Tag Archive: Kate Winslet


CONTAGION directed by Steven Soderbergh (USA, 2011)

 We all know that coughs and sneezes spread diseases but this movie is founded on the plausible premise that what we touch is an even deadlier way to pass on infections.

The threat of a pandemic makes a topical doomsday scenario tied neatly with the recognition that the more technology evolves, the more tactile we have to be in our daily lives .

Short of handling pods, pads and other devices with disposable plastic gloves it’s hard to see how contagious illnesses can be contained if and when a major virus takes hold.

Epidemic Intelligence Service officer Dr. Erin Mears (Kate Winslet) throws in another curveball when she says that, “the average person touches their face two or three thousand times a day; three to five times every waking minute”. As one local bureaucrat dryly observes, this means that anyone with hands, a mouth and a nose is susceptible.

The first victim we see is Beth Emhoff which comes as a shock given that she is played by Gwyneth Paltrow (a few flashback scenes ensure she has something else to do other than die).

A post-mortem reveals cause for major concern, “Should I call someone?” asks one of medics, “Call everyone” replies his boss. Continue reading

ROMAN CARNAGE

Short but definitely not sweet,  Roman Polanski’s Carnage makes no attempt to hide the fact that it is a theatre piece (It is a screen adaptation of the  successful play “God of Carnage” by Yasmina Reza).

The only outdoor scenes are two brief opening and closing shots of children playing. In the first, one boy strikes another with a stick. In the second the pair seem to be the best of friends again.

In between the two sets of concerned parents meet to discuss the act of violence between their sons in a rational, adult manner.   The two couples, the Longstreets and the Cohens, are well off, well educated individuals who are superficially polite and accommodating but the more reasonable they try to be to each other the worse the dispute gets.

Polanski, having assembled a first rate cast, has to do little more than point the camera. Kate Winslet (Nancy), Christoph Waltz (Alan), Jodie Foster (Penelope), and John C. Reilly (Michael) are all excellent with Waltz, ironically coming across as the most honest because he never makes any pretence of being anything other than selfish and immoral.

To help get the mood of cloying claustrophobia, the movie was shot in real time with the actors under strict instructions to stay on set the whole time. The tension builds gradually until, by the end,  the gloves are well and truly off  as they tear into one another and reveal their true colours. The most memorable scene is when Nancy vomits spectacularly over Penelope’s precious art books.

Ostensibly it is a comedy of manners, but it also presents a sobering and downright pessimistic perspective on human nature and the limits of political correctness. I enjoyed it but it’s a movie that made me squirm rather than laugh.

LOST REVOLUTIONARIES

REVOLUTIONARY ROAD directed by Sam Mendes (USA, 2008)

On ‘Lose Yourself’ Eminem rapped that we have just one shot – one opportunity. Fundamentally , this is also the premise upon which Richard Yate’s book and Sam Mendes’ movie is based.

It strikes me as simplistic –and a little depressing –  to argue that we have just a single make or break chance to find a fulfilling direction in our lives. We have to seize chances when they arise but I prefer to think  that these are not necessary one-off, make or break occasions.

In ‘Revolutionary Road ,  April Wheeler (played by Kate Winslet), decides that a move to Paris ,Europe is her one shot escape route. She dreams of starting afresh – replacing desperate housewifery for a life less ordinary.

She temporarily manages to persuade her sceptical hubby (Leonardo Di Caprio) but a tempting promotion offer and an unplanned pregnancy destroys the pipedream and, ultimately, their marriage.

Winslet was apparently blown away by Yates’ novel when she read it while she was expecting her first child to director Sam Mendes.

Mendes says that even if he wasn’t  married to her, she would have been first choice and it’s hard to argue against this. Winslet captures her character’s mood swings brilliantly .

This is more than can be said for Di Caprio. He has never convinced me that he is an actor with the physical stature or gravitas to portray such complex adult roles.

As Martin Scorsese’s blue-eyed boy some have likened Di Caprio  to De Niro but to me he’s more like the new Tom Hanks.  He plays parts efficiently but there’s never any sense that he is taking risks.

It’s still a good movie for all that,  largely because the claustrophobic world of  1950s suburbia is so perfectly evoked.  Sam Mendes is a major league director because he knows when to let images speak for themselves rather than diluting them with explanatory dialogue. The scenes of massed commuters and compartmentalised offices have a resonance akin to King Vidor’s silent classic ‘The Crowd’ while shots of April Wheeler doing household chores are enough to convey the barrenness of her life.