Tag Archives: ‘Cinderella’

Interview: Kenneth Branagh’s ‘Orient Express’ song is one you’ll never forget

There’s no question that acclaimed actor-director Kenneth Branagh’s latest cinematic opus — the big-screen adaptation of famed author Agatha Christie’s classic novel “Murder on the Orient Express” — is rolling strong in theaters domestically and overseas, having already amassed an impressive global tally of $275 million with no signs of slowing down.

As movie fans have found out, Branagh becomes Christies’ time-honored Belgian detective Hercule Poirot, who boards the Orient Express simply as a mode of transport to get back home to London but finds himself investigating a mysterious murder where everyone on the train is suspect.

With a huge presence in front of and behind the camera, Branagh’s fingerprints are all over “Murder on the Orient Express,” including the area of songwriting, a place he’s only ventured to once before.

The first time around, Branagh and his collaborator of nearly 30 years, film composer Patrick Doyle, (along with music producer Tommy Danvers) wrote “Strong,” the end-title song for the 2015 blockbuster “Cinderella.” Now, with “Murder on the Orient Express,” Branagh has put his pen to paper once again for the lyrics to “Never Forget,” the haunting end credits song for which Doyle wrote the music.

In a phone conversation with the actor-filmmaker this week, Branagh discussed “Never Forget,” an ethereal ballad sung by his co-star Michelle Pfeiffer. The song serves as an elegy for the tragic loss of a character at the heart of the film’s narrative.

Michelle Pfeiffer in 'Murder on the Orient Express

“They say, ‘Music is a vehicle for transcendence so that one can commune with God.’ That saying relates to music and lyrics (like ours), which talk about this incredible loss at the center of the film. To console is part of what people do to ease that suffering,” Branagh said. “And if the characters in this story are going to leave that train and have some future journey in their lives, some of the healing that Poirot talks about in the film is going to have to start happening.”

Branagh said “Never Forget” in a way grew from personal experiences growing up in Ireland — feelings that were awakened by a theme Doyle incorporated into the film’s score.

“It reminded me of moments in my youth when I used to hear my granny get upset,” Branagh recalled. “She would sing the Irish ayre ‘Danny Boy’ — she had a brother, Danny, who she had lost — and it would make her cry every time she sang it. But it was so necessary for her to sing it because it was a way of easing that pain. It was cathartic and very therapeutic. ”

Ultimately, to capture those feelings for “Never Forget,” Branagh knew Pfeiffer — who previously demonstrated her singing talent in “The Fabulous Baker Boys” and “Hairspray” — could bring to the song a haunting air of heartbreak and hope rooted in the experiences of her character, Caroline Hubbard.

“We wanted some emotional closure and we knew that Michelle Pfeiffer’s beautiful performance in the film could translate into music — but not with the idea of trying to produce some dazzling vocal gymnastics — but to experience this basic tension and beauty and melancholy in the song between the love for the innocent that is lost, and the desire to let them know that they will never be forgotten,” Branagh said. “It’s very simple, but it can be very profound. … It provides an emotional character closure that goes to the place we haven’t been in this movie. … It’s a direct appeal to and from the human heart.”

While “Never Forget” certainly merits consideration this awards season for Best Original Song, “Murder on the Orient Express” easily warrants attention in several other categories — from the picture as a whole to Branagh’s expert direction and portrayal of Poirot, to Doyle’s captivating score, the film’s stunning cinematography and its meticulous production and costume design.

In the case of costume design, one item of note is a mustache guard for Poirot, which we see him wearing as he awakens in the morning after his first night aboard the Orient Express. An apparatus designed to keep Poirot’s perfectly coiffed handlebar mustache in place, the quick shot of the mustache guard is not only good for a laugh, in a subtle way it further defines the character as a detective who strives for perfection.

“It’s one of those moments where you understood the details of a lot of people’s work, particularly that of Alexandra Byrne, our costume designer, who was responsible for that mustache guard, but who had also worked so closely with Carol Hemming, our makeup and hair designer — who worked for so long and so hard for such detail on the mustache itself,” Branagh enthused. “It boldly goes where few mustaches have gone before to fulfill Agatha Christie’s requirement that it be one of the most ‘immense’ and ‘magnificent’ mustaches in England.”

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At the movies: Top 10 in 2015

Photo: Walt Disney Pictures

By Tim Lammers

There surely will be some disagreements, but here are 10 of the films that made movie-going worthwhile in 2015.

