Confessions of an Elbaholic: Infidelity Could Endanger the Lives of Your Loved Ones

When you’re stressed out with too many school readings to finish, on top of too many just-for-the-fun-of-it readings, and it’s becoming clear that you’ve bitten off way more than you can chew, the only thing to do is stop, step back, and stick your head in the sand. And here, readers, “stick your head in the sand” means pick out yet another film from Idris Elba’s filmography and forget yourself and your anxieties for an hour and half or so.

Today’s lucky winner is: No Good Deed. It’s the domestic thriller in which stay-at-home mom, Terri (Taraji P. Henson), unwittingly lets a stranger into her home to use the phone following a mishap with his car. Little does she know that this stranger is actually, Colin Evans (Idris Elba), a convict who has recently escaped prison and always been off his rocker.

Anyway, here be spoilers.

The movie starts off with Colin Evans being transported in a police van to the scene of his parole. Though he has been convicted of manslaughter of five young girls, he tells the court that he has turned over a new leaf.

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He’s intelligent, and well-spoken, and the more he speaks, the more you realize there’s cunning hiding there. It’s clear there’s a whole lot more going on under the surface. The court doesn’t buy his new act, though, and denies him parole which only leads to a creepy stare down from Evans that must surely have those men soiling their pants.

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Evans, however, doesn’t plan on waiting another five years. Instead, he ends up killing the two policemen transporting him, and takes off in the van.

Meanwhile, Terri Granger is busy looking after her two kids, and keeping up with the remodelling of her house.

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Her husband, who is apparently always working, and only seems to maintain a vague interest in their home life, comes home only to leave again on a trip to see his father. He’s a little bit detached, and more than a little assholish. I don’t trust him too much.

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Ditch him, Terri.

To cheer the obviously downcast Terri, her friend Meg decides that they’re going to have a girl’s night! Which will apparently involve wine, and… that’s it.

We’re back to Colin, who’s looking disturbing as he creeps on a woman at a cafe. It turns out she’s his old girlfriend, Alexis. He surprises her at her home, wanting to know why she hasn’t been keeping in touch, who her new boyfriend is, etc. etc. He yo-yos between charming and slightly deranged, and it’s kind of terrifying. Alexis is clearly scared for her life, but tries to use her wits and not to set him off. It doesn’t exactly work because he ends up killing her too.

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On the way back, Evans’ van crashes and he decides to knock on Terri’s door to ask to borrow the phone. Terri cautiously agrees, all too aware that she is home alone with the kids, but after seeing the heavy downpour, she softens and invites him in for a cup of tea. The whole time I’m going “DON’T. DO IT.” but Evans, much like the vampire, has been given the invitation to step over the threshold.

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Let the wrong one in.

DUN DUN DUN.

At this point, Elba plays Evans so charmingly, and his chemistry with Henson is spot on that I’m confused for a sec. Am I watching a rom-com or a thriller? He’s all caring and attentive, and then stands around with wet shirt sticking to him, and there’s clearly some tension.

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At this point, Meg arrives with the much promised wine. She, of course, is very single, and very smitten with Evans. When Terri goes off to see to the kids, Meg gets to chat with Evans, and fearing her growing suspicions Evans hits her over the head with a shovel. At this point, Evans go-to-solution is to just take out anyone who stands in his way. Frankly, it doesn’t seem very strategic, and if he’s going to leave dead bodies in his wake, it’s not going to be difficult for the police to track him down.

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Terri returns and is confused when Evans tells her that Meg has to run off. Terri’s no fool, and after noticing Meg’s umbrella is still in the stand she realizes that something’s wrong. She runs to the kitchen to ring the police, but discovers that the phone line has been cut! Of course! And why doesn’t Terri have her cell on her at all times, like every other 21st century being?

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Ugh, this move only worked in the 90s.

After a long and drawn-out tussle that takes place through the house, with winning moves from both parties, (and yes! There are children involved! I was quite scared for them actually), and Terri almost completes a 911 call, Evans takes back the upper hand, and forces her to get into her car with the kids and drive.

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“Marco?” “Get away from me!”

And miracle of miracles, a police car ends up driving past, and Terri flashes her lights at it. But, of course, we were hoping for too much, because after a short interrogation during which Terri can’t really reveal much, because after all, the psycho is in the car with her children, said psycho ends up shooting the police officer. That’s five and counting.

