For nearly 100 years experts in historical and literary fields have been debating the authenticity of William Shakespeare's master works. Was he really a storytelling genius who single-handedly crafted a vast body of poems and plays? Or were they actually the works of another unnamed author? Could a group of playwrights have written under a sole moniker? Director Roland Emmerich dives headfirst into this century-old debate with his new movie Anonymous piecing together evidence to unravel the mystery with dramatic flair. Unfortunately the only thing he discovers in the process is that the answers aren't that interesting.
The movie centers on Edward De Vere (Rhys Ifans) a scholarly gentleman forced as a youngster into the role of Earl of Oxford. While Edward prefers to spend his time waxing poetically and bringing theatrics to life for the adoring Queen Elizabeth (Joely Richardson) his caretaker the sinister mustache-twirling-without-a-mustache William Cecil (David Thewlis) authoritatively directs him on the path of the aristocracy. But that doesn't stop De Vere from toiling over his written work spending years crafting plays and poems in-between canoodling with the Queen (for shame!).
As a grown man De Vere finds himself married off to Cecil's daughter battling the tired advisor and his hunchback son (Edward Hogg) all while continuing to write and attend the common man's theater. During one such excursion the Earl crosses paths with playwright Ben Johnson (Sebastian Armesto) who De Vere sees as the perfect representative to take ownership over his plays hoping they can finally be brought to life on stage. Of course Johnson realizes slapping his name on De Vere's works of genius would put the kibosh on his own career so he hands them over to his horny drunk actor friend William t (Rafe Spall). The staged plays are a hit but their appeal to the masses is a red flag to the court. Cecil commences a hunt for the true author of Shakespeare's plays landing De Vere in hot water.
Emmerich intertwines De Vere Johnson and Shakespeare's quest for theatrical fame with political unrest and romantic subplots but none of the story arcs have the spark of a real mystery/thriller. The director and his screenwriter John Orloff (The Guardians of Ga'hoole) aim to replicate The Bard's tragic character-driven plays with their own story relying on performance and dense dialogue to entrance the viewer. But Emmerich goes so far out of his way to restrain himself from his usual eye for end-of-the-world destruction (made famous in Independence Day Godzilla The Day After Tomorrow 2012…) that the movie trudges along without an ounce of intrigue. It's almost as if Anonymous strives to be purposefully boring Emmerich attempting to deliver performance-first directing but ending up with string of flat sloth-paced back-and-forths. He does manage to squeeze a few action scenes into the mix—De Vere fends off an attacker in a thrilling confined swordfight—but even the bigger moments feel muted.
The creative duo's grounded tactics do occasionally payoff thanks to a solid cast led by powerhouse thespian Ifans. Anonymous luxuriates in Elizabethan history and royal affairs presented in a fashion only a few steps up from your run-of-the-mill high school text book but Ifans steps in and turns hammy exposition into lyrical dialogue. While he doesn't have the power to make it all register Ifans makes the experience of Anonymous worth seeing and hearing. One transcendent moment shows De Vere crumbling in front of his wife explaining his instinctual need to write. The monologue is powerful—but the surroundings created by Emmerich fail to support him.
The rest of the ensemble does their best to wrangle our attentions—the legendary Vanessa Redgrave as the older repressed Queen Elizabeth and Spall's lively arrogant Shakespeare are standouts—but the lingering question of "why does this matter?" continually stands in the film's way. The works of William Shakespeare are a foundation for the dramatic arts a staple of literary education and a testament to the power of written word. After 500 years his plays continue to be relevant embodying the full spectrum of human emotion. So it's understandable why Roland Emmerich would embark on an expansive blockbuster dissection behind the truth of these achievements. But Anonymous only manages to present plausible events never tackling the weight of those accusations dead on. Going head to head with The Bard should live up to the existing body of work. Anonymous on the other hand feels abridged.
The 30 year old, who had bit parts in Nicholas Nickleby and Alfie, is fast becoming the darling of the festival circuit, winning acting honours at Berlin Film Festival, European Film Festival, British Indie Film Awards and Mumbai Film Festival for acclaimed new movie White Lightnin'.
But you'll find none of the prizes dotted around his own home.
He tells WENN, "The award from the Mumbai Film Festival, I gave to my old drama teacher because of the support in my career.
"I gave my mum and dad my Berlin Shooting Stars and the award I won in Cannes about three weeks ago, which was called Male Revelation of the Year - which made me sound like a porn star!
"I'd much rather they (parents) have them because they appreciate them."
But Hogg has started a collection of keepsakes from his movies after completing Anonymous with director Roland Emmerich.
He adds, "I've got the back of the director's chair that has my name on it. It was the first time I'd ever had a chair with my name on it."
