A Career in Ten Movies: Kirsten Dunst

Child stars have an uncertain fate. At best they fall into irrelevance and their careers die a remote and reluctant death. Some accept this blithely, like seagulls flying out to sea, looking back on their superstardom as a dream. At worst, they degenerate into a drink and drugs free fall like a skydive into hell (Lindsay Lohan anyone?). But some child stars weather the storm and somehow emerge the other side of adolescence relatively trauma free and with a glittering career trailing out behind them like a peacock's tail. Kirsten Dunst is one such star, and though for a while it may have seemed that she had flourished in childhood and was merely floundering in light and un-challenging roles thereafter, she has since made a much welcome return in a film that shows some of her earlier, ‘side tracked’ promise finally being pushed to the fore. Its time to delve into ten memorable roles from one of my favourite child stars, the divine Ms Dunst, who has the appeal of being the sunshine starlet, with darker, deeper substance:

1. Interview with the Vampire - Claudia



This was Kirsten's 'break through' role at the tender age of ten, the role with which, without, there might have been no Kirsten. This was an explosive start for the young actress in her role of Claudia, the child vampire, transformed by ‘parents’ Lestat and Louis, part of Lestat’s diabolical scheme to bind Louis to him eternally. To make a child vampire is to break the rules because to trap an ageing spirit, soul and mind in the body of a child is rather than being some Peter Pan like miracle, a type of torture. Sure enough, after coming across a beautiful creole woman, Claudia grows to resent the limitations of her childlike physicality and begins to despite her surrogate parents, whilst plotting revenge on Lestat. She finds herself committing one of the worst sins imaginable for a vampire: killing her maker, and is locked away with fledgling Madeleine as punishment, who having lost her own child, wishes to care for Claudia, who is harbouring fears that her beloved Louis will leave her for the more worldly Armand who tempts him away with secrets of their origin. Kirsten is truly beyond her years in this role, capturing the hopeful and blind acceptance of youth that enable her to be a manipulative and cunning killer, the fury and frustration of adolescence and the cynical, hopeless boredom of adulthood that stretches on forever. Not only did she receive a golden globe nomination for the part, she also got to kiss Brad Pitt, although she was far too young to be suitably impressed...

2. Little Women - Little Amy



After assuring everyone she really can play a 'little woman' in her portrayal of Claudia, Kirsten won the role of ‘younger Amy’ in the movie adaptation of the novel ‘Little Women’ alongside a troupe of other cast members who grew up to have cataclysmic careers. The film follows the trials and tribulations of the March sisters in the aftermath of the American civil war. Kirsten manages to capture Amy’s romantic and idealistic spirit in childhood and looks cuddly and adorable throughout.

3. Jumanji - Judy



Jumanji was one of my favourite childhood films. It had everything: suspense, fear, monkeys and mischief, all contained and controlled by the throw of the dice as siblings Peter and Judy find themselves inadvertently freeing Alan Parrish (who was sucked into the game as a child) and having to continue to the bitter end in order to be rid of the game forever. If you want monkeys riding motorbikes, stampedes, monsoons and mosquitoes, then this film will certainly keep you entertained. Kirsten manages to hold her own with some pretty big names and establishes herself as a certified movie cutie. I think this film was Kirsten’s very own ‘Home Alone’, securing her in the minds of many as a nostalgic part of many adults childhoods.

4. Kiki's Delivery Service - Kiki



Kirsten might not lend her appearance to this role, but she does lend her melodious voice to the part of witch Kiki (ironically one of Kirsten’s nicknames). This film has Miyazaki’s distinctive style slathered all over it from the bright and chirpy landscapes to the intriguing cast of characters. Witches traditionally must live alone for a year at the age of thirteen and so Kiki travels far from home to Koriko with her black cat Jiji. In order to support herself financially she starts up her own delivery service (hence the film's title). Miyazaki’s films always have a strong moral centre and this one most certainly encourages innovation and independence, particularly amongst young women. Kiki’s year off is littered with peaks and troughs but everything works out in the end and she decides to make Koriko her permanent residence. Miyazaki once famously claimed that children should watch just one movie a year and that movie should refuel their curiosity and encourage them to go out into the world and make memories. This might not be the only film you watch all year, but it should be one of them.

