by Tony Dayoub
Belle is a film that holds as many surprises as its lead character, played by the electrifying Gugu Mbatha-Raw. On the surface it's a costume drama about the young, mixed-race Dido Elizabeth Belle, brought up in an upper class British household led by her grandfather, Lord Mansfield (Tom Wilkinson), England's Chief Justice (second in power only to the king, as one man puts it). In private, Dido is treated as separate but equal to her cousin Elizabeth (Sarah Gadon). In public, though, she is forced to play the deferential role blacks were expected to, walking a few steps behind the rest of her family, waiting in the drawing room while they finish their meals in the dining room with any invited guests. A curious turn of events makes Dido an heiress to her father's great fortune while leaving Elizabeth penniless, giving Dido the surprising upper hand in finding a suitable marriage partner.
Showing posts with label Miranda Richardson. Show all posts
Showing posts with label Miranda Richardson. Show all posts
Tuesday, May 13, 2014
Sunday, September 12, 2010
Cronenberg Blogathon: Spider (2002)
by Tony Dayoub
Fragmentation.
Like the shoestring webs Dennis "Spider" Cleg (Ralph Fiennes) weaves in his room slice space into fragments, Cleg's mind is splintered, broken. Those who fail to see evidence of Cronenberg's "body horror" aesthetic in Spider are fixated on the gore and violence of his early career. One need only look at how Cleg's mind betrays him—a subtler but just as threatening betrayal to his identity as Seth Brundle's reluctant metamorphosis in The Fly (1986)—to see that the physical has now become metaphysical. Spider is a turning point where the maturation of this director fuses many elements from his oeuvre, internalizes them, and launches his body of work in a new direction.
Fragmentation.
Like the shoestring webs Dennis "Spider" Cleg (Ralph Fiennes) weaves in his room slice space into fragments, Cleg's mind is splintered, broken. Those who fail to see evidence of Cronenberg's "body horror" aesthetic in Spider are fixated on the gore and violence of his early career. One need only look at how Cleg's mind betrays him—a subtler but just as threatening betrayal to his identity as Seth Brundle's reluctant metamorphosis in The Fly (1986)—to see that the physical has now become metaphysical. Spider is a turning point where the maturation of this director fuses many elements from his oeuvre, internalizes them, and launches his body of work in a new direction.
Wednesday, March 5, 2008
Movie Review: Puffball: The Devil's Eyeball - Reflecting on Roeg

Whatever happened to Nicolas Roeg? Wait a second... who IS Nicolas Roeg? That is the unfortunate response I would get today, as the once promising British director has faded into obscurity to all but the most avid cinephile. His latest film, Puffball: The Devil's Eyeball
So who is Nicolas Roeg? A promising camera operator and cinematographer on such classics as Lawrence of Arabia
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