10. “The Walk” – Robert Zemeckis’ direction is at its jaw-dropping best with this stunning recreation of French performer Phillipe Petit’s (Joseph Gordon-Levitt) “artistic coup” – a death-defying wire walk between the void of the Twin Towers of the World Trade Center in 1974. The point-of-view shots on the wire were among the most, if not the most, intense scenes on the big screen this year.

9. “The Martian” – Director Ridley Scott returns to space once again – sans any alien life forms — with one of the most entertaining films of the year in this tale about an astronaut (Matt Damon) who was presumed dead after a vicious storm hits his team’s Mars expedition. True, it’s mostly a one-man show for Damon, but in between, the talented ensemble including Jeff Daniels, Jessica Chastain, Sebastian Stan, Michael Pena, Chiwetel Ejiofor, Kristen Wiig and Sean Bean help create an engaging rescue mission filled with as many laughs as there are thrills. It’s a real blast (off).

 8. “Legend” – Tom Hardy flawlessly demonstrates why he’s one of the best actors today with a dual performance as twins Ron and Reggie Kray, a pair of brutal gangsters who ruled the East end of London in the 1960s. Nearly identical in appearance, Hardy immediately establishes the distinct personalities of the Krays, making you quickly forget that what you’re watching are essentially impressive camera tricks. Proceeded by his kick-ass turn in “Mad Max: Fury Road” and followed by his frightening turn in “The Revenant,” 2015 was the year of Tom Hardy.

 7. “The Big Short” – Four groups of Wall Street outsiders stick it to the big banks during the housing meltdown of 2008, which feels great until you realize that even after the financial Armageddon, nothing really changes. Director Adam McKay makes an impressive transition from comedy to satire and drama with a film so slickly executed that it hearkens the greatness of Martin Scorsese. Christian Bale is the best of the film’s winning ensemble cast.

 6. “Inside Out” – Pixar’s “Up” Oscar-winner Pete Docter is back with this ingenious tale of how five emotions become mixed when an 11-year-old girl

struggles with her family’s relocation from Minnesota to San Francisco. Like “Toy Story 3,” “Inside Out” is as much an emotional roller coaster for adults as it is a visual wonder filled with laughs for kids.

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 5. “Steve Jobs” – Michael Fassbender gives a career performance as the complex, socially-inept co-founder of Apple Computers, ingeniously played out during three pivotal moments of his career. Director Danny Boyle realizes his vision more like a stage play through Aaron Sorkin’s whip smart dialogue, where Jobs’ embattled colleagues (expertly played by Kate Winslet, Jeff Daniels, Michael Stuhlbarg and to a lesser degree, Seth Rogen) wrack their brains trying to figure the prickly computer pioneer out.

 4.”Cinderella” – Far and away the most beautiful piece of cinema in 2015, this Kenneth Branagh-directed gem is one of the few films this year to deliver on all levels. Sometimes emotional, sometimes funny, and always full of heart, “Cinderella” has everything from stunning performances, awe-inspiring sets, gorgeous costumes, an emotional score and the recalibration of a classic character to reflect the modern age without damaging the classic tale’s integrity. Most of all, the film’s important message, “Have courage and be kind,” is one that will resonate for ages.

3. “Spotlight” – The film’s subject matter is depressing as all hell, but this film about The Boston Globe’s uncovering of the Boston Archdiocese’s priest sex abuse scandal in the early 2000s is so compelling that you can’t help but be gripped by it from beginning to end. The film not only recalls the greatness of “All the President’s Men,” but also serves as a reminder of today’s sad state of investigative journalism (if not journalism as a whole), which has been shot to hell by the Wild West Internet landscape where every media outlet has to have the story first, even if the facts aren’t completely right.

2. “Mad Max: Fury Road” – Writer-director George Miller finally gets the opportunity to make the “Mad Max” film he’s always wanted to make with this hyperkinetic road opus that can’t be described as anything but “batshit crazy.” Tom Hardy wipes the memory slate clean of Mel Gibson with his brooding performance as the title character, and Charlize Theron gives a furious performance of the aptly-titled character Furiosa.

 1. “Star Wars: The Force Awakens” – Sure, it’s not perfect, but how often can a film match the tone of the original 37 years after its release, and the monstrous expectations that go with it? The Force is back in a big way thanks to the ever-burgeoning creativity of writer-director J.J. Abrams, and this seventh episode in the “Star Wars” saga serves as a big reminder why we love movies in the first place. “Episode VII” can’t come soon enough.

