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ANIMATION BRAVE (PG) 100min ●●●●●
Historians might chafe at the vague approximation of medieval clan politics, and linguists query the anachronistic slang, but on the whole you’d have to be a paranoid curmudgeon indeed to take offence at this much-vaunted trip to Scotland by Pixar animation studios.
Brave, the story of a rebel princess who defies her mother’s marriage plans for her, is slight, happy, sincere and gorgeously realised. The last comes as standard with this outfit, of course; but the animators’ painstaking attention to detail is particularly rewarding when applied to the natural world, as with the stunning under- seascapes of Finding Nemo; and the landscapes, water, creatures and sky here simply zing with beauty. And Pixar’s human characters, once a bit of a sticking point, have come on leaps and bounds; these characters are neither creepy avatars nor overly cartoonified mascots. Is the kick-ass tomboyishness of our protagonist Merida (voiced by Kelly Macdonald) a significant Pixar statement, or just PC pandering? Well, one wouldn’t wish to overstate the influence of a bundle of ginger pixels, but in a world of catwalk glossed Bratz dolls, girl groups in lingerie and cow-eyed Disney princesses in sugar pink, Merida’s autonomy and scrappiness does seem like an overdue corrective – for girl and boy viewers alike. She makes her own mistakes, fights her own battles and isn’t anyone’s sidekick; nor is she raddled by insecurity, or in need of a prince to point the way.
It’s also unusual to see sympathetic analysis of a mother-daughter relationship; and if Merida’s travails with Queen Elinor (Emma Thompson) aren’t quite as sure-footedly affecting as the fatherly traumas of Finding Nemo or Monsters Inc, they are central to the story, and attended to with care. Story isn’t Brave’s strong suit – it relies too heavily on a rather random-feeling deus ex machina – but its gloss, confidence and sense of fun go a long way to compensate. (Hannah McGill) ■ General release from Fri 3 Aug.
DOCUMENTARY WOODY ALLEN: A DOCUMENTARY (15) 113min ●●●●●
As a filmmaker Woody Allen is anything but showy; his films focus on characters, conversations and the absurd comedy of life, and while they are often beautifully photographed, Allen’s pictures are defined by his words. It’s appropriate then that this documentary from Curb Your Enthusiasm director Robert B Weide is similarly words-driven and stylistically straightforward, mixing interviews and film clips to offer a funny and occasionally insightful overview of Allen’s 40 years and counting as an essential American director. Weide allows plenty of time for interesting sections on Allen’s personal and
professional relationships with Diane Keaton and Mia Farrow and their influence on his writing, but in the second half the film feels somewhat rushed, so it is not surprising to learn that this UK cinema release is a cut-down version of a much longer American TV special. But there is still plenty to enjoy here for the Woody fan, and it is guaranteed to drive audiences back to his films for repeat viewings; no bad thing as far as this reviewer is concerned. (Paul Gallagher) ■ GFT, Glasgow, Fri 3–Mon 6 Aug.
Film REVIEWS
TOP SCENES
MARILYN MONROE To mark 50 years since Marilyn Monroe’s death, Filmhouse is hosting a season of her films. The perfect opportunity for us to relive our favourite moments
Some Like it Hot (1959) From a wide angle shot the camera closes in on Monroe’s singer Sugar Kane as she trills ‘Just you, and nobody else but you’ and we get a load of THAT DRESS. The ‘naked dress’ as the get-up became known as, ensured Billy Wilder’s already controversial comedy wasn’t approved by the pre- certification Production Code. Her incredible sex appeal ensured the film became a hit anyway.
All About Eve (1950)
‘A graduate of the Copacabana School of Dramatic Art’ is how George Sanders’ sardonic critic introduces Monroe’s wannabe actress Miss Caswell to Bette Davis’ equally mordant star of the stage in Joseph L Mankiewicz’s acerbic look at theatre life. In just over a minute Monroe gets to utter three fine comic retorts to Sanders’ droll remarks before he points her in the direction of an influential producer, leaving her to turn on her charms and exit stage right.
Gentlemen Prefer Blondes (1953) Of Monroe’s numerous iconic screen moments, this song and dance number from Howard Hawks’ musical comedy has to be among the more enduring and influential, her pink dress and man-adorned descent of a giant staircase having been copied by everyone from Madonna to Kylie. It’s such a memorable routine it makes you forget the film paired Monroe with that other glamour- puss of the era, Jane Russell. Monkey Business (1952)
Stealing a scene from Cary Grant is no mean feat, but Monroe effortlessly snatches the one in which they first meet in Howard Hawks’ screwball comedy. His stuffy research chemist is waiting to meet the boss of her dumb secretary when Monroe flashes a shapely leg and announces she’s wearing a pair of the ladder-proof plastic stockings he invented. (Miles Fielder) ■ Our Week With Marilyn is at the Filmhouse, Sun 5–Sat 11 Aug.
2–9 Aug 2012 THE LIST 113