As young British intelligence specialist Katharine Gun in Official Secrets, Keira Knightley tries to stop an illegal war when she receives a mind-blowing NSA e-mail in the 2003 lead-up to the invasion of Iraq that might as well have been titled "Blackmail Help Wanted."
Alarmed to find the United States requesting Britain's assistance in gathering dirt on members of the UN Security Council that they could then use to force those representatives to vote in favor of the war in the Middle East, the previously unassuming, twenty-something translator knows she can't just sit back and watch her country begin the march toward an unjust war.
Bound by the Official Secrets Act, which makes it illegal to disclose the intelligence she comes across at her job, Gun risks everything when she leaks the memo through an intermediary to the prominent British newspaper The Observer, and becomes a whistleblower in the process.
A fascinating true story that — perhaps for obvious reasons — received little to no mention in the United States, Rendition and Eye in the Sky director Gavin Hood's Official Secrets had all the makings of a successful political drama, which makes this drearily shot and dully paced end result all the more disappointing.
An ordinary woman thrust into an extraordinary situation who let her conscience be her guide and stood firm even when the government threatened her family, Gun is an admirable figure both in real life and on paper. And that is precisely why it's such a shame that she's turned into a one dimensional placeholder for political speak onscreen. Revealing very little about Gun as either a woman or a spy, although the usually stellar Knightley excels during a few brief moments of speechifying, far too often she sleepwalks throughout Secrets in a woefully underwritten role.
In fact, not knowing exactly what to do with the everywoman hero at the heart of the film, Official Secrets only springs to life when it changes points-of-view away from Gun. Illustrating the ways in which it might’ve worked better as a thriller, we find ourselves completely caught up when the film focuses on both the trio of newspapermen at The Observer who published the shocking front page story just seventeen days before the U.S. invaded Iraq and the human rights lawyer who eventually took Gun’s case.
Trying to hit all the high points as a faithful chronicle of events without building any real connection to the actual architects behind the action (except in one nerve-wracking scene where Gun tries to track down her husband when retaliation by the government hits close to home), this workmanlike effort plays best as a cinematic equivalent to Cliffs Notes.
Leaving the cast floundering with an emotionally staccato script by Hood alongside husband and wife team Sara and Gregory Bernstein, which was based upon based upon Thomas and Marcia Mitchell's 2008 book The Spy Who Tried to Stop a War, Official Secrets lacks both the humanism that drew us into Hood's politically driven Rendition as well as a strong narrative arc.
A nonetheless eye-opening and still timely saga that — from a historical perspective alone — is sure to spark the curiosity of American viewers who are largely unfamiliar with Gun's actions, regrettably there's nothing about Hood's interpretation that elevates Official Secrets beyond the level of an average, interchangeable made for premium cable movie you're likely to see at home on Saturday nights.
In Keira Knightley's most impressive performance to date, she portrays The Duchess of Devonshire a.k.a. Georgiana Spencer-- whom-- as both a distant relative of Princess Diana and as a contemporary of Marie Antoinette, has become another incredibly fascinating female historical figure who has captured biographers' attention again and again.
In director Saul Dibb's The Duchess-- one of Film Intuition's favorite films of 2008-- which was based on Amanda Foreman's biography Georgiana: The Duchess of Devonshire, we're given an intimate look at the life of the young young who was later dubbed the "Empress of Fashion" and became argably England's first "It Girl."
For the gorgeous Blu-ray transfer from Paramount Vantage, some intoxicating High Definition bonus features have been added to the film, which I'll rate along with the technical aspects, after first presenting the film's review, which was originally published upon its release on October 10, 2008.
Overall, while period pictures or costume dramas have always been popular (Ben Hur, Spartacus, etc.), with very few exceptions-- including Cleopatra and Out of Africa-- it's been a largely male dominated genre. History after all begins with the letters H-I-S but over the past decade and most notably since Shekhar Kapur's brilliant original Elizabeth--which launched the career of the then unknown Cate Blanchett-- we've begun to catch a glimpse of the past from a feminine and/or (more often than not) feminist point-of-view.
Whether it was in Sofia Coppola's controversial re-imagining of Marie Antoinette based on the book by Antonia Fraser or in more conventional adaptations such as this year's The Other Boleyn Girl,history has suddenly become "herstory" and British director Saul Dibb's brilliant new film, The Duchess is not only the latest entry but one of the best since Blanchett portrayed the Virgin Queen in 1998.
Of course, by now we've all been presented with the unfavorable circumstances of women being bartered and legally contracted into marriage or traded as though they were cattle for their ability to produce a male heir. Not to mention, we're familiar with the sad truth that one must either marry well or become a spinster governess in both the films and the novels of Austen and the Bronte sisters. Still, The Duchess manages to drive this home even further in its extremely effective structure by presenting this situation nearly completely from our heroine's point-of-view.
