social Network
• Colin Firth - The King’s Speech
• James Franco - 127 Hours
• Annette Benning - The Kids Are All Right
• Julianne Moore - The Kids Are All Right
• Natalie Portman - Black Swan
• Noomi Rapace - The Girl with the Dragon Tattoo
• Hailee Steinfeld - True Grit
• Christian Bale - The Fighter
• Andrew Garfield - The Social Network
• Pete Postlethwaite - The Town
• Mark Ruffalo - The Kids Are All Right
• Geoffrey Rush - The King’s Speech
• Amy Adams - The Fighter
• Helena Bonham Carter - The King’s Speech
• Barbara Hershey - Black Swan
• Lesley Manville - Another Year
• Miranda Richardson - Made in Dagenham
• 127 Hours - AR Rahman
• Alice In Wonderland - Danny Elfman
• How to Train Your Dragon - John Powell
• Inception - Hans Zimmer
• The King’s Speech - Alexandre Desplat
• 127 Hours - Anthony Dod Mantle, Enrique Chediak
• Black Swan - Matthew Libatique
• Inception - Wally Pfister
• The King’s Speech - Danny Cohen
• True Grit - Roger Deakins
For the full list of nominees, visit the BAFTA site, here.
November 13, 2009 4:03am EST
See-Saw Films and Bedlam Productions have begun principal photography on The King's Speech, starring Colin Firth, Geoffrey Rush, Helena Bonham Carter, Jennifer Ehle, and Guy Pearce.
Tom Hooper is directing from a screenplay by David Seidler. Hooper directed the HBO mini John Adams and the recent feature The Damned United.
The film is based on the true story of King George VI and his friendship with maverick speech therapist Lionel Logue. As the second son of George V, Prince Albert was not expected to ascend to the throne, but when his brother Edward chose to abdicate to marry Wallis Simpson, Albert was his successor and in 1936 was crowned King George VI. The reluctant king, who was plagued with a nervous stammer, engaged Logue, an irreverent Australian, who helped him find a voice with which to lead the nation.
See-Saw's Iain Canning and Emile Sherman and Bedlam's Gareth Unwin are producing. The film is shooting for seven weeks in various locations around England.
The Weinstein Company and the UK Film Council present the film in association with Momentum Pictures, Aegis Film Fund and Molinare London. TWC and Film Nation have international sales.