Posts Tagged acceptance
Via: Daily Prompt – Identity
Title A Monster in Paris
Starring Adam Goldberg, Jay Harrington, and Vanessa Paradis
Director Bibo Bergeron
Writer(s) Bibo Bergeron and Stéphane Kazandjian
Genre Animation Adventure Comedy
Release Date October 12, 2011
Filming Location France
Parental Guidance PG
IMDB Rating 6.8
Synopsis: Emile (Jay Harrington/Sébastien Desjours) is a shy projectionist with a passion for films, working in a movie theater and crushing on the ticket girl Maud (Madeline Zima/Ludivine Sagnier) in his free time. When he finally plucks up the courage one day to woo her, his exuberant best friend Raoul (Adam Goldberg/Gad Elmaleh), an inventor and deliveryman, literally drives a halt in the situation with his bizzare delivery van “Catherine” when he arrives to pick up Emile to help him buy a belt for his projector. Lamenting the courtship interruptus, Emile blames Raoul but Raoul takes no notice of his error, too busy encouraging his best friend to go for it. On this transport route, Raoul has Emile tag along for an “adventure” to the private nursery of a scientist, where they roam unchecked in the absence of said scientist. Despite the warnings from the scientist’s guard-cum-assistant, a monkey named Charles, Raoul fools around with the various chemicals in the chemistry lab while Emile records what happens on his new video camera. An accident ensues, during which a flea off the monkey’s back is hit by two unstable chemicals that turn the flea into a human-sized figure. The disgruntled flea, upon seeing Emile’s fearful reaction, “flees” the vicinity and is on the run ever since throughout Paris whenever witnesses reject him in terror upon the sight of him and eventually ends up in the back alley of the cabaret in which Raoul’s childhood friend and crush Lucille (Vanessa Paradis/Vanessa Paradis) sings. At first Lucille, too, is afraid of the giant flea but when the flea with human emotions and the voice of an angel breaks out into a song about his harrowing experience being seen as a monster from the moment he turned, she takes pity on him and invites him in to hide in her dressing room, dubbing him with the name Franceour (Sean Lennon/Matthieu Chedid), which means “honest heart”. Only, in him, she finds the perfect singing partner who inspires her to perform even better. The duo is instantly popular with the audience, except the power-hungry Police Commissioner of Paris Maynott (Danny Huston/François Cluzet) is out to capture and murder the monster in a hope that it will gain him enough popularity to win the mayoral election.
Experience: I had this movie on my TBW list for a while now – years, actually. I just kept skipping over it for some reason but I wish I hadn’t. Yet, I guess, everything has its time and this Halloween prep-season was the time to watch A Monster in Paris. And what I learned is, not all monsters are bad.
And this monster can sing. It doesn’t take animation to realize that almost all species are capable of emotions, many of which are quite human. But I think cartoons do have a way of humanizing creatures better than any other medium. Turn your suspension of disbelief on and it seems perfectly plausible that a flea off a monkey’s back (a monkey which is a scientist’s assistant and guard too) turns to singing to express his fears upon becoming a seven-feet-tall monster instead of sucking the blood out of terrified and lonely pedestrians when he meets them in dark alleys. “It” becomes a “he”, and we sympathize with him and try to give him an opportunity to excel at his talent. The monster in distress becomes the central character with whom we commiserate.
Appropriately juxtaposed, we witness a power-hungry police commissioner out to kill this pathetic creature in a bid to gain popularity and politically climb up to the lofty perch of the mayor of one of the world’s most modish cities. And, in his single-minded track, he is ready to slaughter any civilian in his path. We see the human become the real monster. The story now has greater meaning – not all whom we see are who they are. We learn that before we assume one’s reality or feel any partiality towards or against a person, we should give them a chance to prove their true worth.
Meanwhile, two beautiful romances unfold amidst citywide chaos. We already see early in the movie that Emile is trying his best to hold onto his courage to inform Maud of his feelings (and for a while, I was sure it will be Emile who will end up becoming the monster and start wooing Maud in his new form), but slower to blossom is the romance between Raoul and Lucille. In fact, I found the chemistry between the latter duo much more scintillating than the former, despite (or perhaps because of) the apparent volatility of their relationship. The mystery behind Lucille’s obvious disparage of Raoul and his attempt to jovially disregard it hints at a past and titillated the romantic curiosity in me immediately. Especially because under all the witty comebacks lobbed at one another, the two seem to truly care for each other’s interests.
While at first, I thought the sweet shy Emile might be the hero of the story, and he does rise to the occasion when necessary, driven as he is by friendship, Raoul is adorably comic (think Ryan Reynolds) and he comes alive more throughout the movie. And I found it great that Lucille’s character wasn’t far behind him. She was no damsel in distress even though Raoul did his best to “save” her by protecting her friend-flea Franceour. Yet even while they are working together, they continue to bait each other with hilarious effect. But we see the knot loosening and it’s charming to witness.
Recommendation: I’m sure you all too have plans for this Halloween to catch a monster-flick or two. But I sincerely suggest you make time for this uplifting monster movie this year – especially if you haven’t seen it already. Especially, after all the political and environmental chaos we have experienced throughout this year. It’s a great reminder that human endeavor may be found even in the most unlikely places if we only make the effort to see.
* Original animation was dubbed in French so I have included the name of the French voice-over artists beside the English voice-over artists post forward-slash in the synopsis.