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Evans makes Terri drive to his old girlfriend’s house. Terri asks him why he’s doing this, and he goes “You’ll find out.” So there’s a mystery involved? And we’re finding this out bout two thirds into the film?

Terri, of course, freaks the hell out when she sees Alexis’s dead body. While Evans is distracted with a fallen tree and the car alarm going off, she runs off to find the first aid kit. That’s when Alexis’ cell rings, which Terri answers.

And surprise, surprise! It’s Jeffrey. That two-timing jerk. Terri realizes he’s been having an affair with Alexis, and that Evans’ attack on Terri isn’t spontaneous, but pre-calculated revenge. After ordering her slimy husband to call the police, Terri takes matters into her own hands, hides her kids, and manages to ambush Evans when he comes back into the house. And she kills that sucker.

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After that, we can all breathe a sigh of relief. Because not only has that rogue convict been stopped, but Terri now knows that her husband is the actual slimeball that I expected him to be. After a solid punch to his face, Terri takes the kids and leaves, and we cut to … a future Terri with her kids in a new house, who is best friendless, but also cheating husbandless, and predatorless, aka, in a pretty good position.

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Honourable mentions go to Terri punching Jeffrey in the face:

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Yeah, I replayed that. Twice.

Confessions of an Elbaholic: If Your Friends Are Losers, Ditch ‘Em

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I have a serious problem. I keep gravitating towards films starring Idris Elba: indie, blockbuster, praiseworthy, flop, it doesn’t matter: I will watch them all! (I almost unwittingly made an Ash Ketchum reference and commented on how it’s not Poké balls I’m interested in, but never fear, I’ll keep it PG13.)

Houston, there are not enough hours in the week for my problem.

Also, spoilers ahead.

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This week’s culprit is The Losers. An aptly named film about a CIA team consisting of Roque (played by Idris Elba), and his four compatriots who, after a mission gone horribly wrong, are stranded in Bolivia without identities, and very few resources. Understandably Roque is frustrated. As a leader Clay (Jeffrey Dean Moran, or Javier Bardem, who knows) is not pulling his weight. While Roque simply wants to get back home, Clay is intent on fighting the evil mastermind who has landed them in this mess, and foiling said mastermind’s evil plans. I mean, his goals are just unrealistic. Sometimes a guy just doesn’t wanna save the world, y’know? Sometimes a guy just wants to get home and eat the junk food he’s used to.

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Fortunately for the men a resourceful and wily Aisha (Zoe Saldana) appears and it looks as if they might have an escape route. Though Roque does display some doubts, due to Clay being led astray by women in the past, he eventually agrees to along with the plan.

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His instincts turn out to be right, though, when Miss Resourceful’s plan falls through, and she doesn’t deliver what she promised. As you might expect, Roque blows his top, and really, I mean, can anyone blame the guy?

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So, then after everyone realizes they should’ve listened to Roque from the start they concoct a new plan. Under the wonderful leadership of Clay (who apparently is swayed more by his gonads than anything else) they continue to act on information Aisha gives them.

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I had the same expression, too

Anyway, Roque turns out to be right yet again in his doubts, because it’s revealed that Aisha has only been in on the whole thing as a way of getting revenge on Clay for killing her father; you know #justgirlythings.

At this point my eyes were rolling so hard in my head that it was starting to look like the 60s in there. These guys get hoodwinked twice by the same person. (Also, what’s up with that romance angle, anyway? Aisha is way too young for Clay. He should be her uncle or something.)

Why does no one listen to Roque?

Why does no one listen to Roque?

But it turns out Roque is smarter than the others because he secretly formed an agreement with Max AKA Evil Mastermind, so that this time his plans to return home wouldn’t be left in the useless, incompetent hands of Clay. I know, very cleverly done; I didn’t see it coming at all and had to admire his discretion.

So things start looking up for Roque, because it really feels like all he’s ever wanted is at his fingertips, and he can finally ditch his loser friends. But then in one of the worst and unexpected tragedies, Roque is suddenly wiped out in a fiery death. It’s sort of out of the blue.

Most Tragic Scene in the History of Cinema

Most Tragic Scene in the History of Cinema

After that, the movie really flags. It’s just about Roque’s loser friends completing the mission, defeating the bad guy, and going home to their families.

For the most part, it’s a pretty good film. Elba’s in about 80% of it, and while the other 20% just seems to have a gaping hole, you can pretty much replay the Elba bits in your head so it isn’t too unbearable.