 10 honorable mentions: “Ex Machina,” “Black Mass,” “Me and Earl and the Dying Girl,” “The Revenant,” “Shaun the Sheep Movie,” “Ant-Man,” “Creed,” “The Good Dinosaur,” “Kingsman: The Secret Service” and “The Peanuts Movie.”

Worst film of 2015: “Sisters” – Tina Fey and Amy Poehler force an uncharacteristic brand of raunchy comedy down our throats that’s dreadfully unfunny and downright embarrassing. How this film got the greenlight to begin with, is one of the great mysteries of 2015. The “Saturday Night Live” alums must know where some bodies are buried.

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Reviews: ‘Cinderella,’ ‘Frozen Fever,’ ‘Run All Night’

Lily James and Cate Blanchett in Cinderella

By Tim Lammers

“Cinderella” (PG) 4 stars (out of four)

Filmmaker Kenneth Branagh masterfully directs an instant classic with “Cinderella,” Walt Disney Pictures’ latest animated great-turned live-action fairy tale. Preceded by the 2010 blockbuster “Alice in Wonderland” and the 2014  summer hit “Maleficent” (the “Sleeping Beauty” tale told from the villainess’ point-of-view), “Cinderella” emerges as the best of the three re-imagined tales so far – mainly by  sticking with the narrative fairy tale fans know and love while making subtle yet strong changes where it counts the most.

Lily James stars as Ella, who as a child loses her mother (Hayley Atwell) and gains a cruel stepmother (the deliciously evil Cate Blanchett) and two stepsisters (Holliday Grainger and Sophie McShera) when her father (Ben Chaplin) remarries. Trapped as a servant to her stepmother and stepsisters after her father dies, Ella – who is dubbed “Cinderella” by one of the stepsisters – sees a glimmer of hope through a chance meeting with the handsome Kit (Richard Madden), who keeps secret from the young woman that he’s really a prince who will soon inherit a kingdom.

Interview: Helena Bonham Carter (U.S. exclusive)

Interview: Kenneth Branagh

“Cinderella” works on every level, from using real landscape complimented by lavish castle set pieces and costumes; to stellar acting, a mystical atmosphere, Patrick Doyle’s moving score and the perfect mix of humor and heart.

The movie is also very emotional, especially in times of loss, but not necessarily depressing. It effectively helps build the character of Cinderella, who while taught by her dying mother to “have courage and be kind” – shuttering the damsel in the distress characterization from earlier interpretations of the tale.  Cinderella is now a strong and independent young woman who is an equal, essentially, to the prince, even while their social status couldn’t be any further apart.

Naturally, “Cinderella” wouldn’t be “Cinderella” with all of its classic elements: there’s the pumpkin that turns into the carriage, the mice that transform into horses and of course, the iconic glass slippers; but even those elements feel fresh and vibrant thanks to the

wondrous performance of Helena Bonham Carter as Cinderella’s Fairy Godmother.

And while Bonham Carter is only in the film for about 10 minutes (first, as an unrecognizable beggar lady who tests Cinderella’s will to be kind, only to transform into the giddy, Bibbidi-Bobbidi white-gowned magician who creates the girl’s transportation to the beautifully staged Castle Ball) – she makes the most out of every second she’s on-screen. Thankfully, Branagh puts his talented star to good use by making her the narrator of the film, and even has her sing the iconic song “Bibbidi-Bobbidi-Boo” during the end credits.

Despite the smattering of talent that surrounds her, James’ glowing performance as Cinderella helps the “Downtown Abbey” star carry the film with relative ease on her delicate shoulders. She’s the perfect choice to play the time-honored character with a sweet smile, an air of innocence and steady charisma and charm that makes you root for her from start to finish. True, we all know how the tale ends, but what an exciting, freshly mowed path through the gorgeous forestland “Cinderella” takes us on to get there. It’s a brilliant movie suited for girls and boys, and women and men of all ages.

Playing before “Cinderella” is the new “Frozen” short film “Frozen Fever,” a delightful seven-minute tale about a sniffling Elsa (voice of Idina Menzel), who’s trying to arrange a birthday party for her sister, Anna (Kristen Bell) despite a nasty cold. Elsa’s under-the-weather for the entire short, but her condition helps produce clever additions to the world of “Frozen” and the loveable goofball snowman Olaf (Josh Gad).

Most importantly, parents may find their children letting go of the Oscar-winning “Frozen” song “Let it Go,” as “Frozen Fever” debuts a memorable new song, “Making Today a Perfect Day.” It’s a perfect song for a perfect mini-sequel of sorts, since it takes place after the events of the first film.