5. Small Soldiers - Christy Fimple



Kirsten establishes herself as ‘underage eye candy’ as cutie-patootie girl next door Christy, the object of Alan Abernathy’s affections. The two ‘would be lovers’ find themselves caught between Gorgonites and the Commando Elite, two sets of warring military themed action figures. If you want to watch Kirsten being attached by dolls and riding a motorbike, you’ll find all that and more here. This is the role in my opinion that for a while ‘doomed’ Kirsten to the sweet and fluffy girl next door parts, and though she shimmers in the role thanks to her all American girl looks, we all know she has far more substance than that!

6.The Virgin Suicides - Lux Lisbon



Lux is the perfect girl next door with a twist and this is the second role after Interview with the Vampire that gives her the opportunity to portray a darker style of teenager. In this mystery that is concluded in the title, the Lisbon sisters take their own lives in unison following the successful suicide attempt of youngest Cecilia and the film simply tells the tale from the perspectives of the neighbourhood boys who loved them, without really examining why. The daughters are beautiful and privileged but suffocated by their small town life and over zealous, fanatically religious parents. Lux is the most blinding of the daughters, androgynous, indefinable, indecipherable, she turns to chain-smoking and promiscuity on the roof after her high school romance with dream boat high school hunk Trip Fontaine falls to pieces and he leaves her cold and alone on the football field after doing the deed. This is a surreal, dreamy tale, deeply unsettling and melancholic that captures all of the paraphernalia and cotton candy inconsistency of young girls on the cusp of becoming women. Blurring the boundaries between the girls innocence and their growing worldliness, the tone of this film is uneasy and disconcerting, but certainly memorable and impenetrable, as we never really understand the sisters motivations for departing this world.

7. Drop Dead Gorgeous - Amber Atkins



You might be noticing a theme emerging here; blonde, blue-eyed, dimpled Kirsten is the maddeningly unattainable girl next door that every boy wants and every girl likes. In Drop Dead Gorgeous, a comedy that falls somewhat flat, she is entered into a beauty pageant with a smattering of other memorable faces i.e. Denise Richards, but the contestants are taking things somewhat seriously, in their attempts to be crowned most beautiful. Styled as a mockumentary, the girls battle it out in the rather elaborately titled: Sarah Rose Cosmetics Mount Rose American Teen Princess Pageant.

8. Crazy/Beautiful - Nicole



This is an interesting take on a love story that blurs the boundaries that exist between ethnicity, culture and class. This relationship is doomed to fail in every way, so polarised are the two romantic leads, and yet somehow their love affair seems to survive (or reach the end credits at least). It's unusual to see Kirsten play the rebellious one in the relationship and deviate entirely from her cookie cutter image.

9. Marie Antoinette - Marie Antoinette



Sofia Coppola produces a crayola world of colour in this retelling of the life of the French Queen Consort (and it takes a whole hell of a lot of artistic licence when it comes to historical accuracy). Kirsten manages to be adorable, precocious and entirely hedonistic as she enjoys the car crash of luxury and extravagance. History mingles with the MTV generation as Marie is portrayed as a more charismatic Paris Hilton or Kim Kardashian. Of course, a life lived with such reckless abandon can't go on forever especially as the French revolution draws near.

10. Melancholia - Justine



Von Triers movies are mirrors into the innermost workings of his dark and morbid soul. Indeed the insides of his brain must look like a musky old attic. Nonetheless, although he doesn’t exactly make the malady of melancholy mainstream, there is something eerily and obtusely beautiful about Lars perception of the world through the filter of depression. Despite the fact that she was portraying Lars distinctive experience of depression, she surely connected on some level with her own earlier experiences, for which she attended rehab. Melancholia marks a welcome return for Kirsten who is refreshing as Justine, the bride who has everything (much like Dunst) on a surface level, but who cannot find fulfilment or contentment.  Her bleak, flat portrayal was streaked through with real notes of hysteria and a profound if nihilistic view of life in her portrayal of Justine in the midst of a depressive episode, but she still manages to sparkle and shine as the ‘happier’ Justine, still parading her mask of ‘normality’. its unusual to see Kirsten, despite a couple of darker earlier roles, in anything less than bright and beautiful because she suits those roles to a T thanks to her sunny, positive disposition and All American girl ways. This is why she is so suitable to play such a contrasting role, because she shows us that anyone can suffer from depression, no matter their social standing or accomplishments.  Anyone who thought this was the end of Kirsten's career, after Spider man is set to be rebooted, is in for a shock.