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2 out of 5 stars.

Pro tip: could have had more Elba in it.

Honourable mention goes to Chris Evans singing “Don’t Stop Believin’” in the elevator.

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Fake Love Conquers All

I don’t know if anyone else has heard but Ben Affleck and Jennifer Garner have called it quits, and I for one am more disappointed about it than I would like to admit. I don’t usually follow the trajectory of relationships involving people that I don’t personally know (or are non-fictional), but for some inexplicable reason I’ve always had a soft spot for Ben and Jen. Bennifer. Jenjamin. Garfleck. I mean, the romance just writes itself. Or wrote.

So this comes as a bit of a nasty surprise, and I find my belief in couplehood bliss a little bit shaken. And where can one turn to for comfort in times of such amorous trouble? Fiction, of course.

Hence, as evidence of happy coupledom, I’ve compiled a list to set the most cynical heart aflutter.

*Sources are linked in the images.

1 Anne Elliot and Captain Wentworth from Persuasion

Yes, they got off to a rocky start, but these two lovebirds pretty much sang the same besotted tune for the eight years they were apart from each other. I know Anne tried to put Wentworth out of her mind, and Wentworth was kind of a jerk at the start, sticking his flirting in her face, but the truth is, try as they might, they could not get over their love for each other. Constancy is an amazing thing for a cynical romantic living in the twenty-first century.

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2 Elizabeth Bennet and Fitzwilliam Darcy from Pride and Prejudice

The above two shouldn’t really come as a surprise. They are after all the quintessential couple. They probably epitomize coupledom in all its glory – two people who, though they initially grate on each other, mature by learning from one another, and admitting their flaws in the process. That’s the kind of character development that ensures a deep and abiding bond.

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3 Betty Suarez and Daniel Meade from Ugly Betty

Speaking of a deep and abiding bond. You can’t get more deep and abiding than these two. Betty and Daniel started off their relationship as boss and employee, which then blossomed – beautifully, heartbreakingly, and so wonderfully satisfyingly – into one of the best friendships I’ve seen portrayed on television. Friendship is so underrated, in itself, or as a prelude to romance. This show, however, showed how important and beautiful a friendship could be. Betty and Daniel learned from each other, and were better with one another, and seeing them together, even as friends is heart-warming. When the series ends, it’s on the cusp of something more, a tiny exhilarating hint that suggests a fulfilling future for the two, but even without the that you know the two are better for having one another in their lives.

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4 Beatrice and Benedick from Much Ado About Nothing

Ah yes, Beatrice and Benedick. These two captured my heart with their incessant squabbling and caustic sparring. Even when they were throwing vitriolic insults at each other their chemistry was undeniable, and I’m in quiet awe that a man who lived hundreds of years ago could have me agonising over the fact that this couple absolutely, indisputably, irreversibly had to be together. May you make many cynical babies together, Beatrice and Benedick.

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5 Howl and Sophie from Howl’s Moving Castle

Can we all just take a moment to pay obeisance to Diana Wynne Jones, who told a story that was not a romance but made me pine anyway for the joining of Howl and Sophie with all the fire that would take to run a moving castle? I think we can.

Howl and Sophie are a bit like Benedick and Beatrice. Or rather, I should say Sophie is a bit like Beatrice, all spitting insults and sharp edges, while Howl sheepishly maneuvers himself around her, trying to avoid her rages, or simply igniting them further with his charming smiles, or his humouring, patronising attitudes. The charm and quiet power of this story, is that, just like Sophie, you don’t realize there is a romance unfurling until you’re in the thick of it. It’s beautifully done, more so because it’s not typical. Jones made me sigh about a couple that says nary a soppy word of romance to each other, and for that all I can say is: Kudos, Ms Jones, kudos.

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6 Kathleen Kelly and Joe Fox from You’ve Got Mail

Ah, my obsession with You’ve Got Mail rears its head again. Seriously, people of the world, do yourself a favour and just watch this movie already. We can all thank me later.

But you guys! Kathleen and Joe bond over letters! Online letters (I think they’re called e-mails?), but still. And books! And all the weird, and quirky and ordinary things they see around each other. And they both own bookstores. Could there be a better love story? I think not!

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This film pays homage to the Lizzy/Darcy and Beatrice/Benedick type of relationship out there. You’re happy to cheer from the sidelines whenever these two share screen/page time together, be it for clashing or kissing.

