Author: Kendra

film diary

Film Diary: The King’s Speech (2010)

This semester I’m taking a class called “Their finest hour and a half: British cinema in WWII” at University College London, and for our first screening today we saw a 1943 Ealing Studios film starring Ann Todd and Leslie Banks called Ships with Wings.  It dealt with the Fleet Air Arm fighting the Nazis in Greece, and wasn’t all-together very good.

As a sort of companion film, I went to the Odeon Leicester Square tonight with a friend to see Tom Hooper’s new film The King’s Speech starring Colin Firth, Geoffrey Rush and Helena Bonham-Carter.  It concerned King George VI, otherwise known as Price Albert, the Duke of York, who ascended to the throne of England after his brother Edward VIII abdicated in order to marry Wallis Simpson.  Bertie was plagued with ill health and a speech impediment stemming from childhood traumas, and when he was older saw several doctors to try and cure his stammer before settling on the unconventional but effective treatment methods of Lionel Logue.  Lionel helped George to gain a public speaking voice, which he used to address England and the commonwealth in a famous speech about being at war with Germany.

This movie is pure heritage at its finest.  1930s England was recreated beautifully, and the costumes, hairstyles, and sets were gorgeous.  I also quite liked the message of the underdog gaining enough self-confidence to become a great leader.  Colin Firth and Geoffrey Rush were excellent, as usual (Colin Firth needs to keep doing these 40s-50s period films, I’m loving them!  Especially A Single Man).  The cinematography and music were also brilliant.

Quite a few people had told me I needed to see this film because it was right up my ally, and they were correct, as always!  Thanks to everyone who recommended it; it was lovely!  Go see it!

cinema experiences

Cinema Experiences: Bringing Up Baby

Tonight was the first time I’d gone to the cinema in months.  I just haven’t had time with the holidays and essay writing, but since I handed in my last essay of the first semester today, it was definitely time to remedy my cinema-going situation.  One of my classmates was celebrating his birthday, so I went with him and a few other people from the film programme at KCL to see Bringing Up Baby, part of the current Howard Hawks season at the BFI.

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friends of the oliviers the oliviers

Friends of the Oliviers: Deborah Kerr

Vivien Leigh and Laurence Olivier counted many famous people among their circle of friends: artists, politicians, actors, etc.  One of those people was British actress Deborah Kerr, whom you may know from such films as Black Narcissus, The Innocents, From Here to Eternity, and The King and I, among many others.  I’d always wanted to know if there were photos out there of Deborah and Vivien Leigh hanging out together, but they seemed impossible to find…until now, that is!

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site updates

New Year, New Look!

A new year is upon us!  I hope you all had fabulous holidays with friends and family.  I spent my New Year in London with friends, but mostly holed up in my room working on my final essays for my first semester classes.  No essay writing time would be complete without procrastination, so in my down time, I decided to revamp vivandlarry.com!

Casee from The Girl Who Stole the Eiffel Tower inspired me to move the entire site to WordPress, and merge the main site with the blog.  This means that the blog is now the home page!  If you had linked to blog.vivandlarry.com previously, please update your links as the vivandlarry.com blog is no more.  But not to worry, you can still read all past and new blog posts right here without missing a beat! The move will definitely make things easier to update, and hopefully easier for visitors to access since you won’t have to go to various subdomains to see content!  Exciting!

It will take some time to transfer all of the content from the old hand coded layout to the new back-end supported one, so please be patient.  I hope to have everything up and running again within the next couple of weeks (after I get those darned papers turned in!).

In the mean time, why not take a look around and get acquainted with the new layout, or have a scroll through the blog!  We’ve had some fabulous guest posts recently, including one about the Oliviers in France, written by Tanguy, and another about Larry and Vivien at the Gone with the Wind premier, written by Denise of GWTW…But Not Forgotten.  Also, be sure to subscribe to the RSS feed to get an email every time the site is updated, or why not follow site updates using Google Friend Connect (see widget in sidebar)?

academia classic film laurence olivier

Art in Film: Hamlet (1948)

I’m just about finished with my essay for my British cinema class.  I’m writing about Laurence Olivier’s version of Hamlet and how it conforms to the concept of “quality cinema” laid out by British critics of the 1940s:

Prior to WWII, British cinema was not regarded in a very serious light. Though the 1930s was a productive period and many émigré directors and technicians were inflecting a  “rich stylistic and thematic corpus of films,” the output of the British film industry at this time was seen by both critics on the home front and cinephiles abroad as being inferior to Hollywood standards and unworthy of praise. It was not until the early 1940s that critics began discerning a wave of films that “seemed to have a positive cultural identity of their own.” From roughly 1942 to 1948, critics from periodicals such as The Times, Evening Standard, and The Observer used the term “quality” to define certain British films that they believed were artistic, realistic, embedded with deeper meaning, infused with a particular Britishness or national identity, and would hopefully appeal to a wide variety of audiences in Britain and abroad. By imposing such high-brow judgments on films, the “quality” critics “hoped to change the nature of mass cinema in Britain.” —the opening paragraph of my essay

Hamlet is undoubtedly a quality film. It was praised for its artistry and acting, and Olivier was labeled an auteur filmmaker. Out of all of his straight cinematic Shakespearean adaptations, Hamlet has always been my favorite. It’s simply a beautiful film. The use of black and white, the lighting, the costumes, the set design, the deep-focus photography. I have to agree with New York Times critic Terrence Rafferty who says:

Olivier may be the only actor who has fully recognized that Hamlet’s irresolution has its own fierce energy, and that his morbidity is, at heart, a kind of ardor. If Olivier were better “suited” to the daunting role, he might not have unearthed so many fresh truths in playing it. His Hamlet may actually be his greatest achievement as a filmmaker. In Olivier’s hands, Shakespeare’s elusive, haunted, infinitely suggestive tragedy becomes unusually vivid and compelling, and yet remains, as it must, wondrous strange.

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