A production assistant agreed to hand over the keys to her home to director Viv Fongenie, and the place became Ollie Kepler's (Hogg) for the duration of the movie.
The actor shudders to think what the poor girl thought of her house once the film was done.
He explains, "I feel bad for her because the house was covered in purple paint and it was hard to get off things.
"We fell through a floorboard. There was a scene in the film where I lift up a floorboard and we had just done one take and my make-up girl's foot went through and she was stuck dangling through the ceiling of the floor below!
"We did lots of things to that apartment. I think the door didn't close properly by the end and there was obviously purple paint everywhere.
"I would never use my own property for a film set; they would have to pay me an awful lot of money."
P.J. Hogan's Peter Pan follows J.M. Barrie's story almost to the letter. A girl on the brink of womanhood Wendy Darling (newcomer Rachel Hurd-Wood) loves telling her brothers John (Harry Newell) and Michael (Freddie Popplewell) stories of dastardly pirates as they sit in their nursery under the watchful eye of their St. Bernard Nana. Her 19th-century Londoner parents however believe the time has come for the young girl to grow up especially her father. Then a cheeky wild-haired boy named Peter Pan (Jeremy Sumpter) flies through the nursery window one night with his trusted yet jealousy-prone fairy Tinkerbell (Ludivine Sagnier) telling Wendy he can take her to a place full of adventure where no one ever has to grow up. She readily accepts the offer and with a few happy thoughts some fairy dust and her two brothers in tow she flies off to Neverland. (Not the ranch…the real place.) Once there Wendy encounters mermaids Indians and the Lost Boys (who refer to her as "mother") and gets the whole pirate experience in Peter's ongoing feud with arch-nemesis Captain Hook (Jason Isaacs). But Wendy soon becomes conflicted because on the one hand she likes hangin' with hottie Peter but on the other she misses her mother. She decides it's probably best to go back and grow up but in her hurry to leave she ends up in Hook's clutches. A rescue ensues. Swords clash ticking crocodiles are fed and fairies are saved as our clever fly boy zooms Wendy and company back to London on a giant pirate ship. But does he stay and grow up himself? Hell no he's a Toys 'R Us kid forever!
All the kid actors in Peter Pan are highly watchable and appealing with angelic faces peaches-and-cream complexions and pouty cherry lips. This is the first time Peter is being played by a real-life boy a fact much hyped by the filmmakers and 12-year-old Sumpter (Frailty) does his best to live up to the expectations. (He's soon to be swoon-worthy material for sure.) He's got a mischievous gleam in his eye and a great sly smile but he really lights up when he's looking into Wendy's adorable face. Hurd-Wood the first-time actress who plays the spirited girl earned her role after a long and involved casting process it's well deserved; she fits the typical English-girl profile perfectly and gets the hang of her craft quickly infusing the character with a natural cheerful energy. It's also refreshing to see the young actors play up Wendy and Peter's feelings of first love which prior films always hinted at but never fully realized. Isaacs in a dual role as the firm-but-loving Mr. Darling and the frightening comical lonely charming needy reprehensible Captain Hook draws on his experience at playing exquisitely awful baddies (The Patriot Harry Potter and the Chamber of Secrets) and really sinks his claws into Hook. In a stand out supporting role French actress Sagnier (Swimming Pool) is really fantastic as the vivacious non-speaking Tinkerbell portraying the fairy's conflicted emotions with a silent-film over-the-top technique.
Director/writer P.J. Hogan (My Best Friend's Wedding) and his team try to distinguish their film from the other Peter Pans of the world by using all the technical and special effects wizardry at their disposal. Hogan says his Peter Pan is the way its author Barrie intended to be when he wrote it as a play over a 100 years ago--full of fantasy and wonder. In a way he's right and production designer Roger Ford and visual effects supervisor Scott Farrar take his vision and run with it giving audiences a very lush Neverland with waterfalls fluffy pink clouds crystal-blue waters and a gorgeous fairy world. But despite the bells and whistles there really isn't anything original and different in this Pan. Even its look at the dark side of Neverland has been done in Steven Spielberg's 1991 semi-sequel Hook which showed the dangers of Neverland. In this version lives really are at stake and the pirates are not cute and fun. Even the mermaids are mysterious and malevolent with scary faces and murderous intentions a far cry from the beautiful if somewhat mean-spirited creatures of the 1953 classic Disney animated adaptation another inescapable influence on the audience. When the crocodile draws near for example tick-tocking away the croc's signature tune from the Disney film comes immediately to mind. People may love those Disney films for those cutesy catchy songs but Peter Pan really is a good story. Heck it's a great story. But it's just been done.