There, I feel a lot better already. Now tell me, reader, which fictional couple makes you believe in true love?

Spicing Up French Cuisine

The Hundred Foot Journey is a feel-good movie. It has gratuitous shots of delicious food, gratuitous shots of the South of France, and gratuitous shots of beautiful people making Deep And Meaningful Connections.
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The beautiful Manish Dayal making a DAMC with the beautiful Charlotte Le Bon, x

(Maybe they aren’t so gratuitous after all?)

I know there are plenty of light-hearted, feel-goodTM, films out there involving food, music and the South of France, but surely one more couldn’t hurt right? Especially when the whole concept can be revitalized by adding a little spice into the mix? And by spice, I mean India. Just so we’re clear.

Sarcasm aside, it really is an entertaining movie, and I enjoyed the mix – Southern French and Indian (Mumbai style, to be specific) cooking mix very well together – visually, at least. I’m no culinary expert so I don’t know how the combinations might actually taste.

The movie centers around Hassan Kadam (though that might be hard to deduce from the movie poster) – a young man whose love of food, and deep, instinctive, and sensory cooking style was instilled in him by his mother (played by Bollywood darling, Juhi Chawla).

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 Following a tragedy that takes the life of his beloved mother, Hassan leaves India with the rest of his family, travelling to England, and ultimately France, where they attempt to make a new life for themselves. Under the bull-headed optimism of their father, they open up an Indian restaurant, opposite the village’s local reputed restaurant, giving both some healthy dose of competition.

Helen Mirren, the head chef, and their arch enemy, finds she has much to contend with, in the form of Hassan’s cooking.

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Hassan is one who utterly absorbs his surroundings and the ingredients he works with, fusing them to create the perfect harmony. There were so many metaphors in there for finding that perfect balance in life while encountering the new and the foreign – the most obvious one being the family’s Indian cultural background and new French surroundings. It’s a connection which Hassan is able to best navigate at first, using it to help him to see the world differently, imagine possibilities of which others can’t even conceive. 
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His life is one of creativity and his joy is in the process of the creating; and as with the journey that he makes from protégé to a reputed chef, the vitality and exuberance of his life lies in the journey of each day, the journey of each recipe that he meticulously works at.

The blending of cultures and his knowledge is not a destination but a process without end. Or, to put it in a cliché, the journey is the destination.

The movie has shades of magical realism. There were suggestions of the mother’s continued presence in the family through father’s remarks about what she wants and doesn’t for them – she is obviously present in Hassan’s cooking, but there are also magical overtones with his use of the “special” spices from India. They seemed to be special for reasons more than that of having belonged to his mother previously, though their “speicalness” is never really specified, other than being there to emphasize how “exotic” they are. Spices are great, but the only magical powers they possess is that of cranking up the flavor in a dish. And despite Hassan having a small trunk of several different spices, they managed to mention cardamom about fifty million times.

 
 Though it’s a frothy film it sits on strong acting – each cast member delivers their absolute best – it’s been awhile since I saw the film but the characters are still very present in my head.Despite expected incongruity, the dream-like, filtered Southern France, and the pulsing, almost tangible Indian music went very well together. Curse you, A.R.Rahman – I have you to thank for not being able to get this melody out of my head since I saw the film.

Fair warning, though: make sure you watch this film on a full stomach. Even without missing any meals mine was grumbling by the time the credits rolled around.

Tales to Leave You Livid


You know how it is – you make a post after a long silence vowing you’ll blog more frequently, but then it just so happens that the next post follows an even longer silence. It’s like those coffee meet up that people plan on when they run into each other after a very long period of time.“We should have coffee some time!”

“Yes, we totally should!”

*Both proceed to make no effort at all for yet another longer period of time.*

(Why is it always coffee, anyway?)

So, to artfully break this awkwardness, I decided to come up with a list. It’s a well-known fact that lists are very good for avoiding awkward situations.

It’s another well-known fact that there are so many stories out there that you’re bound to fall in love with a few of them. But there are a several more that are also very likely to incur your wrath, leave you snorting like a minotaur at the fact that you just wasted several very precious hours of your life invested in something that you did not know was going to turn into utter crap in your hands.

