A Head Full of Dreams: Review of The Mercy

The Mercy

Director: James Marsh

By Alex Watson

While this is perhaps a more restrained effort than expected, James Marsh does an excellent job of showing the plight of sailor Donald Crowhurst. The Mercy show demonstrates that the of dreams is very much the subject matter here and thanks to a wonderful measured turn by Colin Firth, we see first hand how sometimes risks do not pay off. The open oceans are the real villain of this piece and Marsh shows us that when facing nature- man is always powerless.

Donald Crowhurst (Colin Firth) is a struggling businessman and sailing enthusiast. Desperate to keep his failing business afloat, Crowhurst decides an around the world race to win a 5000 cash prize. Hopelessly inexperienced and sailing a boat seemingly doomed for failure, Donald still pushes on. When finally out in the ocean, he soon realizes he either faces ruin by turning back or certain death by continuing. Keen not to face oblivion, Crowhurst decides to make fake entries in his log book to hide his failure. 

The Mercy is a movie that puts both its audience and its main star through the emotional wringer. Early on, we realize that Crowhurst is a man of big dreams, but thinking big doesn't always equal success. His loving and devoted wife Clare (Rachel Weisz) clearly dreads the prospect of her husband sailing away into the unknown. Woefully underprepared, Crowhurst is more or less a weekend sailor taking the biggest risk of his life. Seeing an opportunity, sneaky publicist Rodney Hallworth (David Thewlis) comes forward and begins promoting Crowhurst's race as the ultimate underdog story. In reality, it is little more than a suicide mission and this man is a lot of more than bragging rights at stake. In the early stages, Marsh does an excellent job of mixing a bright optimistic outlook with a sense of swirling gloom overhead.

When this picture finally embarks on its open water voyage, it doesn't take long for the audience to realize that Crowhurst is in way over his head. His boat quickly falls apart and he appears set for certain failure. When he decides to fake his log book positions, he turns from being a plucky underdog to a forward-thinking survivor. His boat will not stay together in the condition it is in, but he also has to be careful. He cannot win the race but he also cannot come higher than last as it will arouse suspicion. While at sea, there is perhaps too much restraint and while Marsh does a fine job of conveying the sense of fear and desperation by Crowhurst, we don't feel the mania and isolation that would eventually result in his downfall. Simon Rumney's upcoming biopic 'Crowhurst' reportedly has this in spades. His pride is shown as the real driving force and having signed over everything to sponsor Stanley Best (Ken Stott), he has little option.

Few will be prepared for the devastating blow that The Mercy delivers in its final act. Throughout this picture we see Crowhurst keen to protect his family from embarrassment. His phone calls to them through Marsh's film have a resounding emotion to them. We can almost feel the shame radiating off our hero as he hears the pride in their voice. In reality, our hero is a man pushed into a dangerous situation simply to prove his worth. The context in which we should view Crowhurst as the victim is debatable and many different adaptations have put their own unique spin on things. This one is a lot more simple and paints the picture of a man just wanting his family to survive.

Colin Firth delivers a performance that is up there with some of his best. During the movie's key points he wonderful underplays the mania which Donald Crowhurst apparently descended into. He still maintains his typical stiff upper lip but he does a fine job of showing the continuous emotions washing across his face. Rachel Weisz is also strong despite limited screen time. Playing a wife who knows her husband may not make the trip, but is determined to support him anyhow, Weisz, as usual, is remarkable.

The Mercy is a movie which shows to devastating effect how even the best intentions can lead us down the wrong roads.

Modern Romance: Review of Disobedience

Disobedience

Director: Sebastian Lelio

By Alex Watson

Sebastian Lelio is a director who seems to know the right way to produce heart-wrenching drama. His Oscar-winning 'A Fantastic Woman' showed a trans-woman who is openly oppressed while dealing with tragedy. In his new effort Disobedience, he focuses his attention on another forbidden romance. Throughout this picture, there is a repressed emotion that builds to almost stifling levels. Based within the Orthodox Jewish community, we see a love that is in every way forbidden but also deeply desired. Unfortunately, what should have been a blueprint for a movie of high feelings and tension instead has a rather deflated feel.

After years away in New York, Ronit Krushka (Rachel Weisz) returns home to her old community in London following the death of her Rabbi father. Previously ostracized for admitting her feelings for old flame Esti (Rachel McAdams), her return immediately causes friction amongst the Orthodox community. She also learns that Esti is now married to their old childhood friend Dovid Kuperman, who highly favoured by her late father. Both Ronit and Esti are still drawn to one another, but with so much at stake- can they resist?

While his previous effort had sparks popping frequently, Disobedience is a move that will likely polarize viewers. Lelio is well suited to the movie's emotional core and he does a fine job of portraying the mixed reception Ronit receives when she first returns. Declared dead by her old father and cast aside to the memory of the past, she is always fighting to exist within the community she grew up in. When she encounters Esti, Lelio does bring some wonderful repressed feelings to the surface. The problem we face here is that movie takes far too long to bring things to where they need to be. We understand early on that Esti is a woman trapped in a very traditional world and that Ronit's more free-spirited nature could bring both of them ruin. The sad part, this is where the movie's main focus seems to lie and Lelio spends too much time wallowing in this buttoned-up desire.