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“Run All Night” (R) 3 stars (out of four)

Liam Neeson is back with a particular set of skills – although time does appear to be catching up with him, finally – with “Run All Night,” a gritty, fast-paced crime thriller that boasts a terrific cast to help the film rise above its convoluted storyline.

Neeson stars as Jimmy Conlon, a broken-down former hit man for his longtime friend/powerful New York City mob boss Sean Maguire (Ed Harris). In an unfortunate set of circumstances, Jimmy shoots and kills Sean’s only son, Danny (Boyd Holbrook) who was a hair-trigger away from his shooting Jimmy’s son, Mike (Joel Kinnaman), for witnessing a murder.

Despite their long history together, Sean orders a hit on Mike so Jimmy can suffer the same pain of losing a child. But Jimmy’s not going to give in easy, and devises a plan to stay on the run throughout the night with his estranged son, in an effort to try to make things right with his former crime confidant.

Neeson seems only to be playing a variation of the “Taken”-like character that’s dominated the action crime genre in the past few years, and it appears now that he’s just on this side of being unbelievable. Neeson’s a big man at 6 feet 4 inches and is no doubt fit for a man of 62, but given the physical and mental toll his life of crime has taken on him (he’s executed dozens of people, with some of the hits closer to home than he’d like to remember), and it’s a wonder how he disarms and beats people (or shoots them with skilled precision) for a guy who walks with a limp and was falling-down drunk just hours before.

Harris, meanwhile, is chilling as the ruthless crime boss, while Kinnaman – who rose to prominence in the brilliant AMC-turned-Netflix-series “The Killing,” is excellent as the moral compass of the film. He’s about the only main character that you can root for, given Jimmy’s and Sean’s menacing pasts. Vincent D’Onofrio also shines as the film’s only straight cop in a city otherwise owned by Sean’s power, while Common is wicked as a hit man hired to complete the job that his crew can’t seem to get done.

In the end, fans of shoot ’em ups with high body counts will no doubt be satisfied by “Run All Night,” despite the film’s obvious faults. And while “Run All Night” leaves more to be desired, it’s at least a major improvement over Neeson’s lackluster third film in the “Taken” franchise.

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U.S. exclusive: Helena Bonham Carter talks ‘Cinderella’

Helena Bonham Carter in 'Cinderella'

By Tim Lammers

When Helena Bonham Carter was cast in the pivotal role of the Fairy Godmother in director Kenneth Branagh’s new live-action version of “Cinderella,” there were some rumblings of surprise on the Internet, where various journalists questioned whether she was better suited to play the wicked stepmother instead.

Given her past as deliciously evil Bellatrix Lestrange in the last four “Harry Potter” films and the delightfully funny but unforgiving Red Queen (“Off with their heads!”) in “Alice in Wonderland,” some thought that despite her experience with a wand, the magical staff that the Fairy Godmother was better suited for somebody not known for playing such dark characters.

Of course, those same people tend to forget just how versatile the two-time Oscar nominated actress really is. Whether it’s good or bad character, Bonham Carter has proven throughout her illustrious, 32-year screen career that she wherewithal to play them all.  Still, Bonham told me in an exclusive U.S. interview, that she was taken aback when asked to play the character associated with the iconic phrase, “Bibbidi-Bobbidi-Boo.”

“I was surprised not to be asked to be Cinderella, because I’m in some time-warp denial,” Bonham Carter told me, laughing, in a recent phone call from London.

Always funny and lively in her interviews, Bonham Carter told me she had fun bringing the effervescent Fairy Godmother to life during the making of “Cinderella,” yet inside she took the role very seriously. After all, “Cinderella” is a legendary tale that has been told countless times in different variations on screen and the stage over the years — chief among them the 1950 Walt Disney animated classic — so Disney, which also produced the new live-action incarnation, knew this new version had to work on all levels.

As it related directly to Bonham Carter, she knew her role would be under the burning spotlight, because the Fairy Godmother, who apart from Cinderella, is perhaps the first character people associate with the classic fairy tale.

“It was really flattering and nice to asked to play the role, but having said that, it was a quite a responsibility, and I was apprehensive about it,” said Bonham Carter, who also narrates the film. “My first reaction was, ‘What great fun! This can’t be a losing situation,’ but on close inspection, I got somewhat freaked out. The Fairy Godmother is iconic as an idea — there’s no real image of her apart from the character in the animated version — there isn’t really an obvious image and I didn’t want to replicate what’s in the cartoon.”

