Valentine's - The Painted Veil

Team Experience is sharing favorite love scenes for Valentine's. Here's Josh...

It's a familiar and tested recipe to throw a beautiful period frock on an actress worth their weight in Oscars, and set her literary romantic troubles against a luscious location. Actressexuals and their mums will be clutching their pearls in the cinema on the first night it opens, and rewatching on DVD instead of reading the book for years to come. But let this not detract from The Painted Veil, the underrated and oscarless (not even nominations!) gem from 2006. 

That divine poster image of Edward Norton and Naomi Watts drifting along the river is plucked from the films most beautiful scene. The scenes beauty is due in no small part to Alexander Desplat's score that rides the romance of the film perfectly. His 'River Waltz' which accompanies the scene echoes the films romantic arc, its gentle chords and progressive structure mirrors the very real struggle of Kitty and Walter as they have 'waltzed' around one another in a tricky marriage, peppered with early acts of deliberate cruelty. As they ease into the relationship, and let the rhythms of their new life together guide them, they become entwined and supportive partners. The score also playfully references Gnossienne No 1 by Erik Satie, a piece used in the film first diegetically playing in the party that Walter first swoons over Kitty passing him in the hallway, and then again as Kitty plays the tune on a rickety piano in the orphanage as he watches on. A moment of projected love, and a moment of genuine discovery of love.

And the scene is lusciously visual. Much credit to the location scouts for finding this location in the Guangxi Zhuang Autonomous Region in China. Wide blue eyed Naomi and her gorgeous lace parasol, and swoon worthy Ed Norton in a crisp linen shirt, set against those towering rock faces and sprawling bamboo. It's a smorgasbord of romanticism and a perfect antithesis from their first gruelling journey, one that Walter made them make on foot, to punish Kitty. This is a rare romance that let's us fall in love the same time the characters do.

Our Valentine's Series
A Room With a View (1986)
Shakespeare in Love (1998)
Before Sunset (2004)
Love Songs (2007)
(500) Days of Summer (2009)
Beyond the Lights (2014)

Heroes & Villains

We're trying to finish our 2015 Awards before the Oscars. Today, the Best heroes and villains of the year. These categories are always easier to draw up when the year's genre films were strong. There the binaries of good and evil can flourish stylishly, whether that's through Halloween ready memorable costuming (Mad Max Fury Road), boo!hiss! voicework (The Avengers: Age of Ultron), erm..."big" performances (Star Wars: The Force Awakens), or clever adorable characterizations (Inside Out).

You can see all 10 nominees here. Return and answer me these questions three

• Which hero would you want to be rescued by?
• Which villain did you most love to hate? 
• Which sidekick or henchmen do you fancy? 

Valentine's - A Room With a View

Team Experience is celebrating Valentines Day with favorite love scenes. Here's Lynn Lee on an 80s classic

Great Moments in Screen Kisses #20, Julian Sands and Helena Bonham CarterEveryone who loves this film remembers The Kiss.  It’s the moment proper Edwardian girl Lucy Honeychurch (a very young Helena Bonham-Carter), vacationing in Italy, discovers romantic passion for the first time.  She doesn’t know it yet, but the odd free-thinking young man she’s only recently met (Julian Sands) is her soulmate.  He knows it, though.

Besides being (literally) storybook-romantic—a sun-drenched poppy field in Italy! lush soprano aria in the background!—the kiss is also wreathed in comedy, as the film cuts back and forth between Lucy, wending her way uncertainly towards George, and her fussy chaperone Charlotte (Maggie Smith) bonding with another fellow tourist, a hacky romance novelist (Judi Dench), over scandalous love stories before she starts to worry about Lucy.  Meanwhile, the Italian driver who led Lucy to George looks on in amusement at what he has wrought.  He knows what’s up, his own public display of affection having been previously smacked down by these uptight Brits.  But the Kiss will not be denied.