Part of the issue in this movie is the subject matter itself. Frequently we get the sense that this movie isn't entirely confident portraying the Orthodox community and instead shows it as a rather narrow-minded and confrontational one. Dovid, in particular, suffers as a supporting character and throughout we see him a staunched traditionalist whose views will inevitably collide with his wife's. Esti is confined to what seems like a miserable existence, but we never truly get the sense of why she is sticking it out? While is picture does portray some of the dangers of Esti and Ronit romance, it feels like it is simply running down the clock until the final confrontation between characters.

When showing the desire this romance holds, the picture feels more in its element. Ronit and Esti share a passion that has never dwindled. Both yearn to live a life of happiness, but there is an inevitability and fear of breaking free of what Esti knows. While we want this to be the great love tale of 2018, Lelio's remains far too focused on the differences between characters. During the movie's finale, the previously repressed feel is finally broken and during this stretch, there are finally bursts of colour. Sadly, we feel this is too little too late and we are left to reflect on what could have been.

Rachel Weisz is an extremely talented actress, but this role feels like familiar ground for her. She is used to playing these sort of outspoken and rebellious roles. While as usual, she has a strong presence on screen, Weisz doesn't feel like she is testing herself. Rachel McAdam's Esti is also slightly underwhelming and this character feels like a rather blank slate. One of Hollywood's most consistent actresses, she is fine in this role and it is a more daring one that she has previously played. However, McAdam's is giving precious little in return. Alessandro Nivola does a great showcase in subdued feelings and his Dovid is the one we come away feeling worst for. A committed yet old-fashioned husband, he simply wants his wife to stay.

Disobedience both delights and frustrates in equal measure. Sebastian Lelio is a magnificent director, but this picture feels like a mismatch for him.

Proof: Review of Denial

Denial

Director: Mick Jackson

By Alex Watson

Some excellent performances are sadly not enough to prop up Mick Jackson's Denial. While this is a solid and thought-provoking story of the notable libel case involving holocaust denier David Irving, it lacks the needed spark to bring it to life. David Hare's script is a well-paced one, but Jackson's direction often flounders, letting down what could have been a gripping story.

Deborah Lipstadt (Rachel Weisz) is a Jewish-American academic who has recently released 'Denial: The Holocaust on Trial' which is highly critical of the opinions of Nazi historian David Irving (Timothy Spall). When Irving confronts her directly and challenges whether the Holocaust ever existed, Lipstadt is insulted. Soon after, Irving sues her for libel in England and forces her to prove whether this great atrocity ever existed. With the help of QC Richard Rampton (Tom Wilkinson), she sets out to prove him wrong.

While Denial is a moving picture that deals well with the absurdity of having to prove hard facts, Jackson doesn't succeed in making memorable. Things start well with Irving confronting Lipstadt during a lecture at Emory University in Atlanta. He openly dares her to prove whether the Holocaust ever took place, taken aback Lipstadt refuses to debate facts. Irving is a cunning edge to the movie that holds the glue together and when he sues her, we can tell he isn't going to go quietly. Highly intelligent and self-educated, Irving is a man who firmly believes his theories and will go down swinging to prove them. Soon after, Lipstadt recruits barrister Anthony Julius (Andrew Scott), who famously represented Princess Diana during her divorce who then aids her in getting headstrong QC Richard Rampton.

From there Jackson decides to make this a straightforward legal drama, there are moments that do raise the game such as an emotional trip to Auschwitz with Dutch scholar Robert van Pelt (Mark Gatiss). But the majority of the action before court time is Deborah squabbling with her legal over the best approach to expose Irving's lies. She wants to put former Holocaust suffers on the stand to give validity to the argument- Julius passionately refuses. Irving is a slippery fish in court and gives his now famous statement about the lack of evidence of three chimneys used for cyanide in gas chambers. 'No Holes, No Holocaust' he claims and the case seems at a standstill. During this time there are scenes which do go to a deep core, in particular when during a dinner Lipstadt is encouraged by a Jewish organisation to settle with Irving.

The finale should have the needed fireworks, but Jackson seems uninterested in releasing them. This lack of emotional involvement gives the movie a void that is impossible to fill. Some key flaws in Irving are exposed and it seems his theories of Nazi Germany might have other influences. Overall the movies rolls towards its expected conclusion and while the voices of those who perished are heard loudly, we can't help but feel that this is just tailor made Oscar bait. Mick Jackson, who previously directed The BodyGuard does show some promising touches during the court scenes but this piece really should have been so much more.

Rachel Weisz for what is possibly the first time in her career fails to sufficiently convince us. Her Queens accent feels strained and seems like that is what Weisz is giving primary attention to for her character. Usually an engaging actress, Weisz feels drastically miscast in this role. Timothy Spall firmly steals the acting honours with an impressive turn as Holocaust denier, David Irving. A self-educated and proud man, Irving is a man who seems to have an answer for anything thrown at him. Spall gives this character a likeable and charismatic feel that makes disliking his convictions hard.

Denial is a movie that wants to be considered for the big prizes but unfortunately, it falls short of what it wants to bring across.