Siren FILM MUSIC the
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College Tribune | November 25th 2008
IFI FILM
Balancing books and blockbusters Hold me, thrill me, kiss me Plot: Set in a dreary monochrome working-class suburb, we are introduced to next-door neighbour teens, Dylan and Kylie who have each been subjected to different traumatizing forms of abuse from their families. In an effort to escape the realism of their bleak lives for a more colourful urban fairy tale, they run away from home together at Christmas. Mixing reality with idealism, they spend a fun and fear-filled night on the streets of inner-city Dublin. Verdict: the film is ultimately heartfelt but not overly sentimental due hugely to the well developed plot and wonderfully natural performances by
KISSES ★★★★★ its inexperienced young protagonists who help the film retain the magical child’s eye point of view. Its originality is also memorable due to the interesting use of colour. After beginning with grey tones, there is a transition to vibrant colour to reflect their changing moods. The Bob Dylan soundtrack also adds a touch of charm to this already charismatic movie. CATHY BUCKMASTER
Sarah Bolger took time out from Leaving Cert preparation and an international acting career to talk to Cathy Buckmaster about fluky auditions, The Tudors, balancing books and blockbusters as well as the difficulty of getting to grips with Polish. At the tender age of seventeen, Irish actress Sarah Bolger has a resumé that would impress any seasoned actor, having had substantial parts in movies such as In America, Stormbreaker and The Spiderwick Chronicles not to mention her role as Princess Mary in The Tudors. Despite this huge success at such a relatively young age, Bolger is undeniably grounded and it’s impossible not to enjoy her company due to her unfaltering enthusiasm. She discusses her enjoyment for dramatics from a young age. “I enjoyed performing and I just always loved getting up in front of my family and singing, doing skits or I even used to make up dances with my friends and God knows what else I put my family through for the first ten years of my life.” She jokes remorsefully. “After I did In America, I think that was the turning point for me. That was the moment where I said, oh Lord, I’m addicted.” “In America was my first film and gave me my first taste for the industry and what comes along with it. I’d never done publicity for a film and I didn’t realise the huge amount of work that goes into a film afterwards! I was in LA and New York and we were doing premières and Junkets. Being a twelve year old and sitting there for three days with people coming in every five minutes was very daunting. But it was
an exciting time and in a weird way, was kind of addictive.” Bolger explains the lucky turn of events that jump started her career. “For In America, my sister auditioned for it and I came along with her for support. Jim Sheridan needed someone to read opposite her so he could focus on her performance and Emma, my sister, called me out from the car
“For In America, my sister auditioned for it and I came along with her for support. Fluke or what?” and there you go, the rest is history. Fluke or what, right? But I’m not complaining.” She exclaims. After considering the numerous projects she’s worked on, Bolger has her favourites. “TV wise, I’ve only really done The Tudors which has been so much fun. Being offered Princess Mary was so exciting. Even without reading the script I was like, Oh My God; do I get to put on those clothes? They are Fantastic.” She squeals. “Ok, yes you can’t breathe at the end of the day but that’s only a minor thing. As soon as you’re in those costumes and the bloody corsets are
on you, you feel so Tudor-like. It’s unbelievable; you feel like you’ve been plummeted back into that time in history.” As for working with the other notable cast members, a certain King Henry VIII jumps to mind, Bolger only has good things to say. “John is absolutely fantastic. When I met him first, I was very nervous because he’s a huge star. I was a bit star struck to be deadly honest with you. I remember meeting him and seeing how he treats every single person the exact same way, no matter if it’s a crew member, the extras, or his co-star. It’s unbelievable; he’s a real gentleman, I have to admit.” As for her favourite film she’s done, there’s no hesitation. “Would have to be The Spiderwick Chronicles; It’s so different from anything else I’ve done in terms of blue screen and green screen. The amount of details that they have to go into to make these creatures on screen is crazy with the whole CGI thing. That was great to be apart of.” Balancing an acting career and secondary school may seem a difficult task but Bolger seems to have it under control. “For Spiderwick for instance, that was five months away from home but I had a tutor so in terms of work, you’re up to date. However, just coming back and getting into the rhythm with friends again is a different story.” “First of all, I’m on a completely different side of the world to them so the
FILM RETROSPECTIVE
Not a revolutionary reel Plot: This is the first part of Steven Soderbergh’s ambitious attempt to chronicle the military actions of Ernesto ‘Che’ Guevara. In this film, Che develops a militant force and builds a relationship with Fidel Castro before embarking on the Cuban Revolution. The events of the Revolution are occasionally intercut with the events of a subsequent visit by Che to the United Nations in New York where he publically condemns U.S imperialism. Verdict: With little character development, the ubiquitous poster boy of student rebellion remains just as
CHE - PART 1 ★★★★★ elusive in this film. This is despite, and possibly because of, a charismatic performance from Benicio Del Toro as the title character. Guevara’s construction of a guerrilla force is handled in great detail yet it lacks any trace of humanity with which to maintain the audience’s attention. The admittedly spectacular street battles that take up the final act remain cold and distant. The dramatic change Che’s movement has brought is hardly felt.
As you like it The multi-Oscar winning Shakespeare in Love begins with a depressed Will Shakespeare (Joseph Fiennes), who is currently without a muse and constantly overshadowed by his playwright rival Christopher Marlowe. Drinking and visiting brothels constitute his most interesting activities, as he is constantly plagued by the owner of the Rose Theatre, Henslow (Geoffrey Rush), for a new script. Will eventually finds his muse in the shape of the beautiful Viola de l’Esseps (Gwyneth Paltrow), the daughter of a wealthy merchant who has risen far in Queen Elizabeth’s court. Alas, Viola is
betrothed to the thoroughly obnoxious Duke of Wessex, played superbly by a goateed Colin Firth. Thus, Will’s own life gives birth to his tragedy ‘Romeo and Juliet’. With Viola disguised as a boy so she may play Romeo as women were forbidden to act in the 17th century, the Rose Theatre finally has its play. With an impressive number of stars making up the cast within the cast, many scenes from ‘Romeo and Juliet’ are blended smoothly with this fabricated version of William Shakespeare’s life. The ending leaves something to be desired, but perhaps it is just as fitting that not everything ends well. Particu-
SHAKESPEARE IN LOVE 1998 larly memorable in their supporting roles are Judi Dench as the Queen, Ben Affleck as Ned, an egotistical actor, and Imelda Staunton as Viola’s nurse. But nobody can top Jospeh Fiennes, who seems to have been born to play this part. The set design, costumes and music are truly authentic, while the scripting, by none other than Tom Stoppard, will have you in tears of laughter and sadness at regular intervals. Ten years on from its first release, Shakespeare in Love is still well worth several viewings. SUSANNE O’REILLY