Old

Rated: MOld

Directed by: M. Night Shyamalan

Written by: M. Night Shyamalan

Based on the Graphic Novel: ‘Sandcastle’ by Pierre Oscar Lévy and Frederik Peeters

Produced by: M. Night Shyamalan, Ashwin Rajan, Marc Bienstock

Starring: Gael García Bernal, Vicky Krieps, Rufus Sewell, Ken Leung, Nikki Amuka-Bird, Abbey Lee, Aaron Pierre, Kathleen Chalfant, Alexa Swinton, Nolan River, Kylie Begley, Embeth Davidtz, Eliza Scanlen, Alex Wolff, Emun Elliott, Thomasin McKenzie.

I wasn’t overly impressed with the trailer for, Old: people going to a beach and getting old.  Quickly.

But being a Shyamalan film, there’s always going to be more to the story.

Based on the graphic novel, Sandcastle the idea of people stranded on a beach, rapidly aging, gave Shyamalan the foundation of the film.

I don’t know whether it’s because I haven’t been to the beach, heard the waves or being greeted at a resort with a cocktail for a while (supposed to be in Magnetic Island right now but currently in lockdown, grrr) – the scenery added another dimension: the water always flowing, keeping time.

The Capa family arrive via a private bus to resort, Anamica.

There’s the sound of birds and cicadas: the sound of the tropics.

The daughter, Maddox (Alexa Swinton) is singing.

‘I can’t wait to hear it when you’re older,’ says Prisca (Vicky Krieps) about her daughter’s voice, mother of Maddox and young son Trent (Nolan River).

Some of the hints are heavy handed.

Yet the family dynamic with husband, Guy (Gael García Bernal) and Prisca’s relationship being played out in front of their children; and their young son hanging out with his new friend, Idlib (Kailen Jude) son of the resort manager: ‘What’s your name and occupation,’ the two boys ask the resort guests.  It’s the sort of thing kids do when they’re free and happy on holidays.  And a great way to introduce the main characters.

It’s all very watchable.

Like an easy listening radio station.  It’s easy watching.

But there’s always hints of what’s to come.

A guest has an epileptic seizure at breakfast.  But she’s OK.

Parents keep secrets from their kids.

There’re buzzards flying overhead.

Given an invitation to a private beach, it’s made very clear it’s a secret.  Just for the Capa family.  But then other guests get on board the bus.

They’re driven through the jungle.

Just walk through a cave and you’re there.

The cave opens-up onto a pristine beach, surrounded by rocky cliffs.

A lone man sits in the distance.

The kids find buried cutlery and dolls in the sand.

There’s no phone reception.

Then the children on the beach begin to change.

‘Something is going on with time on this beach.’

I expected the build to be boring.  But there’s enough mystery going on with the characters inside the main storyline to allow pace.

The timing is important in the film because the whole story’s about time.

Old isn’t edge-of-your-seat action or thriller, but suspense handled well.

The kids particularly at the start of the film ease the story in nicely.

I like Vicky Krieps (Phantom Thread) as the mum.

The casting all round was well done, the change of the young kids to the older characters believable.

Except the glaring change in eye colour for one character (not giving anything away), from blue to brown when she gets older a jolt out of a tenuous suspended reality.  I don’t know whether I missed something or a genuine oversight?  But it felt like swapping out an actor in a soap opera and everyone pretending it’s the same character.  The change threw me.

Yet even after this stretch the film was still better than expected with good pacing making the mystery overall, an intriguing watch.

Phantom Thread

Rated: MPhantom Thread

Writer/Director: Paul Thomas Anderson

Produced by: JoAnne Sellar, Paul Thomas Anderson, Megan Ellison, Daniel Lupi

Music by: Jonny Greenwood

Editing by: Dylan Tichenor

Costume Design by: Mark Bridges

Production Design by: Mark Tildesley

Starring: Daniel Day-Lewis, Lesley Manville, and Vicky Krieps.

A romance for those who don’t like romance.

It’s been a long time since I’ve seen such an absorbing and beautifully crafted gothic love story.

There is such a subtle and careful intimacy of a man measuring a woman’s waist and arms and bust – a vulnerable exposure allowing a man to know so much.  Then to be made perfect; wearing his creation is to want to always stay in the light of his eyes because in his eyes you are beautiful.

It’s an old-world love story of a gentleman who has the temperament of a wilful child, his annoyance shown by the jutting of his teeth, and a woman who blushes under his attentive stare but refuses to be changed by him.

Phantom Thread is set in 1950s post-war London, circling around Reynolds Woodcock (Daniel-Day Lewis) and his obsession of thread and lace and pearl; where a dress is more than a piece of clothing – it’s where secrets are kept, sewn into the seams, where locks of hair are held to be always closely kept.

This is the man of, The House of Woodcock.

Living with his sister, Cyril (Lesley Manville), Reynolds confesses his incurable bacholar-hood, calling to his sister to ask whomever the current fancy to leave when he no longer sees them; when they cease to exist in his mind and become like ghosts.

It’s an oddly close relationship, but brother and sister partnerships opening haute couture Houses common at the time.  And Reynolds needs his no-nonsense sister to protect him as he creates; the only one to understand him since his mother died.  His mother the love of his life and her loss one he’ll never recover: her apperition still haunting the corners of his mind, absorbing any threat for his attention.

His mother’s ghost remains while the objects of his fading desire, die.

Finding himself restless, Reynolds escapes to the country where he meets Alma (Vicky Krieps), an embarrassed waitress who quickly becomes far more than a passing fancy, or muse.

She’s a woman with her own tastes.

This is the second collaboration between Daniel-Day Lewis and writer and director, Thomas Anderson, the first, There Will Be Blood (2007).  And another success with his performance making me both want to slap and kiss the man but most importantly to always have his attention because that’s the only time to feel alive: that’s how believable Daniel-Day Lewis is in his role as Reynolds.

Anderson has also brought frequent collaborator Mark Bridges (Inherent Vice, The Master, There Will Be Blood), to create intricate costumes, made from scratch, creating 50 unique garments for the movie, including nine original pieces showcased in a Spring fashion show sequence.

Add music by Radiohead’s, Jonny Greenwood alongside the charm of drawing rooms and tea served in bone china, you have a moving story made aesthetic.

Not that the love story here is all romance – there is far more of the darkness of human nature here.

It’s what love and obsession can do to a soul that’s fascinating to watch: the dance of jealousy and annoyance; the settled and open, to the demanding and cold.

The archetype of a man still in love and grieving for his mother, who only wants to be obeyed; and a spiteful woman, jealous of all other women and demanding of attention.

This is what love can do to us.

And love stories like these will always be relevant – to be ‘protected from ghosts and dust and time’.

I’m not usually one for romances, but Phantom Thread is a thoroughly absorbing enchantment.

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