War Horse (12A)

Nominated for 5 BAFTAs and 6 Oscars including Best Picture at the Academy Awards next month, here is my review of Steven Spielberg's War Horse, still in cinemas.

This review was first published in The Methodist Recorder (www.methodistrecorder.co.uk).

War Horse (12A)

Based on the children’s novel and acclaimed stage production, Steven Spielberg’s War Horse tells the tale of Devon boy Albert and his horse Joey, which Albert must rescue when he is sold to the army in WWI.

The story is a deliberate tearjerker, especially for animal lovers and younger viewers who make up most of its intended audience. For others all the melodrama, tears and heroics may seem over the top when centered around an animal. A major weakness is that Spielberg doesn’t well enough set up why we should care about Joey, let alone empathise with Albert who even puts his own life on the line for him.

For those forgiving enough to see past these flaws, War Horse will reward with a powerful cathartic experience. The story’s simplicity is a strength, with little time wasted on peripherals beyond the core element of a boy and his horse, which splits into parallel plot threads once they are separated.

Spielberg shows brilliant restraint as he portrays the cruelties of war in a way which is suitable for most children. Almost never do we see impact or injury in the excellent battle scenes, with a lingering shot of the aftermath being plenty to tell the story.

The visuals are a rich and colourful feast for the eyes. Almost miraculously the cinematographer has transformed the bleakness of Devon into a world of soft sunlight and glowing English charm. Contrast that with the dark and smokey No Man’s Land, a place of horrors that becomes a stage on which Joey teaches both sides in the war something of the humanity they lose in fighting each other.

Made more likable by healthy doses of good humour, the film’s close to two and a half hour running time races past comfortably. Peter Mullan is wonderful as Albert’s defeatist father and Benedict Cumberbatch is terrific as always, here playing a cocky British Major.

Worthy themes of bravery and sacrifice abound, but when in relation to a soulless creature it becomes hard to contrive much worthwhile Christian comment. Suffice to say it brings Psalm 33:17 to mind.

For those wise to the heartstring tugging mechanisms used however expertly by the director, the film can be occasionally irritating. Faults aside, War Horse will satisfy most and leave them with a genuinely warm feeling; but anyone looking for much more than that should look elsewhere.

Orphans (18)

Today we have gritty British indie flick Orphans (1998), out on DVD and Blu-ray Monday 31st October.

Orphans (18) (This review on FilmJuice.com)

Actor Peter Mullan’s 1998 feature debut as writer and director is a gritty, no holds barred Scottish drama mixing heartfelt agony and unexpected hilarity, resulting in a rich and powerful ensemble piece. This is a must see for any fans of British indie cinema.

Recently bereaved of their mother, four siblings (three brothers and a sister) embark on a sleepless night of turmoil and anguish ahead of her funeral the next day. Gary Lewis plays Thomas, the oldest and most emotionally bottled up brother. Thomas chooses to spend the night alone in the local Church, keeping vigil by his mother’s body. Douglas Henshall is spellbinding as Michael, perhaps the most interestingly written character in the script. After suffering a stab wound defending Thomas’ honour in a pub brawl, he rejects hospital treatment in favour of waiting for his next day of work, planning to pretend that it was a work related injury and thereby claim compensation. The film is laced with many such difficult to watch but extremely funny twists and turns, and although deeply sympathetic to his character’s burdens, Mullan was also clearly having a whale of a time bringing the dark and bracing humour of his Scottish homeland to the screen. Some of the passionate but boneheaded sweary dialogue is side-splitting.

Youngest brother John channels his feelings into a misguided crusade for vengeance against his brothers knife attacker. His misadventures take him on a wild roller coaster of emotions, and Stephen McCole plays the part with flair. The final sibling and only sister is the handicapped Sheila (Rosemarie Stevenson), who suffers after being left in her older brother Thomas’ care. His devotion to his dead mother trumps that for his live and very needy sister. Left to wander the dark streets alone in her wheelchair, Sheila serves as a symbol for where the bereaved’s focus should lie, but sadly rarely ever does.

At first the film’s score (an insight into the early days of now successful composer Craig Armstrong) feels overly melodramatic, but soon it’s appropriateness is made clear as it helps to soften the contrast between the film’s bleak atmosphere, and the explosions of comedy which appear left, right and centre. So pitch black is the style and tone that visually the picture looks like it’s been dipped in tar, and that coupled with Mullan’s emotive camera work and direction is shatteringly effective.

Orphans paved the way for Mullan to direct The Magdalene Sisters (2002) and Neds (2010), and as far as career launchers go it’s a belter. Here’s hoping he’ll take the reins behind the camera for many more films to come!