Via: Daily Prompt – Roots
Title Mr. Church
Starring Eddie Murphy, Britt Robertson, and Natascha McElhone
Director Bruce Beresford
Writer(s) Susan McMartin
Genre Comedy Drama
Release Date September 16, 2016
Filming Location Los Angeles, California, USA
Parental Guidance PG-13 for thematic elements
IMDB Rating 7.7
Synopsis: In 1971, 10-year-old Charlie Brooks (Natalie Coughlin) wakes up one morning to find “a black man cooking in their kitchen”. Mr. Henry Joseph Church (Eddie Murphy) is the cook Richard, her mother Marie’s (Natascha McElhone) ex-lover, hired to take care of Marie for the next six months that she has to live while cancer consumes her. Charlie, who is unaware of her mother’s condition, is immediately put on edge by the absent Richard’s overstepping their privacy to place this mysterious man in their home though his meals are “like a party all the time” and her friends all cotton onto the advantages of having a cook quickly. Mr. Church raises a lot of conflicting emotions in Charlie with his jazz and his books (that he offers to lend books to Charlie from like a library) and, especially, his cooking. Over time, Charlie gives in. Six months turn into six years and Marie continues to live while Mr. Church continues to take care of them. An older Charlie (Britt Robertson) is now an avid reader, a student who has been accepted to Boston University but might not be able to go due to financial constraints, and she is weary of expecting her bed-ridden mother to pass on any minute. She avoids her mother even as she checks her breathing to ensure she lives and finds solace in the presence of Mr. Church, to whom she has latched onto as the surviving parent. But Mr. Church remains a mystery as much as ever and protects his off-duty hour whereabouts determinedly. Friendship has bonded the three into a family and Mr. Church is ever-present to soften the blows while Charlie ventures onto adulthood and navigates its many curveballs.
Experience (a few spoilers): I have always loved Eddie Murphy, ever since I watched a re-telecast of Coming to America on TV when I was about ten/eleven. So I put on Mr. Church fully expecting him to live up to his acting prowess and he did not disappoint. Generally a comic actor, Murphy put on his drama mask with the grace and appeal that made me want to run a Murphy Marathon featuring all his classics.
From the get-go, he had me hooked. The quiet efficiency with which he chopped and stirred and sauteed in the kitchen to his gracious compassion for the young Charlie and her sick mother. The character is beautifully written and presented, not needing to be thanked but doing his best to fit into the lives of this pair without trying to do any more than his job. But behind his humility lurks humor, which peeks out whenever he presents a dish to Charlie and watches her battle with herself to continue rejecting him while devouring his food.
Here, I must say something about the child actor. I truly enjoyed Coughlin’s performance as well. Short as her part was, she brought that sweetness to the character that made me feel more sympathetic towards young Charlie than annoyed, which could easily have happened given the level of her hostility. Though often rude with the openly belligerent rejection of Mr. Church, Charlie was apparently a kind soul in her heart, if wary. And even though the movie did not explore the angle that the advent of Mr. Church denoted her mother’s inability to keep up with chores, hence harking her imminent demise, I believe Charlie’s distrust may have stemmed from such intuition. In any case, every time Coughlin’s big blues rounded at the sumptuous food laid before her, I felt like giving her the auntie-cuddle.
The older Charlie did not always inspire as much hold though I could also like her fairly enough. It must be the overall sense of goodness that emanated from Charlie’s character, from childhood to adulthood. I could feel sympathy for her teen self as she transferred her sense of security to Mr. Church while trying to deal with her mother’s (a woman she continued to believe the most beautiful woman on earth) impending death. Her withdrawal is real and her acceptance of life’s pitfalls also feels real. Robertson does a good job performing the role of the watchful-yet-retiring teenager and later the transgressing-and-learning adult. She is the character that has to grow and Mr. Church is the rock on which she founds herself.
McElhone did a great job in playing a woman trying to make the most of her last days with her daughter. The mother’s love is apparent and there is a particular scene in the bathtub that she performed superbly. The scene could easily have turned sappy but Marie’s struggle to make her daughter understand the importance of not giving up on life while waiting for death felt chokingly real. She depicted physical weakness while trying to muster emotional strength as she confesses her biggest regret is something beyond her control. I think that is the scene that dotted her t’s and crossed her i’s for McElhone’s take on Marie’s role.
The overriding themes of this movie, home, acceptance, and friendship, is so beautifully slipped into the consciousness that even when tragedies strike, it’s ok – reassurance is just around the corner. It is as though the Mr. Church’s personality permeates the plot. It is one of those stories where nothing much happens other than life, and we are reminded every phase of the film that in life, tragedy is part and parcel of happiness. It allows the audience to realize that it’s not so bad. I cried many times through the movie but there was a joy. I felt peace. And the lovely way the scenes were scripted and directed, it did not allow any of the actors to overstep their roles. The steadiness with which the story progressed, I could have watched it for hours more. Again, it was as though Murphy’s portrayal of Mr. Church toned the entire movie, even the frames where he wasn’t present. And Robertson’s character did its best to compliment, reminding us that home is where you can trust to put your roots down.
Recommendation: Oh, yes, you must! Whenever you feel a bit down on luck, this movie is sure to make you feel more grounded. Although I really missed Murphy’s toothy grins, it might be my favorite movie of his now.