Here are a few of Kirsten's roles that didn't make the list, but are still worth a watch:

* Bring it On - Torrance Shipman



Snarky cheerleaders face off to be the best. Unfortunately for 'The Torros' their former squad leader has swiped their 'winning routine' from a group of rival competitors. The girls must put a rough and ready routine together in order to stand a cats chance in hell of victory.

* Get Over It - Kelly Woods



Girl dumps boy, boy enters play, boy begins to fall for new girl - that's the 1-2-3 synopsis of 'Get Over It'. Of course, Kirsten is the new girl who begins to steal his affections away from his heartbreaking ex.

* Spider-Man - Mary Jane Watson



She might not be the obvious choice for Mary-Jane, but she is the cute girl next door type. The Spider Man series is undergoing a recent reboot, but there are still memorable moments to tune in for, such as the upside down kiss (as pictured).

* Mona Lisa Smile - Betty Warren



Back in the traditional 50's, a free thinking arts professor decides to try to shake loose the Wellesley girls. Betty is harder to break than most, as she has her heart set on the conventional life of a picture perfect wife. When her husband commits adultery, she slowly begins to transform into her true self. It was through staring alongside Maggie G, who spent the duration of the film 'Secretary' crawling across the floor with an envelope in her mouth, that Kirsten was introduced to future love interest, Jake G.

* How to Lose Friends and alienate People - Alison Olsen



A British journalist makes it as a big shot after endless attempts but finds it hard to fit in with all the shiny, sparkly stars that now form the bulk of his social circle. Kirsten plays his eventual love interest, when he can finally ease off the sheen projected by Megan Fox's character.

* Wimbledon - Lizzie Bradbury



A high-ranking tennis pro slowly finds himself falling down the tables. His interest in rising star Lizzie, helps him rekindle his love for the game.

* Elizabethtown - Claire Colburn



Kirsten gets to sizzle alongside Orlando Bloom as the two embark on a love affair during bizarre circumstances.

* Eternal Sunshine of the Spotless Mind - Mary



This story belongs to Jim Carey and Kate Winslet, as Joel and Clementine, the couple who wish to erase all memories of their traumatic love affair from their minds. Kirsten's side story is that she is being chatted up by a man who is mimicking all of Joel's moves to woo Clementine. She might also have had a turn on the old memory erasure machine herself for having a fling with her married boss...

A Career in Ten Movies: Tom Hardy

Every actor, whether they are churning out rehearsed lines in a waiting room fringed with competitors or bright eyed and bushy tailed fresh out of drama school, dreams of establishing an all encompassing career that enables them to play a wide spectrum of characters. One such actor whose star is set to rise in 2012 is Tom Hardy, a home grown British talent with a rough and ready streak which is reflected in the roles he has been offered. With the perfect mix of physical masculinity and ability to reflect heartfelt inner turmoil, Hardy has emerged as a hunk, an anti-hero and a villain. Here I look at ten of Tom’s most memorable roles:

1.       Wuthering Heights – Heathcliff



Certain roles present themselves as gifts to the actors that take them on. Heathcliff is one such character that comes steeped in tradition and expectation, in being a role that has been done to death but never really ‘captured’ in essence on screen. Many believe that Tom’s turn as the tortured and embittered lover comes closest. Though he speaks with a brawling Londoners accent, Tom managers to come over all ‘Yorkshire’ (and rather convincingly) and this is also the film that persuaded Tom to ditch his long term love interest and mother to his child and test out a new relationship with co-star Charlotte Riley, which adds a dimension of plausible reality to their simmering on screen chemistry. With his wild, windswept looks, Hardy brings an interesting quality to the bitter and brooding Heathcliff.

