"Will you still love me, when I'm no longer young or beautiful" has been playing on a loop in my head over the last 24 hours. The song, sung by the irreverent Lana del Rey, features on the achingly on-trend soundtrack of The Great Gatsby, and essentially provides the theme tune for the entire film. A lot of people have a problem with the likes of such contemporary heavyweights (Beyoncé, Jay-Z, Florence & The Machine, et al) providing the accompaniment for a film set nearly a century ago. But this is a film by Baz Luhrman. The man who set Romeo & Juliet in a Latino suburb of Miami. Who had a turn-of-the-century prostitute singing Marilyn's Diamonds are a Girl's Best Friend whilst gyrating on a swing. His whole style is about mixing the old with the new; breathing new life into familiar narratives. In this way, Gatsby has two feet firmly planted nearly a century apart: it captures in appearance and essence the spirit of the 'roaring 20s', whilst emphasising the fact that this is a 21st century film through the soundtrack and cinematography (most noticeably the now-seemingly customary release of films in 3D).
In terms of whether the film stays true to F Scott Fitzgerald's venerated novel, I have something to confess: I've never read the book. Boo, Hiss, I know. It's on my to-do list. From what reviews I've read, the page-to-screen adaptation is pretty faithful, as far as plot lines go. Character-wise, people have problems. The choice of Carey Mulligan to play Daisy was criticised, claiming she was not as pretty as readers had imagined. DiCaprio's performance was "as deep as spilt champagne", according to one critic, "forgettable" by another. Certainly, Gatsby is no Blood Diamond, Revolutionary Road, or other DiCaprio films that required a high degree of 'serious acting'. This is not some kind of gritty drama. Gatsby, like the 20s itself, was all glitz and glamour; a world of appearance and illusion, of deception and duplicity. It wasn't serious because it refused to be so. It was a time of rebellious freedom, a decade that rejected the disillusionment of the post-War hangover, and the austerity of pre-War social customs, to create a dreamlike bubble of denial. Daisy is the epitome of the shallow woman: vacuous and self-centred, incapable of taking responsibility for her actions, a coward to the extreme. Mulligan's watery, wide-eyed beauty is certainly easy on the eye, but you are left questioning what on earth Gatsby saw in her. Perhaps we live in a different age. Perhaps strength and independence are now more celebrated qualities for women compared with those of the 20s. For me, it wasn't the casting of Carey Mulligan as Daisy that was the problem. Nor the choice of Toby Macguire as the narrator Nick Carraway - an actor who divides opinion, to say the least. I felt DiCaprio was all wrong. He is just too good an actor. It was like you could see him struggling to play what is, essentially, the attitude of a love-sick adolescent in the puffed-up body of a corporate pretender. He's also too old. Gone is the sparkle of youth, the un-lined face, the slim build of man who has just popped out of his twenties. As an older actor, the one thing he does nail is the confidence and self-assurity of Gatsby. What Nick Carraway describes as that "extraordinary gift for hope" - that everything will be, has to be, alright in the end.
Everyone wishes they knew a Noah in The Notebook. A man who loves you so much that he'd build your dream house for you. A man you can respect. Gatsby essentially does the same, yet we feel only pity and contempt towards his pathetic attempts to woo another man's wilted flower through his parties at his grand house situated just across the bay from hers. Why is that? Is it because we feel he's being whipped by this superficial sissy? Is it all just a bit, well, sad? Perhaps the difference between these two romances is that we all know a Gatsby-type. [Usually] young lads who develop acute tunnel-vision for a nice-but-not-interested girl, and subsequently devote every waking hour to her comfort and happiness. Certainly, this seems to be something of a rite of passage for men - but to see it happening to a man in his 30s is not cute, it's tragic (and not in a Shakespearean way).
So the question still stands: "Will you still love me when I'm no longer young and beautiful?" Will you still love Gatsby when the music is dated, and the scenes look tacky? Probably not. But fuck, it sure looks good now.
