An Education

Set in London in 1962, An Education tells the story of Jenny (Carey Mulligan), a bright, ambitious sixteen year old who hopes to attend Oxford, become cultured and literate and leave her modest suburban beginnings behind.   Played with mischievous brilliance by Carey Mulligan (Pride and Prejudice), Jenny is charming and silly and cynical and smart, and the film’s early scenes where she lounges with her schoolgirl friends, planning glittering futures and giggling about boys, are perfectly done.

But then Jenny meets David (Peter Sarsgaard), a dapper con man nearly twice her age.   She is waiting at a bus stop in a downpour, bedraggled and clutching her cello and book bag; David rolls up and acknowledges that while it would be reckless for her to accept a ride from him, couldn’t he just give her cello a lift home?  David is taken with Jenny and he charms his way into her life and into the confidence of her parents.  Allowing them to believe that he and their daughter are well chaperoned, he introduces Jenny to a world of jazz clubs and champagne, restaurants and race tracks, extravagance and glamour.  It’s all fun, David tells her, and while Jenny luxuriates in his attention and lavish lifestyle, she starts to question her own well laid plans.  What she doesn’t question is David himself; with the innocent confidence of an adolescent, she believes she knows everything she needs to about her captivating paramour.

An Education is rightly described as a coming of age film, and adults watching the story unfold will assume that naïve Jenny is headed for a very long fall.  But the film is more complicated than that.  Screenwriter Nick Hornby  surrounds Jenny with interesting adults who have taken different life paths; as Jenny rethinks her future, they revisit their own decisions (with the exception of Emma Thompson’s hard as nails headmistress – she never wavers).  So while the film is all about Jenny’s experience, the story is thought provoking in a bigger way, with an underlying seriousness of tone even in lighthearted moments.  Unlike most coming of age pictures, An Education is likely to appeal to adults more than teens, and given the older man – younger woman plot, that may be just as well.

The acting is terrific all around.  Carey Mulligan is already on the short list for a Best Actress nod.  Peter Sarsgaard plays David with vulnerability and a touch of tenderness, so that we have sympathy for him even though we know he’s probably a louse.    Alfred Molina is a revelation as Jenny’s buttoned up father who wants the world for his daughter even though he rarely strays more than a mile or two from his house.  And Olivia Williams is lovely as the teacher who stoically stands by Jenny even when she is at her teenaged worst. Every performance is worth seeing but, fair warning, parents of teens may find this film disturbing.  Playing in limited release around the country, mostly major metro areas. 

What's on for Halloween

There aren’t a lot of new films to see this weekend, because people don’t much go to the movies on Halloween, so the big studios are holding out.  The only splashy opening is This Is It, the documentary based on footage from Michael Jackson’s final concert rehearsals.  The film drew middling reviews and middling crowds when it opened Tuesday night.  Critics complained that it was neither a good documentary nor a good concert film.  But there were fans, many of whom found the film as intriguing as the man, which is to say if you find Michael Jackson intriguing, you will probably enjoy the film. If you want to honor the holiday by scaring yourself silly, go see Paranormal Activity.  If you’ve done that already, look for a small film called House of the Devil, which is creating a stir among horror fans – sort of a Satanic eighties cult thing, with Rosemary’s Baby thrown in.  If you’re in the mood for the occult but you don’t want to be scared, try Zombieland.  This cheerful little post apocalyptic buddy road movie is a lot of fun if you can manage the Zombie gore stuff.

Struck at home, answering the door?  Think about renting a classic: maybe some Hitchcock, like Dial M for Murder, or The Shining.  Carrie is also a fun film, particularly if you have older teenage girls around.  For an elegant but creepy take on vampires look for Bram Stoker’s Dracula, directed by Francis Ford Coppola.  Won a lot of awards when it came out in 1992.  And, if vampires are your thing, a little Swedish film called Let the Right One In is creepy and intriguing and not at all Hollywood.  Try to see the original before the remake comes out next year.  An American Werewolf in London just got a big re-release on Blue Ray and HD and all that, if you’ve never seen it it’s a good horror film; scary and dark, but well acted and funny.  John Landis directed. These are mostly R rated: if you want something tamer, and you’ve missed the Zeitgeist, you could try Twilight, a vampire love story with hardly any fangs.  If you have a lot of trick or treaters while you’re watching this, it won’t make any difference.

