British boyband star Duncan James has opened up about his money woes after filing for bankruptcy last month (Sep13), admitting he was heartbroken after having to sell his mum's house to get by. The singer, who filed bankruptcy paperwork in a London court on 12 September (13), insists he was left broke after losing the fortune he invested in property for his mum, ex-girlfriend Claire Grainger and their daughter Tianie-Finn.
He tells Britain's Sun on Sunday, "I bought a house for my mum, I bought a house for my ex-partner and my daughter and I spent about £1 million on my home. I've always wanted to give my loved ones roofs over their heads and make sure they were taken care of, so that's what I did. Unfortunately - and I was far from the only person hit by it - the property crash came and I lost a lot of money. And now I've had to sell the home I bought for my mum. And that's been the most heartbreaking part for me. I so wanted to take care of her. But now she's living in rented accommodation and I do my best to help her with it, but I can't like I used to."
However, James is determined to get back in control of his finances as he heads out on tour with his Blue bandmates this month (Oct13).
He adds, "In some strange way, it's actually a relief to have been declared bankrupt. It means I can start again. Before I went bankrupt, I had been trying to pay off loans for years and felt as if I was a hamster in a wheel in a test tube with water slowly being poured inside. I felt like I kept going and going and trying and trying, but water kept coming in and I was drowning. At least now I've got a chance to start again."
Forget that the latest adaptation of Leo Tolstoy's sweeping romance novel comes from the man who brought us the slick-but-stuffy Pride and Prejudice and Atonement. Every frame of director Joe Wright's Anna Karenina is a wonder to behold overflowing with visual spectacle and roaring performances. Keira Knightley Jude Law Aaron Taylor-Johnson and the rest of the cast fit perfectly in the high drama epic but it's really Wright's playground. Following Hanna an artful spin on the action movie Wright returns to the period drama but injects it with dazzling daring choices. A book like Anna Karenina could once fit in reality but its larger-than-life legacy precedes it. Wright acknowledges that from frame one approaching the film like a grand ballet or opera where grand gestures broad emotions and overt theatrics are commonplace. That vision clicks transforming Anna Karenina into an exhilarating moviegoing experience.
The storyline of Anna Karenina isn't far off from a daytime soap: It's 1874 and Anna (Knightley) is floating through existence as the wife of influential government player Karenin (Law). But when her brother Oblonsky (Matthew Macfadyen) summons her to Moscow to save his marriage Anna's entire world is shaken up. She meets Vronsky (Taylor-Johnson) a cavalry hunk who finds himself smitten with the taken lady. She's in the same boat: The two strike up a flirtatious relationship that evolves into one of sexual passion. A scandalous affair would incite trouble in the preset day but in the 19th century it's the ultimate crime. Quickly Anna's life comes crumbling down.
The intertwining melodrama of Anna Karenina earned the novel its classic status but Wright uses the material as a launching pad for imagination rather than a tome to translate to screen. Many of the scenes are staged in a theater creating an instant awareness of the production. Sets shift and are reconstructed into new rooms; actors costume change in the span of single shots; action sequences like a thrilling horse race are conducted on stage with special effects you might see on Broadway. Wright works this sort of stylization in the other direction too; a character could walk an empty stage open a door and suddenly be on a snow-covered hill. Anna Karenina isn't the first film to use the effect but in Wright's hands it's exhilarating.
The movie is Wright's third collaboration with Knightley and easily their most successful. Knightley never struggles to stay on the same page as the heightened material whether she's nailing a dance sequence or breaking down in a flood of tears. Casting an ensemble around Knightley is no easy task but Taylor-Johnson gives his best work yet as the debonair love interest and Macfadyen steals the show with moments of physical comedy.
We have expectations of the texture and structure of period romances. Anna Karenina defies them. Masterpiece Theater it is not.