Last Thursday two pretty awesome things happened: I finished University, and The Great Gatsby was released in cinemas across the UK...to a almost unanimous panning by critics. Unfortunately, although Baz Lurhman is undeniably talented as a director, he doesn't fail to divide his audiences - usually into those who have actually read the original texts (in the cases of GG and Romeo + Juliet), or are a fan of the period (Moulin Rouge), and those who haven't, or aren't. I nearly always fall into the latter category, not because I'm illiterate or have an allergy to history, but because I'm more of a lover of film as an art form (please feel free to hurl stones at the pretentiousness of that sentence). You wouldn't judge a Monet on how closely it relates to a photograph of the same scene, would you? (Say no) So why would you critique a director's personal interpretation of a novel as "not authentic" to the original? Isn't that a bit, I dunno, boring? For anyone that's a fan of Vice Magazine, you might have caught the actor James Franco's review of The Great Gatsby on its website last week. If not, I shall copy and paste for your enjoyment, as I think it's got a lot of good points to make:
The old saying is that a good book makes a bad film, while a paperback potboiler like The Godfather makes a great film. But this wisdom is derived from the idea that a good book is made by the writing, and if it’s adapted into whatever, its magic is lost. As just about every (film) critique has already noted – and they’re right, if repetitive – most of what makes The Great Gatsby great is Fitzgerald’s prose. We allow the classics to get away with so much because we love the characters. But when older stories are revived for film, the issue of the past and present must be rectified. But that lack was not a function of anything missing in the actors or the general direction as much as it is a result of the passage of time, the encasing of a book in the precious container of "classic" status.
When adapting Gatsby to the big screen, the main questions Baz Luhrmann faced were: What will work? And, like Romeo and Juliet before, How do I make this older material live in a new medium for a modern audience? And somehow Luhrmann managed to be loyal to both the original text and to his contemporary audience. The jazz music of the 20s was raw and dangerous, but if Luhrmann had used that music today, it would have been a museum piece – irrelevant to mainstream and high culture alike, because they would’ve already known what’s coming.
Luhrmann’s film is his reading and adaptation of a text – his critique, if you will. Would anyone object to a production of Hamlet in outer space? Not as much as they object to the Gatsby adaptation, apparently. Maybe that’s because Gatsby is so much about a time and a place, while Shakespeare, in my mind, is more about universal ideas, ideals and feelings. Luhrmann needed to breathe life into the ephemera and aura of the 20s and that’s just what he succeeded at.
Alright, so what does this have to do with Tune Tape Tuesdays, I hear you ask. Well, the answer to that is, the MUSIC. The Great Gatsby, along with Romeo + Juliet and Moulin Rouge have some of the most epic soundtracks in cinematic/musical history. I know I've been including tracks here and there, but I thought I'd stream the whole OST on here so y'all can recreate Gatsby in your own homes.
Alright, let's move on from The Great Gatsby for a moment or two, and bring you some unrelated music. First up is, somewhat unusually, a Dubstep track. Usually these don't feature until much further down the Tune Tape, but Leave Me by Kailo & Moralo caught my attention from the word go by using a sample from Ain't Too Proud to Beg. Classic. I have to say, they've treated the original with a lot of respect, placing embracing wobbles around the incredible vocals of The Temptations - who may not be too proud to beg, but definitely too proud to be messed with. Sorry, bad joke. All in all, they've created a pretty restrained, but powerful Dubstep track that leaves you begging for more (pun intended). Continuing on the 'reinterpretation' theme, this week Daughter released a cover of Daft Punk's huge track, Get Lucky. I heard it on its own, and have to say I didn't think much of it. Daughter have been releasing quite a few covers of late - some good, some not-so-good - and this fell in the latter category. But after a poorly-titled listing on HypeM I had a play of Pretty Pink's Edit of their cover, and really liked it - especially the inclusion of on-beat piano chords. Have a listen, and see what you think. Next up is Hiatus, with We Can Be Ghosts Now, a stripped-down Chillwave song that includes beautiful vocals from Shura (similar to the lead singer of Daughter, now I think about it). If you like a bit more Wave to your Chill, check out Tropics's new track, Courage. With soulful vocals and a sexy, swinging bassline, it's perfect for days spent lazing about in the sunshine. Increasing the tempo another notch, we have the new single Everything from Maya Jane Coles, one of my favourite artists at the moment. What I like about MJC is that they're as good live, or played in a club as they are at home or on your headphones. Very few artists are so transferable - it's a rare thing. Savour the beauty, y'feel me? Another artist of a similar style is Mount Kimbie, who this week released a collaboration with another TTT favourite, King Krule, on their track You Took Your Time. Mount Kimbie lays down a fantastic backing beat that both stands up to and masterfully accompanies the unique vocals of King Krule. This is what 'collabs' are all about. It seems like every week I'm featuring another Lana Del Rey song, but hey, she's amazing so live with it. This week she's brought out Queen of Disaster, which whilst probably not a classic like Video Games or Ride, is nevertheless daymn catchy. Enjoy that in your head for the rest of the week. You're welcome. For those that weren't content with the first serving of Dubstep this week, press play on 12th Planet & Mayhem's track, Whoops, which combines pop-style lyrics and vocals with filthy drops and wobbles. It might be one for the teenyboppers, but I reckon it's still worth a listen. See what you think. The antidote to this is next; a beautiful folk song by Badlands called Sleeping Beauty, whose vocals drift around your head and through your ears until you're completely calm, relaxed, and happy. Try it. Finally, everyone's favourite band The Weeknd have put out a few new tracks this week, including this one - Kiss Land. For me, it's a bit of a track of two halves. The first half, I really like, but then I have to sit through the second half and I begin to lose the will to live. Still, worth a mention. Until next week, y'all - and GOOD LUCK to those of you still slogging away at exams!