Here are a few that did:

Anastasia

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This is a gorgeously animated film set in pre-Soviet Russia – it is deeply atmospheric, with seamless dialogue, endearing characters, and music makes my heart twist. Plus, the story of Anastasia was touching to me, when I first watched it. Naturally, I set about looking further into the topic. Imagine my horror to find that reality was not quite so serendipitous as the movie made things seem. Anastasia was never reunited with her remaining family members, and it was confirmed that she was very definitely dead. I can longer watch that film with the same joyous abandon as I once did.

Little Women 

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Don’t get me wrong – I love this book. I grew up loving the March sisters, celebrating their joys, and grieving with them through the darker pages and, in fact, it is an overall wonderful book. But there is something that I will never be able to get over.

Amy burning Jo’s stories. She burned them. That is unforgivable. I was horrified just as much as Jo when I found out that she’d thrown them into the flames. What a wretch. My heart hardened, just as Jo’s did, and I’m not saying that Jo should have let Amy drown when the ice cracked, but my ten year-old self was sure that there was no need to talk to her after that. Yes, clearly I was a cruel child.

Jo may have forgiven you, Amy, but I never will. I never will.

A Beautiful Mind

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This is the film inspired by the true life story of genius mathematician John Nash. While he is able to navigate the intricate world of that subject, he also finds that his grip on reality is not what it was once was.

There is a beautiful scene in the film, when the doctor outlines to John and his wife the enormity of the situation, emphasizing that it will be an extremely difficult one for the family. When the wife and the doctor leave, Nash sits there believing that his wife has taken the man’s advise and left him. But a minute later she re-appears, vowing that they will endure this struggle together. Nash crumples in tears and grief, and my relief was as strong as his. It is the best scene in the film.

I later discovered that Nash and his wife actually did split during his illness – and they may, of course, have done it for entirely valid reasons, they may have both agreed that the separation would be the best way to heal – whatever it was, it is their business. It wasn’t the reality that I was angry with, so much as the fact that the deception of the film was there. That loyalty and constancy portrayed in the film was one of the most powerful things about it, and to discover that it’s a fabrication detracted from the whole experience.

Go Ask Alice

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No story made me see red like this one. This book claims to recount the true story of Alice (the editors claim all names have been changed for protection), a teenage girl from the eighties who suffers from the insecurities of studies and body image, and like any other teenage kid tries to do her best to get by. Alice, however, gets to experience the frightening world of drugs at one party, and from then on she’s totally and utterly hooked.
She yo-yos between fear of getting in too deep, and the blood-pumping desire to feel thrills like she never has before. It leaves her an utter mess, and she repeatedly finds herself homeless, with each escape stranding her in a worse situation than the previous one. I was tearing my hair out worrying for this kid – I kept reading through a headache because I wanted to find out what happened.

It was all for nothing, however, because guess what? It’s all a lie. It’s edited by Beatrice Sparks, a child psychologist, with questionable qualifications, who clearly felt that a cautionary tale of drug use was needed. I probably should have guessed from the rampant homophobia within the book, as well as the questionable teen voice. Apparently Beatrice Sparks has tried her hand at a few other teenage memoirs, all clearly designed to shock and horrify audiences. And I almost fell for this one. Shame on her. It drives me up the wall that this novel gets shelved in non-fiction. Though many can’t be blamed for it, as to all intents and purposes that’s what it looks like – the copyright page on my copy did not specify that this was a work of fiction, while other copies supposedly do.

This book left me gobsmacked. I was speechless that someone would try and push this out as a true account. Most likely though, I was probably stung that I’d fallen for it.

There you have it, dear readers. Now, tell me which stories stung you.

From Lizzie to Jane

    No doubt all the Austenites have been keeping up with The Lizzie Bennet Diaries and all the fun and awesomeness that came with that bit of creativity. It was a great new platform with which to tell a story that’s already been told a thousand times it seems. And when it ended I felt a bit like a an old soccer ball – a bit deflated, without purpose, and weirdly . . . abandoned. (Issues. I’ve got ’em.) 

   But! Fear no more! Purpose has re-entered my life once again. In the form of…. The Autobiography of Jane Eyre! 

Mr. Collins, he feels me. (Um…)

  Two videos have been released so far. This group is in no way related to the guys who were involved in the LBD, though it’s meant to be in the same universe and Jane talks about how Lizzie was her inspiration for starting a vlog. (Is it weird that a little thrill of delight shot through me while writing that?) 