It’s also the kiss that keeps on giving for the rest of the movie.  Its memory haunts Lucy during her utter failure of a first kiss with her fiancé, Cecil (Daniel Day-Lewis, vying for comic MVP with Maggie Smith), in England.  It reappears again at a critical and exquisitely awkward moment as a passage in a terrible romance novel, penned by none other than Charlotte’s novelist friend, that the clueless Cecil just happens to read out loud to none other than Lucy and George.  The tension that was simmering since George’s reentry into Lucy’s life then comes to full boil, precipitating a chain of events that eventually forces out in the open what Lucy’s been denying for too long: she and George belong together. 

All thanks to one glorious kiss.

Our Valentine's Series
Shakespeare in Love (1998)
Before Sunset (2004)
The Painted Veil (2006)
Love Songs (2007)
(500) Days of Summer (2009)
Beyond the Lights (2014)

Berlin: Tunisia's "Hedi"

Amir Soltani is covering the Berlin International Film Festival for The Film Experience this year, our first time at Berlinale!. For his first dispatch, he’s reviewed Tunisia’s Hedi

Although Hedi (Inhebbek Hedi) is Mohamed Ben Attia’s first feature film, it comes with the pedigree of being co-produced by the Dardenne brothers, and it’s not difficult to see why they were drawn to this story. Hedi (Majd Mastoura), a 25-year-old, Tunisian car salesman, would fit neatly into the gritty, realist universes of the brothers’ working class protagonists. A slow-burn study of an unhappy young man on the verge of getting married, Hedi builds up to an intensely emotional, rewarding finale that is once personal and political.

Under the overbearing, towering influence of the family’s matriarch, Hedi is the second of two sons whose father has passed away. Whereas the elder son has moved to France and lives with his French wife and daughter – much to his mother’s chagrin – Hedi remains in Tunisia, working a job he neither enjoys, nor seems to flourish in. He is engaged to be married to Khedija (Omnia Be Ghali), a modest, traditional girl whose dreams about married life and her insistence on celibacy are equally endearing and claustrophobic to Hedi. Yet, what seems like a monotonous, unsatisfying existence is set ablaze when Hedi meets Rim (Rym Ben Messaoud), a travelling dancer at a local hotel, mere days before his planned wedding.

Mastoura plays Hedi with stoic detachment, an approach to the character that allows the audience to project onto him a whole range of emotions that Hedi cannot express. As the film progresses, and different facets of the oppressive environment and communal culture in which he lives are revealed, the character, and Mastoura’s performance, become increasingly more identifiable. The movie isn’t as generous to its secondary characters, rarely affording any of them the chance to establish themselves without relation to Hedi, but the uniformly strong performances of the cast, particularly the warm and enchanting Ben Messaoud’s create fully realized characters.

Ben Attia’s sharply constructed film uses visual markers to put us in Hedi’s headspace, with subtle shifts in the rhythms of the film’s handheld cinematography and brief glimpses into Hedi’s hand-drawn comic strips. His rooted but trembling ties to anachronistic traditionalism become symbolic of the country at large. This is a piercing character study, a deeply felt film about the complications and confusions of youth that, through its focused lens, rewards the audience with a story about the broader implications of liberation from tradition, on a personal level and, allegorically, for the North African country at large.

Introducing Jane

In case you've missed it, LA based producer Ross Putman has been tweeting out the funny-if-they-weren't-so-awful introductions for female characters in the scripts he's been receiving. It's a dismal glimpse into the reality of female representation in cinema, featuring a strong emphasis on how attractive the character is and plenty of 'cool girl' types who are attractive but don't know it.  

JANE, 28, athletic but sexy. A natural beauty. Most days she wears jeans, and she makes them look good.

— Ross Putman (@femscriptintros) February 10, 2016

JANE (late 20s) sits hunched over a microscope. She’s attractive, but too much of a professional to care about her appearance.

— Ross Putman (@femscriptintros) February 10, 2016

A gorgeous woman, JANE, 23, is a little tipsy, dancing naked on her big bed, as adorable as she is sexy. *BONUS PTS FOR BEING THE 1ST LINE

— Ross Putman (@femscriptintros) February 10, 2016

Whilst these scripts are likely never seeing the light of day (fingers crossed), it's an unavoidable truth that for every Therese Belevit there are ten Michael Bay Hot Girl who runs 2 metres behind the gawky hero.

To compare, let's look after the jump  at how some of this year's iconic female characters have been introduced in their films after the jump...

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