2. Warrior – Tommy Conlon



A role that Tom was born to play – gritty, grim and gruesome, Tommy Conlon is estranged from his family and harbours a few grudges against his brother and father. Little does he know he must battle brother Brendan in order to win a rather handsome fortune in a mixed martial arts competition. Tom perfectly becomes the brutal and unbalanced animal of a man that Tommy morphs into in the fighting arena, whilst managing with great sensitivity and grace, to depict the tender fragility of Tommy’s past whilst never losing the manly, masculine slant of his personality. The raw, wild tenacity of Tom’s adrenal performance established him as a man’s actor in one respect, but by capturing the heartache of Tommy’s tragic past, Tom secured himself as a favourite with the ladies. It didn’t hurt one bit that his shirt was off practically the entire time.

3. Inception – Eames



Inception is loaded with big movie star names – you’ve got Leo, you’ve got preggers from ‘Juno’, Michael Caine (who will forever be Scrooge to me), but Tom manages to own the character he is bestowed with and really hold his own. Eames is an identity forger who joins Cobb’s team as they perform the feat that is inception. The plot for me was crazier and more complex than a box of frogs attempting to knit a scarf but even with his role as a sideline character, Hardy demonstrates sincerity and naturalness in his performance.

 4. Bronson – Charles Bronson / Michael Peterson



That rough diamond London Boy gleam that Tommy boy gives off does not go unnoticed. Charles Bronson has been described as one of Britain’s most notorious criminals, having spent forty years in prison for his various crimes. If you’re looking for the bad boy with charm, Tom can most certainly deliver. He transforms in this role, to deliver a sneaky, sinister, slow paced way of speech that verges on the very cusp of insanity and psychosis. Bursting with effervescent personality, Hardy manages to be funny and frightening and even manages to look kinda sexy with that mammoth tash. This role single-handedly set Tom up for the many villainous roles he has been bestowed with since, as he adds a human touch to what could be construed as very black and white roles.

5. Star Trek: Nemesis - Praetor Shinzon



Tommy boy portrays a clone of the well known and well loved Captain Picard as all Star Trek fans will know. Possibly a good set up for his role as Tommy in Warrior, Shinzon is the ultimate test tube baby, brewed, bottled for a purpose and discarded when he is no longer of any use. The exchanges between Shinzon and Picard are memorable as Tom displays a growing confidence and command of his craft.

6. Layer Cake – Clarkie



This is a true all boys club bruiser of a film, so who better to cast than Tom, with those chavtastic charming looks? With a double first from Cambridge, Clarkie is in cahoots with Daniel Craig’s ‘XXXX’ as a supplier of cocaine. The film takes an interesting angle and you really have to pay attention to delve into the layers of society and its criminal underbelly that seems to permeate through all classes and spheres. ‘Clarkie’ is not a huge role but Tom establishes himself as ‘generic bored and suave criminal' rather well. This was the first film I witnessed Hardy in and it’s amazing to see how far his career has since spanned.

7. Scenes of a Sexual Nature – Noel



Tom’s career could have gone in a very different direction had he followed the rom-com route, but this seems to be one of his few forays, as various strangers meet and mingle in a Hampstead Heath park. Tom is gawky, awkward and a little cringy as he attempts to pick up the ladies (which must have been a real stretch for him), but there is something quite endearing and disarmingly sweet about him as a ‘park dwelling creep’. I for one am glad he took the route of badassery.  There is definitely a place for him should the chiselled, hot damn sexy thing fail to work out for him.

8. RockNRolla – Handsome Bob



Once you’ve been in one movie that explores London’s intricate criminal underworld, chances are, you’ll probably be in them all. Directors tend to get all nostalgic and whimsical about home-grown English criminals and they love a bit of banal, bad boy banter. Naturally, Tom has a place here with his half cocky, half naive eyes. As part of the ‘Wild Bunch’, Handsome Bob does a lot of smoking and swearing. The interesting twang to Hardy’s character is that in the smack talking, gun toting world of crazy crime – a world that just screams MANLY MEN – Handsome Bob is a closeted homosexual harbouring a massive crush on member One Two (well he is played by Gerard friggin’ Butler).