Opening in theaters and on IMAX screens nationwide on Friday, “Cinderella” tells the time-honored tale in a familiar, historical setting, yet gives the title character (Lily James) a strong sense of independence. Bonham Carter plays the Fairy Godmother as a character with some bits of uncertainty: a giddy magician not quite aware of the full extent of her powers.

“I thought I had to re-invent the wheel a bit, so people would genuinely believe the character with some sort of credibility,” Bonham Carter said, recalling how she prepared for the role by examining the mind of the Fairy Godmother. “I thought, ‘Why a pumpkin?’ because it’s not immediately obvious that you would choose a pumpkin as your source material to turn into a carriage; and ‘Why glass?’ because glass isn’t immediately obvious to make a slipper with.’ Also, I wondered why the magic was running out at midnight.

“All of these choices she made sort of led me to believe that she was this accidental magician, or her magic wasn’t quite up to scratch,” Bonham Carter added. “Accidents happen, and often in history, the greatest things have been born of the greatest accidents. I thought it was funny that things that have ended up being iconic, like the glass slipper and the pumpkin, were all improvised in the first place.”

Interview: Kenneth Branagh talks “Cinderella”

Branagh, who has worked with Bonham Carter before, told me in a separate interview that he was absolutely enchanted by the direction the actress took with the character.

“The Fairy Godmother may have great plans of how these transformations may go, but not always the skills, and I think Helena does that beautifully,” Branagh said. “She also adds this sort of poignant touch, when she follows Cinderella’s coach for just a step and says, ‘Goosey, off you go.’ There’s a really wonderful maternal, protective look on her face that lets you know she loves this kid. She feels for her in addition to all the fun she’s had with her.”

Plus, the director said, Bonham Carter has impeccable comedic sensibilities.

“Helena brings a joyful, delightful and silly sort of lunatic kindness to the character, which is a variation of the sorts of the kindness theme that is central to the film,” Branagh said. “The beautiful sort of dotty, ditsy, dizzy comic brilliance she brings is a lovely kind of literal fairy dust to sprinkle into the middle of the movie.”

The theme of kindness is important because it’s essentially what grounds “Cinderella.”  We first hear the phrase, “Have courage and be kind,” uttered to a young Cinderella by her dying mother, and Cinderella lives by those words despite the fact that she’s trapped as a servant to a cruel stepmother (Cate Blanchett) and her two daughters after her father dies.

Bonham Carter, much like Branagh, hopes viewers take those words to heart.

“I think they’re terribly important words, particularly in this day and age with social media,” Bonham Carter said. “People think there’s an anonymity and a lack of responsibility whenever they write something, because they’re not necessarily held to it. So many people are suffering because of bitchy comments about not being liked or whatever.”

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Helena, Mom face-off

Bonham Carter’s “beggar lady” is the first character Cinderella sees before she transforms into the Fairy Godmother, and the actress says she was thrilled to get to have extensive prosthetic work done to play the small, but very important role. The beggar lady sets up a key moment in the film, because she tests Cinderella’s will of kindness and observation of others less fortunate than her, even though her heart has just been crushed by her evil stepmother.

“Sadly, it took me less long to become the character described in the script as ‘1,000 years old’ than it took to become the Fairy Godmother. It took me only four hours to age 1,000 years,” Bonham Carter, 48, said, laughing. “When the designers approached me and asked me, ‘What do you think you’re going to look like when you’re 80?’ I said, well, my Mom’s around, so they took a face mask of her. Having said that, Mom doesn’t look 80, so they had to add wrinkles on top of the mask. It did look a bit bizarre, and God knows what some psychotherapist would say about me wearing my own mother’s face.”

And while the end product didn’t exactly resemble her mother, there were still some features of the face that to be resolved.

“In the end, I had to post-sync all of her lines because her upper lip is bigger than mine, so apparently I was completely inaudible,” Bonham Carter said. “Still, I always love being in prosthetics. I don’t like process of putting it on or getting it off, but being in it is all fun.”

As of our conversation, Bonham Carter’s mother still hadn’t seen the film, but the actress warned her mother not to be shocked by the makeup when she gets around to it.

“Having seen the film myself, you don’t recognize her. So I told her, ‘Forget that it’s you, Mom, because it’s not the most flattering,'” Bonham Carter said with a laugh. “Mom is still really beautiful.”

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