Talking Movies

October 29, 2019

From the Archives: Starman – Interview with Matthew Vaughn

From the pre-Talking Movies archives.

InDublin talked to Stardust director Matthew Vaughn about casting and CGI, Sienna Miller and celebrity culture, and a comic book he’d never heard of….

Matthew Vaughn is just dripping with enthusiasm for Stardust. He’s been trying to get the film made since the start of the decade, and asked what drove him to adapt Neil Gaiman’s acclaimed novella simply replies, “I loved the story”. Vaughn sees Stardust as closer to The Princess Bride than The Lord of the Rings. “The main theme for me – it’s a movie about a boy becoming a man, and he becomes a man by falling in love with the right woman. But it’s done in a way which is fun, not taking itself seriously at all, a feel good adventure romp. So it’s a movie for everyone: when you come out of the cinema I dare you not to feel good”. Gaiman, as producer, was happy to give Vaughn free rein. “He trusted me. Because every time I wanted to do a big change I always rang him up and said ‘Look, I’m thinking of changing this – what do you think?’ because I valued his opinion….If you’ve got someone who’s created the idea and it’s their baby. For me they’re the best person to ring up to discuss if you’re thinking of changing a scene”.

Vaughn was painstaking with his casting. Once he’d settled on Charlie Cox as Tristan “the poor guy had to do three months of auditioning for me to find Yvaine….it’s about the chemistry between the two. And I didn’t want to end up with Tango & Cash, you know, I wanted it to be the right chemistry”. Vaughn cast his Layer Cake star Sienna Miller as Victoria despite the potential for distraction given her tabloid fodder status: “She [Victoria] is the It Girl of the village so I think it worked for the character and that’s one of the reasons I cast her”. Vaughn laments Miller’s tabloid troubles. “I just feel it’s a shame her acting is getting eclipsed. Cos she does some good work, but – she doesn’t get known for it. But I say to her ‘Just keep persevering’ and eventually someone will say ‘Oh you’re a good actress as well!’” He also blasts the whole celebrity culture as being unhealthy for everyone. “The whole Jade Goody phenomenon I just scratch my head going, ‘WHAT does this tell you about England?’ I’m a big believer that fame should be a by-product of talent and success and I’m a big believer that years ago, and maybe its naïve of me, but great politicians or actors or poets or writers or comedians they weren’t trying to be famous, they were just trying to be the best at what they do, and then they became famous because of it”.

Directing Layer Cake after producing Guy Ritchie’s films reinforced the perception that Vaughn preferred small projects but he claims “I’ve always wanted to do big cinema”. But working on smaller projects made him determined not to have the CGI swamp the characters in his blockbusters. “A movie’s about having an emotional connection and telling a story and if you have that the special effects for me are an enhancement”. Stardust’s use of wirework for a dead sword-fighter is an example. “We had a big puppet sort of control thing to make him…we literally just said go limp and let us control him, in a way he was a puppet with the voodoo doll”. InDublin’s geekery finally erupted and we asked if he had any plans to film Neil Gaiman’s awesome graphic novel 1602. Only to end up explaining what 1602 is: superheroes of the Marvel Universe appear in 1602 at the Court of Elizabeth I…and Magneto is the head of the Spanish Inqusition. “Neil’s never told me about that!…that sounds cool – that sounds right up my street! I’m going to ask Marvel about that tonight! 1602?” After musing over the tangled film rights of the various Marvel characters Vaughn simplified the plot based on his friendship with Ian McKellen aka Magneto, “Make it at Fox. Have Fantastic Four and Magneto together…Spanish Inquisition. He’d get a lot of confessions…” Watch this space.

From the Archives: Stardust

From the pre-Talking Movies archives.

Tristan Thorn (Charlie Cox) promises to bring back a fallen star from the magical kingdom of Sturmhold to impress spoilt rich girl Victoria (Sienna Miller). However the star turns out to be a young woman Yvaine (Claire Danes) who is also wanted by a murderous prince (Mark Strong) and a wicked witch (Michelle Pfeiffer).

Matthew Vaughn follows up his gritty British gangster thriller Layer Cake with a complete change of pace. Adapted from Neil Gaiman’s novella this is a fairytale that subverts audience expectations right from the off. Ian McKellen, like Morgan Freeman, has ascended from an actual physical presence to being the Voice of God. He narrates the beginning of the fairytale…but then disappears until the end. Rupert Everett also has a wonderful moment guaranteed to surprise the audience which I will not ruin here. The best subversive visual gag though comes when our own David Kelly, as the decrepit guard of The Hole in the Wall between England and Sturmhold, prevents the naïve Tristan (Charlie Cox) from crossing through the portal with some nifty kung-fu moves.

