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THE HANDMAID’S TALE (2018) – SEASON 2 – TV REVIEW

THE HANDMAID’S TALE (S2) – TV REVIEW

Based On: The Handmaid’s Tale by Margaret Atwood

Writer(s): Bruce Miller, Dorothy Fortenberry, Yahlin Chang, Kira Snyder, Eric Tuchmann

Director(s): Mike Barker, Kari Skogland, Jeremy Podeswa, Daina Reid etc.

Starring: Elisabeth Moss, Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, Max Minghella, Samira Wiley

Release: Hulu (USA), Channel 4 (UK)

** MAY CONTAIN SPOILERS **

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Misery, fascism and oppression have never been so stylish as in the Margaret Atwood televisual adaptation of her famous novel The Handmaid’s Tale. If you haven’t seen it then the story finds a major part of the U.S.A in the grip of a new, militarized and hierarchical regime following a brutal civil war. This new totalitarian state is called Gilead and is led by power-mad men who utilise religion, torture and weaponry to invoke their barbaric laws. Hang on, that sounds quite familiar!!  Could the show be quite close to real life? From a certain perspective there is indeed more reality here than allegory.

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At the centre of the drama are the Handmaids.  Due to falling fertility rates only certain women can give birth. Those that still can and considered to be dangerous to the Gilead hierarchy are imprisoned to the leaders’ houses and raped in a ritualistic monthly ordeal. The narrative focusses on the plight of June Osborne – now known as Offred / “Of Fred” – as she deals with having everything stripped away from her. She has no name, no identity, no freedom and above all else has been ripped away from her husband and child; only to be treated no better than a battery hen.

Elisabeth Moss gives an incredible performance as June / Offred. A versatile performer she imbues the complex pathos, strength and fragility required to convey the emotion of events within the story. The second season begins with a now pregnant June escaping from her captors. However, as the series progresses we know that she is not going to get away that easily. Because, this is a harsh drama. It doesn’t just smash home the viciousness of a society which oppresses women, it also illustrates the dangers of allowing fundamentalists to take total control. Executions by hanging and drowning are commonplace; and if you perpetually rebel an individual can be sent to The Colonies for a fate worse than death.

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While the themes and events are sometimes difficult to stomach The Handmaid’s Tale is compelling viewing. Be warned though when one is close to a sliver of light at the end of the tunnel, that light is extinguished as darkness pervades. With a brilliant cast that includes Yvonne Strahovski, Joseph Fiennes and the always-excellent Ann Dowd, this is not just powerful storytelling, it’s incredibly interesting to look at too. The maroons, greens, greys, blacks and whites in the colour scheme create a poetic sense of beauty and doom. The direction, editing, lighting and soundtrack serve the narrative expertly as Margaret Atwood’s dystopic future is illustrated skilfully.  Ultimately, in Elizabeth Moss’ portrayal of June Osborne we have a heroic and resilient character; one who, amidst all the suffering, is determined to survive and save those she loves. Praise be!

                     Mark: 9 out of 11

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THE DISASTER ARTIST (2017) – MOVIE REVIEW

THE DISASTER ARTIST (2017) – MOVIE REVIEW

“Just because you want it doesn’t mean it can happen.”

DIRECTOR(S): James Franco / Tommy Wiseau 

WRITERS: Screenplay by Scott Neustadter & Michael H. Weber (Based on: The Disaster Artist: My Life Inside The Room, the Greatest Bad Film Ever Made by Greg Sestero & Tom Bissell

CAST: James Franco, Dave Franco, Seth Rogen, Ari Graynor, Jackie Weaver, Alison Brie, Hannibal Buress etc.

**CONTAINS MINIMAL SPOILERS**

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I’d never seen the cult “bad” movie, The Room (2003). I’d seen clips on YouTube of actor, producer and director, Tommy Wiseau’s magnum opus drama, and not only found it excruciatingly painful to watch but, like a car crash I couldn’t take my eyes of it, transfixed at the creative carnage on show. From the initial limited release in 2003, The Room has subsequently become celebrated as a paean to bad filmmaking as armies of hipsters and millennials laugh and quote-along to agonising performances and dialogue on the silver screen. Even during the showing of The Disaster Artist (2017) I was at, a couple of audience members quoted along to some of fantastically simulated scenes from The Room.

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Films within films and the movie-making process have provided, down the years, a rich vein of comedic and dramatic output from: Singing in the Rain (1952), Living in Oblivion (1995), The Player (1992), State and Main (2000); plus, the film The Disaster Artist most reminds me of, Tim Burton’s glorious tribute to the hopeless, yet determined, director called Ed Wood (1994).  Structured around two struggling actors in Tommy Wiseau and Gregg Sestero this hilariously skewed yet somehow likeable buddy movie is propelled by the Franco brothers’ brilliant performances as European eccentric Wiseau and the younger, naïve, and ever-smiling Sestero.

Wiseau’s character is an actors’ gift as he exists in some delusional yet over-confident Neverland. We do not know Wiseau’s age, background and how he managed to become so wealthy, yet Sestero is drawn to his outrageously up-to-eleven acting performance during a class, and the two soon become inseparable. Moving to Hollywood they valiantly try to make it as actors and the film lurches from one desperately funny scene to another. Despite their apparent lack of ability they won’t be deterred and decide if Hollywood won’t come to them then they will come to Hollywood. They will make their own movie!

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Here The Disaster Artist really becomes a wonderful comedy of filmmaking flaws as we get scene after scene where all manner of rookie errors are committed by Wiseau. James Franco really excels as Wiseau; as the production is clearly beyond him his deluded power and determination will not yield, despite run-ins with the script supervisor (Seth Rogen) and various cast members who have no idea what the hell The Room is about. Here the story becomes compelling as Wiseau’s mania and lack of discipline flies in the face of established filmmaking conventions. During the making of the The Room, Wiseau is genuinely funny, monstrous, and yet somehow sympathetic. He is a true outsider’s outsider; he is a bona fide Hollywood version of Frankenstein’s monster.

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James Franco has an odd career trajectory and has kind of stamped himself as a scattergun jack-of-all-trades, giving impressive performances in such films as: Spiderman (2002), 127 Hours (2010) and Rise of the Planet of the Apes (2011); but also starring in some haphazard comedies of which the hilarious This is the End (2013) was the best. Amidst his prodigious work ethic he has also produced some turkeys (i.e. Your Highness (2011); as well as pretentious adaptations of literary classics by William Faulkner. If pushed I would say that his faithful recreation of the cult of Wiseau is his greatest performance to date. The fact he directed the film too is also remarkable as he got the pitch of parody and drama just perfectly.

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Meta-textually, comedically and entertainment-wise this film is a highly satisfying cinematic experience. As the credits roll the sequence which compares scenes from The Room and Franco’s faithful simulacrum is a joy to behold. I can certainly recommend The Disaster Artist to anyone who enjoys seeing massive fails in the creative process of filmmaking. Having said that though this is a film which also pays tribute to the deluded fools trying to make it in Hollywood. I mean, however impossible it may seem Wiseau and Sestero, refuse to buckle in light of insurmountable odds. Their reward is one of the worst films ever made in The Room; but paradoxically it is a success as it has given so much joy to people at the same time. It’s this joie de vivre that the Franco’s bring forth and the underlying message is that without friendship, dreams and hopes you are nothing in Hollywood or life.

Mark: 9 out of 11