9. Tinker Tailor Soldier Spy – Ricki Tarr



By now, Hardy has established himself as ‘one of the boys’ so no doubt calling on his experience from earlier bit roles in Layer Cake and RockNRolla, Tom is yet another part of a complex crime puzzle. Tom is fairly unrecognisable as a blondie and without giving away too much of this intricate espionage movie (for those who haven’t seen it) he plays his part well.

10. The Dark Knight Rises – Bane



Fair enough this film has not been released yet, but I just know that this film will do for Hardy what the Dark Knight did for Heath Ledger. Not much is known of Bane’s character, although we do know that he is Batman’s new adversary eight years after the events of the Dark Knight and Batman has somewhat lost his edge after the tragic death of Harvey Dent.  Hardy became a sheer machine for the filming of this movie, bulking up to great effect and has explained that he wishes to portray Bane as a ‘menacing’ character. Tom certainly looks the part, but he is sure to become it too, promising that Bane will be an exhilarating antagonist with a brutal and unforgiving vendetta against Gotham City.

Top 10 Movie Mermaids

There is something naturally silly about the torso of a woman merged with the lower half of a fish, and yet there is also something prevailingly dazzling and enchanting about the fabled mermaid, who has intrigued and captivated  audiences for a long time. Mermaids abound in literature, legend and folklore, and though there are many mermaid movies, there aren't nearly enough. Here are some of the more interesting movie interpretations of these sensational creatures.

1. Hook







Peter Banning returns to Neverland to recapture the adventurous and sprightly spirit of his youth. He re-aquaints himself with the Lost Boys and pesky pirates, but also with the beautiful mermaids, depicted here as benevolent and frankly 'free with the lovin' types who return him to the world above the water with a whimsical kiss. This short scene really captures as a cameo the serene and ethereal nature of the mermaid. There design and makeup, though simple, shimmers and shines.

2. Peter Pan







Disney never disappoints with its maidens. Characters tend to be polarized as all good or all bad, and the mermaids as depicted here, are childlike, spiteful and jealous, and can afford to sit around all day combing their hair and looking pretty. They are happy to be reunited with piper Peter, but are a little more reluctant when it comes to Wendy, but its okay, they were 'only trying to drown her'. They fit the traditional depiction of mermaids as gorgeous, unknowable and vacuous.

3. The Little Mermaid



Ariel, underwater princess and daughter of King Trident, sacrifices the life she knows to gain a human soul and the love of Prince Eric. The first mermaid I witnessed on film (this movie was released the year I was born), Ariel was unique amongst Disney princesses as a rebellious, free-spirited and unconventional soul, right down to her flame red hair and skimpy attire. Most little girls might dream of being princesses or make-believe that they are mermaids, but Ariel dreamed to be human. Disney doubters see the story of the Little Mermaid as the tale of a young girl who sacrifices her independence and individuality to give herself over to a life of convention and tradition, but there is still something endearing about this story, which is the epitome of 'the grass is greener on the other side' syndrome.

4. Aquamarine



A mermaid with a valley girl twist, the consequence of two best friends wish to not be separated, Aquamarine is the ‘miracle’ that emerges as a result of their wish. She is able to take human form during the day so long as she makes no contact with water. She has arrived on land in order to understand the human emotion of love and quickly captures the attention of lifeguard Raymond. This is a fresh take on the mermaid story and interestingly depicts the mermaids fascination with humanity, which rivals that of mans preoccupation with the sea. Think 'The Little Mermaid' meets Clueless.

5. Splash



Everyone knows this mermaid movie. Daryl Hannah is Madison the mermaid, who befriends a young boy named Allen, and captivates him for all of his days until she reunites with him in adulthood. Unlike 'typical tails', which are quintessentially turquoise and relatively aquatic, Madison's tail is reminiscent of that of a large goldfish jumping into the setting sun and is memorable because of it.

6. Pirates of the Caribbean: On Stranger Tides







The saving grace of this otherwise dire movie, are the mermaids, who prove to be the scene stealers. Erotic, exotic...oh and flesh-eating, these mermaids lure men to their dooms, similarly to the sirens, and drag them to their deaths in the depths by coaxing them in with a kiss. These mermaids are both innocent and evil, captivating and crafty, but yet frustratingly underused in the movie and in the promotional material. Hopefully, Disney will catch on to the fact that the world needs more mermaids!