What to see, what to see...

This weekend the big opener is Where the Wild Things Are, Spike Jonze’s  (Being John Malkovich) adaptation of the classic children’s book.  Getting generally good to excellent reviews, although some critics think the storyline is overloaded with dysfunctional family psychology.  Universal acclaim for the special effects.  You can also catch Law Abiding Citizen, a thriller starring Gerard Butler (300, The Ugly Truth) as a vigilante seeking revenge when the man who murdered his wife and daughter gets a plea bargain and walks.   Jamie Foxx plays the District Attorney in Butler’s cross hairs.  Critics didn’t like this picture, but early screenings with regular folks went okay.  Rated R for some very troubling violence.  The Stepfather is a remake; the original came out in 1987 and was a surprisingly good little horror movie that did well on the festival circuit.  This version, starring Penn Badgley (Gossip Girl), didn’t prescreen and hasn’t been reviewed by anyone.  Not a good sign. 

Still in theaters: Couples Retreat, last week’s box office winner, is not a great film but it could be diverting if you are in the mood a mindless night out.  Zombieland is the most purely entertaining film in theaters.  It’s funny and charming and quirky and strange.  It does require a certain amount of tolerance for gross Zombie stuff, but in a fun way.  If you prefer to think when you go to the movies, and you live in a major metropolitan area, consider A Serious Man, the Coen Brothers’ latest, about a father suffering like Job in a Jewish community in 1960’s Minneapolis.  It’s quirky without much funny, but overall an interesting film.   The Informant features Matt Damon as a corporate whistle blower with questionable motivations. Damon is terrific, the film a little odd as it tries to tell the story as an absurdist comedy.  It’s not completely off the mark but it doesn’t quite work. You could also look for The Invention of Lying, the Ricky Gervais (The Office, Extras) comedy about a world where no one can lie – except, apparently, Gervais.  It has gotten middling reviews but the more admiring ones point out that it has a subversive message. If you see the film, look for that.  

Bright Star

Beautifully expressed love story. The romance of John Keats and Fanny Brawne plays out on screen with gentleness and restraint.

Keats is a legend among English poets (A thing of beauty is a joy forever…), and most of us are at least a little familiar with his work. He died young, of tuberculosis, but in the years before his death he was consumed by a great passion for young Fanny. It was not a popular match: Keats’ friends didn’t trust the young woman, believing her to be fickle and a flirt, and her mother could not approve an engagement to a penniless poet. None of this stopped the young lovers, however, and writer/director Jane Campion shows, with great believability, the inevitability of their romance. There are no Hollywood contrivances here, no “meet cute” scenes where snappy sarcastic dialogue signals that a couple will get together in the end. Fanny and John’s courtship proceeds slowly, frequently chaperoned by her young siblings, and it is the children’s reactions that often telegraph the significance of the lovers’ exchanges, necessarily subdued in Victorian England. Campion is very good at this, animating her story with supporting characters that, with an expression or subtle gesture, shine a light on a small but important moment in a scene.

One of the intriguing things about Fanny and John’s love story is that its details were unknown for decades following Keats’ death. Fanny mourned for years but finally moved on, marrying and having a family of her own. However, unbeknownst to her husband, she kept Keats’ ardent love letters, and her children arranged for them to be published after their parents’ deaths. These letters form the basis of much of Campion’s story, and she pulls whole lines of dialogue from them, providing a sense of authenticity that often goes missing when period films try to attract a modern audience. Keats’ poems are also included, but organically, read and discussed by Keats’ peers and shared between John and Fanny, even though she says plainly that she doesn’t always understand them. However, Campion makes sure Fanny gets credit for being more than an object of affection and desire: the young woman designs and makes all her own clothing; she is often shown stitching or sketching, an artist in her own right.

Tremendous performances all around: Abbie Cornish as Fanny is luminous but steely – you easily believe she would pursue her passion regardless of obstacles. Ben Whishaw inhabits Keats with all his dramatic artistry. And Kerry Fox plays Fanny’s conflicted mother with simple, beautiful, humanity. There are moments in Bright Star that are heartbreakingly romantic, and others that are heartbreakingly sad, but you never feel manipulated. It's fair to say that this film runs long but it is very good, and it will stay with you after you leave the theater. Playing all across the country. Definite Oscar bait, most likely in the acting and costume categories.