Displaying items by tag: Imelda Staunton

AMULET

UK, 2020, 99 minutes, Colour.

Carla Juri, Alec Secareanu, Imelda Staunton, Anah Ruddin, Angeliki Papoulia.

Directed by Romola Garai.

A drama that moves between continental Europe and the UK – but, after an hour, more explicit demonic aspects appearing, transforming what has been seen and leading to some grotesque crises.

The screenplay has been written and directed by British actress, Romola Garai, with two central female roles that she herself could have played.

The film opens in a beautifully green valley, a country at war, the central character, Tomaz (Romanian actor, Alec Secareanu who acted with Josh O’Connor in God’s Own Country) border guard. The film focuses on him, his work, his seeing a woman trying to cross the border, his saving her, her attempted escape And his attack on her.

 Then he is in London, lining up for work, living in a hostel, the hostel going up in smoke and his being rescued by a rather forthright nun, and the interesting casting of Imelda Staunton. She takes him into an old house, in need of repair, where a young woman (Carla Juri) is looking after her invalid mother, locked in an attic.

The film explores the drama of the young woman, her isolation, the first meetings with Tomaz, his hesitations, the meals, the room, the discovery of the sick mother, his working on the house, discovering a dead bat in the toilet, the bat biting him. And, the two gradually coming to some kind of understanding, going out to dancing at a club, a romantic advance, conversations about their lives, the sick mother, and his intentions to study for a doctorate.

But, in the last half hour, there is quite a change in atmosphere, the nun turning out to be some kind of emissary of the devil, saying that she didn’t get the nun disguise quite right, then appearing quite dolled up and confronting Tomaz. Then all kinds of grotesque moments, the demonic mother, the attempt to kill her, his slashing her, the effect on him, and the taunting by the nun.

And be a seeming return to calm, the mother pursued in the flashbacks now working at a store, reunited with her daughter. Then the woman of the house, driving a car, meets her, is reassured by her, buys some food, gets back in the car, puts the food under a blanket which is concealing Tomaz.

The film had some critical acclamation – but, the popular bloggers were not taken by it at all.

MRS WARREN'S PROFESSION/ NATIONAL THEATRE LIVE

UK, 2025, 120 minutes, Colour. 

Imelda Staunton, Bessie Carter.

Directed by Dominic Cooke.

One of the great values of the British National Theatre Live productions is that they make available to world audiences dramatisation of plays which most would not have access to, plays that generally would not be produced as films for cinema or streaming.

This is the case here, the opportunity for audiences to see George Bernard Shaw’s initially quite controversial play, written in 1893, a performance in London in 1902, subject to criticisms by government authorities and popular opinion, finally being performed publicly in England in 1925. With the tone of the title, audiences might quickly conclude what Mrs Warren’s profession was, prostitution, then her management of a brothel. However, the drama is in her confrontation with her “modern” daughter who knows nothing of her mother’s life, is well educated, ambitious in work, workaholic, who is confronted by her mother and her business partner who has an eye for her.

The Wikipedia article on the play notes that Shaw said he wrote it "to draw attention to the truth that prostitution is caused, not by female depravity and male licentiousness, but simply by underpaying, undervaluing and overworking women so shamefully that the poorest of them are forced to resort to prostitution to keep body and soul together."

Mrs Warren does not appear early in the play. The focus is on her daughter, Vivie, Cambridge-educated, a talent in maths, ambitions to work in business. Marriage is not necessarily on her agenda although she is attracted to a young man, son of the local Reverend, a gambler who is relying on Vivie’s support. Another potential suitor, sent by her mother, arrives, catalyst for discussion about Vivie and her determination to make a life for herself.

Then, Mrs Warren arrives, flamboyant, aiming at style, her accent betraying her background. And, her business partner in her entourage, is revealed as somewhat lecherous in his support of Mrs Warren and his attraction towards Vivie. And the Reverend is revealed to have some secrets of his own in connection with Mrs Warren.

Audiences familiar with the plays of George Bernard Shaw will remember that he has a talent for exploring the issues that women face in their times – from Caesar and Cleopatra to St Joan to Eliza Doolittle in Pygmalion.

There are further dramatic complications and revelations throughout the play, but this is a tour de force drama for the two actresses, this time played by real-life mother and daughter, Vivie is played by Bessie Carter (resembling her father, Jim Carter, so familiar to many audiences as Carson, the butler, at Downton Abbey) and Mrs Warren is played by her mother,  Imelda Staunton, memorable in such films as Vera Drake.

The set here is smaller than usual, more compact, but effective, especially with lighting and staging. The costumes are of the period, stylish.

The dialogue throughout the play dramatises Shaw’s social concerns, issues of society, poverty, pressures on women, the issues of prostitution, seen in their time over 100 years ago but, still strong issues worldwide in the 21^st-century.

PADDINGTON IN PERU

UK, 2024, 106 minutes, Colour.

Hugh Bonneville, Emily Mortimer, Samuel Joslin, Madaleine Harris, Julie Walters, Olivia Coleman, Jim Broadbent, Hayley Atwell, Voices of: Ben Whishaw, Imelda Staunton. Cameos by Hugh Grant, Joel Fry, Robbie Gee, Sanjeev Baskhar, Ben Miller, Jessica Hynes.