6. Harry Potter and the Goblet of Fire



The merfolk of J K Rowling's world are a complete reimagining. They lack the glamour, instead appearing as rather grotesque, and most certainly not wizard friendly. The merpeoples' language exists as an ear-piercing screech above water, but appears as a lulling melody below. Any director when told that mermaids will be making an appearance in their movie, would be tempted to resort to the tried and tested clichés of the beautiful female mermaid (that is, after all, what most movie goers want to see). Not so in Harry's world, where mermaids appear more androgynous and indecipherable. Harry has to venture into their world to conquer his second trial in the Triwizard Tournament.

7. Ponyo





Ponyo is Studio Ghibli's imagining of the story of The Little Mermaid. Originating from a castle under the sea, Ponyo who is enlivened with great curiosity after a trip in her fathers submarine, slips away to see more of the world above the waves. Here, she befriends Sosuke and transforms into a human child.

8. Fishtales



Most men probably dream of seeing Kelly Brook embodying the role of a scantily clad mermaid. With this film, their fantasy can reach fulfilment. Here she portrays the stunning mermaid Nereid, who is in danger of being poached for her rather expensive tail. Like many mermaids before her, Nereid sacrifices her existence as a mermaid to become a human woman.

9. Peter Pan (2011)



The mermaids of the 2011 interpretation of Peter Pan are an unusual combination of sensuous and eerie, with their flame red hair (before Rihanna made it mainstream) and pale blue skin. The mermaids are aware of everything that occurs in Neverland and are notoriously evasive (somewhat different to the Disney mermaids, who enjoy a chat and catch up and act more like sorority sisters). The mermaids still have it in for Wendy (poor girl).

10. Night Tide



Slinky sailor Johnny Drake falls in love with Mora, who plays at being a mermaid for a living. As the film progresses, we cannot be sure if Mora really is a mermaid, or whether she is simply a little lost in her own fantasies. Mermaids don't usually feature in thrillers, so this is well worth a watch.

Wuthering Heights

There are iconic lovers that seem to capture something of the nature of love; Romeo and Juliet, Tristan and Isolde, Jack and Rose, but none cut through the sentimentality and slush quite like Cathy and Heathcliff. These two have always been the wild and untameable beasts of the moors who in each other find an obsessive and dizzying equal that cannot be contained. Emily Bronte’s classic novel has faced countless adaptations and now it faces another, in the capable hands of Andrea Arnold. This is gothic love, without the fluff and sweetness of Hollywood rom-coms; these are hard, raw, real characters, who for me come the closest to representing the dark underbelly of our sweetest intentions. This is perhaps why it is one of my favourite romantic novels, and why it endures today, as a simple tale that packs a profound punch.

Arnold has made some interesting choices with her adaptation, the most obvious one being her
decision to cast Solomon Glave and James Howson as her leading man in both his childlike and fully grown forms. Initially, I had my doubts about this. This was not the Heathcliff I envisioned, and it seemed to make the dubious and vague nature of Heathcliffs ethnicity in the book stark and startling. It added a racial motive for me, which did not colour the books (pardon the pun). This isn’t Othello. It also gives Arnold the excuse to throw in the N word (as well as the C word and a few others), which for me felt like adding a spark of controversy for the sake of it, and did not suit the setting. I never envisioned the characters as saints, but the ‘effing and blinding’, did not suit my idyllic, picturesque vision of Bronte’s Yorkshire. Any objections I might have had to the choice of lead actors evaporated when the chemistry between the characters became apparent.

I don’t envy the person whose job it was to cast Cathy and Heathcliff. They have perhaps, the most insistent, passionate and all-consuming chemistry of all – not an easy thing to find and create between two actors. Nonetheless Arnold manages it, by pairing the striking Glave with mischievous Shannon Beer, as the two frolic as children. In adulthood, Howson reunites with Kaya Scodelario (only after a few scenes did I manage to place her face – its only Effy from SKINS!). Arnold is known for recruiting unknown talents and I believe Glave will emerge as one; he has a quiet, simmering intensity and a very memorable face. At times, his delivery feels wooden and inconsequential. By contrast, Howson (not my automatic choice) grew on me slowly as the film progressed, and Kaya might just carve out a career for herself yet!