Good Evening, Tune Tapers! Before we get started, I just want to draw your attention to something that I'm really proud of. Back in February, my friend Iona guest edited La Belle et La Bête on the very first Guest List Monday. Writing all the way from Austria, she was going round Snow Parks and filming for various companies and competitions. I'd like to think that my Tune Tapes enriched her time there, as a few weeks ago she released her entry to the Nine Queens Video Contest 2013, featuring a song I included on Tune Tape Tuesday #16: Green Garden (Monsieur Adi Remix) by Laura Mvula. Not only am I honoured that she chose a song I'd introduced her to, but I'm also in awe of her talent in Videography. So here is her amazing entry, which won 2nd Place in the competition. Enjoy!
Alright, let's get down to some new music news. First up is an artist that I've discovered today, through the help of the The Hype Machine. He's an Israeli singer-songwriter called Asaf Avidan, and two remixes of his songs are featured on this week's Tune Tape: Maybe You Are (Stefan Biniak Private Edit) and One Day (Wankelmut Remix). Both tracks have that perfect 'Summer Beat', that makes you smile maniacally and clip your heels together. Or maybe that's just me. Whatever you want to do, there's no denying that they're damn catchy. Check out his Soundcloud page here, and show him some love on Facebook here. Next up are The Lumineers, who you'll probably know from their huge hit, Ho Hey, that featured on a number of TV adverts earlier in the year. Hailed as the new Mumford & Sons, this week I fell in love with their track, Stubborn Love, off their self-titled album (worth a download, BTW). Compared to Ho Hey, this is much more dark and complex - both lyrically and compositionally. I mean, just take a look at the opening lyrics:
She'll lie and steal, and cheat, and beg you from her knees
Make you think she means it this time
She'll tear a hole in you, the one you can't repair
But I still love her, I don't really care.
That's some deep shit. Lightening the mood, I'm proud to announce the return of Lana Del Rey. She's released TWO new songs this week; Young and Beautiful features on the soundtrack to the highly anticipated Great Gatsby, and Summer Wine is a Nancy Sinatra cover (whom Lana has previously named as her style-spiration). The former single isn't as catchy as we're used to from LDR, but she sultrily sways over the notes in a way that isn't by any means unpleasant. Put it this way, I'm not sure it'll be one of her greatest hits, but it's worthy of inclusion. Summer Wine is also a bit of a departure from Lana's previous work; seeing her team up with her current boyfriend, Barrie-James O'Neill, in a cute music video that looks like it was made using Instagram. Check it out here. The next track I'm not quite sure why I'm featuring, as it's been so splashed over Facebook that all of you would have already seen it. Nevertheless, any new song from Daft Punk deserves some recognition, especially if they've teamed up with Pharell (what? I thought he'd died? Yeah, me too). Tom Odell's track, Hold Me, is the kind of track you listen to late at night when you're missing your boyfriend. If, like me, your love life resembles the Sahara Desert, just pretend. No one will judge you. Well, not much. London Grammar is a band that I've had my eye on for a while now. Wasting My Young Years is, in my opinion, their best release to date. With powerfully controlled, Florence-esque vocals, and an accompaniment that slowly grows to a delicious crescendo, it's impossible not to be impressed. I suspect it's only a matter of time before these guys hit the big time. Junip's another artist I've discovered in the last few days, courtesy of HypeM. I accidentally listened to it twice, which I'm really glad I did. I probably would have overlooked it otherwise. Your Life, Your Call is what we in the 'music business' call "A Grower". Give it a chance, I guarantee it'll be top of your 'On-The-Go' in no time. Another band with a new release this week is Disclosure. This time, they've teamed up with Eliza Doolittle on You & Me. It's by no means as big as White Noise, but it will be featuring on sound systems across the country's dingiest clubs, so you should probably get familiar with it. TORCHES's track, If The People Stare is also worth a mention as a curiously pleasant hybrid of Chillwave and Indie. With more guitar than synth, but a beat that wouldn't be out of placed on a Washed Out album, it shows beautiful restraint and is an example to the old 'less is more' approach. Just when we couldn't stand another car driving past blasting Thrift Shop, Macklemore has come out with another anthem: Can't Hold Us, featuring the smooth RnB tones of Ray Dalton. Now whenever you hear the former, you can roll your eyes and say "that song is SO old...". You're welcome. I try to feature at least one Trap tune every week. This week's track comes courtesy of Djemba Djemba's remix of BANKS's Fall Over for you to perfect your TrapStep to. Finally, get your Drum'n'Bass fix from Flyte One, who have expertly remixed Laura Aquilina's Fools. If you've got a minute, the original's pretty decent too. That's enough from me now - time to leave you in peace. Over and out!
