Film Review: THE PERKS OF BEING A WALLFLOWER

Based on the best-selling novel of the same name, The Perks of Being a Wallflower charts the coming of age journey of Charlie, a quiet but endearing freshman in high school. Following his explorations and challenges in a letter formatted narration, Charlie speaks to the viewers of everyday struggles as he tries to understand.

Although I watched and bought this film back when it was released, I only just got round to listening to the director and cast audio commentary on the DVD a few days ago; inspiring me to write this review. There really is true depth and surprise in every re-watch of this film due to it's ability to get anyone to relate.

Having the same writer of the novel write the screenplay was a genius decision as Stephen Chbosky captures the same beautiful essence of first encounters and innocence in the screenplay. Doubling up as the film's director, the whole composition of Perks oozes the same tone as the novel, making it one of the most accurate book to movie adaptations. As well as including startlingly harsh scenes of topics rarely discussed, Chbosky's script still retains humour and wit. There isn't a shortage of smart one-liners that were so befitting with the characters and moments, that when more serious scenes ensued, both became hyper-realistic in comparison.

However, undoubtedly, the film's real asset is its choice of a stellar cast. Front-lined by a powerful performance by Logan Lerman (Charlie), there are similarly strong additions of Emma Watson (Sam), with her first breakthrough part since Harry Potter; Ezra Miller (Patrick), who brings brilliant comedy to the film as well as executing his own emotive storyline; as well as Mae Whitman (Mary Elizabeth) and Paul Rudd to name a few. Individually, every member brought something magical to the movie, but once all together, the way in which they all interacted made their friendships and relationships seem so convincing that nothing made me doubt that these were a real group of friends going through the same heartbreaks and laughters as ourselves. Some of my favourite scenes were those of the main friendship group where you could tell how real and organic their acting became; for example in the living room of Sam and Patrick's house during Christmas where the team chuckle and playfully insult one another as they play Secret Santa. Cue one of my favourite Patrick quotes: "Mary Elizabeth, why are you trying to eat Christmas?" 

Another aspect of the film that I absolutely adored was the soundtrack. As well as the all important "Asleep" by The Smiths, the soundtrack also included the perfect tunnel song - "Heroes" by David Bowie, and a score that managed to radiate compassion, nostalgia and innocence. The majority of the score were these gentle tinkling piano notes that fit with the closeness of the cinematography. And of course, there was the brilliant moment at the Homecoming Dance where Sam, Patrick and Charlie dance away their youth with a backdrop of Dexy's Midnight Runners with "Come on Eileen".

Comedy aside, the artistic execution of this film is of such high calibre. The only way I can describe the style and cinematography is beautiful. Every shot of the film was so incredibly beautiful. With intimate camera shots that got right to the heart of the characters and their emotions and struggles, the camera filter itself had this old-style fuzziness where the edges seemed slightly out-of-focus and frequent appearances of bright lights would bleed into a visually stunning luminosity. This was such a brilliant effect as it added a subtle feeling of remembrance and dreaminess which led to even more honesty and familiarity in the viewing experience. Especially during my first watch in front of the large engulfing cinema screen, I was completely absorbed by Charlie's story. The wide shots in conjunction with the gentle music all encompassed to this out-of-world experience where it felt as if I were literally crawling into the mind of someone else. I eventually became unconscious of the fact I was watching someone else's story but believed that I had been assessing the sadnesses and happinesses in my own life, and my own mind in turn.

So when the film closes with that last pass through the Pittsburgh tunnel, you don't just see the characters transforming, but you feel changed yourself. It is one of the simplest but most cathartic endings I've seen in a good while and I come away from the film each time feeling different about myself.

"You are alive, and you stand up and see the lights on the buildings and everything that makes you wonder. And you're listening to that song and that drive with the people you love most in this world. And in this moment I swear, we are infinite."

I absolutely recommend this film to anyone, and although it is hard-hitting and emotional, there is such a myriad of emotions that are experienced whilst watching that the film definitely endures long after the credits have rolled.

(Pictures from of imdb.com and kissthemgoodbye.net with some self-editing.)

Teaser Trailer Review: DIVERGENT

Summit gives fans a first glimpse of the upcoming film adaptation of the popular and well-loved YA novel, Divergent (written by Veronica Roth) in a thirteen second teaser trailer. However, unlike plenty of teaser trailers I've seen in the past, this preview of Divergent doesn't disappoint. Filled with a rapid succession of the main characters in action, fighting and the titular line, these thirteen seconds are packed with small details to tame expectant fans until the theatrical trailer is released. Let's break it down:

First and foremost, it begins with the first moving shot of main character Beatrice (Shailene Woodley) in Abnegation uniform. Hair tied back and insecurity in her eyes, Woodley's performance seems promising. When I first heard of Tris's casting, I had unsure first impressions. Although I haven't seen much of Woodley's prior acting bar The Descendants, I'm keeping an open mind until I see more.

