Knight at the Movies Archives
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Anne Hathaway tries on a British accent and Matt Damon makes it a successful 3peat with his Bourne franchise
English director Julian Jarrold has followed up his likeable transvestite comedy feature debut Kinky Boots with a sweet fanciful
consideration of the life of the young Jane Austen in Becoming Jane. This romantic period piece, powered by rising stars Anne
Hathaway and James McAvoy, a pedigreed cast that includes James Cromwell, Maggie Smith, and Julie Walters, and a remarkable
script dripping with beautiful words, is the literate blockbuster that anti-blockbuster filmgoers have been waiting all summer for.
The film follows the young, unmarried Jane whose parents (Cromwell and Walters), especially her mother, are eager to marry her off
and secure their future comfort. A suitable candidate, the favored nephew of the rich snob Lady Gresham (Smith) is exactly what
Jane’s mother has in mind. But stubborn, independent minded Jane has her head in the clouds or more specifically in her
notebooks as she scratches away (literally) into the wee hours of the morning at her passion for writing (which we are vividly shown in
the film’s opening scene). Jane wants nothing to do with the marriage candidate who is good looking but socially inept and nothing
shakes her resolve to hold out for love. Then Tom Lefroy (McAvoy) a handsome Irish rake living in London who has been sent to
visit relatives in the countryside as punishment for his wild ways by his rich uncle arrives on the scene. Rude, conceited and
presumptuous, Tom interrupts an engagement party for Jane’s sister and her reading of one of her original works with no apology.
Later he deems it nothing special in an aside which Jane overhears.
From that point on we have a verbal sparring match between the two that naturally will lead to Forbidden Love, this essentially being
a story of opposites attracting. The script, by Kevin Hood and Sarah Williams, takes flight amidst a flurry of words as the
relationship begins. Like any story of opposites attracting – from Scarlet and Rhett to Elizabeth and Mr. Darcy in Austen’s own “Pride
& Prejudice” – the faster the sparks fly, the wittier and more delicious the verbal exchanges become. Hathaway and McAvoy lob the
brickbats back and forth like two tennis pros at the Wimbledon finals.
But alas, though the two eventually find their way to love the comely Tom will lose his promised fortune if he marries Jane who is
beneath his station. Further, Jane’s father finally gives in to the mother’s pressure and quietly tries to point her toward the rich,
stuffy suitor by saying, “Nothing destroys the spirit like poverty.” The suggestion that Jane’s writing could provide means for the
family’s future existence is brushed aside as it’s considered a novelty and nothing more than a hobby. So what’s a girl to do?
The answers in this romantic, sumptuously appointed drama are not quite as satisfying as the ones Austen supplied her heroines
with in her own novels (and previous film adaptations of the same) but the pleasure the movie brings, thanks to its sparkling script
and cast is nearly as rewarding. Jarrold’s Kinky Boots was a naughty bit jolly that fit comfortably with other Britcoms like Calendar Girls
and The Fully Monty. Becoming Jane will surely please the Merchant-Ivory crowd as Jarrold assuredly returns to familiar historical
territory and a statelier pace (his resume includes a slew of TV adaptations of classic novels and continues next year with a feature
version of the gay themed Brideshead Revisited). And again, wordsmiths will swoon at the movie’s felicity with excessive verbiage.
Becoming Jane is a blockbuster for language professors, linguists of all stripes, the lovelorn, and those sick of explosions and special
effects. In other words, here’s a great movie for readers.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The greatest pleasure of the Bourne series which continues for the third time with The Borune Ultimatum has been watching
Matt Damon outwit the CIA and the other clandestine government agencies that have used every trick in the book to track him
down. For all their high tech gear and good looking assassins (the movie features two hunky killers), there’s always some way for
Bourne to outsmart his hunters. The implied pleasure of the David vs. Goliath story, considering our country’s current headlines,
couldn’t be sweeter and is to be subconsciously savored throughout. Matched with the lean, flinty style of director Paul Greengrass
(who helmed the previous Bourne sequel and made last year’s devastatingly good United 93) the combination is irresistible.
The globe seems to be spinning (literally) as the movie begins. Utilizing handheld cameras with an overdose of jerky close ups it
takes a while to get used to Greengrass’ frenetic style. It took about 15 minutes for me to not wish for some Dramamine before the
effect took hold. By that time our hero Jason Bourne has made his intentions clear – he’s out for revenge for the agency that killed
his girlfriend in the last picture and he’s coming home to America because he’s close to discovering his true mission and identity.
But that won’t stop him from making a lot of stops around the globe before he steps back onto American soil. Greengrass keeps
the set pieces coming and Damon and cast hopping as the movie moves along at a trot (but not so fast that it’s hard to follow).
Damon turns in his usual terse, no-nonsense performance and is aided by an expert crack cast that gives acting honors to the cool
yet compassionate Joan Allen, David Straitharn, Scott Glenn, Paddy Consodine as a skittish investigative reporter, and the pug
mouthed Julia Stiles. This is a smart, stylish third addition to the series (don’t expect it to be the last) that beautifully uses its
international locations and manages to wrap up in less than two hours.
consideration of the life of the young Jane Austen in Becoming Jane. This romantic period piece, powered by rising stars Anne
Hathaway and James McAvoy, a pedigreed cast that includes James Cromwell, Maggie Smith, and Julie Walters, and a remarkable
script dripping with beautiful words, is the literate blockbuster that anti-blockbuster filmgoers have been waiting all summer for.
