My Week With Marilyn (2011)

At first glance, My Week With Marilyn might seem like a behind-the-scenes look at a mostly forgotten movie that had its fair share of off-camera drama. However, a closer examination of the film reveals an incomplete study of icon-in-the-making Marilyn Monroe. Although still six years away from her 1962 death when she travelled to England to make The Prince and the Showgirl with Sir Laurence Olivier, Marilyn displayed many of the characteristics that would later damage her career and personal life. My Week With Marilyn chronicles the difficult process of getting the film made while exploring the enigma that was Marilyn Monroe at the height of her fame.

In 1956, Marilyn Monroe (Michelle Williams) arrives in England to star in the film, but 23 years old third assistant director Colin Clark witnesses the clash of titanic egos and forms a brief intimacy with the emotionally fragile screen goddess.

The 'my week' in director Simon Curtis' entertaining tale obsereves that Marilyn Monroe was a movie star who wanted to be a great actress, and Sir Laurence Olivier was a great actor who wanted to be a movie star. He ruefully concludes that The Prince and The Showgirl, a lack-lustre adaptation of Terence Rattigan's comedy The Sleeping Prince would serve neither's purpose.

Based on two books written by Colin Clark, it wasn't until the 1990's that Clark, who died in 2002, published the accounts of his time spent with Marilyn Monroe. His claims of a chaste love affair ring true and his portrait of the actress meshes with other accounts from that era. My Week With Marilyn is a fairly accurate take on Clark's experiences. However, although the narrative is presented from his point-of-view, this isn't his story.

Of course the hype surrounding the film centres on Michelle Williams' performance. Williams pretty much nails the three faces of of Marilyn in popular culture: little lost girl, sexpot and spontaneous actress. Marilyn's indefinable magic proves more elusive, but Williams does a good job shedding her own mannerisms to channel Marilyn's. Eddie Redmayne does a good job as the endearing Clark, his enchantment with Marilyn showing not just in the way he acts around her, but the way he shows it whilst everyone else is watching her.

There is rich irony in the casting of Kenneth Branagh as Olivier. For much of his professional career, Branagh has been compared to Olivier, so it's fitting he gets to play the part. The character is thinly-written - Olivier is third fiddle to Monroe and Clark - so Branagh opts more for mimicry than attempting to develop a three dimensional personality. Essentially Branagh steals the show. His desire for Marilyn turned to hot indignation with her chronic insecurites keeping troopers like Dame Sybil Throndike (Judi Dench) waiting around for hours for Marilyn to do a spot of acting. Whenever she does appear she is always accompanied by her method mentor Paula Strasberg (Zoe Wanamaker), whose coaching from the sidelines cranks up Olivier's rage.

Eddie Redmayne is probably the least known member of the cast that also includes Emma Watson (an underwritten role as Clark's would-be girlfriend) and a cameo from Derek Jacobi, but he holds own. His portrayal of Clark feels gentle and unforced. On those occasions when he fades into the background, it's by design, for Marilyn to shine.

My Week With Marilyn is a sweet, slight affair that should have award nominations for both Williams and Branagh. Just don't go expecting a full blown autobiographical tale.

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Jane Eyre (2011)

There's been many, many takes on the story of Jane Eyre with the most recent being the 2006 version starring Ruth Wilson and Toby Stephens. This time Sin Nombre (2009) director Cary Fukunaga has a go, producing a film that is gloomy, depressing, but also enjoyable.

For those of you who don't know the story; Jane Eyre (Mia Wasikowska) is a very self-assured governess who happens to fall in love with her new employer, Mr Rochester (Michael Fassbender). But not is all as it seems as Mr Rochester tries to hide his terrible secret.

Jane is first seen in childhood played by Amelia Clarkson, who shows great spirit and determination despite of the callousness shown to her, first by her Auntie (Sally Hawkins) and then from the orphanage who try and groom her into the woman she will eventually become. This chapter really helps the audience see the type of Woman Jane will become before she is sent to work at the Thronfield estate and Mr Rochester. As plain and quite sad looking Jane, Wasikowska (Wasi to her friends) manages to show great restraint in her performance. There's no doubting Mia is a naturally beautiful woman but is able to hide it well. The real beauty comes from the fact that she manages to exude that sense of authority but also seem child like in her own skin-especially when she is around Mr Rochester. Few leading men at the moment could play the variety of roles that Fassbender has over the last few years. As Mr Rochester you never know what to expect, he can be very charming and warm one minute and evil and sinister the next. Of course if Fukunaga stuck closely to the book, we'd of got a fat balding man (don't hear to many ladies complaining about Fassbender getting the role). The film also has a talented supporting cast with Jamie Bell and Judi Dench giving good, if somewhat routine performances.

Early on in the film, Jane seems more the victim then his saviour. It's only until later in the film we finally see her real strength and gradually see a role reversal, with Mr Rochester seeming weak and unable to cope without Jane. It's just a shame the chemistry isn't quite there between the two brilliant actors. No matter how you look at it, Jane is still very young (passing for 19 but easily looks 16) whereas Mr Rochester could pass for 40. It's also a shame that the film doesn't show a more darker side. Yes the film has a dark feel to it but fails to explore the midnight screams and the secret room in enough detail. I think this would've enhanced the audiences experience and done something a little different to other film versions.

There's no doubting Jane Eyre is a beautiful film to look at and shows just how gloomy and depressing England can be. It's just a shame the leads don't quite match, with the ending also failing to live up to the build-up. The costume drama seems to be a very niche drama but despite that general definition, the style often refers to English period pieces and Jane Eyre is no different. This won't detract fans of the genre but is unlikely to convert any new fans.

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