Cut to Divergent's antagonist Jeanine Matthews clothed in Erudite navy blue portrayed by elegant Kate Winslet. This too, seemed like an interesting casting choice as I'm intrigued to see Winslet in a film targeted towards a younger audience.  Nevertheless, the quick one second shot exudes sternness from her expression as she glances at now Dauntless Beatrice as they pass each other. Beatrice is now Tris, in black attire instead of grey and decorated with her notorious raven tattoo. In short, looking very kick-ass. The next cameo we see is of tattoo artist Tori (Maggie Q), warning Tris of her Divergence.  Next we see a series of quick snapshots: Tris in the Dauntless compound perhaps; Four wielding a gun; kicks, punches and dodges as Dauntless initiation plays out; Capture The Flag; and finally ending with a slow-motion jump of Tris taking Christina's hand as they leap out of a moving train onto a rooftop.

Short but sweet, hopes are high for Divergent: release date 21 March 2014.

(Watch here: http://www.youtube.com/watch?v=agWN5gkiOls)

Book Review: THE COLLECTOR by John Fowles

Having initially spotted this book on the floor of a dusty second-hand bookshop in London, I was intrigued by the storyline. Being a firm supporter of libraries, I refrained from buying the £3 book and checked it out first.

The Collector pieces together the dissociated tale of an estranged captor and his captive against the backdrop of a secluded country cottage isolated from society. Here, Frederick Clegg, a collector of butterflies and an obsessive of beauty, becomes increasingly fascinated by another similarly beautiful creature. Turning his fantasy into reality, Frederick holds Miranda hostage in a house made just for her as he caters to her every wish except for her strongest desire: to be set free. The two struggle to coexist as tensions build and the two thirst for escape and restraint.

The element of excellence in this novel was Fowles' ability to depict parallels and oppositions within the two central characters. Like the art and fiction they discuss, Frederick and Miranda consistently defy and dispute. In Frederick's desire for a more romantic situation, he lovingly names himself the 'Ferdinand' to his Miranda to only have it backfire in his face as he becomes her 'Caliban' instead. Like The Tempest itself, the couple come from completely different backgrounds; the female taken by surprise. Miranda, in contrast to Frederick, prefers the harsher The Catcher in the Rye, baffled when Frederick doesn't understand its appeal. The same applies when they discuss and practise art. Frederick takes photographs: quick and calculated . Miranda, on the other hand, loves to draw and allow herself to express her emotions through sketching. However, the stark initial differences between the two begin to slowly dissipate as Miranda begins to lose her identity. Interestingly, it is in her drawing that this begins to be apparent in as she slowly loses her style causing her to copy the works of existing artists. She gradually begins wearing the clothes Frederick buys for her and across time in entrapment, her vigour and personality wan as she is stripped of her dignity. This is where the symbol of Frederick's butterfly collection begins to become significant. The dehumanising character of Miranda could easily be interchanged with his butterflies as she is lifelessly photographed and examined.

""They're dead." She gave me a funny look sideways. "Not these particularly. All photos. When you draw something it lives and when you photograph it it dies."

The narrative style of The Collector is also exciting. The first half is told by Frederick, a somewhat sociopathic man with infantile qualities. He humourously refers to educated people as being 'la-di-da' but this hints at the first signs of this man's inability to empathise and understand. The style of the prose brings the reader right into the mind of the man whilst still remaining artfully distant and critical - reflecting his frame of mind even further. Having the first account of events be from Frederick is notable as he fails to accurately recall Miranda's emotions. Therefore, when the reader is thrust into a diary format of Miranda's point of view, the change is startling and there is suddenly passion and personality in the narrative. The drastic change doesn't just separate the two further but allows the reader (who has become accustomed to Frederick's prose) to become conscious of emotion, making it even more effective. Additionally, the events are retold again from her point of view, so in having to essentially re-read the book again, perhaps Fowles is reiterating Miranda as an inferior character as even the reader is forced to listen to Miranda as a repeat of Frederick; belittling her further. There is also a circular nature in this novel, and in doing this, Fowles in able to relay the events to a broader level of realism as the structure mimics the cycle of a butterfly for example: beginning as an ugly creature which then experiences beauty if not only for a short while.  Only Frederick's actions increase the chances of mistakes being made yet again and again and again.

I have to commend Fowles for convincingly crawling into the mind of a sociopath and how three-dimensional he managed to make the characters.  Regardless of Frederick's detached temperament, we are able to understand why. The book also feels cleverly raw and intimate and therefore creates a tight microcosm; thrusting readers into a type of captivity of their own. The Collector is a curious blend of a fantastical but harsh display of reality.

(And then I found The Collector in a charity shop and purchased it for £1.99. Perhaps there was a sign in that initial restraint.)