The Crown, Season 2: How True Is It?

It sure seems real, sumptuously produced and beautifully acted. But how much truth? How much fiction?

Season 2 of the successful Netflix series The Crown that premieres Friday, December 8,  kicks off with a taboo subject: the rumored infidelity of the British monarch’s husband, Prince Philip, with a fictional ballet dancer (which is based on rumors at the time of an affair with the actress Pat Kirkwood.)

At the same time, some biographers like Sarah Bradford in her book Queen Elizabeth II: Her Life in Our Times, present his infidelity as a fact, adding that she talked with two women who had been romantically involved with the royal consort.

The answer about how close is The Crown to the real life of the British royals, though, is very nuanced. After all, throughout its history the royal family has become quite adept at keeping secrets.

“The series is incredibly accurate and true to the history,” Robert Lacey, a historical biographer and consultant for the series who just published his new book, The Crown: The Official Companion, Volume 1: Elizabeth II, Winston Churchill and the Making of a Young Queen (1947-1955), told royal correspondent Tom Sykes. “If you go into the Left Bank offices—Left Bank being the company producing the series for Netflix—the first thing you see is a huge newsroom with eight full-time researchers working away, and that’s just the start, the raw material.” | Read More at : The Crown, Season 2: How True Is It?

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Review: Comfort and Joy

 

Bill Forsyth’s Comfort and Joy is full of cherishable moments.

Bill Forsyth’s Comfort and Joy underwhelmed at the box-office on its release in 1984 and has subsequently been out of circulation for many years, which partly explains why it has never achieved the acclaim and cult status enjoyed by his other early ’80s crowdpleasers Gregory’s Girl and Local Hero. Another reason, however, might be because this comedy-drama doesn’t feel as fully formed as those previous efforts, and it suffers from an underpowered narrative engine. Much of the charm and lightness of touch that defines Forsyth’s work is still evident, though [ . . . ] Read more at The Skinny

Goodbye Christopher Robin review – delightful take on the difficult birth of Winnie-the-Pooh

 

With its bittersweet interweaving of fact and fantasy, youthful innocence and adult trauma, this tale of the creation of a children’s classic could have been called Saving Mr Milne. Like Mary Poppins, Winnie-the-Pooh occupies a sacred space in our hearts and anyone wishing to co-opt some of that magic must tread very lightly indeed. Director Simon Curtis’s movie could easily have tripped (like Piglet) and burst its balloon as it evokes a dappled glade of happiness surrounded by the monstrous spectres of two world wars. Instead, it skips nimbly between light and dark, war and peace, like a young boy finding his way through an English wood, albeit one drenched with shafts of sugary, Spielbergian light.

Read full movie review at: Goodbye Christopher Robin review – delightful take on the difficult birth of Winnie-the-Pooh | Film | The Guardian

The dinner bash from hell

 

” … Potter’s first film since 2012’s Ginger & Rosa, The Party is an impressively lean affair, shot in a single location with few frills and no fuss – just an A-list cast at the top of their game. Potter looks toward Chekhov, Albee and Buñuel as inspirations, alongside such 60s Brit cinema classics as Karel Reisz’s Saturday Night and Sunday Morning and Bryan Forbes’s The L-Shaped Room. There’s a retro feel to Aleksei Rodionov’s handsome black-and-white cinematography, although the ease with which his camera waltzes around the cast lends a note of roving modernity, recalling the fluid poetry of Potter’s 2004 film Yes. Dance has always been central to Potter’s work (not just in The Tango Lesson), and there’s a real exuberance in the way she choreographs her players through the slapstick pirouettes and pratfalls of this vaguely absurdist romp. Meanwhile, Bill’s vinyl collection provides contrapuntal jukebox accompaniment, inappropriate records randomly selected with hilarious results…” | Read the entire review at : The Party review – the dinner bash from hell | Film | The Guardian

Criterion Discovery: Sid and Nancy

Background: After a long hiatus of being out of print, Alex Cox’s punk-rock cult hit Sid & Nancy (Spine #20) returns to the Criterion Collection. The film was Cox’s first to be included in the main collection, preceding Walker (Spine #423) and Repo Man (Spine #654).Story: After a fateful meeting, Sex Pistols bass player Sid Vicious (Gary Oldman) and American junkie Nancy Spungen (Chloe Webb) begin a star-crossed, mutually destructive romance [ . . . ]

Read full review: Criterion Discovery: Sid and Nancy