Elsa & Fred

After a very delayed release, Michael Radford's romantic comedy Elsa & Fred has made it here to Australia. The film stars two giants of cinema, Shirley Maclaine and Christopher Plummer in the titular roles. But with a cheesy love-story about an elderly couple, this may be a case of wasted talent.

Set in New Orleans (although you'd never know it), Elsa & Fred follows Elsa (Shirley Maclaine) and Fred (Christopher Plummer), two elderly residents in an apartment building that are opposites in every possible way. Fred is a recent widow and has been forced to move by his daughter, Lydia (Marcia Gay Harden), he's bitter and takes a morbid view on life. Elsa, who's next door, often seems to live in her own dreamy romantic state. She consistently lies to paint a better picture of herself, and dreams of Rome, taking the persona of Anita Ekberg in the film La Dolce Vita. After what seems like an incredibly short period of time, these two opposites attract (*spoiler alert* if you haven't seen the poster.)

This is one of the corniest movies I've ever had to sit through. It tells a story that's been told a thousand times before, the elderly couple hitting it off, opposites attracting etc, and it's been told better before. Clearly I'm not the intended audience, but similar films like The Best Exotic Marigold Hotel series manage to pitch down to a broader audience. The film is a remake of a Spanish-Argentine film of the same name, perhaps it's better, I don't know. They try to draw attention away from the clichés by subverting the stereotypes to make it more interesting. Look at Elsa, she's an eccentric elderly woman who listens to rap music, how original! Give me a break, you can feel the manipulation. The climax of Elsa & Fred I actually quite liked, but it's still extremely corny. The romantic story is a sweet premise but the delivery is appalling. At one point in the film, Elsa's artistic son unveils a painting that he calls "explosion of pain". Watching the film is not far off.

There are a lot of well-established actors attached to this feature. Not the least of whom, Shirley Maclaine and Christopher Plummer. I must say, they do extraordinarily well for the content they're provided with. But this pales in comparison to many of the memorable films they've starred in over the years. Marcia Gay Harden is one of those incredible talents who sadly gets underused in a lot of films, and once again she is here. Chris Noth, Scott Bakula and James Brolin are all similarly talented but they bring about as much to the story as their equivalent cardboard cut-outs would. All of the great talent here push it as far as the material will allow, unfortunately it's just not very much.

The message of Elsa and Fred is that 'It's never too late'. Unfortunately, if you've entered the cinema for this one, it already is.

Magic in the Moonlight

Well after nearly fifty years of his career and nearly fifty films written & directed (quite an achievement on it's own), Woody Allen is still going strong with his latest film, the romantic period piece, Magic in the Moonlight

In 1928, Stanley Crawford (Colin Firth), the renowned illusionist, fraud de-bunker and supreme egotist is called upon by fellow performer and childhood friend Howard (Simon McBurney) to expose a spiritualist named Sophie (Emma Stone) who has won over a rich American family, the Catledges, on the French riviera, nearby to where his Aunt Vanessa lives. However, surrounded by loud-mouthed Americans whilst attempting to catch her in the act several times, Stanley faces a problem, he starts to believe that she could be the real thing.

The story, again written by Allen, is like most of his films both clever and hilarious, with genuine characters that draw you in. If I had any criticisms of it, it's that the characters views morph just a bit too readily, which can sometimes be a bit jarring. However you could argue that this is just Woody having a crack at the immutability of our beliefs.

Both Firth and Stone absolutely shine in their roles. Despite his callousness, pessimism and extreme ego, Stanley is actually quite a likable character, and supremely funny, both of which come down to Firths strong performance. Stone is both charismatic and believable as Sophie. The supporting cast are also very good in this, especially Marcia Gay Harden as Sophie's unwaveringly supportive mother and Eileen Atkins as Aunt Vanessa, whose sassy wit is a joy to hear.

I find with period pieces, especially those that are set in this era, that you can often tell that it's just a facade. Here though, this is not the case where a lot of passion and care has gone into the overall design. The late 20's really come to life with the accurate costumes, lavish sets and vintage cars, all of which blossom with colourful character off the screen. All of this is complemented by a well chosen mix of period music and classical pieces.

Judging by it's current reception, not everybody enjoyed this film as much as I did. But one of the brilliant things about movies is that they're only what each and every member of the audience makes of them, and I found this to be genuinely funny, impeccably directed and surprisingly touching in parts. I really enjoyed this one.