Tribeca Film via Everett Collection
For a film that involves a love triangle, mental illness, a Bohemian colony of free-spirits, an impending war and several important historical figures, the most exciting elements of Summer in February are the stunning shots of the English country and Cornish seaside. The rest of the film never quite lives up to the crashing waves and sun-dappled meadows that are used to bookend the scenes, as the entertaining opening never manages to coalesce into a story that lives up the the cinematography, let alone the lives of the people that inspired it.
Set in an Edwardian artist’s colony in Cornwall, Summer in February tells the story of A.J. Munnings (Dominic Cooper), who went on to become one of the most famous painters of his day and head of the Royal Academy of Art, his best friend, estate agent and part-time soldier Gilbert Evans (Dan Stevens), and the woman whom they both loved, aspiring artist Florence Carter-Wood (Emily Browning). Her marriage to Munnings was an extremely unhappy one, and she attempted suicide on their honeymoon, before killing herself in 1914. According to his journals, Gilbert and Florence were madly in love, although her marriage and his service in the army kept them apart.
When the film begins, Munnings is the center of attention in the Lamorna Artist's Colony, dramatically reciting poetry at parties and charming his way out of his bar tab while everyone around him proclaims him to be a genius. When he’s not drinking or painting, he’s riding horses with Gilbert, who has the relatively thankless task of keeping this group of Bohemians in line. Their idyllic existence is disrupted by the arrival of Florence, who has run away from her overbearing father and the fiancé he had picked out for her in order to become a painter.
Stevens and Browning both start the film solidly, with enough chemistry between them to make their infatuation interesting. He manages to give Gilbert enough dependable charm to win over both Florence and the audience, and she presents Florence as someone with enough spunk and self-possession to go after what she wants. Browning’s scenes with Munnings are equally entertaining in the first third of the film, as she can clearly see straight through all of his bravado and he is intrigued by her and how difficult she is to impress. Unfortunately, while the basis of the love triangle is well-established and entertaining, it takes a sudden turn into nothing with a surprise proposal from Munnings.
Neither the film nor Browning ever make it clear why Florence accepts his proposal, especially when they have both taken great pains to establish that she doesn’t care much for him. But once she does, the films stalls, and both Stevens and Browning spend the rest of the film doing little more than staring moodily and longingly at the people around them. The real-life Florence was plagued by depression and mental instability, but neither the film nor Browning’s performance ever manage to do more than give the subtlest hint at that darkness. On a few occasions, Browning does manage to portray a genuine anguish, but rather than producing any sympathy from the audience, it simply conjures up images of a different film, one that focused more on Florence, and the difficulties of being a woman with a mental illness at a time when both were ignored or misunderstood.
Stevens is fine, and Gilbert starts out with the same kind of good-guy appeal the won the heart of Mary Crawley and Downton Abbey fans the world over. However, once the film stalls, so does his performance, and he quickly drops everything that made the character attractive or interesting in favor of longing looks and long stretches of inactivity. He does portray a convincing amount of adoration for Florence, although that's about the only real emotion that Gilbert expresses for the vast majority of the film, and even during his love scene, he never manages to give him any amount of passion.
Cooper does his best with what he’s given, and tries his hardest to imbue the film with some substance and drama. His Munnings is by turns charming, brash, and brooding, the kind of person who has been told all of their life that they are special, and believes it. He even manages to give the character some depth, and even though he and Browning have very little chemistry, he manages to convey a genuine affection for her. It’s a shame that Munnings becomes such a deeply unlikable character, because Cooper is the only thing giving Summer in February a jolt of life – even if it comes via bursts of thinly-explained hostility. It's hard to watch just how hard he's working to connect with his co-stars and add some excitement to a lifeless script and not wish that he had a better film to show off his talents in.
Unfortunately, by the time Florence and Gilbert are finally spurred into activity, the film has dragged on for so long that you’re no longer invested in the characters, their pain, or their love story, even if you want to be. Which is the real disappointment of Summer in February; underneath the stalled plot and the relatively one-note acting, there are glimmers of a fascinating and compelling story that’s never allowed to come to the forefront.
The search for the new host (or hosts) of The X Factor has been hotter than a stack of griddlecakes in the deep fryer, but it may be nearing its end. Glee's Kevin McHale is being considered for the talent competition's open hosting spot, TV Guide Magazine reports.
In finding a replacement for Season 1 host Steve Jones, executive producer Simon Cowell has reportedly said he is looking for a male/female team to take on the responsibilities. “What we’ve learned from the show is you’ve got so much information you have to relay as one person,” he told The Hollywood Reporter in a press call. “And I think that it’s almost impossible to have one person doing the hosting job. You’ve got to give out so much information now, the telephone lines, the integration of the sponsors. I mean, they’re like newscasters now, these hosts. It’s a much, much bigger role.”
So, who are McHale's potential partners? Ladies being considered include Khloe Kardashian Odom, Erin Andrews, and Kelly Osbourne. Considering shallow aesthetics alone, Osbourne is the best fit of the three — she's the only one who wouldn't tower over the 5' 6" McHale. But clearly looks aren't everything (right?), and we think Kardashian Odom has the booming personality needed to counter McHale's deadpan. McHale is charming as geeky Artie on Glee, but maybe he's a wee bit too one-dimensionally nice to carry a show on his shoulders. McHale's most recent hosting performance (I'm looking at you, Teen Choice Awards) certainly fell flat. Kardashian Odom may have just the right amount of sass necessary to spice up McHale's quieter brand of charisma.
If McHale does land the gig, he'll be reunited with his Teen Choice Awards co-host, Demi Lovato. This raises an interesting question: Are the youngs taking over TV's talent competitions? Let's examine the evidence. Nineteen-year-old Lovato has already begun her judging duties on The X Factor, Joe Jonas is set to judge The CW's The Next, and lil' bro Nick Jonas is being considered for the open American Idol judging spot. All of these kids, including McHale, are under 25.
The networks' desire to draw in a younger viewership through the additions of these teen idols is completely transparent. And while no one can blame them for wanting to expand their demographics, it doesn't make these casting choices any less eyebrow-raising. The fact of the matter is, no one wants to take advice from someone younger than them. Even more to the point, receiving feedback from a teenaged star who was handed his or her career on a silver platter (thanks, Disney) must be a bitter pill for any struggling artist to swallow. Simon Cowell has already gone on the record calling Lovato a "brat" (albeit playfully), and when The X Factor starts to air on September 12, it will be interesting to see if contestants show any open contempt for the young star.
Or, hey, maybe we're wrong. Maybe a healthy dose of the young and taut will be just the electric shock these shows need to get back on their feet. And if Fox can use the success of its youth-powered ratings monster Glee to increase the number of eyes on the struggling X Factor, all power to them. At the very least, McHale — and Kardasian Odom, Andrews, Osbourne, or whomever the lady host may be — will look nice in HD.
Follow Abbey Stone on Twitter @abbeystone
[Photo Credit: David Edwards/DailyCeleb.com]
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