In case you're wondering what kind of saddo is at home on a Friday night, punching away at her keyboard, look no further. It's the saddo who handed in their university dissertation early. Now, while this was cause for applause (that rhymed) earlier today, I'm now regretting the decision, as anyone that I would be celebrating with is actually finishing their dissertation to give in on the CORRECT day. By which time, I'll be pretty over the whole 'I've just handed over 25% of my entire degree' thing. Timing, apparently, is not my forté. Nevertheless, I refuse to have nothing to show for my Friday night - hence, after a long hiatus, I have decided to bring back Film Fest Fridays! In case you've forgotten/weren't aware of its existence in the first place, Film Fest Fridays was born out of a challenge I set myself: to watch every single film in IMDB's Top 100 List. Now, while I did pretty well, I didn't quite finish it before the deadline of Christmas, so I created FFF in a bid to not only finish what I'd started, but also review any new films I thought were noteworthy. This week, I'm doing something a bit different. I want to give back. So, I've gone through IMDB's Top 100 again, and noted down any films that I think really deserve a place up there. To make it fair, I haven't included any Disney films (they've got a whole post to themselves), otherwise we'd be here all day. Instead of putting screenshots, I've chosen to include the trailers instead, incase any of you haven't seen them. Ok. Let's start.
DRUGS AND BAD BEHAVIOUR
Don't judge me for it, but in general, these are my favourite types of movies. Gritty documentaries of life at its very bleakest. These films are like watching a car crash in slow motion - you know the outcome's gonna be bad, but you just can't help watching . None of us are angels, but these guys take it to a whole new level. Which makes for fascinating, memorable viewing.
1. Trainspotting (1996)
This film starts with probably the best monologue in cinematic history. In case any of you haven't seen in (you should be ashamed), it's basically the best anti-heroin ad you'll ever see. It's about a group of Scottish lads who steal, shoot up, have sex, shoot up, go cold turkey, shoot up, get into tricky situations, and shoot up again. Probably best known for its 'crawling baby' scene, which is as close to a bad trip as you're ever going to get from eating a bag of salted popcorn sober. Four words: choose life, choose Trainspotting.
2. The Basketball Diaries (1995)
Shot one year prior to Trainspotting, this is pretty much the American equivalent. Centering around a group of Catholic school boys, led by a young, pre-Rom+Ju Leonardo di Caprio, they get swept along into the dark underworld of drugs and crime. It's based on the true story of Jim Carroll (played by di Caprio), who wrote the book of the same name - largely a collection of diary entries which started around the time he was playing basketball for his school (hence the title). In this film, there's no big heist, no amusing run ins with drug dealers, or liaisons with schoolgirls - it's real, unfiltered, inglorious life. And it's amazing. In case you need any more reason to watch it - it features Marky Mark Wahlberg in one of his first screen performances, which he absolutely nails.
3. Thirteen (2003)
I first watched this film when I was thirteen myself, and I remember it making a massive impression on me. It was a time when girls at my school were getting into this kind of stuff - staying out late, having sex, wearing inappropriate clothes - basically trying desperately not to be 13. This film takes it to another level, but the mental attitude was still the same. We didn't want to be kids, but to all intensive purposes, and to everybody else, we were. The film centres around Tracy, a previously family-orientated 'Momma's girl', who sees the glamorous popular girls in school seemingly having such a great time, that when she gets her 'in' with one of them, she clings onto that social ledge with such tenacity that her life spirals out of control. The story is based on the actress and co-star Nikki Reed's experiences, who co-wrote the script for the film. You can really tell that these episodes really happened, because you just can't make up stuff like this. It makes for intense viewing, but is a stark warning of the dangers that can befall kids who grow up too fast.
4. Girl, Interrupted (1999)
Along with One Flew Over The Cuckoo's Nest, this is one of the best films ever made about mental illness. Set in 1969 against a backdrop of social change and shifting attitudes towards what is 'normal' in relation to the human psyche, Girl, Interrupted is a film which documents what life is like inside a woman's mental institution. Winona Ryder, who plays Susanna, a girl unsure of herself and her future, is sent here by her parents - a couple who belong staunchly to the pre-1960's school of 'Stepford wife' attitudes. She's a thoroughly relatable character, placed in an environment that tests and shapes her view on 'real life' in a new world. With a cast that includes Angelina Jolie, Vanessa Redgrave, and the late Brittany Murphy, it's an amazing insight into the ideals that would eventually result in the feminist movement.