While admittedly one could say that Keira Knightley has agreed to star in one too many period pieces (coming off the heels of Pride and Prejudice, Atonement and the Pirates of the Caribbean films among others), she turns in her best work in her most mature performance to date as Georgiana Spencer.
Spirited and beautiful-- the natural people-pleaser who'd always been the center of attention-- Georgiana became, as Paramount Vangage's press release notes, England's first authentic "It Girl." Often dubbed the Empress of Fashion, Georgiana is plunged into the spotlight from relative obscurity after her ambitious mother, the Lady Spencer (Charlotte Rampling) negotiates the socially advantageous marriage with the middle aged Duke of Devonshire (Ralph Fiennes) with the promise that her teenage daughter will bear him a son.
Cold, ill-mannered, and far more at ease seducing maids and playing with his dogs than talking to his new young wife, as Georgiana's closest friend the Lady Elizabeth "Bess" Foster phrases it, it seems as though Fiennes' Duke is the only man in London not in love with his wife. Prone to leaving dinner parties filled with politicians as soon as he's finished eating or roughly handling his wife when fulfilling his procreational duties, the Duke quickly surprises Georgiana with the arrival of Charlotte, a daughter he'd fathered years earlier. While fortunately Georgianna takes to the young girl at once and becomes the mother the orphaned girl had always wanted, unfortunately for the Duke, she conceives and births two additional daughters and the pressure to produce a son drives their already strained marriage further apart.
Seeking solace in apparel she designs and in the company of others, she finds what she assumes will be a friend for life in the far worldlier but troubled Lady Elizabeth a.k.a. "Bess" (played by Hayley Atwell), who has suffered far more devastating crimes in her own marriage. Yet when the Duke makes a move on Bess, suddenly their friendship is jeopardized when initially a love triangle is formed, which grows into a quadrangle after Georgina discovers a passion of her own when she becomes reacquainted with a youthful crush, Charles Grey (Dominic Cooper).
Fresh out of Cambridge and climbing the ranks in Parliament, Grey's devotion to changing England for the better with the Whig Party inspires Georgiana to get involved and as noted by Paramount, "determined to be a player in the wider affairs of the world, she proved that she could out-gamble, out-drink and outwit most of the aristocratic men that surrounded her." However, when she tries to carve out a piece of her own romantic happiness, everything comes tumbling down as the Duchess is forced to choose between duty, family and love much "like her direct descendant Princess Diana."
As Knightley told Josh Patner in the November issue of Glamour Magazine, she was fascinated by the prospect of playing someone so complicated, describing the Duchess as the type of individual who "can be lonely in a huge group of people" which reminded me of her French contemporary, Marie Antoinette ("Keria for Real," pg. 230). And since as the title connotes, it is the Duchess with whom we identify throughout the film--based on Amanda Foreman's award-winning and critically acclaimed biography Georgiana, Duchess of Devonshire-- Knightley gives her character her all as we feel her small joys and pain throughout.
And while on the first viewing, it's Knightley's show all the way and I'd be extremely surprised if this didn't garner her at least an Academy Award nomination, in viewing it a second time, I was struck by the entire cast, most notably Hayley Atwell. Following up a role in Woody Allen's Cassandra's Dream, the icy and unsuccessful period piece Brideshead Revisited and an excellent Irish sleeper How About You-- 2008 is Atwell's year for dynamic supporting work and she's truly a marvel in a role that is easily as complicated as our leading lady's.
And rebounding from the disastrous Mamma Mia! in a role that finally did justice to his phenomenal History Boys buzz, Dominic Cooper makes a dishy young hearthrob but it's the former hearthrob Ralph Fiennes who definitely surprises. While not as easily evil as his work as Lord Voldemort in Harry Potter-- especially since as loathsome as the Duke is, he is also a product of his time-- Fiennes shows a quiet, powerful, and off-putting side in a commanding portrayal of a man who rarely seems comfortable in his own skin and, much like his wife, always gives off the impression he'd rather be somewhere else entirely.
Penned by the director, Casanova screenwriter Jeffrey Hatcher and After the Wedding's Anders Thomas Jensen, this sumptuously ravishing period piece is far more than a deceptively pretty little picture. Additionally, it manages to avoid the surface level trappings of its genre. And as a nice change of pace to the testosterone-fueled historical epics like Braveheart and Gladiator, by offering a look at a time and place from a woman's perspective, it helps to breathe much needed life and offer a more irresistible approach to a classical genre. One of the most impressive new films of the fall, The Duchess is highly recommended, especially for mothers and their teenage daughters to see together to promote a worthwhile dialogue about gender and history.