The film follows the young, unmarried Jane whose parents (Cromwell and Walters), especially her mother, are eager to marry her off
and secure their future comfort. A suitable candidate, the favored nephew of the rich snob Lady Gresham (Smith) is exactly what
Jane’s mother has in mind. But stubborn, independent minded Jane has her head in the clouds or more specifically in her
notebooks as she scratches away (literally) into the wee hours of the morning at her passion for writing (which we are vividly shown in
the film’s opening scene). Jane wants nothing to do with the marriage candidate who is good looking but socially inept and nothing
shakes her resolve to hold out for love. Then Tom Lefroy (McAvoy) a handsome Irish rake living in London who has been sent to
visit relatives in the countryside as punishment for his wild ways by his rich uncle arrives on the scene. Rude, conceited and
presumptuous, Tom interrupts an engagement party for Jane’s sister and her reading of one of her original works with no apology.
Later he deems it nothing special in an aside which Jane overhears.
From that point on we have a verbal sparring match between the two that naturally will lead to Forbidden Love, this essentially being
a story of opposites attracting. The script, by Kevin Hood and Sarah Williams, takes flight amidst a flurry of words as the
relationship begins. Like any story of opposites attracting – from Scarlet and Rhett to Elizabeth and Mr. Darcy in Austen’s own “Pride
& Prejudice” – the faster the sparks fly, the wittier and more delicious the verbal exchanges become. Hathaway and McAvoy lob the
brickbats back and forth like two tennis pros at the Wimbledon finals.
But alas, though the two eventually find their way to love the comely Tom will lose his promised fortune if he marries Jane who is
beneath his station. Further, Jane’s father finally gives in to the mother’s pressure and quietly tries to point her toward the rich,
stuffy suitor by saying, “Nothing destroys the spirit like poverty.” The suggestion that Jane’s writing could provide means for the
family’s future existence is brushed aside as it’s considered a novelty and nothing more than a hobby. So what’s a girl to do?
The answers in this romantic, sumptuously appointed drama are not quite as satisfying as the ones Austen supplied her heroines
with in her own novels (and previous film adaptations of the same) but the pleasure the movie brings, thanks to its sparkling script
and cast is nearly as rewarding. Jarrold’s Kinky Boots was a naughty bit jolly that fit comfortably with other Britcoms like Calendar Girls
and The Fully Monty. Becoming Jane will surely please the Merchant-Ivory crowd as Jarrold assuredly returns to familiar historical
territory and a statelier pace (his resume includes a slew of TV adaptations of classic novels and continues next year with a feature
version of the gay themed Brideshead Revisited). And again, wordsmiths will swoon at the movie’s felicity with excessive verbiage.
Becoming Jane is a blockbuster for language professors, linguists of all stripes, the lovelorn, and those sick of explosions and special
effects. In other words, here’s a great movie for readers.
+++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++
The greatest pleasure of the Bourne series which continues for the third time with The Borune Ultimatum has been watching
Matt Damon outwit the CIA and the other clandestine government agencies that have used every trick in the book to track him
down. For all their high tech gear and good looking assassins (the movie features two hunky killers), there’s always some way for
Bourne to outsmart his hunters. The implied pleasure of the David vs. Goliath story, considering our country’s current headlines,
couldn’t be sweeter and is to be subconsciously savored throughout. Matched with the lean, flinty style of director Paul Greengrass
(who helmed the previous Bourne sequel and made last year’s devastatingly good United 93) the combination is irresistible.
The globe seems to be spinning (literally) as the movie begins. Utilizing handheld cameras with an overdose of jerky close ups it
takes a while to get used to Greengrass’ frenetic style. It took about 15 minutes for me to not wish for some Dramamine before the
effect took hold. By that time our hero Jason Bourne has made his intentions clear – he’s out for revenge for the agency that killed
his girlfriend in the last picture and he’s coming home to America because he’s close to discovering his true mission and identity.
But that won’t stop him from making a lot of stops around the globe before he steps back onto American soil. Greengrass keeps
the set pieces coming and Damon and cast hopping as the movie moves along at a trot (but not so fast that it’s hard to follow).
Damon turns in his usual terse, no-nonsense performance and is aided by an expert crack cast that gives acting honors to the cool
yet compassionate Joan Allen, David Straitharn, Scott Glenn, Paddy Consodine as a skittish investigative reporter, and the pug
mouthed Julia Stiles. This is a smart, stylish third addition to the series (don’t expect it to be the last) that beautifully uses its
international locations and manages to wrap up in less than two hours.
Who Am I:
Becoming Jane-The Bourne Ultimatum
8-1-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
Becoming Jane-The Bourne Ultimatum
8-1-07 Windy City Times Knight at the Movies Column
By Richard Knight, Jr.