CULT CLASSICS
These two films are, in the most honest and non-cheesy way possible, timeless. They're what so many films have emulated but been unable to touch. Everyone knows and worships James Dean and Rita Hayworth for their look that encapsulates a by-gone age, but not everyone knows the reasons why they enjoyed such status in the first place. I hope these films can explain - they deserve to be appreciated as much as their famous cast members.
5. Rebel Without a Cause (1955)
If any film can capture the baffling world of a teenager, it's Rebel Without A Cause. James Dean plays Jim Stark, a young man who is misunderstood by both his parents and his classmates. He gets into trouble, says weird stuff, and is generally just a bit 'off the wall'. The film spans one day in the life of Jim - one of those days that changes a person's life forever. Set in Los Angeles, it's got everything that a film needs: fast cars, pretty girls, hot guys, an amazing script, and a memorable ending that is guaranteed to engrain itself into your psyche forever. The trailer might be cheesy as hell, but the film is anything but.
6. Gilda (1946)
In my first year at university, I did a module on Film Noir. I'd never been much of a fan of black and white movies; I thought them dull, trite and cheesy. Until Gilda. Gilda is pretty much the sexiest, most bad-ass woman to ever grace the silver screen. She's a proper femme-fatale - none of this 'Stepford Wife' bullshit; she's a proper firecracker, and knows how to work it. In summary, Gilda is a film about the lengths a woman will go to to get revenge on a lover who scorned her in the past. I mean, what girl can't relate to that - and what man doesn't fear it. I wish I had her balls, is all I can say. Girls: watch and take note. Guys: just watch Gilda. She hot.
BEST SCRIPTS
Just as I love good lyrics in a song, I love good scripts in a film. The script is what lives on between two friends who watch a film together - I mean, how many personal jokes between you and your mates are taken from great lines in films or TV series'? Pretty much all of them. Well these films, if you haven't seen them, are guaranteed to provide many more...
7. Withnail & I (1987)
A small geeky admission: I pretty much know this whole film by heart. That's how many times I've watched it. I cannot think of a film with more one liners that you can use with your friends, or simply on your own with strangers for your own amusement. For those that haven't seen it, this film basically follows a pair of weird aspiring actors who escape the confines of London's Camden Town for a weekend in the country. The result is hilarious. Richard E Grant plays Withnail, a privileged 'lost boy' with an appetite for drugs and anti-freeze; whose sidekick is the reluctant 'I' (whose real name you never find out). It's a film about the loveable eccentricities of the upper classes - think Boris Johnson with less sleep and more hallucinogens.
8. Annie Hall (1977)
In my opnion, Annie Hall is Woody Allen's best film. Forget Manhattan, or Vicky Christina Barcelona, this one is his finest. It follows the dysfunctional love life of the neurotic Alvy (Allen), largely focusing on his relationship with the beautiful and sweet Annie Hall. Alvy has a severe case of 'foot-in-mouth' disease, which has hilariously disastrous consequences in every social situation he encounters. I think it's his best film because it's the one which doesn't try too hard. It doesn't try to be something it's not, or overcomplicate the plot to get your attention. It's funny, but it's charmingly relatable: we've all got a little Alvy in us, and we've all had a relationship similar to his and Annie Hall's. If for no other reason, watch it for the line: "Don't knock masturbation - it's sex with a person you love." Genius.
9. Before Sunrise (1995)
Anyone who's travelled, or wants to travel, needs to see this film. It plays out the situation that every traveller-at-heart dreams of happening: you meet your dream girl/guy on a train, take a leap of faith, and spend a day with them. But only a day; the next morning, you go your separate ways, never knowing what might have happened if you'd stayed. Jesse, played by Ethan Hawke, gets talking to a girl on the train to Vienna. He's got one night there, before he catches a plane back to the US. He invites her to explore the city with him. This movie might not have a script full of sharp one-liners, but it is an example of pure poetry in motion - a film that explores the philosophies of young dreamers, full of hopes, fears, and naive ideologies that encapsulates what it's like to be on the foothills of adulthood. Apart from being a brilliant advertisement for not only Vienna but the virtues of travel, it's one of those films that has an open-ending. In other words, it's life. Full of the unknown, the 'to-be-continued', the 'what-ifs'. Just make sure you have enough money in the bank to book an inter-railing ticket afterwards.