II. The Blu-ray
The superlative picture quality and emphasis on natural candle based light actually improves upon the digital transfer to televisions which can adjust the brightness of the color in order to either make things more vivid, help with the contrast or make the period world seem a bit crisper in one's living room.
Yet, one major flaw with the Blu-ray is that-- even with an HDMI cord obtaining the highest audio transfer possible-- the sound was overly quiet, much like the DVD of Knightley's Best Picture nominee from the year before, Atonement. With music and sound effects drowning out the dialogue, I found myself constantly playing with the remote, trying to balance the sound settings specifically for the film and grudgingly cranking the sound up to 50 in order to make out a conversation between Knightley and her mother, played by Charlotte Rampling.
Although thankfully, subtitles are offered so that we can read what we are missing on the audio track-- it detracts somewhat from the experience, yet fortunately the film still packs a wallop in Dibb's dedication to bring audiences a 360 degree world of the time, as he notes in the 23 minute "How Far She Went...Making The Duchess" featurette.
Learning there was much more to Georgiana's life than what appeared on the screen, we discover that she secretly battled with numerous difficulties including a gambling addiction and subsequent debt, battle with bulimia, and drug abuse which author and biographer Foreman attributes to the "crippling effect" that overwhelming scrutiny, notoriety, and fame had on the young woman.
With a disregard for traditional manners in favor of addressing people with warmth and in energetic earnest, historians discuss the life of the woman and take us to numerous real locations such as Chatsworth and the Old Vic which were used in the film in the wondrous "making-of" featurette."
Also including insights from the three main stars both on their own characters and each other as Fiennes and Atwell marvel at Knightley's stamina and talent, special consideration is also given to the makeup and wardrobe department as they explain not only how much work went into each selection and in preparing Knightley (sometimes adorning her with wigs that were so heavy she couldn't move her neck) but also, in the "Costume Diary" extra, the way that the young women's wardrobe (as evidenced in the photos) changes over time as Knightley is first seen in pale colors and ends in a dark gown and Atwell is given the opposite approach, to add subtextual layers to their characters.
Like Coppola's Marie Antoinette, the production design and costuming are first rate but history buffs will also want to explore the mini-featurette "Georgianna In Her Own Words" as we listen to the letters written by the Duchess and note the way that her handwriting, personality, and outlook changed from her initial correspondence as "a young girl trying to be a grown up" to the amount of pressure and insecurity she faced in continually being unable to bear the Duke a son.
Although this extra runs a brief seven minutes and you'll find yourself wishing the Blu-ray had come as a gift set complete with Foreman's book to get the fullest picture possible on the beautiful Duchess, it's a remarkable work that I'm hoping will garner the audience it should've received initially now that it's been made available on DVD and Blu-ray, which nicely hits shelves just following Ralph Fiennes' recent Golden Globe nomination for his performance.
Alan Ball's Independent Spirit Award Nominated Towelhead
* Note:A few of the movies listed below are repeats-- with the holiday season, there were some conflicting ads regarding a few release dates so to keep you fully updated, here are the official titles and reviews (if applicable).
Likewise, as I'm still playing catch-up on my workload, please stay tuned for additional Blu-ray reviews of this week's releases of The Duchess,Ghost, and The Truman Show in the near future.
Explore The Top Releases Below on Amazon.com: Including Some Wonderful Old Favorites From Universal Studios & Focus Features Re-Released with "Movie Cash"
Overall, while period pictures or costume dramas have always been popular (Ben Hur, Spartacus, etc.), with very few exceptions-- including Cleopatra and Out of Africa-- it's been a largely male dominated genre. History after all begins with the letters H-I-S but over the past decade and most notably since Shekhar Kapur's brilliant original Elizabeth--which launched the career of the then unknown Cate Blanchett-- we've begun to catch a glimpse of the past from a feminine and/or (more often than not) feminist point-of-view.
Whether it was in Sofia Coppola's controversial re-imagining of Marie Antoinette based on the book by Antonia Fraser or in more conventional adaptations such as this year's The Other Boleyn Girl,history has suddenly become "herstory" and British director Saul Dibb's brilliant new film, The Duchess is not only the latest entry but one of the best since Blanchett portrayed the Virgin Queen in 1998.
Of course, by now we've all been presented with the unfavorable circumstances of women being bartered and legally contracted into marriage or traded as though they were cattle for their ability to produce a male heir. Not to mention, we're familiar with the sad truth that one must either marry well or become a spinster governess in both the films and the novels of Austen and the Bronte sisters. Still, The Duchess manages to drive this home even further in its extremely effective structure by presenting this situation nearly completely from our heroine's point-of-view.