The tone of the novel is captured perfectly. Life on the moors is savage and cruel and the cinematography of the ugly and the natural reflects this. Stark, bleak, hopeless – nature courses
unbound. The camera obsesses itself with animals colliding in pairs, clear symbols of the cacophony of the combining of Cathy and Heathcliff as horses whinny, corralled by their owners, birds soar and insects gather at window panes for escape. The camera rushes at us like the wind, spinning and whirring like a lover’s homemade video footage. By running on the moor, they are flying. This is a tactile film that captures taste, feel, touch – the camera languishes through Cathy’s autumn hair, Heathcliff bites his lip, the two lock hands in the squelching mud. These scenes are for the senses. This film is like being buried alive in the earth, agonizing to some, sensuous to others, as we are pushed directly into the flame of their candle. The symbols and alludes are clear – Cathy and Heathcliff are nature and are animalised. Even the colour choices are straightforwardly simple; Cathy rides in red, Heathcliff in black, Isabella in white. Some viewers might see this as a bit of ‘directing for dummies’ – I was quite enchanted by its easy style. Cathy is shown to be air, mercurial and flighty as the wind that ravishes the moors – her hair abounds all about her and she collects feathers belonging to the birds. By contrast Heathcliff is the steady, unmoved yet volatile fire – he can only burn dependably in the grate of the home with his love.



This story has always been one of love, and the destructive potential of our passions. If the animals
of the moor reflect the vivacity of the pairs love, then they can never truly be happy with the likes of Edgar and Isabella, who represent civilized, stable, dependable love, which though consistent and loyal, can never make us feel true exhilaration. Isabella and Edgar are subordinates to Cathy and Heathcliff, but when the childhood soul mates are together, they are true equals. There are not
many love stories today that capture this sort of true, natural equality where man and woman are one another’s confidant and counterpart. In adulthood Cathy may be conditioned to be the lady of the house, but Heathcliff becomes only more and more animal. I felt the suspense of their reunion – the anticipation, barely concealed tension, the reigned in desire to possess, know, clash. Blindingly bleak, this is the slow burning tale of a love, obsession and lust that is never allowed to be, but also one of the purest friendship and acceptance. Arnold manages to be unsentimental – sleek as a knife and bustling as the wind in bringing to life this refreshing take on an old tale, saturating and intoxicating us as we sink into the mud with them. Unfortunately, this adaptation does not have the endurance of the novel and won’t be one I will watch again.

You'll like this if:

* You like a tale that takes its time  to be told i.e. Death in Venice

* You are a diehard Bronte fan

* You enjoy picking apart cinematography

You'll hate this if:

* You are expecting Twilight

*  You are expecting Titanic

* You are expecting Claire Danes and Leo

Quote Blog: Marilyn Monroe

Marilyn: Dogs never bite me. Just humans.

Paranormal Activity 3

The Blair Witch Project and Cloverfield might have paved the way for the faux documentary style of film making, but the Paranormal Activity trilogy has exploded amongst horror fans and established itself as a firm franchise. Like The Blair Witch Project, PA3 draws on the concept of ‘found footage’ after the events have taken place. For fans of the first and second instalments, the third (and
presumably not final) takes us back to the origin of the supernatural presence in 1988 that stalks the Rey sisters, Katie and Kristi.

I’m not quite sure what the obsession is with certain tried and tested horror movie staples; the adorable cherubic squabbling sisters, kids ‘drawing their feelings’ (always overlooked by the otherwise coddling parents – Insidious, The Ring, Orphan anyone? - all I'm getting from this is that art cannot lie...someone oughta tell that to the writers of PA3) and the perilous concept of the imaginary friend (remember Regan’s trusted confident Captain Howdy in The Exorcist?). Nonetheless, these conventions seem to evoke something uneasy in audiences enough for them to be reused and relied upon...provoking reactions every time and PA knows this and brandishes them at every opportunity. All I know is that the ‘creepy kids’ angle is possibly the best marketing strategy for birth control ever.