Stardust is a picaresque romp following the adventures of Tristan and Yvaine (Claire Danes) so it’s no surprise that the film’s quality should vary greatly depending on who they’ve fallen in with. What is surprising is that while Michelle Pfeiffer’s wicked witch Lamia is pursuing them the film is dull but when Robert De Niro pops up things take off. De Niro plays the ‘ruthless’ Captain Shakespeare, whose flying pirates capture lightning and sell it by the bottle to their fence Ricky Gervais. Gervais is a hoot in his cameo but De Niro is even better as the camp captain made miserable by having to keep up his reputation even though he likes music, fashion and art much more. The film becomes more fun at this point because it trades violence for romance. Gaiman’s original fairytale was for adults and, while the ghostly Greek chorus of murdered princes of Sturmhold is a sporadically funny motif, the fratricidal rampage of Mark Strong’s Prince Septimus is far too violent for children.

The heart of the film is the growing relationship between Tristan and Yvaine. Stars shine but they can’t do it with a broken heart and as Yvaine’s sadness melts away in her growing love for Tristan she starts to glow again, in a particularly sweet CGI effect. A CGI effect of delicious nastiness is the way that each spell Pfeiffer casts ages her. Vaughn treats us to the diverting spectacle of a dead body sword-fighting against Tristan courtesy of some voodoo doll magic and the implacable logic of a fairytale comes into force with a vengeance at the end. Stardust though is far too long at over two hours, and while the finale is swooningly romantic and packs a feel good oomph, the film itself hasn’t been magical enough to earn the plaudits its denouement cries out for.

3/5

May 31, 2018

From the Archives: The Edge of Love

Another deep dive into the pre-Talking Movies archives reveals an inert biopic of Dylan Thomas that presumably sent Matthew Rhys scurrying back into the comforting arms of well-written television roles.

Keira Knightley stars in a film written by her mother Sharman Macdonald. One hates to toss around words like nepotism but I would be very surprised if another actress would have been so eager to get this project green-lit. Macdonald is an established playwright, The Winter Guest being her most famous work, and director John Maybury previously directed Love is the Devil, another art-house biopic about a self-destructive artist. Sadly this film about poet Dylan Thomas falls far short of his take on painter Francis Bacon. Brothers & Sisters star Matthew Rhys is magnificent casting as the saturnine poet but the film seems to shy away from Thomas’ mile-wide self-destructive streak until near the end when it belatedly remembers that the man could be a total bastard and that he dedicatedly drank himself to death before he turned 40.

The Edge of Love begins promisingly with a vividly impressionistic take on the horrors of the Blitz, all soft-focus reds and blacks. There are some visual echoes of Atonement though which really hurt this film which lacks the emotional power and crisp scripting of that masterpiece. Keira Knightley (with a passable Welsh accent) is Vera Phillips, an ex-girlfriend of Dylan from Wales, who randomly meets him in war-torn London. A messy love quadrangle quickly forms with Dylan, his wife Caitlin, (Sienna Miller acquitting herself well once she dispenses with a half-attempted Irish accent) and Matthew Killick, a standout performance by Cillian Murphy as a stolid English soldier who is the voice of reason amidst all these selfish Celtic lunatics.

Sadly once Killick leaves to serve in Greece the film’s momentum goes with him. The script becomes so dramatically inert that you recoil in horror on hitting the hour mark as you realise there’s still another 50 minutes to go, which alternate between the incredibly boring and the absolutely infuriating. How you can possibly take the life of Dylan Thomas, add abortion, attempted murder and infidelity and induce yawns is beyond me. The best you can say about The Edge of Love is that it is ‘interesting’, by which of course one means that it assembles a number of good ideas and then leaves them lying around waiting for a coherent script. Killick’s shell-shock for instance is ‘explored’ through ridiculous scenes like him slapping a preposterously irritating woman from the BBC who sneers at his war service.

This film fails miserably at getting inside Dylan Thomas’ head no matter how many lines of poetry it has Rhys sonorously mumble in voiceover. It never really gets to grips with the tormented marriage of Dylan and Caitlin and in fact it really only succeeds, intermittently, in portraying female friendship forged by a connection to a charismatic but repellent man. And that really isn’t enough to sustain nearly 2 hours of cinema.

2/5

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