While admittedly one could say that Keira Knightley has agreed to star in one too many period pieces (coming off the heels of Pride and Prejudice, Atonement and the Pirates of the Caribbean films among others), she turns in her best work in her most mature performance to date as Georgiana Spencer.
Spirited and beautiful-- the natural people-pleaser who'd always been the center of attention-- Georgiana became, as Paramount Vangage's press release notes, England's first authentic "It Girl." Often dubbed the Empress of Fashion, Georgiana is plunged into the spotlight from relative obscurity after her ambitious mother, the Lady Spencer (Charlotte Rampling) negotiates the socially advantageous marriage with the middle aged Duke of Devonshire (Ralph Fiennes) with the promise that her teenage daughter will bear him a son.
Cold, ill-mannered, and far more at ease seducing maids and playing with his dogs than talking to his new young wife, as Georgiana's closest friend the Lady Elizabeth "Bess" Foster phrases it, it seems as though Fiennes' Duke is the only man in London not in love with his wife. Prone to leaving dinner parties filled with politicians as soon as he's finished eating or roughly handling his wife when fulfilling his procreational duties, the Duke quickly surprises Georgiana with the arrival of Charlotte, a daughter he'd fathered years earlier. While fortunately Georgianna takes to the young girl at once and becomes the mother the orphaned girl had always wanted, unfortunately for the Duke, she conceives and births two additional daughters and the pressure to produce a son drives their already strained marriage further apart.
Seeking solace in apparel she designs and in the company of others, she finds what she assumes will be a friend for life in the far worldlier but troubled Lady Elizabeth a.k.a. "Bess" (played by Hayley Atwell), who has suffered far more devastating crimes in her own marriage. Yet when the Duke makes a move on Bess, suddenly their friendship is jeopardized when initially a love triangle is formed, which grows into a quadrangle after Georgina discovers a passion of her own when she becomes reacquainted with a youthful crush, Charles Grey (Dominic Cooper).
Fresh out of Cambridge and climbing the ranks in Parliament, Grey's devotion to changing England for the better with the Whig Party inspires Georgiana to get involved and as noted by Paramount, "determined to be a player in the wider affairs of the world, she proved that she could out-gamble, out-drink and outwit most of the aristocratic men that surrounded her." However, when she tries to carve out a piece of her own romantic happiness, everything comes tumbling down as the Duchess is forced to choose between duty, family and love much "like her direct descendant Princess Diana."
As Knightley told Josh Patner in the November issue of Glamour Magazine, she was fascinated by the prospect of playing someone so complicated, describing the Duchess as the type of individual who "can be lonely in a huge group of people" which reminded me of her French contemporary, Marie Antoinette ("Keria for Real," pg. 230). And since as the title connotes, it is the Duchess with whom we identify throughout the film--based on Amanda Foreman's award-winning and critically acclaimed biography Georgiana, Duchess of Devonshire-- Knightley gives her character her all as we feel her small joys and pain throughout.
And while on the first viewing, it's Knightley's show all the way and I'd be extremely surprised if this didn't garner her at least an Academy Award nomination, in viewing it a second time, I was struck by the entire cast, most notably Hayley Atwell. Following up a role in Woody Allen's Cassandra's Dream, the icy and unsuccessful period piece Brideshead Revisited and an excellent Irish sleeper How About You-- 2008 is Atwell's year for dynamic supporting work and she's truly a marvel in a role that is easily as complicated as our leading lady's.
And rebounding from the disastrous Mamma Mia! in a role that finally did justice to his phenomenal History Boys buzz, Dominic Cooper makes a dishy young hearthrob but it's the former hearthrob Ralph Fiennes who definitely surprises. While not as easily evil as his work as Lord Voldemort in Harry Potter-- especially since as loathsome as the Duke is, he is also a product of his time-- Fiennes shows a quiet, powerful, and off-putting side in a commanding portrayal of a man who rarely seems comfortable in his own skin and, much like his wife, always gives off the impression he'd rather be somewhere else entirely.
Penned by the director, Casanova screenwriter Jeffrey Hatcher and After the Wedding's Anders Thomas Jensen, this sumptuously ravishing period piece is far more than a deceptively pretty little picture. Additionally, it manages to avoid the surface level trappings of its genre. And as a nice change of pace to the testosterone-fueled historical epics like Braveheart and Gladiator, by offering a look at a time and place from a woman's perspective, it helps to breathe much needed life and offer a more irresistible approach to a classical genre. One of the most impressive new films of the fall, The Duchess is highly recommended, especially for mothers and their teenage daughters to see together to promote a worthwhile dialogue about gender and history.
Walking Movie Encyclopedia at Film Intuition; 3-Time National Award Winning Scribe; Film Reviewer; "Watch With Jen" Podcast Host; Screenwriter; Movie Discussion Host; BA in Film Studies & Communication.