10. Blue Valentine (2010)
I thought I'd end 'Part One' on both a high and a low. Blue Valentine is one of the most incredible films I've ever seen. It's about as close as you'll get to a 'real' relationship without actually going through it yourself. Through flashbacks, it documents a pair's relationship from its infancy - the highs of the honeymoon period, the obstacles that they face and continue to face, and the strain of unrealised dreams and shattered expectations that plagues nearly every serious relationship. Starring Ryan Gosling (hel-looo) and Michelle Williams, and with a stellar soundtrack from the incredible Grizzly Bear, it's one of those films that, when it finishes, you'll want to rewind it right back to the beginning and watch it again. It's painfully addictive viewing, and one of those films that stays with you long after it's finished. I highly recommend.
Well, that's it for Part One - depending on people's reactions, and whether next Friday I'll still be at home drinking wine in the bath - watch this space for the next installment...
Well, it was kind of inevitable, wasn't it. In case you live on the moon, The 85th Academy Awards - or The Oscars, to you and I - was held last night in *Hollywood* (yes, the stars are necessary.). Those who were awarded a little gold man included Jennifer Lawrence for Silver Linings Playbook (at only 22!), Anne Hathaway for her role of Fantine in Les Mis (for around 15 minutes on-screen...), Daniel Day-Lewis for Lincoln (his THIRD Academy Award) and Quentin Tarantino for best screenplay in Django Unchained. This being a fashion post, I won't go into a debate on whether I think the awards were given to the right people as that always sounds quite pretentious and boring. Instead, I'm going to give a low-down on the Red Carpet hits and misses of this year's Academy Awards, tell you how to emulate the A-Listers, before moving on to a normal weekly Wish List. Lately, I've had a few people saying that my Wish Lists are too expensive (in my defence, they're a WISH LIST, not an actual shopping list...), but to prove to all you Doubting Thomas's that I can do style on a budget, I've set myself the challenge of only using High Street stores, so you can go out and buy it all! For anyone that wants to watch it, you can download the Red Carpet coverage HERE, and watch the Awards Ceremony itself HERE. Thank you please. (All Red Carpet photos sourced from vogue.co.uk.)
Best Dressed
This years Oscars saw two big trends on the Red Carpet: Nude Tones & Navies. Led by Oscar Winners Anne Hathaway and Jennifer Lawrence, nude is effortlessly classic and super-flattering. If you prefer darker tones, navy - as seen on Nominated Actress Helen Hunt - is much less boring than black, and doesn't drain your skin tone...
Get The Look
1. Sequinned-Shoulder Gown, Mango, £120. Buy it here. 2. 'Tizian' Earrings, Swarovski, £100. Buy them here. 3. 'Nanette' Shoes, KG Kurt Geiger, £130. Buy them here.
1. Chiffon Maxi Dress by Wal G, Topshop, £40. Buy it here. 2. 'Filippa' Chain Mail Box Clutch, Reiss, £125. Buy it here. 3. Chandelier Crystals Necklace, Mango, £23. Buy it here. 4. Dinner Jacket with Satin Collar, The Kooples, £415. Buy it here. 5. Jacquard Dress Suit Trousers, The Kooples, £175. Buy them here. 6. Navy Silk Knitted Tie, Reiss, £55. Buy it here. 7. 'Anton' Black Shoes, KG Kurt Geiger, £110. Buy them here.
Worst Dressed
Obviously, the most fun you can have on Oscars night (besides finding yourself trapped in a closet with Ryan Gosling), is slating the people who made epic fails in their outfit choices. The theme of disasters this year seems to be 'Dancing on Ice', with gowns that wouldn't look out of place on a competing ex-Hollyoaks actress. Here come the Fashion Police...
Alright, that's enough bitching - time for this week's Wish List!
1. Short-Sleeved Panel Shirt, Topshop, £34. Ask the panel, here.
2. Crystals and Chains Necklace, Mango, £43. Be part of a chain gang, here.
3. Stripe Fishnet Underwire Bra, Topshop, £16. Bras and Stripes, here.
Apologies are in order once again for the lateness of this post. Unfortunately my charger broke up with me on Friday, which resulted in a total loss of battery and a broken heart. Luckily chargers are marginally more replaceable than men, so I managed to source out a new one yesterday. Last week also witnessed the comeback of a dangerous addiction I thought I'd managed to kick as a tween: Pokemon Crystal on Gameboy Advance. Turns out, you don't even need the outdated consoles any more - you only have to log into www.playr.org and you have thousands of retro games at your disposal! NB: Not recommended for anyone who has an essay deadline in the near future.
Piss off, Rattata.
