Jamie Turner80
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37 messages
joined Jul 2009
This is a true story, so much so that even the names remain unchanged. It follows the unfortunate fate of Philomena Lee, a woman who spent a significant portion of her youth in a convent for "wayward girls" in Ireland, and her subsequent search for her lost son decades later. Do not let the premise mislead you; this isn't some saccharine melodrama from Hallmark, but rather a meticulous and original film that interrogates one of the greatest scandals involving the Catholic Church in America.
Philomena is a simple person—naive, straightforward, and surprisingly willing to forgive the nuns for how they treated her. She finds contentment in modest pleasures, such as simulated hospitality, romance novels, and mindless television, driven by a singular desire to discover what became of her son and whether he is alright. Martin, conversely, is an intellectual disillusioned with religion; he is deeply embittered, cynical, and perhaps even a bit snobbish. His motivation lies in exposing the shameful practices of the Church while simultaneously proving his own worth as a journalist—a reporter who, despite his claims, isn't particularly drawn to "small human stories."
While Philomena's screenplay may not be spectacular, it is firmly structured and expertly written, easily holding its own in the race for an Oscar for Best Adapted Screenplay. The film offers a smooth, fluid journey through various genres, shifting seamlessly from class comedy to a search thriller, and finally into serious drama from one scene to the next. Steve Coogan, acting as both actor and screenwriter, has clearly made a concerted effort to temper the presence of his earlier, largely comedic roles. This does not mean the film lacks humor—there is plenty, ranging from the obvious to the lowbrow and occasionally the offensively sarcastic—but most of those lines are delivered by Martin, a character Coogan essentially wrote for himself. Ultimately, however, the film possesses only one true star: Judy Dench, who also earned an Oscar nomination. We are accustomed to seeing her portray formidable intellectuals or women in positions of absolute authority. She has played Queen Victoria and Elizabeth II, as well as the formidable M in the Bond franchise. The role of Philomena Lee is atypical for Dench, yet she approaches it with precision and respect, avoiding any cheap parody of a kind, simple, and naive older woman.
Philomena doesn't stand much of a chance in the Oscar race; it serves primarily to fill the "international quota." Furthermore, it doesn't break new ground in the realm of cinematic art. None of this implies that the film is poor or derivative—quite the opposite. Philomena is one of the finest films of the year, offering a deeply sincere, intelligent narrative and a careful performance. It provides a proper treatment of a massive, uncomfortable, and grave subject. Philomena is a film with conviction; it does not pass judgment lightly, but it presents the naked truth and offers a commentary on it with full legitimacy.
more at:
http://film-na-dan.blogspot.com/2014/02/philomena.html