An Education

A cushioned lesson ...

Jenny (Carey Mulligan) is a 16 year-old girl who is attempting to get into Oxford University and has high promise of doing so due to her exceptional intelligence. However, she feels that life is far too linear and she wishes to be able to express herself by listening to French music and going to the cinema and theatre whenever she can, but her parents forbid this for the most part. On a chance encounter Jenny meets David (Peter Sarsgaard), an older man who allows her the freedom to live life the way she wishes to do so.

An Education is adapted from the memoir of the British journalist Lynn Barber, and is a coming-of-age drama set in 1960's London. The story unfolds in a very standard fashion but it is the very core themes of the narrative which keep it engaging. The main theme of the film revolves around the importance of a rationalized living, such as getting a formal education and having the chance of being boxed into a typecast, versus living life to the full and having an existence on the foundation of enjoyment. The films is also evenly paced and while it is a fun and interesting watch, there is a slight mishap to the overall narrative structure which hinders the film greatly. While the film is set up by trying to understand how Jenny feels about her current life compared to the life she could have, the film does little to dwell on the realistic consequences of the actions made by many of the characters, especially Jenny. Any poor decisions she makes in her life are gazed across far too quickly, and those by other characters are none the better. It is a disheartening aspect to the story, and one which would have made the film more cohesive with it's message.

Nevertheless, there is not much else to criticize the film for. The acting, for instance, is superb with some natural performances. Most of the screen time is dominated by Mulligan and then Sarsgaard. While the chemistry between both never really works all the time, they are still appear amply suited. The rest of the cast all support these two and even the likes of the talented Emma Thompson and Alfred Molina never imbalance the fine equilibrium. Each character also comes across as unique. For example, where Mulligan's Jenny is rational and tries to act sophisticated, Rosamund Pike's Helen is ethereal and frivolous. These contrasts seem simple but they work in addressing the core concerns of the film.

Director Lone Scherfig does an amazing job with her creative vision of the script even though she does not create a unique cinematic experience. For the majority of the film, the camera work is understandably controlled, and helps to convey the characters as they ought to be. However, as if to aid the thematic notion of the film, when Jenny in introduced to a more a world of artistic expression, Scherfig is quick to make the camera work more loose and free, heightening the film's very premise of rationality versus emotion.

Beyond some implied sex and nudity, An Education contains little in terms of content with violence and language.

There is a charming simplicity to An Education which allows the narrative to unfold without any hindrance. The acting is great, the direction is just as good, and the story has some important messages to impart to audiences. Though as a coming-of-age story, An Education steers clear of trying to have an impact with its core themes, and ultimately suffers for convenience.

8/10

Screen date: 31 July 2009
Release date: N/A (Durban International Film Festival 2009)

The Countess

Ambling on ...

In the 17th Century, the Hungarian Countess Elizabeth Bathory (Julie Delpy) and her husband, General Ferenc Nadasdy (Jack Berglund), are regarded as one of the most powerful couples in Hungary. Soon after Nadasdy's death, Elizabeth begins a passionate relationship with Istvan Thurzo (Daniel Bruhl), who is nearly 20 years her junior. When Istvan leaves her, she believes it is because of her age. This ultimately leads to her believing that the blood of virgin girls can help her remain youthful, and Elizabeth starts a mysterious killing spree to satisfy her vanity.

The issue surrounding Elizabeth Bathory makes for an interesting narrative in the cinematic format. The story is told in a rather linear fashion, beginning with Elizabeth as a child and how politics deemed who she should marry in her older age. Politics is perhaps the best dealt with theme in the film: while not shown in a refreshing manner, politics still has an overriding importance into understanding how arranged marriages were so important for families in regards to gaining new ties and allies and, more importantly, how these marriages ultimately develop characters in order to enrich the story. Yet it is disappointing that nothing helps strengthen the plot: the life of Elizabeth Bathory is open to much speculation with there being a debate as to whether she really is the 'Blood Countess' or whether she was trapped in a political conspiracy. But none of this is even questioned until the very end of the story, but by then it is so incredibly obvious that the filmmakers have wanted to portray Elizabeth as a cold-hearted murderer, that the alternate paradigm briefly introduced serves little purpose. Another problem with the narrative is how the film's underlying philosophy, as emphasized by a voice over from Istvan at the very start of the film, is in conflict with the film's main story. Istvan believes that the true story of Elizabeth was never revealed but as shown from the films intention, it clearly is.

There is a reasonably strong cast in the film but it never shows. Both Delpy and Bruhl lack emotion and their portrayed relationship is not any better. In Delpy's defence it can be argued that her character lacked any real emotion but nevertheless, there is nothing really compelling about the performance. William Hurt features at points throughout the film but he rarely makes much of an impact. The best of the lot is Annamaria Marcina who feels more believable then her co-stars, and does a good job as a supporting actress.

Julie Delpy does shine in her role as director with the film being, for the most part, eloquently shot. There are some interesting scenes of symbolism with the heightened ominous atmosphere of the film starting off early and is carried along until the end. Considering the subject matter, the film is neither as gory or bloody as you would expect, but the acts of cruelness still have a haunting presence to them, and Delpy must be congratulated for this. Likewise the musical score appears to compliment the film though is forgettable by the end, and the costume design has a real sense of reality to them though they lack extravagance as shown in other similar period films.

Sex is implied with upper female nudity appearing at times in the first half of the narrative. Language is almost unheard of but violence is shown in various manners: there is some decapitation, and piercing of skin from sharp items. None of the violence is lingered upon but their buildup has a threatening quality to them; blood does appear throughout.

The Countess is a surprisingly average film with a good sense of technical techniques being weighed down by some weak showcases of acting and a confused directional narrative. The beginning attempts to setup the film as a mystery thriller, something to get audiences debating the accuracy of events, but ultimately the film is so conclusive with what it wants audiences to believe that the film gets muddled up in its own creative process. It is an interesting movie with an exciting subject at its helm, but it is nonetheless a flawed film that just never gets going.

5/10

Screen date: 29 July 2009
Release date: N/A (Durban International Film Festival 2009)