PA3 tells the story of Kristi’s imaginary friend ‘Toby’ who she seems to be on relatively friendly terms with. Toby makes frequent contact with Kristi, who seems receptive to him, and the two share secrets (he also attends her tea parties). Her mother Julie thinks that Toby is harmless childhood nonsense and sister Katie finds it childish and worthy of ridicule. Only step father Dennis thinks that there is something ominous and sinister to this Toby character, particularly as bizarre instances appear to
have begun occurring around the house ever since Kristi acquired her new chum. Naturally, in true PA style, Dennis decides to set up his video camera and begin filming the day to day occurrences
in the house. Gradually, the footage builds, and creepy occurrences become more unexpected and chilling. Toby’s intentions change from being maliciously playful to having a far more insidious, focused intent. He finally bribes Kristi to fulfil his bidding and in doing so, the film takes a darker, reflationary turn, as past family secrets come to light, but only partially.

The territory is familiar and feels formulaic by now. Certain scenes are direct repetitions from the earlier films. In many ways, PA is allowed to do this to some extent because it establishes the
demons presence, habits and hallmarks. We never truly understand who or what ‘Toby’ is or what his motivations and intentions are. PA3 leads us to some pretty insightful leads and we can certainly
grasp at some fanciful conclusions by piecing together the hints and clues from the earlier films. Nonetheless the answer is never explicitly spelled out for us, and so the character of ‘Toby’ remains an unexplainable, demonic presence. None of the secrets are fully divulged which makes PA3 ambiguous and also mildly frustrating for those that were hoping for a neat and tidy ending.

The movies are thoughtfully casted and the actors reactions feel genuine and authentic, particularly those of Kristie and Katie who perfectly capture the curiosity, naivety and terror of childhood. They are able to suspend their disbelief to some extent because of the power of their magical thinking. The parents themselves, Julie and Dennis are very likeable and glamorous although they make some questionable choices i.e. allowing the girls to camp out in tents despite having concerns about the safety of their home. The father figures in PA movies always appear to draw the short stick so don’t get too attached to poor Dennis.



Fitting with PA style, there is always an ‘excuse’ to have the camera around; there is the contrived attempt to make a homemade porn vid (which had me rolling my eyes), filming the girls room to keep a log of the unexplained activity and recording conversations with the sisters in an attempt to discover what is happening, but there are some instances when the recording seems unnatural, for instance when Dennis is editing his footage. Nonetheless, it does feel as if we have stumbled into private family footage. Although the initial premise of the movies invited us to believe that this could potentially
have happened – it becomes harder and harder to stretch your sense of disbelief to accommodate the spiralling storyline and accept that all of these different families just so happened to videotape all of their experiences. The layout of the house is very open, enabling shocks to emerge from all angles and the camera is now positioned on a rotating fan which only adds to our sense of suspense and anticipation.

A huge criticism has been that many of the scenes included in the trailer are not present in the film itself and this is true. PA3 is guilty of false advertisement, promising chills and thrills that do not emerge from the expected places; instead we get an ironic take on a babysitter’s bedtime story, and a freaky ‘bloody Mary’ mirror scene. As such, the trailer isn't really an accurate representation of what you're going to 'get'. There is nothing particularly groundbreaking about this film but diehard fans will be happy to learn more of the back-story and enjoy swapping theories about what’s really going on. These films certainly make you leap out of your skin when viewed on the big screen but I think they are more effective when watched in the ‘comfort’ of your own home, where they take on an eerie, immediate significance (it would also have saved me the cost of a £9 ticket).

The audience reactions were varied; I was sat low down in my chair, cowering behind my cardigan with expectation, but one of my friends was ‘bored’ and ‘over it’ and the other excited. Two movie goers claimed they felt cheated by the ending and one decided that the film clarified that women were essentially ‘batshit crazy’. All I’ll say is, don’t be surprised when you see the trailer for PA4, as this is a cash cow that, like the Nightmare on Elm Street or the Halloween movies is set to run and run, and potentially, get sillier and sillier.