In between fighting (and defeating, I might add) the Pokemon League, and searching for an Apple shop deep in the heart of Surrey (comparable to finding the Holy Grail), I have squirrelled myself away this week as penitence for not publishing a Film Fest Fridays post last week and being late this week. To make it up to you, I've watched FIVE WHOLE FILMS and reviewed each and every one of them: Seven Psychopaths, Flight, and Warm Bodies are all currently in cinemas, joined by Chinatown and Amadeus, which were on my 'to watch' list from IMDB's Top 100. So, here's what I thought of them...
Seven Psychopaths (2012) IMDB Rating: 7.4/10 My Rating: 7.7/10 Right from the opening scene, you can tell that this film desperately wants to be a Tarantino. They've drafted in a witty scriptwriter, arranged a great cast, and rented lots of guns and vintage cars - but let's get one thing straight: it ain't got nothing on Pulp Fiction. That's not to say the film isn't highly enjoyable, because it really is. The film, which is a mise en abyme (or to be less pretentious, a play within a play), centres around Colin Farrell's character Marty, who is writing a screenplay called Seven Psychopaths. Oddly enough, he's writing about seven - he believes - fictional psychopaths, but it soon becomes apparent that these guys are far from imaginary. Marty is, if I'm being honest, rather a weak character; a wet fish that mopes around LA with a wining Irish accent. His 'best friend' and subsequent psychopath Billy (played by Sam Rockwell), however, has an amazing screen presence, and it's really him - with the help of the legendary Christopher Walken (Weapon of Choice...) - that makes the film so watchable. Take away these two characters and I'm afraid you're left with a rather unsatisfactory imitation of Reservoir Dogs that wouldn't really cut it.
Chinatown (1974) IMDB Rating: 8.4/10 My Rating: 6/10 Billed as a 'neo-Noir', and highly praised by both critics and friends, I sat down in front of Chinatown with pretty high hopes. Hopes that were unceremoniously dashed. For those who haven't seen it, it follows a pretty similar line to Michael Clayton, or Erin Brockovich - replace George Clooney/Julia Roberts with a young Jack Nicholson, instead of a lawyer, he's a Private Investigator, and the 'fat cats' of the big company he's up against is the Los Angeles Water Board of the 1930's. Nicholson's character becomes embroiled in a political scandal that centres around the covered-up diversion of water from Los Angeles to poorer, previously dry, farming areas just outside of the city. This parched land is being swiftly bought up by city bigwigs, in on the secret plans. Woven into this espionage is the daughter of the owner of Los Angeles's Water, Evelyn Mulwray - supposedly the femme fatale of the film. Well, I'm just not buying it. For a start, no offence to Faye Dunaway, but Evelyn Mulwray is just not pretty or alluring enough to really make you give a shit. Sure, she's posh and hoity-toity - the opposite to Jack Nicholson's working man character - and she smokes like a chimney, but her face is just too, well, plain. The film's also super slow, and takes hours (literally) to get to any kind of climax, which, when it finally arrives is, I have to say, pretty anticlimactic. The sole propeller of the movie is Jack Nicholson, without whom, the film would be entirely lacking in laughs or interest. I believe there is some significance of LA's Chinatown in regards to the plot, but by the time it was possibly explained I'd switched off completely and was willing the film to end. If anyone would like to let me know about this, I'd be mildly interested. Similarly, the 'shocking' element of the whole film is also brought in far too late in my opinion. In short, if you like long-winded films about the 'travesty' of rich men being tipped off about cheap property, and you have around 3 hours to spare, Chinatown may be the film for you. For those of us who prefer shorter films with a spicier subject matter, you'll probably be as bored as I was.
Amadeus (1984) IMDB Rating: 8.4/10 My Rating: 7/10 Amadeus is a film that my parents have been raving about for years. So naturally I've postponed watching it for as long as possible. Filled with an entire cast that no-one's seen or heard from ever again, I get the feeling that Amadeus is one of those fluke cult classics; a film that didn't necessarily break any new cinematic ground, but has nevertheless stuck in the mind of those who watch it. For those who didn't get the reference from the title, the film is about the life of Wolfgang Amadeus Mozart, told through the eyes of his greatest rival and most envious contemporary, Antonio Salieri, in a series of flashbacks from the mental institute where he will eventually end up. Essentially, it is a story that highlights the difference between someone good and someone great - and the disparities between their characters. Salieri was a great musician and composer, who came from a similarly humble background to Mozart, but tirelessly clawed his way to the top with no help from anyone. Mozart, on the other hand, never had to work; he was born great, and his journey to the top was significantly shorter and easier. Salieri was a devout Christian, who gave up himself wholeheartedly to God - abstaining from any activities that might raise even the most prude of eyebrows; Mozart was a loud-mouthed, obstinate, rude and lecherous rascal, with no regard for any authority - heavenly or earthly ("I am a vulgar man. But I assure you, my music is not.") Salieri just can't understand why God would give these extraordinary musical powers to such a, well, dick - and slowly begins to lose his faith in God, as well as himself. The film is quick-paced and absorbing, and the use of flashbacks is well-done rather than cheesy. The script leaves a lot to be desired, and has significantly dated since 1984, but I suppose a little artistic license is acceptable. It's not the glossy, Kiera Knightly saturated, period dramas we're used to seeing, but that doesn't make the sets or the costumes any less inspiring - in fact, the 'look' of the film is probably one of the best things about it. As well as looking great, the film also makes you contemplate the attitudes of the talented - those who are given ('by God', if you're that way inclined) an unsurpassed flair for something, rather than striving to attain it. Going beyond that, it highlights what we take for granted in life, and how often we forget that there are many who work for the 'normal' life we are used to.
