Naomi Watts' upcoming movie about tragic British royal Diana, Princess Of Wales has been edited to remove scenes featuring her two sons Prince William and Prince Harry. The actress plays the title role in new film Diana, which focuses on the last few years of the princess' life before her death in a car crash in Paris, France in 1997.
The movie is due to hit cinemas in September (13), and it has now emerged director Oliver Hirschbiegel has made some major changes prior to its release, including cutting scenes featuring the two young princes.
The brothers, played by actors Laurence Belcher (William) and Harry Holland (Harry), will now only feature in one small scene, saying goodbye to their mother for the last time before her doomed trip to Paris, according to Britain's Daily Mail.
Hirschbiegel reveals the other scenes featuring the princes were dropped because "it never felt right to have them in the film".
He adds, "Everyone knew she was a brilliant mother and loved her boys to death."
In the last seven years Denzel Washington has paired with director Tony Scott on four hyperkinetic ultra-saturated feature films: Man on Fire Deja Vu The Taking of Pelham 1 2 3 and Unstoppable. When he strays from the time-honored action collaboration you'd think the man would take a break from the format. Not so—as Washington's new film Safe House clearly demonstrates.
Daniel Espinosa director of the acclaimed Swedish crime drama Snabba Cash shoots his espionage thriller with Scott-ian flair complete with rapid camera movement a palette of eye-scorchingly bright colors and fragmented editing. If Safe House was emotionally compelling the stylistic approach might make the narrative sizzle—but the script is as simple and familiar as they come: Matt Weston (Ryan Reynolds) is a CIA agent with a monotonous gig. He's a safe housekeeper tasked with maintaining a stronghold in South Africa in case the feds need to stop by for some…interrogating. After a year of begging for field work and keeping the joint tidy Weston finds himself embroiled in the investigation of Tobin Bell (Denzel Washington) an ex-CIA notorious for selling information on the black market. A group of agents bring Bell in to Weston's safe house for a routine waterboarding but everything is thrown into chaos when the lockdown is infiltrated by machine-wielding baddies looking to put a bullet in Bell's head. To keep the captor alive Weston goes on the run with Bell in hand…never knowing exactly why everyone wants the guy dead.
The setup for Safe House provides Washington and Reynolds two fully capable action stars to do their thing and to do it well. The two characters have their own defining characteristics that each actor bites off with ferocity: Reynolds' Weston is a man drowning in circumstance built to kick ass but still out of his league and just hoping to get back to his gal in one piece. Bell has years of experience boring into the heads of his opponents and Washington plays him with the necessary charisma and confidence that make even his most despicable characters a treat to watch.
But the duo fight a losing battle in Safe House contending with the script's meandering action and ambiguous stakes that turn the Bourne-esque thriller into a grueling experience. Much of the movie is an extended chase scene where the object of the bad guys' desire is never identified. It's a mystery!—but the lack of info comes off as confusing. Safe House cuts back and forth between the compelling relationship between Weston and Bell and a war room full of exceptional actors (Vera Farmiga Brendan Gleeson and Sam Shepherd) given nothing to do but spurt straightforward backstory and typical "there's no time Mr. ______!" exclamatory statements. Caking it is Espinosa's direction which lacks any sense of coherent geography. The action is never intense because you have no idea who is going where and when and why.
Safe House is a competently made movie with enough talent to keep it afloat but without any definable hook or dramatic emphasis it plays out like an undercooked version of the Denzel Washington/Tony Scott formula. Which is unfortunate as four solid ones already exist.
Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.