  Only two episodes so far, but what they have is great and I’m already so excited. I was a little tentative about watching it, but I can see how the Jane of the novel has been translated well into the twenty-first century. What I especially loved about the LBD was the way they wrote in the most significant and recognisable lines from the novel, something which left me very excited and gleeful and fangirling over the writers. And it seems I can expect the same with Jane’s videos as well. 

  Not only that but the quiet, observant and expectant atmosphere of the beginning of the novel is captured very well in the first video. It’s a sort of trailer. I’m kind of in love, I think. It’s Jane. And she’s in our world! Even more real than she was in my imagination. Talking about the same books and hobbies as us. Here, watch and be excited:



I can’t wait for the rest. 

   Sincerely,
     Lady Disdain 

Wit (2001)

   It seems lately that I’m gravitating towards films that tend to leave me feeling like a bit of stray, limp pasta that never quite survives the draining and ends up on the edge of the sink hole. Not a very pretty picture, is it? But then, Wit isn’t a pretty film. It is gritty. And unashamed. And it throws light on all the ugliness that gets shoved under the rug. It will leave you squirming in discomfort, pity, heartbreak, and maybe a little guilt.

Wit stars the splendid Emma Thompson as Vivian Bearing, a university lecturer who becomes diagnosed with terminal cancer. Following that, the film simply documents her reactions, her revelations, and her reassessment of herself and her past.

   “It appears to be a matter, as the saying goes, of life and death. I know all about life and death. I am, after all, a professor of 17th century poetry, specializing in the Holy Sonnets of John Donne.”

The film jumps back and forth, between the past and the present; between the younger, more vulnerable Vivian who clings to words as a means of protection and understanding the world without interacting with it, and the older Professor Bearing who either whips out words like weapons, intending to vanquish with a single, sharp blow or draws dry circles of wit around unsuspecting victims.

Despite the fact that this film deals with such a sombre subject as cancer, it doesn’t hold back on the humour. Or maybe humor’s the best (only?) way to treat such subjects as these. I guess many people wouldn’t be interested in watching an hour and a half of  footage of a prickly lecturer feeling sorry for herself if she wasn’t also laughing at herself while she’s at it. While Professor Bearing doesn’t necessarily laugh at herself she is continually finding humor at the situation she’s in. And then she’ll look directly at you with that look of complete deadpan disdain. Emma Watson is pitch perfect in delivering the wit and humor.

“I have been asked ‘How are you feeling today?’ while I was throwing up into a plastic washbasin. I have been asked as I was emerging from a four hour operation with a tube in every orifice, ‘How are you feeling today?’. I’m waiting for the moment when someone asks me this question and I am dead. I’m a little sorry I’ll miss that.” 

   But soon Vivian comes to realize that wit is not enough. She starts to yearn for warmth and friendship. For the human contact that she has spurned for so many years. As someone who is undertaking a new cancer treatment she is nothing but a means of achieving results for the doctors. And it’s a little heartbreaking to see her struggle inside the shell that she’s created for herself.

   Ultimately though, the film becomes a study in looking beyond the screens we all prop up around ourselves. In finding the humanity that exists not only in others, but in ourselves.

I shall leave you with my favorite lines from the film, which are uttered by Vivian’s own lecturer, played by Eileen Atkins, and which seem to lay out the purpose of the whole film. They will punch you in the gut with how profound they are.

“The sonnet beings with a valiant struggle with death calling on all the forces of intellect and drama to vanquish the enemy. It is ultimately about the seemingly insuperable barriers separating life, death and eternal life. 

   In the edition you chose, this profoundly simple meaning is sacrificed to hysterical punctuation. And Death, Capital D, shall be no more, semi-colon. Death, Capital D comma, thou shalt die, exclamation mark!  If you go in for this sort of thing I suggest you take up Shakespeare. 

Gardner’s edition of the Holy Sonnets returns to the Westmoreland manuscript of 1610, not for sentimental reasons I assure you, but because Helen Gardner is a scholar. 


It reads, ‘And death shall be no more, comma, death, thou shalt die.’ Nothing but a breath, a comma separates life from life everlasting. 


Very simple, really. With the original punctuation restored Death is no longer something to act out on a stage with exclamation marks. It is a comma. A pause. 


In this way, the uncompromising way one learns something from the poem, wouldn’t you say? Life, death, soul, God, past present. Not insuperable barriers. Not semi-colons. Just a comma.”



   Sincerely,
Lady Disdain