Warm Bodies (2013) IMDB Rating: 7.4/10 My Rating: 8.5/10 I pretty much knew this would become a firm favourite as soon as I saw the trailer. It combines two of my favourite genres in an epic hybrid: post-apocalyptic (think 28 Days Later, I Am Legend, The Road, etc) with a love story to rival Twilight - and an awesome soundtrack to boot. Also, for a newly single gal like me, I was not complaining at having to watch Nicholas Hoult for one and a half hours. For those of you who haven't been inclined to watch the trailer (hi, male population), the story's very loosely based on Romeo & Juliet. Nicholas Hoult, aka 'R', is a guy from the wrong side of town - the zombie side, to be precise - and 'Julie' is the daughter of the head of Camp Living. But R isn't your normal zombie. In fact, he hates what he is, and tries to do everything in his power to retain some sort of 'humanness' - decorating his home in an abandoned airplane with all sorts of human memorabilia. Julie is sent on a group patrol mission to retrieve medical supplies for base camp, which winds up with her boyfriend getting killed and eaten by none other than R (awkward turtle...). In short, R feels pretty bad for eating her BF, so he takes her back to his place and they make sweet zombie love. No, not really, that comes later. Despite Nicholas Hoult shuffling around like a depressed Emo, and occasionally eating brains, he does grow on you, and by the end of the film you are willing him to jump his blonde captive - preferably naked. Like, fully naked. Everything out. Thanks. Admittedly, it's a bit of a girl's film - but guys, I guarantee if you take any girl to this film, you'll definitely get laid. I've got a feeling 'zombie role-play' is gonna become a thing...you heard it here first.
Flight (2012) IMDB Rating: 7.3/10 My Rating: 7.3/10 Before watching this film, I actually enjoyed flying. I trusted the pilot, picturing him as a man of outstanding calibre and rock-steady morals, and never really gave a thought about what a plane crash might be like. I'm now a WHOLE lot more apprehensive about stepping on an aircraft after watching this film. Whip Whitaker, played by Denzel Washington, is an alcoholic and drug-addicted pilot, who enjoys a life full of vice and shame similar to that of a rock star. Except he isn't playing electric guitar in Status Quo, he's flying people thousands of feet above the Earth in a suspended metal cylinder. Hundreds of people. Every day. This film centres around the day his luck runs out. After a particular heavy night on booze and cocaine, he powers up a plane that has a mechanical fault, and, 30,000 feet above America, takes a nose-dive. Powered on nothing but vodka orange and coke, he somehow, miraculously, manages to land the plane, in an ordeal which is about as traumatic for the viewer as for the passengers. Whip is an anti-hero; deeply flawed and wholly unlikable from the start. It's a fairly typical story: divorced, he has a volatile relationship with his wife and son, he lies through the skin of his teeth about pretty much everything, has a penchant for pretty young women, and a filthy temper and attitude. He's not exactly winning any awards for Pilot of the Year. Yet he's bizarrely watchable - almost like watching a car crash (or more appropriately, a plane crash) in slow motion; you just can't look away. Let's get one thing straight: this is not a story of redemption or resolution - and in many ways, it doesn't deserve to be; that's not the point. I'm sure you could draw many symbolic similarities between Whip's life and the plane in a nose dive - as the pilot of both the plane and his own life, he is the only one who has power to save it. But it also highlights how we believe people who are in charge of lives - whether that be doctors, pilots, politicians in some ways - to be holier than holy. When really, they're just people, and people will always be flawed. That's not to say that I condone the pilot of my next plane ride to take a bumper of coke before takeoff, but just to remember these people are...people. Just like you and me. Any suggestions for this week? Love, Belle x