Directed by Dougal Wilson.

Who cannot like Paddington! His stories are always bearable!

We have enjoyed the first two films very much. There was an element of surprise about them, the introduction to Paddington himself, the wonderful voice provided by Ben Whishaw, the members of the Brown family and their ability to welcome Paddington. And, there were various adventures and, who can forget, the villainous Hugh Grant?

It does mean that here we accept Paddington straightaway, the glimpse of his early years in Peru reaching out to pick a beautiful orange, falling into the River – and landing in London. Now, a letter from his Aunt Lucy (voiced by Imelda Staunton) encouraging him to come for a visit (and that humour is awkward episode getting his passport photographs).

But there is a bit of background about Mr Brown, somewhat British stick-in-the Mode, challenged at work about risks. In the brainwave! Why don’t they all go with Paddington to Peru, including the kindly Mrs Bird (Julie Walters). Hugh Bonneville is once again Mr Brown but, this time, Emily Mortimer is Mrs Brown.

Once they will arrive in Peru, now met by Reverend Mother at the local home for retired bears! Suddenly, and exuberantly, we have Sister Act meets The Sound of Music. But, bad news, aunt Lucy has disappeared and Paddington is determined to find her. And, Olivia Coleman, in recent years showing a variety of talent (Wonka,  Little Wicked Letters), is here as the exuberant Reverend Mother.

With the action adventure that follows, more than a touch of Indiana Jones here, the action is geared more to the young audience, the touch of caricature with the boat captain (Antonio Banderas), farcical and slapstick situations high dangers and minutes, especially as Paddington and the family get lost in the Andes jungle, double dealings and some sinister flashbacks…

But, there are some secrets to be revealed, and a variation on the search for El Dorado and that fabled gold. This, everybody benefits from the adventure, and Mr Brown becomes extraordinarily daring. And Paddington has to make a decision, finding his tribe there in Peru, and whether he will go back home with the Browns.

Adult audiences, especially, please don’t rush for the exit when the credits begin to appear because there is a very enjoyable special guest interlude during the credits. And, as always, possibilities for more.

1. The popularity of Paddington, the films? And in himself, from Peru, landing in London, the Brown family, part of the family, his adventures, memories of Aunt Lucy in Peru, the possibility of his returning to visit Peru and Aunt Lucy? The effectiveness of Ben Wishaw’s voice?
2. Expectations from the previous film and their popularity and acclaim? The intentions of the filmmakers here, a film for younger audiences, style, treatment, humour, adventures, the touch of the absurd for enjoyment? The impact for older audiences, the adult characters, the adventure, the mayhem? And the postscript with Hugh Grant?
3. The scenes of Paddington’s origins, little bear, the oranges, on the branch, falling, to England, with the family? The memories of Aunt Lucy? The correspondence with her? His receiving the letter from her, inviting him to Peru, his eagerness?
4. The Brown family, the children growing older, University entrance, computer games and inventions, not wanting to play Scrabble with the mother, Mr Brown, the firm, Risk-taking, the American executive, her demands, the challenge to him? His very proper reticent British way of style of life?
5. The suggestion to go to Peru, the reaction of the family, Mr Brown and the decision to take a risk? Mrs Bird and her presence, decision to go? The farewell in the street with all the British film and television celebrities’ cameos? The flight, landing, Peru?
6. The visuals of Peru, the mountains, the river, waterfalls, locations in Peru and Colombia? The settlement? The boat
7. the convent, Reverend Mother, her cheery attitude, the staging of the musical, Sister Act meets The Sound of Music? The family settling in? The disappearance of Aunt Lucy, the nuns? The retired bears and their lifestyle, bingo…? Reverend Mother and her explanations, her eagerness for them to go searching, but her remaining at home?
8. The expedition, Paddington and his eagerness, the family, hiring the boat, the captain and his daughter, his manner and mannerisms? On the voyage, the comedy, the dangers, the rapids?
9. The background of El Dorado, the captain and his ancestors and their appearing behind him, his relationship with his daughter, the search for gold, Paddington and his arm band, the translation and interpretation? The captain disappearing and his search?
10. The family on the boat, the dangers, capsizing, stranded? Through the jungle? Mr Brown and his being more daring? Paddington’s memories of the Inca image, his arrival at the tower, the rock? The family arriving?
11. The Machu Picchu kind of location, the confrontation with the captain, pursuing more Paddington, the fights, the bolder, the dangers…? The reappearance of the daughter, her helping the family?
12. Mrs Bird, back at the convent, curious, suspicious, finding the radio room, the confrontation, the truth about Reverend Mother? The plane, flying, the crash landing, the confrontation, Reverend Mother from the El Dorado-seeking family, the flashbacks to their disasters? The confrontation with the captain? Her being overcome?
13. Finding Aunt Lucy, going beyond the barrier, finding El Dorado, the gold being the oranges, the scenes of collecting, squeezing, Paddington and his predilection for marmalade?
14. Paddington finding his tribe, his being welcomed, his speech, the family ready for him to stay, his decision to return with them, finding his tribe but going home with his family?
15. Happy ending – and the epilogue with Phoenix Buchanan and Hugh Grant’s style? Future prospects?